The Church of the Final Goodbye Senior Thesis Presented to the Faculty of the School of Arts and Sciences Brandeis University

Total Page:16

File Type:pdf, Size:1020Kb

The Church of the Final Goodbye Senior Thesis Presented to the Faculty of the School of Arts and Sciences Brandeis University The Church of the Final Goodbye Senior Thesis Presented to The Faculty of the School of Arts and Sciences Brandeis University Undergraduate Program in Creative Writing Stephen McCauley, Advisor In partial fulfillment of the requirements for the degree of Bachelor of Arts by Gwenyth Fraser May 2017 Copyright by Gwenyth Fraser How to Kill a Cat I “Well, it’s got a collar on. Maybe we can call its owner,” Trent said. To my ears, it sounded like expert case-cracking from Sherlock Holmes himself. “You’re right,” I said. “You’re so right.” Trent Beaulieu and I had been working together as counselors at Camp K.V. for exactly twenty days now. This was also how long I’d been in love with him. “Welcome to camp,” he had said that first day- to all the new trainees, but looking directly into my own eyes. “We’re so glad to have you here.” He was handsome. Tall. Even his braces looked good. And no one could play a better game of kickball in the upper field during Free Time. Today he was taking charge of the situation once again, like the hero I knew him to be. “Who wants to check the tag?” he asked the crowd. “See if it has a phone number on it?” I saw an obvious opportunity to get his attention. “Oh, I’ll do it!” I squealed. “I love cats!” I fixed my hair, smoothed my skort, and bent down to inspect the creature in front of us. It was cute, a tabby of some sort, with speckled fur and three different colors on the face. Unluckily, it was also dead. The waterfront at Camp K.V. was a veritable goldmine for such finds. It had something to do with the flow of water currents in the surrounding lakes. I didn’t really understand the particulars, but the long and short of it was that all the debris floating in the nearby waters made its way here and was dumped in our little buoyed gulf. The kids were always finding something interesting as they swam. Sometimes it was a mere water bottle, or an old waterlogged watch. But most days there was an exciting discovery just itching to be stepped on by one of our tiny swimmers. An injured crab, perhaps, or a water snake. Once, a dead turtle without a shell had washed up on our little beach (it looked remarkably like the cat in front of us now). A few weeks ago there had been The Great Floating Mystery of Camp K.V. As usual, it had started with screams from the camper adventurous enough to have the first sighting. Soon, kids were flocked around the object (except the little girl who had spotted it: she fled to the shore and started to cry). But it was floating outside of the buoy line, which meant the kids weren’t allowed to swim to it. The Camp Director, an overweight man with unfortunate hair patterns, had been called down to fetch it in. He grabbed one of those nets designed for cleaning pools, and tried to scoop the mystery object toward the docks. It was much heavier than he anticipated. He almost fell in on top of it before a few of the lifeguards grabbed on and stabilized him. Soon, their haul had been dumped in the sand for closer inspection. It was like a fat, hairless dog. Except different, in that its head and limbs had been cut off. What could it be? was the talk of the camp all week. At lunch, in the lean-tos, and throughout the main lodge all anyone could talk about was What was it? Where had it come from? What does it mean? That was when Trent Beaulieu had asked to make a small speech during the weekly variety show. He stood up, cleared his throat. “It’s a pig roast,” he said. “There’s a restaurant a ways upstream. I’ll bet they started preparing the pig, realized the meat was no good, and tossed it out for the fish to eat.” The audience had roared with applause. Today’s was a similar case, except that the cat had made it all the way to the sandy beach before it was spotted. This meant it must have floated in overnight, and was discovered when camp started the next morning. We didn’t think it had drowned. It appeared to have been badly injured before it wound up in the