Art, Poetry, Uncategorized

The Blank Canvas

​CHARACTERS:

  • ​CHARLIE: Wearing a yellow shirt with a black zig-zag. Sitting on a wooden crate.
  • ​LUCY: Standing beside a small wooden booth.
  • ​LINUS: Lying on the floor, wrapped in a faded blue blanket.

​SETTING:

A stark, open field. A single bare tree stands in the background. A tiny wooden booth sits stage left with a hand-painted sign: THE DOCTOR IS IN (OR OUT).

​[SCENE START]

​(CHARLIE sits slumped on an overturned wooden crate, staring blankly ahead. LUCY stands near her booth, mechanically adjusting a small paper cup. LINUS lies flat on his back on the ground, his face completely covered by a worn blue blanket.)

​(A long, heavy stillness. A cold wind whistles once.)

​CHARLIE:

The leaf fell.

​LUCY:

Which leaf?

​CHARLIE:

The last one. It was brown. It hovered for a moment, suspended between the branch and the mud, then it surrendered to gravity. Now the branch is merely an line drawn against a gray sky.

​LUCY:

Everything surrenders eventually. That will be five cents.

​CHARLIE:

I haven’t asked for advice.

​LUCY:

The fee is not for advice. It is for the presence. I am standing here. You are sitting there. The five cents acknowledges the distance between us.

​CHARLIE:

I have no coins. My pockets contain only lint and a small, smooth pebble I picked up in July.

​LUCY:

Then you are in debt to the atmosphere.

​(Pause. LINUS shifts slightly under the blanket. A muffled voice emerges from beneath the fabric.)

​LINUS:

The weave is thinning.

​CHARLIE:

What weave?

​LINUS:

The cotton. If I hold it up to the light—if there were light—I can see the individual threads separating. It was once a barrier. A wall against the morning. Now it is only a grid of tiny holes.

​LUCY:

Throw it away.

​LINUS:

(From under the blanket)

If I throw it away, the air will touch my chin.

​LUCY:

The air is already touching your chin. You are simply pretending the thread counts for something.

​CHARLIE:

I tried to kick the ball this morning.

​LUCY:

There was no ball.

​CHARLIE:

I know. But the motion was required. I ran three paces forward. I reached the spot where the sphere ought to have rested. I swung my right leg with great intention.

​LINUS:

And?

​CHARLIE:

I fell on my back. I lay in the clover for twenty minutes, staring at the ceiling of the world. My lumbar region aches.

​LUCY:

You always fall. It is your primary function. If you kicked the ball, the sequence would break. The world depends on your back hitting the grass.

​CHARLIE:

It seems a heavy responsibility for a boy in a zig-zag shirt.

​(LUCY walks slowly to her booth, sits down on a small stool behind it, and rests her chin in her hands.)

​LUCY:

Look at this booth. Four boards. A box. A sign painted with leftover blue enamel. People come to the window. They present their small, round grievances. “I am lonely,” they say. “I am confused by the twilight.” And I tell them to pull themselves together.

​CHARLIE:

Does it help?

​LUCY:

It passes six minutes. Then they leave, and the wind returns.

​LINUS:

(Lowering the edge of the blanket just enough to expose his eyes)

Do you know what is behind the fence?

​CHARLIE:

More fence.

​LINUS:

Precisely. An infinite succession of wooden slats, painted white, rotting quietly at the base where the soil stays damp.

​CHARLIE:

I had a dog once.

​LUCY:

You still have a dog. He is sitting on top of his house right now, writing bad prose on a mechanical typewriter.

​CHARLIE:

No. That is an idea of a dog. A real dog stays on the ground. A real dog barks at the mailman. Mine simply stares at the stars and imagines he is an aviator. He refuses to acknowledge his own paws.

​LINUS:

Perhaps he is wise. Paws tie you to the earth. If you believe you are in the clouds, the mud on your belly feels like a cloud too.

​(Silence. CHARLIE reaches into his pocket, pulls out a small, flat gray stone, and turns it over in his fingers.)

​CHARLIE:

Smooth. Unremarkable. It has no opinions.

​LUCY:

Give it to me.

