Thursday, February 2, 2012

Snow Painting

Story for the Snow Blogfest Hosted by Roh Morgan: Snow Painting

     Thick fuzz coated John’s teeth and his breath tasted like he ate a hot pocket and a tub of stale pretzels the night before. He glimpsed the kitchen’s TV as he staggered to the bathroom. Fanatics waved signs and shouted end of days predictions. December 21 and John wondered if they were let down when they woke up to a still spinning world this morning. He supposed they’d say the day was not spent yet.
He passed the studio door and stopped to look at last night’s work. A bright array of reds and oranges covered the canvas in a sweeping arc. He listened. He knew true art would speak for itself. Nothing. He tried to ignore the letdown. An artist did not give up.
John knew he could paint. He’d done it before—really done it. Before, he’d paid the bills painting copies, but one night something special happened. That night he woke up all at once, not gradually, but instantly and completely. His fingers itched and his mind hopped along, from image to image in an art gallery he hadn’t yet created. He climbed from bed, careful not to disturb Becca, though he wanted to share his excitement with her.
John put on headphones, turned up what Becca called his angry music. The colors seemed to mix themselves. His hands seemed to move of their own volition. He wondered if religious fanatics felt this way. The whole time he imagined Becca’s face when she saw it. It was a trance, a trip, and he finished in a daze. That painting had not spoken, but sung. It sung and he waited for Becca to wake up. Never before had he felt such a high. He lay back on his chair, covered in paint, and heard a crash from behind. Becca walked past him, staring at the painting, a shattered cup in pieces on the floor as coffee soaked into the carpet.
That painting sold at auction for a cool hundred grand. The paper’s art review, written by none other than Barty Winchester, had praised the piece:
Compelled by the pulsating beat of the beautiful, wondrous, and horrific relentlessly butting clandescent heads, the work creates compositions of breathing life-like accumulation.
A meager budget gave John a year and a half to try and do it again, but nothing sang. Though a few had whispered to him, had sold for a pittance to local hotels.
This new painting remained silent. He imagined Mr. Winchesters evaluation:
Nothing but so much dross, a wasted stretch of depressed canvas, yearning like the duck to be a swan but brutally dispatched before the flowering of maturity. They say great artists sell their souls, but this painter unfortunately sold his talent.
He closed the studio door and sighed.
If only he had more time. Between a rotating shift at the hospital and his family, time to paint was rare. Last night his wife, Becca, wanted to watch a movie. As if he had time for movies or reality TV.
“How much time do just you and I have, John?” she’d asked him, “Let’s do something—play a game or watch a movie, I don’t know.”
“I have to paint. I haven’t painted anything for a month. I can’t be a painter if I don’t paint.”
Not a new conversation. John knew he shouldn’t blame her. In truth John spent more time finding animal shapes in the studio’s ceiling texture than painting. He knew writers could get blocked, but hadn’t considered it could ever happen to him. He needed routine. Sometimes it seemed like Becca resisted whenever he wanted to spend more time is the studio.
“You go back on shift tomorrow and we hardly see each other. I thought we could have some you and me time.” She smiled at him, laid a hand on his arm.
“Why is it that you won’t let me work, Becca? You don’t think I can do it? You said you’d support my dreams.” Using such cliché words and it made him angry.
“You had two hours to paint earlier and you played Mario Kart instead. You’re always doing that. I told you to go paint.” She was right, damn.
She watched TV while he stewed at a blank canvas. Finally he forced himself to do something.
Not a very good something apparently.
John stumbled onward to the bathroom. Locked. Damn. He could hear the shower. Why did she have to lock the door? He went back to the bedroom, put on slippers and robe, went out back.
It hurt to breathe the bitter cold air. New snow blanketed the yard. The breeze made the light crystalline snow swirl around his calves. John pulled down his boxer shorts and a yellow arch steamed in the frigid air.
He sighed, shivered. The stream shivered too, painting the white snow with yellow dots.
Sirens whooped in the distance, someone screamed. John looked skyward and forgot all about the pee shivers. The chill grey world made a horrible, stark contrast to the fiery red streak in the sky. If a Balrog mated then that might be what his sperm looked like. Some part of John’s mind recognized the comet for what it was, but the rest remained dumbfounded.
Talking paintings suddenly seemed ridiculous. He’d imagined dying young, dreams unfulfilled but those thoughts did not reoccur. Only Becca. He pulled up his boxer shorts and looked down at his best, most important artwork. Barty Winchester’s voice narrated evaluation:
The canvas of fresh snow clashes wonderfully with streaks and splashing puddles of dank yellow simultaneously bringing to mind the florescent dinginess of a public restroom and the frailty of mankind. But what gives it that certain beat, that visual rhythm, are the scattered droplets caused by the pee shivers, acknowledging the savage garden that is life, the randomness of existence. And the perfect offset to natural beauty? The slipper print marring the biggest yellow splotch, saying, “I am man, behold my print,” even while the work’s admirer knows print and painting will eventually melt, causing the overall reaction and inward reflection: what is really important?
It spoke to John, it yelled at John, screamed her name. He ran into the house and one slipper left yellow-wet prints on the kitchen linoleum. He faced death but didn’t think of silent artwork. He remembered the first time he’d seen Becca in the library. He remembered her smile when he proposed. John found her dressing in the bedroom and kissed her.
“I kinda like you, lady,” he said, “and I’m sorry I blamed my silent paintings on you.”
She laughed, “I know you’re stressed, John. Don’t worry so much. I’ll always talk back to you,” and she punched his arm.
Later in the afternoon John and Becca watched an American warhead collide with the comet. 
“Silly Aztecs.” John said.
“The Mayan’s, hun.”
“Oh yeah.”
They turned to go back inside. Becca took his arm and kissed his cheek, “I can clean up. Maybe you should go paint,” she said.
“Maybe I should just hang out with you. I’ll paint when he goes down for bed.”
John led Becca inside.
After December 21, 2012 John thought of Becca, his paintings spoke, sang, and worshipped Becca, and although he never knew it, Barty Winchester repeatedly praised her in the art column.

