.vanity project.

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The Raconteur

The most amazing thing he ever saw, he said, was a man as tall as a house married to a woman the size of a station wagon. He wondered aloud to whoever would listen about what their children must look like. Probably the size of a recreational vehicle, the kind his aunt and uncle used to drive out west when they didn’t feel like paying for a proper vacation. Back when they loved each other and he still knew what that meant. He saw this man and this woman, in real life, but nobody was around to say hey, that’s really something to see. The adults around town said the only thing probably bigger than that woman’s waist was the boy’s imagination, but he knew what he saw.

He packed as much storytelling into a ten-year-old frame as a ten year old could, Ike did. Especially for one as slender as his. It was the kind of frame that made it easy for him to slip and slide through holes in fences and gaps under porches. Places nobody else would fit in a million years. Places where only Ike could see what he saw, and where everyone else would just have to take his word for it.

There was a time about three months back that Ike signed himself up for the play at the Mount Gilead Community Church of Christ. They were telling the story of the Ark and Ike was supposed to play a zebra. The play wouldn’t have made much sense with just one zebra, but the thing is that’s exactly what happened. And people started asking questions about why there were two lions and two kangaroos and two goats but only one zebra. Some figured there was just a felt shortage, but then people got to realizing that there was a little boy about ten years old that was supposed to play that second animal, and so now the zebra population was in danger and a little boy was missing, too. Ike didn’t turn up at church ‘til near an hour after the play was already over, and when he did his lip was split and there was a knot on his forehead on which you could have landed a moderately-sized aeroplane. So people got to asking questions about those marks and why he’d missed the play, and Ike, never one to withhold information, let them all know the truth - that he was taken from his home and held hostage for days! No food, barely any water and regular beatings that were worse than the heretics’ at the Inquisition! He had of course used his cunning to escape and was lucky to be alive to tell you all the tale.

And the folks in Mount Gilead turned out in numbers to find this mad man who was capable of kidnapping and torturing such an innocent boy, a man someplace between four feet and seven feet tall, depending on whom Ike had witnessed to, and with hair as long as Samson or as short as a newborn baby. Either the weight of ten men or the frailty of an invalid, and somewhere between twenty-two and sixty-two years of age. Mount Gilead wasn’t real big to begin with, and once folks got to looking and talking together all those wrongs started adding up to even fewer rights, and Ike’s story started making less and less sense. The people stopped their looking and most of their believing, too.

Then there was the time not too long ago when Ike showed up to school with a black eye, just like the time the week before when he showed up with two. His teacher asked how come he hadn’t been at school the day prior, or those days last week for that matter, and what had become of his face. But Ike insisted she see the other guy before she got to asking questions. Did he say guy? He meant guys. Six of them. With clubs. And steel toe boots. They surrounded him when he cut through an alley behind a tire yard. He never takes that short cut, and these guys must have known he wasn’t a regular. He took care of four no sweat, but the last two were scrappers. He rearranged some attitudes and a few faces of his own, but not before they got their licks in. He was sorry he was late to school by the way, but by this point she had to understand. He offered to tell the story to the whole class, but the teacher just directed him to his seat and took one herself, but she balled her hand up into a fist and raised it to her mouth and did that thing you do when it’s either real cold outside or something’s wrong. And days didn’t get much hotter than this.

He got home from school that afternoon with a full brain and an envelope his teacher had told him to give to his mother. Make sure it’s your mother. He found her where she always was. In the front room rocking chair positioned somewhere between her third and fourth gin and tonic. She had on a house dress that used to be white and a face that used to be hers. A face that seen too much but understood too little. The type of face you get when you’re tired of trying to explain things. She didn’t say much. She never did. That was fine by Ike, it made her a better listener. And boy, did he have a yarn to spin. He set the envelope on his mother’s lap, unsure if she’d even noticed, and unhinged his jaw.

“Mama,” he said, half checking to see if she was listening and half as a courtesy. After all, she’d want to be prepared. She didn’t respond, she rarely did. In fact, the waltz her index finger was crafting around the edge of her glass was the only sign that she was breathing at all. That seldom fazed Ike and today was no different.

