I want to slow things down. I was planning on writing a post on several stories in Alan Heathcock‘s debut collection, Volt, but I think I’ll just look at the first story. “The Staying Freight”–I love the title–was first published … Continue reading
My writing group just finished reading Colm Toibin’s collection, The Empty Family. Although some people in the group loved it, I didn’t. I’ve started giving away the books I know I won’t read again, and this one will be sent on its way–hopefully to a new reader.
Still, some of Toibin’s passages took my breath away, like this one from the title story, with its building of emotion by the use of repetition and the cadence of the words:
And all I have in the meantime is this house, this light, this freedom, and I will, if I have the courage, spend my time watching the sea, noting its changes and the sounds it makes, studying the horizon, listening to the wind or relishing the calm when there is no wind.
And from the same story:
It came to me then that the sea is not a pattern, it is a struggle.
I’ve come back to this line several times–the ocean as a struggle.
***Actually, if anyone would like me to send the copy (a hardback with my marginalia in pencil) his or her way, just leave word in the comments before I head to the post office on Monday, and I’ll email for your address.
Gargoyle 57 is now out with lots of new work, including a flash fiction story of mine. Here’s the opening of “Mackenzie”:
“I waited ‘til you got home,” Rim said, as I came into the den. He was standing by the open front door. I had just come in through the back, Mia in my arms. At the sound of his soft voice, I stopped where I was.
“Why?” I asked, wondering if the waiting was for him or for me.
In the surprisingly interesting Reader’s Guide at the back of Dan Chaon’s Await Your Reply, Chaon writes:
As a writer, I feel like I’m always in conversation with the books that I’ve read.
I write stories to talk to his stories. And a story can talk to another story in many ways–a line, a character, a few details, or sometimes it is the mood of the story, the pacing and the music of the story…”
I found two of these nods by Chaon as I was reading Await Your Reply. When I found two, I got such a warm feeling inside. Here they are:
On page 81: “She might’ve been a good mother, Miles thought, if their father had lived.” >>>Flannery O’Connor, from “A Good Man is Hard to Find:” She would of been a good woman,” The Misfit said, “if it had been somebody there to shoot her every minute of her life.” [Here's a very cool link to Flannery O'Connor reading "A Good Man is Hard to Find" at Vanderbilt University in 1959--amazing]
On page 203: “Your jitters are starting to rub off on me. I’ve got the fucking fantods, man.” >>>David Foster Wallace throughout Infinite Jest.
A lovely practice.
~2nd in a series
~cross-posted at Contrary Blog
Summer Contrary is online with new fiction, essays, and poetry, as well as reviews of these books :
Poetry: Northerners by Seth Abramson
Essays: Otherwise Known as the Human Condition by Geoff Dyer and A Journey with Two Maps by Eaven Boland
Fiction: And Yet They Were Happy by Helen Phillips, You Know When the Men Are Gone by Siobhan Fallon, and The Bird Sisters by Rebecca Rasmussen
Here’s the beginning of my review of The Bird Sisters:
When they were teenagers, Milly hoped to marry and have children, while Twiss hoped to stand on the Continental Divide and “to be the world’s most interesting spinster.” Rebecca Rasmussen’s debut novel, The Bird Sisters, opens at least half a century later with Milly and Twiss living together in the house where they grew up. Perhaps, as Twiss concludes, they just didn’t want those other things enough.
Here’s what’s up and coming at
THE WRITING LIFE:
1) ANOTHER LOOSE SALLY - Hunger Mountain’s blog about writers and writing anchored by Claire Guyton (check in every Thursday!)
2) AUTHOR VISITS - interviews with the Hunger Mountain contributors
3) CRAFT SHORTS & ESSAYS - large and small doses of craft (online submissions for both forms now open)
~first short: On Endings: 11 Strategies by David Jauss
~May essay: Conjuring the Magic of Story by Stephanie Friedman
4) LISTS: LITERARY & LAUNDRY - coming soon - postcards from the organizational side of the writing brain
5) WRITER, INC., debuting in September, memos from the business of the writer’s life
6) REVIEWS GONE SIDEWAYS - coming soon – anything but your mother’s reviews.
Check us out here
If you haven’t visited the Harvard Book Store,
take a minute and pop over there.
Watch the shutters open and the store come to life.
