1600 c/o Rachel Lieberman


Steps for Demagnetization


William Gilbert's girlfriend contemplates distance.

Fact: When the opposite poles of two lodestones are brought together, they are attracted as if the space between them is so unforgivable they can't abide it.

William Gilbert used to pull grapes from a bowl and pop them between his girlfriend's lips, allowing his fingers to linger in the moistness a bit longer than necessary.

William Gilbert's girlfriend notices distance often lately.

She notices the distance between them increasing. When they sleep together, she swears he lies farther and farther away from her on the mattress. When they go out together, he stands farther away from her, sometimes hesitating to even touch her fingertips with his.

So she begins sneaking into his office. Even when he isn't there, it is comforting to know that there is some closeness between the two of them. By reading his notes, she absorbs his knowledge, and through that there will never be infinite distance. Over time, she notices the shrinking distance of the words and lines in his notes.

Fact: There is a natural position under which two lodestones will attract each other, and an unnatural position under which they will repel.

Through her secret office affairs, she comes to realize that “natural position” means the exact distance of two objects most preferable for favorable conditions, including the distances of all of their appendages. She sets about rearranging the furniture in the house day after day while he locks himself in his study, desperate to find the perfect positions for each and every object, including herself. Including William. She pushes the armoire to the left and turns every object on it counter-clockwise. She rearranges all of the dishes and utensils in the kitchen, stacking them in different sequences. Every day, the foyer rug moves an inch or two north.

There is a pull that she feels from the man, and yet the distance continues to expand at an exponential rate.

In bed, there is a universe between them. No body parts or clothing touch. Even their pillows remain completely separate of each other. She dresses in increasingly thinner garments, but it does not make him feel any more attraction to her. In fact, he seems further away. She reaches out for him in the dark, but her hand falls onto nothing but the cushioning. She hears him move, but it might as well be in the house next door, it seems so far away. She can't even feel him when his body shifts.

She continues to reposition the chairs at odd angles, which become increasingly bizarre every day. He does not seem to notice them. The loudest noise she hears from him is when he slurps his soup during dinner, which is in fact maddeningly loud. She makes the soup herself, in the hopes that it will create a theoretical closeness in the absence of physical closeness, but it has not helped. She taps her fingernails on the table. Every time they come in contact with the wood there is a satisfying clack. It is the closest she has come to any sort of satisfaction in some time.

Fact: Magnetic pole shifts can occur spontaneously.

How many times a day can it happen? Can you be sitting around, reading a book, and suddenly be propelled upside down because the poles have shifted? Is it a more subtle change? Could it be happening right now? Could it be happening all the time?

She finally decides to bring her own work to his attention. “I've rearranged things a bit.”

“Oh?” He looks up from his soup and glances around the room. “Oh, yes. Lovely.”

“What do you think?”

“Lovely.” There is a slight smile. His ears must be trying to attract the corner of his lips.

“How does it make you feel?” she presses.

A shrug. A mere raising of the shoulders. Then the slurping. Again.

The pole shifts could be happening when he's locked in his study. She could have found the natural position dozens of times, and she would never know it because it shifts before he comes out for the evening. She taps her nails.

After all, there had been natural positions before. Attractions so deep that he could scarcely stand to be away from her for a moment. Times when his hands couldn't decide which part of her to spend the most time on. She remembered being tantric with him; they might make love for days at a time.

Fact: Demagnetization is entirely possible.

If that is the case, she realizes, then there is an unmistakable loss and tragedy to it.

Fact: One way to demagnetize a lodestone is to heat it at an extreme temperature.

There was heat. More than a few times, when they would entangle limbs and her obsession was with how things would bend. She learned much about the flexibility of herself, of William, of objects. Perhaps her obsession should have been with temperature instead, so she would know to keep track of it, to make sure they did not overload themselves. But she hadn't.

His office is a sanctuary, and she has never thought to disturb the sanctity of it while he is there, but she must know now. Without knowing for the rest of the day, she doesn't know how she can bear it.

