tid/bit/drafty

The sky is low and faded indigo. In the street, a woman shuffles, the hem of her skirt dragging on cobblestones. She punctuates each heel with the tip of her parasol and Ellis pulls back, leaning into the wall, her fingers wrapped in a curtain fold.

“Marjorie,” Ashbel says over her shoulder. “She lives,” and the woman stops at a black door, “there.”

Ellis lets out a breath she didn’t realize she was holding and shifts her weight to her other foot.

“It’s all right. The law is different here.”

“Is it Basil?” The curtain sags as her grip releases.

“It’s like Basil. Marth is -”

There are Contigency officers who float down the arteries, fingers wrapped as claws around the hook of parasol handles. Beaked and beady eyes. They are silent, save the waves.

They are followed by the Seek.

It is not sunlight, but it is the same gold.

“it is too late for him,” Ashbel says and it’s a moment before Ellis realizes Ashbel’s hand is on her shoulder, soft comfort.

“he was Basil’s, once. More years ago than you are old. The previous Alice, Zilla, brought the officers in, but it was Marth who made them as they are. The Seventh Tip was a gift from Basil when he and Marth finally parted. Basil has never forgiven himself.”

Basil. Marth. Ashbel, Allaster. They all wear the same band and look at each other in the very same way.

“He traded up.” Ellis ventures. Wonders of wick-lamps and reworks and the gloom and what the Seventh Tip might have looked like in the time before she was born.

“We like to think so.” Ashbel answers in a whisper. “Vafi came here once when he was nine. We’re not sure how, exactly. We’ve inquired of the Queen and he denies all knowledge.

Ellis lets out a sound, disbelief or other things.

“Hrm,” Ashbel agrees, or at least it sounds like agreement.

“Do you -”

“You’d need to find the Vendors.” Ashbel says, cutting her off.

“The market?”

He shakes his head. “Not the merchants, the _Vendors_. The Chronos. A man named Beazle, he makes clocks.”

Time. The Vendors. There are stories of the Chronos. There were stories of the Alice.

“Why?” But Ellis already knows.

“This,” Ashbel says, shifting. Says as he reaches and wraps a hand around her right wrist and pushes the fabric up to her elbow, revealing her scars. Each and every whorl and turn.

“He said I knew him.” Basil. Said as Ashbel holds her there and the both of them look to the damage done to her by the doctors of Digbeh Hill.

“You had to.” Know him. “You have the same marks.”

The same scars. She can feel them under the pads of her fingers. See the trace and wicked line of cut and healed skin.

Vafi, lying on the foodStore floor. Silent and still warm.

“He was murdered.” Ellis says, and it is certain and offers no room for argument.

“We know,” Ashbel says. “There’s a house, two doors from Marjorie’s. It is small, and the staircase is winding. There is a rat that will not leave and the pigeons nest on the balcony and they won’t go either.

It is yours, if you’d like it.”

A house. With a rat and birds and winding staircase.

“The walls are hung with striped paper. I’ll help you take it down.”

A house. With a rat and birds and winding staircases and striped paper.

“And the Vendors?”

“You’d have to leave the honey dust.”

Ellis knows what he is saying. That he and Allaster and Basil would waver and fade and Spring would be here and she would be gone and the little house with the rats and birds and winding staircase and striped paper would be as this all is, some memory, some dream.

-Ellis, Underground (written by your hostess.)

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a list from you to me.

