Author Archive: Eric Fritzius

Owner/operator of Mister Herman's Publishing Company and Mister Herman's Production Company, Ltd. Author of A Consternation of Monsters, available in print, ebook, and audiobook formats.

I can feel… I can feel the urge to buy a Suzanne Vega album!!!!

The lovely Suzanne Vega was in concert recently at Carnegie Hall WV, in Lewisburg.  I have had my ticket in hand for months now because I consider myself a huge Suzanne Vega fan.  However, as the concert drew closer, I began to question my own faithfulness as a fan.


When I was in highschool, I enjoyed Vega’s music on the radio, with her breakout hit “Luka.”  But I have to admit that it probably wasn’t until the remix of “Tom’s Diner” by DNA hit the airwaves that I decided to jump in whole hog and actually buy her album Solitude Standing.  It quickly became a favorite.  I just loved her quiet, sorta smoky voice, and the stories she told.  “Luka” and the original stripped down “Tom’s Diner” were not even my favorite songs on it.  The title track was great, “Gypsy” and “Calypso” beautiful and intriguing.  I was already into bands like 10,000 Maniacs and dipping into R.E.M., but Suzanne Vega quickly became another in the line of gateway drugs into more substantive artists who weren’t just the standard, bubblegum, Debbie Gibson pop.


I managed to miss her next album, Days of Open Hand, on its release, but eventually did pick it up.  The next of her albums I gravitated to, though, was 99.9 F° (1992), was a departure from the style of Solitude, but I got over the more industrial-sounding hump and really started to enjoy it.  Again the title track was a winner, as were Rock in This Pocket and Blood Makes Noise.  At some point I went back and picked up her 1996 debut.


By the time Nine Objects of Desire was released, in 1996, I was in college radio at WMSV at Mississippi State.  At the time, the station was not focused on playing singles, so we could play anything on the album.  Most were sexy gems, made even more enticing to me by her picture on the cover–that red hair against the green of the background and the apple.  So nice.  I loved “Caramel,” “World Before Columbus,” and “Honeymoon Suite” the best.  Her storytelling continued just as complex and concise as always, her voice still slightly smokey.  If I’d known what smooth bourbon was at the time, I might have applied that description, but I was still 15 years away from any kind of appreciation of that.

I graduated in 1996, immediately became very poor, and did not buy a lot of albums for a couple of years.  But I continued to listen to those of hers that I owned, particularly Nine Objects.  I’m a bit strange with music I love, though.  There are a number of cases in my collection where I love a given artist and a given album or albums by them, but am very hesitant to spend a lot of time on newer material by them.  I often still tend to buy their music, but it sometimes take me several listens to really decide if I like an album and if I don’t do that right away then the chances of me doing it at all decrease.  I think it was often easier for me to get into music back in the days of cassettes and CDs, before digital music, where you basically had a physical object sitting around to remind you you hadn’t listened to it yet.  I still buy CDs, but I immediately rip the music and it winds up in the cloud.  I store the CD in a binder sleeve, gut the CD case itself and keep the liner notes in a box with all the others.  Saves space, but makes for a crappy display.  And everything is out of sight, out of mind.  My music listening has dropped off tremendously even though I have every album I own at my fingertips at all times via my computer and my phone.  Irony, no?  Suzanne Vega should write a song about it.

I’m embarrassed to say that I did not do a very good job at at keeping up with new albums.  It’s kind of what happens to some of us who leave our primary music-fandom-formation years.  I did buy 2001’s Songs in Red & Gray at some point, but have no memory of listening to it.  I think I bought it as part of a multi-album purchase and it got put away somewhere safe before getting listened to.

Because of this lack of faithfulnessI was already questioning how big a fan I truly was of Suzanne Vega as her concert approached.  She’d released nearly at least as many albums as I already owned since the last album of hers I’d really dug into.  So I was anticipating a concert that could possibly have lots of music I was unfamiliar with.

As I sat in my sixth row seat near the middle of the house, the nice lady next to me said, “So… What song of hers are you most hoping she’ll play?”

Shit.

I couldn’t even recall the titles of any of her songs.  Oh, sure, I had “Luka” and “Tom’s Diner” easily in hand, but you don’t want to be the guy who says the very VERY obvious answers.

“Wow,” I said.  “Probably something from Nine Objects of Desire.”

“Oh, you really do know her work,” the lady said.  I explained that “Nine Objects” was my favorite album of hers and that my library after that was actually pretty thin. Really, I was just hoping to hear some favorites from across her range.

And we did.

Suzanne Vega gave a lovely concert, a nice mixture of new and old with, naturally, more emphasis on the older songs, going back to even her debut album.  However, the ones she noted were fairly new were excellent.  She was charming and full of stories about the origins of some of the music.  Her voice was every bit as gorgeous as when I first heard her in the late `80s.

After intermission, she returned to sing more familiar tunes and a few ones from older albums I owned but which I had forgotten.  Toward the end, she thanked everyone in her crew, and the venue, and then began her big hit “Luka.”  I had to force myself not to sing along with her, as I have hundreds of times on that song before. Then, at the end of the chorus after the second verse, she was about to head into the third verse then, just as she reached the place where she was supposed to come in… didn’t.  She continued to play, as did her electric guitarist (Gerry Leonard, who was a badass), but looked a little thoughtful as she did.  Then she smiled and said, “I just sang the third verse in place of the second. And now I’m trying to remember the lyrics to the second verse.”  She kept playing as the audience began to chuckle.  “`Yes, I think I’m okay’ … no, I sang that,” she said.

“Maybe it’s because I’m clumsy!” I called out in a loud voice from the sixth row.

“`I think it’s because I’m clumsy,'” she said, correcting my paraphrase.  “That’s it.”  And then, with perfect timing, as she’d reached the entrance to the verse in what she was playing, she instantly began singing, “`I think it’s because I’m clumsy, I try not to talk to loud…'”

I beamed from my seat.  That might have just made my year.

Thinking about it in the minutes that followed, I felt grateful to have witnessed a quirk of memory that plagues great performers like Suzanne Vega and those of us on my much lower performing level as well. You might have sung a particular song thousands of times, more than any other song you’ve ever sung in your whole life, and know it by muscle memory.  However, muscle memory can occasionally develop a cramp–especially if you get the elements of that memory out of the order your muscle has memorized it by.

Afterward, I stood in line for an autograph on her CD from last year, Tales From the Realm of the Queen of Pentacles.  I thought of lots of things to ask her and tried to winnow this down to something memorable and short, since it was already after 10p.  When I reached the front of the line, I passed her my CD and said, “Hi.  I was your prompter.”  Then, thinking she might have been bummed out by it, I added, “Sorry.”

“No, no,” she said with the most genuine smile. “I actually love it when people help like that.”

And then, just like that, all the additional stuff I had thought to say to Suzanne Vega, back when I was standing in line, was no longer in my memory. Instead, I thanked her, told her the concert was lovely and then slipped away into the night.

The album is very good.  True to Suzanne Vega form.

 

Quentin Tarantino Vs. Jack London (Part 3)

As promised, here is the original draft of the story that became “Wolves Among Stones at Dusk,” cussin’ and all.  Certain names have been redacted to protect certain contests that are ongoing.

“Wolves and Stones”

 

Atop the low mesa, in the scorched-orange glow of the setting Arizona sun, a Mexican Gray Wolf paced in frustration.  Few humans have ever seen a member of this rarest of North American species of wolves, fewer still have ever heard one growl, and fewer than that could claim to have heard the gurgle of hunger pangs coming from the stomach of such a creature.  The man seated on the edge of the mesa’s cliff, a few feet away from the wolf, might have been able to accomplish all three of these rare feats, had he only been paying attention.

The wolf eyed the old man silhouetted against the sun.  Even squinting against the light, the wolf could see the long and stringy gray fur of his quarry as it fluttered behind his head in the breeze of dusk.  Similarly caught in the breeze were the strings and ribbons of the torn fabric that still adorned the man’s body.  Dozens of growing shadows also stretched out from the many paw prints the wolf and his pack brothers had left in the dust of the rock shelf over the past months.

The senses of wolves are fine-tuned receptors of many levels of information broadcast by their prey.  They can tell, for instance, when an animal is wounded by the rhythm of its breathing.  They can savor the delicious smell of fear and know from it precisely when their prey is about to bolt.  The old man, however, gave off little information, which was frustrating, for the wolf.  He may as well have been concentrating his senses on a blank patch of air for all the good it did to turn them on the old man’s body.  The man’s smoky blue eyes—which were on some days closed, but more often, as they were now, merely narrowed—remained focused on some place in the far distance, motionless and with no indication of internal activity.  The only emotion any of his pack brothers had ever been able to sense from the old man was an occasional flicker of deepest regret.  And, as this was an emotion alien to wolves of any species, neither he nor his brothers we able to recognize it as significant.  The man appeared much as other gray-furred humans did when they neared the end of their lives.  However, there was something about him that made the wolf certain this human was far older than he appeared.  The wolf could smell the old man’s blood—even beneath the layers of grit that coated his pale skin, but its flow was almost imperceptible.  The wolf listened.  After nearly a minute, he heard the beat of the man’s heart, the stir of his blood, and then silence once more.  Instinctively, the wolf knew this was wrong, for animals and humans were creatures of blood, even those foolish enough to stray into this place of heat and dust.  Blood was their essence and their life—both of which were the wolves’ right to take as they pleased, or as they dared.  A creature whose life did not flow even as fast as that of the hated greenshells was not a natural creature.  However, as the wolf had long ago reasoned, it was still blood.  This old man—whose blood refused to flow properly, whose skin refused to rend beneath fang, whose bones refused to break when, in impotent rage, he and his pack brothers had toppled the man’s body from the edge of the cliff—was a continuing puzzle in the wolf’s mind.  His pack brothers had all but given up, but the puzzle was what brought the wolf back to this mesa nearly every day.  His own chipped teeth served as an ever-present reminder that this stone-like man had not yet been caught, despite the fact that he had also never fled.

Padding two steps closer across the still scorching surface of the dusty mesa, the wolf allowed himself a whine of irritation.  His impulse was to rush at the man, to bound off of the muscles of his back and send his body over the edge again.  At barely seven cactuses in height it was not a long fall to the desert floor.  To investigate the fallen form, though, would have required a journey back along the mesa, to where the treacherously steep and rocky terrain gave way to a more easily traversable slope down to the desert floor.  Despite making that same journey many times, he knew that it would be a fruitless waste of previous energy.  And, as always, he would only find the old man at the foot of the mesa, his body still bent in its seated position, unharmed save for fresh rips in the fabric covering his body.  And there the old man might remain undisturbed for days, or even weeks until it would one day be found seated again on the edge of the mesa’s cliff, eyes staring into the distance, face timeworn like that of the mesa itself.  None of the wolf’s pack brothers had ever observed the man making the return journey to his perch, nor had any of them ever seen an indication of movement from him.  But clearly he did move when it suited him to do so.  Fungus, one of his pack brothers, claimed to have once seen an old woman on the mesa as well.  He claimed she had emerged from a wooden cave in the air and had carried a shiny stick.  She had screamed noises at the old man for some time, but even then he did not move and the old woman returned to her wooden cave in the air and closed its door.  None of the other pack brothers had witnessed this, none of them had seen the wooden cave, and none of them would admit that they did not know what a wooden cave looked like let alone how it came to be in the air.  Fungus was crazy.

The wolf remained seated a few tail lengths distance from the old man and waited as the evening slowly grew darker.  Prey of a more animated nature would be stirring before long and the wolf knew that his hunger would soon be sated.

In the distance, across the dry lake bed overlooked by the mesa, there came a humming, growling sound.  Within a short time, two lights appeared to accompany the sound and the wolf knew that this signaled the approach of one of the long, armored, round-legged beasts that had been tamed by the humans.  The wolf had seen such beasts before, but their territory was usually limited to the long gray stretches of flat rock the humans had arranged on the far side of the lakebed.  On occasion, however, the humans and their beasts had strayed into his pack’s territory.  The wolf knew that he must be on his guard for moving humans were less predictable than the still old man.

As the long beast came closer, the wolf could see that it was black and with two fins at its rear, much like the creatures he had seen rushing through the distant rivers in the rainy season.  It stopped moving some distance from the foot of the mesa, perhaps not wishing to venture close to some of the larger rocks that had fallen from its face.  The beast stopped growling, but light continued to pour from its eyes.  Presently the black armored sides of the beast opened, causing a low buzzing sound that only ceased when the humans had emerged from the beast and again closed its sides.  The wolf could at once smell their sweat and then their blood.  It was pumping just fine.  Then the humans began to make their usual noises.

“You have got to get a new ride, man!” one of them said, striking the side of the beast with his foot.  The wolf observed that the man’s lanky form might lend itself to swiftness.

“I said I was sorry,” the other one bellowed.  He was taller and stouter than the lanky man.  The wolf didn’t understand him either, but thought the big man could prove to be a powerful, but slow opponent.

“No A/C, broken window crank… It’s like an oven in there!  Probably cooler in the damn trunk.”

“If I’d known we were coming all the way out here, I would’ve borrowed a different car,” the bigger man said.  “Maybe Donny’s new one.”

“That hatchback piece of shit?  What an asshole!”

“Hey, he got a great deal on it.”

“I don’t care if he got it for free,” the lanky man said.  “It’s still a hatchback piece of Japanese shit and Donny’s an asshole for buying it.”

The wolf felt a flash of anger from the big man, but it quickly subsided.  “Don’t worry about it,” he said.  “It’ll get plenty cool here once it’s all the way night.  We could probably just leave him and go.  He’d be froze by morning.”

“We’ll leave him, all right,” the lanky man said.  The man then reached into his clothing and produced a small white stick.  His paw then seemed to catch fire and he touched the tip of the stick into the flames until smoke began to puff from his mouth.

“Let’s do this,” the lanky man said.

From his perch on the mesa, the wolf watched as the two men walked to the rear of their beast to open what must have been its armored, flat tail.

“Oh, look.  He’s awake,” the lanky man said.  “Get him out of there.”

The bigger man reached into the rear of the beast and, with some effort, withdrew from it another human.  For a moment, the wolf entertained the notion that the humans were born from their armored beasts.  But then he became distracted by the new sensory combination of sweat, blood and, most deliciously, fear, as the newly born man was dropped to the ground.  It took a moment to see the new man clearly, but his top legs appeared to be bound behind his back and his lower legs bound at the ankle.  The bound man smelled younger than the first two men, scarcely older than a pup, but he wasn’t a small man either.  Another growl of hunger escaped from the stomach of the wolf and he padded closer to the edge of the cliff, watching as the big man looped his paws into the pits of the bound man’s top legs and pulled him along the desert floor and into the light of the beast’s eyes.  The lanky man followed and propped one of his leather-covered lower paws onto the beast’s lip.

“Hiya, (NAME REDACTED),” the lanky man said, puffing out his smoke.  “Welcome to the desert.”

The bound man made noises, but his jaws were covered by something.

“What’s that?  You don’t like it out here?” the lanky man said.  He laughed.  “Aww.  Ain’t that sad, Mike? (NAME REDACTED) comes out all the way out from the East Coast and he doesn’t want to see the sights.”

The big man gave a chuckle.  “Yeah, it’s a… it’s a real shame.”

The lanky man leaned down over the prone, bound man and began making louder sounds.  “It is a shame.  Cause if (NAME REDACTED) didn’t want to see the desert, all he had to do was stay home in the first place.  Right, (NAME REDACTED)?”

