Before I met her, I wanted to be her. Does that sound stupid? I wanted to be that ****** up ****** that did a bunch of drugs and always had money because she led men on and lived free and just lived life despite a daily brush with death. I was eventually, and I had an amazingly horrible experience.

I met her when I was 13. I spent a lot of time just "babysitting" her really. My other friends hated her. We'd come over and she'd literally go in the closet to shoot up and we'd just be chilling in her bedroom listening to Hole and being really confused as to why she didn't just use the bathroom. But she liked the attention and audience. This might seem cliche or mean or whatever, but it's true.

As my decent friends grew further away from me because I continuously grew closer and closer to her, I did a lot of *******, not nearly as much as I would later on in life. but enough to say, "wow I did a lot of ******* when I was 15" and at the time, it seemed like an accomplishment. Maybe I thought I was cool, I don't know, now I just think I was stupid and weak and regret being like my father.

Obviously, as time went on, I did ******. The first 500 times Natalie offered me it, I said no. I always said no, but she still always asked. If you know a ****** addict, there's something else you probably know. ****** addicts love having other ****** addicts around because you guys will work together to make money and get more. This will probably turn into what it really is and what we were really were, and that's a co-dependent platonic couple, but I didn't know that until just now.

The day I finally did it, my god. My god. My god. My god. My god.

I feel slightly guilty writing this because I don't want to glorify drug abuse but Christ, did it feel good.

We were downstairs watching Hedwig and she gave me the eye to start talking to her mom so she could go upstairs discreetly. Then her mom was like "where'd she go?" so I went to go check, even though I knew.

I walk into the bathroom, scaring the **** out of her. She had lines of ******, diesel, whatever. We called it diesel, I don't know if that's like a common name for it? Is it? Whatever, I said "let me try it."

Why? I don't know why. To this very second I can't remember what I was thinking. She didn't ask, and maybe that's why. But she put some on her hand and I snorted it. I hated the taste. Sometimes I smell it, and I don't know what it is that smells like ******, but I find myself saying out loud, when people are around, "ugh it smells like ******."

This is one of my catchphrases I think, and I am not proud of it anymore.

People always ask me what it felt like the first time. I remember not feeling anything. I remember not feeling guilty for helping Natalie remain a drug addict in her parents house. I remember her pinching me and telling me not be obvious, but oh, I'm sorry, I didn't know that it was going to make me feel like a warm pancake that just wanted to sleep wide awake.

Sleeping wide awake, that's a good way to describe how it feels.

I tell people this a lot, this process of drug use, and how I ended up shooting ****** and kind of just ignoring that I was.

I smoked *** and said "well it's not like I'm doing E"
then I did E and said "I'm not doing coke"
then it was "it's not ******"
and then it was "it's not like I'm shooting it."

Once I started shooting it, I didn't have any excuse or cop out, I was just curious as to what else I could inject into my body and became that glorified drug addict who lived free and did anything she wanted and felt like she came out of a book or a movie or a ****** up story you only hear strangers gabbing about on the train.

I was that girl. Natalie was much worse though. But that didn't come until I was about 18.

I had morals, yes even heavily addicted to ******, I had morals. I didn't steal from my family. This was one thing that would not break for me even when I was maybe putting **** in my mouth for money. But that's not even entirely true because I didn't do it for the money, it just happened that way.

So I'm probably 16 at this point in the story. I'm meeting guys off MySpace with her, guys from rich towns that want *** or coke or ******, just guys who can't get it in their towns. She's ******* them, I'm stealing from them. We don't keep friends very long because they know what we're up to after a few times.

She also sold her parents wedding rings, I didn't even know until after the fact, or I would have tried to stop her.

Her mother was so good to me. I spent a lot of time at their house. Her mom always invited me for holidays, despite the huge family they already had coming, because she knew my home life wasn't too good and she just treated me like I imagine you're supposed to treat a daughter you like. She was also very religious, which added to the blinders she had when it came to Natalie. She thought she could pray the drugs away, the way she tried to pray my gay away.

I was absolutely heart broken and completely beside myself the day her mother yelled, "she told me what you did. She told me you took the rings."

I didn't take the rings but what was I supposed to do? Try and convince her that Natalie did? She knew, somewhere she knew, but she didn't want to believe it so I just walked out of the house and never came back. I cried about that for a long time because I loved her mother, so much more than I am trying to say here. She might have been oblivious, but she was the sweetest woman in the world and I feel horrible that she had a daughter like Natalie.

I met so many characters. Chris. I don't remember his last name but it was something really white boyish. He would drive 45 minutes to us so we could get him 8 bags of ****** when he paid for 10, but we'd pocket two. We did this a lot during the day actually. We'd get drugs for people and just never tell them you get a bundle (10 bags) for 80$, and they'd tell their friends we'd go for them, and they'd think the same thing. Why? Oh, because these were very white people that were afraid of the "ghetto." And it was the ghetto, it was Newark, NJ. The corner of Victoria and Garside, what up, what up. Come see me.