  • people seem surprised petite/thin-built girls play roller derby. Sometimes I can’t wrap my head around the assumption that my size is  preferable. Ask a plus-sized girl how often that happens. (hint: it doesn’t)
  • I’m thinking that Faderhead, in “Hey Girl”, off of FH1, describes a girl’s skin as tapioca. I wanted to lean towards “tainted-mocha”, but that made even less sense than tapioca.  I’m pretty sure we’re supposed to picture a delightful, creamy milk colour, not lumpy bits of snot. Although! it’s hard to say, really, but if electro artists start extolling the virtues of cellulite, I am going to be playing EBM in my coffin (this is already scheduled to happen*, for those playing along at home).
  • speaking of which (not really) my ebm/oldschool boyfriend Douglas McCarthy has a new project coming out – Life is sucking the Life out of me (unwieldy, no?). You can listen to a teaser here. I’ve been listening to Doug for over 20 years. I am not stopping now.
  • Ellis, Underground reached the 20K mark, and I have no idea what is going on. But I recognized I couldn’t move forward without stopping for a Very Important Conversation so it’s possible I’m learning something about this writing thing.
  • I have Sidewalk Citizen bread, a latte, and some beautiful monster criminis that I am going to marinate in some red wine, then eat on toast. OH YEAH. Crap, I forgot to buy arugula. Why didn’t you remind me? Silly netizens.
  • I also bought trim to make headbands with.
  • Right now I’m watching Eat St. I love food TV.

*this is not exactly true. At all. Ever.

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the great equal/izer.

must be roller derby. I don’t know anything about other sports, I don’t think this -thing- that derby does is unique or anything, but I’m here to tell you I was going to post about last week’s practice, and then freshie practice, and how I was finally starting to feel like I had been hit with the clue stick because I was feeling all A-and-wesome and then? This week. I get that it’s four hours later and I’m still coughing up a lung, which tells me the snifflyus isn’t quite gone yet, but man. On the upside the general word on the track is that I am improving, and that’s something. Today, I no feel so improved. I feel slower and yes, slower. Sturdier. But Slower.

I’ve added more exercise – practice sunday + monday, skate on wednesday and random DDR (DDR is the best cardio for me who hates cardio, except I almost turned my ankle in the complete wrong direction yesterday. Protip: You need ankles for roller derby) and strength things during the week. Anyway, equalizer. One week you’re in, the next week you’re out.

Hrm, I think I’ve heard that tag-line before.

in other news, I figured out how to fix the part of Ellis that was bringing me down. I don’t think it will impact future-states if I don’t re-write it right now, but the idea of leaving a huge chunk all disaster-ed-up and still going forward kind of freaks me out.

 

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good morning.

 

have some scrivener. I can’t think I know anyone, save T, who uses something other than scrivener right now, but I still think it’s the best thing since sliced bread and peas with rice.

Somehow Ashbel warranted a bit from his POV and the Basil said “ahem ahem, I would like a small bit too”, and yes, he did sound a bit like what’s her pants with the ahem ahem from Harry Potter.  Ellis is 3rd person, so it’s fine, but I like limited third, so if this random fellows popping up (and there should be more ladies, then, too, and not just the one that comes later – the myomancer, even though she’s not an antag. I guess I need an antag, I mean, I have an antag, the Contingency Officers, and there’s a whole FLEET of those), but now it makes me think + also wonder if another more direct need to show up in the ways of More and Direct. I don’t know. I didn’t know Ashbel was going to want to talk about not liking company and the Allaster could read the marks opening doors made into the stone tile that makes up the sidewalks and roads in Spring.

I may not be in charge here.

I am also so very full of snot. Sorry, but I am. Not really complaining, I have a neti pot, which is also one of those best things since sliced bread (and can we also talk about how, having to slice your own bread, what with the advent of serrated knives and all that – isn’t really a hardship?) maybe it’s also time to rethink our standard expressions.

Today I am going to use the gift card santa gave me to buy a new paper journal. I am going to write my book and eat french toast and wear red ginch because last night we talked about how that is good luck.

I saw New Year’s Eve last night, the movie, not the event, although there was that, too, because it was the decided-upon movie for Upstairs K’s birthday. It was awful. As in seriously awful. It was the only movie I’ve seen in the theatre in which I didn’t mind the kids that were talking. I couldn’t understand their conversation as they were back and over that-a-ways, but I didn’t mind the yipper yapping.