The bound man made an aggressive sound from beneath his mouth covering.  The lanky man flashed with anger and struck out with one of his lower paws, connecting with the bound man’s midsection.  This elicited a muffled groan of pain.

“No, if he’d just stayed home and played in his own sandbox, we wouldn’t have had any reason to give him a ride to ours.”

The bound man made more muffled noises.

“Oh, look there, Mike!  I think (NAME REDACTED)’s starting to see the light.”

The big man laughed, but he smelled nervous.

“What is it they say about hindsight, Mike?”

“Um,” the big man said.  There was a long pause.  “It’s good to have?”

“That’s right,” the lanky man said.  “It’s good to have.”  He then reached one of his paws into the back of his leg-coverings and returned with something heavy and black.  “Trouble is, it’s only useful to have it if you’re still around to learn a lesson from it afterward.”

The bound man instantly began making louder, more frantic sounds.  His heart was racing.  Fear was pouring out of him, causing the wolf’s mouth to water.  He wished his pack brothers were near.  Together, they might have a chance of catching at least two of these men before any of them could hide in the guts of their armored beast.  After frustrated months of wondering what an easy human meal might taste like, this opportunity was tantalizing.

“Sorry, (NAME REDACTED),” the lanky man said over the cries of the bound man.  “Some mistakes you only get to make once.  If it’s worth anything to you, though, we’ll be sure to send (OTHER NAME REDACTED) a condolence card for you.”

The bound man’s body thrashed, striking out with one of his back legs, which had apparently come free of its binding.  The lanky man dodged out of the way, scarcely avoiding the strike and the bound man’s foot connected with the lip of the beast instead with a thunk.  The armored beast did not cry out.

“I told you to tie him good!” the lanky man screamed, his fire stick falling from his mouth.

“I did!” the big man shouted.  Anger.  Nerves.  Fear.

The wolf now stood at the very edge of the cliff.  He could see the bound man still thrashing on the ground, rolling partially out of the beast’s eye lights.  If it were half an hour later, he would have rolled into pitch blackness, but in the twilight he could still be seen even by the humans.  The wolf could smell the sweat and dirt that now caked the man’s face, could practically see the blood roiling beneath the thin skin of his neck.  He longed to sink his teeth into that neck.  Without his pack, though, he did not dare move.  For now, he would simply stay upon the mesa, next to the stone-like old man, and watch.

The lanky man shouted below and waved his heavy black thing some more until the big man seemed to find his motion.  He stepped around the edge of the armored beast, leaned over and struck out with a clenched paw.  The motion wasn’t precisely quick, but it was powerful enough to still the movements of the bound man.  The wolf could smell urine almost immediately, but the bound man’s heart was still beating strong.

“Where’s the rope?” the big man said.

“Fuck the rope.  Just do him.”

The big man looked down at the bound man.  “W-what?” he said.

The lanky man bore his teeth.  The wolf could smell firestick smoke and onions on his breath—pathetic plant-eaters.  “We didn’t drag him out here to play dress up, Mike.  Do him.”

“But I… I don’t want—” the big man said.  The wolf could feel the pulsing of his nerves.

“You’re doing this,” the lanky man said.  “If you want to keep working for Lance, you’re going to have to prove yourself useful.  He knows you’re good for fist work, but he says you ain’t got the stones for nothing else.  I’m the one that set him straight about that.  Got it?”  The lanky man turned the heavy black thing over in his paw and held it out to the big man.  “Do it.”

That was when a rock fell from the upper face of the mesa.  It fell five cactus heights before impacting noisily against the slight slope of the otherwise almost vertical face of the mesa.  The wolf didn’t know if his own weight had caused it to fall, but he could see that it had drawn the attention of the men on the desert floor.  They had turned toward the sound and were holding their paws up to block the glare from the armored beast.  While the sun had already set, the wolf knew there was possibly still enough light for even the humans to make out his shape and that of the old man.  The wolf stood his ground.

“Something’s up there,” the lanky man said after a time.

The lanky man moved to the rear of the armored beast and reached inside its still open rectum.  He brought out another stick, the end of which burst into light, and turned its beam in the direction of the mesa until it found its target, shining directly onto the old man’s glass-eyed staring face.

“It’s a dude,” the big man said.

The wolf drew away from the beam, but his movement must have been noticed, for the light quickly flicked into his eyes.

“It’s a dude and his dog,” the lanky man said. “Probably some Indian off the reservation, or something.  Probably drunk.”

“But he might have seen us,” the big man said.

“Yeah.  No shit.”

The light flicked back onto the old man’s face and remained there as the lanky man walked forward toward the cliff face.

“Hey!  Hey, mister?  Nice night for a walk, huh?” the lanky man said, bringing the heavy black thing up just behind his light stick.  “We’re just out here, playing a trick on this friend of ours.  You want to come down and see?”  The lanky man paused for a moment, watching.

“He ain’t moving, Tito,” the big man said.  “You sure he ain’t dead?”

“He’s got a dog,” the lanky man said, moving again toward the face of the mesa.  Then he tripped over one of the many loose stones in plentiful supply near the foot of the mesa and stumbled forward, flailing his top legs to keep his balance.  His light flickered down for a moment to check his footing, but returned quickly to the wolf’s face and then the old man’s.

“Got some primo whiskey in the car, man.  Firewater?”

“What are you doing?” the big man said from where he remained near their beast.  The lanky man stopped moving and seethed, but didn’t shift the light from the old man’s face.

“I’m just coming over to invite our new buddy up there to play a little game with us.”

“A game?”

“Yeah,” the lanky man said.  “That’s right, Buddy.  Play a game with us.  Your doggie can play, too.”  The lanky man again raised the heavy black thing behind his light.  “I like to call this game, `Target Practice,’” he said.

The black thing spat out three bursts of fire that were louder than thunderclaps.  The wolf dropped into a startled crouch, but had already felt the vibrations as two of the fire bursts struck the face of the mesa below, sending more rock raining down.  The third struck the old man’s knee, rocking him on his perch, but doing no damage.  Even the cloth covering of the man’s legs was untouched, for it had been torn away during the old man’s many tumbles from the rock at the hands of his pack brothers.

Carefully, the wolf raised his head to see over the cliff.  The lanky man was covering his face with one of his top legs against the shower of rock chips. Then his light shone again across the old man’s unchanged face.

“Did I hit him?”

“I… I dunno,” the big man said.  The wolf could smell the big man’s fear nearly as strongly as that of the bound man before.  And beyond the edge of the armored beast, the wolf could hear a low moaning from where the bound man lay.

The lanky man lifted the heavy black thing and it spat another burst of fire and noise.  This time the thunder burst struck the old man on the chin and flew off into the sky.

“He moved!  I saw him move!” the big man called.  Indeed, the wolf saw that the old man had been rocked back from the force of the burst, balanced momentarily on the pivot of his rear.  Then he fell forward again into his seated position. Other than a small spot where the fire blast had chipped away some of the crust of sand and dust on the old man’s chin, though, there was no sign that he’d been struck at all.

“Goddammit!” the lanky man shouted.  “How am I missing?  He’s only like 50 feet away!”

“I seen him move,” the big man called again.

“He ought to be running,” the lanky man said.  “This old fuck’s either dead drunk or dead stupid.”

The wolf peered over the edge of the cliff, but was hit by the beam of light and jerked his head back.  Another thunder burst sounded, sending up a blast of rocks from the edge of the cliff where the wolf’s head had been moments before.  Then another burst followed, this one bouncing off the old man’s shoulder, spinning his body around slightly until his bent knees caught on the edge of the cliff.

“Son of a bitch!” the lanky man screamed.  The light beam danced frantically across the old man’s front.  There then followed a loud click and an angry cry from the lanky man.  “Shit!”

The light vanished.  The wolf couldn’t see what was happening below, but from the sound of it he didn’t need to see.  He could hear the lanky man’s pawsteps as he moved back down the slope of the foot of the mesa.

“Bring me the bullets from the map box!” the lanky man screamed.  Even as he was making this noise, though, the wolf could hear the sound of rocks sliding beneath the man’s back paws.  The lanky man’s heart rate increased as he flailed his top legs to compensate.  More stones could be heard sliding as the man scrambled through them, and then there came a shout that ended abruptly as the lanky man’s body struck the rocky slope.  Instantly, the wolf could smell the tangy scent of blood in the air, just as he felt the sharp increase of the man’s body systems reacting to pain.  The wolf’s mouth watered anew and he stepped back to the edge of the cliff.  Now he could see the lanky man below, lying awkwardly on his back amid the rocks.  The light stick had tumbled further down the hill, as had the heavy black thunder-spitter.

“Tito?  Are you okay?” the big man called from near the armored beast.

“My leg… my back… my goddamn leg!” the man moaned between gasps for air.  He tried to bend to reach for his shin—which the wolf could smell as the source of the blood—but the lanky man was scarcely able to raise his own head.  The big man ran toward his fallen friend, but he too tripped on a rock and went flailing through the darkness before regaining his balance.  He reached the light stick and used its beam to guide him to where the lanky man lay.  There followed a long time during which the lanky man screamed a number of times in anger as well as a number of times in agony as the big man attempted to help him to his paws.  They were so engaged in this that neither of them noticed that the bound man had risen to stand upright beyond the armored beast.  Just as the big man was at last able to raise the still howling lanky man to a standing position, the now unbound man pulled open the side of the armored beast, causing the buzzing to return as he climbed into its guts.

“What the hell?” the lanky man shouted.

The beast roared to life, causing its eye lights to blaze even brighter.

“Get him!  Stop him!”

The big man stood still, supporting the lanky man’s weight.

“He’s taking the fucking car!” the lanky man screamed.  “Get him!”

“The gun!  Where’s the gun?!” the big man said.

“Go! Get him!  Just fucking get him! Go! Go!”

The big man let go of the lanky man, who crumbled into a screaming pile.  The wolf then saw the light stick beam darting along the ground as the big man ran through the rocks as best he could toward the armored beast.  It was too late, though.  The unbound man had guided the armored beast to move backward and then to turn its round legs toward the lake bed.  It then leapt forward, bounding smoothly back in the direction of the human’s usual territory—where their hard, gray stretches of land extended from horizon to horizon.  The big man ran after it, but, just as the wolf had suspected earlier, he wasn’t very fast at all.  The light still clutched in his paw, swinging as he moved, the big man continued to run after the armored beast long after the red fin lights and the white light of its still open rectum had vanished.  Then the big man tripped and the light stick dropped and went out.

From his perch on the top of the mesa, the wolf threw back his head and howled.  A moment later, he felt glory at the mixture of pain and terror that exploded from the desert floor below.  In the distance, he heard a return cry and he bounded away to greet his pack brothers and lead them to what might only be their first kill of the night.

Seated on the edge of the cliff, his body cocked at a slightly acute angle, the old man remained, his expressionless, stone-like face staring into the cold desert night.

 

THE END

Copyright 2010-2015 Eric Fritzius, Mister Herman’s Publishing Company.  All rights reserved.

Quentin Tarantino Vs. Jack London (Part 2)

So, like I was saying, “Wolves Among Stones at Dusk” began as a paragraph in my ideas file. And I still have that scrap of an idea, from that file, in its original form, punctuation errors and all. It reads:

A mobster/serial killer brings a new victim out into the desert to kill them. He, unfortunately spies Stone sitting on a cliff in the distance and believes him a witness.   Another character is a coyote with broken teeth, who’s been hanging around Stone’s body for quite some time in the hope he’ll finally be able to eat him. Killer is killed while failing to kill Stone. The coyote gets to eat the killer, to which Stone wakes up and says “Satisfied?”

Right away, those of you who’ve read the story or heard the podcast can tell there are some basic differences between the finished product and the original germ of an idea. For instance, the story’s not called “Coyotes Among Stones at Dusk.” I don’t recall the specific reason for trading out one canid for another, but probably it’s just that wolves make for more traditional predators, and if I was going to have metaphorical predators present in the story as well a wolf would be a better fit. I do recall researching just what sort of wolfy creature might inhabit the deserts of Arizona and came upon the Mexican gray wolf.  Their rarity gave me the opening paragraph to the story, which I rather like.

Another difference is the mention of the character of Stone by name.  That is what the old man seated on the cliff of the mesa in the story is known as.  He’s a character who’s been with me for over 20 years now and he began life in a completely different story that is not included in this collection. As you might have noticed, though, at no point in “Wolves Among Stones at Dusk” is this character named or otherwise explained. All the reader is given is that there’s an old man seated on the edge of a mesa who is clearly alive, but who is also clearly not affected by the desert conditions around him, whose blood does not flow like that of most humans, who only moves when it suits him to, and who is so impervious to physical harm that wolves have chipped their teeth trying to eat him.  (The whole mysterious old man seated in the desert thing, I acknowledge, is very reminiscent to me of a similar character from the aforementioned A Canticle for Leibowitz, though I assure you that while there are similarities, the two characters do not share the same origin and are not of the same religion.)

I know who Stone is, why he’s there, what brought him there, why stuff doesn’t hurt him, etc.  Is it important that the reader know any of it for this story to work, though?  Absolutely not. In fact, I think it’s better for it that they don’t because I’m fine with the old man’s presence being left as a mystery. I like it that he just sits there, as still and timeworn as any of the other stones present.  He never physically moves, but remains a vital moving gear in the mechanics of the story. Without him, this would just have been the story of two criminals executing a third in the desert, as witnessed by a wolf.

And that was the other major reason for keeping Stone’s background details thin.  I was trying to limit the story’s perspective to that of the main character, the wolf, so layering anything else becomes difficult to do. If it is difficult and unnecessary to the story, why try to force it in, I say?

Plus I was plenty busy trying to set up the backstory of the mobsters themselves…

In the original draft of what was then called “Wolves and Stones,” the story’s perspective was still the wolf’s, but I also included written dialogue between the human characters to help explain why they were out in the desert, trying to rid themselves of one of their own (the guy in the trunk). There are some criminal politics at play in this, as well, in that the lanky man is attempting to force the big man into pulling the trigger as part of an initiation, to get in good with their boss. They then spot the old man on the cliff and things proceed. Being two-bit hoods, there’s lots of cussin’ involved, too. Which is partly the reason Belinda described the story as Quentin Tarantino Vs. Jack London.

Belinda is not a fan of cussin’ in her writing.  She doesn’t write about two-bit hoods; she writes poignant stories about small town life—where the politics and emotional turmoil can run just as deep, but tend to happen over bingo cards, and any dead bodies found in car trunks tend to be in cremated form, sealed within a well-burped Tupperware container.   F-bombs are not her bag, and among her initial notes about my first draft, (dutifully turned in by Tuesday evening, midnight) was the comment that perhaps I didn’t need quite so many. In my defense, I only had four, but she thought I might not need any. My argument, which still stands, is that capturing natural-sounding speech is the job of the writer and when writing about men who communicate largely via cursing there was some degree of it to be expected in their depiction. She, of course, understood and even grudgingly agreed. Being a proper lady, though, she still felt the need to encourage me to find creative way to maneuver around the matter.  I bristled at this and resolved to remove not one single f-bomb. I might have even added another one, just for spite.

I tinkered with the story for a bit more, and even submitted it to the Animals category of the 2011 WV Writers Annual Writing Contest. (I actually won 2nd place in that category, but for a different animal story, one called “Native Arts” which eventually became “The Ones that Aren’t Crows,” as found in A Consternation of Monsters–further illustrating how long it takes me to find a proper title.) That’s where I left it.  For a while, at least.

