About Me

My photo
FOLIO is a magazine of strange, comic, and strangely comic words and pictures published from 2006 to 2009. For back issues please contact the_folio@hotmail.com.

Issue No. 12, Escape - A Thief's Best Friend is His Tote Bag



The Farmer’s Market reaches its peak time at ten o’clock – for me. The best goods are dwindling but the crowd is rising, and the buzz around their heads is thick enough to disappear beneath. It’s not exactly a Middle Eastern bazaar—there are no newsprinted fish flying overhead, no shouts from rotund fruit men to escaping boys with bulging coat pockets—but these farmers have a pomp all their own. They sit back in their homemade chairs, hands in their homemade pockets, stroking their homemade moral superiority, without even considering the amoral superiority beneath them. They are no match for me.

I walked the entire length of the market before I began, weaving down the aisles from the front of the tent to the back. I made sure the vendors were where they were the week before. I checked up on their inventory, noted the items furthest from reach, the big, the small, the wrapped, the unwrapped, and came to rest at meat. The meat tables occupy the end of the line for most shoppers. Men who think that blood will trim the femininity off their aprons stand arms crossed and snug behind coolers of plastic-wrapped flesh. The coolers present a challenge unlike that of a stray head of broccoli, but it’s better to get the hardest part over with first.

A mustached man still nursing the toothpick from a sample of cheese approached the butcher. His wife was held up somewhere, probably baskets, and he was determined to get the most out of his morning. “Do you know I’ve always wondered,” said the man, “at what age a veal is no longer a veal.”

The butcher cocked his head. “A veal?”

“You know, is the year a calf’s a cow the year a veal’s not a veal? Or is a calf never a veal until it’s dead? Or does it matter? Ha! A veal’s a veal’s a meal!”

While the butcher busied himself with his affronted stare, I swept four links of his best blood sausage into my empty tote bag and walked away.

My bag says “PBS” on its side. I stole it during a fundraiser. There are many just like it all across the market, though the sausages inside them are probably wrapped in receipts. It’s important to blend in. You blend in so you can blend out. I wear cargo shorts and a beige rain hat. I wear an over-large t-shirt because I am very small.

People dress their Saturday worst for the Market. Their least-favorite shoes wade in the mud between stalls. Any other day and they’d be whining, but today they gladly stride, sucking in the mess of global thoughts and local acts, even taking their dogs along with them to churn and contribute to the slush. I pet one.

There were a few leaves of chard left on the center vegetable table and the crowd politely danced around them, waiting to strike while pretending they were interested in kale. The vendor was chewing a honeycomb lent from the seller behind him. He moved slowly with his chores, opening rolls of pennies in his battered tin cash box, licking his finger to open a paper bag; all giving the impression he was a humble man who enjoyed life’s sweet simplicities, that we were guests on his front porch. But after he got his finger into the bag, he would smile and flick it downward so fast the air popped in like a gunshot, waking everyone up from their courtesy and moving them closer to the chard.

I buzzed in and out of the circle, trying to find the best position, stretching my hand out over the leaves only when the vendor smacked a bag open. With each smack I got a little closer, the crowd got a little more confused, and on a smack so hard it blew the bottom of the bag out, I touched the chard.


“Mon-ey chan-gers!”

The cry from the middle of the tent was loud and drawn-out, the anger in it mounting syllable by syllable. Just as everyone turned to see who had screamed, I wrapped my hand around the chard like it was a Golden Ticket and went giggling, really giggling, out of the circle.

I looked for my benefactor but saw that only Jesus had arrived, that is, the homeless man who calls himself “Jesus.” It was a bit late for him, and he looked more frazzled than usual. He cut right into the middle of the market and paced barefoot up and down the aisles. His typical blue bathrobe was dragging in the mud. His Speedo was lost in the hair of his thighs and stomach. The beard, as one would suspect, was grown to effect––less so the fingernails.

I am always happy to see him. As someone who is paid very little attention at the Farmer’s Market, and always hopes to be paid a little less, it helped that Jesus was around. I would have tried to be crucified next to the real one too.

“Out! Out! Money changers!” It plainly came from Jesus. Usually, his mumbles were low and undirected. This was strangely coherent.

A few disapproving glances were sent in his direction. He was finally making a commotion too loud not to glance at. Was this a performance piece? the shoppers were sure to think. Do farmers perform “pieces”? Was this a shouting schizophrenic they had heard on the street before? If so, which one?

“My house shall be called a house of prayer and you scum are making this a robber’s den!”

