RORY SMITH Rory ha 26 anni, sposato da 2.4 anni, ha un cane, Seamus (sheltie), e vive in California. Ha due lauree in Inglese e Letteratura. Ha ottenuto un premio "Accomplishment of Merit" per "Creative Arts & Science Enterprises" nel 1992. Ha concorso al premio "Amherst Society's Dickinson" per il 1993, e il suo poema, "Imagination at play", è pubblicato nel loro annuario "1993 American Poetry Annual". Incluso nella collezione di novelle della "American Literary Press", fra le 10 migliori novelle del 1993, con la sua novella "Just Part of the Package". La sua novella "Thirst" è stata pubblicata nel 1994 dalla rivista ESC!. Nel 1995 due sue opere sono state accettate dai siti Internet: Alsirat e The Writer's Gallery, e spedite ai lettori on-line. Nel 1996 la sua novella "The Determined World" è stata accettata da "The Rain Dog Review" di San Jose, California. Attualmente pensa di continuare la sua educazione formale con un dottorato in Scrittura Creativa. |
Where some people are very wealthy
and others have nothing,
the result will be either extreme democracy
or absolute oligarchy ,or despotism will come
from either of those excesses
-Aristotle 'Politics'
. . .Somehow we are all writers trying frantically
to tip the scales so the reservoir bathes the silent masses
for a moment at a time in something like voices that empower,
enlighten, and transcend our common differences. Writing
isn't about proving oneself in monetary standards or relative
success. I write to see whats on the other side of the paper,
and who knows what you'll find. . .
-Rory Smith
'Explorations in Fiction'
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Ciò che chiamo un brano recitativo; qualcosa simile alla poesia ma il medium è più adatto ad essere letto/recitato di fronte ad un uditorio reale... L'ho fatto alcune volte, di fronte ad amici, ma niente di puù impegnativo come mi piacerebbe fare un giorno, presto... Devo solo educare la mia voce. Comunque questa è come poesia, come ho detto, ma il fluire è sviluppato dal leggere ad alta voce, più che da qualcuno. Un'azione di gruppo, come il recitare, e audiovisivi sono comunque permessi.
Diciassettenne
.....Sitting here in the dark next to the fan that doesn't turn any more,
feeling the way my guts reminded me I still have a problem that three
hundred dollars didn't cure, I reach for the green bottle and swash down
the urge to vomit.
It has been a long time without sleep.
Sleep has become the one thing I can't get enough of any more.
It's like sex used to be. The thrill, the anticipation and finally the slow
flesh on flesh sound that never quite puts things into perspective until
you're lying there thinking about what you've done.
Maybe it's all like getting older and dying by the mouth full, the fact
you're not a teenager any more and when you bump into something in the
middle of the night it hurts the next day. There aren't the little
thoughts that used to fill up your big thoughts, the getting over to the boy's
house for beer and pizza, the five bucks for gasoline so you can get to
her house on Friday night, or the temptation to run off somewhere so no
one can find you and blame you for something you can't remember.
Getting old means you find new things wrong with you, things that
inhibit, ways that prevent you from running to beat the train, from
hanging from the bridge that was built before you were a thought. Old age
means there isn't anyone else looking at you the way you look at the
kids, eyes like dimes against worn out carpet, lips that can't ever feel
the way they did. You look in the mirror and death wrinkles grimace and
move away in a stare that says more than you want to hear.
Old and worn out you must stand before the bullet, accept the
responsibility of your actions and never lie to your mother that you
didn't steal from her to buy beer when you were at home.
Old and worn out you do not regret the change, the movement away, the
becoming that means you can vote, you can die for your country, and you
can buy a lottery ticket for a dollar a throw. Not all aged regret or
think this way, but in time you feel something wrong with you and at that
time you wish you were seventeen.
Yet it is so much more than old age, the tender expression of youth
becoming, the quickening that surmounts the early stages of senility.
Forgetting becomes remembering the way you wanted to be forever, but price
tags are not cheap and the grease pencil numbers only smear but never
really rub off.
It's what you have upstairs that paves the way for crippled feet and a
lounging attitude. When you stretch out in the sun beside the pool next
to the chest of cold bottles, there are moments that you would trade for a
taste of the experience.....
but only a taste.
IV XVIII MCMXCVI
I was just all screwed up inside, my head and arms, the back of
my throat like a fuzzy nickel was lodged between breathing and
choking and just when I started to calm down I saw the clock and
it all went tohell again. Sometimes the craziest thing about
confinement is the solice of knowing no one else can see your face.
Time they told me was just something you had to get used to
passing you by. It doesn't pay to get upset. That's what they
had written on my placemat. My name and this proverb written
with a magic marker so it wouldn't come off right away was what
I had to look at morning, noon, and night.
It doesn't really pay to get upset, though, to stay awake when
you shouldn't, ignore the routine that only yesterday they said
you could have, and go your own way because that way doesn't
exist any more and you'll only get into trouble.
Pain like ice down your back, voices carrying on the same old
song and what do you have to show for it but a complaint here
and a sore gut there when all you really needed was the patience
to let the sun come up tomorrow. |
Vignetta, una novella brevissima, chiamata anche fetta di vita. Di solito 5-700 parole; l'enfasi è sul momento, l'importanza di rivelare una persona o 'momenti' di persone nel tempo e nello spazio, fra tutte le cose veramente grandi come Big Mac e romanzi. |
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Amnesia, a volte
I mused in sobriety, silently and secretly praying that I was
alone. The windows were dark between the stained gray drapery,
no sight of my children's children or the annoying doctors who
were waiting for me to die so I could prove them right. For a
minute I had peace looking through the blue black blur of glass,
the whispers coming and going from all the hidden mouths, the
way air might meander unobstructed in a room full of people.
