Jane Eaton Hamilton

"At the bottom of the box is hope." – Ellis Avery.

Category: short story

The little bubbles of a short story for your reading pleasure


This short fiction Phosphorescence about love, pregnancy and beluga whales from Room Magazine’s Queer issue, now online.


Autostraddle, and Room

Imagine my good luck to appear in the Bad Behaviour series at Autrostraddle, and in Canada’s oldest feminist journal, Room, in their queer issue, all in one month, alongside the grooviest writers (people I’ve admired far and near for years), and, might I add, the most amazing visual artist, Ness Lee. (Their cover is above.) The former magazine is online, and the latter is available at your favorite independent bookstore or from Room, link below.

My essay about being non-binary, ‘The Nothing Between Your Legs,’ appears here, but check out the awesomeness of the entire series at Autostraddle here.

And a link to my short story, ‘Phosphorescence,’ in Room.

Hunger–my story collection (not Roxane Gay’s memoir I’m reading now)

When I was sorting through my archives, I discovered two reviews of my 2003 short story collection Hunger, one from Event Magazine and one from The Fiddlehead. I thought folks might like to read them. I’d forgotten they existed, and I so loathed the cover the publisher gave that book that I immediately orphaned it. Don’t get me wrong. I am a sizable fan of the artist Egon Shiele, but I didn’t think the chosen image evinced hunger, and the book design was, frankly, pug ugly. I was stunned by the back cover, or lack of back cover, which wasn’t even designed. I know I could have checked the typical stylistic quirks out when the press asked me to publish with them, but I didn’t. At the time, I was on a Gulf Island, and there were none of that press’s books I could find in the library, and it was before the internet was really going. I didn’t see the mess of that book until the press had gone to print (probably on purpose … some presses respect their writers and some don’t) and when I got my author copies, a signature fell out of the first one I picked up, proving that the production values sucked. I felt embarrassed and humiliated. After that, I just–refused it. I always knew it contained great stories, since most of them had won pretty major awards, and it went on to be shortlisted for the Ferro-Grumley, earning it a lovely quote from Emma Donoghue, but I hated its look, so I orphaned it.

Anyway, what a difference 14 years makes–and doesn’t make. I still loathe that cover and the production values (you’ll note the cover is not included in this blog post, and it doesn’t appear on Amazon either) but I now imagine I might like the book if I read it again, because in tearing apart litmags and anthologies to make tear sheets for the archives, I found these:

Event review of Hunger

Painting the Babys Room Green review of Hunger

TNQ 140, cover and a bit of innards


The New Quarterly, cover art: Jane Eaton Hamilton

I did the cover for The New Quarterly this issue, and also have a story, “Angry Birds,” appearing inside. Just arrived today! I look forward to exploring the other writers.

National Coming Out Day

JEH nude 2016

painting Jane Eaton Hamilton 2016

It’s National Coming Out day. If you’re feel safe and protected enough in your circumstances to do so, I hope you’ll join us as out and proud people! It can be uplifting, unnerving, relieving, and thrilling to take that step.

Many, many of my short stories are queer, as are many, many of my poems and my novel WEEKEND. Here are some of my short fictions specifically about coming out:

Smiley, by Jane Eaton Hamilton, not yet collected: A young man in Cape Town works up his courage to tell his mother he’s trans.

Hunger, by Jane Eaton Hamilton from the collection HUNGER: A young runaway tries to escape the clutches of her older Vancouver lover.

Territory, by Jane Eaton Hamilton from the collection HUNGER: A woman leaves her husband for another woman.

Kiss Me or Something by Jane Eaton Hamilton from the collection HUNGER: A butch partners tries to get pregnant with her sometimes-straight woman partner.

I hope you’ll help me identify more short stories by other authors which celebrate coming out by responding to this post!