A few years later, after we’d moved back to Greenbrier County,  I was called upon to do a live reading for a local annual literary event and was casting around for a story I’d not already read in a previous year. I had several candidates that had never been read live, but none of them would fit into the 20 minute time limit I was given. Even “Wolves and Stones,” as it was still called, didn’t fit because at 14 pages it would have taken around 28 minutes to read (using my usual estimate of 2 to 2.5 minutes per page). Plus there was all that cussin’, which would have been a bit uncomfortable to read before the standard literary tea crowd.

That’s when I finally decided to answer a question that had come up in my mind during the original writing of the story: if the story was truly told from the wolf’s perspective, and if I really wanted to show events exclusively from the wolf’s point of understanding (cars shown as metal beasts, cigarettes as burning sticks, etc.) how could I then also include English dialogue that he be unable to understand?  Sure, you can’t convey the same level of detail in the backstory of the criminals without it, but if I was creative there would be ways to suggest a lot of it that would not require dialogue.

As an experiment, I went through the story and removed the dialogue. The actions, as witnessed by the wolf, still told most of the story. Explaining every single thing I knew about the backstory was not necessary provided the characters actions could convey most of that story. Sure, you lose the fine details, but you get what’s happening all the same. Furthermore, it cut out around four pages and all the EFFing cussin’ to boot. Suddenly, I had a story I could read.

That night, I explained to the attendees at the reading that my story was still a little experimental, but I was pretty sure they’d be able to keep up. They were. It seemed to go over well.  More tinkering followed until we have what we have.

One thing that I did not find a way to convey in the story, however—and it’s another plot point that isn’t largely important to the story itself—was a way to reveal the identity of the man inside the trunk. I won’t spoil that here—at least not just yet. I will say, though, that he’s a fairly pivotal figure in the connected world of stories within A Consternation of Monsters. In fact, if things had gone differently for him in this story—if he had not lived, for instance—at least half of the other stories in the collection would not have happened at all, or would have happened very differently. In some ways, he’s the lynch pin of the whole collection.

My inclination is to run a contest of some sort, giving away a copy of the book to whoever can successfully put a name to the guy in the trunk. However, I also suspect that not enough people have read the book, and the character does not appear in any of the podcast adaptations so far, beyond “Wolves…” So it would be one of my friends who would win—and probably one who read the first draft to begin with. I hate to not do a contest, though.

Tell ya what…. Go read the interview I did over at the Inspiration for Writers blog. I’m giving away a free book there and it’s far easier to qualify for than reading a whole book. Go read to the end and you’ll find out how.

But, if someone who has read the book wants to drop me a line with a guess as to whom is in the trunk, I’ll come up with a suitable prize for the first person who gets it right. Might be a free story. Might be something I mail you. Might be that person’s name written into a new story. It’ll be fun.  Send in your guesses to eric.fritzius@gmail.com.

I guess, though, this means I’ll have to redact the actual character’s name when I post the draft of “Wolves & Stones” complete with dialogue in part 3 on Monday.

The other thing that occurred to me about the origins of the story itself is that they owe a great deal to a comic book short story by Paul Chadwick, featuring his character Concrete.  For those who don’t know (and shame on you for not), Concrete is a comic book that first saw publication in 1986, featuring a character named Ronald Lithgow, a former political speech writer for a senator, whose brain is transplanted, by aliens, into a gigantic rock body.  He escapes them they flee the planet with his old body, and he’s basically left to start his life over again in this new and amazing form.  Naturally, you probably assume he becomes a super hero and starts fighting crime.  But he doesn’t.  That’s not Ron.  Instead, he basically becomes a celebrity by default, because in order to live among regular people the government concocts a cover-story that Concrete is a government-created cyborg.  He instantly becomes a celebrity, gets his 15 minutes of fame, then the world moves on to the next big thing in pop culture and Ron is left to figure out what to do with the rest of his life, with his newfound abilities.

During one particular story, Concrete spends the night in a desert, watching the animal life around him using his enhanced vision.  At one point in the story, a car arrives and a man gets out and goes to the trunk of the car.  The man pulls a large bag from the trunk, of the size and weight that might contain a body.  Concrete assumes this man has murdered someone and is about to dump the corpse.  He wonders what he should do.  Only when he investigates, he finds that what the man is truly dumping is not a body but a giant bag of junk food.

I can’t help but think that this story influenced my own back when I wrote the original note in my ideas file.  I doubt I knew it at the time, but the fact that Concrete is stone-like, and Stone is similarly tough to kill, had to be a factor in there, at least subconsciously.  That and the potential killer/actual killers are the only points the story shares otherwise.  However, the original image I saw in my head that inspired the story in the first place was of Stone seated on a very similar desert hillside to the one Concrete sat upon, at night, only with a coyote seated beside him with a mouthful of broken teeth.

(If you’ve not done so already, you should read some Concrete.  The entire run has been collected into a series of nifty paperbacks.  Or you can track down the mini-series collections, some of which are in color.  I prefer Chadwick’s art in black & white, though.)

As for my original ending, Stone didn’t get to wake up and speak, as I’d intended.  He just didn’t want to when I reached that part.  I’m always a firm believer in listening to what the story and its characters are telling you.  They’re not often wrong.

(CONTINUE TO PART 3)

Quentin Tarantino Vs. Jack London (Part 1)

Titles are tricky.  Sometimes they suggest themselves immediately.  In fact, sometimes—though rarely—they can be in place before the story is even written (as was the case for “The Hocco Makes the Echo”).

It took me a very long time to come up with a satisfactory title for my story “Wolves Among Stones at Dusk,” though.  For a long time this story was just called “Wolves and Stones,” which I was not a fan of, but couldn’t think of anything better.  My writing mentor, Belinda Anderson, suggested I call it “Quentin Tarantino Vs. Jack London” because of the whole mobsters vs. canines angle.  I liked this a lot, though I had to amend the suggestion to what I felt was a more accurate title: “Quentin Tarantino Fights Jack London (while Walter M. Miller, Jr. watches).”  If you’ve read some Jack London, and Miller’s grand post-apocolyptic epic A Canticle for Leibowitz, and then watch Reservoir Dogs, and then squint really hard, you might be able to see what I’m talking about.  Or maybe it’s just me.

While the above title might have been accurate, it still didn’t feel like a proper fit.  The final title came when I was assembling this collection.  I just sat down, stared at my screen, and refused to move until I could think of something better.  “Wolves Among Stones at Dusk” popped in a few minutes later and it works for me.   It’s a very Neil Gaimany-sounding title, which is always a good thing in my book.

The origin of the story, though, is a longer journey that also involves Belinda Anderson.  One of the reasons she’s my writing mentor is because for many years she taught a twice-annually, eight-week writing workshop.  The workshops would be one night a week, sometimes weekly, sometimes bi-weekly, and I took every one of them I could.  Even after my wife and I moved an hour and a half away to Princeton, I still made the journey back.  Eventually, though, schedules of the participants no longer meshed and the workshop came to an end.  I was lamenting this to her on the phone one day.  I told her my writing output had suffered because I work best with a deadline.  Her classes guaranteed me at least one story per 8 week workshop.

“Okay,” she said.  “I want 5,000 words by Tuesday.”

“Um, do what?”

“You heard me. Deadline,  Tuesday, 5,000 words.  Get to it.”

“Yeah, um…. Okay.”

This was on a Friday.  I’ve produced more writing in less time, but usually only with a plan already in place.  Coming up with a story from scratch in that time would be a stretch, so I decided to consult my Writer’s Notebook.

Like many writers (the good ones, I’m told) I keep a notebook for ideas, plots, characters, TITLES, and whatall.   Okay, that’s sort of a lie.  These days I keep an Evernote file in my phone.   And rarely have my Writer’s Notebooks actually been physical notebooks.  Usually the ideas would start as notes jotted on napkins, receipts and scratch paper from the library, gathered in a pile on my desk and eventually transferred into an IDEAS file in my computer.  A number of my short stories have started this way, but I believe only two from A Consternation of Monsters qualify: “Nigh” and “Wolves Among Stones at Dusk.”

Once again, it is probably helpful if you’ve read this story before proceeding, as many spoilers will follow.  However, you can hear the whole story for free by checking out the Consternation of Monsters podcast page, which features an audio adaptation of “Wolves…”

Go and listen to it now, then come back here for part 2.  I’ll wait.

(CONTINUE TO PART 2)

Welcome

Welcome to Mister Herman’s Home Page, your source of all things Mister Herman related (or, more specifically, Eric Fritzius related.)

Here you will find a bit of my writing, including my Horribly True Tales from the Drunken Trucker series of humorous nonfiction tales.

cropped-consternation-ebook-cover-4-27-15-tn.pngFor fiction, however, you should turn no further than A Consternation of Monsters, my new collection of short stories (some of them award-winning).

consternation, as you should remember from grade school, is the collective noun for monsters.  I thought it a fitting title for a collection of short stories that each contain monsters of various sorts and shades.

In these tales, a creature of make-believe proves difficult to disbelieve, a trickster-god takes an unkindly interest in witnesses, eldritch horrors can be summoned with a quilt, frustrated wolves face dangerous prey, the angel of death wears a plaid sport coat, wise old women are to be feared and heeded, Elvis remains king, the corpses of legends can be perilous to have around, and where one of the most powerful objects in the world is a fork.

A Consternation of Monsters is available for purchase on Amazon.com in both print and ebook formats.  It will also be used as the basis for an upcoming podcast found on this very page.

You can read a sample from it from both Amazon and Kindle.  In fact, if you download the Kindle sample, you get the entire first story, “The Hocco Makes the Echo.”

And check out the foreword to the book, written by radio host Rik Winston, of UFO All Night fame.

Of Moths and Men… (Part 3)

So what, you haven’t asked, is the deal with the ellipses in the title “…to a Flame”?

Well, of course, it’s a reference to the phrase “Like moths to a Flame” which you no doubt knew from the start.  Beyond that, the ellipses denote the play’s inclusion in a series of plays that I think of as the Ellipses Cycle due to their titles all possessing them.  Three of these have already been produced, “…to a Flame,” “…and Tigers and Bears,” and “A Game of Twenty…”

Each of these plays has three things in common beyond the ellipses… they each cover strange and unusual material (monsters, legends, the paranormal), and they each have ties to West Virginia.

“..to a Flame” you already know about.  “…and Tigers and Bears” I wrote about last time, as it’s the African Lion loose in West Virginia play, with absurd overtones.  “A Game of Twenty…” was produced in 2013 and features a man who finds himself in the waiting room of the afterlife who, because it’s going to be a particularly long wait, is given the chance to ask twenty questions to receive answers to things he’s always wanted to know.  Most of the answers he finds disappointing.  I plan to adapt “A Game of Twenty…” into a short story at some point in the near future.  It’s a play I like and which works very well in the performances I’ve seen of it.  Might just appear in a future collection.

The three plays, however, also have in common references to national radio host Rik Winston, who generously penned the introduction to A Consternation of Monsters.  Who is Rik Winston, though?  And why haven’t you heard of him before?  Or have you?

Well…

Fun fact:  my on-air name, back when I was a radio disc jockey, in both Tupelo and Charlotte, was Erik Winston.  I chose that name because the first commercial station I worked at, Sunny 93.3 in Tupelo, used to have a policy that their DJs had to have the name of a county as part of their name.  They didn’t have that policy when I worked there, but the notion was suggested when I was on the hunt for something to call myself–other than my college on-air-name of Juice (which didn’t really work for soft hits radio).  I chose Erik Winston because there was a Winston County in Mississippi and, more to the point, because my cat’s name was Winston.  Later, when I moved to Charlotte, the Winston name had more resonance with North Carolina and auto racing, so I kept it there too.  For the fictional version of Rik Winston, though, I just removed the E from Erik, forming Rik in tribute to comedian Rik Mayall (who, sadly, recently became the late Rik Mayall last year).  So there you have it.  The now not-so-secret origin of Rik Winston.  (And while we’re on the topic of Rik Winston’s reality, the story he tells about going to Durbin in the foreword to A Consternation of Monsters is also largely true, right down to the guy who saw a headless horseman.  It all happened during a certain trip to Durbin, W.Va., to film my episode of Creepy Canada.)

There are as yet many more legends in West Virginia that I could cover in future Ellipses Cycle plays.  I imagine the Flatwoods Monster, more UFOs, Bigfoot, and maybe even Gray Barker will have to turn up some time.  Good ol’ Rik Winston himself might show up, too.

The other question you haven’t asked is what I really think about the Mothman legend?  My answer is complicated, though not as much as the legend itself.  I really REALLY want to believe in the Mothman.  I really want to believe there are strange things beyond our kin that occasionally pop up and make life a little more interesting and maybe a little more scary.  And I see plenty of evidence toward that point in the world, though I cannot bring myself to commit to believing in a great deal of it.  I want there to be creatures in Loch Ness.  I want to believe in mysterious hairy primates roaming the wilderness.  I want to believe in ghosts, and UFOs, and thunderbirds, and African dinosaurs, and even the men in black.  But, as with most thing in life, the evidence for these things, beyond eyewitness testimony, tends to be thin on the ground–perhaps by design.

Do I really believe there was a flying, glowing-eyed creature that terrorized Point Pleasant in 1967?  Welllllllll, I wasn’t there and I didn’t see it, so it’s hard to rule it out entirely.  I do think it’s just as likely that a very large owl could have accomplished most of what is claimed to have been witnessed.  However, there’s just enough of the case that is said to have been accomplished by the Mothman that a very large owl probably couldn’t.  Nor does it explain the men in black, nor Indrid Cold, nor the UFO sightings, nor any of a number of other parts of the case.  The question then arises, how accurate were all those other elements of the case?  We’ll probably never know for sure.

I guess I’m sitting firmly on the fence for the matter.  The mothman side of the fence looks good to me.  But then again… there are monsters over there.

Reviews!

The reviews are coming in on A Consternation of Monsters.  Amazon has a couple of nice ones, one of which is by author Elizabeth Love, who runs the site WriterBee’s Book Reviews.  Check out her review there.  An excellent and positive gander at the book.

My favorite quote from it so far is about Limited Edition: 

Limited Edition plays upon the franchise of the Antiques Roadshow, bringing to light that out there, among the wealth of rare human collectibles (and the myriad piles of junk we collect), are hidden objects far older and more intrinsically important to human existence and progress than our shallow brains can fathom.”

Of Moths and Men… (Part 2)

In addition to being a writer, I’m also an actor.  Primarily a stage actor, though I have appeared on basic cable in both Canada and the United states.  (It’s not that exciting, unless you consider footage from the same show being aired on different shows in both countries exciting.  You can see me in the included video, filmed for an episode of Creepy Canada in 2005, but shown more recently on Destination America under another title.  I’m the conductor.)  Most of the acting I’ve done in the past 15 years, though, has been on the stage at the Greenbrier Valley Theatre in Lewisburg.  My first show there was in 2003, when I was cast in Ain’t Nothing Quick N Easy, by playwright David White.  White was directly involved in adapting his script for GVT’s production, and he was able to attend the show during its run.  Being involved in the production and seeing the fun he was having in watching his work realized inspired me to return to writing for the stage myself.

I’d written a couple of short plays in high school and college, but mostly cut my playwright teeth during several summers with a theatre camp in which the campers have to write a three act musical comedy in a week.  It’s a trial by fire experience for a writer, as well as for the script coordinator who has to ride herd over the process–which I’ve done all but one year since 2008.