water, as its midsection was something of a mess. “There’s no number for a home phone,” I reported back to Trent. “But there’s a phone number for the veterinary clinic it used to go to.” Trent nodded his head wisely. “That’s a lead.” Another counselor ran to the payphone and called, and before long we had an address for the place. It was agreed that Trent and I would go together, once the Camp Director had bagged up the cat’s body. He wrote out directions, handed me one of the camp cell phones in case anything went wrong, and then gave Trent keys to the K.V. jeep. I wasn’t old enough to drive. I couldn’t focus as I sat next to him in the car. My palms were sweating. Should I turn on the radio? Did this count as a date? It was quiet, and I wasn’t sure whether I should ask a question, or tell a joke, maybe, but before I could think of anything clever he turned on the music and then I wasn’t sure if maybe we should talk about the song that was playing. Luckily, before I knew it we were turning into the parking lot at the Kennebec Valley Animal Clinic. Trent got out and started walking around the car. For a moment, I thought he might open the door for me, but it turns out he was just grabbing the bag with the cat. We said hello to the woman at the counter. She looked quite alarmed when we told her we’d brought a dead cat. We explained (very reasonably, I thought) where it had come from and why we brought it to her. Trent had to fill out a bunch of paperwork. On our way out, I grabbed a handful of lollipops from a dish by the door and offered him the root beer flavored one. He declined, but I assume this was because he needed both hands for driving. II Yesterday I killed my girlfriend’s cat. “Dinner at my place,” she had said, and I consented, forgetting in the spur of the moment that meeting her family was not part of my original plan for the prom. I wanted to dance with a good-looking girl, show her off to my modest friend circle, and maybe see some action in the back of my ’98 Ford Focus. But I agreed anyway, and found myself at her house on the night of the dance. I parked my car in front of her two-door garage, her white picket fence, her two-and- a-half-children perfect American family. Dinner was spaghetti and a salad that her mother had prepared. It exceeded expectations: the salad had bits of some citrus fruit mixed in, and the spaghetti was home-cooked. We ate off china that was decorated with a tasteful floral pattern. I had no trouble with the parent-friendly banter. Said all my thank you’s, my please’s, even complimented the room decor (“What a lovely painting, is there an artist in the family?”). And as soon as it was acceptable to do so, I excused myself from the meal and went to start the car so that my date wouldn’t freeze in her dress. I decided to turn the vehicle around so that I could make a clean getaway once she was ready to go. I turned down my music to a respectable volume, turned up the heat, shifted into reverse, released the brake, felt my wheels glide over a small bump. I parked the car. It was only when I was out of the vehicle and walking back toward the door to the house that I saw my fatal error, the little pile of something hairy between my front and back left tires. I muttered a string of expletives, and shuffled over for a closer look. A cat, I thought to myself, Oh, shit. I had seen enough cats in my day to recognize the horrible mess as such a creature, though their backs did not usually have such a deep, flat valley and typically all of their insides remained inside. I felt a little sick at the sight of it. And my next thought was, They’re gonna kill me. My eyes darted to the door. She wasn’t there yet, and no one else was watching. No one had seen its demise. Quickly, I popped open the trunk to look for a blanket, or a tarp to scoop up the flattened feline, but there was no such luck. I grabbed my schoolbag instead, dumped its contents into the trunk, and replaced them with the cat. A bit of him got on my sleeve in the process. But he fit in the bag and he didn’t stink yet. When I got inside I placed my coat on the counter (next to a food bowl which could only have belonged to the poor flat creature in the trunk of my car) and excused myself to the restroom.