​CHARLIE:

Why?

​LUCY:

So I can drop it into my tin cup. It will make a pleasant sound. A short, sharp clink. Then we can move on to the next silence.

​CHARLIE:

(Hands the stone to Lucy)

Here.

​(LUCY drops the stone into an empty tin can on her desk. CLINK. The sound dies instantly.)

​LUCY:

There. It is done.

​LINUS:

Was it satisfying?

​LUCY:

It was brief.

​CHARLIE:

The sun is setting behind the schoolhouse.

​LINUS:

It isn’t setting. The earth is merely tilting away from it, turning its cold shoulder to the furnace.

​CHARLIE:

A matter of phrasing. The result is darkness.

​LUCY:

We should go inside.

​CHARLIE:

Inside is just a larger box.

​LINUS:

(Pulling the blue blanket back over his face entirely)

The blanket remains. It is thin, but it has a border.

​CHARLIE:

Good grief.

​(The light fades to a dark, uniform gray. The three figures remain completely motionless.)

​[SCENE END]

Art, Poetry

What I Really Wanted to Say to You Today

I like the shiny soup cans.

Yoko Ono sits in silence.

Everyone drinks the same soda.

Yoko Ono whispers to the sky.

Her hair is super yellow.

Yoko Ono wrapped in white.

The machine does the work.

Yoko Ono cuts the canvas.

Dollar bills look so cute.

Yoko Ono listens to the wind.

Everything is flat and perfect.

Yoko Ono holds an apple.

Sometimes it smears a little.

Yoko Ono screams at morning.

People talk way too much.

Yoko Ono watches the cloud.

Plastic boxes on the floor.

Yoko Ono stamps the paper.

Buy a gorgeous pink painting.

Yoko Ono says that’s hot.

Uncategorized

Clean Girl

“I’m telling you, it’s probably just a rare form of dermatitis,” the voice on the speakerphone crackled. “Until we get the biopsy back from the lab, I’d suggest avoiding any harsh chemicals. Just keep her skin hydrated with a neutral moisturizer.”

Mrs. Troyer leaned against the kitchen counter, staring at a stack of unpaid medical invoices that had become the new centerpiece of her dining table. The house was quiet, save for the hum of the refrigerator and the distant, rhythmic thumping of her son, Ian, playing with his blocks in the living room. She had spent the last three weeks cycling through a Rolodex of specialists—dermatologists, rare disease experts, even a nutritionist from a university in Switzerland—and each one had sounded more confident than the last before eventually falling silent.

“Wait, Dr. Aris, there’s something you aren’t addressing,” Mrs. Troyer interrupted, her voice trembling as she paced the narrow strip of linoleum. “The texture. It’s not just a rash. When I touch her arm, it doesn’t feel like skin anymore. It feels like… wax. Or a bar of soap that’s been left in a dish of water for too long.” She paused, listening to the silence on the other end of the line. The doctor sighed, a sound of genuine pity that felt more like a eulogy than a diagnosis.

“Saponification usually requires a very specific set of alkaline conditions and fats, Sarah,” the doctor explained softly. “Biologically, it’s nearly impossible for a living human to undergo this process. Please, just try to keep her calm. I’ll call you as soon as the pathology reports arrive from the lab.”

In the living room, the thumping of the blocks had stopped. Ian, barely six years old, had wandered toward the hallway where Ava sat perched on a stool, staring blankly at the wall. Ava hadn’t spoken in three days, but she hadn’t stopped smiling—a wide, frozen expression that seemed to be hardening into her face. To Ian, his sister looked like she was turning into one of the fancy sculptures they had seen at the museum, white and shimmering and smooth. He remembered how his mother always told him to help his sister get clean, and he wanted to be the “big helper” today.

“I’ll help you, Ava!” Ian chirped, his voice echoing through the hall. He grabbed her hand—which felt strangely slick and slippery, like a piece of polished marble—and began tugging her toward the bathroom. Ava didn’t resist; she couldn’t. Her joints had become viscous and sluggish, her movements slowing to a glacial crawl as the cellular structure of her body shifted into something chemically distinct. She let out a soft, wet wheeze, a sound like a bubble popping in thick syrup, as Ian guided her into the walk-in shower.