When thinking of possible ideas to develop, I realized that I already had one in hand with “…to a Flame.”  As you can tell from the podcast version of it alone, the story is told primarily through dialogue between two characters, it has a single setting, and even the more pyrotechnic-infused parts of it happen entirely off screen.  It seemed to me like this would be fairly simple to adapt for the stage.

Of course, I was wrong in so many ways.

Sure, it was easy enough to adapt the dialogue of the story into play form, finding ways to incorporate some of the information from the prose sections into new dialogue.  However, even with the limited setting, my desire to keep as many aspects of the original story intact as possible nearly kept the play from being produced at all.  This is a tale of writer hubris, with a proper comeuppance at the end.  So just know any poor decisions on my part you will read hence shall be rewarded with hard lessons learned.

An example of my hubris: Virgil Hawks arrives at Jeff’s house in the evening, so I wanted cricket sound effects playing.  And since, in the story, he shows Jeff a dead mothman in the back of his pickup truck, my instructions in the script, in capital letters, bolded, was that the set was to include an actual pickup truck bed.  (Yessir.)  Theatres choosing to produce this did not have to have a full actual pickup truck, which I at least realized was ridiculous, but I felt that the truck bed was somehow key.  I just wasn’t going to be happy unless I could see and hear the tailgate being dropped and the tarp-covered body revealed.  (The balls on that guy!)  Almost as bad, since in the story Virgil’s pickup is parked in the driveway near Jeff’s front porch, and because the porch was supposed to contain both a swing set and a rusted out deep freeze, not to mention an old timey radio that was capable of being illuminated from within, I said in the script that a porch was also a necessary set piece.  This, to me, meant boards on the floor, a front door, window, support posts and a roof, though I didn’t go so far as to specify all that in the script, thankfully.  I did mention that a rocking chair could be substituted for an actual bench swing, but that was about as accommodating as I was prepared to be.

Yep.  All those requirements for a 12 minute play about a dead mothman.  And the real tragedy is that I didn’t see anything wrong with any of it!!  Theatres, I reasoned, should be able to build sets and secure necessary props.  And, after all, I was THE PLAAAAAYWRIGHT!!! (Sung in a Jon Lovitz Master Thespian voice!)  I had been taught in my college playwriting class that in the theatre the playwright is a god and his words are not to be deviated from.  (Mind you, this was taught to me by the then head of the theatre department, Jeffrey Elwell, who was a decent playwright himself.  However, it’s like the old Emo Phillips joke, which I’m paraphrasing, “The human brain is the most fascinating part of the human body–well, duh, look what’s telling me that!”)  I have since witnessed multiple theatres in multiple states make major alterations to the work of multiple playwrights–sometimes Pulitzer Prize-winning playwrights.  Shockingly, playwrights are not gods.  But at the time, I bought it and reasoned that if a theatre wanted to produce my play, they should first consider the requirements within before agreeing to produce it. *HAUGHTY SNIFF*  

While my script had its definite flaws, it also had its fans.  I got some help from a local playwright named David Gibson.  I had acted in one of his plays, Y-Mains, in 2005 (not long before heading up to Durbin, WV, to film Creepy Canada) and he gave me some good pointers.  (Sure, he didn’t mention that requiring a damn truck bed in it was both a bad idea and wildly presumptuous, but he gave me good advice otherwise.)  He even arranged for a staged reading of the play.

After a few more drafts, I had a play that I liked, but I still didn’t really do anything with it–like, saaaaay, submitting it to any theatres.  Not for three years.

In 2008, my wife and I moved to Princeton, WV.  It was a seemingly good move for us professionally (though we learned some valuable lessons about what not to do and who not to believe in the long run), but it meant that I could no longer act at GVT, particularly in the annual festival of short plays they produced each February.  I’d had some of my favorite stage experiences there, playing such roles as Trotsky, in Variations on the Death of Trotsky, and composer Phillip Glass in Phillip Glass Buys a Loaf of Bread, both by my idol David Ives.  The Ives plays were particularly inspirational and motivated me to try and write more, but it was slow coming.

I began a draft on a thematic sequel to “…to a Flame” called “…and Tigers and Bears,” a light comedy about an African lion terrorizing a family.  This was inspired by some sightings of an actual African lion over on Bald Knob, elsewhere in Greenbrier County.  However, I didn’t pick that play back up until after we moved to Princeton, when the receptionist at my wife’s clinic came to work one morning and said, “You will not believe what I saw eating a cow in a pasture this morning on my way to work!”  Yep, African lion.  Big mane, giant claws, puff ball on the end of its tail, lion.  I was the only one who believed her with no problems.  That got me working again on the play, in which a lion not only traps a family in their house, but also cuts the phone lines and the power and picks the lock of the front door.  Both sets of sightings were incorporated.

Our move to Mercer County coincided with GVT shifting gears on their annual short play festival.  Instead of producing established, published plays, they put out the call in late 2008 for area and WV-based playwrights to submit short plays for a new festival.  The plays, they stressed, should be limited in setting and characters and be under 15 minutes.  This, I thought, was my way back in.  If I couldn’t act in the plays, I could submit one to be produced.  I didn’t have a solid draft on my lion play yet, so I submitted a new draft of “…to a Flame.”   It was accepted.

Now, I have no doubt that my history with the theatre probably played a role in the play’s acceptance, but other than the unreasonable set requests it is a funny play.  Any other theatre looking at the set requirements, though, would have laughed at me and then sent me a rejection letter with a page and a half of “Bwah ahha ha aha ha!” printed out as well.  But accept it they did, God love `em.

Soon I began receiving emails from the director, Curtis Donnelly.  The play was perfectly cast with two actors I’d shared several stages with: Jim Norris was cast as Jeff and Dr. Larry Davis as Virgil.  Jim and I actually auditioned together for our very first play at GVT, and both got the parts we auditioned for in Ain’t Nothin’ Quick N easy, and is one of my favorite people in the world.  Dr. Davis is another favorite person–a very talented comedic actor and one of the more generous and helpful souls you’d ever care to meet.  I knew they would bring a lot to the roles.

Meanwhile, I think Curtis also began gently hinting to me that perhaps there were some less important set pieces in the script that might be trimmed.  He mentioned that they were having difficulty finding both a truck bed as well as the rusted out deep freeze.  Part of me knew the truck bed was going to be problematic, but I was shocked they didn’t already have a deep freeze in their prop department.  (I don’t know why, because it’s not like there are a lot of musicals that involve a rusted out deep freeze, but I just assumed there would be one.)  I tried to help by making phone calls to people I knew in the area who I thought might know of where to get either of these items, but I too came up nil.  Days away from the debut of my first solo play, I got word from Curtis that they had, glory be, found a truck bed!  He seemed pretty excited.  They were still having problems with the chest freezer–even a small one–so he wondered if I minded if they just fabricated one in the scene shop?  I said, “Cool beans.”

Now, the fact that Curtis was keeping me in the decision-making process was down to him being a cool guy and probably a hope that I would see the light of day and write around the problem rather than keep them jumping through hoops.  I did have a script change to request of my own, though: I asked if I could rewrite the final line of the script, as spoken through a radio broadcast by the character Rik Winston, to include a note about African lions roaming West Virginia.  Furthermore, I asked if I could play that part, recording and producing the broadcast section to send to them to use as a recorded sound cue at the end of the play.  (In reality, I wanted an excuse to buy a $170 studio mic and a mic-to-usb pre-amp to start my podcasting career, but it was nice that this was the first project for it.)  Graciously, Curtis agreed.  And you can hear that very audio clip at the end of the podcast version of “…to a Flame,” featuring lines that are not in the original short story found in A Consternation of Monsters.

In February of 2009, we went to see the show.  And it was a big deal to me–my first solo-effort play produced.  My parents had flown in, as had my sister, and my inlaws had driven up from North Carolina.

...to a flame

Jim Norris & Larry Davis as Jeff & Virgil, seated beside the fake freezer

DSCN5542

Jim Norris, the playwright, Larry Davis, & the mothman (beneath tarp). Note the truck bed.

As the lights came up, and the cricket sound effects began, I could see that the set differed a bit from the script in that there was not a full front porch.  (The playwright is god!  The playwright is god!)  But the basic pieces of that set that were used (a glider seat instead of a swing, the suspiciously box-like deep freeze, the radio) were all present and the porch was perfectly understood to be just that and didn’t need porch posts or a roof.  It was an economy of set!  Why hadn’t that occurred to me?

The play began and I heard my words being spoken first by Jim Norris.  It was odd hearing my words with different inflections than those in my head.  But nothing felt wrong.  If anything the differences made the dialogue better.  He was soon joined by Larry Davis, and a huge honking pickup truck bed that took up half the stage.  Its tailgate fell with a clank and in the back was something mothman-shaped covered by a tarp.  It was wonderful.  Jim and Larry were brilliant and their delivery and timing perfect.  The jokes were all landing with the audience, too, particularly those that involved cussin’.

“I think it was taking a shit,” Larry said.

“You shot it when it was taking a shit?” Jim replied.

The audience howled.

And after 15 minutes, it was over.  It remains one of the best theatre experiences of my life and is, to date, my all time favorite production of one of my plays.  (Courtney Sussman’s direction of “A Game of Twenty…” being #2.)  I even returned to Lewisburg for a second viewing a week later.

A few months later, I submitted the play to a play festival put on by the Independent Theatre Collective in Wheeling.  It was accepted.  (In fact, my play was in the same festival with one of the plays of Jeffrey Elwell, my playwriting teacher from college at Mississippi State.  He had relocated for a while to Marshall University where he’d been an instructor for ITC’s head honcho Jeremy Richter.  Small world, eh?)  I drove up for the show and was presented with an experience that was quite different than the GVT production.  And, keep in mind, this was a VERY good thing.

Jeremy Richter both directed and starred in their production of “…to a Flame.”  He played Virgil and was fantastic in the role.  Where the major differences happened were in the set, which was even more bare bones than at GVT.  The deep freeze, for instance, was instead a large Coleman cooler.  The porch swing was a chair.  The crickets were asleep.  And the truck bed was unseen, assumed to be entirely off stage.  When it came time for the reveal of the mothman beneath the tarp, Jeremy, as Virgil, simply drug the body in the tarp onto the stage–no truck bed necessary!  And instead of a recorded Rik Winston at the end, they just had a third actor read it from off stage.  It was definitely a low-budget production, but it was brilliant all the same.  More importantly, the ITC production provided me with some of the most valuable lessons I’ve received in the craft of playwriting, not to mention performing.

The job of a playwright, I came to realize, is not to dream up the uber ideal version of their story, with all the bells and whistles, shooting for the stars.  The playwright should instead try and tell his or her story as honestly and completely as possible, but also to realize that not every theatre has the budget,  technical capabilities, or (evidently) patience of a place lke the Greenbrier Valley Theatre.  Not every theatre is going to go out of their way to making your fully-realized vision a reality when realizing that full vision is not necessary to the telling of your story in the first place. Your story should be able to stand on its own feet without relying on set dressing to sell it.  Eliminating the unnecessary (and unreasonable) elements and making your play as easy-to-produce as possible should be a major part of the process of writing a play.  At least for 10 minute plays like the ones I write.  Once you’re Thornton Wilder you can start doing things like demanding dinosaurs and wooly mammoths as characters in your play.  Until then, you’re just Joe Schmoe wannabe playwright and you’re going to have to work to get your plays produced.  Therefore you should never add anything extra that might give a theatre an excuse to pass on your work.

A truck bed was not required to tell my story.  A porch was not required.  Even the freezer, a major part of the plot, could be merely referred to and was not necessary to show.  Sound effects, also not necessary.  The entire play could, if done correctly, be accomplished with no set or props at all, including the dead mothman. Every bit of the set and props could be implied by the performance of the actors and the whole thing could be just a two man show.  Hell, I do it as a one man reading, doing both voices, and it works just fine without the music or sound effects I added for the podcast.

Tthis has become my philosophy in writing for the stage: to try and make my work as easy to produce as possible.  This can also be read as: I try whenever possible to make my plays impossible to screw up.  I haven’t always succeeded and I haven’t always been completely happy with the productions of my work, but I count far more hits than misses.  And to me when the writing and the directing and the acting work in combination, and everyone has a bit of their vision in play, the work can become greater than any one of its parts.  And anything that’s going to elevate my work and make me look better as a result is fine by me.

One more part to come… a short one.

Of Moths and Men… (Part 1)

artist’s rendition of The Mothman

Since the first episode of the Consternation of Monsters Podcast adapts my story “…to a Flame” I thought it would be good to kick off the blog entries about the stories in the collection with that one.

The original short story version of “…to a Flame” began life in the early mid-oughts as a story prompt given to me during an eight-week  writing workshop taught by writer Belinda Anderson.  Her prompt was simple: your character finds a dead body.  Now, the story did not fall into my head at that moment, as other stories have on occasion.  In fact, the basic kernel of it didn’t pop until I was on my way home from class.  It was about 9:15 at night, foggy, dark, and I was driving up Highway 63, a stretch of road which winds its way along the side of a series of hills that rim a bowl valley.  There was a curve in the road not far from our neighborhood.  As I began to round it, I imagined a circumstance in which I reached the other side of the curve and found not just a dead body in the road, but the dead body of a mothman.

Now, for those of you who’ve not yet read the story or have not yet listened to the podcast: A) shame on you; and B) you may or may not be familiar with the legendary Mothman of West Virginia.  I, on the other wing, have been from an early age.

Let me back up.

As a kid, I was a huge cryptozoology nerd.   It started the day my dad showed me pictures in a magazine which were of underwater images from Loch Ness reputed to be of the monster that lived there.  He seemed pretty convinced that not only were the photos the genuine article, but that the Loch Ness monster was, in actuality, a plesiosaur–an aquatic dinosaur that supposedly died out 205 million years ago.  I didn’t know the 205 million years part then, but the idea that a dinosaur might still exist in the world was delicious.  From that moment on, I devoured every book I could find about our world’s mysterious monsters.  (Which, now that I think about it, is a fact that would have been appropriate to have mentioned in my dad’s part of the dedication at the front of my book, but I digress…)  From Loch Ness, to the Yeti, to Bigfoot (one of which had been famously sighted as close as Arkansas, which put it in my neck of the country), to giant squid to… the Mothman.

I didn’t think that much of the Mothman at the time.  Sure, a flying, winged man (which is what the image in the book on American monsters in my 5th grade library depicted him as) is definitely intriguing, but the whole mothman tale itself was a slippery customer for a 5th grader to catch.

The broad strokes of the story is that a winged and frequently flying creature was reported to have been sighted in the area of Point Pleasant, W.Va., from late 1966 to December of 1967. During this time there were also a lot of UFO sightings as well as appearances by men dressed in black suits who supposedly turned up–driving black cars, naturally–to behave oddly, threaten witnesses, and generally muddy the waters.  (The whole concept of the Men in Black, while not originating with this case, was certainly shored up in paranormal cultural awareness by their reported appearances during that year.)  The year of sightings culminated in the December collapse of the Silver Bridge, spanning the Ohio river, killing 46 people.  Some people tied the Mothman’s appearance in the area as a harbinger of this disaster.  After that, there were reportedly no more sightings of the creature.