Because I knew I wasn’t missing anything. So yes, we went for greek, which I think was delicious, but my nose-cold has destroyed my taste  buds (I don’t care for greek food, so this was a surprise, and perhaps a blessing as I did enjoy my dinner, what I could taste of it), and the movie, and came home and I made it until just after midnight and then the Snot and I went to the princess bed.

and now I am here.

Good morning.

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immodestly

I feel inclined to tell you I like my book:

He sounds like the nurses of Digbeh Hill, standing in otherwise too-small doorways in their paper hats and starched skirts, holding clipboards and looking always so disappointed. She wonders what Basil means. If he means the dust or something worse.  She remembers what the old man in the hat said about roseMilk, how half of it was need and the other half was desire, to want a place that always smelled of raspberries, the heady drip of flowers, the soft and the velvet, the slip of ruby over your tongue and the pierce of thorn that always followed.

Like being in love, he said.

His eyes had wrinkled at the corners.

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for leah, with love.

This is Above, it’s my friend Leah’s book. I have read parts, and Leah has read me parts and I haven’t told Leah this, and perhaps I should have, but in part I am, now, and now is as good as time as any, especially given that I think I finally have the words for all of the letters, but her reading at World Fantasy, so late in the evening that everywhere else was dark and quiet (save where the beer was, but we weren’t there, yet), was my very favourite reading. Not just of WF this year, but of all places in all of years.  I say this because it’s true, and I say it selfishly. Because I’m writing this lost girl book of my own that starts somewhere familiar and ends up somewhere strange but isn’t the same at all and sitting in that small room with people I knew and didn’t know, listening to this story I knew and didn’t know, made me feel like writing was possible again.

I haven’t felt like that in a really, really long time.  It made me feel like language was bitter and important. Sharp and rusted all at the same time. I felt like breathing and I felt like holding my breath.

I felt like bleeding and I felt like wrapping every bit of exposed skin.

At least, I know that now.  I didn’t at the time. I just knew I felt strange. And I felt better and also worse.

Which is actually a blessing, if you think on it long enough.

 

 

 

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dressed in rain.

Ellis sits with Basil on an old sofa with wooden feet. He looks at her as if in wonder and she looks at him and thinks his edges are fraying.

He offered her tea and she declined, and then she accepted and the china cup in her hand is only half-full and the windows are blocked by thick curtains

 

it wasn’t right.

It became this, instead (mind the first-draftyness of it, mkay?).

 

 

 

Chapter 7

 

Ellis sits cross-legged, her back into an uneven wall of dark brick. The bricks are so dark they’re almost black and she wonders if its soot but there’s no fireplace she can see, no chimney pressed into the side of the buildings that flank the square.

Basil sits with tea. Hers is untouched and he’s on his third cup. She ran out of things to say sometime after they left the little house on the rooftop and he led her here, to the small, off-set plaza, with its raised dais and uneven medley of mismatched iron chairs.

“It used to be a restaurant”, he says and she’s more familiar with vendors, men and women who push carts hanging heavy with dried meat and roasted nuts. Not here, but in Ferrule, where they weren’t a luxury but expectation. In the Seventh Tip it is, was, all foodStore, all rations. The bag of salty-cees she took would have used up four stamps.

She still smells like honey dust. She looks up at Basil and starts to speak when she notices him wavering, like his outsides are fading, or being erased.

She peers into her cup, lifts it with two hands and sniffs at the warm liquid.

“It’s not poison,” he says, as if that’s what she’s checking for and it’s all right that he says because she is.

As if she might be able to tell, as if the cup might give off an acrid, almond sent, smell of nightshade or salted jacks or tinsel leaves.

“It’s you’re dusted.” He offers as he empties his tea and tumbles the cup over to her in a somersault.

Dusted. She smells of honey and her mother told her the roseMilk changed things, bees to flowers, to pollen -

“I should be immune.” Ellis says, then she’s wide-eyed and Basil is laughing.

“Guess you’re not,” he says as he leans over and stretches out as long as he goes to hook the handle of his cup into his forefinger.

He stays like that a moment, belly to the cobblestone in his cotton candy trousers and hair as gold as gold.