See what books fill their front windows. Click for a close-up; double click to look inside a book. With your mouse, you can zoom in or out. Amble to the side street, just right of the two vintage-looking mail boxes. The site is almost almost as much fun as being there in person.
The Harvard Book Store is independent and has been family-owned since 1932. And green, green, green–offering same-day delivery by bike.
And they have a book-making robot–the Espresso Book Machine–nicknamed Paige. It can print a book in about 4 minutes, and you can watch. It can switch between different covers if you have more than one. It costs an author about $5.00 a book.
Steve Almond‘s book, This Won’t Take But a Minute, Honey, which is only available from Steve or from the Harvard Book Store, is created by Paige. In May of last year (I’m a touch behind writing this post), I called the bookstore, and for $9.41 + $5.00 postage, I was soon holding a copy. It’s a nice quality paperback, 6 1/2 inches by 4 1/2 inches. Turn it one way; it’s 30 stories. Turn it the other; it’s 30 essays.
“I Want to Buy the Guy a Drink Who”
In the dead of a scowling New York January spots my great aunt Meta on 64th and Central Park West staring doubtfully at the icy crosswalk…
POV is nothing more than a tool, a way of getting close to the turmoil of your people.
And in “Fuck Style, Tell the Truth,” he writes:
…your artistic unconscious is about ten times more powerful as an imaginative tool than your conscious mind. But it only comes out to play when you forget yourself and focus on your people.
In the July/August 2010 Poets & Writers, Almond calls himself “Self-Publishing Steve” and explains why he chose Paige for this book of his: “smaller, more personal books should move into the world in smaller, more personal ways.”
In the Spring 2011 Third Coast, Steve gives a Craft Talk, where he is again asked about his decision to self-publish this book:
The book isn’t a commodity; it’s an artifact. And when I do a reading, if people want it, then I hand it to them, and they hand me ten bucks. It’s a really nice feeling. I’m not going to get rich off of it. That’s not the point. The point is to get the work out there, the ideas and emotions.
And about publishing literary fiction and non-fiction in general:
…the whole model of publishing is changing. There aren’t enough readers of books–certainly not enough readers of literary fiction and non-fiction–for it to be a going concern at this point. And so it feels to me like getting a corporation involved is incredibly inefficient…this is one way of doing it that makes more sense.
Oh, and the telephone number for the Harvard Book Store is 1.800.542.READ.
Cross-posted at Contrary Blog
Inch. Do you know this tiny journal? I discovered it at AWP. Small. Gray. Thin. Tiny poems. Tiny fiction. A single issue costs $1. Bull City Press publishes 4 issues a year. Ross White is the Editor, and guess what? Robin Black is the Fiction Editor. I didn’t even know that.
One I’d heard of before. Three I hadn’t. Some were free at AWP; some were not. In each one, I found something that made me glad I’d lugged it home–either connecting with the words of writers I didn’t know or finding new poems and stories by writers I did. Two of these journals have stunning covers that will make me incapable of putting them in the recycling bin even after I need the space for new ones. So two I will send to a friend. Two I will take to the local high school library. Here are some highlights from the four literary journals I brought home from Washington a few weeks ago:
Rock & Sling–a journal of witness. Published twice a year by Whitworth University in Spokane, Washington. Volume Six. Issue One. Winter 2011.
I was in the 10th grade when it first registered: I will be someone else some day…Two decades later, I fail to remember that I will be someone else, not just some day, but next year, next week, next day, next anything.
Clams hiss through pin holes a few feet down.
Poetry. A publication of the Poetry Foundation. Volume 197. Number 3. December 2010. The Q & A issue. Cover art by Sam Martine. “Faces (detail), 1997.
Charles Baxter on his poem “Some Instances” is asked if poetry is an escape from narration: “My answer is a respectful “No”…Like many fiction writers, I began my writing life as a poet, and what I sometimes miss in my own fiction is the high-velocity association of ideas and events and imagery that poetry makes possible.”
Jane Hirshfield on her poem “Sentencings” is asked about the image of “putting arms into woolen coat sleeves”: “I might, I suppose, have written a different poem, about my late sister’s coats. They are lovely. But I wrote this.”
Arroyo. Department of English, California State University, East Bay. Hayward, California. Volume 2. Spring 2010. Cover art by Jonathan Viner.
Dorothy Allison interviewed by Jacqueline Doyle. 15 pages.
