The basement crawl space is tinged with dread. And a little bit of pride too. Because both my late husband John and my father—and even the firefighter I had to call when it flooded—hated the idea of having to go in. The dimly lit space is only eighteen inches high, a tight spot for a grown man, and full of spider webs. The floor is dirt; overhead is crumbled fiberglass insulation. You climb a ladder and go through a small rough hole in the house’s fieldstone foundation, then crawl about seven feet to reach the valve that supplies water to the outside faucet. This needs to be turned on in spring and off in late fall so the pipes don’t freeze and burst. To get out, you have to crawl backwards and reach a foot through the rough hole, searching blindly for the top step of the ladder. That last six inches is hell on the knees, all sharp rock and crumbling mortar.
This woman in the airport is neither catching a plane nor meeting one. (…) Why is this woman in this airport? Why is she going nowhere, where has she been? —Joan Didion, “Why I Write” (1976)
In the margins of the Strip, planes shimmer in and out of Las Vegas. I photographed this periphery, populated by plane watchers. Why they watch and why I write seem to be connected by a tenuous link that became clearer as the afternoon transpired.
Sundown marks the time and the place for a discreet show among Las Vegas locals. At the golden hour, vehicles on Sunset Road veer toward McCarran International Airport and park in front of the runway. While the casino-jammed stretch of Las Vegas Boulevard known as the Strip blinks itself awake in the background, the airstrip stages a steady stream of landings and take-offs. Every day, new and seasoned plane watchers come here to view the aircrafts rolling between the sky and the Vegas skyline.
Launched in 2022, Outpost is a residency for creative writers of color from the United States and Latin America. Each September, we welcome two writers and award them with a stipend as well as complimentary travel, lodging, and meals to spend a month cultivating a generative writing community in the mountains of Southern Vermont. STEFFAN TRIPLETT and MARICEU ERTHAL, whose work you will encounter below, are exceptionally talented, and we feel quite privileged to have had them represent Outpost’s inaugural cohort. Thanks to the ongoing support of our funding community, we have been able to increase the stipend to $2,000 for our 2023 cohort. Applications are open and will close January 15th.
By the time the car stops at the end of the dirt road, we’ve been jolting along for an hour. Before us is the banyan tree we have come to see—its giant trunk surrounded by hanging roots, its distant crown shutting out the sky.
It is summer in Kerala, and the world is liquid and shimmery with heat. The roads and fields are parched, waiting, suspended in a burning delirium for the moment the monsoon will break. My aunt Sudha and I have just driven through miles of sun-blasted paddy fields, but the abrupt immensity of the tree makes the light feel shadowed, as if dusk has fallen at noon. A hushed feeling comes over me as the dark, looming presence asserts itself.
My mother and I are on a chlorinated river that’s somehow simultaneously the Amazon, Congo, and Nile, floating languidly so we don’t run into the boat in front of us and “don’t scare the wildlife”: the kind of joke the Disney guide, in his safari hat and over-pocketed explorer outfit, keeps making.
I could tell you, If I wanted to, What makes me What I am.
But I don’t Really want to— And you don’t Give a damn.
—Langston Hughes, “Impasse”
There are two cops from the Orange County Sheriff’s Department standing in my grandmother’s kitchen. We are all gathered around the kitchen island silently negotiating the power dynamics. Two Black women, two White cops. The cops have come to collect the details for the report, but I’m doing most of the talking. Grammy bears witness.
I walk slowly, each step sinking a little into the ground. With every footfall, a puff of ash curls upward, dusting the top of my boot and disappearing into the soft stillness of the day. It is a clear day with no clouds, but the air around me has a gentle haze, a film that sometimes resolves into particles, pinpoints of ash in a slanting ray of sunlight. It has been two months since the fire, but the rising ash and the smell of smoke are strong, stinging the back of my throat and settling into a familiar ache in my temples.
I had one recurring nightmare as a child: I am standing in the dry bed of a creek looking upstream, the sun shining and the stones warm on the bottoms of my feet. Suddenly, a roaring wave rushes toward me around a bend and I have no choice but to be swept along with it. The water drags earth from the river banks until it is so thick with sediment it has turned the color of Swiss Miss.
“It is he that sitteth upon the circle of the earth.” —Isaiah 40:22
In the cosmology of Patrick Burke, a flat-Earth believer, humans can spoon-eat uranium flakes like Cheerios.
The Hubble Space Telescope never existed, nor did dinosaurs. Hiroshima was dynamited, the Titanic sunk for insurance, and New Orleans flooded by government agents.
Earth—our sapphire speck, our pale-blue lifeboat in an ocean of dark—does not, after all, perch on a Milky Way tentacle. Earth does not spin like a Dervish; rather, its plane reclines and stretches beyond the thousand-mile-thick ice wall encasing us. The land reaches out, sprawling with undiscovered countries and unimaginable lifeforms. At some point, the world meets sky, earth bleeds into atmosphere, and God lives at that nexus of matter waiting for us.
You stare low on the horizon into the black sky and wait for the next tiny circle of light. A flash. You hold your breath. You listen to the high-pitched whir as each pinpoint shoots upward, and your eyes follow the undulating trajectory, one, two, sometimes three seconds and still you’re not really breathing. The light vanishes, and you wait, bracing yourself for one loud low boom, a series of pops and crackles, or a deep, hard blast that feels like a punch in the chest. And in that instant before each burst you hope for your favorite colors and shapes, for purple or green or one of those big white sparklers that puffs out like a giant dandelion cloud then hangs suspended, for just a heartbeat, before each shimmering speck flickers and falls toward earth.