Here are the responses so far:

“Angel” by Elise Levine

“This is What You Get” by Benjamin Alire Saenz

“Ashes” by Nancy Jo Cullen

“From the Gloria Stories” by Rocky Gamez

“No Bikini” by Ivan Coyote

“My Marriage to Vengeance,” by David Leavitt

“Brokeback Mountain,” by Annie Proulx

“Smiley” by Jane Eaton Hamilton

“Her Thighs” by Dorothy Allison

“Fisherman” by Nalo Hopkinson

“Am I Blue” by Bruce Coville

“A Dad Called Mom” by Anne Fleming

“Skin” by Racquel Goodison

“Aye and Gomorrah” by Samuel Delaney



On Writing Across the Curriculum


magnolia: Jane Eaton Hamilton, unknown year

Instead of asking me to repeat myself, why don’t you challenge yourself to expand? I am not ever going to make myself smaller, my talents fewer, my range tiny, in order to garner your praise.

George Saunders on story


sketch: Jane Eaton Hamilton uncertain date: 2011?

Here, from The Atlantic, is George Saunders talking about how to write a good story. I love George Saunders’ heart. Sometimes, the Semplica-Girl Diaries, a story of his that IV-dripped into me, swirls in my brain.

After listening to this video, now I will hear this:

“…what you try and do with the person you love. You come back to them again and again and try to intuit their real expansiveness and you try to keep them close to you and give them the benefit of the doubt.” I have never heard this expressed quite this way before and I hope George Saunders wouldn’t mind if I say that this is why women stay with battering spouses.

This, indeed, is why I stayed with her. I continued to try to intuit her real expansiveness. It was this expansiveness under her crabbed expression of rage that bound, fascinated, compelled and tugged me closer.

It’s discontent and generosity that builds story. May I always remember this.

George Saunders

Here’s another interview from Triquarterly:

An Interview with George Saunders

“We just got our submissions for our grad program [at Syracuse] and we got 600 this year for 6 spots. And I read 165 of those. And it’s so interesting. Everybody has a beautiful life. And everybody has an intense childhood. And everybody has, I think, some ability to be moved by literature. But then you see 165 people stepping forward to try to make that magic on their own, and it’s not a given. You can be a really smart, really well read, really well intentioned person, but somehow the thing you’re writing doesn’t come alive. Every year we do this, I’m kind of stunned by how many people are writing and also how well, and also how few of those people really get into the zone of speaking to me or speaking to another human being at the heart level. It’s kind of a mysterious thing. It’s kind of terrifying.”

Social Discourse, 1944, The Missouri Review

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I’m pleased to say that one of my stories, ‘Social Discourse, 1944,’ from print in 2003, is online now at The Missouri Review as part of their ‘textbox.’

When I was a kid, our family owned Royal Oak Dairy in Hamilton, ON. While the story here is entirely fabricated, I based it loosely on a famous Hamilton fire where the dairy employees were targeted by a disgruntled former employer. My uncle, a dairy co-owner, was one of the people badly hurt in the melee, and when I was researching a family memoir, many years later, I spoke to people who showed me their burn scars.

I vividly remember not only the dairy, its production line (the smell of spoiled milk!) and the horse barns, but also that my pony, Toby, was borrowed for the last horse-driven milk-delivery and how excited that made me. I thought he was a very lucky pony to go to the city and have his photograph made. I’m not sure of the year–maybe 1960 or so?

I found such pleasure in milkmen! I thought the men who delivered our milk–who would never, ever allow us a ride in their trucks–were the neatest people I knew. They had chocolate milk in their trucks! What a wonderful job, I thought. Far superior to my father’s job where he wore a suit and sat in an office–though he did get access to the dairy’s amazing stationery cupboard.

Social Discourse: 1944

Lionel Shriver reads TC Boyle

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Lionel Shriver, asked to read a favourite story from the New Yorker for the New Yorker fiction podcast, chose TC Boyle’s “Chicxulub,” from 2004 and joins fiction editor Deborah Triesman in a discussion.

I’ve been a big fan of TC Boyle since the 80s and a fan of Lionel Shriver’s since “We Need to Talk About Kevin,” a book much beloved and admired. Wonderful to pair the two.

Lionel Shriver reads TC Boyle

Get Yer Writing On

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What makes a great fictional character?  Do you know how to develop one?  Here is a course with MacArthur Fellow Yiyn Li about writing character-driven stories.  There are other courses available here, too, by such lit lights as Susan Orleans.

