Issue 103 April 2022

Editor: Emma Munro

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The Social Phobic’s Guide to Interior Design

By Sarah Grey

September 15, 2013

This is the real me: I am the kin of armchairs and baseboards and clever lighting. I am indistinguishable from the scenery.

Tonight, I am wallpaper, deep crimson with a black scrollwork pattern. I am dark but for the single incandescent lamp to my right. I am the backmost corner of a posh tavern on the west edge of town, one that still serves its top-shelf bourbon in crystal glasses.

She sits at the bar on a brass-legged stool. Her feet dangle beneath her, as if she’s a child on a swingset. She wears a wool coat the color of cigarette ash and drinks a cocktail and fiddles with a paper umbrella. The stripes on her scarf stagger, blues and greens weaving like a stream over stones. It can only be hand-knit; a gift from a loved one, perhaps.

If she glances my way, it is only to admire the décor–the oil-painted landscapes in baroque frames, the antique leather furnishings. If she walks past me, if her scarf brushes my fingertips, it is only because I stand between her and the marble-tiled restrooms.

She smells like cherries. I smell like wallpaper paste and smoke.

* * *

Late in the night, when packs of Friday-nighters in tailored suits descend on the bar, she slips onto the sofa beside me. Our shoulders press together, casually, like a pair of warm eggs in a nest.

That is, if I had shoulders. I do not. I am aged leather upholstery, walnut brown, polished to gleaming. I am brass bolts and the scent of spilled gin. I am a well-tended ficus on a claw-foot end table. I am nothing else.

“What’s your name?” she asks.

She is looking at me, at my eyes, beneath my leather, beneath my leaves.

I have no choice but to answer. I hold my breath. I have no breath.

I can’t tell her. I am scenery. I don’t have a name, not one that matters, not one that isn’t ordinary, isn’t wholly forgettable. I don’t have a hometown, a career, a tabby cat, or an apartment three blocks south of here. I don’t have any interests, any stories to tell–none that won’t make her eyes glaze, that won’t send her to the bar for another drink, or out to the curb for a cab.

I’m burying myself, begging the leather to hold me closer, but it refuses. I open my mouth. My breath smells like old martinis and furniture wax.

A man in a silver tie answers her, and I realize abruptly that she’s not talking to me–that she never was. I am an inanimate object, after all.

“Matteo,” he tells her. “It’s Italian.”

She laughs aloud. “How sexy!” she tells him.

All at once, the press of voices is too much. I stand to leave. The sofa releases me, passes me gently into an embrace of scrolled wallpaper. I am the parquet floor, the hanging copper lamps. I am the stained glass, I am the glasses staining the cherrywood bar.

I am ambiance. I am setting. I am not a character in her story.

* * *

My therapist lent me a book once: The Social Phobic’s Guide to Finding Love. It offered trite little lies like “No one can resist the real you.”

The real me. I am not a Matteo. I am unintrusive, unexciting. A piece of interior design. Could anyone find wallpaper irresistible? Does anyone really fall in love with the drapes, or feel a rush of lust at the sight of a well-crafted dinette?

No one writes books like The Arachnophobic’s Guide to Feeding Spiders or The Acrophobic’s Guide to Falling Off Buildings. I understand why now. Those people can rely on affection, on words of kindness, to fight their fears. They are human; they have others to love them, to carry them when they fall apart.

I have only the furniture.

* * *

Tonight, I am shattered brick. I am old gum on concrete. I am neon beer logos reflected off a puddle of frozen urine.

My hand waves like a torn flag, but the cabs pass me by.

The door of the bar opens behind me; the Friday-nighters are leaving in packs and pairs. I hear laughter, jokes about places I’ve never visited, books I’ve never read. Off-key songs from movies I’ve never seen. Human conversation; human affection.

I smell cherries.

