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Albino (part one)

I began writing Albino two million years ago. I had an editor then, who lived a few blocks away. We would meet for breakfast on Avenue A, quietly forking into home fries as we discussed the structure of the story - the economy of objects. A dollar bill was not just a dollar bill in this story, it was connected to thought and action, to music and transformation. This was the story that told me there was a whole book to dig into, mining for diamonds in the backwaters of America, turning over the ugliest rocks to better understand relationships between fathers and sons.

Last week, I stumbled across a call for submissions - not for a journal, but for a podcast where the work of new writers was read aloud. I thought back to a reading I had done of just the first few pages of Albino - a messy hero's journey,  a young man and a guitar, a man with loss and regret, a man that still had something to lose. That reading went well, enough that I felt a strange elation stepping off the stage i…

almost


Things are slipping though my fingers. I can see them, just out of reach as they twirl in the dark. Almost, an almost. And yet at the same time, a full life, days crammed with blessings and laughter. Nights dancing in the kitchen, the baby rocking wildly in her chair, E with her big eyes in mid-thought, N with her Mona Lisa smile. A bottle of wine cracked open, special glasses on the table. There is no way to complain about anything. Impossible.

The life of the reluctant expat is a series of lessons. The opportunities are distant and slim. You have to carve them out with your bare hands if you want something to happen. At the same time, there are no distractions here. The work is that of a hermit, of messages in bottles floating inside a bubble on the other side of the moon. The unheard story, the whispered idea.










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