Writing Character-Driven Stories

Ocho again

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detail: La Petite Danseuse de Quatorze Ans, Degas, Norton Simon Museum

I am lucky to be included in the spring issue of Ocho, edited by Wendy C Ortiz, author of Excavation: A Memoir, with my flash fiction called “The Commitment.”  I join a talented group:

Charlie Bondhus, Nathan Wade Carter, D Dragonetti, Myriam Gurba, Megan Milks,

Rick Sindt, John Pluecker, and Jai Arun Ravine.
I noted “The Commitment” was written in Paris while my apartment walls were covered foor to ceiling with my art pieces.  It forms part of my flash fiction collection “Soon I Will Be Dead.”



Lambda nomination!

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Nominated for a Lambda:  Outer Voices, Inner Lives, a collection of LGBTQ writers over 50, ed Mark McNease and Stephen Dolainski (my contribution: the short story “Just Be Glad You Have Heels”).  Nominated as well were Canadians Sina Queyras for MxT, Anne Marie Macdonald for “Adult Onset” and Shani Mootoo for “Moving Forward Sideways Like a Crab” and many other Canadians.

Read Casey the Canadian Lesbrarian for a full round-up.


Bird Nights

JEHblackdress1art by Jane Eaton Hamilton, 2014

Starting off a morning with a night, with this travel/relationship fiction from Numéro Cinq in 2012:

Bird Nights




painting by Jane Eaton Hamilton 2013

The first few paragraphs of my short story “Acrobat.”



Giving me away for your mama was how it had to go, Jet, I couldn’t rock that cradle. (You said, Mama?) All of you a drum over blood, hot in a rocky shell, so protected you burned against asbestos, keeping your fires tight and banked.

That night coming into you from behind I wanted to hurt you. You thought it was later but it was that night, me inside you too hard and gritting my teeth, grinding myself up into you till you came from it like a tic, squeezing around me. In the place I was touching you were highly polished, a susceptible pink. I wanted to hurt you–I was in love with you.

Your mama would tell me leaving was clinical, a simple wound, a parting of skin, a small surgery. But your mama never stood with you under a piñata. You said, Mama? You told me to dream in colour, running the loops of my brain in blues and yellows.

Jet, I called it love and read all your bumps and valleys. I was willing. I took you in the bathtub, I took you up against the purple hallway wall. I said I was never tired. You were the one thing I had a story for. You weren’t pretty but I called you beautiful, Jet, you with the name that made me think of a vapour trails, that name you wore like jewellry, like the one earring in your ear of a lizard or a spider.

Bird Nights/Nuit d’oiseaux

I am working my slow way through the translation, determined to learn this language well enough not only to read the French, but well enough aloud not to be laughed out of the room.

The beginning:

Bird Nights

Here is a story. It is true, but it is also full of lies. And small axes, the kind that make tiny cross-hatchings on hearts.


A surgeon flayed open my wife’s chest and removed her breast: stiches and staples. This was several years ago. While she sleeps her scar unzips (top tape extension, top stop, slider, pull tab), her flesh unfolding like a sleeping bag. Some nights I only see the corset bones that girdle her lungs, gleaming moon slivers in murky red sky, and I say a prayer for them, those pale canoe ribs, those pickup sticks that are all that cinch her in. I wish I could do that: I wish I could hold her together. Some nights I think she may fly away in all directions, north, east, south, west, a huge splatter. She will go so far so fast I will only be able to watch with my mouth fallen open. She’ll be gone, and all I’ll have is a big red mess to clean up and a sliver of rib sticking out of my eye.


Traduit de l’anglais (Canada) par Cécile Oumhani

Voici une histoire. Elle est vraie, mais elle est aussi pleine de mensonges. Et de hachures, le genre qui laisse de tout petits quadrillages sur les cœurs.


Un chirurgien a ouvert la poitrine de ma femme et lui a retiré son sein : des points et des agrafes. C’était il y a plusieurs années. Pendant qu’elle dort la fermeture éclair de sa cicatrice s’ouvre (ruban rallonge du haut, vis de butée supérieure, curseur, tirette), sa chair s’ouvre comme un sac de couchage. Certaines nuits je ne vois que les baleines de corsets qui entourent ses poumons, des éclats de lune luisants dans un ciel rouge foncé, et je fais une prière pour eux, ces pâles nervures de canoë, ces baguettes à ramasser qui sont tout ce qui la sangle. J’aimerais pouvoir faire ça : j’aimerais pouvoir la maintenir. Certaines nuits je crois qu’elle pourrait partir dans toutes les directions, nord, est, sud, ouest, une énorme éclaboussure. Elle ira si loin si vite que je pourrai juste regarder la bouche ouverte. Elle sera partie, et tout ce que j’aurai c’est un grand gâchis rouge à nettoyer et un éclat de côte qui sortira de mon œil.