Mrs. Troyer was still on the phone, arguing with Dr. Aris about the necessity of an immediate admit, when she heard the click of the shower handle. Then came the rush of water. At first, it was just the domestic white noise of a bathroom routine, but then a sound pierced through the walls—a high, thin scream that didn’t sound quite like a human voice. The gurgling mixed in the primal scream froze Sarah mid-sentence.

She dropped the phone, the plastic clattering on the linoleum, and sprinted toward the bathroom. She burst through the door just as Ian was stepping back, looking proud of himself. He was holding the showerhead, directing a steaming, high-pressure stream of hot water directly onto Ava’s shoulder. Mrs. Troyer gasped, her knees nearly buckling. Where the water hit Ava’s skin, the “wax” wasn’t just melting; it was lathering. Thick, iridescent bubbles were foaming up and sliding off her shoulder in great, soapy clumps, carving deep, hollowed-out craters in her flesh. The skin was sloughing off in translucent sheets, revealing a raw, glistening interior that continued to dissolve into creamy suds as the water continued to pour.

“Stop it! Ian, get away!” Mrs. Troyer shrieked, lunging forward to kill the water. She grabbed Ava, but as she pulled her daughter out of the stream, her hands slid. Ava was no longer a solid shape; she had become a semi-liquid mass of curdled fats and alkaline salts. A large portion of her cheek had simply washed down the drain, leaving a cavernous hole that exposed the white of her jawbone, yet the eye above it remained wide and blinking.

The horror was not in the loss of the skin, but in the vitality that remained. Ava’s remaining eye tracked her mother’s face, brimming with a terrifying, lucid consciousness. She tried to speak, but instead of words, a thick, pearlescent foam bubbled up from her throat, spilling over her lips in a slow, viscous stream. She was still there, trapped inside a body that was actively turning into a slurry and airy froth of bubbles, feeling every second of the erosion.

Mrs. Troyer collapsed onto the bathmat, clutching the shimmering, curdled mass of her daughter. The silence of the room was heavier than the noise had been, filled only by the wet, rhythmic sliding of Ava’s remaining flesh against the porcelain. Mrs. Troyer looked at the floor, where a pale, creamy slurry of Ava’s shoulder had collected in a puddle, swirling slowly toward the drain. She looked back at Ava’s face—the blinking eye, the exposed jaw, the bubbling foam that pulsed with every desperate, silent attempt to breathe. The sight was an affront to nature, a grotesque sculpture of lye and lipids that shouldn’t exist, yet was somehow still thinking, still feeling.

A sudden, perverse thought flickered in her mind. The raw, exposed nerves of the cavernous hole in Ava’s cheek were twitching, and Mrs. Troyer could see the agony in that single, wide eye. The air hitting the exposed interior was clearly a torture. She looked at the shower handle, then back at the slurry on the floor. The water hadn’t just destroyed her daughter; it had smoothed her. Where the stream had hit, the jagged edges of the melting skin had become rounded, polished, and clean. The foam was a blanket, a warm, chemical shroud that seemed to soothe the very erosion it caused.

The phrase “bring it to an end” had always been a directive of mercy in Sarah’s mind, usually reserved for dying pets or the final, heavy silence of a hospice room. Now, it was a frantic, chemical imperative. As she stared at the bubbling foam of her daughter’s cheek, Sarah realized that the only way to stop the erosion was to complete the reaction. The saponification was an unfinished process, a slow-motion collapse of biology into chemistry. To stop the agony of the transition, she didn’t need a doctor; she needed to finish the process.

With a trembling hand, Sarah reached back and clicked the shower handle back to “hot,” guiding the stream not with a panicked jerk, but with a deliberate, steady precision. She didn’t look at Ian, who was watching with a confused, wide-eyed curiosity from the doorway. She focused entirely on the slurry of Ava’s shoulder, then the torso, then the legs. She watched as the high-pressure water stripped away the remaining vestiges of human skin, turning the scream in Ava’s eye into a look of profound, shimmering relief. The pain was being washed away, replaced by a sterile, scentless smoothness.

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