Recommended publications
  • Photo Credit: Kevin Kauer, Pictured: Original Cast Photo Credit: Nate Watters, Pictured: 2015 Cast
    Photo Credit: Kevin Kauer, Pictured: Original Cast Photo Credit: Nate Watters, Pictured: 2015 Cast A Glimmer of Hope or Skin or Light (Glimmer) was a dance/theater/cabaret/glam-rock musical commissioned by Seattle’s ACT Theatre and performed to sold out houses in 2010 and again in 2015 created by veteran choreographer/director KT Niehoff. Glimmer was described by Michael Van Baker from the SunBreak as “one of the more spectacular, unpredictable, and mood-altering performances (he’s) ever been a party to.” The cast entwined with an audience that was free to watch the show from any vantage point, moving as they wish throughout the evening. Full of uncommon encounters, raucous spectacle and virtuosic dancing, Gigi Berardi of Dance Magazine wrote, “(Glimmer) is a raucous, daunting thing…. and unforgettable.” The cast was comprised of five core dancers, seven showgirls and a rock band led by singer/songwriter Ivory Smith. Niehoff and Smith fronted the band, singing original songs that borrowed inspiration from Pippin, Cabaret, and Moulin Rouge. Audience member Bret Love said, “I had no idea that something so beautiful and perfect existed. And that one night spent in their world literally changed my life.” Glimmer’s original Seattle luminary cast: Bianca Cabrera, Ricki Mason, Aaron Swartzman, Kelly Sullivan and Michael Rioux. Showgirls: Sruti Desai, Jill Leversee, Morgan Nutt, Erin Simons, Violette Tucker, Hendri Walujo and Kate Wallich Glimmer’s 2015 all-star international cast: Meredith Salle, Patrick Kilbane, Amy Tuner Clem, Ainesh Madan, Antonio Somera Jr. and Molly Sides. Showgirls: Danica Bito, Emily Durand, Nadia Losonsky, Annie McGhee, Anja Kellner Rogers and Hendri Walujo.
    [Show full text]
  • Stephen Petronio Company
    presents STEPHEN PETRONIO COMPANY Friday, June 15 & Saturday, June 16, 2012 at 8 pm Durham Performing Arts Center UNDERLAND Concept and Choreography Stephen Petronio Music Nick Cave Courtesy of EMI Music, Film & TV and Mute Song Ltd. Music Producer Tony Cohen Soundscape Paul Healy Costumes Tara Subkoff Visual Design Ken Tabachnick Video Mike Daly Assistant to the Artistic Director Gino Grenek Lighting Supervisor Joe Doran Production Stage Manager Veronica Falborn Performed by Stephen Petronio Company with Guest Artists Brandon Collwes & Reed Luplau Descent into Underland Stephen Petronio Mah Sanctum Davalois Fearon & Reed Luplau Mercy Strings Gino Grenek Wild World The Company Wild Wild World The Company The Carny Davalois Fearon, Joshua Green, Gino Grenek, Barrington Hinds, Natalie Mackessy, Jaqlin Medlock, Nicholas Sciscione, Emily Stone, Joshua Tuason Prelude to Weep Emily Stone The Weeping Song Davalois Fearon, Joshua Green, Barrington Hinds, Reed Luplau, Natalie Mackessy, Jaqlin Medlock, Nicholas Sciscione, Joshua Tuason The Ship Song: Davalois Fearon, Gino Grenek, Emily Stone, Joshua Tuason Stagger Lee: Duet: Barrington Hinds & Natalie Mackessy Quartet: Gino Grenek, Reed Luplau, Nicholas Sciscione, Joshua Tuason After Lee Solo: Joshua Green; The Company The Mercy Seat The Company Prelude to Death Davalois Fearon Death is Not the End The Company Running time: 60 minutes, performed without an intermission Casting subject to change UNDERLAND was commissioned by the Sydney Dance Company and had its world premiere at the Sydney Opera House on May 27, 2003. UNDERLAND has been made possible by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius. This presentation of Underland is made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and additional funding from The Andrew W.