Easter, a story

Easter by Jane Eaton Hamilton

winner Federation of BC Writers award

Vermillion, a short story



My wife painted a fresco on one wall of our living room and now my wife needs surgery on her hands.  Those two things are not related.  Her nerves were not damaged by plaster and pigment work; her problem, the doctor says, is intrinsic, a degenerative disorder that robs her of tactile sense and causes her pain.

My wife’s name is Mary.  You have probably seen her signature on canvasses but if you haven’t it doesn’t matter.  I wish no one did; I wish my wife had never sold a painting, not one painting.

There are words I wish I had never heard, too: chartreuse, I wish I had never heard the word chartreuse.  Turquoise is another one.  That word turquoise goes right inside me; that world turquoise is a bad word.  Vermillion.  Is there any other word in the English language that goes to work on a man the way vermillion does?

The world is filled with unpredictability.  Things wait around corners; words lie in wait around corners.  Once I was a boy and I lived with a mother and a father and all that waited around corners for me was love; I wasn’t surprised for the first time until I was eleven and came around one corner too many and there was my mother and there was a man and kissing.

I am a man who appreciates a good kiss.  I like a good kiss as well as the next man.  What man wouldn’t appreciate a kiss?  An excellent kiss can make a man overlook corners and words like chartreuse.  This is just the way of things.  In this world a wife and a kiss and a sunset make a fellow stop.  They make a fellow stop in his tracks just outside some doorway and they make his eyelids widen.

Let us say the sunset seen through the window was chartreuse.

Let us say my wife Mary was kissing someone else.

Let us say her damaged hands were against the breasts of an artist named Diane.

This is the truth.

The truth is two women were kissing and Diane’s shirt was undone and her breasts were bare.  My wife’s hands fit Diane’s breasts perfectly; I saw how well they fit.  They fit so well an artist could have drawn the four as parts of one body.

One of Diane’s paintings is of a vermillion figure poised on the edge of a globe, bending over.  My wife Mary’s fresco is turquoise.

This is just how it happens, a man turns one corner too many in his life and then it happens, that kiss, and he doesn’t know how to act or what to say or how to impart one color, the one he saw, black.  He hits his chest with the flat of his hand over and over, he does that.

Here is a photograph: a man, a woman and a woman.  Here is a sculpture: a man, a woman and a woman.  Here is a story: a man, a woman and a woman.  Here is a sunset and a fresco.  Here is a painting by a woman named Diane.  Here I am.  Here is my wife, Diane.

In the photograph I age and age.  Soon I am fifty.  Soon I am eighty-four.  Soon I am a hundred and two.  I am lucky to be so old, such a very old man with a thin windpipe.

The Arrival of Horses–a Christmas story, of sorts

This morning, the NY Times published an article on the west’s ongoing trouble with wild horses, the yearly culls, and the diminishing numbers of private adoptions of culled horses as the price of hay rises.   I am deeply sorry to hear that this issue is still with us.

I wrote this story a long time ago, but it transpires in this milieu, in the American west, with guns, to a family trapped on both sides of the issue, at Christmas time.

The article about the issue appears here first, and then my story appears here afterwards.  Please let me know if you’ve read it by leaving a comment here.

Wild Horses


Telling Stories

I’ve just read Chekhov’s “The Student,” Kafka’s “The Sirens,” William Carlos William’s “The Use of Force,” David Leavitt’s “Gravity,” and Russell Bank’s “Just Don’t Touch Anything.” This is good use of sleepless, cranky, sick time. Go, boys, go. (From “Telling Stories,” ed J C Oates, 1998, Ontario Review)