Jesus took his raving down the aisle, so that’s where I took my tote. I stayed behind and three shoppers to his right. Appropriately enough, a pair of Philistines was selling hummus at his next stop. Jesus dragged the tip of his finger through their sample cup, as if he were writing in the sand, and smeared a line of the Roasted Red Pepper over his mustache. Jesus was an intimidating figure even without the menacing gestures: six foot something with a football player’s build. Understandably, perhaps expecting a slingshot to come out of his bathrobe, the Palestinians pulled back in fear, and just enough for them not to notice my collection of their pastries.

Beside them, the community’s favorite married couple was operating a children’s puppet stand. Their show concerned climate change, I think. There was a sun and an ailing dragon. Jesus was transfixed. Landing on the lap of a less-than-transfixed girl in the front row, he kept his eyes on the bare wrists below the sock puppets.

Before long, it was apparent Jesus’ attention was out of disgust, not admiration. “Where is your farm?” he said to the wrists. “What land do you till?”

The puppet couple was unused to audience participation. The show went on until the screams of children brought their heads above the curtain.

Jesus had taken his swimsuit off. He pulled the dragon sock from the husband’s hand and slid it over the offending organ. “What seeds do you plant?” he shouted at the puppeteers. “What fruit do you pluck?”

While parents and children were covering their eyes, I took the tote of an outraged mother and pushed it into my own.

I was thrilled. My tote was fuller than it had been in weeks. Jesus and I were truly working as a team. I’m at the mercy of the nearest diversion in my job, and with Jesus, there could not have been a greater mercy. I wanted to pull his sleeve along with me so we could skip together to the next farmer. But I couldn’t risk anyone thinking this marvelous accident was somehow planned. I ran to baskets and only prayed he ran along with me.

The baskets were typically impossible to fit into my tote, but with Jesus still screaming, I felt the impossible was ready to be tried. I looked for the small ones, the widely woven ones that could be easily collapsed. The seller, a shy tee-totaller with a beer belly, was watching all the commotion at the puppet stand, and when I saw her eyes widen and her lips separate, I knew backup was on the way.

“Silly ass!” Jesus shouted at the basket weaver. “Liar! Hypocrite! Money changer! From what tree did you pick these twigs? Are you a farmer or a demon in a silly ass’s clothing?”

He took her credit card slider, pressed it against her head—“Out demon! Leave this ass behind!”—and ran the slide over her white curls. “Out!”

He was angrier than I thought. I was concerned, but had no time to ask the woman if she was all right. My tote was heavy and begging for more. I stopped searching for the easiest basket, just grabbed the nearest handful of reeds.

More and more people from the corners of the market were coming inwards to spectate. Looks of concern dotted the crowd. As everyone had left their cell phone at home to more fully experience the authenticity of the market, no one could call the police. The bored son of a butter churner, his Tonkas having run the gamut of possibility, came back in from his trucks and wriggled his way to the front. His face was glowing. He was entertained. Saturday had finally lived up to its name.

Ducking under arms and purchases, I found the soy table next door and, just as I wished, Jesus found it too. He picked the teenager who was manning the table up by the collar and shook him furiously. I hid behind a barrel of soybeans.

“Do you know who I am?” Jesus spat in his face. “Do you know who I am?”

“Who are you?” said the teenager.

I was reaching my hand up into the barrel when Jesus suddenly pulled it away from me. He raised it over the teenager’s head, beans pouring over their shoulders, and let it drop. The barrel had a false bottom two inches down. The poor boy’s head cracked straight through and he teetered around, seeing stars where there were supposed to be soybeans.

This must have been some kind of last straw. A group of thirty-something male musicians, all shaggy beards and plaid shirts, closed in on Jesus with chivalrous frowns. Some tackled his legs, others his arms, flying up in squid-like fury.

“Sell everything you own!” Jesus shrieked, the musicians having forgetten to cover his mouth. Perhaps it was his awful smell, but once they had throttled his chest, they backed off a little and Jesus wriggled free.

“Sell everything you own, not everything you make!” He toppled the next five stands, pulling out tablecloths like a bad magician and flipping over tables. I had to run ahead of him so he wouldn’t wreck the items I had my eyes on (I once had to take a head of lettuce from the ground and was very disappointed). I ran backwards, holding my tote out under the tables as Jesus filled them up.

Unfortunately the plaids conquered their senses and mustered the strength to bring the schizo down. I could do nothing to help him, just stepped back and watched. It was a horrible sight, like the tent of a three-ring circus falling in on an elephant. They dragged him back to meat, his ankles bobbing through the mud, his beard stuffed into his mouth.

“—everything you own” was the last I heard him say, and I was almost certain the first word was “steal.”