    [Show full text]
  • Villagevoice Review 2011
    Stephen Petronio Ventures Into a Dark World By Deborah Jowitt Wednesday, Apr 13 2011 For once, I didn’t read the program. When the lights came Amanda Wells (in up on Stephen Petronio’s Underland, I watched videos of a sky blue tutu) fiery explosions on the three-paneled back wall of the Joyce walk with doll-like stage, heard crashes, and thought of the earthquake in stiffness. Japan. When Reed Luplau descended from above, head Cave sings of the first, harnessed, and clinging to a cargo net, I saw Orpheus shabby circus entering the Underworld to find Eurydice. The burning troupe trying to buildings and circling helicopters in Mike Daly’s video bury the Carny’s montage, as well as the drastic lighting (visual design by dead horse, Ken Tabachnik), seemed part ancient fable and part Sorrow; the shockingly contemporary vision dancers (including Julian De Leon As the piece unfolded, however, it became clear that and Barrington Petronio had in mind other disasters, other hells, and the Hinds) lift Wells subterranean, subcutaneous land of dark minds and dark overhead, laid out, and carry her toward the dark at the deeds. No heroes except the valiant dancers daring to enter back of the stage. the maelstrom. The gothic songs of the Australian Nick Cave thread through a dire soundscape of elements Is it my imagination that when, to heavy piano chords, Wells sampled and manipulated by Tony Cohen from the performs (magnificently) the fierce gestures of the solo recordings of Cave and his band, the Bad Seeds. The “Prelude to Weep,” her eyes look like dark pits? And in “The singer’s voice moans tales of death by execution, sadistic Weeping Song” that follows, the dancers, wearing shabby sex, murder, the sorrows of life, and possible redemption gray clothes, enter in a line, marching numbly; however like wind rushing around an underground cavern.
    [Show full text]
  • A Cave of Their Own: a Comparative Examination of Recurring Social And
    Edith Cowan University Research Online Theses : Honours Theses 1998 A cave of their own: A comparative examination of recurring social and psychological themes in gothic fiction and gothic outhy subculture through the song lyrics and fiction of Nick Cave Bradley M. Hunter Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Literature in English, Anglophone outside British Isles and North America Commons, and the Social and Cultural Anthropology Commons Recommended Citation Hunter, B. M. (1998). A cave of their own: A comparative examination of recurring social and psychological themes in gothic fiction and gothic outhy subculture through the song lyrics and fiction of Nick Cave. https://ro.ecu.edu.au/theses_hons/470 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/470 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. Youe ar reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth).
    [Show full text]
  • U N I V E R S I T Ä T P a D E R B O R N
    U n i v e r s i t ä t P a d e r b o r n Fakultät für Kulturwissenschaften Institut für Evangelische Theologie „And God is never far away“ – Spannende Theologie im Werk von Nick Cave Dissertationsschrift von Matthias Surall Am Laugrund 3 33098 Paderborn Erstgutachter: Prof. Dr. Harald Schroeter-Wittke, Institut für Evangelische Theologie an der Fakultät für Kulturwissenschaften der Universität Paderborn Zweitgutachterin: Privatdozentin Dr. Inge Kirsner, Institut für Evangelische Theologie an der Fakultät für Kulturwissenschaften der Universität Paderborn Mai 2014 Inhaltsverzeichnis I Vorwort V Abkürzungsverzeichnis VII 1. „He’s a ghost, he’s a god, he’s a man, he’s a guru” – Einleitung 1 1.1 Aufmerksame Gespanntheit, erregte Erwartung und fesselnde Entsprechung oder: spannende Zuordnungen und Relationen – Spannung als Kategorie 1 1.2 Angst vor dem Stillstand – Nick Caves biographische Fortentwicklung und künstlerische Wandlungsfähigkeit 3 1.3 Theologie in der Kunst und speziell in der Popkultur? Aspekte und Facetten spannender Theologie im Werk des Laientheologen Nick Cave 6 1.4 Methodische und hermeneutische Prolegomena 9 1.5 Zum Forschungsstand 11 1.5.1 Selbstverortung im bisherigen Diskurs zu Nick Cave 11 1.5.2 Anschluss an die Wahrnehmung und Erforschung popkultureller Phänomene in der Praktischen Theologie 24 2. Vom heiligen Huckleberry bis zum grabenden Lazarus. Das Hauptwerk. 27 2.1 „City of Refuge“ - Die Alben der Berliner Periode von 1984 – 1988 27 2.1.1 „Deep in the Desert of Despair“ – Von (Liebes)Leid und Ewigkeit oder „From
    [Show full text]
  • Nick Cave & the Bad Seeds Lyrics