I never really liked Chris. He was a musician but he wasn't that good. I think he thought he was Conor Oberst, and at that time, he kind of looked like him. But he was just some rich white kid with an inflated ego and I didn't feel bad ripping him off, or his Trust Fund Baby friends.

I did feel bad though when one of them died in front of us.

So I guess this is where I'll start writing the "**** got real real fast" stuff, now that I've hopefully explained the type of person I am and how I got to this point.


Why drug dealers cut their drugs with poison and whatever else, I'll never know. Bad for business if you ask me, but I've never been a big fan of the business world, but this seems pretty similar.

Natalie is driving Chris' car and we didn't snort any ****** yet, which was weird, but I'm grateful we didn't. We bring it back to Chris and his friends, who are waiting a few towns over for us. They get in the car and are like "just drive around for a bit so we can do this."

They all have separate bags, and I feel terrible I can't remember the girl's name that died, I want to say it was Karen or something like that but I know it wasn't. She just rolls up a bill and snorts out of the bag and within like 10 seconds she's screaming and everyone in the backseat is screaming and I turn around and there's blood pouring out of her nose and it's all over her hands and the car and her boyfriend and Chris and I think her eyes are bleeding but I'm not entirely sure if that's what was happening. And I'm like "What the **** what the ****" because it wasn't a normal nose bleed, this girl was just, flowing blood out of her face.

Natalie is emotionless as always. I'm screaming "get to the hospital get to the ******* hospital" and the girl is like screaming "it hurts oh my god oh my god it hurts" and her boyfriend is like "yo man, what the **** bb are you okay bb."

It's weird that in situations like this everyone repeats themselves but I think your brain kind of stops working and you need to repeat yourself so the rest of you can process the magnitude of ****** up that your eyes are seeing.

Needless to say, Natalie didn't go straight to the hospital, she stopped the car a few blocks away. The girl died within 15 minutes. I don't know why Natalie or I wasn't held accountable for what happened, but I think it had something to do with me telling Chris who the dealer was, and this was the only time in my life I ever gave out a name, even when I was in jail, I didn't rat anyone out. But death is different and anyone who doesn't believe in being a rat when you're faced with that kind of guilt, is a *******.

Natalie got out and started walking, Chris got in the front seat and I followed after Natalie. He did take his friend to the hospital immediately after but Natalie was being inhumane, and it was just better she got out of the car because she probably would have driven us all into a river to avoid being arrested.

I really have no idea why she got out of the car though, she had no fear, I think she was just annoyed, like this girl's death ruined her day when it ruined my life. I guess making a joke out of it makes it easier for me to deal with, but it still isn't. For me, it was monstrous, it was desensitizing, it was mortality showing itself and I was like "I'll never do ****** again." But that was a lie. I found out a week later via MySpace message that the girl had glass (!?) in her bag as well as ****** and I have no idea. I have no ******* idea what why how. I just don't understand that.

Chris still came around for ****** though. And he still brought his friends, just not the ones that were there that day.

What am I, like 17? I'm still senior in high school and I have really ****** concept of age, and I meet this other guy.

MY GOD WHAT A MAN.

Yeah, I said it. He was 38, built like Hulk Hogan, and had the sweetest smile and the most honest blue eyes I have ever seen.

He also had been out of jail for a whole year before we met him. He was tied to a car ring where people would pay him to steal cars. He was in jail for 6 years and when I turned 21, I heard he landed himself back in jail for trying to **** someone or something.

He was nice though. I couldn't figure out why he was so obsessed with Natalie. But the niceness wore out and I finally learned what a creepy ******* he was.

He used to ride his bicycle to meet up with us and he had a lot of money, he just wasn't allowed a license. He was a construction worker for the union, made like 60$ an hour and what do you know, he was a ****** addict.

He told me how they get drugs inside jail. You get a girl to come visit you and sit down with you. You kiss them, like make out kissing because that's all you need. That like 4 seconds before someone is like HEY CUT IT OUT, and they have the drugs wrapped up in their mouth, and you get the picture. Just in case you were wondering how that works.

He also told me that I reminded him of his sister, that died of a drug overdose.
He also showed me his **** one day when he was at my house alone with me.
He also ****** off on my couch and tried to get me to **** it.
Then he tried to get me just to touch it.
Then I asked him to leave.
And then some other stuff happened that I don't feel comfortable writing about but I probably will another day.

He turned out to be a ******* ****** and I don't really trust anyone with pretty eyes anymore. But he was fun. Once he started trying to impress me, a 17 year old girl, and Natalie who was like 22, he decided he'd go back to his old ways and steal cars. I can't count the amount of porsches I've been in or how many miles per hour we went or how many car accidents there were that we shouldn't have walked away from it unharmed. He never hit anyone else, just walls and guardrails, rolled into ditches.