The vendors quickly relit their pipes and blew the sweet smoke over the crowd, anxious to get their audience back. They opened a few more jars of dijon or chutney or dijon-chutney, the tops shooting like champagne corks into the silence.

My shoulder was aching from the weight of the tote, and I thought, sans companion, maybe I should just go home. My spoils were plenty. My shoulder needed icing. However, the pretzel sticks left out for the taking sent a strong reminder of the task at hand. Duty first, I breathed deep, pulled my hat back over my eyes, and wrapped my arms around the pyramid of mustard jars. With or without the perfect diversion, I had to finish what was already the best day at the Farmer’s Market I ever had.

I wondered, scooping roasted walnuts from their buckets, whether Jesus ever noticed my darting around beneath him and if he realized how much he was helping. I would have loved to thank him. Alas, we could have never met, since I can never be noticed.

“Hello there,” said the florist. “You’re carrying quite the load.”

Flowers were my last stop, the farthest point possible from meat. The florist set up her stand outside the tent, where there was grass instead of mud, and where she could greet the families walking in. They were all carrying heavy loads, so I ignored the florist and kept on for her daffodils.

“Did you see Jane Eyre last night?” she said. “Excuse me, Jane Eyre?”

The petals in the front were a little peaked, so I rifled through to the back. I felt a tap on my shoulder.

“Was it all you hoped it would be?”

“What?” This may have been my first spoken word at the Farmer’s Market. It hurt my throat.

“Jane Eyre. Masterpiece Theatre.” She pointed to my tote.

“Yes, PBS, it’s—”

“All you really need, isn’t it?”

So she wouldn’t be able to inspect anything past its insignia, I shifted the tote around to my back.

“Do you have something specific in mind?”

“Specific?”

“A flower.”

“Yes, a flower. I have a flower in mind.”

“Is it for someone special?”

“No...”

“I think this one sets your hair off nicely.”

“Really?”

“Oh yes.”

I reached into my back pocket, again a first, and pulled out the change I had taken from the Leave A Penny, Take A Penny.

“Please, please, it’s on the house,” she said.

Obviously, she wasn’t like my other Farmer’s Market companion. But although she smiled and Jesus frowned, both expressions carried vast generosity. I nearly melted under hers.

I took the flower. “For me?”

“Put it in your tote, Tote-man.”

I put it in my hair.

Issue No. 12, Escape - A Break from It All




Issue No. 12, Escape - Evil the Hand that Frees the Hermit


Evil is the free hand that raps the hermit’s door,
while hidden, the other within the coat secretes a store
of court orders, judgments, liens, levies galore…

So exquisite the bouquet of legal array
is presented the hermit that he faints away,
the scent of reed and rice and lisle sending him to floor…

Un-nerved, the process server stoops to feel for pulse—
ineptly finding one, she tents his face with her papers,
as if the finest of linen shrouds, and slinks away!

Stealing to the Bonneville parked just outside,
she slams it into Reverse, mindful to rehearse
the mantras of her training:

“It’s not personal! It’s just business!”
“It’s not personal! It’s just business!”
“It’s not personal! It’s just business!”

Issue No. 12, Escape - Credits























This issue of FOLIO made possible by Melinda Van Slyke.

Cover: Ben Tuttle
Lino & Photo: Alexa Garvoille
Fiction: Jonathan Tuttle
Drawings: Jill Ostrowski
Poetry: J Willie Garvoille

Issue No. 11, Actors - The Sad and Unemployable

Issue No. 11, Actors - I Own This Town: An Interview with Mary Holland


Mary Holland is the greatest actress you haven’t heard of. Part Bette Davis, part Andy Kaufman, Holland is a recently graduated drama student from Galax, Virginia, home of The Old Fiddler’s Convention for 73 years. Documentary filmmaker Andrew Ferris discovers the life of an intimidating actress in a struggling city.

FERRIS: Does watching movies in Hollywood feel different than watching movies in Galax?
HOLLAND: Galax! I’m so glad you asked me about Galax... Well, the feeling is the same, if that makes sense. I go to the movies by myself, and I do it because of a specific feeling I get by going alone. I had that feeling at the Twin County Cinema in my beloved Galax and I have it here in Hollywood at the Arclight Cinema on Sunset Boulevard (my favorite movie theatre in LA). I’m sort of obsessed with going alone. I’ll rearrange plans and work it out so that I can go by myself.
In Galax, I was almost always the only one by myself in the theatre. Nobody went by themselves. It was a place in which social interaction took place; that was its purpose. In Hollywood, there are many addicts like myself, and I see people going alone all the time. People take movie-going seriously. They are there to watch the film and pass judgment and hopefully go home enriched in some way. I’m kind of watering at the mouth right now... I want to go to the movies.

