Hats (Excerpt)

By Curtis J. Graham

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Sergeant Ticker was a third battalion Kill Hat at Marine Corps Recruit Depot, Parris Island. He was not authorized to speak to recruits, only to punish them creatively. During the day, he forced them to wear each other’s uniforms and fill their pockets with mud. He made them windsprint throughout the dinner hour until there were only five minutes left for eating. He denied them use of the bathroom until one of them pissed their trousers. But at night, Sergeant Ticker told stories, and the recruits listened.

He was careful never to overindulge. The moment he suspected the recruits were humoring him, feigning interest, he would deprive them for a time. He’d say they had mistaken his kindness for weakness, and he’d make them do something hot and difficult until one of them fainted. After a week or so without any stories, the recruits would send a representative to his office at the far end of the squad bay to ask for the next installment.

Ticker told his recruits the adventures of Sergeant Hayfield, a character he’d been refining since he was a Corporal. The idea for Hayfield came from a World War One recruiting poster. It pictured a square-jawed Marine with a crooked smile. His khaki shirt was sunbleached and wrinkled. He wore a canted helmet and carried a rifle made of hardwood and steel. He was extending his empty hand, inviting you inside his world. “Want Action?” it said. During his two cycles at Parris Island, Ticker had crafted a legacy for Sergeant Hayfield. After lights out, he would pace the center causeway and tell the stories he’d imagined.

“We left Sergeant Hayfield in Belleau Wood, France. The skirmish is over, an Allied victory. His platoon has fallen back to safety, and he alone has remained to fight the scattered enemies. It’s dawn now. There’s mist rising through the trees, and frost on the rocks. Hayfield stumbles through the undergrowth. He’s ditched his M1 in favor of a single shot Gewehr. Dead Germans are spread out like squirrels, and ammunition is readily available. His fingers shake from the cold as he feels their pouches and pockets for bullets and bread.”

The recruits knew better than to tell the other Hats about the stories. Ticker had promised he would punish them beyond words. Further, they would never know how the adventures ended. Near the end of each training cycle, Ticker would leave the recruits with an incomplete story. If they survived their Crucible and became Marines, they could find him on graduation day and hear the final installment. He left the offer open, but no recruit had ever come to find him.

His daughter Mindy had grown fat, and for this reason, Sergeant Ticker found her difficult to love. Mindy had grown up quickly in seven years. She had a cell phone and small friends who slept over and put makeup on each other’s faces. One morning, Ticker came home to find her lying on the couch eating Cap’n Crunch, dry and by hand. He’d just wrapped up an overnight shift that involved monitoring a suicide case, a night of pointless vigilance. Seeing Mindy, he nearly kicked over an end table. She’d been gaining weight gradually, but now her wrists were as wide as her hands. He made the decision to drive her to the base hospital. He scheduled appointments for her with pediatric nutritionists and cardiologists. It was time for a change. In the weeks to come, letters arrived in the mail, test results. Mindy had a mild condition of the pituitary. She would be monitored, but may continue to gain weight.

It was a pre-dawn schoolday, and Ticker stood at the kitchen island with an array of meats and cheeses spread across the plastic marble. He could see into the living room, where raindrops sat on the dark windowpanes. The central air kicked on overhead with the sound of mechanical breathing. He took a slice of bread and weighed it in his hand. “Goddamned Wonder Bread. White death.” A car drove by outside. Ticker watched a square of light trace across the wall, stop, and move back the way it came. The bread in his hand felt spongy and warm, like it was absorbing the imprints of his fingers. He peeled off a slice of cheese—white American, fat free—and slapped it onto the dented bread.

Mindy walked in. Her socks patted on the pale shag. “The school bus just drove past the house,” she said. Her forehead poked above the far side of the island, and all Ticker could see was her curly bangs. It reminded him of her infancy, months of sink baths and dish towel dryings. Mindy walked around the island and sat on a small plastic stool by the sink. “You gonna drive me after?” She asked.

Ticker caught a sour whiff of mayonnaise from the open jar. “Well what else would I do, make you walk?” he squirted some mustard and pressed the two halves of bread together, facing in opposite directions. For a moment, he debated switching the pieces around, making them uniform. Instead, he closed his eyes and whispered his mantra: “Marines are dying in Afghanistan.” It was the bigger picture he gave his recruits, the grand idea that both inspired excellence and swallowed small mistakes.

Ticker heard Mindy’s voice coming from behind him, a whisper. “Marines are crying in Candyland.” He turned. She was resting her chin on her fists. He handed her the bagged sandwich. “That’s not what I said,” he told her.


