Sara Majka - Cities I've Never Lived In - Stories

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In subtle, sensuous prose, the stories in Sara Majka's debut collection explore distance in all its forms: the emotional spaces that open up between family members, friends, and lovers; the gaps that emerge between who we were and who we are; the gulf between our private and public selves. At the center of the collection is a series of stories narrated by a young American woman in the wake of a divorce; wry and shy but never less than open to the world, she recalls the places and people she has been close to, the dreams she has pursued and those she has left unfulfilled. Interspersed with these intimate first-person stories are stand-alone pieces where the tight focus on the narrator's life gives way to closely observed accounts of the lives of others. A book about belonging, and how much of yourself to give up in the pursuit of that,
offers stories that reveal, with great sadness and great humor, the ways we are most of all citizens of the places where we cannot be.
Cities I've Never Lived In
A Public Space
ADVANCE PRAISE FOR “A human and eloquent exploration of isolation.” —Publishers Weekly
“These stories are a marvel that will break your heart. . Majka’s debut is breath-stopping.” —A.N. Devers, Longreads
"These stories are sparse and fierce and move elegantly to the very heart of the reader. The voice remains with me, has left an emotional trace like a person I lived with and loved and often recall.” —Catherine Lacey, author of Nobody is Ever Missing
“A collection that leaves you longing — as one longs to return to much loved, much missed homes and communities and cities — for places that you, the reader have never been. Prodigal with insight into why and how people love and leave, and love again. Humane, dazzling, and knowing.”
— Kelly Link, author of Magic for Beginners
“Like Alice Munro and Raymond Carver, Sara Majka writes stories of people on society’s ragged edge — in money trouble, work trouble, heart trouble — and does so with tremendous subtlety and a grave sophistication all her own. Every one of the spare sentences in this book is heavy with implication and insight. It’s impossible to read these stories too closely.” —Salvatore Scibona, author of The End
“I cannot remember a book that more perfectly achieves the sensation of, as Majka describes, ‘being nowhere, or in someone else’s life, or between lives.’ With each subsequent story, the feeling intensified until, as only the very best writing can do, I felt transformed by the experience. Cities I’ve Never Lived In is a momentous book, and Majka is a writer operating at a very high level of insight.” —Kevin Wilson, author of The Family Fang

is like no other book I’ve read: graceful and poignant, original and wise. Its stories unfold in the bars, thrift stores, and rented rooms of a Maine you won’t find in tourist guidebooks or outdoor catalogs, but their deeper territory is the human heart: loss and loneliness, desire and grief, and the strange beauty to be found in desolation. Like the memories that haunt her watchful, wounded characters, Sara Majka’s exquisite prose stayed with me long after I had turned the last page of this terrific debut.” —Mia Alvar, author of In the Country
“This is a beautiful and destabilizing book filled with ghosts. Majka is a writer I’d read anything by.” —Diane Cook, author of Man Vs. Nature
“The characters in Sara Majka’s haunting collection drift through cities and landscapes like refugees from feeling, searching for something they can’t begin to name. These stories confound all our expectations: they fade in and out like memories or dreams, at once indelible and impossible to grasp. Again and again they broke my heart. Majka is a daring and enormously gifted writer, and this is a thrilling, devastating debut.” —Garth Greenwell, author of What Belongs to You

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She was at the bar, he said. She had told me she might be going out. I hadn’t seen her for a while so I went.

There was a band at the bar and he didn’t like the noise. He wanted to leave, but she was with friends. He could smell her shampoo, that was how close they stood, but when bar seats freed up he found himself next to a woman he didn’t know. Louise sat turned away from him. He had thought to go to the bathroom just to get away, but walked out the back door to the harbor. Then the group gathered around him on the pier as if it had been planned, some of them smoking. She was drunker than before and stood apart, looking at the ocean.

He approached her. When he had walked into the bar, she looked up and smiled. Now she turned toward the wind, took an elastic from her wrist, tried to pull her hair up, and then let it fall. He lifted a hand as if to smooth her hair, but pulled his hand back.

I’m going, if you want a ride home, he said.

She mentioned another bar they were going to; he hadn’t paid attention and told her to take a taxi home. Probably she didn’t hear. The group had splintered. She started to stumble. Maybe the shots had taken a while to hit, or maybe how subdued she was had hidden how drunk, or maybe his presence had organized her. Her arm floated up to point at the moon. The moon , she said, there is the moon. Then she felt like sitting. She climbed a ladder down to the sand, took off her shoes, and balled the socks into the shoes. She sat on a rock with her purse in her lap.

She remembered living on an island years ago and lying on the dock, the stars overhead and jellyfish in the water, the rowboats tied with rope that dragged with seaweed. She had lain down with some of the other people from the farm, and thought, The world opens immeasurably. She would have felt it like something opening inside of her. Then she had slipped into the water while the other people from the farm talked on the dock. The little dipper, someone said, count the stars. The water was so cold that she gasped. Louise? someone had said. She was in between the rowboats, in the space where one was missing and the others swayed to meet but didn’t. She kicked out. Cold? someone asked. So cold , she said, kicking away. She hadn’t even been wrong that the world opens immeasurably — it does — but it also does something to you, all those jolts and shocks.