I’ve done something wrong, I think, except I am still in bed.  I scramble up to peer out the window and there she is, in her truck, smashed against the rear of my green car.  There doesn’t seem to be any damage.  From my vantage point high above the street, things look fine.  Still, I heard glass break.  I open the window, but I catch my fingers so that the window rolls up and over them and the pain is enormous.  She drives her truck down Pender and is gone who knows where.  There are things between this woman and me and every time she leaves, those things stretch and stretch.  Or they feel like smashed fingers, how the pain swells up and is bigger than a basketball or maybe this house, just for a minute, that big and encompassing.  But there is no one to cry out to so I don’t make a sound.
In an hour, she hasn’t come back.  She hasn’t phoned either.  I wonder whether she is going to tell me or whether the first I am to know of it is when the police stop me.  I can imagine that clear as day.  -Miss, a cop would say, do you realize you have no brake lights?  I’d hold up my fingers to see if the bruises would impress him, how the nails are swollen and purple.  Officer, I hurt myself, I’d say but I’d get the ticket anyway, I’d have to come home to her, waving it and shaking my head.  I’d say, Seventy-five bucks.  That’s what I’d say.  I’d look from the ticket to her and tell her how much.  And then I’d be as good as dead.  Around and around, that woman doing circles in my brain, attached in my brain like some elastic she keeps snapping back on me.

One day when she came home and I wasn’t expecting her, I hid behind the couch.  This was in January, when the days are short and cold.  Because she was trying to conserve electricity, the house was hardly heated; she didn’t care, it wasn’t her who was home all day.
-Stupid Bettina, she called, come out, come out.  Oh little thick-as-a-brick, where have you gotten to?  Where is my supper?
Peeking out as much as I dared, I saw she was in different clothes than she’d left in that morning.  But she was early.  It wasn’t dinnertime.  It was two hours away from dinnertime.
-Here I am! I cried.  Catch me if you can!  I leaped out and began to run around the living room, up over the couch and coffee tables, into the kitchen and bathroom, then outside even though I was wearing threadbare slippers and there was ice and snow on the steps.
When she caught me, she kissed me.  I was right beside a rhododendron bush in the side yard and for a minute it could have been May because I felt like a bloom, hot pink and florid.  She kissed me until my lips were broken.  I was so grateful.  She lifted me light as a memory and carried me back inside the house.  -How fast can you cook? she asked me, setting me down beside the stove.  Make Spanish omelettes.

I walk out onto our porch, which is now a summer porch, and I look at all our potted flowers.  My car is still out there, smashed, but I don’t care.  She has blue Andirondack chairs and I sit down.  Last summer someone stole one, one chair and two footstools and a beach blanket, but the next night she woke me up at three to say the thief had brought them back.  There was a note: I’m sorry I stole your stuff.  She’d believed I’d hidden things so she could paddle me.  -Bettina, she’d said, you dickens, you bad girl.  Come over here now.  Then when the thief returned them, everything was ruined.  One slap at a time, she took my spanking back.  This year, though, it’s the flowers.  One too many compliments from strangers passing by, is how I see it, because every day there is one geranium gone, one mallow, one lupin, and one expensive clay pot.  I am the one who grows things.  It is something I do for her.  There are no new plants missing.  I look around.  She isn’t motoring up the street.  I take a plant, a big hanging basket full with seedy fuchsia bells, and carry it around the side of the house and under the other porch where she has old, big furniture stored.  I hide it inside a cabinet.

Once, early on between us, she sat between my legs, smoking a cigarette.  She was wrapped in a white towel fresh from the laundry.  Her friend, the friend she’d brought home for me, was lying on my left, but my eyes didn’t leave her eyes where all the instructions for my life were written.
-Kiss each other, she said behind her fog of smoke.  Thick stick, soupbone, darling, kiss Kirsten while I watch.
Kirsten was a girl like I was a girl.  I kissed her but I was shy and slow, I barely brushed her lips with my lips, the merest hint of kisses, kisses that were hardly kisses, insubordinate kisses, really, because it was not what my lover wanted from me.  Kirsten was too stoned to know.  Kirsten was a girl who would do anything.  Kirsten’s lips opened and closed while I thought of my lover above us and how I lived in her blue, east end house and how every night she opened my thighs and whispered love into the girl parts of me, words that etched on my tender pink skin so I was scarred, was branded, was tattooed.
-I will never leave you, I told her.  Mommy, I said, I will never go.
She moved her fingers hard into me.
-Never! I cried.