Seat belts, seriously, wear them. I don't anymore, but I'm going to start again.

He used to give me a lot of money. A Lot Of Money, just to hang out with him and watch him ******* and ****. I don't know sometimes when I think about these things.

Natalie did something stupid, she got caught stealing from him. He didn't mind giving us money and I think that's why he was so mad. He would have just handed it to her if she asked. So he started coming to my house a lot in stolen cars, then I introduced him to my other teenager female friends and it worked out really well for me.

He was gone for good and it was better that way.

I was still only snorting ****** up until this time of my life. The taste of ****** and the amount I puked from it was becoming too much and I was losing a lot of weight and it wasn't healthy looking so I decided to start shooting. I didn't even do it for the normal reason which is, you get higher, faster and harder.

Natalie and I are in a bathroom of my friend's house whose mother is handicapped, bed bound, so we just go there all the time to get high. The mother is also diabetic so there's a lot of unused empty needles. I help her shoot. And it's scary, she would shake and tremble and it was really bad. Sometimes I'd think to myself, "it's like your body is trying to stop you from doing it."

But if you like blood, watching someone shoot up is really cool. You mix water with the powder and, ew now that I'm thinking about it, what the ****. You wrap your arm up, so your veins pop up, put the needle into a vein and you pull some blood out, I don't know the reason behind this, and you shoot it back into yourself.

I'm really uncomfortable with the whole idea of shooting so I shot into my hands because I had very prominent veins there. I eventually started shooting speed *****, ****** and coke, which was too much fun for someone as emotionally unstable as I was, to be doing something so completely unpredictable. The first time I shot ******, I never snorted it again.

I shot Jack Daniels once and never did that again either. I figured I'd get drunk really fast, right? Wrong, it burned like a ***** and I started smashing my hand into the bathroom sink screaming "WHAT THE **** WHY DOES IT BURN."

It's whiskey, Audrey. Whiskey.

I met so many more people when I was shooting. I became friends with an entire *******, all the strippers, their boyfriends, their "daddies" and just, those kinds of people, and like I said before, I'll write about that another day. But that is where I met Janelle and Kevin, aka, Jack and Sally. They were these really gothy ****** addicts and this is going to be ridiculous, but it was so beautiful when they shot up.  

Kevin would be like "okay, baby, ready?" and he'd caress her arm and she'd wrap it, and he'd kiss her and then kiss her arm, then he'd put the needle in and I'd be sitting on the bed sobbing because I thought it was so cute, in like, a really disgusting "I'm clearly on drugs" kind of way.

I didn't hang out with them for that long, Natalie ****** Kevin and that ****** because Kevin and I used to make forts inside the house and talk a lot about nothing, but it was fun and I felt like a child, and I liked feeling like I was a child and that it was okay I was acting the way I was.

A bunch of people that hung out there eventually started doing ****** and I couldn't stand it so I had to get away from a bit because my guilt came back and I felt like I was killing everyone.


Natalie started setting up drug deals so they'd get ripped off if they went without her, she started turning on me, stealing from me, she had me set up for a deal and her dealer put a gun in my mouth when I started arguing with him about how he gave me like wood chips or whatever. It was not ******, but we still ran like thieves together.

She introduced me to the next guy we were going to use, his name was Pablo. He was about 42 and lived in his parents basement. He was an outstanding artist, I mean, I couldn't figure out why he was in his parents basement with the amount of talent he had. We used to smoked embalming fluid with him and angel dust.

Now, if you ever want to know what it feels like to be Alice in Thunderland, smoke embalming fluid. I went on a 4 day drug binge that consisted of nothing but dust, fluid, her

Did you expect it all to stop at the wave of your hand?
Like the sun's just going to drop if it's night you demand.
Well, in the dark we're just air, so the house might dissolve.
But once again we are gone. Who's going to care if we were ever here at all?
Well summer's going to come; it's gonna cloud our eyes again.
No need to focus when there's nothing that's worth seeing.
So we trade liquor for blood in an attempt to tip the scales.
I think you lost what you loved in that mess of details.
They seemed so important at the time,
but now you can't recall any of the names, faces, or lines;
it's more the feeling of it all.
Well, winter's going to end. I'm going to clean these veins again.
So close to dying that I finally can start living.

