I covered her neck with my left palm as I carried her up the hill. I’d been letting my hair grow and it had been growing fast, slipping my whole body back into the version of “girl” my grandparents understood. Oh, she wasn’t heavy, just cold and still. My hair grew down in tens of cowlicks, each edge gesturing out differently, looking like briar or a shoddy charcoal drawing. Underneath my palm, I could feel the pocket-knife slits of gill studding her thyroid. I knew the house, which burned and simmered in its yellow glow, was empty. I knew my hair ended around my clavicle, jutting off suddenly like scorpion tails.
Her rib cage was slight, her skin almost like a frog’s in its sheen and lichen-colored tint. I carried her up the hill and it didn’t even exhaust me. My hair got in my eyes, making it seem like I was hiking through a bramble patch. But the air was clear and the dark was building itself up like a good story. I wondered where I’d end. Her breathing seemed to come off from miles away, all of it slow and tired and as if it had touched the mountains before it bled out from her mouth. What she’d been doing, what she’d been being, I wasn’t sure. I’d never seen anything like her before, but I tend to be a calm person, so I am okay with what’s terrifying and what’s new and what’s soft to carry uphill.
Once we’re at the door, I kick the handle in and the yellow hits us like a pierced yolk pooling across ceramic. I set her on the table, her long body composing its life distantly. I get water from the tap and fill a glass and drink it while leaning on the counter. She turns once in her sleep. I think she can breathe the air. She’s been looking like she can. I suspect she’ll be up soon. I wonder what she speaks, if she speaks at all. I wonder if she’s ever killed someone. I wonder if her hair grows fast, jeweled here and there with clots of duckweed, slipping over her eyes when she works hard. I will go fill the bathtub. I will carry lilly pads up from the pond in my palms, holding their floppy lives close to my sweater.
I will ask if she likes acrylics or the wind or staying in bed on saturdays. I’m sure we’ll be fine. I’m sure we’ll get over each other at some point. Years from now, after we’ve already divorced, I’ll see her in some cafe, her webbed toes cushioned in elongated oxfords, and we’ll do the thing where we hurt and then we nod and then I order my latte and walk out like fire. I’ve already left her, so I fill the tub and I smile at the water. It’s new and terrifying and so soft to carry uphill.
-c. essington
from here, the metal of the sink trips the bright of the afternoon into one blot of silver just thick enough to get dim on.
from here, sleep is below us like a manta ray is below the water. we feel wings, slick and cousined to a shark, slip across our eyes. we fall in and out of ourselves, hands very close to not touching.
from here, I’ve caught the picture of your eyes closed across the pillow, brain still shadowed, leg twitching on the rim of a dream. I woke up before you to find the world soft, to find a privacy, the bed dented lightly with the girl of it.
- c. essington
I want to do a thing where people can send me asks of five objects someone is carrying with them, a little personal inventory, and I’ll write a little flash fiction piece developing a person around the things.
Please maybe?
the blue house catches on fire and passes it on like a secret, making lips out of wind, whispering its neighbor to charcoal.
in the basement of the house that heard and caught, a boy is already lighting something of his own and signing it off in kerosene as if that clear, chemical wash of to-be light is exactly what letters are made of.
he goes up to his bedroom on the third floor to wait for the rise. the ceiling caves in as the carpet starts to fester with heat. the room is biting down, rafters and floorboards chew in towards heartbeats. the boy forgets his name, tries to say it to himself, but without air to inhale, the sounds he keeps his brain in feels too see-through to say.
he stands up, waiting, his biology screams. he manages to squeeze out a sentence, one sentence to himself once he figures that two fires are at work. it’s a little question, and it happens over and over running over tongue it until it smokes, like a match that goes too black to light. he asks: “which one, which one, which one?”
- C. Essington
I ate two kumquats and just have one final exam left so we just gotta power through, kids.
I don’t know who the kids are, but they get it.
the first anatomically realistic drawing of a human heart meant that someone had to stop living and then, before they were set in the ground or burnt to ash for a sort of kept loss, someone else had to raise a hand, softly, and say
“wait.”
- c. essington
ok. good answer. one more. how about l'engle's a wrinkle in time?
It’s water. It’s a glass of water that the person across the table keeps telling you is a meal, which you know is wrong, but believe them because you love them.
(Send me a book and, if I know it, I’ll reply with food I think “goes” with it)
Hi lovely, again, I am in awe of your beautiful words. I had a question though, if you don't mind. Do you have any tips for someone who is working on pursuing their writing more regularly? I used to write, but have gotten out of practice and am looking for anything to help me start again. Thank you!
Of course, thanks for all of your support. Tumblr's been helpful to me, I try to put up at least one thing a day, even if it's gross and not a thing.
Calendars can aid one's efforts if you have a word count goal in mind. But if you're looking less for clerical things and more for inspiration, the best tip I have is to notice things, really notice things. And always have notebook to pin interesting tidbits to the page, this lets you have spare ingredients for stewing something together later. It's like a form of collecting. Also spy on people, not aggressively, but try to see them in a real way.
When you eat, try to know how and why you're doing it and what's going over your tongue. When you sleep, pay attention to how you slip from yourself. You do not need to have fallen from a boat in a storm to write well about someone falling from a boat in a storm. If you've eaten a lime and fallen asleep I think you can manage to write it pretty well for a general audience. Don't be afraid to cross things over into areas where they seemingly don't belong, and try not to be afraid to look odd in words.
Ah, sorry, a touch long if you were looking for a one-liner. I am not Hemingway-esc, I spend a long time on little things.
Not super important but my abroad application is finished! Hopefully I’ll get to study at Exeter in England next year. Anyone go there/ know info about it or want to share their experience?
the pine-needle tea that she made before you woke up and remembered the world flexes with green lines on its way to your lips.
the fire is low, orange, and smoking like your uncle used to.
you have brought candied orange slices cut so thin that they look like warped photographs of fruit rather than actual sugar.
you toss a rind into the fire the orange crinkles the orange and makes it go brown.
The citrus collapses in like an airless chest or a star that’s done being a star.
you take your tea up again, the tea that existed before you started the morning or believed in the sun for the seven-thousand-four-hundred-and-second time. that tea.
you woke up the same way you always have: mid-person, with human humming over your every bone, and a name that slips past your freckles and sinks, like an unskippable stone, into your rivered grey matter.
and then you had tea. and then you had tea.
- C. Essington
Queer Writer, Repd by Janklow & Nesbit, 2020 Center for Fiction Fellow, Brooklyn
202 posts