Life goes so fast and we lose so much. We can barely even hang on to memory. But if you’ve got a story, a stunned moment story, that moment lives forever.
Ecotone–reimagining place. Department of Creative Writing and The Publishing Laboratory at the University of North Carolina Wilmington. 10. The sex and death issue.”Ecotone and the University of North Carolina Wilmington are proud to print this entire issue on 100 percent postconsumer fiber paper certified by the Forest Stewardship Council.”
Benjamin Percy on James Salter’s “Akhnilo”:
Suspense is the engine that drags a story forward…They [my students] misunderstand suspense, believing that it hinges exclusively on plot points, rather than on human urgency.
This story is a case study on the mystery outside the character and the urgency within…the true pull of the story comes from the desire the man feels, the desire we feel alongside him…
I support literary journals. Support art–any way you can.Crossposted at The Contrary Blog
Last Saturday I spent the day with Chekhov. I don’t know how many of you notice what I’m reading on the sidebar, but it seemed to me that I’d been reading this small old-fashioned-looking book–A Doctor’s Visit: Short Stories–for quite a long time. I started it before I left for Colorado on September 5th but read none of it while I was gone because I was busy reading manuscripts.
On the “what i’m reading now” Page (on which, as of today, I will add the day I start the book), I was surprised to read what I’d written about this collection, “I’ve read a little Chekhov here and there, but I want to spend some time with these stories–really get to know them.” That’s what Saturday felt like, when I decided to “buckle down,” as my mother would say, and finish these stories.
In his forty-four years, Anton Chekhov wrote over 200 stories (as well as plays). This particular volume, with an introduction by Tobias Wolff, was recommended by my adviser David Jauss. You will find “Neighbors,” “A Gentleman Friend,” “The Bishop,” “A Doctor’s Visit,” “Gusev,” The Lady with the Pet Dog,” “Gooseberries,” and “About Love” as well as five different translators, among its nineteen stories.
In “The Legacy of Anton Chekhov: What it Means to say ‘Chekhovian’ & Why his Stories still Serve as a Blueprint for the Stories we Write Now,” (The Writer’s Chronicle, Vol. 42 No. 3, 24-34) Rick Reiken writes:
The simple answer to this question is that Chekhov, a practicing physician and playwright, more or less invented what we in the U.S. have come to understand as the conventions of character-driven literary short fiction.
On Saturday, not only did I finish the collection but I also wrote a rough draft of my essay for my next packet. I knew I wanted to write on some aspect of these stories, but I struggled a bit with which one. In the end I chose to write about the preponderance of words telling rather than showing emotion. I reread. I circled words. I compiled lists.
While counting terms in “The Lady with the Pet Dog,” I had to restart a number of times. One of its passages articulates so beautifully the difference between the various lives we live that I would get lost in it every time and forget to scan for telling emotional terms (none in it, as it turns out):
He had two lives: an open one, seen and known by all who needed to know it, full of conventional truth and conventional falsehood, exactly like the lives of his friends and acquaintances; and another life that went on in secret. And through some strange, perhaps accidental combination of circumstances, everything that was essential to him, everything about which he felt sincerely and did not deceive himself, everything that constituted the core of his life was going on concealed from others; while all that was false, the shell of which he hid to cover the truth–his work at the bank, for instance…–all that went on in the open. Judging others by himself, he did not believe what he saw, and always fancied that every man led his real, most interesting life under cover of secrecy as under cover of night.
On Sunday when I was reading Francine Prose’s review of Yiyun Li’s new collection, I ran into Chekhov again:
…Nabakov’s description of Chekhov’s narrative style: “The story is told in the most natural way possible…the way one person relates to another the most important things in his life, slowly and yet without a break, in a slightly subdued voice.” As with reading Chekhov, one is struck by how profoundly important the lives of ordinary people are made to seem, and by what a sizable chunk of existence–an entire life or several lives–has been compressed into a few pages.
Chekhov. Highly recommend.
Black Maps, a collection of stories by David Jauss, won the Associated Writing Programs Award for Short Fiction in 1995 (Lorrie Moore/judge). These nine stories–with only one in present tense and the rest in past, and four in third person and five in first–all deal with the crossing of borders. In addition to each story, the book as a whole has a story to tell.
As Robert Frost said, “If you have a book of twenty-four poems, the book itself should be the twenty-fifth poem.”