Curtis Graham is a current degree candidate at The Mountainview Low Residency MFA in Fiction and Nonfiction.

Belong Here

by Curtis Graham

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I smoke.

Brakes scream nearby with the intensity and duration of an Incoming.

An incoming what, I can’t say. I’ve never been bombed, not personally, not directly.

I just know it when I hear it

And I know I look too long. I peer, even after it’s just brakes again.

I have no right to write about some things.

 

A cigarette gives you enough time to think about nothing and everything.

There is a quiet waiting, and at the same time, a coming about.

I consider the language I’ll use to write this poem.

The thing is not even a thing, but I catch hurled accusations like a grenade.

Posturing and pretension.

I throw the grenade to myself

From my one hand to my other.

Look here, feel me—a toss.

Stop looking, leave me—a catch.

 

I left the side door propped, to let myself in.

Instead I walk around front, where other people go. I fish my keys and hover the fob over the red eye.

It buzzes and clangs and spits the door open just enough

For me to walk in

Like I’m a part of something.

Like I belong here.


Plenty

by Curtis Graham

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A man in his forties

Comes to see my apartment

Today, to see if he wants to

Live here when I am gone.

He squirrels in place

In his black sneakers and

White socks. He tugs the

Belly of his untucked work polo.

 

He looks around and says,

Plenty of room here.

I mean you don’t need much stuff.

You really don’t. I mean,

What do I have at home. A TV stand.

Couple dressers, right. Bed.

What more do you need.

 

We talk about leaks

And a painting hanging on

My wall. He stuffs his hands

Deep inside his pockets,

Halfway up the arms. He leans weight

On either foot and talks to me.

 

Shit, plenty of room here.

More than my studio.

I don’t have much, especially

After the divorce. Ha ha. Ha.

You know, half’s gone, but really–

People says to me, Hey Bill

Why don’t you get a table so you can

Eat in the kitchen, and I says

When am I ever not eating

In front of the TV. Right?

Never, that’s when. You don’t

Need a table. It’s like I said.

 

He looks around the space.

Beige matted carpets,

Spackled ceiling

Cracked with leaks, peeling in swaths

Like snakeskin.

Tiny black mold flowers growing

On the sills. The screams of pumps

And boilers behind thin walls.

 

It’s like I said. He shakes my hand.

What more do you need.


Boring Poetry: “Paterson” and the Observation of Repression

by Curtis Graham

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The setting is a lustless marriage bed with gray sheets. Paterson lives an objectively boring life.  The only thing more boring than his job as a bus driver, is his poetry.  He is content.  If he has aspirations, we don’t know what they are.  We keep waiting to discover what he’s repressing.

Paterson’s poems appear handwritten across the screen, narrated earnestly in fits and starts by an endearing Adam Driver. The audience is part of the world with whom Paterson is afraid to share his work. We never hear a completed poem, and have to take his wife’s word that his poetry is spectacular. Driver’s voice expounds about the brand of matches he uses, and the burning sensation that love can give. He pairs physical descriptions with a writerly affect that even poetry students could snub.

But first person camera moves immerse us in Paterson’s existence, no matter how bland, and reveal that his sense of self is derived from observation of other people’s lives. Sitting at the front of his bus, he is a pair of eyes in a rearview mirror.

A middle school boy tells his friend he’ll dress as a shadow for Halloween and the camera shows us Paterson’s view: their feet nearly touching beneath the seat. This image is mirrored in the feet of two construction workers. They exchange stories of their weekend hook-ups. A woman offers them romance, and each turns her down for vague reasons. They bounce their heels on the floor, their feet as close as possible without touching.  The camera rises, and we see the men sitting close together. One looks away before affirming that, definitely, he will call the girl back. A vertical pole divides them.

In the climax of the film, Paterson’s dog destroys his poetry notebook. His unphotocopied, unsaved, kept secret from the world, notebook, and in feeling Paterson’s loss, the poems gain significance. Each represents an unrealized life pulled through that rear-view mirror not from his own repression, but the repression of others. And we can finally feel his loneliness.

After the loss of his notebook, Paterson proclaims he is not a poet, but a sage Japanese tourist knows better and presents him with a new one, filled with blank pages. Where this convenient stereotype came from or went to subsequently, is uncommented on, but Paterson is redeemed and begins writing again.

Adam Driver’s voice returns to give us the line, but by the time the screen fades to black, we hardly remember it. The scrawled letters fade into the single word that is important to us: Paterson. We’re left with the hope that Paterson will continue seeing the people around him, even if they never see him.