She opens the door without knocking. A sin in itself. Flesh touching metal instead of wood.

She peeks her head through the door. She tries to say his name, but the word gets lost in her throat. He hears the clearing of it instead and turns around.

“What are you doing in here?” he demands.

She walks towards him, and with every step, he looks more confused. It's as if the shrinking distance between them troubles him to his deepest point. Her confidence wavers.

“I asked you, what were you--” In infinite boldness, she kisses him, grabbing the front of his shirt so tightly she thinks that the fabric might have fused to her hand. She tries to force her tongue through her lips and then through his own, the way the grapes used to move so effortlessly. There is a barrier now. He shoves her away, and she struggles to maintain her balance before righting herself, trying to pretend like none of it had just happened.

He is speechless. She thinks, he might at least say something, might at least just turn around and we can forget about all this.

Then he wipes his mouth. He wipes all traces of her from his lips.

Fact: A demagnetized lodestone cannot be restored to its magnetized state.

1599 c/o John Minichillo


Hamnet’s Ghost


William Shakespeare reads a borrowed book in his furnished London room. He is part-owner in the company now and he needs a play. He becomes aware of the room, no longer immersed in the Amleth legend, and he remembers his son, who would be fourteen. What would the boy have thought of the new plays? It’s been three years and William Shakespeare wants to feel proud.


The advice of everyone, of Will Burbage and Thom Pope, is to divorce. Despite the Queen’s church and the national feeling, William Shakespeare is still too Catholic. He sees the Scandinavian tale updated and he crosses over to a foggy night at Elsinore with a message for his son: Amleth, Amnet. Hamleth, Hamneth. Hamnet, Hamlet. He needs to write.

He imagines his boy older and in anguish, at Elsinore. He remembers the hole at Stratford, his son in the ground. With his elbows on the table, William Shakespeare holds his face in his hands, and he returns to the book. He wipes his fingers on a kerchief and turns the page, the stiff paper of the volume lifted, the page flipped, and the suggestion of silence as the page comes to rest. The morning light through the open window, the river breeze. He reads and feels at peace. But halfway down the page William Shakespeare loses the sense of the sentences. He is restless. The chaos of London below his window, the breach of memory, the injustice of loss. He needs to write.

What is the password! Hark!

Have you seen the King tonight?

William Shakespeare saw his son, Hamnet, in a dream he can’t forget. William Shakespeare is the father-ghost and he doesn’t know what to say.

He closes the book and places it on the shelf. There is no poem, no play, no utterance for the feeling and he can’t write it.

He takes his jacket and his hat from the peg . His arms return to the sleeves of the jacket, accepted into the familiar cloth. He is the fanciful version of himself, the walking-around William Shakespeare. The air by the river will do him good. He will eat. The flag of his theatre is flying. From the balcony, he will watch the crowd.

1598 c/o Wes Schofield


Notes Concerning the Night Sky


Jepp fell asleep every night counting the stars. He would count them on his fingers and his toes, his mouth, two eyes, two ears, and his nose. Twenty-six was the largest number he knew, so after counting his nose star, he gave them names instead.

Astrid, Anne, Ariel, Ashley, Betty, Bonnie, Connie, Cara, Delilah, Denise, Gertrude, Penny, Polly, Wauneta, Yola, and Zoe, names of all the girls he once knew. Then having run out of human beauties he would count the sky’s brightest lightest by his favorite foods. Spaghetti, Chocolate Cake, Scrambled Eggs, Ice Cream, Coffee, Lamb stew.

Once he had turned the hottest suns of the universe into an earthly smorgasbord of tasty delights, he counted by shades of green he had passed earlier that day on his way into town to buy a stack of fresh paper. Deep green grass, Fresh leaf green, Fallen leaf green, Baby bud green, Caterpillar green, Mossy green, Painted green fence green, Darkest black dirty pond green.