Tuesday, January 24, 2012

My Legal Will

Death is no respecter of age, therefore I write this will on this the first day of March, 2010, in the twenty fourth year of my life.

The first orders of business are, of course, the funeral arrangements. I trust that these details will be followed meticulously by loved ones left behind.

To start with I would like to address my post life wardrobe. It is my wish to enter the incinerator wearing a white smock with a hole sewed in the middle to properly display my Tom Selleck tattoo with its nipple to nipple long mustache.

Secondly I want a man of African descent, preferably one who spent his childhood in the broncs, to do my hair and touch up prior to both the viewing and the incineration. I request this not as an advocate of equality, but because I want my limbs arranged in a particular gang sign which will be revealed to him via a sealed envelope.

Thirdly are the floral arrangements, if they can be called “floral.” I would like dried mangos to be scattered all over my body like falling rose petals, and around my neck shall be placed a garland of green tinted, under ripe bananas. This arrangement will be carried out for both the viewing and the incineration. I would like this task to be performed by some local orphans.

Number four; as indicated above I would like to be incinerated, body, fruit, tattoo, smock, and all. The only exemption will be my thumbs and my tongue, for reasons that will be revealed shortly. The following instruction is to be kept strictly confidential: I would like my dear sweet wife, AnneMarie, to secret my ashes into the funeral parlor and use them to fill the salt and pepper shakers of said house of death. This will be done in order to ensure that all attendees leave with a bit of me to take home with them. And as an added bonus, by virtue of the fruit content of my ashes, all will be cured of the constipation caused by the chili and funeral potatoes that will be served.

I believe that concludes the funeral arrangements, which leaves the accounting and distribution of all I possess to be dealt with.

First and foremost I would like to leave my inability to grow a decent mustache to Shad Seitz, who is ahead in that department.

Second is my sense of accomplishment. This I would like to leave to my dear cousin, Shane Tye, who, to my knowledge, has accomplished nothing.

Third and fourth are my senses of humor and direction which go to Christopher Tye, that he may laugh when he can’t find his way.

Fifth item shall be my utter sense of serenity and calm while in traffic. This I leave to my Uncle Mark, who needs it badly.

Number six: I leave my ability to count to Matthew Glaittli.

Tenth item is my conscience. I would like to leave this encumbrance, this tie to reality to Rachel Inkley, so that she can have a bit more room to breathe…

To Jeffrey Maw I leave the seventh item; my thumbs. What greater gift than an extra thumb for each hand? If our single set of thumbs set us apart from the lower life forms, than surely this act will set Jeff above all living, earth bound creatures.

Eighteen: I leave my tongue to Elizabeth Glaittli, so that she can say something that is not a movie line.

Last, but certainly not least I leave my children to my loving, beautiful wife Anne, to love, support, and pay for, without my help. Good luck and sorry babe. This is my last will and testament. Remember, I live on in you. Literally.