She believes it is necessary for me to have a car.  It is a car like a preacher would drive, a family car that is boxy and big.  I use it to move out onto the streets while she is not at home, to move past the neon signs and over the viaduct.  She wants me to stay in Strathcona and Chinatown; she wants me to park in front of downtown churches, seek salvation-to-go, and while God is watching, finger myself.  But I cruise further to where men wear suits and soft leather shoes, where women and girls move smooth in heels, briefcases banging at their nylons.  I tell her I like the efficiency, when she asks, that I like the idea of becoming an international financier.  I cruise to UBC and SFU and bring home undergraduate application forms which I spread under her hands for her touch.

-My adorable moron, she says.  Do you love me, do you love me more than life itself?
-Yes, I whisper, oh yes oh forever.
-Don’t go to school, she says.
-Mommy, I won’t, I say.  I smell her lips, the yellow toxins of her cigarettes, and move underneath her, promising everything.
-Sweetheart, she says.  Darling girl.  I will take care of you always.
-Always, I breathe.

A few weeks ago, there was a knock on the door.  When I answered it I found a girl who told me her name was Sue; she’d just moved in next door.  The house next door is pink but otherwise exactly the same as this one.
-Well, she said and smiled over straight teeth, I just wanted to say hello.  To be neighbourly and all.
-Hello, I managed finally.
-Five of us just moved in, she said.  We’re film students.  Cinematographers.
-Students? I said, perking up.
The British Columbia Institute of Technology: I’ve driven past it many times.
-Three guys and two of us women, she said.
-Students? I repeated.
-Sure, she said.  I just came over to say hi.
-Hi, I said.  And then I grinned wide and said, Hi, Sue.

Sometimes I believe she’s a mirage and I am grown, and I have a husband and son.  Sometimes I understand she is not my mother and that I have a mother tucked in a dark corner of my brain, a mother who hums as she does dishes, who misses me and jolts alert each time the telephone rings.  This mother is everything a mother should be and she has hopes for me, hopes as real and true as a vacuum cleaner, hopes as simple as wanting to know I’m alive.  She is in Winnipeg, this mother, waiting.  I do not make my lover wait.  I torture her with my plans to take a business degree at the university, but I never make her wait.  She says she’s been waiting all her life for me and now her wait is over.
-Buttercup, she says, holding me like an infant in her arms, rocking me.
I nuzzle close and lose my education.  She pulls my education out of me strand by strand until I am a younger girl, a much younger, stupider girl.

-My little snail, she says, bending over me.  Tell me what you want.  Tell me what to do.  Is it that you want a man?  Am I not enough?
-I want to go back to school, I tell her.
Her hand is between my thighs.  -Turn over on your stomach.
-No! I cry, clamping my legs closed.
She pulls free, falls away and lies on her back.  She averts her eyes.
-I won’t leave you, I say, relenting.
-School is for smart girls, Bettina, she tells me.
-I won’t leave you, I repeat.
-I know about school, she says.  School would only fill your brain with thoughts of dead poets.  With numbers.  With geography.  School can’t give you a thing.
She is right.  I have everything here, with her.  There is nothing I need.  School could not give me what she’s given me, what she gives me effortlessly, what she’s filled me with.

But at Simon Fraser University I walk the halls carrying books from her shelves.  The university walls are plain and there is a faint smell, a mixture of sweat and fear students have left behind.  This is what I want, what she doesn’t understand.  When clusters of students pass me, I pretend to be looking at the walls, at display cases, but really I am watching them.  When they vanish, I scurry towards the bookstore.  If it’s closed I press my face against the glass to see the books perfectly aligned on their shelves; sometimes I kiss the glass to make a grey imprint of my lips.

She owns this house.  She tells me she has always owned it but I know there was a time when she could not have, a time before she was a woman.  I also know she has lived here for twenty years or more, since before I was born, and that other girls have lived here with her.  I make them up.  I give them names like Pepper and Godiva and stand them, chewing their fingernails, in front of the dishwasher.  Once I tried to find a spare key to my lover’s office, a place off-bounds to me, so I could understand these girls and how they came here and how they left.  I imagined photograph albums and diaries.  I thought of mementos.  I turned the house upside down and still, there was no key.  But I could not stop imagining my lover bending over these girls, these Pennys and Dots.  I saw her face, intent, its crows lines and full mouth.  She is mysteriously wealthy, my lover, yet she lives here, on this bad street, with girls.

