“Moms’ Night Out” by Raya Yarbrough

A study in social discomfort and expensive toast, with explanatory footnotes, to be read at the end

Tonight I went to “Moms’ Night Out” at a pseudo-posh bar in Santa Monica. This was an extra-curricular event through my daughter’s preschool, organized by Sam, a mother who is far more involved and organized than I am. I’m not an un-involved mom, but when I have time to myself, away from the task of keeping another human alive, my first thought is towards my work or a hobby, like running screaming out into the night.2 I went to prove to the other moms, and to myself, that I can be a person.

In the Lyft, I ruminated on my discomfort about social events. I just don’t know HOW to people. What do people talk about?3 On stage, life makes sense. I know where and when things are supposed to happen. I guess my point is, after getting past “Hello fellow human female. I see you have spawned as well. Yes, we all drink more now,” what do I talk to a bunch of effectively random women about? But still, I wanted to give it a chance.

My Lyft pulled up to the curb. I got out. I went into the bar.

Inside the bar, it was dim, but not sinister-dim, like sex-den dim. You know. A heavy, dark, toile curtain hung close to the entrance, obscuring half my view. I took two steps toward the toile, then panned left to right: a table with two women I did not recognize, two women and a man at the bar, also foreign to me, some empty couches and low accent tables, and then there was Sam, the classroom rep and event organizer. I see Sam every week when she volunteers to set up lunch for the teachers, and/or to do other devoted tasks. Sam has three children and does all this. Did I mention she’s also skinny and beautiful? I am automatically a disheveled, out-of-shape, one-kid-having wuss in her presence. Not that she projects that—she’s actually lovely—this is all in my head. Loudly. In my head.

Sam hadn’t seen me yet; she was checking her phone. Seemed confused. She was the only one on the couch. I turned on my mental “extrovert app,” and the mask appeared.

“Hi Sam!”

“Oh hiiiiii!”

She had a half-empty glass of sparkling wine. I sat down on a dark blue, velveteen, tufted couchlet. I didn’t see anyone else I recognized.

Fucking hell. I was the first one there.

We both made sounds at each other, reflecting the situation. We recounted the facts, as if we were reminiscing about the events of five minutes ago. Almost nostalgic for a distant past, ten minutes ago, back when it was Schrodinger’s Party in our minds, both alive and dead.4

The waiter came by to ask if we’d like to look at the menu. We said yes. We required new activity and stimulation.

Sam said the food at this bar was actually very good, and she put in an order for sliders. I went for the avocado toast. The waiter was patient while we decided how many orders of each we should get. I also ordered an Old Fashioned.

We did mom talk, while the waiter took our orders to the kitchen. Nap strategies, bedtime routines, what do they eat, finding “me time,” and teaching small humans where to poop. My Old Fashioned arrived. I stopped midway to my sip, catching sight of the artisanal-looking orange rind, which set off an overall tangerine effect in the glass. It looked like Dayquil.

Then, Sam asked the introvert’s nuclear question. “How are you?”

It sends me into existential paralysis. How are you physically? Emotionally? How are you finding this incarnation on this plane of existence?10

I told her about my recording project, my album. That’s a thing.

“Mmmm,” she said, and raised her eyebrows, like the information tasted good. There was full eye contact, without a side-glance, and I know that means a human is engaged. Good so far. I told her my husband had been out of town and would be most of the month.

“Mmmmm,” again, but this time with furrowed brow, indicating recognition of the potential hardship of the situation. That’s an empathic facial response. Even if faked, she took the trouble to make it.

I paused, searching for another “thing.” I got distracted because her eyebrows were impeccable. I started wondering about her skin-care regimen. Side-glance. Shit, I’d waited too long to say a thing, and now my presence had become burdensome. She checked her phone. Oh God, I’m an alien. An alien she’s having to babysit, alone, in a bar.