He counted by games he knew, he counted by cities he’d been to, by the rhythms he could dance soft shoe dance steps to.

It was around a quarter to three in the morning when he finally had wracked from his brain every possible notion, entity, name, or miscellany he could use to tally up the points of fire dotting the endless black of the night. It was also usually around this time each night he would be sent by his master to brew a fresh pot of coffee or tea. So, once having set a steaming mug on his master's table, being most careful not to spill a drop on one of the sheets filled with precious calculations, he would reclaim his spot in the tumble of hay below the massive tube containing the lens and other fine instruments capable of refracting from deepest darkest depths of our universe a small dot of visible light, and return to his sleeping ritual starting this time with pure nonsense gibberish.

Bock, Tock, Wick, Wock, Spic, Spoc, Trink, Zock, Zum, Grum, Plim, Trum, Voe, Koe, Krue, Cho. He rhymed like this, in a sing-song way, as a warm up to more complicated bit of meaningless twaddle. It was too difficult to carry on with monosyllabic rhyming gabble for more then five minutes without repeating oneself.

Chinto-soramorainian, Yegaldinarin, Togosh-myincantarue, Flimall, Duckrald, Nickra, Waza-ra-ra-ra-ru-hingto-clo-clu-bymaruchybabou.

Now although Jepp - a simple, uneducated, midget-servant-jester to master astronomer Tycho Brahe - had no precise way of knowing it, Waza-ra-ra-ra-ru-hingto-clo-clu-bymaruchybabu was also the last entry in his master’s catalogue listing the positions of 1,004 stars published early that year.

Tycho Brahe gave star one thousand and four the name three-k-Centauri, noted its location as two hundred and eleven degrees, three minutes, zero seconds and marked it’s dimness as a five.

Jepp noted the location of Waza-ra-ra-ra-ru-hingto-clo-clu-bymaruchybabu as 'two hand spans next to my nose over the biggest Fresh leaf green tree'. Its colour was that of a stack of fresh clean paper delivered on a Wednesday. He also made note of its twinkle, something Tycho Brahe had not. A very pretty blue sparkly twinkle, not as dim as Scrambled Eggs, but not quite as bright as Ashley on a dark snowy night.

1597 c/o Carrie Lorig


Hideyoshi’s army brings back 38,000 ears and noses
from Korea and receives payment.



We are trying to meet the demands on the back of the cereal box. “Send in as many ears and noses as you can carry, and we will give you a grain of rice that can decode messages from the Gods or a new Samurai helmet with detachable X-ray goggles,” says Hideyoshi, who has been the voice of Tony the Tiger on TV since the end of the Seongoku period.

*

Men lay on the deck with their headphones on in the cool air before sunrise. Could I get a Korean princess instead, I wonder. A she of spidery language, peppery soups. I don’t know what kind of extra UPC codes or shipping and handling that would require. In the ship’s pantry, I begin ripping off soup can labels and disguising box tops as prayer cards.

*

A farmer tries to run in galoshes. One or two of the words he shouts to his wife I recognize from the subtitled Korean dramas I’ve left on while absentmindedly writing poetry.

Che-song-ham-ni-da. The more intense version of I’m sorry.

The paddy is cold for July, and I shake while we take a picture with the dead bodies. We smile and hold our fingers into enthusiastic Vs as bits of rubber floats around us. Mori makes scissor motions near the farmer’s nose.

We leave them propped up like scarecrows, so the plants will continue to grow unharmed.

*

As I clean my share of the body parts and pile them into banded stacks, I remember my last game of skee-ball in Tokyo. The alarm sounded. Everyone watched as the tickets exploded into my arms like bats flying out of a cave. I clutched their lightness until I slid them across the counter and received something much heavier in return.

1596 c/o Roy Scarbrough


Hamnet's Ghost


Having lived in Stratford-Upon-Avon all her life, Molly had seen each of the plays at least once, including Coriolanus. When there were unsold tickets available for donation, someone at the home would take her in the van over to the Royal Shakespeare Company theatre. She liked them all.