"Hi, we're back. This is radio KX and we're here with Conor Oberst of the band Bright Eyes. How are you doing Conor?"
"Fine, thanks. Just a little wet."
"Oh, it's still coming down out there?"
"Yeah, I sort of had to run from the car."
"Well we're glad you made it! Now, your album 'Fevers and Mirrors'... tell us about the title. I know there's a good deal of repeated imagery in the lyrics; fevers, mirrors, scales, clocks. Could you discuss some of this?"
"Sure, let's see... the fevers..."
"First, First let me say that, this is a brilliant record, man, we're all really into it here at the station and we get lots of calls, it's really good stuff."
"Thanks. Thanks a lot."
"So talk about some of the symbolisms."
"The fever?"
"Sure!"
"Well, the fever is basically, what ever ails you, or oppresses you... It could be anything. In my case it's my neurosis, my depression... but I don't want it to be limited to that... it's certainly different for different people. It's whatever keeps you up at night."
"I see."
"And the, and the mirror's like, as you might have guessed, self-examination, or reflection, or whatever form. This could be vanity, or self loathing. I, I know I'm, I'm guilty of both."
"That's interesting. How about the scale?"
"The scales are essentially our attempt to solve our problems quantitatively, through logic or rationalization. In my opinion it's often fruitless, but... always, no, not always... And the clocks and calendars it's uh... is just... time... our little measurements, it's like, it's always chasing after us."
"It is. It is. Uh, How about this Arienette, how does she fit into all this?"
"Um, I'd prefer not to talk about it, in case she's listening."
"Oh, I'm sorry. I didn't realize she was a real person."
"She's not. I made her up."
"Oh, so she's not real?"
"Just as real as you or I."
"I don't think I understand."
"Neither do I, but after I grow up I will. I mean a lot... a lot of things are really unclear for me right now."
"That's interesting. Ah, now you mentioned your depression..."
"...No I didn't."
"You're from Nebraska, right?"
"Yeah. So?"
"Now, let me now if I'm getting too personal, but there seem to be a pretty dark past back there somewhere. What was it like for you growing up?"
"Dark? Not really... uh... actually I had a great childhood, my parents were wonderful. I went to a Catholic school. They have... they had money, so... it... It was all... easy. Basically I had everything I wanted handed to me."
"Really? So some of the references, like babies in bathtubs, are not biographical?"
"Well I do have a brother who died in a bathtub. Drowned. Actually, I had five brothers who died that way."
Chuckles
"No, I'm serious. My mother drowned one every year for five consecutive years. They were all named Padraic, so that's... they all got one song."
"Hmm."
"It's kinda like walking out the door to discover it's a window."
"But your music certainly is very personal."
"Of course. I put a lot of myself into what I do. But it's like, being an author you have to, free yourself to use symbolism and allegory to reach your goal and, and a part of that is, compassion, empathy for other people and their, and their situations. Some of what I sing comes from other people's experiences as well as my own. It... It shouldn't matter, the message is intended to be universal."
"I see what you mean."
"Can you make that sound stop, please?"
"Yes!

...and your goal?"
"I don't know. Uh, create feelings, I guess. A song? It never ends up the way you planned it, though."
"That's funny that you say that, do you think that..."
"Do you ever hear things that aren't really there?"
"I'm sorry, what?"
"Never mind. How long have you worked at this station?"
"Oh, just a few minutes. Uh, now you mentioned empathy for others. Would you say that that is what motivates you to make the music that you make?"
"No, not really. It's more a need for sympathy. I want people to feel sorry for me. I like the feel of the burn of the audience's eyes on me when I'm whispering all my darkest secrets into the microphone. When I was a kid, I used to carry this safety pin around with me, everywhere I went in my pocket. And when people weren't paying enough attention to me, I'd dig it into my arm until I started crying. Everyone would stop what they were doing and ask me what was the matter. I guess, I guess I kinda..."
"Really? You're telling me you're doing all this for attention?"
"No, I hate it when people look at me. I get nauseous. In fact, I could care less what people think, about me. Do you feel that? Wanna dance?"
"No, I'm feeling sick."
"I really just wanna be warm yellow light that pours all over everyone I love."
"So, uh, you're gonna play something for us now. Is this a new song?"
"Yeah, but I haven't written it yet. It's one I've been meaning to write, uh, called, "A Song To Pass The Time."
"Oh, that's a nice title."
"No it isn't. You should write your own scripts."
"Yeah, I know!"

I know you have a heavy heart, I can feel it when we kiss
so many girls stronger than me, have thrown their backs out
trying to lift it
but me, I'm not a gamble
you can count on me to split
the love I sell you in the evening, by the morning won't exist

And I'm not sure what the trouble was, that started all of this
The reasons all have run away, but the feeling never did
It's not something I would recommend, but it is one way to live
Cause what is simple in the moonlight, by the morning never is
What's so simple in the moonlight, now is so complicated

Hole in Hollow


The end was brought by men of sand
born creeping blood and streaming water.
Apocalypse fought in the heart of nature
by the hands of her heartless keepers.

In these glorious hours, mourn the grieving
this last morning, this gory evening.
Victory swept when they were dead in treason,
the ****** drenched in sweat and the wet bodies lie bleeding.

This is the end of everything,
the final fall season.