Our conversation was in syndication now, pure re-runs. She had already told me when her kids went to sleep, but I asked again, as if I needed clarification about the specific meaning of 6:30pm. She asked what I was recording. I told her, “my album.” She repeated her face. She apologized about the confusion and tapped on her phone. We alternated head swivels towards the entrance whenever somebody new came in. We repeated the conversation where we told each other what time it was, and how we thought people would’ve been here 30 minutes ago. We confirmed for each other that it was now five minutes later than the last time we checked.

Then silence.

Sam ordered a margarita.

Sam’s margarita arrived, salted.

The table was an embarrassment of sharp-cut, Himalayan salt-crystalled, conically wrapped French fries. In baskets. We ate the sliders and avocado toast. So there we were: two jilted, awkward, skinny-pants-wearing moms-in-a-bar, drinking and scarfing fries, because what the fuck at this point.

If we had chosen, intentionally, to hang out alone together, it wouldn’t have been as awkward. It was only because we had expected a night of perfunctory chit chat, with many people, that we ended up unprepared for genuine social interaction.

Sam looked with concern towards the kitchen. This is when I found out that she’d told the establishment to expect 20 people, and to reserve seating and staff appropriately. This was the social-let-down motherload—when the people you invited aren’t there, and the people you paid to be there are pissed off and glaring.

8:30pm rolled around, and Sam asked how long I had planned to stay. It was clear that truly, nobody else was showing up. I made words about the babysitter. I suggested we have plans with our husbands sometime, maybe a playdate, something intentional.

“Yeah totally!”

“Yeah we totally should!”11

Because the rules are that you must reverse an unintentionally awkward evening with an intentionally awkward one.

So that was Moms’ Night Out—which seemed like a very specific and reductive title, now that the night had passed in the way it did.

So, did I learn anything about how to be a person? Did I prove to myself that I’m a person?13 I learned that sometimes the discomfort goes deeper than me. And sometimes the most prepared, together, responsible folks can still get tapped by the wand of the awkward fairy.14

Footnotes:

2 For the record, “running screaming into the night” is not my hobby. My hobbies are: free-floating anxiety and delusions of grandeur. And watercolor.

3 Aside from Steely Dan, Dark Matter, good/bad use of crash cymbal, Dark Energy, sex, the dishes, more sex, why my software isn’t working, The Singularity, politics, “are changes in emotion metric modulations?”, weird sex, Black people stuff, “where are my earbuds?” Jewish people stuff, Fminor6/9, guys wearing eyeliner, “what are those tiny red spiders called?”, and Star Trek.

I may have digressed.

4 “Schrödinger’s cat” is a thought experiment devised by Austrian physicist Erwin Schrödinger in 1935. The scenario presents a cat that may be simultaneously both alive and dead, a state known as a quantum superposition. As the story goes,5 there is a cat in a box in the room next to you.6 You do not know how long the cat has been in the box, if the box is ventilated, if the cat has been fed, if the cat has been listening to Joe’s Garage7 or the Best of Celine Dion.8 Any of these variables could render the cat living or dead. Some more than others.9 Until you enter the room and open the box, in your mind, the cat is both alive and dead. Like the party. Before I got there. Get it?

5 Basically.

6 With soundproofing.

7 A three-part rock opera recorded by American musician Frank Zappa in 1979.

8 Please refer to 9

9 Please refer to 8

10 Fine. Needs salt.

11 Scientists estimate that people who suggest “making plans” in Los Angeles have, statistically, a 10 percent chance of actually seeing those plans become reality. Experts theorize that this behavior is due to several common circumstances, such as:

1) Some shit I’ve got to do.
2) “My girlfriend/boyfriend/spouse is sick/a dick/a bitch/in town/out of town/imaginary”
3) Plans with more professionally important people.
4) “Oh, shit I forgot!”
5) Something to do with kids.
6) Having to drive from West side to East side and vice versa, but usually the prior.
7) Having to drive between the hours of 2pm-7pm.
Recent studies have shown that Los Angeles people making good on “we should hang out” is less likely than the 405 receiving a hovercraft lane, or a frozen daiquiri blizzard naturally occurring over the Grand Canyon. Though there are differing opinions on how to deal with this social epidemic, 95 percent of experts12 agree that the situation is totally bullshit.
12) The other 5 percent of experts were not available for comment because they “Had a thing, but totally want to get together soon.”
13) No.
14) Different from the Absinthe Fairy, which is a story for another time.