Some mornings Molly would skip her meds and put on her sensible walking shoes, then slip out of the home on her own, usually during shift changes. She didn't always go to the theatre. In the peak tourist season, there were hardly ever tickets. Still, Molly enjoyed talking to the tourists gathered at Shakespeare's grave in Holy Trinity Church.

Molly struck up these grave-side conversations by asking, "How many of the plays have you seen?" That was the ice breaker. And then, a little later, she would say, "Oh, I know a whole lot more that just what's in the plays." Sometimes her voice rose inappropriately. "I know all his family, and its secrets, and there were some good secrets too. " It was true. Molly knew the secrets behind the names in the genealogy, the dates, births, deaths, marriages, the brothers and the sisters, the children, the jailings, the fines, what was in the documents. Molly was what they called a prodigious savant. That's how they had it down in her chart notes at the home.

"You know, William hated his father," she would say after she had their attention. "The worst of it came out when Will's only son of sorts died. Poor little Hamnet." Next, the rest of it would start pouring out. "The boy was eleven then. The year, 1596, August, a busy, busy time too for Will, who was in London working on Merchant of Venice, Henry IV, parts one and two. He came up from London for the funeral."

"Come with me," she would say to the tourists. "I'll show you the sights. Have you been to John Shakespeare's house on Henley Street? Will was born there, 1564, and this is where Will's wife and children were living when he was producing plays in London, all under the same roof as John Shakespeare, the father Will so hated."

The Vicar and his staff at Trinity knew her ways. They would cut her off when she was too much of a nuisance. "Come Molly. Time to go. We'll call the home for you. How about waiting outside for the van like a good girl?"

Molly didn't always wait for the van. Sometimes she walked over to the river at Avonbank Gardens to visit the swans. When she arrived, she noticed two men were sitting on a bench overlooking the water, one older than the other, possibly father and son. Ages 60s and 30s. Not talking. The younger man sat with his arms folded at the chest, the older rubbed his knees with the palms of his hands. Molly saw none of the usual back and forth conversation one would expect among friends or family on an outing. Molly decided that these men didn't like each other, but some sense of obligation must have lead them to go on this outing together.

A small herd of swans climbed the bank and waddled past the bench toward Molly. "Hello my babies!" she said. "Hello, Gertrude, Judith, Will, John, Mary Arden, Susanna, Hamnet and Anne Hathaway."

"Look, she's named them," said the father. "They seem to know her. Pretty funny, huh?"

The son didn't appear to find anything remarkable or amusing about the lady and her swans. He continued to gaze across the river, his eyes following a couple in a row boat. "Maybe it's time to go, Dad." By that time, Molly had already started walking toward the bench with the swans following her. "I really think we should go now," the son insisted.

"No, lets stay." Now it was father who was insistent. "I'm sure she's harmless." Then turning to Molly, "Which one is Hamlet?"

"Not Hamlet," Molly said, "Hamnet. He was only eleven when he died. William had to come all the way up from London for the funeral, August, 1596," The son crossed his legs and angled away, keeping his back to his father while pretending again to be engrossed with the boaters.

"Are we going to go or not," said the son without taking his eyes off of the river.

The father ignored his son, and then egged her on some more. "Well Hamnet sounds pretty close to Hamlet. Do you think there's a connection?"

"Oh, my yes!" said Molly. "It is the key to the family secret and the secret is the key to the play. The play's the thing." Molly glanced about, checking to see if anyone else my be in listening distance. "You see, Will left his wife and children behind when he was in London. Anne Hathaway lived in John Shakespeare's house. His father's house. Under his thatch. John liked them young. Need I say more?"

"So that was some family secret?" said the father. The son rolled his eyes, and slid to the end of the bench to sit with his back to them.