FERRIS: Does acting feel as personally important to you in Hollywood as it did in school?
HOLLAND: It’s a different kind of importance. In school, I worked extremely hard and thought about the craft and the skills involved every day. I entertained concepts and tried new things and learned more about myself and the behavior of people than I ever thought I could. I tried to soak in everything and apply it to work for classes and for rehearsals. The struggle of a novice attempting to learn a complicated and elusive art. It was delightful. Painful, and delightful.
In Hollywood, I have to trust that I have the craft. That it’s in me. Because nobody wants to see you working on your “art”. They want you to do your job, and get out. I can’t spend hours musing over universal truths. I have to focus on making a living by showing what I can do. Acting will always be personal with me. It is me, it’s in my blood, you know? But I can’t be the tormented artist I had the luxury of being in school. I think that luxury will be mine again once I land a role, but for now I have to focus on landing the role, which is the hardest part.

FERRIS: Do you schmooze, network?
HOLLAND: God no. I don’t know how. You have to network out here, because it’s all about who you know and whatever, but I feel like a prostitute when I start talking to someone with the purpose of helping my “career.” It’s disgusting to me, and I can feel it when other people are trying to schmooze me. It’s the worst feeling I’ve felt out here to date.
I did this performance for a workshop a few weeks ago, a pantomime to one of Mozart’s symphonies. It went over very well, and everybody in the workshop liked it I think, and then the teacher said I should try to get it filmed and send it somewhere. The next day I heard from a guy in the class and we had lunch. After talking and having fun, he told me he wanted to get involved in one of my pantomime thingys. He wanted to get on Leno!
I had to take a shower after that lunch.

FERRIS: How do you prepare for an audition?
HOLLAND: When I first got here, I had no idea what to expect at a film/tv audition, so I overworked the script and went over every detail with a fine-toothed comb. I wanted it to be perfect. And it fell apart on me in the room with the casting director. I’ve since learned that once you get the feel of the character and the circumstance, you just have to play. That kind of freedom in acting is what I had in school, that sense of play, and it’s intoxicating to me as an actor and as a spectator. So I try to play in an audition. I don’t spend hours poring over the script now.

FERRIS: Before you walk into the audition room, is there something you always do for good luck?
HOLLAND: Um... I go to the bathroom. And I look around at things. And I try to take in everything. I try not to let my nerves get the best of me and get to my head. I tend to get overly excited and happy and shaky, and look like a crazy person. I just want to stay aware of the world around me, so I look around at everything and it calms me down.

FERRIS: During the audition, can you feel yourself switching from trying to make a good impression as Mary to trying to do a good reading as the character?
HOLLAND: When I audition, I think the most important part of it is the first couple of seconds right when I walk in the door. That’s when I feel the pressure in my brain: be me, be me, be me, be me, be me. Once, I was thinking that so hard, I tripped and fell into the room and then afterwards I got home and vomited. That last part is not true.
I’m used to these auditions now, so I’m not so nervous about presenting myself. I’ve become a bit jaded. I’m so tired of rejection, sometimes I just want to walk in and show them a boob or something. I’ve stopped caring so much what they think about me as a person. I just try to relax and be me and then show what I can do, and then get out.

FERRIS: What was your last audition like? Were you happy with the results?
HOLLAND: I was incredibly happy with the results. During the strike, it was completely dead. Nothing was auditioning except for a few films, none of which I auditioned for. I had been out of practice with auditions for almost 4 months when I got a call from my agent about an audition. It’s a high school girl, and they want a character actress (which is me). So I prepare and I’m pumped and I go in and I impress the casting director. She works with me for about 15 minutes and gives me wonderful compliments and then my agent calls me later and tells me that she sent the tapes in to the director. I got so freaking excited. And then a week or so later I heard that they had found someone else for the role. They said I looked too old. It must be the wisdom in my eyes.

FERRIS: Have you ever seen another actor in a role that you auditioned for? How did it leave you?
HOLLAND: It was flattering. One role that I got a callback for is now being played by Selma Blair (the role is Molly Shannon’s daughter on a TV pilot). So I don’t know. Right now I know that I have to be in a place where if I get the role, great, and if I don’t get it, great. Once the audition’s over, it’s over. And I have to get over it right away or my life will be miserable, you know?