She leans against my broken brick, kicks the snow off my concrete. “I was asking for your name,” she says. “I’d still like to know.” Her smile is wide and softer than the ragged edges of her scarf. The steam on her breath passes close to my lips. Her shoulder presses close to mine.

My name is crimson wallpaper or marble tile or antique leather sofa.

She waits. The bricks push me away, even as I cling to them; the concrete refuses to shield me any longer.

I find my breath. It is as warm as hers.

When I tell her my name, my voice sounds almost human.

Editorial: Little Things, Big Things

By Emma Munro

April 1, 2022

The Annual Conference of the Ladies in White

By Stephanie Feldman

April 1, 2022

I’ve been driving for six hours when a hotel appears on an otherwise empty stretch of road. It has turrets and a fussy gazebo, like an antique wedding cake preserved by moonlight, and a red sign promising “vacancy.” Whatever it costs, my emergency stash will have to cover it.

I’m so tired I pause over the hotel registry, struggling to remember my own name; upstairs, I collapse onto the bed, his words repeating in my mind. You’ll never make it on your own.

He’s right. I didn’t get far. Tomorrow, I’ll go back.

Again.

The thought settles like a weight on my chest, just as another weight settles near my hip.

A lady sits on the edge of the bed. She wears a cloudy dress; her black eye twitches and her torn lips tremble. Another lies beside me, fingerbones interlaced over her heart. A third lifts a sweater from my suitcase. Their faces are ghastly and pretty. Their flesh hangs like fine lace.

I grab my keys and run.

Outside my door, the ladies are everywhere—sweeping through the halls, stalking up the stairs and falling down again, one by one, into a silent pile. They sit on the lobby sofas before a gothic-lettered sign: Welcome, Ladies in White! A lady slips a lanyard around my neck, the name-card blank except for a crimson smear. Suddenly, I know where she came from and how she died. She’s the Lady in White of Kinsale, Ireland, who hung herself after her father killed her bridegroom.

The ghost turns away to fill a paper cup from the coffee urn. Next to her, eating a complimentary cookie, is Haapsalu Castle’s Lady in White, from Estonia, who dressed up as a choirboy to continue an affair with a clergyman; they bricked her into a wall. The Berlin Palace’s Lady in White starved behind a wall, too, but she sticks with the other German Ladies in White, from Haus Aussell and Spandau Citadel, who are already at the bar. On the mezzanine, Brazil’s Dama Brancas weep for the babies they died birthing. The murdered Kaperosas, who hitchhike the Filipino highways, head toward the office center. They like taxis, radios, and midnight headlights, which makes them distressingly modern to the others.

The other attendees of the Annual Conference of the Ladies in White.

The corners of the name-card prick my skin. The blood streak is unintelligible, but I can guess what it means. They’re admitting me to their sorority of destroyed women.

The cold spark of my survival instinct flares. I dash past the oblivious receptionist and through the front door.

Outside, the Chinese Nu Gui wander the lawn, searching for the men who wronged them. In the gazebo, La Llorona, the keynote speaker, drips with river water. The Siberian Maidens of Uley, abandoned and driven to suicide, applaud.

I dive into my car. I’ve already hit the gas pedal when I notice the Lady in the passenger seat and another four crammed in the back; there’s one on the roof, the ratty ends of her hair sweeping the top of the windshield like rain that won’t fall. They wail and thrash; they blink in and out of the rearview mirror; they whisper their addresses, it’s almost curfew, mother and daddy are waiting.

Headlights swell before me. My car has swerved over the yellow lines. I brace for impact, but then a horn blares and the lights slice away, sparing me.

If I die on the road, I’m afraid I’ll become one of the Ladies in White.

I pull into the first parking lot, run through puddles bright with neon, and enter an empty 24-hour diner. I take a booth and watch helplessly as the Ladies process up the ramp and through the door. They squeeze into booths, spin on counter stools. They spill sugar on already gritty tabletops. They examine laminated menus and build towers of creamers. They weave paper napkins into their hair.