One night Sue and the other film students set up their equipment in front of this house.  While my lover watched TV, I stood at the window barely cracking the drapes.  There were vans from which were hauled huge cameras and studio lights; there were many people, much urgent milling about.  Finally Sue stood with a blackboard of sorts, clacking it.  A girl rushed up the sidewalk, conferred quickly with another, lit a cigarette and rushed away.  I couldn’t hear the dialogue, not from indoors, but over and over the scene, which looked intense, was repeated.  Over and over.  This is what students are like, I thought, full of command and importance, heavy with expensive gear.
-They’re shooting a movie, I said to my lover.
She made a noise from the couch.  Lackadaisically she said, Bettina, bean sprout, come over here.
-They moved in next door, I said.
-Honey, she said, lifting her head, I can’t tell you how many people have come and gone from that house.  Come away from the window.
She blew smoke rings that flattened in the light from the TV.
I  pulled myself away from the window and slumped beside her.
-You’re leaving me, she said sullenly, her eyes on Morley Safer.
I’d met Sue and I’d seen students.  Upstairs, under her mattress, I had university application forms filled out and ready to mail.
-After all I’ve done for you.
She turned to look at me, hard and grey.  She stubbed out her cigarette and kissed me.  She moved so her hands were covering my breasts then lowered her mouth to tongue my nipple through my shirt.
-Stupid Bettina, she murmured and nipped me.
I was certain the students outside could see her.  -Oh! I said and grabbed the back of her head.
-If we only have each other, she said huskily.  If we stand together, Bettina.  All my life I spent looking for you, all my life.  Do you love me?  Oh little moron, do you love only me?
She eased my jeans from my hips.  I thought of the students, the slight rain, the spotlights.

Today, without being stopped for my tail lights, I drive to Shaughnessy.  There are no universities in Shaughnessy, but this is an area of town with educated people.  In my preacher’s car I have been to all of the good areas, to Kits, to West Vancouver, to the university endowment lands where houses cannot be bought but only leased.  I recognize education in the way women and men move.  I see algebra in the tilt of women’s creamy necks and architecture in men’s firm backs.  In Shaughnessy, though, not many people are evident.  But I understand this means the women and men are at work in their beautiful offices before coming home to their beautiful houses, houses bigger, some of them, than universities.
I stop for stamps.

On television I watch Days of Our Lives.  I watch in spandex in case Michael Easton, the actor who plays Tanner, can see me.  I wouldn’t know what to do with a boy, what to do with Tanner, but I like to look my best for him weekday afternoons at three.

She sleeps with girls when she is gone from the house.  She thinks I don’t understand this, she thinks I don’t know.  But I can smell girls on her fingers; I can tell who’s a junkie, who’s an alcoholic.  She leaves substance traces on my skin.
-Don’t get cocky, she told me once.  Nothing lasts forever.
I sat at the table copying out recipes she’d brought home.  I said, This Alfredo sauce has cream in it.
-I could tell you to leave.
-I thought you were watching your cholesterol.
-Boom, she said.  You’d be gone.

I want her.  She knows I want her.  I want her so badly it starts as an ache in my stomach and moves up and down me, up to the crown of my head and down to my toes.  I dream she will let me go to school, that I will go to school and nothing here will change, that after years of school we’ll sell this house and move to West Vancouver.  She will have her money.  I will have my education.  I dream we’ll be happy.
The first time she touched me I thought I gave birth.  I thought her fingers were the head of the baby I once was and I was coming out of myself into the shimmery blue of our bedroom like innocence.
Still, I realize it’s as she said, nothing lasts forever.  She will grow old.  Already when I pinch the skin on the rear of her hand it doesn’t sink back into place.  Already she’s a woman with enough skin for two women.

Sometimes I think the bad streets just past her windows belong to me.  Across the way, behind a low-slung group of row houses, a pink condominium grows and grows taller.  When I hold my lover mornings, her night-shirted back against my breasts, her smell salty, the big machines start up growling.  My lover swears and pulls a pillow over her head, but I am not angry.  This condominium, which will block our sunset, will be expensive enough to bring educated people to the neighbourhood.  All day I watch from our windows, watch the despairing women and scruffy men who live along our street carrying sacks of groceries, weighted down, and they are mine, as if borne of me, as if walking not on the broken sidewalk but inside her house and my body.  They are sad or violent.  They steal plants as if my nasturtiums will give them what they do not have.