"Yes, and as surely as one can prove a thing by algebra, one can prove that Hamnet was both Will's half-brother and his stepson, and that Anne Hathaway was both his wife and step mother, to whom he eventually left his 'second best bed', like it says in the will, April, 1616."

The son unfolded his arms and pivoted back. "Look, this is preposterous," the son said. And then, addressing Molly, "Now I suppose you'll claim this has something to do with the play? Seriously?"

"Why yes," said Molly. This is were she talked about how William Shakespeare played the part of Hamlet's father's ghost. "See, a year after Hamnet died, Will was the ghost, and up there on the stage every night addressing his son. "A grieving man is a ghostly man," she said. "Pity me not, but lend thy serious hearing to what I shall unfold," Molly said, ghoulishly reciting the lines, forcing her voice into the lowest registers.

"That's it. I'm leaving," said the son. The son had already walked twenty paces toward the edge of the park, when the father finally rose to catch up with his son.

"Goodbye, Swans," the father said. "Goodbye, Madam."

Molly's attention returned to the Swans. "Ok, ok, my babies, lets see what's on the menu today," Molly said as she lead the swans to the nearest trash bin. She lifted the lid and retrieved a half cucumber sandwich. The swans jostled about her feet as she separated the slices. She tossed them their broken pieces. Heads wobbled over an ensemble of white question-mark necks.

1595 c/o Nicolle Elizabeth


Puck gives you the finger from the future because he is in the middle of being written in 1595, also in 1595 January 29 or January 30 William Shakespeare’s play Romeo and Juliet is probably first performed. May 24 1595 the nomenclature of Laiden University Library appears - which is the first printed catalog of an institutional library. Later William Shakespeare’s Romeo and Juliet will sit in that library so will Puck duh, bitches.


It was the foreshadowing that got to me. Who knows what length are the depths in these murky waters? I will tell you this: It was cold and there was algae everywhere. What do we have here in this Romeo and Julieta? We have the hero the heroine we have the seer, we have some villains, we have some outlying characters, we have some legends. (Queen Mab, for example.) This is she. I rode a gnat to your pillow so I could whisper nightmares into your ear and wow are my gnat’s arms tired. But what is it you’re wanting here? Our hero and heroine spent the entire love story worrying about the foreshadowing. Every two pages it was all, What trouble befalls this worried mind? Tonight in the stars I see some misshapen events not yet played, etc. What is the point of all the yadyadyada? Be like, me, get the finger from Puck. Comedy drums: BADUMCHING. *cue lights, thank you, thank you.

-or-

Some worry befalls this troubled mind I know not yet what instances will occur but I am certain there will be days when I have failed you.

1594 c/o Marta Q.


MAN


Sometimes MAN kills his sons. At one point, MAN has a lot of sons, but later he has fewer. At one point, MAN has two hands, but later he has fewer. GIRL is the only daughter of MAN. At one point, GIRL moves around and is in love. MAN kills GIRL too eventually. MAN cuts off one of his hands to save two of his sons but his sons die anyway. The person GIRL loves is killed and GIRL is raped. After she is raped, the tongue of GIRL is torn out and both her hands are cut off. This is done by the two sons of WIFE. MAN kills the two sons of WIFE and cooks them. He serves them to WIFE and HUSBAND. WIFE and HUSBAND eat them. MAN screams in the face of WIFE and tells her she has eaten her children and kills her. HUSBAND kills MAN. MAN’s last remaining son kills HUSBAND. END.

1593 c/o Jess Dutschmann


siege



I've seen something, maybe,
but now
under the subway chandelier,
can't remember anything.

I think I was--

before
called to the western end

before
the pyramid stood
above
my collapsed breastbone.

1592 c/o Alice Kirschbaum


Caravaggio paints children. Caravaggio paints fruit.


Caravaggio paints himself arriving in Rome, naked, looking around. He lies on the ground for a while, gets up and looks around, shouts and coughs, finds someone, asks where he can go to paint.