Foreword: My Plague

   This is that dream.
   I found myself on a long barren road, winding, far from the city, civilization for that matter.  My road meanders, slowly reaching my destination in what could have been a straight and focused line.  The curb reads my mind and takes me further as I try to escape it, following me.  I stutter in cursing and the clockwise becomes counter, but I age.  I age more rapidly than ever as the tape rewinds, or the record spins backwards.  My record sings supposed messages from the Devil as my existence lessens yet my sins become more.  How can I repent when there is nothing left?  There will be no wrong when I am done, but I will suffer for what wrong I had.  I will be a lie when I am not here to give the truth.  If this pain cannot be corrected, it will be shared.  This is my plague.  I will drown in this sea only knowing that I've spilled insanity's seed to blemish the water, blot the page.  This is my plague and you will feel it with me.
   I am telling the story and you are listening, with every page you read, you are the sinner's dream.  I have you.  This is my plague.  Action.

Chapter One: Love and Marriage

   "Oh, God, Bill, you must be ******* me."
   "No, Drake, I am never ******* you," I nearly shoot myself in the face and respond.
   "Same lady?"
   "Same lady," I think about how ugly she must be to keep calling and how much makeup it must take to bring her face to a tolerable state of viewing.
   "Drake, it's an outstanding fine of five thousand dollars, it's not even that big of a loss for you."
   "Then it sure as hell isn't that big of a gain for Master Rentals, BILL.  Are we even talking about the same money-******* corporation for Christ sakes, Bill?"
   "Drake, this will end in a lawsuit.  You don't have much of a choice."
   "Bill, God ******, BILL!  Stop repeating my name.  This is the reason I shouldn't have hired a male secretary in the first place, I'm entirely stressed the Hell out and have no one to comfort me because I'm not even the least bit attracted to you."
   "Drake, you're getting married," casually.
   "Bill, you're getting fired," seriously.
   I throw the phone and its base out of the open window, screaming in a wave of relief as it leaves me, and again, in pain, when I find the line still connected to the wall, and the unit hanging outside of my 12th story office which pans a great view of the Los Angeles sky and the pathetic bums beneath it.  At this point I would much prefer the phone's position in hanging from a ledge to mine, sweating in hatred, with a possibly homosexual secretary.  "Homosexual ex-secretary," I shed a tear of happiness upon this remembrance and see him in a daydream bleeding from several moderate wounds, with the only real puncture between his legs.
   I leave my office and would proceed to stab to death every male co-worker wearing a tie with a graphical pattern, but I have to get back to my apartment as soon as possible because I miss Sharon, my soon to be better half.  I am confronted by a beggar upon my exit of the building.
   "Amazing!  Two and a half seconds into hearing the door open you're already asking me for cash.  I bet you would be happy with yourself if you weren't such a worthless *******.  You'd make your father proud, but he's probably dead by now."  I remember the phone and shove the homeless Mexican to the ground, where he probably thanked me for acknowledging him.  I turn to my office window and wave a ******* at the device, dangling, swaying back and forth still.  I realize now that I had left my lights on when I came to work, but it doesn't really matter because I've only been here for a half hour and I'm already leaving.  I use a handkerchief to open the door because the handle is ***** and I fear the *** may have touched it.
   I remember on the drive home that people are **** when I see the passenger of the car in front of me throw assorted trash out of his window.  I consider beating him and the driver to death with their own exhaust pipe in the next ******* toll booth we pass through, but notice a police car following directly behind me.  The rest of my drive is calm and quiet and I try not to push too ******* the gas, as an inconsistency in acceleration is considered illegal in Los Angeles because these inconsiderate ****** don't have anything better to do than harass people who make more money than they do, maybe even by doing less work, of which I am incredibly proud to be in that sort of a position.
   I take a deep breath and enter my apartment.  I smile firmly as I notice my fiancé's puppy leaving a surprise on the welcome mat and carpet before me.  Startled, he stops abruptly and skips gleefully into the kitchen where I'm sure he will soon finish.  I apologize for interrupting.  I see the blood of my lover puddling on an expensive leather sofa that, to my memory, wasn't even present on my last visit, and follow a trail of the substance leading to the bathroom.  I realize I am fantasizing when the bathroom door swings open and Sharon smiles to my own disappointment.
   "Hunny, you're home!"
   "Hunny, I'm home.  Why did you buy that dreadful couch?"  I light up a cigar and pass her open arms for a fall onto the sofa's cushion on which she should be lifeless.
   "They say smoking causes cancer, you know?  It will **** you," sarcastic, but at the same time realistic.
   I shake my head back and forth, looking up as if I were falling, then looking down as if something fell in front of me.  Rolling my eyes in dismay, I'm thinking of something else to tell her.
   "They also say professionally trained dogs don't **** and **** on expensive carpet," quick, but at the same time commanding.
   "Why are you always so **** negative?" She screams softly, tearing up more quickly than usual.
   "Why are you always so **** positive?" I wonder if she's ever thought of dying her hair a ***** sort of blond, or dying at all.
   "Drake, you are killing me!" She screams, at the top of her lungs now, confirming my subconscious inquiry to be as positive as she is.
   "I'd have to see it to believe it."
   I am now calmly and cleverly reading the sports section of an outdated newspaper, wondering if the dog's already claimed territory on today's, showing neither affection nor displeasure in my response.
   She leaves the room crying in a manner too painful and obnoxious for me to ignore.
   "I LOVE IT HUNNY, I LOVE IT!  Keep it coming, baby.  The cameras are going wild!"  I mention this in reference to her joke of a career she took with modeling.
   How I love that woman so.  I confuse myself as I dream about making her swallow that engagement ring I got her at some point for a reason I don't understand or have lost the compassion for.
   "Did you know it was supposed to rain last month?  Have you seen today's paper?"  She had already left.  I know this because I heard the door shut two minutes ago and she left the way I came in.