“Mama, today at school a boy named Roy climbed on a dumpster and then onto the roof of the school,” Ike barked with pride, his hands perched neatly on his sides, elbows straight out and chest real big like a super hero.

“Then he walked right to the edge and looked straight down like he wasn’t afraid of nothing! It must have been a hundred feet high. At least, I bet that’s how tall he felt up there!”

Ike’s speech quickened.

“All of the school ladies ran to the edge and were yelling for him to come down or to be careful or that his parents was already on the way, but Roy just looked at them and smiled real big and then he jumped right off!”

Ike paused to allow his mother to react, an offer which she refused to oblige.

“But guess what, Mama? He didn’t hit the ground. Roy the boy flew through the air right there at school! Can you believe it? All those people on the ground trying to catch him but Roy was too quick for them. He just flew as high as he could, away from all of them! Can you picture that? A boy! My age, maybe even younger, flying through the air!”

Mama didn’t say much, she barely unfurled a smile, but she did peel her fingers off her glass long enough to run them through a tuft of Ike’s dirty blonde hair, a rare moment of tenderness that was cut short by the sound of gravel crunching beneath the tires of an old Buick Skylark. That was Ike’s cue to head to his room and Mama’s to fix a new drink, seeing as how different things had been since Daddy’s sister-in-law died.

Before Uncle Jeb’s first wife passed, both he and Ike’s father had run a store just outside the Mount Gilead city limits. Nothing fancy, just the normal particulars, household needs, medicines. Once the cancer spread too far, though, Uncle Jeb got to running with some unsavory women. Loose is the term Abe - that’s Ike’s father - would use to describe them. One particularly caught his affection, Dess was her name, and she had a whole new plan for Uncle Jeb. She had never wanted kids, thought they were money pits, which didn’t bode well for Jeb’s only daughter from his first marriage. Never saw the wisdom of creating extra mouths. Had a business mind of her own, too - one that involved selling Jeb’s stake in the store and moving somewhere tropical. When Jeb shared the plan with Abe hell broke out and the two stopped speaking. Mount Gilead never was a buyer’s market, and Abe wasn’t able to find any investors. The store went broke and took Abe with it. He hit the bottle first and mama second - and then he came looking for Ike. His only comfort came from knowing that miserable woman was controlling Jeb’s life, plus he’d heard through circles that Jeb had developed a bottle problem all his own. Still, Abe never recovered from the blow to his ledger or his reputation, so when he pulled the letter from his wife’s lap and read it to himself that set him off real good.

He unclasped his belt and slid it real slow from around his waist and made his way down the hall toward Ike’s room. It was a walk he’d made many times before. Ike was waiting patiently at the foot of his bed, focusing his attention on the hallway light that spilled into his dark bedroom beneath the door. As the light scattered Ike’s chest grew tighter, but he tried to steady his breath. He’d memorized the steps to this dance long ago, no reason to be nervous this time. As the door slowly creaked and the distance between he and his father evaporated Ike remained still. The initial blows were always the worst. The rest was simply routine.

It was over as quickly as it had began, this dance, and Ike’s father returned to the front room looking for his wife. And Ike, he slipped out through the kitchen and into the summer evening without a thought in his head of where he was going.

He beat out a trail through the woods, passing by a giant row of trees that looked to Ike like paper dolls. He crossed a small footbridge over a creek he’d seen before and made it to a small field of poppies when something made him stall. Movement. A few yards deep in a mess of vines and weeds. Had whatever it was remained still he wouldn’t have noticed, but there was just enough of a rustle to cause a stir in Ike. It was probably just a coon or some other nuisance critter, but what if it was a bear or something badder? Ike was fearful, but never too fearful, so he slowly reached the top half of his slender frame into the brush and forged an opening.

