Dawn Raffel - Further Adventures in the Restless Universe

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“Dawn Raffel's stories are like prismatic drops of rain, hanging from the edge of a roof or sliding down a windshield, reflecting an entire world within. The language of motherhood, of adulthood, of childhood — the language of family and individual — has never been like this. Sly and probing, with the sting of precision and pain.” —Susan Straight
“In Dawn Raffel's
the oppressive truth of our mortality unsettles but does not vanquish the spirit. The woman as drudge may be "a failure at folding," but she is a rare songmaker whose dialogues with a son, a sister — the usual figures from the family romance — make for a musical and philosophical call and response. The son proposes one way to keep birds from crashing into fatally clear windows is to ‘open the windows all over the world.’ These stories promise more life. Take them to heart!” —Christine Schutt
When Dawn Raffel was a very small child, her father used to read to her nightly from The Restless Universe — a layman’s guide to physics by the Nobel Laureate Max Born. Although she loved the time spent with her father, she didn’t — despite his statements to the contrary — comprehend a word of the physics. It was her first recognition that love so often comes with imperfect understanding.
The 21 stories in
are about fathers, daughters, mothers, sisters, husbands, wives, strangers, lovers, sons, neighbors, kings, death, faith, astronomical phenomena, and the way the heart warps time. Of her previous work, one reviewer stated, “Raffel takes conventions and smashes them to bits” and another called it “extreme literature.” Of Further Adventures, Publisher’s Weekly says, “Raffel's stripped-to-the-bone prose is a model of economy and grace.”
Dawn Raffel is the author of a previous collection of short stories,
, and a novel,
. Her work has appeared in
, and numerous other periodicals and anthologies. She has taught creative writing in the MFA program at Columbia University and is a magazine editor in New York City.
“Readers have come to expect from Dawn Raffel’s prose nothing less than the syllable-by-syllable perfections of purest poetry and the boldest wisdom a human heart can hold. Her new collection of pithy, exquisite fictions about the timeless crises of mothers, daughters, and wives is breathtaking and haunting in its majestic exactitudes.” —Gary Lutz
“Less has never been more than in Dawn Raffel's
. These spare, high-intensity stories of brave people at the end of their ropes are not only models of writerly integrity, but monuments of the spirit asserting itself out of the depths of silence.” — David Gates

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“My new home,” the mother says. “A week, then? A weekend? You’ll come for a weekend.”

“Didn’t I say it?” the daughter says.

“Maybe a long one.”

Here is the server. The dish, he says, is national and comes recommended.

The daughter assents.

“You will, then?” the mother says.

“What are you getting?” the daughter says.

The order is given. “I worry — you know that I do,” the mother says.

“Enough,” the daughter says.

“It’s just—” the mother says. She is looking in her purse. She is fishing for something, the daughter thinks.

“Look at that,” the daughter says. Something is blinking at the edge of their view. They are turning from it.

“There is never enough time,” the mother says.

картинка 50

In the night the daughter listens — she sits up and listens — as the mother sleeps.

картинка 51

The blush they have purchased, the daughter says, or rather, the mother has purchased for her, suits her a little.

“It does,” the mother says.

The drapes are shut, the beds undone.

The daughter is standing inspecting her face, which looks, she thinks, like her mother’s in features, if not in expression.

“Do you mind?” the daughter says.

“You’re hovering,” the daughter says.

“Not hovering,” the mother says. “It’s just you’re not used to living with someone.” She opens the drapes. She pulls at the windows, having forgotten, the daughter thinks, or else unwilling to remember.

“Glued,” the daughter says.

“Gusendheit,” the mother says. “What do you want to do today?”

“Don’t know,” the daughter says.

“God bless, I said,” the mother says. She pulls out a guidebook. “Churches, museums…listen,” she says, but the daughter is not listening. She scrunches her cuffs. The daughter has a scar, very slight, at the wrist from where the mother, the mother insisted, saved the daughter’s life, or maybe only a limb. “You were walking in traffic,” the mother had said. The nail left the mark.

“Getting late…” the mother says.

The daughter sees the mother is beautiful in profile.

“What did I say?” the mother says.

“There is plenty of time,” the daughter says.