FERRIS: Do you have a job outside of acting?
HOLLAND: I work as a hostess at a restaurant in Beverly Hills. Most of the time it makes me want to shoot myself in the face. I stand and stare for hours on end.
We’re in an area surrounded by doctors’ offices, and once a girl came in and started asking me questions about the food we serve. Something seemed off about her, and I couldn’t quite place it until I noticed the incision in the crease of her left nostril. Her nose never moved when she talked. The incision still had fresh blood that appeared to have only recently been stemmed. She saw me looking, laughed, and said, “Sorry, I just came from getting my nose done. Do you guys have soup?” We do, but I didn’t answer her. She texted her way out of the restaurant and it took me a while
to recover.
Also, I just got hired as a model. For an art class. A nudie model. I’ve done it once and it was quite scary. But thankfully the class was small, and the people in it were mostly old, so it was like getting naked in front of my grandparents. I didn’t do that much after I was 6 or so, but still...fun!

FERRIS: What does a typical day look like for you?
HOLLAND: I wake up to my kitten licking my mouth. I wish I was kidding about this, but I’m not, she’s the only lover I have. If I have an audition, I usually find out the day before, so I get up and I go over the script. I have a tendency to get a little freaked out and nervous about these auditions, so until it’s time for me to get in the shower, I do something to take my mind off it. Like make out with my cat. Not really.
Because the traffic in LA is the worst in the world, even if the audition is a mere six miles away, I time it so that I leave an hour before the audition time. I get to the studio and enjoy a few wonderful minutes wandering around the soundstages and imagining myself working there. Then I get to the audition and I try not to get intimidated by the bombshells that are in the waiting room with me, and then I do the audition.
I go home, obsess about how it went, and get ready for work. I leave an hour early for work too. I go in and change into my uniform and prepare myself mentally for a few hours of mind-numbing boredom. I check my phone obsessively throughout the night to see if my agent called me to tell me I booked the part, and then around ten or eleven, I go home.
I listen to NPR and think about things. I go down the hall to see Michael and his boyfriend and we watch Jeopardy and they make me laugh. I go to bed and try not to wonder about the scary things about being out here – is this really going to happen? Am I freaking kidding myself? I’m terrified. Please someone give me a job.

FERRIS: Is there still a certain magic in the dream factory?
HOLLAND: Yes.

Issue No. 11, Actors - Slap An Actor

4 Guilty in Blithe Spirit

by SHERIDAN WHITESIDE
Chief Theatrical Critic

Any of the following actors – Elizabeth Sommers, Jeremy Ostler, Maxwell Cann, Helena Whisk – may be slapped.

Each played lead to middling roles in last night’s otherwise acceptable Blithe Spirit. The actors singled out for this column represent, as usual, the wooden, the over-enthusiastic, the perpetually adolescently awkward, and the irritating to look at.

Ms. Sommers, thin hair, clam face, keeps an apartment on Third and Sycamore and can be seen walking her dog every weekday morning at eleven-fifteen. Readers should not be afraid of the dog, however. It can be easily stepped over as you move to deliver her well-deserved slap.

Messrs. Ostler, bow-legged, and Cann, indented sternum, share a condo in the Glennford development, number 18. The pair leave for the theatre together at five o’clock, so one hand stuck between their faces should create a perfect double whammy.

This critic has it thrice confirmed that Dame Whisk, fatty elbows, pimpled calves, does not lock her door before retiring and often sleeps in late. Perhaps not a task for the casual admirer of this column, but devoted followers should pull no stops in waltzing into her bedroom on 6 Regal Court, peeling back the sheets, and proffering a good, sound thwap across the cheeks. Whisk was particularly offensive on and off the stage, as her oft-diagonal spine could never truly be removed from concentration. Readers note: Whisk’s ruby apples present this season’s Golden Fleece! The lucky slapper will receive an autographed copy of this column. God’s speed!

Tickets for Blithe Spirit, should one need insult before their injury, are ten dollars and standing water only through the end of this month. Please remember, actors are to be slapped only, no nails, no fists, no wind up exceeding six inches.

In reply to last week’s column, “Slap Happiness,” the following was received: “Dear Mr. Whiteside, Thank you for the spot light in your piece last week. I was slapped yesterday and greatly enjoyed it. In the future, I will hold my arms more gracefully while onstage. Yours, Fifth Sentinel To The Left.”

Go forth! -WHITESIDE

Issue No. 11, Actors - Credits


Portraits: Alexa Garvoille
Fiction: Jonathan Tuttle
Interview: Andrew Ferris
Photos: Kihra Sorensen

this issue of FOLIO made possible in part by The Third Earl of Southampton

Issue No. 10, Chess...Live Here Instead







Issue No. 10, Chess - Diorama

Our house was little more than a shoebox for a third grade diorama, the rooms little more than scraps of cardboard glued up to represent rooms: a kitchen upon entry, its adjoining nook a living room, a set of stairs no wider than the narrowest closet climbing steeply to a bathroom, where any sudden movement would have shaken the whole box.