“You’re fading,” she tells him, but now it doesn’t matter, now he’s just a tripped up rainbow, a faeryDoor trick. He’s why the Queen Bee was smiling.

“Take this,” he says, as he digs, awkward into his pocket and tosses her a small sealed packet.

Ellis palms it, turns it over in her hand. It’s muted, the colour of dried mustard. Flat.

Honey dust.

In a dream of a dream meant to stay in a dream and Ellis opens up the packet, licks her finger and dips to taste all the sticky sweet again.

She waits and Basil’s outsides become all strong again.

“Better?” he says as he rolls over and up, cross-legged as she is, elbows on his knees and watching her with the dust.

“The last dream I had the sewer pipe broke and the front window collapsed like a fish-tank might if the pressure was too much.”

She’d made somersaults of her own, over and under in the torrent of water, the current that carried her right through to the artery and under, lost to the black and the spiny, silver-spiked fish that skip along the edges of keelNests and wait by the moorDocks for someone to fall in, fall over.

Basil lifts an eyebrow. He seems unimpressed. Not bored. Somewhere in between.

It’s a while before he says anything, but when he speaks again, it all comes out as an insult.

“Spring is the middle, it’s neither here nor there, it’s not a place you go, it’s a place you end up.” and he reaches a hand out, palm open as if wanting the packet back. “It’s what opens and closes everything.”

Ellis leans into the cobblestone as if she might collapse herself.

She doesn’t.

Basil doesn’t.

She doesn’t hand the honey dust back and he doesn’t say another thing.

“I’m sorry.”

It comes out sounding like a question.

“You have to want to be here, Ellis. It won’t work if you don’t.”

She wonders what he means. If he means the dust or something worse. Remembers what her mother said about the roseMilk, how half of it was need and the other half was desire, to want a place that always smelled of raspberries, the heady drip of flowers, the soft and the velvet, the slip of ruby over your tongue and the pierce of thorn that always followed.

Like being in love, her mother said.

“I do,” she finally answers, fiddling with the package of honey dust.

Basil looks at her as if she might be lying, but he doesn’t speak, just lifts the cup and unfolds to standing and tilts his head in the direction they were going before he strangely stopped for tea.

 

and that’s better.

It also means I wrote 813 words. Thank the stars we’re into new words, I was so tired of the old ones.

Oh, also? 15, 744 words.

Go team Me.

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this is where we started:

Hallway like a gang plank, some last walk down a never-ending corridor. At the end of the hall is an electric chair. A spectre. A ghost-shape of wires and tie-me-down, and if she stays here, she’s as good as dead. As good as cold.

 

this is where we ended up:

The hallway is as narrow as a gang plank, one last walk down a never-ending corridor, single file until the doctor says he’s ready. At the end of the hall there’s a passing chair. A ghosted-shape of pins and tie-me-down, as good as a hatch-mark left on a tablet shaped a little like a headstone. It’s not epitaph, it’s only so the Officers know.

It’s only so they meet quota.

 

 

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dressed in metal/dressed in rain.

This:

Six blocks and a slippery corner there’s a tulip bar,  all pale to frail and ruby-lipped. Careful creatures request a dollar’s worth, pressed as flowers between two pieces of parchment, a dollar and flicker of the right kind of light and no one’s lonely anymore.

To this:

Six blocks from the roseMilk faeryDoor and around a slippery corner there’s a tulip bar, it’s doorway all pale to frail and ruby-tipped. Inside, careful creatures request a dollar’s worth, pocket their powder pressed as flowers between two pieces of parchment, a dollar and flicker of the right kind of light and no one’s lonely anymore.

it still needs work.

I only understood the first version because it’s my weirdo brain at work. This book is going to need ninety-seven and eight revision passes just to make sure there’s subject/verb agreements and some such. Also logic. Also “use your words” might be more than a suggestion.

 

(although “pocket their powder pressed as flowers”, omg how i love the musicality in that. Just saying)

 

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