Chapter Two: Milk and Eggs

   I try to act surprised as I answer the phone, but I'm entirely too fake.
   "Hey darling, I'll be home in about an hour, I decided I should get some milk and eggs before the supermarket closes."
   Milk and eggs?  Does she realize she was having a nervous breakdown only ten minutes ago?
   "Shannon, milk and eggs?"
   "..."
   "Sharon, milk and eggs?" A smooth recovery.
   "Yes, milk and eggs.  We're all out." Alright.
   I hang up the phone slowly, stalling when the receiver almost touches, waiting... nothing.  Disappointed, I walk into the kitchen and forget what I was going to do.  I remember my high school sweety as my first real loss, Shannon.  Thirsty, I reach for the milk carton and upon lifting its weightlessness, I scream and hope Shannon knows what to expect when she gets back.  Sharon.  I look at my watch, quickly realizing I had spaced out for a time period of at least forty-five minutes.  I have fear that she will get back sooner than she expects, so I leave and choose to head for my office, but panic at my choices in transportation.  I never have this problem in the morning, I'm always wholeheartedly Bentley or Mercedes, but the afternoon is an entirely different story.  Sporty or speedy?  An eye at my watch tells me I don't have time for this, so I sob and hail a taxi.
   I can't become comfortable upon settling into the cheap interior with the non-leather backseat and realize I should have taken the Mercedes.  It's too late now because Sharon might be back.
   "Whey' you wan' go?"  The hardly English-speaking driver wails like a Puerto Rican, but upon further study, seems to be quite a Mexican.
   "Wan' go office."  The driver gives me shifty glances after this, squinting with a suspicious paranoia, first into the rearview mirror and secondly after turning around to face me.  I laugh and tell him to just go straight and stop stealing all of the American jobs.
   We pass by my office building where I wish my phone had fallen to some young child's death, or a welfare-dwelling tax-money-******* minority, but it hangs, relentless to my hunger.  I aspire to one day not think of ******, but I could stab the driver and roll him into a pond and be on my way just as well.
   On the walk home, I notice the relationship between the night sky I sleep under and the monster of which it makes me.  I'd try to elaborate, but I'm not quite sure I could.  My sleep is done when I wake up with Sharon nudging me, taking the best of one world and murdering it with the worst of another.  It is so unnecessary but happens nonetheless, hopelessly.
   Here I am, on my bed soaked in a cold sweat, Sharon crawling naked over me, salt on my tongue from my cheeks' streaming.
   "Good morning, sunshine.  Why the tears?"
   "What happened to the evening?"
   Upset, I'm sure now that I should remember something of the night before, probably better than I just made it out to be.  I've just had problems caring since she began speaking to me two years ago.  She flattens herself, chest to my lap, smiling to my reaction.
   "That always happens when I wake up." I try my best to **** her satisfaction.
   "I'm so sure."
   She has a great body, I'm just not sure I want to remind her.  The television suddenly turns itself on as the button on the remote must have pushed itself under the sheets, her eyes roll and she stammers, then passes out on top of me.  I slip out from beneath her, making that light slurping sound that means you're being careful with my lips tightened to the muscles in my neck.  I realize that was entirely unnecessary when I see the empty pill bottle on the counter, Xanax, prescribed yesterday.  I slam it against her face and pull her off the bed by her hair.