Caravaggio paints himself walking to the gallery every day. He walks into the gallery, says "good morning" and goes to his corner. He is paid to copy famous paintings so the copies can be sold. He walks into the gallery and goes to his corner. He faces the canvas and closes his eyes. He thinks about his life getting smaller and smaller. Sometimes the monsignor walks over to his corner and Caravaggio quickly copies the paintings he is supposed to. He goes to his corner. He paints fruits and flowers.

Caravaggio paints himself being given money to paint things he does not want to paint. At night, he returns to the gallery and paints things he does want to paint. When he has a day off, he sells his paintings in the street. He looks around.

Caravaggio paints himself alone at the gallery, looking around, pouring paint out of a window onto the heads of policemen below, saying “scum” to himself.

Caravaggio paints himself getting to the gallery in the morning. He does what he is told. He looks around. He paints quietly when the monsignor is near. The monsignor tells him to paint more. He paints more. His heart becomes a bergamot. He thinks about painting a bergamot. His heart is being peeled by a child. He looks around. He thinks about black moths emerging from his pockets, trying to fly. He paints hungry lizards hiding in bowls of fruit.

Caravaggio paints himself painting, getting bored, painting over it, getting bored, painting over it.

Caravaggio paints himself working every day for a fortnight and then being paid. He takes his money and leaves the gallery. He goes and drinks wine and finds people to fight. If he has to paint himself killing someone he will.

Caravaggio paints himself waking up, lying on the ground, getting up, looking around, naked. The monsignor has given him a slave. When Caravaggio is naked, his slave carries his sword and some paintings to sell.

Caravaggio paints a man making a joke about Caravaggio’s footwear while looking into the eyes of the woman Caravaggio is with. Caravaggio cuts holes in the man’s cloak, pushes over a table and runs away.

Caravaggio paints himself being given nothing but green food by the monsignor for one month. He paints himself eating nothing but green food for one month. He paints himself slitting the monsignor’s throat. He calls the monsignor ‘Mr Salad’ very quietly. He paints himself putting a pitchfork through the monsignor’s neck and screaming in his face. He goes to the gallery and paints flowers and fruit and eventually he can leave.

Caravaggio paints a young boy peeling fruit. He paints people dying and being killed or tortured or beheaded. He does this until he is the Pope’s favourite artist. He drinks wine and paints himself painting himself slitting the Pope’s throat.

Caravaggio paints himself throwing a plate of asparagus at the head of the waiter who is walking away from his table.

Caravaggio paints himself slapping his own face, saying "I work in a factory, I work in a factory, I am going to die." He punches himself and says "wait, what am I doing?" Caravaggio looks around and smashes his hand through a plate covered with green leaves that has been left there for him to eat.

Caravaggio paints himself painting children. He paints himself carrying a sword beneath his shirt. He drinks wine. He paints himself having sex with his slave. He paints flowers. He paints himself playing tennis and losing and stabbing someone through the heart and he paints that person dying slowly.

Caravaggio paints himself never preparing to paint, crying, quietly saying “my life still doesn’t exist”, and then painting children and flowers and fruit. He paints over the same painting again and again until it is time to go home until it is time to come back.

Caravaggio paints himself falling sideways off a stool, lying on the ground, standing up, looking around, being told he cannot buy any more wine, being asked to leave, a guard grabbing his arm, Caravaggio slamming a fork through the guard’s cheek, the guard screaming, Caravaggio screaming and running, his slave screaming and running.

Caravaggio paints himself working solidly for a fortnight and then drinking wine and playing tennis until he runs out of money. If he has to paint himself killing someone he will. Caravaggio paints his slave carrying his racquet. Caravaggio walks from place to place and screams at his slave for two months.

Caravaggio paints himself returning to the gallery. The monsignor is there. Caravaggio is tired. He paints himself never preparing to paint. He paints the monsignor walking slowly around the room. He paints himself looking around and then painting children and flowers and fruit until it is time to go until it is time to come back.