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Issue 27 - Columbia: A Journal of Literature and Art

Issue 27 - Columbia: A Journal of Literature and Art

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IO<br />

her with broken locks on pill cabinets <strong>and</strong> a vanished hospital bed.<br />

I tell them to trust no one.<br />

Sl<strong>and</strong>er<br />

I leave town for three days, <strong>and</strong> when I come back there are<br />

two bottles <strong>of</strong> MJ's insulin in the refrigerator. Johnson comes in<br />

from his afternoon jog. "Yeah," he says. "MJ's been staying here<br />

the last couple nights." He raises his eyebrows. You bastard, I say<br />

to him, though I can't keep the perverse smile <strong>of</strong>f my face.<br />

Johnson spreads himself face down on our couch. "You would not<br />

believe the shit I've learned about her, Parker," he says into the<br />

cushions. He rolls over. His eyes hold an expression <strong>of</strong> exhausted<br />

wonder. "She likes to be tied up, man." Yeah, sure. "I'm not<br />

kidding. And get this: she likes doing it outside, too. We had this<br />

totally weird conversation at dinner last night." It's bullshit, I tell<br />

him. She's just trying to get a rise out <strong>of</strong> him. She likes to tell<br />

stories to do that. Johnson sits up <strong>and</strong> wipes the sweat <strong>of</strong>f his face<br />

with his shirt. "Man, I have confirmed the tied up part."<br />

When MJ arrives later, I excuse myself <strong>and</strong> go to my room to<br />

do my work. All night, whenever I need to go to the kitchen or<br />

bathroom, I tiptoe down the hall past Johnson's room. Most <strong>of</strong> the<br />

noise I know is in my head, <strong>and</strong> if I concentrate, if I'm quiet<br />

enough, I won't be able to hear a thing.<br />

Voyeurism<br />

I walk into my bedroom one night <strong>and</strong> before I turn on the<br />

lights I see a naked woman in a window across the street. It is<br />

eleven o'clock, <strong>and</strong> I figure she's getting ready for bed. She walks<br />

back <strong>and</strong> forth in front <strong>of</strong> the window for several minutes, her<br />

breasts <strong>and</strong> bare shoulders perfectly visible. She has a fan running<br />

in the window <strong>and</strong> I realize she must think that because she<br />

cannot see through it from her side, no one can see through it<br />

from the other side either. I focus on my own window, trying to<br />

figure out why it would work the way it does <strong>and</strong> not the way she<br />

expects, <strong>and</strong> by the time I think to look up again, she's turned out<br />

the lights. For the next few nights at eleven o'clock, as Johnson<br />

<strong>and</strong> MJ settle in next to each other on the couch to watch a movie<br />

on TV, I retire to my room <strong>and</strong> watch the woman across the street.<br />

One evening I watch her playwith a ferret, nuzzling its long, furry<br />

body between her breasts, lifting it up to her face to talk to it. I<br />

believe I have seen everything. A few nights later I see her <strong>and</strong><br />

another woman hold each other for several minutes before the<br />

lights go out. I think for a moment I will tell Johnson about this,<br />

but then I remember his claims about MJ, <strong>and</strong> I decide to keep this<br />

to myself. One night when MJ <strong>and</strong> Johnson are over at her place,<br />

a storm blows up. At eleven o'clock the woman across the street<br />

is not home. Her window is dark. There is lightning, <strong>and</strong> for a<br />

moment I see my own reflection in my window: short, dark,<br />

slightly overweight. Johnson is tall <strong>and</strong> athletic <strong>and</strong> looks good<br />

st<strong>and</strong>ing next to MJ. The thunder rolls <strong>and</strong> the disk duplicator<br />

chatters in the dark behind me.<br />

V<strong>and</strong>alism<br />

Two blocks away they're tearing down a row <strong>of</strong> houses. MJ<br />

<strong>and</strong> I watched them rip away chunks <strong>of</strong> building with a huge, steel<br />

claw on the end <strong>of</strong> a digging machine. Walls tore <strong>and</strong> bricks<br />

crumbled, all <strong>of</strong> it sounding like a billion str<strong>and</strong>s <strong>of</strong> dried spaghetti<br />

breaking. They sprayed down the piles <strong>of</strong> debris with a fire hose.<br />

They left two small brick houses st<strong>and</strong>ing, one <strong>of</strong> them with a<br />

dozen leaded-glass windows. Salvageable. MJ thinks she can make<br />

end tables out <strong>of</strong> them. Several times during our walk she stops<br />

<strong>and</strong> models with her arms the complex arrangement <strong>of</strong> mannequin<br />

pieces she'll need for the table legs.<br />

At two in the morning I climb over the orange plastic fence<br />

surrounding the demolition <strong>and</strong> jog across the mud <strong>and</strong> shattered<br />

bricks to the shadows between the remaining houses. One window<br />

is ajar, <strong>and</strong> with just a little prying with a crowbar, the wood frame<br />

creaks away. I catch the heavy glass pane in one h<strong>and</strong>, somehow<br />

balance it as I dodge the falling wood, <strong>and</strong> set the window in the<br />

mud. I catch my breath, listen for cars. I put the window outside<br />

the orange fence, lean it against a trash can, then head back for<br />

another.<br />

None <strong>of</strong> the other windows will swing open. I see then that<br />

one corner <strong>of</strong> the house has already been knocked once with the

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