I wasn’t a big fan of the mothman story as a kid.  There were just to many moving parts to it for me at that age.  I liked the idea of the Men in Black, though, but the creature and the harbinging of doom was more difficult for me to grasp than the idea of a missing link hominid wandering the forests of the Pacific northwest.  The mothman, therefore, was not even in my top five favorite monsters and I didn’t even bother to read the textbook on the case, The Mothman Prophecies, by John Keel.  But the ideas of the Mothman incidents stuck with me.

statue of the Mothman as it appears in Point Pleasant, WV, today.

Cut to 2001.  My wife and I were about to move to West Virginia and before we could even leave our former home of North Carolina I was looking up how close to Point Pleasant our new home would be.  This wasn’t so much because I remembered that the case took place in West Virginia, but more because I had heard there was a Richard Gere-starring adaptation of The Mothman Prophecies that was soon to be released and that brought the whole West Virginia connection back to front of mind.  If I was going to share a state with a monster, I wanted to know where he hung out.  Not real close at all, it turned out, as Point Pleasant was 160 miles away from where we were moving–a nice buffer.  What surprised me when I started looking into the case again, though, was that Point Pleasant took the legends very seriously–at least to the extend that they were trying to capitalize on tourist trade from it and had recently erected a Mothman statue.

I began to look into the Mothman in earnest, reading about it in some UFO books by the late WV-based UFO researcher Gray Barker, and finally reading the Mothman Prophecies by the then not-so-late John Keel.  I even interlibrary loaning some documentaries that had been made about it.  What was already a strange story became stranger still.

During the course of his investigation, Keel became convinced that what had happened in Point Pleasant went beyond mere alien visitation or a lurking cryptid.  In addition to men in black, Keel reported about some encounters with a person called Indrid Cold that had reportedly spoken with a local man after having climbed out of a lantern-shaped UFO.  Keel himself claimed to have encountered Cold as well as having spoken to him on the phone on a number of occasions, and claimed that Cold proved to be quite prophetic himself.

The Mothman is a rabbit hole with lots of twists and turns and side tunnels.  I won’t go into it further here, but if you have any interest in the topic I would highly recommend you first read The Mothman Prophecies and follow that up with a viewing of the documentary on Gray Barker called Shades of Gray.  (If the movie you watch turns out to have lots of bondage sex in it, you’ve probably got the wrong one…  or, come to think of it, maybe not.)  Between these two works, you can probably get an explanation for some of what went on in 1967, not all of which was otherworldly.

The ambiguity of the case, though, made for a good story.  It has the same sort of feel as shows like Twin Peaks and Lost.  Those shows were popular partly because they were like a big jigsaw puzzle, with pieces that seemed to fit together, but with other pieces left out of the box, and when you assembled the pieces you did have they didn’t quite form a satisfying cohesive picture.  Still, it was a fun story to research.

By the time I was on my way home from writing class, potential dead body discoveries nibbling at my mind, I realized I had my story when I imagined the dead body found to be that of a Mothman.  While that scenario does not appear in the story in that precise form, the idea behind it does.

Artist's depiction of the Flatwoods Monster

Artist’s depiction of the Flatwoods Monster

Within short days I had a draft of “…to a Flame.”  I think the title came first, which I thought was clever and layered.  The characters of Jeff, Virgil Hawks, and the inclusion of UFO All Night radio host Rik Winston followed closely thereafter.  What I was trying to do was drop these characters into a heightened version of West Virginia, in which Mothmen aren’t so uncommon a sight that one might not be too surprised to find one crapping behind the tool shed.  (The Flatwoods Monster–or, probably more accurately–the Braxton County Monster also mentioned in the story falls into that category, too.  “Flatwoods Monsters always were the damndest looking things.”)

While I didn’t design him to be, Virgil is quite a lot like me, though I imagine him to look kind of like Dale from King of the Hill.  He’s a guy who is fascinated by tales of the strange and Fortean, who probably grew up reading about monsters, like I did, and listening to Art Bell late at night.  Rik Winston was, of course, inspired by Art Bell.  And the story Virgil tells about the “doctor guy” who calls in to Rik’s show was inspired by a real series of calls to Art Bell’s Coast to Coast AM from the 1990s. The real story turned out to be a complete hoax, of course, which the “doctor” guy eventually admitted on Art’s show.  However, this hasn’t stopped him from trying to make money off of it to this day.  (UFOWatchdog has more about the real story and the “doctor’s” actual identity HERE.)

After workshoppiHng the story with my class, and penning a few more drafts, I submitted “…to a Flame” to the 2005 West Virginia Writers Annual Writing Contest.  It took third place in the Appalachian Writing category, which was the first time I’d ever won anything in that contest.  I’ve won a handful since then, often in the Appalachian Writing category, which, being a boy from Mississippi, I find a little amusing.

The story was ultimately published in the anthology Mountain Voices: Illuminating the Character of West Virginia, a publication for which I’m indebted to its editor Chris Kuell.  However, this was not to be the only form the story would take.  It would be a few years off, but my Mothman saga would eventually find another life on the stage.

(TO BE CONTINUED…)

Album Cover

Welcome to the blog for A Consternation of Monsters.  This will be a good place to find information about my short story collection of that title, as well as tidbits about the stories within it.  I thought, however, I’d start off by talking about the cover for that collection, since it’s what most people will see on first glance.

The cover I created for A Consternation of Monsters has a bit of history to it, as do many of the stories within it.cropped-consternation-ebook-cover-4-27-15-tn.png

The imagery used comes from photographs I took of two locations which are a great distance apart from one another.

The top image was taken of a forest in Alaska, photographed somewhere along Highway 2, back in 2007.  (I know, that really narrows it down, cause Highway 2 only covers hundreds and hundreds of miles.)  The trees within it I believe are birch trees, of a variety not found in Mississippi or West Virginia.  However, because one of my stories is set in Alaska, I didn’t feel too bad about it.

The forest in question was remote from civilization and had kind of a Tales from the Darkside feel to it that suggested things might lurk within it beyond the usual populace of bears and moose.  Original woods photo

I did some filtering effects, as well as the insertion of eyes and dark shapes to imply the presence of monsters.  The largest of these, the red glowing-eyed thing on the left of the top image (and again on the back cover) is meant to be either the Mothman of West Virginia legend, or the Hocco of the opening story.  But it could just as easily be a monster of the reader’s imagination. Originally, I was going to call the collection Ten Monsters Walking, so I included ten sets of eyes, though some are harder to find than others.   The title changed happened later and it was fortunate because some of the eyes are cropped out by the printing process anyway, so my ten monsters would have been confusing and difficult to find.

Fright Terror

Photo courtesy Alison Fritzius

The bottom image was taken at my papaw’s farm, in Wayne County, Mississippi.  This very setting is used twice in the course of the book–in “The Hocco Makes the Echo” and in “Puppet Legacy”–but it appears more often in the course of a series of stories I’ve been writing called the Southern Parallels.  These feature my literary alter ego, Aaron Hughes (though the last name often changes from story to story).  I use him to tell creative nonfiction (as well as outright fiction) versions of memories from my childhood on into adulthood.  I’ll write more about that series in the course of blogging about the stories in this collection.  The picture, though, is of a brick in one of my Papaw’s home-built outbuildings on his farm.  He made the cement blocks himself and his daughters (my mother and aunt) helped decorate them with handprints, leaf-imprints, and drawings of faces.

The storIMG_20140725_083259_025y goes that they found a series of drawings representing emotional states in a book.  I presume this was an art book, but I’m afraid that exact information may now be lost to time.  So they copied these drawings into the cemenIMG_20140725_083108_518t blocks as they dried.  Once solid, those blocks were used to construct a smoke house, a carport/tractor garage/wood shed, and a chicken coop.  While there are probably close to a hundred and fifty blocks total, only probably aIMG_20140725_083529_869 tenth of them have decorations.  “Fright Terror” is certainly my favorite and is one of the more prominently displayed ones, being located on the wood shed side of the carport/tractor garage/woodshed building.bkg

If you have Kindle on your phone, computer, tablet, or actual Kindle reader device, you can download a sample of the book, which contains the entire first story “The Hocco Makes the Echo,” which references the blocks.

While the reference to them in the story mentions that all of the faces and expressions were of negative emotions, this is not entirely true in real life.  There is a whole row of these faces inside the woodshed building, only one of which is negative.  Most are smiling faces, illustrated sometimes with pebbles.  My sister and I cataloged these during return visits to the farm over the past decade or so.  These visits, unfortunately, happen rarely due to the fact that most of our relatives in the area have passed away.

I thought it fitting to include “Fright Terror” as the primary cover image due to its close ties to the first story in the collection, which, in many respects, is the first story I ever made up, way back when I was a wee lad of four.  That’s a story I’ll tell when we get to the blog entry on “The Hocco Makes the Echo.

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Synchronicitous Events #3

I have heard the term “objet d’art” twice today.
Once in the movie Dead Again, which is a movie largely revolving around reincarnation.
Next, I heard it in the first episode of the Rainn Wilson dramedy, Backstrom, in a scene with a Hindu doctor in which the topic of reincarnation is also raised.
It’s been probably years since I heard the term at all, though I’m sure I’ve read it in that time.
That is all.

Synchronicitous Events #2

Today while at play rehearsal, the topic of actress Margot Kidder came up.   Our director, I learned, is friends with someone who is currently working with her on a film project.  Naturally, with the topic of Margot Kidder broached, we began discussing some of her history, such as her appearance in the Superman films of the `80s and her enjoyable appearances on the early `90s sitcom Boston Commons.  And, of course, the time she had an imbalance in her medication and wound up in someone’s Los Angeles back yard during a manic episode.  We all noted that we liked her.

Hours later, as I was walking into my house listening to episode 1515 of the podcast Never Not Funny on my phone, who should come up in their conversation but Margot Kidder, in reference to celebrities going a bit batty.

Oooo weeeee oooooooh.

 

UPDATE: 11/15/14

Was listening to the Film Vault podcast’s October 31 episode today and Margot Kidder came up there, too, in reference to the movie Maverick, in which she appears.  I’ve not thought of Margot Kidder in years and three references to her hit me in the space of three days, each from unrelated sources originating weeks apart.

 

Actual Conversations Heard at My House #4

SETTING:  My house, at around 4:15 a.m. after I’ve spent the past twenty minutes being repeatedly awakened by our cat D.J. who is loudly meowing to be let out, or be fed, or because it’s too pleasant and dry inside our warm, non-rain-soaked home.   He only pauses in his meowing to wait exactly the amount of time it takes for me to return to slumber before giving it another round.  Add to this Maya, our St. Bernard, who has awakened me twice already to go to the bathroom and has now chosen the cat’s latest squall volley to whine and loudly shake her ears to alert me a third potty requirement.

ME:  (RISING FROM BED, QUIETLY FURIOUS)  That is it.  I’m murdering everyone.

MY WIFE: (STILL HALF-ASLEEP)  Don’t murder me.  I’m on your side.

ME:  That’s right.  You are.  Okay.  I won’t murder you.

She now has no memory of saying this.

Synchronicitous Events

All right, dammit, I’m pulling the trigger on a new blog feature.

For years now I have been experiencing episodes of synchronicity (or at least high coincidence) on a near daily basis.  Often these revolve around the podcasts I listen to, and how certain topics will crop up on completely different shows, recorded by completely different people, weeks apart, often geographically distant from one another, yet get listened to by me within an hour of one another on the same day.  I’ve been meaning to start writing these down, because some of them have been pretty astounding to me.  I make no claim to knowing or even speculating what any of it means, though the déjà vu side effect of something changing in the Matrix does make a satisfying form of sense to me.  Instead, I will now set about to chronicle them when they happen so as to see if there is an overall larger pattern even if that pattern would suggest that I am nuts.  Or not.

Today’s Synchronicitous Event was entirely print-based…

Some background:  While working on finding some appropriate material to read for the fastly impending creative writing class I will be teaching at a local federal prison, I was perusing Hitchhiker’s Guide to the Galaxy author Douglas Adams’ posthumously released collection of writing The Salmon of Doubt.  In it, there is a brief essay describing a time in 1976 when Adams was waiting for a train and purchased a newspaper, a cup of coffee and a packet of cookies and sat down to enjoy them and do the crossword.  His items were laid out on the table before him.  Before he could open his cookies, though, a stranger across the table from him picked them up, opened them, ate one and replaced the packet on the table.  Adams didn’t know how to respond to this, so he picked up the cookies, took one of his own, ate it and returned the packet to the table.  He said they went back and forth like this through the entire pack of 8 cookies, each taking one after the other.  Only after the cookies were gone and the man had departed did Adams pick up his newspaper only to discover his original pack of cookies had been beneath it the whole time.  It’s a fantastic story, but it gets even better, for Adams used that very story as an anecdote in his 4th book in the Hitchhiker’s series, So Long, and Thanks for All the Fish.  In the book, his primary character Arthur Dent tells the story to his new girlfriend, Fenchurch.  My goal, having located the nonfiction version in the Salmon of Doubt, was to then go and locate it in So Long… in order to see the differences between the two in case that might be of any use to my students.  Before I could find one of my three copies of that book, though, I had to go take care of some bathroom business.

Whilst business was being taken care of, I perused my copy of Doctor Who Magazine, issue #475, in which there is an in-depth examination of the classic Tom Baker serial The Talons of Weng Chiang in their monthly The Fact of Fiction section.  The section goes back and forth between describing events in the story and providing DVD-style commentary and explanation of those events.  In the section about Part Two of the story, the article mentions that the Doctor, speaking to Professor Litefoot, makes a joke that his companion, Leela, is a savage who was found floating in a hatbox as an infant.  “A hatbox?” Litefoot responds.  The article’s commentary points out that this bit of dialog parallels a scene in Oscar Wilde’s play The Importance of Being Earnest in which “Ernest” explains to his potential mother-in-law how he had been found, as an infant, in a hand-bag in the cloakroom at Victoria Station.  “A hand-bag?” she then exclaims in response.

Cut to ten minutes later.  I have returned to my office, found my copy of So Long, and Thanks for All the Fish, am looking for the story of the cookies, as told by Arthur, but in my searching I come upon another Arthur/Fenchurch scene on page 56.  (Douglas Adams typeset the Hitchhiker’s books himself and most editions will have this occur on page 56.)  In it, Fenchurch is starting to tel Arthur about her past and Arthur says he has a question for her.  She senses what that question will be in advance and offers to say it with him.

“Was I found…” she began.

“… in a handbag,” joined in Arthur.

“…in the Left Luggage office,” they said together.

“…at Fenchurch Street Station,” they finished.

“And the answer,” said Fenchurch, “is no.”

“Fine,” said Arthur.

“I was conceived there.”

“What?”

“I was con–“

“In the Left Luggage office?” hooted Arthur.

 

Clearly the Importance of Being Earnest is what they were both referencing, a fact I never realized was the case during any of the previous times I’d read the book because I had not read the play.  It had occurred to me to wonder why Arthur anticipated the circumstances enough to form the question, but I figured, rightly so it seems, that this was an English joke or reference that I just didn’t get.  That’s all fine and good, but the fact that this synchronous bit of literature fell into my lap minutes after reading the origin of the reference in Doctor Who Magazine is very odd and disconcerting to me, though mostly in a positive way.  I like to call such off-putting and hard to explain encounters as “bad craziness”–not meaning that I think I am crazy in a bad way, but that the situation is crazy and it’s bad that I can’t explain it.  Once I found the section of the book I was actually looking for, there was another allusion to her conception in the train station, which might have caused me to go back and recheck the previous story just to make sure I remembered things right.  Again, bad craziness.

