130 Tales: 51 through 60

The steep ascent to the halfway point of this project has past-me slowing down a little bit. The incline seems to be getting to me, as past-me tends a bit more towards the theoretical, the not-quite-cohesive, the just plain uninspired. I can clearly tell most of these were written on transit either to or from work. I’d say most of the entries in this decade are terrible but… yeah, no, most of the entries in this decade are terrible, in my present opinion.

There are a few gems, though. I like the image Number 52 sets up; there’s something sweet and sad about it.

Number 56 is probably my favourite out of the bunch except for the last sentence! Totally unnecessary! It would have been much stronger if it ended, “That’s why his tongue kept moving in and around.” Don’t add another character, past-me. Not yet. Not when you’ve just set up such an interesting initial one. Especially not if second character is just an observer. So boring!

Number 59 is clunky, but has some potential.

And I think I do actually enjoy Number 60: it’s a basic story we can all figure out afterward it ends; it’s an easy-in to a much larger adventure.

All the rest, though, terrible.

130 Tales

# 51 – 60

51. My wheels grew corners. Now all I can do is moan and whine like everyone else.

52. Their only time together is on the train; their laughter’s born so deep you’d never know there wasn’t a Christmas tree.

53. The ancient streets; his eyes resting on crystals and it’s all he can do to keep his heart from breaking his ribs.

54. He’s studying the unknown; a query into the collective soul: cars driving two by two, feet matching rhythms. What is instinct?

55. When she realised she could do anything, nothing remained sacred. So she went on a journey through forest and hill.

56. His teeth felt wrong: all squares and triangles. That’s why his tongue kept moving in and around. I’m sure he was self-conscious.

57. “What do I know? I am the story of a man in transit. That’s what I’ll write. But I can’t promise an end or anything.”

58. Cold hands grab my ribs as I stare at the night-covered smoke caressing the sky.

59. His ringed hand swirls the finger of scotch. His head leans forward, “But what can you do for me?”

60. The mountain seems so far away. Her face illuminated as she huddles, typing in the dimly lit villa: ‘8am – overcome fear.’

Past Decades:

Numbers 1 through 10

Numbers 11 through 20

Numbers 21 through 30

Numbers 31 through 40

Numbers 41 through 50

good news for totem.

As I make my way through a couple classes at Volcano’s 2013 Conservatory I am pleased to receive some good news concerning my recent trip to Hamilton with my new solo show totem.: The View (Hamilton’s version of NOW!) called totem. “one of the hidden gems of The Hamilton Fringe 2013.” I had an amazing time in Hamilton; meeting some lovely people; getting this show on its feet after only 5 in-depth rehearsals; adapting the show to the gorgeous James North Studio Gallery; being right in the middle of one of the craziest storms I’ve experienced in the past few years; and performing totem. 8 times in about 50 hours. Even though my houses weren’t necessarily packed (i.e. “hidden gem”) I took the time I had in Hamilton to tell a story that I deeply care about to anyone that wanted to listen.

This review from The View, posted below, reassures me that I wasn’t the only one who had a good time during this amazing little escape to Hamilton.

Thanks to everyone who came out to see the premiere of totem. ~ if you missed it, there will probably be some extra opportunities to check it out very soon. Stay tuned!

Totem.

Written and starring Andrew Gaboury from Toronto, Totem tells the story about a man caught between what he has and what he wants. Gaboury uses his seemingly boundless energy to convey to the audience the inner struggle of a young man being seduced by a beautiful smile on the beach. Gaboury is an actor that deserves major kudos for his performance. As with many smaller shows, there are times where your audience may consist of just a handful of people. Having a small audience did not dampen his show in any way shape or form. This young actor showed his experience and passion for the art as he gave a performance as if hundreds of people were in the room. Totem was one of the hidden gems of The Hamilton Fringe 2013. V (DW)

130 Tales: 41 through 50

This decade surprised me with its consistency; most of these entries remind of paintings. They are not necessarily active in terms of action. Instead, they are active in description, mostly painting a person, a glimpse of wonderment. the beginning of character. At the end of the tales I find myself wanting to follow them, as if each of these characters were on a streetcar, or subway train, and each entry is an offer to follow them, to see where they are going, to see what awaits them at the next stop.

The one that stays with me the most in this decade is Number 49. I’m reminded of a long exposure shot of cars driving through an intersection and then rewarded by a bit of sweetness at the end. I also love the simplicity of Ethel in Number 41. I have a very clear picture of Ethel in my mind, even though I didn’t write any physical description of her. I hope she’s as vibrant to you as she is to me.

—

130 Tales

# 41 – 50

41. Ethel walked by the window with the glass chandelier every day. Mostly she’d act uninterested, but not today. Today she’ll stare.

42. Pen touches paper; its voice remains mute. He feels confined; his thoughts unable to find life outside his immediate surroundings.

43. I can hear a beast within the cave. Standing near the entrance the wind pushes me softly. My ears straining. It is the only sound.

44. What’s his secret? He has a genuine smile. Blue eyes as white and bright as a child’s with a body as old and bent as the truth.

45. Horrified of air and what it carries they prefer to swim through channels of mind. They prefer to breathe life, why anything less?

46. Deep creases dress his cheeks. At a quick glance they could be mistaken for scars, a disfigured face, but he enjoys their safety.

47. The ghost of a woman, dressed in blue, stands in the middle of the street as I stare out the glass. But her proportions are wrong.

48. He stares at the names of destinations: each one new, foreign. For each name he creates a world. For each world he plans a trip.

49. He doesn’t even see them anymore. They are nothing but blurs, streaks curling all around him. How can he – when she’s there?

50. Amidst the swirling lights and laughing people sits a figure stained red and white, blue and green. His hand paints the air.

Past Decades:

Numbers 1 through 10

Numbers 11 through 20

Numbers 21 through 30

Numbers 31 through 40

what a welcome.

They came so quick, the clouds.

It it amazing to experience a tornado-level storm in a city you don’t know, while running around the streets looking for a woman you do.

It is amazing to watch the storm blow down the street, from one intersection to the next until it hits you straight-on. All of a sudden sand, dirt is flying everywhere – where does one find sand, where does one find dirt, in a city? Stinging my eyes, making them water. Looking around for shelter. Asking for directions. What once was sweat is now rain. I’m carrying puddles in my shoes. The office door opens behind me, Come inside, she says, It’s crazy out there, briefcase in hand. Another woman vacuuming the lobby.

I made it back for my show, thankfully got to change into my dry costume, wiped off my feet. My shoes are still drying at home as I type this on the bus back to Hamilton. I’m told there was lightning behind me for my second show. For my own storm. There were men from the mission watching from the overhang outside the gallery, just wanting to stay dry. They clapped when I lay down. Cheered me on. I smiled to them when I bowed. As the show ended we noticed they had no power across the street.

So, seeing as how the world’s ending, want to grab a drink?

The Baltimore was candle-lit. We didn’t notice at first; thought it was just the mood they were striving to achieve. More cheers when the lights came back on. Not much of a difference in mood. We drank and ate sandwiches and watched seven artists break dance, we listened to music and generally just tried to absorb the day. For five strangers in a foreign city, Hamilton certainly left it’s impression on us.

totem. at the Hamilton Fringe Gallery Mini-Series continues today at 4:30, 7:45 & 9:15pm. It is playing at the beautiful James North Studio Gallery (328 James North) and is preceded by the stunning Lucy Rupert’s show Frankenstein Fragments at 3:45, 5:15 & 8:30pm. Tickets are $8 for each show and can be bought at the door.