    NICK CAVE & THE BAD SEEDS LYRICS Your Funeral My Trial................................................................... 1 Sad Waters.......................................................................................1 The Carny.........................................................................................2 Your Funeral... My Trial....................................................................4 Stranger than Kindness....................................................................5 Jack's Shadow..................................................................................6 Hard On For Love.............................................................................8 She Fell Away...................................................................................10 Long Time Man.................................................................................11 Scum................................................................................................12 The firstborn is dead................................................................... 13 Tupelo...............................................................................................13 Say Goodbye To The Little Girl Tree................................................16 Train Long-Suffering.........................................................................18 Black Crow King...............................................................................21 Knockin' On Joe................................................................................23
    [Show full text]
  • HUELLAS Revista De La Universidad Del Norte ISSN 0120-2537 Barranquilla, Colombia
    Ilustración de portada Julián Caridi, I hope you got my letter, please don’t write back, 2019, 152.4 x 182.88 cm, técnica mixta HUELLAS Revista de la Universidad del Norte ISSN 0120-2537 http://www.uninorte.edu.co/web/huellas Barranquilla, Colombia ©Universidad del Norte, 2020 Director Una realización de Josef Amón Mitrani Editorial Universidad del Norte Asistente editorial Farides Lugo Zuleta Diseño gráfico Geraldín Acevedo España Comité editorial Adolfo Meisel Roca Adriana Maestre Díaz Impreso y hecho en Colombia Carlos Pereira Xpress Estudio Gráfico y Digital S.A.S. (Bogotá) Farides Lugo Zuleta Printed and made in Colombia Giselle Massard Lozano Joachim Hahn Von Hessberg Josef Amón Mitrani María Margarita Mendoza Ramón Illán Bacca Samuel Whelpley Sergio Álvarez Uribe Toni Celia Maestre HUELLAS autoriza la reproducción citando la fuente. Los conceptos son responsabilidad exclusiva de los autores. Licencia del MinGobierno n.º 001464, ISSN 0120-2537. Apartado aéreo 1569, Barranquilla (Colombia). [email protected] Contenido Prólogo ..................................................................................................................................5 Josef Amón Mitrani Traducción literaria Selección de poemas de Fernando Pessoa ................................................7 Traducción de Nicolás Barbosa López Cómic "HOLA NENAS" ................................................................................................20 Carolina Urueta Música Diez momentos en la vida de Nick cave: biografía imaginaria de un icono
    [Show full text]
  • Nick Cave. El Canguro Errante
    IInnffoorrmmeess NNIICCKK CCAAVVEE EEll CCaanngguurroo EErrrraannttee ick Cave es probablemente el solista más importante que ha dado el rock de las Antípodas. Recientemente ha editado, junto a su banda de toda la vida, The Bad NSeeds, su undécimo trabajo de estudio, el genial e intimista, "No More Shall We Part" (Mute /Everlasting). Se trata sin duda de una buena excusa para repasar un poco su trayectoria. Evidentemente, nuestro hombre es un culo Call" o su especialisimo y estupendo disco de mezclados con guitarras?taladro, que aun inquieto, ya que desde su natal Australia pasó versiones, "Kicking Against The Pricks" (a mi hoy me ponen los pelos (ya pocos), de punta. a vivir unos años a la oscura Berlín. De allí se juicio uno de los mejores jamás realizados de La versión de "Avalanche" de Leonard fue (por el amor de una mujer), al calor de esta guisa) hemos seleccionado a duras Cohen es otro punto álgido y el disco com- Brasil, para, finalmente, y tras concluir esta penas, entre su excepcional discografía, estas pleto simboliza toda su etapa inicial y sirve de relación sentimental, venir a Londres donde tres piezas angulares. Los motivos, además de puente perfecto con toda su obra anterior. lleva varios años entre la niebla y sus Biblias. encantarme todos ellos, es que muestran en "Tender Prey", 1988 No vamos a repasar toda su obra, porque cierta forma, tres etapas algo diferenciadas se necesitaría un monográfico entero para de su carrera. Su último disco, "No More Shall Aquí Nick Cave y sus Bad Seeds alcanzan alguien con una obra tan amplia y con tanta We Part", también es genial y digno de rese- una enorme madurez y empiezan a aparecer calidad.