Reading in my room beneath the bathroom, I could hear the entire process of a shower. The swish of slippers would take me from my book and a new story would develop over of the one in my hands.

“This is a little late for Grandma,” I thought one night. The faucet ran and as cold turned to hot a towel was pulled from a rusty rack and the toilet flushed to speed things up. A heavy rush against my ceiling fanned out into a rain. A few rings shuffled down the pole.

Always miraculously, the ancient, stand-alone bathtub withheld the first step, and again I was amazed it did not crash through the ceiling and land beside my bed. There was a water stain on the ceiling, widening every day. I expected the second foot to peak through at any minute, but the porcelain took that one too, and I listened to my grandmother, Vivien, inch herself into the hot water.

I could hear the squeaks from her feet but I mainly gauged travel from the changes in the sound of falling water, massaging one part of my ceiling then slowly moving to another. Once the water kept a steady pattern, I figured my grandmother was struggling with a shampoo cap. Really, I did more reading of the upstairs sounds than of my book. Somehow that story, with all its lack of event, was more compelling than my novel. And then there was the fall, and the box shook.

Like ice cracking and sliding down the roof, the unique sound demanded full attention, and any thought I had of my grandmother slipping had to enter the brain as slowly as the sound faded. I dropped my book and swung open the bedroom door. I turned to dash up the stairs, calling “Grandma!” as I went, but I saw in the glow of our living room lamp, my grandmother, knitting.

“Grandma?” I said.

“Yes?”

“Did you hear that crash?”

She put down her needles and looked to the ceiling. “I thought I felt something.”
The shower continued above us, though water wasn’t hitting the tub. I could hear it come out of the faucet and then absorbed in some dull silence. I left Grandma to her scarves and vibrations and ran up to our only bathroom.

The slippers I heard swish were by the sink. The towel that rolled the rack was balled up on the toilet seat. I could see the cause of my ceiling’s water stain. A trickle of water dripped over the edge of the tub, where my little brother lay bleeding from the head. His legs were taking the water and his arms were dangling over the side, like he had just enough time to try and break his fall. His lids were open, and despite the hot water, his skin looked as white as his eyes. His hair was wet and still covered in soap. His gold necklace was resting on his sternum.



Grandma postponed cleanup till the morning after my brother’s fall, telling the mortician on the telephone he should rest up and get to bed, that there would be plenty of time for all he did later. Poking around for ourselves, Grandma and I were able to gather that the cause of death was almost certainly soap. Though I never taught him to do so, apparently my brother washed his feet in the shower, maybe that was his first time.

Orphaned early, my brother and I were put into the care of our paternal grandmother, though the court did have some concern about the location of my grandmother’s house. By far the smallest my brother and I had ever seen, let alone lived in, the house Vivien still occupied was meant for turn-of-the-century steel workers and their families. When we moved in, the neighborhood was a mostly abandoned, decaying pile of bricks heaped against the river.

If we did have neighbors, we never met them. A family could have been living next door, but I doubt it, and we never questioned for a second if there was or wasn’t. The court must have wondered if my brother and I would ever go out to play. We didn’t, but not because it was unsafe. Vivien made for us the happiest, warmest community to which I have ever belonged. Our home was infinite in its comfort and love and I wonder how much we would have gone out to play even if Grandma did live in the palatial north suburbs.

It was all a matter of the right lampshade. Our diorama rooms were effaced with beautiful light, a blood orange glow on Grandma’s chamomile bedspread, a twilit incandescent on turmeric-stained wallpaper. Scarves with tiny plastic beads were draped casually over lamps and dangled at our heads as we finished homework, or board games, or the last of the tapioca.

I thought about sleeping that night on the living room sofa so I wouldn’t have to lie directly under my little brother in his bathtub coffin, but Grandma, not heeding her own advice, stayed on in the living room knitting. Being born two years ahead, I was born outliving my brother and, that night, I continued to outlive him. I fell asleep staring up at the usual water stain, now darker and thicker in the middle.



Grandma spared no candor at my brother’s funeral.

“How did this happen?”

“He slipped in the shower.”

She stood her ground in the receiving line, giving the end of her translucent hand to whomever asked, never quite looking in their eyes. She wore the shawl she finished knitting the night my brother died and a dress I supposed to be older than she was.
The funeral was held in a community center north of our dilapidated neighborhood. It was strictly non-denominational. A man from the center was hired to say a few words, a few candles were lit, and soon we were back in the procession headed home.