They’re not chasing me, after all. They’re just excited to leave the hotel—their eternal hotels and castles, highways and rivers. My fear fades into relief; my relief is chilled by sadness. How tragic they appear, now that I’ve stopped to really see them.

The waitress arrives. It’s past midnight, but she’s cheery.

“Just you?” she asks.

“Just me.”

Her smile falters. “Are you okay? There’s blood…” She touches beneath her throat, where her collar opens.

The Ladies stop their fidgeting and twirling. They watch.

I mirror the waitress’s gesture and find something cold against my chest. The name tag—I whip it over my head, rip it free from my hair.

It’s not a conference lanyard, but a necklace, my name pressed into a gold plate. It was a gift. Never take it off, he said, and I never did, even when I left.

“I guess it was just a reflection,” the waitress says. “I thought…”

“I’m fine,” I say. The vision of the smeared blood—they weren’t claiming me. They were warning me. Don’t become another anonymous death.

The Willow Park Lady in White, drowned by her husband on her wedding night, puts down her spoon and disappears.

One by one, they all disappear. They take their bloody gowns and their bones, their wails and their moans, their promise rings and their dead babies, leaving me among black vinyl and ivory linoleum, saltshakers and dirty cups, clean windows and flashing cars, highways stretching into the future.

The last Lady winks at me before she vanishes.

I order breakfast and plan my next move—I won’t go back, not now or ever. When I’m done eating, I consider leaving the necklace behind, but I decide to take it with me. My name is one of my last possessions. I intend to keep it.

PATREON EXCLUSIVE: INTERVIEW WITH AUTHOR STEPHANIE FELDMAN

FFO: How did the idea for this story germinate?

The story started with the title: “The Annual Conference of the Ladies in White.” I love Ladies in White legends, and especially how versions have proliferated across the world. You can learn so much from the nuances, the tiny regional and large cultural differences in how we imagine what it means to be a wronged—or wrong—woman. But first, I thought it was funny: imagine all these ghosts, members of the same ghost club, gathering together. A creepy-funny premise, though, does not a story make. The next thing I had to figure out was my main character: What kind of person, exactly,needs to encounter this spectral congregation?

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The Perfect Brick of Feta

By Sam Weiss

April 8, 2022

Larry accepts the transcranial advertising patch on his way into the supermarket. The next step in this—his Sunday morning grocery ritual—is to drop it into the return bin, where others have done the same. Supermarkets can compel you to accept the patch in exchange for entry, but they can’t force you to put it on. But someone spent money on this patch. It’s thick, transparent, band-aid-shaped, with delicate gold electronics filigree running between the embedded microchips. None of that opaque nonsense used to obscure the sloppy work in most disposable patches. Larry works in advertising. If worthy competition exists, he wants to know about it. He peels off the backing to expose the electropaste and smooths the gummy device onto his forehead.

Following his usual path to the fruit aisle, Larry thinks with satisfaction of his latest work, which boosted orange sales 7%. The patch warms and emits a single beep, indicating that its thermoelectric module has finished absorbing enough heat from Larry’s head to power itself.

The supermarket blurs. Larry is in a sun-drenched kitchen, the stone and light evocative of an ancient shrine, removing a cast iron pan from the oven. In the cast iron sizzles a flawless brick of feta in a sea of grape tomatoes. The tomatoes have popped and spilled sweet-smelling boiling red juice. He adds garlic and basil, a drizzle of extra-virgin olive oil. The scent of basil does him in. A perfect moment, universal: the simple pleasure of food.

The scene leaves Larry shaken. He has not seen such high-quality advertisements in a supermarket before. As if by a force other than his own will he is inching toward the cheese aisle, where the feta is kept. Larry bares his teeth. He. Will. Not.

Larry creates advertisements. He does not fall victim to them. Since college, when he learned how those patches apply their tiny electrical currents to manipulate neurons, prodding them into artificial desires, he has lived according to cautious, uninfluenced logic. He’d optimized this path to limit shopping time and followed it even when his ex teased him for doing so.