David Jauss writes of his collection, “The book, then, moves thematically from negation to affirmation, from the blackest of maps to one that shows the possibility of light.” After understanding this, it was no surprise that I preferred the stories toward the end of the book.
Each story is extremely well written. The first story, “Torque,” takes a limo and turns it into an intrinsic symbol, one that acquires its meaning from the story.
If he had a limo, everyone would see that he wasn’t who they’d always thought he was…
And then later in the story,
He wanted to prove to her that he was the kind of man who made his dreams come true, the kind of man who deserved a limo.
The fifth story,“Firelight,” starts with a moment and then takes us back in time and leads us up to it. In the story are 3 repetitions of the word “firelight,” and then the words “fire” and “light” separate in the last paragraph.
“Brutality” includes this metaphor: “thinking thoughts she didn’t dare let bleed into words.” It deals with the idea of a continuous life:
And who you were is a part of who you are, isn’t it?
In “The Late Man,” allowing the character to imagine what he could have done adds depth to the story.
“Glossolalia,” the last story in the collection, was chosen by Alice Adams for the Best American Short Stories in 1991. It also won a Pushcart Prize. In it, a son tells the story of his father’s breakdown. The first words of the story “That winter” prepare the reader for the very effective jump in distance later in the story in a paragraph that includes the phrase “…our life together after that winter…” Then there’s another jump in perspective and distance on the last page: “Perhaps if I had said yes, we might have talked about….” Then what did happen in such a beautiful sentence using an echo:
But I didn’t say yes, and in the seven years that remained of his life, we never came as close to ending the winter that was always, for us, an unspoken but living part of our present.
Then a return to a specific moment as well as a narrowing of time from a season to a night, from that winter to that night, echoing the opening. And a last paragraph again with repetition of that night. Wow.
With the other things I’ve written, I’ve seen the structure from the very beginning. As I type these words, I realize: I’ve also seen the story from the beginning too. So, hmmm…
Anyway, I’ve just read a few pages in Mark Rose’s Shakespearean Design. I spent ten minutes taking apart Pam Houston’s Sight Hound–8 chapters within which 12 different narrators have sections, some speaking only once.
Now I’m on the floor, playing with books. I’ve taken all of Ellen Gilchrist‘s books off my shelf–all 22 of them. I quickly return to the shelf her 1987 and her 2000 versions of Falling Through Space (her journal), as well as her book on The Writing Life, Anabasis (her novel that takes place in ancient times), her Collected Stories, and my hardback copy of The Anna Papers.
After a second’s glance, I also return to the shelf her two lives-in-stories: Nora Jane and Rhoda. I love these two books in which all the stories she wrote over twenty years about Rhoda are collected in one volume and those about Nora Jane, in another volume.
I start with the novels. The first one I pick up is The Anna Papers–possibly my favorite. There’s a Contents page: a Prelude, and then five named parts. I skip the prelude, read the first paragraph of Chapter 1, skip to the second to last page of the first part and read. I turn the page to Part II, then another page to read the beginning of Chapter 15 (so the chapter numbers continue through the parts). I want to catch the reason for the separate parts. I read two and a half pages and am swept away.
That’s when I hopped up to write this post. The Anna Papers is one of the reasons I wanted to learn how to write. To do this. What she did.
I just finished the third wonderful debut collection in as many months. Which I think is truly remarkable. As are the ten connected stories in Tracy Winn‘s Mrs. Somebody Somebody, published in 2009 by SMU Press with Random House recently publishing the paperback.
These stories are so different, as different as their narrators, that it’s easy to forget they’re related, that they all take place in Lowell, a mill town on its last legs. Coming across a character from another story felt like recognizing an old friend. I know her, I would look up from my book and want to tell someone. Or hey, I’ve seen that music box before.
From the girl who wanted to be Mrs. Somebody Somebody, Stella Lewis, in the first and title story:
“My hats were all over the bed–leftovers of my hopes for the party. I kept my back to her and heaved open the window to the morning, as if that would bring a fresh start.”
From Dr. Charlie Burroughs in “Blue Tango”:
“He drove his shovel into the ground, and turned the earth. Shoveled and turned, hoping the rhythm of the work could fill the hollows in him, and make him know he was home again. His anticipation of how it would be made it hard to see how it was, exactly.”