As we lay in bed, about to go to sleep, I told the above story of bad craziness to my wife.  She, while trying not to smirk, said she thought it was a plot against me.  She said, furthermore, that she thought there was likely a conspiracy at play.  This light ridicule is, of course, a typical reaction of people when faced with those who’ve just felt their world’s kilter jarred.  And while I knew she was mostly kidding, it still annoyed the bejeezus out of me.

“I’m making no such claims,” I said.  “It’s just very odd that the reference happened so soon after I’d read its explanation.”

 

————–

Things to do:  Reread So Long, and Thanks for All the Fish.  It’s been many many years since I last did.

Things to do: Read the Importance of Being Earnest.  It’s high time I did. Might get a few more jokes.

 

The Talkin’, Horrible Greedy Jerk Holy Grail, Three aMEGOs, Extra-Accessories, Sit-on-it-Lever, Plastic 401K Blues

There’s a short story by Neil Gaiman called Chivalry. It tells the tale of Mrs. Whitaker, a pensioner in England who visits her local charity shop and finds the Holy Grail beneath a fur coat. She recognizes it for what it is, buys it and takes it home to put it on her mantelpiece. And the very next day she begins a series of negotiations for its release with none other than Sir Galaad.

It’s one of my all-time favorite short stories, not only for its magical realism, but also because most of us can kind of sympathize. When searching among the usual things found at yard-sales, junk shops and flea-markets, most of us dream of discovering items of incredible rarity and value. What usually goes unspoken in this is our hope that the current owner of the rare item in question is unaware of its value. We might not even know the value ourselves, but we all secretly hope the thing we buy for a song will turn out to be priceless, or at least with a price hundreds of times greater than the price on its little round sticker, and that we can later sell it for a fortune on eBay, or perhaps, dare we hope, Pawn Stars. In other words, we’re all horrible greedy jerks out to cheat others out of the fortune that rightfully belongs to them.

I made a few of my own horrible, greedy jerk Holy Grail finds at the local flea market recently. They included three vintage MEGO action figures from the 1970s, complete with all their original accessories as well as some… not-so-original accessories.

Now, for those not in the know, MEGO was a toy company in the 70s and early 80s that produced a number of toy lines of 8″ tall articulated “action dolls.”  These were inspired by the original G.I. Joe toy-line—famous for giving boys in the late 1960s blanket permission to play with dolls—MEGO toys came similarly dressed in cloth outfits, with plastic footwear, weapons and accessories. The most memorable toy lines from MEGO were of DC and Marvel super heroes, a few of which I had as a kid. MEGO also had licenses for Star Trek, Planet of the Apes, and Logan’s Run among other action genres.  The most memorable toy line MEGO turned down the opportunity to produce was Star Wars.  Instead, Kenner Toys made a billion dollars on Star Wars while MEGO expanded into several lines of not-so-action figures based on 1970s TV shows, such as like Happy Days, Laverne & Shirley, the Dukes of Hazard, and The Waltons.   Not surprisingly, MEGO went under by 1983. But before they were gone for good, I had a handful of their toys as a kid and they were among my favorites. They also, in proper condition, with the right accessories, tend to be lucrative to sell.

While I used to dable, I’m not really a toy collector anymore; well, unless you count my extensive number of toy and model TARDISes from Doctor Who. These I continue to buy as ongoing restitution to my inner 4th Grader for having no access to Doctor Who toys as a kid. My wife, on the other hand, views them as evidence of a mental disorder, but I digress.

IMG_20140519_115304_192The flea market booth was run by a lady I’d put in her late 50s who didn’t look like the typical vintage toy retailer. And while she did not have any Doctor Who MEGOS—which did exist, by the way, but only in England—she did have two card tables filled with a wide variety of toys primarily from MEGO’s western line, such as Buffalo Bill, Davy Crocket, Wyatt Earp, etc. There were also toys of the Lone Ranger and Tonto, which were made by a competing MEGO knock-off company called Gabriel. All of the dolls were loose, which is collector-speak for toys out of their original packaging, which automatically makes them less valuable to collectors. However, each of the dolls seemed to be dressed in its original cloth outfit and came sealed in a zip-lock baggie to help contain their various accessories. Finding MEGOs with accessories in the wild is a pretty rare thing. Actually… examining them a bit closer, a few seemed to have some accessories included that were not original to the toys, or sometimes even the time period of the setting the characters were from. There were small automatic weapons included with some of the western characters. And a Ninja Turtle sword, I was pretty sure, too. The Lone Ranger,  for instance, a MEGO figure I owned as a child, came packaged with his blue outfit, removable mask, hat, red sash, gun belt, silver revolver, and a tiny black Glock 9 mm pistol small enough to stash in his boot. Okaaaay. His kemosabe Tonto seemed to have only his original items, with headband, gun-belt, revolver, and moccasins. Each of the figures had a bit of wear on them, with chips in the paint of their hair, or minor stains on their clothes, but nothing too bad. They looked as though they had been played with, but lovingly cared for otherwise. And these amazingly well-cared for toys were priced at only $10 each.

It was cool seeing the Lone Ranger again. My own vanished long ago—no doubt during one of my dad’s culling sessions, instituted after he’d told my sister and I to clean up the toys in the living room for the 18th time and then finally just bagged it all up and hauled it to Good Will while we were at school. Still, I was absolutely not going to buy any of these doys—even as an investment. Then a third toy caught my eye and made me smile: Fonzie from Happy Days.

Some of you may not be old enough to remember the show Happy Days’ or its most memorable character Arthur Fonzerlli, a.k.a. Fonzie, a.k.a. the Fonz. Played by Henry Winkler, Fonzie was the coolest cat 1970s TV had to offer—cooler still than John Travolta’s Vinny Barbarino from Welcome Back Kotter. Fonzie was a greaser and semi-reformed motorcycle gang member who dispensed wisdom to the local high school kids. Fonzie was so cool that when he snapped his fingers girls would instantly flock to his side. He was so cool that juke boxes did his bidding with only a bump from his elbow. You’ve heard of the phrase “jump the shark”? It describes the moment in which a TV show starts to lose its creative footing and begins the downward slide toward cancellation. Well Fonzie originated that term by motorcycle jumping an actual shark in a water tank in the premiere episode of Happy Days 5th season in 1977. You might think that spelled the end for the show, but it actually lasted another six years beyond that! That’s the power of Fonzie’s coolness!

Among my first-grade peers, Fonzie was the MEGO figure to own. However, my dad evidently didn’t think I was cool enough to have a MEGO Fonzie, because all I ever got was MEGO Ralph Malph. (Similarly, I never had the Vinny Barbarino toy that Mattel made. I only rated Arnold Horshack. Thanks a LOT DAD!!!!) The MEGO Fonzie toy was the coolest. It was also one of the only MEGO figures with articulated hands, with fingers that could be folded back and a thumb that could be extended to make his trademark thumbs up “Ayyyyy!” stance. MEGO even made a version of the toy with a lever on his back that would fire one of his thumbs into “sit-on-it” position in under a quarter of a second.

The MEGO Fonzie at the flea-market was in remarkable shape for a 37-year-old toy. (You have no idea how painful that is to type.)  His articulated fingers were present and accounted for on his little plastic hands. He had both of his boots. He had his white t-shirt and his trademark leather jacket. He even had the “sit-on-it” lever. Now the Fonzie toy didn’t normally have accessories, but strangely this one did. It came packaged with a tiny machine gun.  “Eat lead, shark! Ayyyyyyy!”

I mentioned to the lady who ran the booth that I was pretty sure the machine gun wasn’t original to Fonzie, but I thought it was cool that he had it. She said, “Oh, I don’t know anything about them toys.” She then also admitted that she’d spiced a few of them up with new tiny weapons and accessories, but only because she had two shoeboxes full of plastic munitions without homes. She said the toys themselves had come from the estate of a guy who collected vintage toys and kept them in good shape. He was also possibly her nephew. He had also died tragically of a heart-attack at too young an age. His toys, the lady said, had been destined for the landfill until someone told her about them and his parents gladly gave them to her, scarcely believing anyone would want any of it. She was just hoping to sell them for $10 each.

My mind boggled at this, because $10 was a steal for almost any good-condition, clothed MEGO from the 70s, let alone ones that still had all their accessories. Perhaps sensing my boggle, the lady went on to note that while she herself knew nothing about “them toys,” an enterprising soul might purchase them and resell them on “that, um… that computer thing they got.”

“EBay?” I offered.

“Yeah. That’s the one,” she said with a nod.

I looked down to find myself suddenly holding a hook, a line and a sinker. However, I did not immediately pierce my own cheek with it and willingly leap into her boat. No, instead, I spent the next twenty minutes wandering around the flea market with my nose in my phone, looking up eBay prices and salivating. There was a Fonzie going for just under $80, and he didn’t even have boots. I found a Lone Ranger going in the $50 range, and a Tonto going for a bit less (racists!). Soon enough, I found myself back at the lady’s booth, handing her $30. She bagged up my toys and thanked me for my business. Then I took them home, lifted up the back of their tiny costume shirts and saw on their backs giant red letters reading: “Guess what, asshat, I’m a 2004 reissue!”

Yessir. Way back in ought four, some geniuses called Classic TV Toys bought the MEGO molds, and evidently the Gabriel molds, and began making new Happy Days and Lone Ranger toys for fun and profit. Sadly, today they’re all going for around $10 each on eBay.

It should be noted that the kindly lady at the flea market who probably scammed me never actually said these were original 1970s MEGO figures. In fact, she had repeatedly stressed that she didn’t know anything about them. And while I don’t know for certain that I was grifted, I pretty much did most of the heavy lifting for her. That’s how the really good cons tend to go. If it was a con, it was so skillfully executed that I don’t think I mind having been conned. It was almost an honor to have fallen for it.

Plus, I can’t be too mad. I mean, hey… I finally have MEGO Fonzie. And one with a machine gun.

Copyright © 2014 Eric Fritzius

The Talkin’ Penn Station, Train-Trippin’, “Ow My Coccyx!” Hungry Hungry Escalator Blues

My forthcoming children’s book will be titled: “The Hungry Hungry Escalator.”  It will be based on an incident that occurred to my in-laws and I as we tried to depart New York’s Penn Station recently.  We survived, but have been left bruised and sore, some more than others.

Let me back up.

Last week the wife (Ashley) and I went to New York City by train, on vacation with my in-laws (Ma, Pa, her sister Amber and brother-in-law J.P.)  We were to leave by train on Wednesday morning.  The train didn’t arrive until Wednesday afternoon, however.  That four hour delay, plus some more delays en route, put us off our arrival time by numerous hours.  Instead of arriving at 10 p.m. on Wednesday night, we instead arrived at 6:30 a.m. on Thursday morning, costing us a pre-paid night in our Chinatown-based hotel rooms.   Beyond that, we had a great time, ate great food, saw great shows (the new production of Les Misrables is fantastic–and that was just for the Val Jean understudy!!!), went to some very nice comic shops, and mostly learned how to ride the subway.  (We only accidentally went to Brooklyn once.)

We were scheduled to depart Sunday morning at 6:55 a.m. so we took the hotel’s car service to Penn Station, leaving at a little after 6.  We got there in plenty of time, then found coffee and breakfast–though just barely.  I tried to order six breakfast sandwiches from a Duncan Donuts whose cashier line did not speak much in the way of the Queen’s English.  The ordering process became an Abbot and Costello routine.

ME:  Yes, I’d like six #10s, please.

CASHIER:  Ten number sixes.

ME:  No.  Six of the number tens.

CASHIER:  Ten number sixes?

ME:  No.  The turkey sausage muffin.  I want six of them.  Please.

CASHIER: The number 10?

ME:  Yes.

CASHIER:  Ten number sixes.

ME:  No!

Repeat.

They were still assembling my six #10s when boarding was called for our train.  I escaped with a bag of sandwiches and two cups of piping hot coffee in a cardboard drink caddy, then joined the family as we headed for the escalator leading down to our train.

We passed the ticket lady at the top of the escalator, showed her our tickets and proceeded.  My brother-in-law, J.P., went first, followed by Ma, Pa, me, Ashley, and her sister Amber.  One of J.P.’s bags had a broken handle, which made keeping it balanced on top of his larger suitcase difficult.  It fell off on the trip down, but he was able to replace it.  However, as he reached the bottom of the escalator, the bag fell off again.  Ma, who was right behind him, saw it land on the steps in front of her.  She planned to step to one side of it on the escalator’s lower landing and push the bag out of the way with her own rolling bag.  Only because her bag was in front of her, she couldn’t exactly see where the landing began, misjudged the end of the escalator, caught her bag on his and then went crashing over the two bags as her legs were knocked from under her.  I looked down in time to see her fall.

“Ma just fell,” I said to Ashley, who was a couple steps above me.  I then had enough time to see Ma’s coffee as it splashed across the metal landing plate below before being knocked off of my own feet by Pa, who had been knocked off of his feet after crashing into Ma and the luggage, not to mention his own luggage in front of him, as we were carried toward the growing pile by the still-moving escalator.

Ma had fallen on the landing and Pa had fallen close behind her. I, however, was trapped at the point further up where the metal steps are still very much metal steps and have not yet shrunk beneath the landing plate.  My feet were trapped beneath Pa and the luggage, while my upper half was being gratered by the teethy metal steps.  Somehow I kept the coffee caddy level on the way down, which I guess shows my sense of priorities when it comes to life is always “Save the coffee!”  While the cups were still in their caddy, held in my left hand, that hand was being pushed toward my face by luggage from below while my right arm and back were shoving me toward them due to being pushed by the gratering steps from above.  I don’t count escalators as a phobia of mine, but I did watch the Doctor Who story “Seeds of Doom” a number of times as a child.  I still suppress shudders at the thought of the massive grinder the story’s villain attempted to feed the Doctor into via an automated conveyer system.   My situation at that moment felt reminiscent.

Ashley and Amber, meanwhile, had been a few steps above us, and saw the oncoming pileup.  Ashley began yanking luggage from the space between her and me and chucking it back up the escalator for Amber to catch, so that those of us in the pile wouldn’t be buried under it.  There had fortunately only been one lady above Ashley and Amber and she wisely fled back up the steps to get away from the building chaos pile.  Ashley also had the presence of mind to shout for someone to stop the escalator–only, in the moment, she couldn’t remember the word escalator so she instead shouted “Stop it!  Stop it!  Stop the… thing!”

I also was shouting, but wasn’t very coherent because I was staring at the business end of two scalding coffees being pushed closer to my face while simultaneously being pummeled by the toothy metal steps on the other side.  (My other arm, I soon realized, still safely clutched the bag of sandwiches.)  The extended handle of my rolling suitcase was being pummeled by the steps and it sounded as though it was being crushed.  This sent me into a panic because I figured my fingers would be next.  Ashley said I began screaming a mixture of “STOP IT!!!!!  STOP IT!!!!!” and “OWWWWWWW!” at the top of my lungs.

Below, J.P. was trying to hit the stop button, but it was covered by a plastic lid that was latched in such a way that simply lifting it wasn’t part of its design; it took him a bit to get it open and hit the button and the escalator came to a quick halt.

I managed to climb out of the luggage and get to my feet.  I had still not spilled the coffee, but was left shaken and cursing.  I looked down to see where Ma was at.  She was standing down on the concrete of the train platform, looking back up at me with wide eyes.

“Ma?  Are you all right?” I said.