Chapter Three: New Girl

   "So, what's been in your system lately?" Roger asks lightheartedly.
   "It's been a heavy rotation between Bright Eyes and Chevelle."
   "Bright Eyes can cry me a freaking river with Justin Timberlake for all I care.  Goodman, the indie scene *****, get over it.  Have you listened to the new Hawthorne Heights I loaned you?"
   "Maybe."
   "Well, did you like it?"
   "Yes and no..."
   "Eh?"
   "Yes, I liked it... and no, I lied."
   "What's wrong with it?"
   "You know how you said cry me a river with Justin Timberlake?"
   "Whatever man, they scream and stuff though."
   "I'm leaving."
   "What did you do with my CD?"
   "I don't remember.  I would check the surrounding dumpsters of the place at which you forced it onto me."  I almost interrupt myself.  With frustration, "Again, I'm leaving."
   I get out of the car and walk around the traffic jam around us.  I arrive at the office thirty minutes before Roger's emo ***.
   "I thought you were carpooling with Roger this week, Drake?"
   "I don't carpool, I'm rich."  This nameless ****** is wearing a tie with a Christmas tree on it, out of season, and he will regret it one day, if I have to do it myself.
   I'm sitting at my desk and my view of the new secretary's skirt is brought to a sad closure when Roger bursts through my door, interrupting her sorting of my files and sending her backward about two feet in fright.
   "Where is my CD, Goodman?"  He has this real joke of a ******* look about him and it really makes me want to see his small intestine hang from a ceiling fan.
   "I'll get you a new one once you apologize for what you said about Conor."
   "Conor?"
   "Yes, Conor."
   "... Oberst?"
   "Yes, Conor Oberst."
   "Oh my GOD, you are still not over that whole Bright Eyes thing?"
   "Get out of my office, you little ******!"  I seriously pelt him with tens of pencils from the intricately placed holder on my desk and he leaves, feeling my superiority reign.
The phone rings three times and I let my machine pick it up, I thought it was set for two rings.  I remember now.
   "WHO the HELL put the PHONE BACK IN MY OFFICE?  WAS IT YOU?  YOU LITTLE *****!"  I'm sure she hears me and is petrified, wherever she has run off to in the time of my distraction.
   "I'm sorry I can't make it to the phone right now, I am at an important meeting with representatives from an almost higher power.  If you are calling for business discussion, leave a message at the beep.  If you're Sharon, take the phone and-"  Click.  They forgot to leave a message.  I paper airplane a death threat into the back of a fellow employee's head, he's been standing outside of my office looking at something on the floor for at least thirty seconds, ***** looking skater hair.  I quickly get back to reading papers of a nature similar to the one I just used.  He turns ninety degrees and reads, almost aloud, I surprise myself as I read his lips to remember what I put.
   Another ninety degrees and I see him glance at me in the corner of my eye.  I lower my forehead to see past my reading glasses, raise my eyebrows, and then tighten my chin, waving ninety with my left hand leisurely.  He turns as my waving registers, entirely stiff, ninety to the left, robotically, and continues on his way, probably to a cubicle.  I shake my head.  Left, right, tilt down seamlessly, left, right.  I hope my secretary saw that, as it was a rather smooth execution.  She already left.  ****** at this, I throw my papers outside of my window and the phone rings.  "Who put my phone back in my office, anyway?"  I'm ******.  Sharon leaves a message this time, still at the third ring.  "... I was just wondering if you wanted to go with me to church tomorrow.  That's all."  This just reminds me that I'm at work on a Saturday, I don't remember why.
   "Idiot."  I swear I hear her digestive system breaking down a variety of entire pills, maybe whole bottles, as she hangs up.  "Sunday ****** Sunday" by U2 surprises me on the radio.  Nothing that good ever gets played around here.  I'm not going to church and I'm leaving work early today to wring some dove's neck in the park.

Chapter Fear: Satisfaction

   Fear is a funny thing.  Some people claim they've known it all of their life and then they go on to say that they can smell it.  You can NOT smell fear, if you could I would be among the first of its acquaintances.  You can see fear, you can hear it, feel it, sometimes I think I taste it, but you only smell sweat and body waste.  Sweat can be brought about by many different methods, but it smells the same within all of them.  Fear is only one of these occurrences.  Jogging too fast makes you sweat, even I sweat.  Seeing someone's eyes grow wide with awe is fear.  Watching their body twitch before you've even touched them is fear.  A grown man crying is fear.  Hearing it... the certain deep breathing not attainable by jogging too fast is fear.  It sounds as though his or her life is about to end and he or she wants to take as much air as he or she can with him or her in one breath just in case it is his or her last.  I feel as though I've rambled or that you've lost yourself somewhere, but far beyond that, it is disappoint