She lay in a purple sun dress, dark hair covering her eyes, one of which was badly swollen, the rest beaten and bruised like a busted up piece of fruit. Whoever had left her there had taken time to make sure she wouldn’t be found for a while, if ever at all. She’d taken more than her tiny body could withstand, but for the moment she was of the earth. She wasn’t strong enough to say much more than her name, but Ike knew who she was. Her name was Ana. She was Uncle Jeb’s daughter. She was two grades below Ike, which made her seven. Maybe eight by now. He’d seen her over at his Uncle’s house a time or two before, the new ward of a new wife who wanted a new beginning.

Ike was left searching for words. It wasn’t something he was used to. He studied Ana’s little hands, each finger broken in two places, bruises up her legs as far as Ike could see amidst the ruffles of her tattered dress. Her hair had dried black with blood, and her mouth puffed up blue at the corners. What was left of her breathing was shallow and strained, and she could barely lift a hand to gesture for help. Ike stood up and backed away slowly. He turned carefully and faced the direction that brought him to Ana. And then he ran.

Ike ran back toward downtown Mount Gilead as fast as he could, this time paying little attention to the scenery. He emerged from the woods and crossed the train tracks that marked the edge of downtown when he saw an old police cruiser parked outside of Mr. Murphy’s bar. He burst through the door, paying no mind to the fact that a ten-year-old had no place in a bar. The officer sat with his back to the door, but even perched on a stool Ike could recognize the towering figure. He approached the man and tugged at his uniform. The officer set down his glass and slowly rolled to his right, not expecting to be met by such an underwhelming complainant.

“Can I help you, son?” he asked.

Ike stood silent, trembling, but not for the man in front of him.

“Out with it!”

Ike was silent, unable to write the words in his head that sounded like what he was feeling, and all of a sudden twisted up inside with two different types of guilt. He thought of Ana’s little broken fingers, all ten of them. And he thought of Mama, too.

“Well?” the officer prodded again, growing impatient.

“Um, officer.” Ike trembled more. “You see.” He swallowed hard.

“Back by the tire yard, there’s this pack of coyotes. Each meaner than the next. There must be close to a hundred of them and - ” The officer raised his hand, which meant it was time for Ike to stop, and he rolled his stool back to its original position, reminding Ike that coyotes hadn’t been seen in Mount Gilead in fifty years and that he remembered Ike from the church and that the next time he wants to go spinning stories he’d be best off picking a better fool to fool.

And so Ike apologized for wasting the man’s time and excused himself from the bar, and he walked back through the same woods, over the same creek and past the trees that looked like paper dolls. He was all alone. No policeman or fire chief and no pack of concerned lookers-on was with him. Just Ike and the field of poppies. And now Ana. And he did all he could think to do and he held her tiny hand in his. And she understood why he did what he did. All too well. And as her soul passed through her lips and out into space he told her all about his mama and the face she made in that chair and the days he hadn’t been to school and why he’d been late to church that day three months ago. And they were the realest words he ever spoke.

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I could mention the two wars. Or the global AIDS epidemic. Or genocide. Or hunger. Or the spread of radical fundamentalism. Or any of the real issues that persist while we fight over gay marriage. I could. But I won’t. Because this isn’t about proving a point. It’s not about who’s right. It’s not about my politics or your religion. It’s not about you and me at all. It’s about love. Let it happen. Watch this.

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writer’s block

I hear visualization is effective.

When I’m struggling to find something worthy of writing about, I like to visualize a scrawling Ernest Hemingway bent over a desk in Idaho. His brow equal parts wrinkled and drenched, trying to keep what must have been immutable shakes from spilling the contents of a glass of what I can only assume smelled like scotch.

I have a can of Cherry Coke Zero and a bag that once contained 70 percent more pretzels than it does now. My moveable feast is available in both the lightly-salted and honey wheat varieties. Who needs a shotgun when gradual, sodium-induced heart failure is so much more dramatic?

I understand that the greatest writers in history are only as powerful as a good idea, and maybe I just don’t have one of those yet - but I never have one of those.

Writer’s block is something I am working up to.

Eventually I’m going to have to stop calling myself a writer. Soon enough you will all figure me out, and I’ll have to admit that the jig was never down to begin with. Maybe it’ll be helpful if I practice writing in the third person. I don’t ever really do it. He is pretty sure this is just a function of his own insecurities. He knows that any character he creates will be perceived as a projection of those insecurities, and he’d rather allow any scrutiny to fall on himself, not himself and something he actually created.