She kept a flask in her purse and decided to drink, but then her friends from the bar called from above, so she put down the flask and put her shoes on. Later she would remember the flask, climb back down to look for it. Somehow her shoes would end up there. My sense of it starts to break down here. She was feeling chaotic, things were happening too quickly, in the bar then not in the bar, climbing down the ladder, taking off her shoes, drinking the rum. Then she was up again, on the pier. Where are your shoes? someone asked. She didn’t know anyone, but she stood in the crowd as if she did. People asked about her shoes. The last person who’d asked was the one they interviewed. He was with a group of college guys; they were young and intensely interested in her shoes, they kept asking her, but then the interest dissolved, something else, as if they were goldfish turning in a pool, attracted their interest.

And you were lovers, I said to Alec.

It was over, really, at that point.

Have you been to see the police?

Yes, he said. Right away, the next day.

They showed him security footage from the pier. The police had charted each person who went down, when each passed, and when each came back. They had pointed him out. He looked upset, they told him. Angry, like something was going on, they said, pointing their fingers at the screen. He told them that he loved her. He knew he’d made a mistake, so he quickly tried to fill the hole. He told them that she was troubled. I wanted to help, he said, but there was nothing I could do. He talked too fast, keeping his eyes on his hands. At first they found him guilty, strange, but at some point the tension in the room eased. They stopped paying attention, thought about dinner, home. No one thought, Poor guy. No one thought much of anything. Mostly they didn’t like him, though they would never have been able to say precisely why.

I said, You know there was nothing that you could have done, but he didn’t say anything. A few weeks later he cut his first map. He slid it in his bag, walked out of the library, and stopped on the steps. The pain on his face would be clear. He wouldn’t notice a woman standing under a tree, watching him, trying to understand.

At home we listened to the radio. They had found the body. My husband called from inside the screens: Anne, he said, Anne, come here. I sat with him; he relaxed and lifted one of the newspapers from the floor. Gases bring the body up, he said, gases and temperature. I don’t really understand. Tides play a part. They’re saying it was an accident.

The lamp lit the orange of the screens and illuminated the space.

Later, I found him sitting on the bed with his head bowed. He was crying. I’m very sorry, he said. There was a tattered cover on the bed with dull squares of burgundy, rust, and light blue. He put one hand over his eyes and I sat behind him and placed a hand flat on his back and stayed like that for some time, while rice cooked in our alcove kitchen. I felt a sudden enlarging of space, with sacks of half-put-away groceries on the counter, the sagging bag of rice scattering kernels everywhere, everything acquiring significance, more beautiful than the many beautiful things I had seen, more beautiful even than the harbor had ever seemed to me. One hand shaking as I scooped rice into an open palm, husband still sitting on the bed, the apartment darkened and the lamp still on inside the screens, now glowing as if there was a heart inside. Husband in near dark, sitting on a faded quilt. His coat still on, as if he had known, in preparation for a shock, that he might need it.

SAINT ANDREWS HOTEL

In 1963, an eleven-year-old boy named Peter Harville was committed to a state mental hospital in the western part of Maine, far from the island where he grew up. He had cut his wrists with his father’s coping saw, and lay on the ground watching the sawdust turn red until someone opened the door. Peter? his father asked, not moving or coming in. Peter? Are you all right? Peter noticed that his father spoke more gently than usual, and the shed felt warm and calm; for the moment he was happy.

The next week his mother packed a bag for him and his father took him on the ferry, then into the Cutlass sedan that was kept in the lot on the mainland with a key under the seat for anyone on the island who had an errand to run. They were at the hospital by three. Afterward, the father checked into a hotel. He went to the bar across the street and had several pints of beer. It had been ten years since he’d spent a night off island and he studied the line of coasters taped to the wall behind the bar. His hands twitched on the counter. They were small-boned and fine, adept at gutting fish and killing the lambs during the summer slaughter, thinking of their bodies dangling in the walk-in no more than he thought of anything else.

In the hotel room, he took off all his clothes and folded back the sheets, then slid inside and tried to sleep. When he got home, his wife listed object after object, asking if they’d let Peter keep it.

Sometimes I dream about him, she said to her friend Eleanor. They were hanging laundry; the wind came up the grassy slope and blew all the soft clothes on the line, the chambray shirts and white cotton sheets, her blue nightgown with lace along the neckline.

While her friend clipped, Helen stared across the sea. She felt as though she had lost something but she kept forgetting what it was, and when she remembered she couldn’t understand it. Do you suppose it’s a long trip? Helen asked, her voice sounding like it arose from a daydream. The idea had come to her over days, like a bubble expanding in the back of her mind, that it had been a mistake, that she would take the ferry, find the car, drive to the hospital, tell the doctors it had been an accident with the saw, that it wasn’t true what her husband said about Peter.

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