05/24/2013

Actaeon

by Pierce Nahigyan

Do we chase? Are we not born to chase? We have four legs, while the man has two. The man has arms, to carry the bow, and shoot the bow; the man has arms to hold the spear, and throw the spear; the man has arms to hold and caress, pet and offer; the man has arms to love, so we are born to chase, that he love us.

Do we kill? Are we not born to kill? Man and dog are born to kill. Man raises his dogs to kill. We kill for love.

And we kill because we are hungry.

We heard the man’s voice, like a frightened man, in the wilderness, where the shades become grottoes and trees forced apart rocks, where sun spilt on shallow pools bathing maidens used in virtue. He had never been a frightened man. Did we chase? Of course we chased. We lunged snapping at the shades, poked our noses into grottos, smelled him, tasted his spoor on trampled ferns and living leaves, ran. We chased. We chased the smell of fear the way he’d have us do, our voices rising over the shriek of birds, their scattering forms splitting the sunlight. Were we not born for this, his chase, his need for us?

And on four legs galloped the stag, strong, tall. On its lathered haunches rose the smell of the man, the frightened man, and we snapped. We barked. We roared like Cerberus divided, hearts beating with love, bloody love.

Were we not born to kill? We tore the stag apart. It went down, our teeth embedded in its fetlocks, my teeth deep in its throat. It moaned at us. Fear we smelled and, pervading it, pride. Were we not bred as his own, children of the man, loved by the man, the pride of the man, a pride unto ourselves? We chased, and we killed. We licked our muzzles clean of the deer’s blood and bent our noses to the forest floor. Where was Actaeon? His scent ended in our jaws.

As one we howled. We are doomed to howl.

05/22/2013

Act

by Pierce Nahigyan

After the premiere, Campbell found a dingy cafe and proceeded to smoke, viciously. He ordered coffee the best way they made coffee, when the waitress rounded his table to ask him, and lit the end of a fresh cigarette with the dying one. It was dark above the city, for the hour was late, but in the cafe’s drunk proof glass she was as bright as could be, lamplights and streetlights on and winking where the streets forked each other, taxis droning over the moist tarmac, and the patron’s eyes gleaming.

He pulled his notepad from his pocket and read over the evening’s notes:

Lincoln had a better night at the theatre.

He sighed. His scratchy shorthand marred the bottom half of the page with more ghoulish insights until he came to: “overblown, overhyped, overstuffed tripe that has been Collt’s forte since his mainstream debut, ‘My Heart It Ate a Can of Beans,’ was catapulted to national prominence? What we can say is that the director’s ingenue, Ms. Denning, was not in the mood to act tonight. Not that ‘Kiss Me, Barabbas’ was actable…”

The word “assassination” was written three times in the thin margin.

Campbell sniffed at the coffee they brought him. He stopped the girl that brought it by flicking his cigarette ash in front of her boots. She jerked to a stop. “How much do you make waitressing?” he asked.

She said, “Uh.” He didn’t blame her.

“Do you think you could act?” he asked.

“I am an actress,” she said.

“Oh really?” Campbell said. “What would I have seen you in?”

She named three or four plays that seemed to stress colors and exclamations. “Do you believe in a soul?” he asked.

“I’m more spiritual,” she said.

“Very well. How would you perform the line, ‘I do not love him. He is an evil man with no soul. He has no soul. He has no soul, I say. No soul. Do you hear me, Elohim? He makes me a woman. I am his soul. He has no soul, but I am his soul. Elohim!’”

She giggled and left him with his coffee. He watched her visit her tables inside and balanced the cigarette on his lip. Sure to bring a smile to your face, he wrote.

05/20/2013

Acrylic

by Pierce Nahigyan

When Uncle Davis passed away, we hung his hunting rifle in the parlor. We put up a shelf for his pipe and his spectacles. Together, the artifacts composed a triptych of our departed uncle. The fine smells, the mounted elk heads, his Sunday morning crossword, all things he carried with him on his person, were his remains, a fond tribute after his inevitable passing. Aunt Tabby is a solid woman but my mother keeps circling the parlor asking what’s to be done about her. She says we cannot hang her television remote or her novelty ash tray or her acrylic nails on the wall. People would say things. I ask her if people don’t say things about keeping Uncle Davis in a separate room entirely, but she says her brother makes a much better coatrack than he does a table.

Until the dog goes, Aunt Tabby will have to remain where she is. If my mother wants to quibble with our taxidermy she’s more than welcome to, but in the future she better plan her accessories first. Dad’s fishing pole was a fine relic after he passed out of the parlor, and the curl of his fingers made for a perfect umbrella stand. That’s how you plan ahead. If she wanted classier mementos for Aunt Tabby, we could have moved her to the garage weeks ago. We need a new step ladder. But we can’t get her in there until we have something suitable for the wall, next to grandpa’s knife and grandma’s snuff box. We respect the dead in this house, my mother says, and reminds me to use a coaster for my drink.

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