I guess that wasn’t so hard.

And besides, people get bored with hearing you talk about yourself after a while. At some point it just becomes narcissistic. But who is this third person, anyway? We can all agree that he is better than the second person, which I suppose would be you. Not to say that you aren’t great, but when it comes to writing, the second person is just so awkward. Not to say that you’re awkward. Unless you’re the second person, in which case you kind of are. But isn’t the third person just me, anyway? If I don’t assign it a voice, doesn’t it just assume my voice? So now we’re just arguing over whether I have nothing to say or he has nothing to say.

Either way, I’m back where I started. I’ve spent the length of a Monday Night Football highlight writing and have said nothing. If I was a teacher and a student handed this in, I’d write SEE ME in big red letters at the top, and then we’d meet and I’d ask him if he’d ever considered vocational school. 

But I say nothing by design. It’s just easier that way. Temper expectations. Let them go on thinking you’re great without ever actually having to prove it. Talking about writing well is a lot easier than writing well, and writing nothing is a lot better than writing poorly. First person. Second person. Third. We’re all terrified of being shit. Maybe I need to visualize myself a spine, first.

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My Top Ten Albums of the Decade (2000s edition)

Make no mistake, this list is my own. I make no claims to the contrary. I’m sure the new Girls album is phenomenal. I have no doubt that Phoenix, Animal Collective, Radiohead, or probably even bands that I have never heard of released killer albums throughout the last 10 years. Maybe they even released better albums than those that are about to be listed. This list is not meant to be a discourse on song-writing or a persuasive essay on why these albums are the definitive albums of the new millennium. I promise only that they are the definitive albums for me.

10.

Say Anything - …Is A Real Boy

Every bit as catchy as it is poignant, …Is a Real Boy is arguably the best pop rock album ever laid to record. Max Bemis sings with all the angst of a brooding teenager, but closer inspection of his lyrics reveal a maturity and mastery matched by few others. Biting, acerbic, but honest social commentary broken down and packaged into 13 (I’ll forgive the re-release) songs that will have you singing along after just one listen. It’s the kind of album careers are made of; a generation-defining pop rock masterpiece you’d have to be dead inside to not enjoy.

Standouts:
Woe
Alive with the Glory of Love
I Want to Know Your Plans

9.

City & Colour - Bring Me Your Love

Singer-songwriters are a dime a dozen. Singer-songwriters that can capture and convey emotion the way Dallas Green can, however, are much, much rarer. I first heard Alexisonfire when I was a freshman in college. I more than likely would have relegated them to the recesses of my mind with the rest of the post-punk-hardcore-scream-first bands that I grew tired of had it not been for that voice. Over the driving guitars and angry, screaming vocals soared a voice that was unavoidable. The voice belonged to Green, whose second solo album, Bring Me Your Love, stands alone in a sea of one-guy-and-a-guitar albums. Partially because he’s just a better singer than everyone else, but mostly because of his ability to blend brilliant lyrics, perfect melodies and killer guitar work with raw, unadulterated emotion. Every word he sings is felt; each lyric, agonizing or beautiful, resonates from head to toe.

Standouts:
Body in a Box
What Makes a Man?
Against the Grain

8.

The Receiving End of Sirens - Between the Heart and the Synapse
Perhaps the genre I love most done at its absolute best. Progressive song structures, recurring thematic elements and intelligent lyrics woven into 13 tracks that blend seamlessly into each other creating a sonic experience unmatched by almost any other album. I have no technical critiques. It’s completely perfect. If it wasn’t for the unavoidable lack of emotion I feel when listening to it, it would be number one. That I really don’t get much out of this album but place it as my eighth best album of the decade should give you an idea of how bloody impressive it is.

Standouts:
Planning a Prison Break
This Armistice
Dead Men Tell No Tales

7.