And from the delightful narrator of “Another Way to Make Cleopatra Cry,” eight-year-old Kaylene about her step-mother:
“She started reciting the poem of her purse. ‘You’ll find Avon lipstick named ‘Moonbeam Misbegotten.’ A half pack of Marlboros. Two gold hoop earrings.”
Stella Lewis, Dr. Charlie Burroughs, Delia Burroughs, June DeLisle, little Franklin Burroughs, Kaylene, the older Frankie Burroughs, Helen Burroughs, Izabel, and Frenchie Duras–It’s just as June DeLisle thinks in “Gumbo Limbo.”
“All sorts of lives ran right alongside the one she was living.”
with new pages!
#2: What’s happening?
#3: What’s in a cover?
If we don’t subscribe to the journals where we want to see our writing, who will?
For lunch today or tomorrow, make a pb&j and spend your $ on a subscription to the journal of your choice.
Nine stories make up New Orleans’ writer Barb Johnson’s wonderful debut collection of linked stories, More of This World or Maybe Another. In the first and title story, Delia is the narrator and we meet her boyfriend Calvin and his sister Charlene, who goes by the name of Chuck. Regarding place, often used to link stories, we’re not yet sure where we are, but from the top of the water tower, Delia describes what she sees:
“In the other direction, night is rolled out as far as Delia can see. There’s swamp out there, she knows, and the Gulf of Mexico. Beyond that, there could be anything. More of this world or maybe another.” (17)
In the second story, “Keeping Her Difficult Balance,” the first sentence uses the word place and before the first paragraph is over, place is established, not only for this story but also for the preceding one (and it will turn out, for the collection as well): “this bayou, which is right smack in the middle of New Orleans…Not at all like the one from her childhood in the boonies of East Jesus.” On the next page, the boonies are given a name: “…Gremillion, where she and Calvin grew up.” Two of my favorite quotes come from this story:
“This, Delia decides, is how artists are, how she herself wants to be. Everything isn’t necessarily logical or practical. Life can be this way or that way or some other way altogether when you’re an artist.” (33)
“She’s discovered that, to make Calvin fit into the picture, she’s been shaving away at pieces of herself. The piece that loves to read, for instance…And Delia has realized that she shaved away the part of herself that deep down thinks real, true love probably has more attraction to it than what she feels for Calvin…But she wonders if her crankiness with Calvin might be from having to listen to the shaved pieces of herself shouting at her: WakeUpWakeUpWakeUp.” (35)
The nine stories in More of This World or Maybe Another are linked by character, by time, and by place. Delia is mentioned or implied in every story (although there are three other narrators). Other characters reoccur. The stories appear in chronological order, with at least one character in each story being recognizably older, giving the reader a sense of time passing, of a real world. Every story takes place either in New Orleans or in Gremillion, where Delia grew up. These three methods of linking the stories add to the layered and rich feel of the collection. Recognizing characters we know from other stories and watching them grow up is a way of giving the reader of each story an additional delight—the delight of recognition in a larger world.
When I heard that Robin Black was going to be the Sirenland Fellow for 2009 and that she had published a story in One Story, I moved quickly to my back issues and began to thumb through. I only save the stories I love and pass the others forward. Of course I’d saved her story. She writes the kind of stories I love.
Ten stories, including “Harriett Elliot,” first published in One Story, make up this collection. [no spoilers here] These stories catch the ordinary moments in life–a new girl at school, a neighbor building a fence, a father taking a daughter to meet her first seeing-eye dog:
“As Jack scans the road for signs, Lila is proclaiming to him in those certain tones of hers that if it weren’t for being quite so blind and having to have one, she’d definitely never get a dog. Never. Never ever.”
Notice the way we hear Lila’s voice without the first person, without her point of view, and without a direct quote.
“It isn’t even a two-hour train ride out from London to the village where Jeremy’s daughter and her husband–a man Jeremy has never met–have lived for the past three years, but it’s one of those trips that seem to carry you much farther than the time might imply.”
Trees, like guides, have two sides to them. In “Tableau Vivant,” Jean walks her daughter Brooke to her car.
“The roof, sunroof, hood were all splattered with bird droppings. ‘Stupid,’ Brooke said. ‘Acres of open field, and I park under a tree. I was thinking shade, when I should have been thinking bird.’”