Raya Yarbrough is a writer and singer-songwriter best known for singing the opening song of the TV series Outlander. Her creative nonfiction has been published in Frazzled and MUTHA Magazine. Raya is finishing a humorous memoir about being a parent in a multiracial family while also being a working artist.

“Swimming in Montevideo” by Steve Carr

Swimming, my arms slice through the water, one arm, and then the next. Over and over. My fingers are held firmly together, and pointed, like the head of a spear. My shoulders swivel from side to side, twisting my torso. My muscles are like pulled taffy, pliable, twisting, elastic. A continuous flow of power – an electric current of physical, bodily, energy – courses through my legs. They are scissors cutting the water. My feet are fins, paddles, webbed-like, kicking and churning up the water, leaving a continuous splashed trail of bubbles in my wake. The water is cool. It slides over the smoothness of my flesh. I shed it like ever-changing layers of liquid skin.

Continue reading “Swimming in Montevideo” by Steve Carr

“Kensington Park Road” by Eileen Moeller

Holding a container of milk in my hand,
I walk to work under the creamy sky,
that usually covers this place,
muffling everything beneath its layer of fat.

The milk is cool in my hand,  and held out like this,
it becomes a talisman against the drunks who rush at me
shouting Help the Homeless, Luv, like two clowns in a reckless ballet,

against the German skinhead boys
who will not part their ranks enough to let me through
so I’m forced to cross in front of and around them.

The end boy shouts a stream of Deutsch words
over shoulder as I pass, and I imagine that cow
is one of them, floating over me: gutteral and ghost white.

I mean it’s a matter of logic to call me that,
since I am the bearer of milk,
its glad tidings gently sitting
on the pillow of my palm
to ward off demons,

as I pass the mother jogging behind a stroller,
the running businessman in his pinstriped suit,
the women in saris at the bus stop,
the private park that says No Entry,
the pub and temple,
a hint of barbed wire
that turns into a crown of thorns
whenever it curves even slightly.

The blessing of milk: part-skim.
Have mercy on us.
Low fat. Pray for us.
High protein. Have mercy on us.
Carbohydrates. Pray for us.
Energy. Grant us peace.

Eileen

Eileen Moeller and her husband, Charlie, have lived in the Philadelphia area for the last twelve years. She has two books: Firefly, Brightly Burning, published in 2015 by Grayson Books, and The Girls in Their Iron Shoes, published in 2016 by Finishing Line Press, and has many poems in literary journals and anthologies. Her blog: And So I Sing: Poems and Iconography, is at http://eileenmoeller.blogspot.com

Please note: Poetry is compressed to fit smart phone screens. If you are reading this poem on a phone screen, please turn your screen sideways to make sure that you are seeing correct line breaks for this poem.

Artwork by Howard Skrill

The following are works from the Anna Pierrepont Series, which is is an exploration in words and pictures of public statuary throughout New York City that maroon the past in the present.

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Howard Skrill is an artist, and art professor at St. Francis College and Essex College in Newark, NJ. He lives with his wife and one of his two adult sons in Brooklyn. His work has exhibited from St. Francis College, Bronx Community College, the Boston Graduate School of Psychoanalysis, Wheaton College and Holy Family University. He has also shown at the Safe-T gallery and the Kumon pop up space in Brooklyn and Chashama in Manhattan. His pictorial essays and other works have appeared in Newfound: Art and Place, Red Savina Review, Assisi, the Columbia Journal, Average Art [UK), Streetlight and pending publication in War, Literature and the Arts and Districtlit.