Thursday - Full Collapse
This was the first album to change my life. Put simply, this is the album that taught me to expect more out of music. This is the album that taught me that music should not be listened to, but felt. I owe this album, and a few friends who introduced me to it, for the lifetime of experiences, each punctuated by the music of the moment, that I have to look forward to.

Standouts:
Understanding In a Car Crash
Autobiography of a Nation
Paris In Flames

6.


Moving Mountains - Foreword EP
I know what you’re thinking, “but Matt, this album only has four tracks! What gives?!” I know, it seems strange. But here’s what gives. The four tracks clock in just shy of 37 minutes, so it totally counts. This album is everything music should be. To quote KD, this is where post rock should have gone. Breathtakingly beautiful instrumental parts mixed with earth-shattering heavy guitars and…vocals? Moving Mountains found a way to take everything I love about music and mold it into a four-song EP that has done more than wet my appetite for what may come next; it has satisfied my need for a genre that, prior to hearing this record, I didn’t think existed.

Standouts:
All of it.

5.


Underoath - Define The Great Line
The word masterpiece gets tossed around a lot (once already in this list, I believe), but make no mistake, this album is an unequivocal masterpiece. About six months ago I stumbled across the top 25 most played list on my iPod, only to find that numbers 1-11 on that list were the eleven tracks on this album. I didn’t know that was possible. Hundreds of bands tried to make this album, but there is only one Define The Great Line. From start to finish, this album redefines a genre, raising the bar in terms of song-writing, production and emotional output. If you like heavy music and aren’t afraid of being made fun of by the kids that inexplicably think Underoath has sucked since The Changing of the Times, buy this album. The best heavy album of the decade, edging out the likes of Jane Doe and Colors.

Standouts:
In Regards to Myself
Returning Empty Handed
To Whom it May Concern

4.

Jimmy Eat World - Futures
Second only to number three on this list in terms of its ability to create and foster an atmosphere, Futures is an emotional Tour de Force that begs to be listened to. As catchy as it is dark, Futures dances between emotional highs and lows without ever sacrificing the signature sound that makes Jimmy Eat World so damn listenable. And if the closing track doesn’t make the hair on the back of your neck stand up, then I don’t really want to be your friend anymore.

Standouts:
Kill
Polaris
23

3.

Brand New - The Devil and God are Raging Inside Me
The album I wanted to write. Equal parts dark and beautiful, a record that is truly uncomfortable to listen to. Jesse Lacey’s trademark cynicism layered over music that is rife with deliberately incomprehensible breaks and blistering crescendos, evoking myriad emotions and impossible to ignore. This album is pure genious.

Standouts:
Jesus
Limousine (MS Rebridge)
Luca

2.


Thrice - Vheissu
I’ve listened to this album well over 100 times and I’ve yet to find a flaw. My favorite band, all things considered, and this, categorically, is their best work. This album marked the definitive moment in the evolution of this band, blending genres and introducing instruments that I’d not yet heard on a hard rock album, all while Dustin Kensrue continued to solidify himself as the high water mark for rock lyricists.

Standouts:
The Earth Will Shake
For Miles
Stand and Feel Your Worth

1.

As Cities Burn - Come Now Sleep
I was riding the train on my way to work, like I had so many days before, when this album changed my life. An album so beautiful, so meaningful, so powerful that it begs its audience to contribute something of equal importance. It needn’t be an album or even a song, but settling for a life that didn’t achieve or convey the same emotion would be a disservice. Mostly to myself. Come Now Sleep redefines emotion, track after devastating track, culminating in the most powerful song I’ve heard to date.

Standouts:
Contact
This Is It, This Is It
Timothy

Honorable Mentions: Sigur Ros - ( ), As Tall As Lions - As Tall As Lions, Death Cab For Cutie - Transatlanticism, Explosions in the Sky - The Earth Is Not A Cold Dead Place, Something Corporate - Leaving Through the Window, As Cities Burn - Son, I Loved You at Your Darkest, Sufjan Stevens - Illinois, Taking Back Sunday - Tell All Your Friends

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How vain it is to sit down to write when you have not stood up to live.
Henry David Thoreau, 1851.