The stories in this collection slow the ordinary moments down so that you feel their underside; there’s a pause, and then they expand with wonder. From the third story in the collection, “Immortalizing John Parker:”
“A streetlight comes on. Clara waits to see how long it will take another to join it. A minute passes, two minutes. Nothing. They must have different levels of sensitivity, she thinks. They must believe different things about what darkness is.”
In “The History of the World,” the last and longest story and the only story with more than one point-of-view character, this is from Kate:
“She has been many women, she understands, has slipped surefooted through the years from one identity to the next. Daughter, sister, wife, mother. And now to be this–to be a woman without even the illusion of knowing herself. The sensation is like flight.”
These are the stories of our lives. They are the kind of stories that will crack your heart open. They will remind you, you have a heart, in case you’ve forgotten.
In each of these stories, worlds seem as if they’re about to collide, but instead, they hover–one world on top of another for just a moment so that the light all around changes. Like in an eclipse. And it’s that moment that causes these stories to expand before your eyes.
Today is the birthday of an author of a book–Robin Black. Her last birthday she was not the author of a book. Just like that it can happen.
And get your pencils out. You need to write this one down too: If I loved you, I would tell you this. Each of the 10 stories in Robin’s debut collection is so good that I could not choose a favorite. I tried. Then I thought, I could do a post a day for 10 days, one on each of the stories : )
I gave a copy of the book to my daughter and she read it in 24 hours. I gave a copy to my sister and she wrote to say the stories were so good she was only allowing herself one a day–to make them last.
I was at the grocery story last Friday, waiting in line and thumbing through People Magazine. And there it was. I said to Monica, my favorite cashier: look, this is my friend’s book. It’s in People Magazine.
Happy Birthday, Robin the author!
~more tomorrow on the stories in If I loved you, I would tell you this…
Last spring I was trying to find a way to thank readers who took the time to add to the conversation here. One Story, I thought. For one year, I would send the reader who posted the most comments for the month a one-year subscription to One Story, my favorite journal. In addition to thanking readers, I would also be supporting literary journals.
Well that year is almost up. This is the last month I will be giving away a subscription to One Story.
Commenting on old posts counts. Each comment on a post counts. It’s like the Progressive commercial, only it’s “Counts.”
- You can start with the list of Favorite Posts on the sidebar.
- You can use the “search” box to find posts on writers or books you’re interested in.
- You can click on each of the Categories in the long, long list that decorates the sidebar.
- You can start at the beginning of the blog–September 4, 2008–and comment in chronological order on each post!
So comment away….
And, again and always, thanks for adding to the conversation.
15 stories in this slim volume from Amy Hempel published in 1985. Only 3 of the 15 written in third; the rest, in first.
My clear favorite is the first-person story “In the Cemetery Where Al Jolson is Buried.” It’s nicely developed and goes deeper than a lot of the others in this collection. [spoiler alert]
One of the interesting things about this story, which is divided into 20 short sections, is the way Hempel uses white space–as in, not the same way throughout the story.
The first 16 sections of “In the Cemetery Where Al Jolson is Buried” are basically one visit of the Narrator to her friend in the hospital. As the story progresses, the visit progresses as well. It all moves forward except section 2, when time seems to stand still as the Narrator steps back from the scene to describe it, and sections 8-10, when the Narrator reminisces at the beach. In sections 1-16, Hempel uses white space stylistically–to highlight moments.
Between sections 16 and 17, the white space denotes a space and time jump. Section 17 begins:
“On the morning she was moved to the cemetery, the one where Al Jolson is buried…”
Then in sections 17-20, Hempel is again using white space stylistically but this time to highlight thoughts. These sections exist in the place and time after the friend dies.
Using white space inconsistently adds to the random, floaty feel of this story that is actually organized in a linear sequence (granted sections 17-20 could be in random order rather than moving forward chronologically, but that seems unlikely given the rest of the story).
Another interesting thing–in the first scene, the Narrator has 2 lines; in the second scene (section 3) the Narrator has 1 line; in the third, 0 lines. The fact that the Narrator does not say much, despite the abundance of scenes, contributes to a feeling that the Narrator is not fully present in the hospital room.
Finally, Hempel uses 4 tenses in this 12-page story. Perhaps to show our split consciousness, where we are when we’re not fully present–thinking about the past, imagining the future, the conditional what-ifs.
All this, and we haven’t even begun to talk about what the story is about…