Five Poems by John Grey

ALLEYWAYS

If it weren’t for alleyways,
these creatures would not exist.
If trash didn’t overflow the bins
and bleary faces stare down
through cracked window panes,
there’d be no predator
with hat shielding his eyes
or knife-wielding tattooed hooligan
stabbing his blade in crumbling brick.
A cardboard hovel
sheltering a white-haired jabbering homeless man,
breeds a fleeting taloned stranger
barely deeper than the wind
or a shadow on the wall of something horned.
Rats bear some of the guilt.
Random gunfire also.
And likewise the cop who patrols
the neighborhood
but leaves the dismal dark dead ends
to their deadly discrete marauders,
Every so often,
in the best light day can manage,
Rescue drags a body out
of one of those smelly pits.
For an hour or two,
it’s Lumley Lane
not spawning ground.

AT HOME BELOW STREET LEVEL

occasional glance through the window bars
of the room I’m in…
closed in judgment and in fact –
promise to bathe more often,
or give the tanned young man in my head
a chance to breathe –
or stop lapping up tap-leak with my tongue,
and ignore the landlady
screaming about the rent –
sky can never clear,
air can’t warm up not even a little –
spend my last years
surprised to meet a man
of my shrunken dimension –
take money where I find it,
converse with my dead mom but not my dead dad –
ask a cop – sip the flask –
rot in my cellar, unequal even to the buzzing flies
sucking on the crystal sugar of my energy –
imprisoned by the roof, the windows, everything…
sad fate of a dead man in a cellar apartment
clutching the tattered family Bible,
my sins staring up at the street

JUNGLE

in the jungle,
red ants, lounge lizards,
jaguars, both feline
and valet parked,
potential prey
done out in the latest
slinky fashions,
spiders as big as tabletops,
piranhas and vultures,
snakes of all varieties,
vines and other stranglers,
interact, compete
and prey upon each other –
a paradigm of Gaia’s
ever-evolving
dynamical system
or Saturday night
once the clubs heat up

DEATH OF A WARRIOR

The cracks in the face are painted over.
The eyes are closed,
two bulges in the forehead,
where red veins used to be.

That’s normal under the circumstances.
As is the closed mouth,
that raspy voice no longer required.

And there is nothing of barrooms
and diners,
those bookends to his daily routine.
The man in the box
could have attended church daily
for all the lies
the undertaker’s handiwork tells.

But what choice was there?
A man who began his day
eating greasy slop
to disregard his heart.
A drunkard at night
with an entire family to defy.
Wakes are general exhibition
not parental guidance.

So the man is concealed.
Someone smooth, innocuous,
takes his place.
Maybe the mourners won’t notice.
Or memory will make good times
out of bruises.

Thankfully, the eyes are closed.
Now death is only sad.
It could have gotten ugly.

BOYS WILL BE BOYS

Yes, we were the ones
who scooped tadpoles from ponds,
gave turtles new unwanted homes,
boys in our early teens
with the belief that nature
didn’t belong in nature,
was more suited as periphery,
atop dressers, on bedroom floors.

With nets on sticks,
we chased butterflies,
pearl crescents with black and orange wings,
red admirals, eastern commas,
killing them with one squeeze of the abdomen,
pinning them to project books
where their wings crumbled,
and bodies turned to dust.

Our parents said,
at least they don’t get into trouble
like other kids –
no shoplifting,
no breaking into abandoned houses.

But we stole from the leaf-mold and the wildflower.
We busted into the fragile cycle of life.

A glass jar half full of brown water,
holes punctured in its lid,
and a creature stalled, stiffened,
halfway through metamorphosis –
a crime scene.
I was there.

 

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John Grey is an Australian poet and US resident. Recently published in New Plains Review, Stillwater Review and Big Muddy Review with work upcoming in Louisiana Review, Columbia College Literary Review, and Spoon River Poetry Review.

Please note: Poetry is compressed to fit smart phone screens. If you are reading this poem on a phone screen, please turn your screen sideways to make sure that you are seeing correct line breaks for this poem.

Editor’s Post: “The City’s Wild Promise.”

F. Scott Fitzgerald wrote that “the city seen from the Queensboro Bridge is always the city seen for the first time. In its first wild promise of all the mystery and beauty in the world.” Fitzgerald describes something that I’ve always felt when arriving in a city; the word that comes closest to explaining this feeling is hope.

Continue reading Editor’s Post: “The City’s Wild Promise.”