картинка 52

“It is only the season,” the chemist says. Nevertheless, she has something to sell them. “Take it with plenty of fluid,” she says.

картинка 53

“Try this on,” the mother says. “I want to buy you something.”

“Not my style,” the daughter says.

“It could be,” the mother says.

“I said, not my style.”

“What is, then?” the mother says.

“Don’t, now,” the daughter says.

“Then talk to me,” the mother says.

“I am,” the daughter says. “I said I would.”

The mother says, “Then, do you promise? Seriously, I am buying you this.”

The daughter is eager to take her dose. “Water,” she says. “You know I won’t wear it.” Later, the daughter will wish she had said something kinder or better, or, at the least, different. Already, she does. “Mom,” she says. She touches the mother on the arm, on bone.

картинка 54

The daughter is holding a bag in her hand.

“When you come,” the mother says. She is wearing a faint shade of blue on her lids, which are only the slightest bit swollen today. The concourse is crowded with what, to the daughter, appears to be families, and also with lovers.

The daughter is thinking of killing an hour, all the ways. Announcements are spoken. The floor is clean. The mother’s plane is boarding first. Arms, scent, breast, breath — the mother surrounds her.

“Mother, please,” the daughter says.

The mother is feeling for tissue again, the daughter thinks, inside her purse. But no, it is money.

“I don’t need—” the daughter says.

The mother says, “Take it.”

The mother says, “Call.”

The daughter is jamming a bill in her pocket.

“Such a lovely getaway,” the mother says — and then, as the daughter watches, is gone.

THE WOMAN IN CHARGE OF SENSATION

First, she broke her anklebone. How this was accomplished, I am not equipped to say. Will you listen to me? She could not abide a bath — no oil or Epsom — even when she could get wet. And now, you know, they had to keep her stable, immobilize the bone with a variety of substances, all of which were soluble, and therefore to wash it — the ankle, the foot, and, to get down to logistics, the neck — was rather out of the question.

“Can’t,” she said.

“Cannot,” she said.

“Can’t you please see that I’m sleeping?” she said.

She was knitting a scarf in a brilliant red.

She asked me just to use the cloth in places in between again.

She used the word pearl .

The bruises were looked at professionally. This was not a fall, they said — not simply a fall, they said — but likely a condition. They were firm about this, and spoke as if in confidence, if not out of earshot.

“Can’t you turn it down?” she said. Voices, a faucet. “The phone off the hook,” she said. “Just pay attention.”

On the floor the atomizer lay where she had dropped it, beading the plank.

“Careful where you step,” she said. The room smelled expensive.

She gathered up pillows, in a strategy, apparently, to elevate herself — at least some of herself. She was ripping out something. “Look at,” she said. Things wadded inside her. Additional symptoms: nostril, the works. She needed to flatten herself and pinch.

Balls of wool were on the throw. “It’s crooked,” she said.

There was more of her broken.

The experts were summoned, consulted, apprised. These were uninflicted damages. Everyone was compensated.

There amid the draped sheets; a slung arm, this, that—”I’d call it disagreeable,” she said in concurrence. She tapped on the drip. “Prop me,” she said. “Lift me a little. Pummel and plump,” she said. “Go ahead and hit.”

She had what she’d made, retrieved from the house. It was as she’d requested. Needles too.

They told her to make a fist and squeeze.

“What was the question?”—the woman in charge of sensation, a nurse. Marrow, cells, etcetera. A density ratio. “It works like this.”

It was a button and such. “Easy,” they said. “Easy does it with that.”

I was not next of kin. There was no one who heard me.

They covered her later.

Salt was on her lip in there, and fluid leaking out of her. The odds were against this.

It was I who dried her. I wrapped the thing around my neck — tassels dampened — as she’d intended, arguably. I said the odds were against it.

The ankle was healing still, they said.

THE MYTH OF DROWNING

“Are you sleeping?” he said.

“Are you?” she said.

“I guess,” he said. “What are you thinking?”

“Nothing,” she said.

“Or nothing you want to say,” he said.

“I didn’t say—”

“Listen—”

“Goodnight,” she said.

“Wait,” he said. “Don’t go to sleep angr y.”

“Who’s angry?”

“Or cross,” he said.

“Not cross,” she said.

“What now?” he said. “What on earth is wrong now?”

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