Where we live, there are rats.  Though laundry is my responsibility, I am scared to descend into the basement where I hear, and sometimes see, rats skitter along the ceiling pipes.  In another house, in another life, in the life my lover took me from, a cat killed rats and I had to lift their warm, inert bodies in paper towels and carry them to the incinerator.  I saw their teeth.  But laundry is my responsibility, so after my television show I creep down to the basement, a place of darkness and webs.  I feel scared she’ll arrive home and catch me, I don’t know why.  I have the hamper in my shaking hands.  On top of the pile, her soiled underwear is vibrating.  I put the basket down and start to separate whites and colours.  I put her panties in the washing machine.  I put towels and sheets in the washing machine.  I do not see a rat.  There are droppings near the dryer, but for today, no rats.

In her fridge are mushrooms, a bag of swollen caps as fresh as I could want.  I know she intends me to make a meatless spaghetti sauce, but I decide on mushroom burgers.  Sometimes I am reckless with menus; sometimes curious dishes dance behind my eyes and it is all I can do to rid myself of Green Turtle Soup, so vivid does it become.  I pull hamburg buns from the freezer.  They are plump and covered in sesame seeds.  I set them to thaw.  While I chop mushrooms and celery I think of education.  Education is a drug in my brain, looping through it, startling my synapses.
At seven, I have everything ready.  The burgers are in the frying pan ready to cook.  The condiments are in the center of the set table.  I’ve even been downstairs; the laundry is dried and folded and put away.
But my lover doesn’t come home until a few minutes before midnight and when she arrives she brings a boy, a man, inside with her.  She introduces him as Pete.
-It’s time, she whispers to me.  High time.  She slips her arms around me.  Take off your clothes, she says.
The boy, the man, is pretty, a young blonde boy with long hair.
-Bettina, sugar, put on some candles.  Fill the bathtub.
Her voice is hoarse.

After it is over, when we have done it, when my lover and Pete are sprawled on the bedsheets sleeping, I pull free.  My body aches.  I have done things I never believed I would do and I have watched my lover do these same things.  I dress and stand looking at them.  The room is steamy.  Luckily the application is at the end of the bed; carefully I slide my hand between the mattresses and pull it free.  They don’t stir.  I take stamps from my jean pocket and adhere them.
I don’t clean myself.  I know I am messy but I don’t use the bathroom, just dress and leave the house with my car keys.

I use the mailbox at Postal Station K, the closest to her house.  I am still not stopped by police – I don’t know if I have brake lights or not – and when I come home I retrieve the fuchsia, none the worse for wear, from the cabinet.
As I carry it onto the porch she says, I noticed that was missing.
I startle.  She is sitting in a corner on one of her blue chairs, her legs curled under her, smoking.
-Bettina, she says, staring right at me.  You clod.  I know what you’ve done.
-Is Pete upstairs?
-Don’t think you fool me.
-I love you.
For a minute we’re both quiet.  Then softly she says, I hit your car this morning, you know.  My brakes must be going.
Standing on tiptoe I hook the plant on a nail where it sways wildly for a second.
-Nothing matters, she says.  She lights a cigarette from the butt of the one she’s smoking.
-Some things matter, I say.  We matter.
-I tried everything.
-I didn’t want Pete, I say, or Kirsten.  I wanted you.
-Kiss me, she says.
-I’m not leaving you, I say, it’s just school.  Maybe they won’t even take me.  I go across and sit on her lap as I have sat on her lap for months.  Her hand smooths the hair from my temples so gently and sweetly I almost cry.
-Bettina, she says.  Little puppy, little pussy.
She surrounds me like a bubble; each of my breaths is the stale air from her mouth.  She is everything to me.  She is my lungs, my heart, every bone in my body.
-Aren’t you hungry? I whisper at last.  Aren’t you starved?

–Hunger, from the story collection Hunger, Oberon Press; first appeared in Paragraph Magazine, winner of the Erotic Fiction Contest


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