In theory the milky way
Adventure
A break from breathing in only history
From spitting up dust in my sleep
In theory --- simplicity
                  But I've gone and got myself
Committed
                     To seven feet of sky I
Walk the same gravel back and forth and back to bed
In this rhythm I've lost all the reasons why I ever came to this place
Pebbles in the river getting rounder
Smoother til they disappear
                                At least when they're gone they won't cut your hands
It's so quiet here in the canyon
It's an effort to breath
I have nightly conversations with the me inside my head
        I exist, she screams
Yes, but I need you to rest
        Everyone at home loves you, she wheedles, and at home, every day is different
Easy to say so far away
Besides, this is simple, you've never tried simple before
                        Puke in the drain, simple
                                  Highway with one headlight, simple
                                                   Last cigarette clutched in your fist, simple, it's broken but you needed a way to keep the smoke in
            I do all my best writing when I'm driving
But words scatter at every destination
My thoughts are butterflies frightened of being pinned down by the pen
            Frightened of being stuck here with me in this canyon
                                                          ­                    Stay neutral
                                                         ­                            Simple
                                                          ­                                   My mouth tries to smile while my voice makes small talk
My eyes aren't for smiling anymore
They're for looking at my feet, documenting each step that will someday lead me home
For if I look up, take in what's around or ahead, I won't be able to breath
                                                          ­                                          It's simple
Let it all roll through, It's not your job to hold it still
Besides, everyone knows all dams go down in the end
Up at dawn every day
But haven't seen a single sunrise simple
Drink my coffee like it's water
                              Because it's water
                              Simple
Maxed out credit card, so no **** pads
And no leaving either
Call home and cry on a park bench, duck ponds are simple
I think I must've misread the stars I think
I am a star
            Shaped me trying
                                 To fit into a square shaped hole
**** rodeos and
**** this poem
I wrote it while I was driving so it ran away to lie on top of a mountain in last year's summer and look at the milky way
Free
With all the parts of me that I don't need these days
Simple to be subdued down to fraction of me, do I fit in here yet? And if I do, can I recover from that?
                       And what would Tom say? Why be sweet why be simple why be kind, after all he's only
A man and we all know a man
Has only one thing on his mind
But then again he
                           Would never trust a girl crying next to ducks
Never mind, this is just another travelin' song my thoughts are a travelin' on
I'm left with stolen lyrics from Waits and Oberst but only seven feet of quiet sky to sing them in
I am here with my sleeping heart and aching back while my thoughts are off
Rambling on and on and on

These are the moments poets write about, paintings waiting. Quiet city streets at sunset, building, highrise sentinels of man's unquenchable thirst for conquest, and all of us together under one sky, waiting.... This radio screaming in my ear, Bon Iver, Conner Oberst, the other poets that wander these lost, lonely alleys. Sun's rays fading, as city lights rise. The soft blue becoming the strange azure, that fades to my indigo incandescent familiarity. This nighttime refuge of lost souls, wandering the frozen streets, and becoming something more than the sun can make them. That soft, ragged, imagined power coming from within each of us, in the open darkness of a concrete river. Nothing has changed but the light, and the new light makes each of us something more than we were in the rays that preceeded it. There is nothing to take away, nothing to subtract, nothing to glean. Just this place, this almost-lostness, betraying in itself the proclaimed divinity of dark. Stepping back, without looking behind, not knowing that the fear in front of you cowers before the monster behind your back. Just. Live. Be, let the being become you, and embrace this inner-self so few have seen, so few have touched, so few have truly loved. realize that all things wear a darker form, and the things that lay in wait under these city streets are dangerous. The way a chainsaw is dangerous in the hands of a child. There is no way to know who will get hurt, and once the chain of events is initiated, there is no way to safely remove the weapon from the hands of the naïve. Things that bite, hiding in dark corners, and laying wait for the lost, weary, and heartbroken. Lighted hallways, entrances into the other realm of indoors, torch-lit passages into forbidden and mysterious kingdoms. Every stairwell lit. The bannister to the lower, and upper, a stripe on walls as I drive on. Two million bulbs of nightlight security, and still this city finds shadows in which to hide fear. Dark corners for the lonely, and blind alleys for the lost. Every heart beating, fresh hot blood, and no warmth to share. Scared and alone, wanderers all, until the burn of the light we call home beckons us there. This passing of time, a gift, from gods unseen, and hands unheld. Colded fingers for want of a lovers touch, or the precious gift of familiarity in a foreign land. Alien landscape, and this, my unfettered direction of ambiguity. Directionless wandering for want of a chosen path, and no choice but to take the offered road. The fear secondary only to the loneliness, oh that curse that comes again.

I see the cup half empty…
You see it half full…
Still how I feel for you…
Is out of my control…
Opposites attract…
You say I over react…
And it has taken its toll…
This is something I cannot enoll…
Maybe it was a mistake…
But I am full of heartache…
I do not want to lose you…
Because you are one of the few…
That has truly stolen my heart…
And now I am torn apart…
I just want to be with you…
So let me know what I can do…
To fix this bump in the road…
My brain is on overload…
Trying to figure out how to fix this…
I feel I am cursed…
But I’m in love with you miss Oberst…
Please forgive me…
I’ll do anything to keep you in my life…
Even apologize on my knees continually.

I listen to synthetic music now
because my heart’s a little less raw,
a little more metallic,
and Conor Oberst cannot
coax open pandora’s box.
Because your ****** eyes
are no longer my 10:30
goodbye.

Conor Oberst said
"I want a lover I don't have to love.
I want a girl who's too sad to give a ****."
And I'm sorry I think it's romantic
to be that girl.
I'm sorry I'm so bad at changing.
I'm sorry I can't love you more.
I have to leave, because the outcome of us is always this:
broken phones, empty bottles,
and endless drives at four am
when we both aren't taking
because we can't talk without screaming.

I'm sorry I'm too sad to give a ****.
I always told you I hated beginnings because beginnings have an end.
You're the most beautiful thing to ever happen to me.
This is the end.
I'm sorry.