“I don’t know,” she said.  Her expression made me wonder if she was more badly hurt than she looked. What I didn’t realize until she told me later was that Pa had pushed her free of the escalator and she’d been able to turn around to see me being grated by the steps.  She had been frightened for me because I was wearing my leather satchel around my torso and she could see the strap tightening.  This was because the steps were pushing it further beneath me, but to her it looked as if part of the strap might have been caught in the works and was in danger of strangling me.  My incoherent girly screams couldn’t have been helping matters.  Thinking about it now, though, had I not been wearing the satchel, I would have been closer to the teeth of the steps themselves and might have been more physically injured as opposed to mostly just pride-injured.  At no point did I feel like I was being choked in the moment, but Ma she was about to have Pa free me with his knife.

The ticket lady came down the now stationary steps and was very concerned for all of us.  She didn’t want us moving around until she could ask a few questions to assess the lawsuit potential–though she didn’t actually say that last part.  Ma said she felt like her hip, shoulder and arm were probably bruised, but she didn’t feel anything was broken. I shook myself out and said that I felt okay, too.  Pa, who over the course of the last year has undergone not only triple-bypass heart surgery, suffered a stroke, recovered from it, and had his carotid artery cleaned out, said he felt fine.

The ticket lady offered to help us fill out an accident report, but that would involve not being able to catch our train, which was about to leave.  Seeing that we were all pretty much intact as far as we could tell (not to mention having been given a once-over inspection by my physician wife), and how none of this had been Amtrak’s fault to begin with, we decided to just soldier on down the track.

We were all in a bit of shock for a while.  The situation, bad as it was, could have been worse.  Mostly, I felt stupid for not being more quick-thinking in the moment and winding up at the bottom of the luggage pile so swiftly, while Ashley, Amber and J.P. were busy actually saving the day.

After half an hour or so, we all ate our cold #10 breakfast sandwiches and drank our coffee.  I felt a little sore and may have lightly bruised my coccyx, but I eventually decided there wasn’t much wrong.  This, however, did not prevent me from exclaiming “Ow!  My coccyx!” every time I sat down for the rest of the trip.  And while my coccyx did actually hurt, mostly I just exclaimed it because it’s fun to say.

The Talkin’, Bleeding Out the Yard, Snow Covered Meter, Pud Pipes’ Psychic Cornholing, Wade in the Water, Wade in the Water, Children, Fabulous Baker Brothers to the Rescue Blues (a Horribly Leaky True Tale)

This morning we were visited by a man from the water department.  The man knocked on the door at the crack of 10 a.m., stirring the dogs up and nearly making me spill my coffee on my PJs.  In fact, the wife and I were both still in our jammies, since she had the day off.  My PJs being the more street-worthy, I went to the door to see who it was and what he wanted.  After introductions, the man explained that he had come to read our water meter but couldn’t find it under the remains of the foot of snow that fell last week.  However, he continued, while he’d been walking along the driveway on his way to our front door to ask us about the location of said meter, he’d noticed that the water service line to our home was bleeding out into our side yard from, apparently, two separate locations.  He asked if we were aware of this?  We were not.  Or, at least, I wasn’t at first.  Then I flashed back to something I’d noticed a couple of days before.

I remembered that two days prior, while walking along the driveway myself, I had wondered why there were two huge bare patches in the thick layer of snow covering our sloped side yard.  They were bare patches that ran clear down to the property line, exposing a great tract of wet grass in the otherwise snow-packed yard.  It seemed to me to be caused by melt runoff from the snow on the driveway, as I could see water trickling in a sheet from near the top of the slope.  Seemed to be melting quite a bit, in fact, which was also odd given that it was 22 degrees outside.  But what did I know?  It made enough sense to me in the 3 seconds I devoted to thinking about it, so I just kept walking.

I had no sooner finished with that flashback, when I was hit by another one:  a memory of yesterday morning, when I went to make coffee only to find that the water pressure in the kitchen sink wasn’t quite what it normally is.  Ah, well.  These things sometimes take a while to warm up, my pre-coffee brain had informed me.  Shrug shrug shrug.

All of these are what you might call red flags.  Great, big, university-drill-field-flag-pole-sized red flags, draped down the side yard and bunched up in a wad in the sink.

“What’s going on?” the wife asked, as I returned inside and began racing to find some clothes.

“We’ve got burst pipes in the yard,” I growled.

“What?”

“That’s what the guy from the water department says.”

As I pulled on pants and boots, I told her about the bare patches.  She was not amused.

We both headed outside.  Sure enough, the bare spots I’d seen near the driveway were still there and water was coming up from the ground like a bubblin’ crude.  (Water, that is.  H2O.  The base of tea.)  The man from the water department explained that he’d been sent to investigate a leak after their sensors had flagged our particular hill as the source of a massive outpouring of water.

“What do we need to do?” I asked, quite panicked at the idea of the enormous bill we’d be receiving already and wanting to immediately stop it from climbing higher.

“Wellllllll,” the man said, taking far longer to say the word than necessary.  In fact everything he said after that was spoken at an infuriatingly glacial pace.  “When you get your water bill, see, what you’ll need to do is to call down to Peggy at the water department.  (Enormous pause)  You call Peggy and you let her know that you’d like to file a leakage claim for your water.  You won’t have to pay full price for it, cause it’s a leakage claim, but you’ll still have to pay some.  And, like I said, you’ll have to file a leakage claim…”

“No,” I said, interrupting, barely keeping my temper.  “What do WE NEED TO DO about the water pouring out of our yard right now?!”

“Ohhhhh,” he said.  “You probably need to cut the water off.”

If he’d been standing any closer, and if I was the kind of guy who went around punching people in the throat, he might very well have been punched in his.

“Yes,” I said, fingernails slipping one by one from my hold on the cliff’s edge of fury.  “But. What.  Do.  We.  Need.  To.  Do.  About.  Getting.  It.  Repaired?”  This was a first for us, having never experienced a pipe burst before, and I didn’t know if he needed call someone at the water department to send a team out to fix this, or if we were responsible for assembling our own team.  In retrospect, the answer really should have been obvious, but I’ve already provided evidence I don’t always notice the obvious.

“Wellllllll,” he said, “you’ll need to call a plumber.”  The man from the water department recommended Dave Davison (not his real name) who was “a real good plumber” and was actually a neighbor of ours, though not one we readily knew.  He also gave us the name of another plumber whom he said we should avoid at all costs.  In fact, he said that his department had received so many complaints about the man that it was now standard policy to just warn people not to use him.  As to cutting the water off in the interim, however, what we’d need to do was find the water meter.  Did we know, he asked, where it was?

“Yes.  It’s down on the corner of the yard,” I said pointing to the lower end of our acre, where it meets the driveway.  The meter was at the bottom of a 15 inch diameter pipe that was covered by a round mini-manhole of the same size, which was, at the moment, covered by at least half a foot of snow.

From his truck, the man from the water department fetched a shovel and a long white bar on a string, which turned out to be a metal detector.  I pointed him again to a six foot patch of snow, beneath which I knew the manhole to be located.   He walked over it, but his metal detector detected no metal except that of his shovel.

“Not finding anything,” he said.

“I think it’s further up here,” the wife said, pointing to a section of snow a few feet higher up the slope.

“No.  It’s in this area,” I said, circling my arm to indicate the original spot.  I couldn’t provide a specific location within my chosen section of ground, but knew it was within that part of the yard.  The man tried there again but still couldn’t find it.  So he began walking down the hill, further away from where the meter was located.  And, of course, he still wasn’t getting any hits.  Now I was well and truly pissed, but I knew I did not need to vent any anger at either of the two humans near me, no matter how annoyed I was that neither of them seemed to accept my estimation of where the meter was located.  Instead, I decided to vent my anger at the snow itself.

I stomped up the driveway in my crampon-wrapped boots and fetched my snow shovel, which I stomped back with, determined to find the meter myself.  I walked to the center of the area where I knew the meter was located and began chucking shovelfuls of snow with ferocity.  After a minute I’d uncovered nine or so small patches of yard.  My hope was to shotgun blast the area to catch the edge of the mini-manhole lid, rather than attempting a full on excavation.  My efforts, however, were not fruitful.

“I still remember it being up here,” the wife said.

“It’s not up there,” I said.  “I know.  I’m the one who has to mow over it.”

The man from the water department had continued on down the driveway, waving his metal detector bar over the narrowing patch of snow-covered grass along it, still finding nothing.  I was annoyed because his actions continued to call into question my knowledge of where my damn meter was located, but I decided to just let him go sick `cause A) I didn’t really want to deal with him anyway; and, B) because I wanted to be the one to uncover it, exactly where I’d been telling him it was, so I could quietly and passive-aggressively gloat about it.

“Do you want me to shovel?” the wife asked.

“No,” I said.  Shovel.  Shovel.  Shovel.  “I’m way too pissed off.”  Shovel.  Shovel.  Shovel.  “I need to do this.”

“How about dig some up here, then,” the wife said, pointing to her chosen area.  I knew for a fact that it wasn’t up there, but I’d demolished most of the manhole-sized chunks of snow from my area and still hadn’t found anything.  Hers had lots more snow, so I started shoveling further up the hill.  The man from the water department, meanwhile, had passed the midway point of the driveway and I could stand to keep quiet no more.

“Sir, I promise you, it is not down there,” I said.  “It is up here.”

The man agreed that it didn’t seem to be where he was looking, but he was operating on information from a guy who used to have the meter-reading route in our area and that guy had said it was on the driver’s side of the driveway if you were headed up it.

Yeah, it is, but it’s at the top of the driveway where our actual property begins, I angrily thought.  Shovel.  Shovel.  Shovel.

“How about let me dig,” the wife offered again.  Exhausted, I agreed.

The man returned with his metal detector and walked around with it in the area where the wife was digging.  It still wasn’t detecting anything.

“Hope it ain’t one of them aluminum lids,” he said.  “Was it silver?”

“No,” the wife said.  “It was kind of an iron color.”

He kept on detecting and she kept digging and the county’s water supply kept pouring out of the ground.

“I’m telling you it is not up there,” I said as calmly as I could manage.  “I know this.  I have to mow here.”  I then gestured, indicating the route I take along the edge of our yard, which runs me into the blackberry vines in the brush every time, but which is well above the meter that I don’t want to have to raise the blades of the mower to get over.   “This,” I said, still wildly gesturing to my route, “is above the meter.”

Perhaps sensing my slipping hold on sanity the wife moved to dig back in my chosen area, picking at the few patches of snow left there.  While she did, the man from the water department used his cell phone to reach the guy who used to have the meter route to ask him where the meter was again.  From the sound of it, the guy was telling him exactly where I’d already told him.

“Here it is, here it is!” the wife said.  The tip of the shovel had revealed the outer edge of a dark circle of metal, right at the edge of the brushline, just within the outer edge of the area I’d indicated.  I was too exhausted to grin in triumph.

The man from the water department read the meter, did some math, and announced that it had already poured over 109,000 gallons of water down the yard.  This made my knees weak.  He then showed us how to shut it off at the meter.  The wife and I decided that instead of immediately cutting off the water, we needed to return to the house and fill up our supply of water containers.  For all we knew, this would be a multi-day process to repair and we needed to have our ducks in a row.

“Wellllllll,” the man began again, slowly chewing over whatever else it was he wanted to say to us.  I turned and walked away, leaving the wife to listen.  I just couldn’t handle any more from him.  (And please note that I fully realize that my anger with him was essentially me being nutty, because he was a perfectly nice man and didn’t get snotty with us no matter how much reason he might have had to do so.  However, he was a perfectly nice man who was driving me nutty because he wouldn’t hurry up and get to the point of any of his sentences, increasing the amount of time our house had to bleed out.)

After the derecho storms of 2012, when our area was without power for a week, we learned that it’s always wise to have options when it comes to emergency survival gear.  We already owned a big blue 10 gallon water cube, left over from summers spent with an unreliable well, back in Princeton, so I grabbed that from the basement, along with a number of other water-dispensing containers in our apocalypse prep/camping supplies.  I started filling these, and then turned the process over to the wife, who had by then returned.  Soon every stew pot, soup kettle, canning boiler, tea pitcher and bathtub in the place was full of water.

I grabbed the yellow pages and began playing voicemail phone tag with our neighbor plumber first.  I eventually got through only to learn that he had over a month’s worth of jobs ahead of ours and would have to decline.  So I started at the top of the list of plumbers.  The first one listed also had a month of jobs ahead of us.  The second was the plumber we’d been warned against, so I skipped him.  The third, however, was that of a large regional plumbing company whose name I recognized and, for some reason, sent up warning signals in my head.

“Is there some reason I should have warning signals going off my head when I see the name Pud Pipes Plumbing?” (Again, not the real name, though it rhymes much the same.)

“I don’t know,” the wife said.

“I think we used them in Princeton and I think I remember not liking them,” I said.  I couldn’t quite recall the event in question, but they are one of the bigger plumbing outfits in the region, so I gave them a call.  Pud Pipes’ receptionist heard my plea and said she could have someone call me by 4p.  It wasn’t ideal, but at least it was a callback.

Having filled every possible container that could hold water, I went out and used a wrench to shut off the valve at the meter.

Pud Pipes called back before noon to get directions to the house and said they’d be there in 10 minutes.  It was around then that the wife then remembered something we’d been told by the previous owner of our house, which concerned the water service line.  Not long after we contracted on the house, there had been a similar pipe burst in the yard.  Our real estate agent, Jill, had told us that the homeowners, the Shaffers, were having it repaired, but not to be alarmed if we saw freshly dug dirt in the yard during our upcoming visit with the home inspector.  Weeks later, during the closing process on the house, Mr. Shaffer had told us that if we ever had any similar pipe problems we should be aware that he had constructed the house with a sheath pipe running underground from the basement to the edge of the driveway.  The service line was run within this pipe, so that if the line itself ever had to be replaced, the driveway and garage would not have to be dug up to do so.  The trouble was, it’s been two years since he told us this, so we’d forgotten the exact details.  We certainly HOPED the sheath pipe ran all the way to the yard, but maybe it only ran to the edge of the concrete garage floor?  We couldn’t recall.  So I phoned Mr. Shaffer to ask, but only got as far as the question when the Pud Pipes van pulled up, stirring the dogs into a slavering frenzy at the kitchen window.  I went outside to greet the plumbers while the wife tried to find a quiet place where she could talk to Mr. Shaffer.

The Pud Pipes plumbers were a guy in his 50s and a guy in his late 20s, though the guy in his 20s seemed to be the senior member of the team.  I led them over to the yard to show them the bare patches that were no longer pouring water.  The wife soon joined us.  The younger guy looked at the bare patches and began shaking his head.

“You do realize this entire line is gonna have to be replaced, right?  You do realize that?” he said.  “This ain’t something we’re going to be able to just repair,” he added ominously.

“No, we didn’t realize that,” the wife said.  “But we have to have water.”

The younger man walked along the driveway, still shaking his head.  To see him, you would think that the yard not only had a busted pipe but also a venereal disease.  The older guy stood by us, trying to make small talk by saying our house was really nice.  The younger man then wanted to know where our utilities connected to the house.  We pointed.  Did we have underground electric?  We nodded.  There followed more grave head-shaking and the wringing of hands.  The Pud Pipes guys walked down near the meter to confer with one another.  The wife and I similarly conferred at the top of the drive.