Yet, I could not get the sound out of my head, the wheezing in
and out sound of air that got caught in a constricted, worn out
throat. The doctors had said six months. Six months for her, a
year for me. They didn't prepare me for what I had to do. No
one told me.
"Harvey," she would cry in between fits of hacking and choking.
Her broken voice would shake the bed like tiny tremors that
never seemed to subside.
I pretended not to hear sometimes. I would hide in whatever
closet was furthest away, tucked behind clothes that no one
wore, holding my ears like my brains were going to come out of
the openings. She called me nevertheless, at all hours of the
day and night, throwing whatever was near her good hand, cursing
my name and apparently talking directly to Jesus.
"Harvey, damn you, Harvey. Damn you to hell. Yes, he will, yes
he will."
All I could say was no. "No, dear."
I never knew what time it was except when she was awake. Her
voice would carry through that old house as though it were
empowered by secret speakers I couldn't ever find. She had a
voice like a withered claw, scratching the sides of the bed, the
walls, the air, calling my name over and over and over.
"Harvey."
My head floated, freely, heavy like the soured milk in my mouth,
the stale flavor of non-dairy creamer or whatever I could find
to make the a.m. coffee bearable. It would seem that whenever I
tried to find my own space to eat or read or sleep, her voice
was there, reaching out from her bed and through the house. I
went to sleep with her voice in my head and awoke to it cursing
my birth.
Sometimes I didn't know what day it was. She said my name 87
times, once, I counted and I never missed one because I kept a
record with two decks of cards that I tossed on the floor. She
would call me and then be still for fifteen, maybe twenty
minutes, but when she said my name again it was louder and more
desperate. That was how I kept track of time.
"You're nothing but a damned liar and you'll pay for your sins,
Harvey. Do you hear me, Harvey? Jesus is watching me, Harvey,
Jesus' watching."
Every now and again I would escape into insanity. I didn't call
it that, though you might. Whenever she forgot about me for
more than an hour, which was rare, I would slip away into my
head and watch the scented smoke of a vague room distill and
change color the way a child's face finds amber in a sunset. It
was in this safe room in my head that I hid, that I breathed
fast and slow with the understanding that I wasn't hungry and I
wasn't making food for the garbage can outside the porch.
"Harvey."
But it wouldn't last. No matter how congested her lungs sounded
or to what extent she cried my name with blood freckled lips, I
went to her side and listened to the way she forgot who I was
and scratched my face when I got near.
"Yes, beloved. Yes."
"Dad," my son said moving into the room from the hall. "We're
going to go now. Did you need anything?"
I turned away from the window and looked at my son.
"Amnesia, sometimes." |
Un'altra vignetta: come prima, la brevità è la chiave per capire le piccole cose della vita, come secondi, mortalità, e debiti. Forse queste vignette possono servire come brevi introduzioni, qualcosa per rompere il ghiaccio... |
La fiamma che brucia due volte più luminosa, brucia per metà del tempo
When I think of you, not your face or the way you whisper my
name when you want to fuck, just the parts that hurt me, I can
not sleep. I take pills, sometimes, a handful of aspirin or
ibuprofen cause I want to pretend to be normal again. I drink
the cherry flavored wine we bought for special times that I keep
hidden under the sink next to the cleanser, and it is these
nights especially, that I see you in the kind of pain that I
know.
It is what every woman wants, a strong love, like you and I had,
the kind of partnership that means you share everything, but
pain. You made me feel whole when I looked into your charcoal
eyes, like parts of me had been dormant and you woke them up.
My family didn't even know about us until they heard my drowsy,
liquored up voice, half crying to them at two in the morning
about killing, and you.
I lost my job because of you. Eventually everything bad that
happened to me was your fault. There was nothing for me to do
but watch my life, like so many dominoes tumbling, and wait for
the last double twelve to click forward onto its face and stir
me like the end of a very long game. I couldn't help myself.
Whenever a man came in my store, somewhat like you with curly
brown hair and a smooth, sharp face, I cried and sobbed and went
to pieces.
So here I am, on the couch that we bought on payments, the last
one in the mail, and I don't remember when I slept or dreamed I
slept well. The paper has started to pile up outside the door,
the mail box no longer capable of holding another lube and oil
certificate or the last catalog to a company I can't remember
subscribing to.
I have no phone because of you. They turned it off when you
left without a payment. Now my mother is alone and I can not
call to tell her that I am sitting in the same darkness.
Sometimes I read by a forty watt bulb next to the window where I
watched you become a street post and then nothing at all. I
think I can hear the phone below me, or the one that no one
answers next door. I hear the phone and it makes me think you
are on the other end, breathing, waiting somewhere in the
building for me to answer before hanging up.
I hurt and you don't know it. When my stomach burns and my eyes
won't open any more, I see your hands at the knuckles, then the
wrist, your thumb goring my eyes, your fist in my belly. You
wear a tuxedo in my head. Black with tails, or none at all,
bare.
I want to have the chance to tell you I'm over you, to look you
in the eye and smile away the feeling to choke on your name.
So when I bleed and I cuss, I know you are there, on the phone
across the room, just out of touch of my voice, my eyes, my
jagged fingers that claw your name in everything that I touch. |
Copyright 1996 Rory Smith - All Rights Reserved |