Our meager house had a hard time fitting three people and a lifetime of fabrics and nearly disintegrated under the weight and conversation of all those strangers at the reception. They were younger people, younger than my grandmother at least. I took them to be children or grandchildren of people she used to know, neighbors perhaps. The respect they gave her was the respect given to someone who had only ever been seen in a portrait.

Grandma cleared off the buffet and set out strawberries and cheeses, and yet it was the guests who took pains to provide for her, asking her if they could spread a cracker for her, dip a strawberry into sugar for her. Eventually the attention they gave her even trickled down to me. The only thing I could wear that day––because it was the only suit in the house––was my grandfather’s uniform from the war. The bright gold buttons must have caught our visitor’s eyes and after they had plied my grandmother with snacks and well wishes they directed all tea and sympathy to me. “Sorry, son. Ten really is too young.” Then they’d go up and use the very bathroom in which my brother died.

After an evening of picking up strawberry tops from the buffet and wiping down rings of champagne, Grandma, who was knitting again under the living room lamp, called me over. She patted the cushion beside hers and plopped her yarns down on her aproned lap. She smiled at me, her eyes half magnified by her glasses. “I got you a little something.”

She reached beneath the sofa, digging around amongst sandwich crusts and successful mousetraps, and finally came out with a shoebox. A shoebox, however, that was unlike any I had seen in our house before.

She flipped open the top, pulled back the tissue, and picked up the first pair of brand new athletic shoes I had ever seen up close. Grandma cooed and ran her finger along the rubber soles. “Good traction,” she said. “For the shower!”



They worked. Perhaps not what they were intended for, soaking up my antique shower instead of basketball sweat, but six of one, half a dozen of the other.

“Good morning!” I’d call into the kitchen, where Grandma would be up and dressed and squeezing oranges.

“Morning dear!” and she’d keep on humming.

My pump-up, rubber, extravaganza shoes squeaked louder than the stairs themselves as I climbed up to the bathroom, laminated book in hand. Grandma, knowing how much I loved to read, bought me a bench that fit across the tub and a laminate envelope for my books.

I’d toss my robe over the sink and – pump, pump – step into the shower. Awkward at first, yes, but I was thankful for the safety and soon got used to the extra weight. It felt a bit like what I imagine drowning in a pair of cement boots would feel like, except here, my life was being extended.

I wondered what it sounded like from below, what I would have thought, reading downstairs, of the scrapes and bruises coming down on the tub. Grandma was downstairs, and I showered with a thought in mind of performance, lending a few odd stories she could piece out from the sounds above.

Later, whilst reading, I discovered Grandma did not have her own pair of shower shoes. I could hear none of the plops I was sure they made, only the familiar patter of bare skin on bare tiles. She’d switch the radio on to the old time Big Band station, and once she was in the tub, I could only interpret her quick and heavy footfalls as dance steps.

Afterwards she’d pounce down the stairs like a slinky, a tower of towel wrapped around her brilliant, white hair. Judging from an old picture of her I found in the attic, her hair had indeed lost all life and color, but came to possess the enviable luxury of invisibility, never dirtying a carpet or clinging to a sheet, never stopping up a shower drain.

My brother’s death had me noticing my grandmother more clearly, but one night I pulled out of my bedroom and read beside her on the couch, and it was there I came the closest to never knowing her at all. The light was worse to read by in the living room, though more relaxing. I’d start just sleepily running my eyes over the tops of words till my head would fly off the page completely and rest on the afghan. I pushed my cold toes under her legs and brought my eyelids down another notch. She could knit for hours, do dishes or flip channels for hours and the slightest hint of fatigue would never show, as if in solemnly accomplishing the smallest of tasks she was already sleeping.

The cloth over the lampshade cast a bell of light just wide enough to cup my grandmother’s body. The shadows bowed around her hips, never getting to the ten fingers and ten toes that after eighty-some years were still in tact. Her mother, I’m sure, counted those fingers and toes after she was born and delighted in the addition, but how much more delighted would she be that they were all still there? The shadows followed the bell of light around my grandmother, till the bulb above her head quelled them completely. The lamp lit up her hair, both brilliant and invisible, into a source that was greater than itself.

Issue No. 10, Chess - Allé des Cygnes

Issue No. 10, Chess - The Creation


after He, the great crafter,
had made many His worlds
and spattered palettes of color
across the un-canvassed voids,

He stepped back, to better his view...
and suddenly knew thereafter
how to make laughter.

