on some signal we’re not allowed to see, and the noise,
the noise throughout is tinny and insistent
and bellicose, noise you hear in your nightmares, and
if Knox and I don’t talk for the first two hours here
it’s because of that, it’s because he’s letting me
pull him onward by the hand. In all
this magisterial chaos there’s one thing
I remember from when I visited at thirteen—the lull
in the action halfway through. A row of silent
old-timey storefronts and there
in their midst, a hot dog stand. A kid in a paper hat
working the roller grill. There are booths
and a cash register in this one instance of the actual
in a battery of simulations, and because of that
it’s more real than any reality I’ve known.
I dream about this hot dog stand and now I guess
I’ll dream about Knox across from me, trying—
failing—to take it all in. How can you
see through someone else’s eyes?
You watch what they make of the world. Alex Jordan
died and his carousel still spins on, riderless,
into infinity. The show you wrote plays on and on
after you shuffle off into the darkness, stage right.
Knox
There’s so much to say about what we’ve seen that we’re silent all the way to the van. Inside, Sylvie asks, “Can you pull up Maps on my phone?” and then we look at each other.
You told Sylvie you wanted to attach yourself to a girl with a map. You oaf—way to leak the contents of your brain everywhere.
“You wanted to attach yourself to a girl with a map, huh?” Sylvie says, like she’s reading my mind. “Here’s a map, barnacle.” There’s an impish lilt in her voice.
“I mean.”
We’re back on the road, headed south.
“Is it a seafaring lass you seek, Knox? A pirate queen? You looking for your very own Anne Bonny?”