Larry peels off the patch, but the damage is done. By force of will and habit he gets through his pre-planned, portioned list: plain tofu for protein, four servings of canned vegetables, oats, unsalted peanut butter.

When he reaches the checkout, he can still hear sizzling cheese. He wants it so much; he’s broken out into a sweat.

“Oh, honey,” the woman behind the counter says. She’s wearing long red sleeves, a red apron, a red hat. She looks, as far as Larry is concerned, like a grape tomato. “Those new adverts—seem like they’re potent to some people.”

“Not to you?” Larry gasps.

“Nah,” she says. “Tried it this morning. Pleasant. Like myself some good feta. It’ll pass. This one takes five to six hours, I’m told.”

“Not going to tell me to buy feta cheese and tomatoes?”

“Sweet gods, no. Sold out of them hours ago.”

Larry nods. He does not want to seem like one of those people, any more than he already does. He smiles, leaves, and then abandons his afternoon chores to search six grocery stores in vain. By the time he hits the seventh, it’s all over the news: an advertisement for feta cheese gone too far, a raging debate about what should and shouldn’t be allowed on those patches. An interview with someone who has given up his corporate job and bought a sheep farm.

Larry gets home, puts the groceries away, and lies down on his kitchen floor. If he tries to move to the bedroom, he may get into his car and continue searching. He doesn’t try.

In the morning, when Larry wakes with an aching neck, the need to chase down bricks of feta has passed. He calls in sick anyway, which he has not done in a decade. It upsets him—it’s true—that he will never create anything like that. He takes pride in his competent, consistent work. But something else bothers him, and he hasn’t worked out what.

He spends the morning at his desk interrogating the chip, looking for where the electroencephalographic recording of someone’s memory of feta ends and where the editing by an advertiser like himself begins. Sometime past noon he finally has the answer: no neural pathway tricks. It’s just a real person’s memory—untampered with. He should feel satisfied, having found an answer, but he feels worse than when he started and again he can’t pinpoint why.

Larry cleans his bathroom (it being on his schedule for the day) and portions out a meal of white rice, canned green beans, and unseasoned tofu. His ex hated that Larry defaulted to ‘unseasoned.’ Before she left, she told Larry how it annoyed her that he took `lukewarm’ (her word) pleasure in food, in art, even sex. At the time, it seemed a petty, unfair thing to say. He’d had pleasant experiences with all of those. But now, clenching his car keys, he understands. He has never, in his controlled life, enjoyed anything as much as whoever had prepared that cheese. A pleasure so fulfilling, so simple, that moments like those could easily constitute the entire purpose of living. The authenticity—not the artificiality—of the patch is what has wreaked havoc on him.

Larry opens his day planner to today. The same chores, meals, walks for exercise. He trembles. When the trembling stops, he rips out the page, crumples it, and leaves. He walks an inefficient route—at least ten percent more time than necessary—to a downtown plaza where he has no reason to be. He luxuriates in sunlight glittering off buildings and in the lulling chatter of pedestrians. On his way home, Larry purchases a small paper bag of honey-roasted nuts from off a cart, and it smells like life should.

PATREON EXCLUSIVE: INTERVIEW WITH AUTHOR SAM WEISS

FFO: Are there any themes that you find yourself returning to throughout your writing? If yes, what and why?

In the last few years–in the context of the pandemic, bitter politics, and all of the interrelated upheavals–I keep returning to themes related to compassion. Namely that acts of compassion are a debt that we owe to other human beings. And that we are individually responsible for making things safer, kinder, more humane, and more truthful.

Comments

  1. Erin Cairns says:
    I absolutely adored this story! A poignant concept that felt dystopian at the start, but left me feeling really good and energized at the end, and I don’t even like Feta XD

    A beautiful story told really well. I’m gonna recommend it to everyone I can.

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