Mitchell Inkley

Saturday, January 21, 2012

Rejection by Post

The reason for naming this blog the way I did was two fold (discounting the not so clever pun). Firstly I wanted a place to post the letters I write when I feel uninspired. I write letters when I'm uninspired and stories when I am (thus conveniently providing an excuse when the letters are sub par). So I write these letters and I put them in the post when possible. Obviously there was nowhere to send Audrey Hepburn's letter. I sent the letter to the Pope to the Pope. On the envelope I wrote:
The pope
The Vatican
(In the midst of Rome)

And I covered the entire thing in stamps. He never wrote back. I sent the one to Gandolf and wrote The White Havens for the address. Anyway, that is the first reason for naming my blog thus.

Secondly, which is to say first and foremost (figure that one out!), this is the blog by and about a writer who wants to do what he loves professionally and one who apparently refers to himself in the third person. One bain of aspiring writers are rejection letters received by post. At first they were all form letters. Then about the time I had to trade a paper clip for one of those big black paper clamps to keep them all together I got my first personalized rejection. A meager helping of acceptance has given me hope but the rejections keep coming and I've had four or five personalized No's. These personalized rejections are actually better because they are from quality magazines whereas the acceptance has come from a more local source. Anyway, some of the rejections were amusing and so I will post them here.

The first personalized rejection was for the Pope Letter:

Well Sir,
I've seen the application--and it says you have to have produced
at least three provable miracles. (I don't think financially bailing out this
magazine counts, though I'll testify if you give it a try.)

Another one was for a story called "Porcelain Hope":

I'll give you credit for this: After seventeen years
as an editor, this is my first talking urinal story.
(If only Hal had been so helpful to Dave in "2001: A Space Odyssey".)

For the same tale:

While I appreciate the story's sentiment,
I just don't feel the whole bathroom/talking urinal
thing is right for my magazine.

Another for the same:

The talking urinal did pull a smile out of me.

The few others I've had were more technical and less amusing so I'll keep them to myself. My rejection letter stack has not grown at the same alarming rate it used to. Were it that it was due to some acceptance, but alas, tis due to my own laziness. So, a goal. You will see more of these this year, personalized and posted.

Tuesday, January 3, 2012

CD's and Vinyl

My wife and I were both raised by construction working fathers. We were discussing nostalgic things the other day and I struggled to say what I wanted just the right way and then she said it for me. She said, "There is nothing like the taste of saw dust in soda." Sometimes I think she ought to be the writer. Nostalgia always hits accompanied by a feeling of loss, something that can not be reclamed. In this case childhood. You can work in the garage and drink saw dusty Dr. Pepper, but that doesn't bring back carefree days.

One thing that I miss are CD's. Yes, even with the convenience of my whole catilogue at my fingertips via iPod, I miss purchasing, unpackaging, and admiring a new CD.

My first CD (not counting Anamaniacs) was Hotel California. Owning the disc meant there were nine fewer songs I needed to request on 103.5, nine fewer songs to wait for with my index finger hoovering over the record button for my mix tape, and nine fewer songs that had some off-key DJ singing the last line. That fist CD was beautiful, they all were.

I remember browsing in Greywhale, waiting for the perfect album to jump out. I could always tell. It spoke to me. I held it again in the car, the plastic bag I'd carried it from the store in discarded on the passenger seat. There was something satisfying about picking off the plastic wrapping and struggling with those super adhesive stickers on either edge. The CD would stay unmolested in its case while I read the booklet front to back. Only then would I put it in the player.

When there were only CD's the order of the tracks and the mood presented by each one was important for a perfect record.

Then burned CD's became big, none of us realizing what we were losing. I remember being jarred when an odd song would play after a remembered favorite. It sucked to have Misery off the Beatles' Please Please Me end, to already be geared to sing along with Anna (Go To Him), and be rudely interupted by Abba or something.

By the time I realized something was lost it was too late (not that I could have done anything anyway). It hit home one day while I hung out with a cousin. We all had our own huge car case to keep the discs in one spot. It was sad to see ugly gray discs outnumbering the glossy albums. Then my cousin pulled all of his empty cases off a shelf and threw them all in a garbage bag. He pulled the sleeves from in front of the discs in his giant case and threw those away too. I panicked and was never able to do that myself. I'm still a bit mad about it when I remember.

Things got a bit better with the iPod. I mean the cover image would pull up with the song. But that's like drinking saw dust infested soda. It does not revive the art of the album. How many times did I buy a CD for one song and only a few days later that song was my least favorite? It was the best way to discover new music.

I'll never get my childhood back, or CD's, but I found something better. I'm obsessed with vinyl.  I went into Greywhale on a limb and came out with Mumford and Son's Sigh No More on Vinyl!  I had the same feeling of long ago, but with more class. I bought a record player from the DI, rebuilt it, and was set. Now I have everything from The Wing's Band on the Run to Johnny Mathis' Greatest Hits to The National's High Violet.