I asked her what Mr. Shaffer had said about the pipe.  She said that she hadn’t been able to hear him very well, because of the dogs, but it sounded as if the sheath pipe only extended to the edge of the garage and not beneath the pavement to the edge of the yard.  She based this on possibly having heard him say say that they built it that way so the garage floor wouldn’t have to be torn up.

“Are you sure?” I asked, still hoping for an under pavement pipe miracle.

“No.  I’m not sure.  The dogs wouldn’t shut up.”

The guys from Pud Pipes finished their quiet meeting and then asked to see where the water connected to the house, so we took them to the basement and showed them the service line poking out of the larger sheath pipe.  The younger guy shook his head some more in a way that suggested our service line not only had a venereal disease and that it was communicable.  The younger guy returned to the van, muttering something about having to dig through the driveway.  I wanted to tell him that wouldn’t be necessary, but I didn’t know for sure.  So I called Mr. Shaffer back to confirm our confirmation.  Turns out, I was right.  The sheath pipe did extend beneath the driveway.  We were saved!  Or, at least, our driveway was saved!

The younger man had retreated to the van to make a phone call, so I told the older man about the sheath pipe running the full length beneath the garage and driveway.

“Oh, that’s good, that’s good,” the older man said.  He immediately went to the van and knocked on the driver’s side window.  The younger guy, annoyed at the interruption, paused his phone call and rolled down the window to, but didn’t seem especially happy when told the good news.

Now, what I didn’t realize, until shortly after this,  was that the younger plumber was something of a plumbing clairvoyant.  Yessir, this kid had apparently been birthed with the God-given ability to psychically foreknow the installation history of any pipe with which he came into proximity.  And I know this because when he finally emerged from the Pud Pipes’ van, some minutes later, he announced that the break in our service line was not beneath the obvious leak points in the yard, but was instead located somewhere within the sheath pipe itself.  Furthermore, whoever had done the installation of said service line through said sheath pipe–either during the previous repair job or, hell, when the original pipe had been fed through the foundation itself–had probably jammed it in there good and cracked it in the process.  Yessir.   It was definitely broken off in that sheath pipe, which meant it was doubtful that they could use the sheath pipe to replace the line at all.

“But, the leaks are under the yard,” I said, pointing to the two giant bare patches a few feet away.

“Yeah, it’s all broken up down there,” the kid said, waiving an arm, indicating the entire length of the line from the meter to the house.

“But… the sheath line is already there,” I said.  “The previous owner installed it for just this possibility.  I don’t see what the problem is.”

The two of them hemmed and hawed over this, the older man backing up the younger man’s assertions at every turn.  Yes, evidently it’s just devilishly hard to get a length of one inch diameter PVC pipe to fit through a length of four inch diameter PVC pipe.  They saw this sort of thing all the time, the older man added.  Why they’d had this one job this one time, in Princeton, that took a day of trying and they still couldn’t get it through.  Yep.  Bottom line, we were looking at around $3,800 to replace the whole line.

I stared at him for a long moment.  This was one of those situations where I really really wanted to be able to call horseshit on them, but only had a gut feeling to go on and enough sense to know that the consignment of smelly organic matter I was being handed looked and smelled a lot like the rectum of a horse.  However, I was talking to two ostensible plumbing experts, so what did I really know?

I asked them to excuse me, and went into the house to inform the wife.  She also thought it smelled rather ripe.  Being an intelligent lass, she also pointed out that if the service line truly was broken off within the sheath pipe, we’d have a basement full of water, because the only thing plugging up the interior end of the sheath pipe was a little bit of insulation and water always seeks the easiest path.  I agreed.  More egregious to me, however, was that these guys had speculated up a $3,800 bill based on a glance at the yard.  And why were they so deadset against using the sheath pipe–the one part of this whole thing that seemed a guarantee to make their job easier?

“If you don’t want them to do it, don’t let them do it.  There are other plumbers,” she said.  “We haven’t called them all.”

I didn’t want to have to call them all.  I wanted the plumbers I’d already called to be worth a damn, or at least not try to scam me to my face.  Alas, it appeared not.

At the wife’s suggestion, I went outside to inform the Pud Pipes guys that we were going to seek a couple more estimates before making any decision.  I’m pretty sure they knew we were going to tell them to move along, because they were both in the van with the engine running.  They seemed neither surprised nor disappointed.

(After they drove away, I remembered my previous negative experience with their company.  Back when we lived in Princeton, our hall toilet developed a leaky gasket beneath one of the bolts that held the tank to the bowl.  Trouble was, because the bolt was on the tub side of the toilet, it was incredibly difficult to get both a wrench-grip on the nut at the top of the bowl and another wrench-grip on the bolt head within the tank itself.  And if you got both, you couldn’t get an angle that gave you any kind of torque without slipping off one or the other.  Eventually I figured out that the bolt and nut were pretty much fused by corrosion, but it took two days of me trying to wedge in there and force them to turn to learn that.  “Call a plumber,” the wife said, after we’d had an unsuccessful crack at it together.  We reasoned that a plumber would likely have a special tool that would allow them to do separate stuck bolts, so I looked in the phone book and called the plumber with the biggest ad, Pud Pipes.  Turns out they did have a special tool for freeing stuck bolts.  It’s called a Saws-All, a tool I already owned.  They slid theirs in between the tank and the bowl and sawed the bolt in twain.  They then replaced the bolt and charged me $200.  TWO HUNDRED DOLLARS!!!!!!!  For that kind of cash I could have bought a second Saws-All to go with the ONE I ALREADY OWNED, which I could have used to do the job myself.  It’s completely my fault that I didn’t think of doing so, but perhaps I would have had more incentive to come up with such a solution if I’d realized Pud Pipes was going to charge a king’s ransom to do the job.)

Back inside, I scanned back down the list of plumbers in the phone book.  It was a short list of seven, two of which had already turned us down, another being Pud Pipes, and a fourth being the plumber we’d been warned against by the water department itself.  I really didn’t want to call any of the others, either, because after Pud Pipes I was just not in a mood to trust anyone.  I needed a solid, reputable plumber.   And that’s when it occurred to me who I needed to call.

“Jill!” I said.  “I’ll call Jill!”

Jill is Jill Allman, our realtor.  In addition to being a joy to work with on buying the house, she’d been very helpful in the two years since whenever we needed advice on home-improvement specialists.  Ironically, the previous day, Jill had emailed to ask if I’d be willing to write a review of her real-estate services on Zillow.com.  And I’d readily written a glowing one, which had mentioned her willingness to offer advice on non-asshat service-professionals.  Here I was returning to the well of good advice, already.

I phoned Jill and told her our problem and how Pud Pipes was no longer an option.  She immediately warned us not to choose the guy the water department had already warned us against.  A number of people had warned her, too.  (I don’t want to say the actual name of the plumbing service, but, if you need another rhyme, it will only take a Mennett.)  Jill’s suggestion was Baker Home Services, run by a guy named Robert Baker and his brother Steve.  They weren’t listed in the phone book, but she had the number.

Steve Baker answered when I called.  I told him Jill had recommended them gave him the short short version of our problem, concentrating on the leaks and the sheath pipe, leaving out Pud Pipes.  Knowing it might take a while for them to find time to come out, I added that we had plenty of water stored up inside, so we could survive.  Steve asked the kind of questions you’d hope to hear from a reputable plumber who was out to diagnose what was actually wrong with your pipes.  He also noted that because ours was an emergency situation, he and his brother could come out in about an hour.  He sounded friendly and concerned—two qualities I look for in a plumber.

“I like that guy!” I told the wife, after hanging up.  “I feel good about this already.”

True to their word, Robert and Steve drove up in their van in about an hour.  In person, Steve was as friendly and warm as he’d sounded on the phone.  Robert even moreso.  They both shook my hand and came across as very chill fellows meeting a friend of a friend for the first time, ready to help.

I showed them to our leaks, now just muddy grass patches.  The Baker brothers didn’t shake their heads in despair at the sight.  I then showed them to the basement and pointed to the service line in its sheath pipe, as well as its in-house shut-off valve.  They made no proclamations about sheath lines being plumbing death.  In fact, Robert noted that our one inch PVC service line was typically some of the strongest stuff on the market and unlikely to rupture unless it was somehow sheared off, or crushed, or broken at a joint.  And at the depth it was usually buried, freezing shouldn’t really be an issue unless there were extenuating circumstances.

Now here’s the cool bit:  rather than speculate wildly about our particular breaks, and rather than reaching into the depths of their colon to come up with an exorbitant dollar figure on how much the work on the as-yet-unofficially-diagnosed problem was going to cost, the Bakers instead said they would go out and dig up the line at the obvious leak sites and have a gander.  It was possible, they said, that the line could be repaired without a complete line replacement, but they wouldn’t know until they got a look at it.  Glory be!

For the next 45 minutes or so, the Fabulous Baker Brothers set about with shovels to dig the earth.  They started with the leak spot closest to the meter.  When they’d uncovered it, they came and asked me to close off the valve in our basement so that they could turn on the one at the meter to see what happened.  I did this and left them to it.  Within a few minutes, they began digging at the second leak spot.  A while later, they left to go buy some parts, came back, then left to buy a different part, because the one they had just bought wasn’t it.  No worries.

When they were finished, the Baker brothers asked me to come have a look.  The line, they said, had only been broken in one place, and had been caused by a cracked joint between sections of the PVC line.  They said that it looked as though the ground might have settled there, causing it to crack, but it was hard to say for sure.  They had replaced that section with a shorter length of flexible pipe that would be able to bend a bit if more settling occurred.  They wrapped it and the other exposed section in some flexible insulation.  They said that the previous repair to the pipe had also been insulated, but it was done using strips of a foam core insulation board, which water from the leak had run beneath until springing up at the lower spot in the yard, creating the appearance of a second leak.  This was proven by the fact that the water had been turned back on at the meter and there were no leaks from either section of pipe.   They’d also double-checked for unseen leaks by watching the meter for a while and seeing that it remained stable.  Nice.

Robert pointed out that having a line replacement at some point in the future probably wouldn’t hurt.  The repair they’d made would certainly last us a while, but we might eventually consider doing the whole line just to be sure.  While I was standing there, Steve measured the distance between the meter and the back wall of the garage just to see how much pipe would be required.  The job, Robert said, would probably run between $1,500 and $1,800.

“As opposed to the $3,800 Pud Pipes was going to charge me this morning?” I said.  I’d said nothing of their competitors until that moment.  They both laughed, but were not surprised.  They had a few Pud Pipes stories of their own–nothing criminal, just prohibitively expensive.  Then I told them the Saws-All story.

“Two hundred?!” Robert said.  “You could have bought a brand new toilet and and had it installed by us for less than $200.”

They didn’t go so far as to say the Pud Pipes company did bad work, or anything; just that Pud Pipes tended to violently cornhole the wallets of customers who called them for home repair jobs, as opposed to the lower prices they had to bid in order to stay competitive for the new construction work they preferred.  I told them I wanted to take a picture of their handiwork and email it to Pud Pipes with the caption: “Here’s your complete service line replacement, assholes!”

I was imagining the bill for the work the Bakers had done would come to somewhere between $300 and $500.  These were plumbers, after all, and they had been working for around three hours.  Our bill came to $239 and change.  I nearly danced in the slushy driveway.  I told the Fabulous Baker brothers I would sing their praises on Facebook.

“Maybe we should get a Facebook page?” Steve asked his brother.  They then grinned at each other, as if knowing this wasn’t going to happen.  They said that they only rarely advertise, are not listed in any phone book, and have more work than they can handle from word of mouth alone.

We bear a great deal of guilt about the tremendous waste our leaky pipe and our lack of vigilance has caused.  This in a state which so recently had a major water supply tainted by a chemical spill, leaving 300,000 people out of water for weeks, with ongoing issues to the day of this writing.   Our guilt is such that we can’t bring ourselves to waste any of the water we stored in all our spare containers—containers which now take up most of our counter space in the kitchen.  Hopefully we can burn most of them off for cooking, laundry, toilet-flushing or dog watering.

As for the ultimate cost, the wife later gave me the short version of what the man from the water department had said after I’d fled for my sanity.  It seems that our water is usually charged at around $6 per thousand gallons.  We’d bled out over 109,000 gallons, making our potential bill somewhere in the $650 range.  The man from the water department told her, however, that if we filed for leakage, they’d knock it down to $1 per thousand gallons.  We normally pay $35 for our total bill.

Gonna be a big one next month either way.

Copyright © 2014 Eric Fritzius

Dear Bryan Fuller…

Just read the news about the potential PUSHING DAISIES Broadway musical.

As a huge Pushing Daisies fan, with many many friends who are as well, I think I may be the only one I know to say: I’m actually against this.

While on paper a Pushing Daisies musical seems like a great idea, IMO it is too drastic an alteration of the ideal format for the story it was telling and existed in, which is television or film. The show was born in that medium and did amazing things in it while it lasted. It also incorporated many elements of Broadway musicals along the way, which were used to make this little TV show about a bittersweet relationship between a piemaker and the reanimated dead girl that he loves, into something magical and unlike anything I’ve ever seen on TV.  ON T.V.

Could a stage version of the show exist? Sure.

Could it be amazing? Sure.

Would I want to see it? Sure.

Should I shut up and trust that you and your fellow creators know what you’re doing and have a master plan in place?  Quite possibly.  But I cannot do so without respectfully appealing to you to reconsider this Broadway plan in the short term.

I maintain that the stage will not be the ideal place for a fitting conclusion to your story–a conclusion or continuation that we the fans have wanted so badly since it went off the air. A translation to the stage, while gaining all the elements that make Broadway musicals so special on their own, will lose much of the visual and special effects elements that helped make that show beloved. Television acting and stage acting are different creatures. It’s closeup magic versus stage magic; David Blaine versus David Copperfield. Both are impressive, but for very different reasons.

As great as a PD musical could be, I will miss the twinkle in Ned’s eye, Chuck’s knowing smile, Emerson Cod’s world-weary sneer, Olive’s subtle longing, the conflicted expressions of Aunt Vivian, and the one-eyed steeliness of Aunt Lily. (And what about Digby?!)

Furthermore, an ending to Ned and Chuck’s (and Emerson and Olive, and Lily and Vivian’s) story needs to exist in a format that can be shelved alongside the TV box sets we’ve watched and rewatched and forced so many others to watch over the years. Give us something which can be enjoyed by the mass audience worldwide that fell in love with the show! Requiring that it be seen on Broadway, where it will have a limited run, for a limited amount of people–or, if successful, will start trading out cast members when they decide to move on to other roles, assuming all of the original cast will even commit to it–is FAR from the same thing as a final curtain TV movie. And, frankly, it isn’t fair to the thousands of fans who have kept the fires burning.

This is not to say that I believe a Pushing Daisies Broadway musical couldn’t be pretty damn astounding on its own merits. It certainly could. And I would actually be 100 percent behind it had the show been given a proper ending on television. By all means, do an adaptation then and give us a Broadway show. But please, Bryan Fuller, don’t give it to us in place of the ideal ending to your story just because it could be cool. Kickstarter this thing like Veronica Mars. Let the fans fund a movie, or Netflix or Amazon mini-series, (assuming rights could be secured). Bring back the cast. (Okay, you can recast the kids, or just pick up young Ned and Chuck’s story further along with the same actors, somehow.) Bring back Barry Sonnenfeld to direct it. Bring back Jim Dale to narrate it. Give us the ending that I know exists in your head. And do so in the same format in which it began: film.

Yours,

–eric

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