    [Show full text]
  • Gothic Music
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by WestminsterResearch WestminsterResearch http://www.westminster.ac.uk/research/westminsterresearch Gothic Music Emma McEvoy This is a preliminary version of a book chapter published in the Encyclopedia of the Gothic. Edited by William Hughes, David Punter and Andrew Smith. It is the accepted version of the text, prior to publishers typesetting. © 2012 John Wiley & Sons Ltd. Reproduced with permission of the publisher. Details of the final published book are available from Wiley Online Library: http://www.wiley.com/WileyCDA/WileyTitle/productCd-1405182903.html The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: http://westminsterresearch.wmin.ac.uk/ In case of abuse or copyright appearing without permission e-mail [email protected] Gothic Music Emma McEvoy University of Westminster [email protected] The term “Gothic Music” may cover a range of phenomena - from the music of the Goth bands of the late 70s/eighties, to the scores composed for horror films and thrillers, to music, not originally composed for, but used in, a Gothic film which, by this process, becomes Gothicized (the most famous example, perhaps, being Mike Oldfield’s Tubular Bells (1973) as used in The Exorcist (1973)). Significantly, what all these Gothic musics have in common is a trans-media connection between film and music.
    [Show full text]
  • Dr. Matthias Surall, Einführung in „Der Himmel Über Berlin“, Koki, H - 27.09.2017
    Dr. Matthias Surall, Einführung in „Der Himmel über Berlin“, KoKi, H - 27.09.2017 Herzlich willkommen zum 2. Teil der Filmreihe „Nick Cave und das Kino“. Heute gibt es den sicherlich bekanntesten Film in dieser Reihe zu sehen: „Der Himmel über Berlin“ von Wim Wenders. Ich schätze, dass mindestens die Hälfte von Ihnen diesen Film schon zumindest einmal gesehen hat – Test! Und ich vermute, dass viele von Ihnen bislang nicht wussten, dass dieser Film auch etwas mit Nick Cave zu tun hat oder umgekehrt, dass Nick Cave hier betei- ligt war – Test! Ich will Ihnen jetzt in dieser Einführung Folgendes in drei Teilen näherbringen: 1. Ein paar einleitende Infos zum Film selber oder besser einige wenige Pin- selstriche zur Skizzierung dessen, was das Besondere dieses Films ist. 2. Ein Schlaglicht auf Nick Caves Mitwirken, seine Rolle in diesem Meister- werk der Filmkunst. 3. Einige Bemerkungen zur Kooperation und dem Verbindenden zwischen den beiden Künstlern Wim Wenders und Nick Cave. 1. „Der Himmel über Berlin“ war damals – 1987 ist er erschienen - und ist es heute noch viel mehr ein Anti-Film, wenn man die kommerziellen Gepflo- genheiten von Holly- bis Bollywood kennt und anlegt. Er ist lang, enthält keinerlei Action und ist in SW gedreht. SW- Filme gab es zuvor im Kino zu- letzt von Alfred Hitchcock in den 60er und 70er Jahren – ich nenne nur „Psycho“ und „Frenzy“ - und von Woody Allen Ende der 70er, ich sage nur „Manhattan“. Wim Wenders lässt sich Zeit in diesem Film. Er beobachtet seine Figuren, umkreist sie manchmal fast zärtlich mit der Kamera. Der Film hat sein eige- nes Tempo und entfaltet – so man sich auf ihn einlässt – einen Sog aus Bil- dern und Dialogen, aus Impressionen, Gedanken, Gefühlen und prägnanten Szenen: Da ist das Berlin der 80er Jahre, das einem gerade im Gegensatz zur heute in weiten Teilen seiner Mitte gelackten und durchgestylten Existenz wie ein großer abgeranzter lost place vorkommt.
    [Show full text]