Issue No. 10, Chess - Chess Night at Your Local Barnes and Noble



"You know, there is such a thing as humorous chess."
-Isaac Bashevis Singer, A Friend of Kafka

Issue No. 10, Chess - Romantic and Square is Hip and Aware, More Fiction than Non Dept.

Bobby Fischer, the Corduroy Killer, died last month. He was exceedingly stylish. After the heights of his chess genius have cancelled out the depths of his anti-semitism, what remains in history will be only the well-groomed mysterioso. The Britannica entry for ‘Fischer, Bobby’ will feature multiple pages cataloguing the uniform corduroy jacket, the skinny tie, and the wave of sandy bangs.

Fischer is not the most photogenic of men––that mantle is still held by Truman Capote––but like Capote, Fischer’s visual allure comes in part from the very unalluring context in which he is placed. The Chess Club that meets every Wednesday night at your local Barnes and Noble will not keep your eyes up off your magazines. The prodigy eight-year-olds that stun the old men might give you a chuckle as you settle in, but none of them will keep you as entertained as your hot chocolate. For a bookstore café, they dress eccentrically: black flood pants and white socks, ropes for belts and bulging guts. But eccentricity is an expectation they conform to well, which makes them, in the end, anything but eccentric.

Bobby Fischer was eccentric, the early Bobby Fischer. A wildly bearded bigot does little to stand out, since a man with a computer’s mind is expected to hold a few unhuman beliefs. But the Fischer of yesteryear, the young man who made even a set of black and white squares look debonair, was as eccentric as a vintage photograph of J.D. Salinger (for a photograph of the recluse now only speaks to the pains at which it was taken, whereas an image of the young Salinger speaks to a time when he didn’t mind being photographed, a concept that, compared to his current view, seems unbelievably eccentric). And eccentric is attractive.

Legend has it that Fischer’s standout looks were noticed the second he walked into his Brooklyn Barnes and Noble café. Soon every man, woman, and child came out of their books and circled round his first game. They stared at the young man’s clear skin, not his board, and after a victory they applauded his fashion sense, not his win. What did they know about chess strategy? Everyone, deep down, can recognize good taste, even if they have none themselves. Perhaps at the time they imagined they were admiring his chess and not his chest, congratulating themselves for showing interest in something they were never interested in before. But on the drive home, the husband remembered the striking lad at the checkers board, and the wife reminisced over the strapping young man and his Candy Land talent.

The same neglect applies to history. The context in which Fischer was placed, the one that by juxtaposition made him look so good, will fade away, leaving only the good looks. Should a celebrity obituary expound on why a man was famous or why a man will be famous? We should speed history up and jump a few chapters ahead.

Encyclopedia Britannica supplemental volume The Freshly Shorn and the Cleaned-Up Nice, page 185, ‘Fischer, Bobby’: “He entered every room in slow motion. Haunting choral music was piped in from unseen vents as Mr. Fischer carelessly cut through a crowd. Carey Grant quaked in his shoes and James Bond ran to the bathroom. Utterly effortless, his collar starched itself and his cufflinks clinked themselves against the bar like the ice in his scotch. He will be forever carved into celluloid as those four unknown men are carved into the South Dakota mountains.”

Issue No. 10, Chess - Credits



Photo and Drawing: Alexa Garvoille
Fiction: Jonathan Tuttle
Poetry: J Willie Garvoille
Backpage Photo: Kihra Sorensen

This issue of FOLIO made possible in part by KNOCK MAGAZINE, http://knockmag.wordpress.com

Issue No. 9, Strangers




Issue No. 9, Strangers - Specimens


Issue No. 9, Strangers - The True Story of Rumplestilskin or The False History of Spain

by C. Reilly

History, like a prolonged game of Telephone between people with various types of speech defects, has a tendency to screw things up. Truth be told (though it very seldom is, and in this case, probably shouldn’t be) the Aztec, Incan and Mayan empires started out as one big bluff.

Right about the turn of the 16th century, the word “Aztec” was pronounced something like “Ashhtkkkk” and stood for the particularly venomous noise given off by household cooks in Madrid upon discovering that the bread had molded again, despite their most fervent attempts to scrape off the largest blue-green lumps the day before. “Inca” (Nnnka!) and “Maya” (Moiiiahhhh!), were similar varieties of onomonatpoeic explicative. And they never would have made it into the high realm of the Proper Noun, without the little-noted birth of what should have been Rompeño de San Stephano-Carrero IV, one cold December, right around, oh, 1502.

Rompeño was born both prematurely, and, as his mother worked in the kitchen, onto a bed of lettuce––which resulted in his almost being mistaken for a bit of liver paté by one of the aforementioned cooks. And, perhaps because of this extraordinary beginning or because of the royal blood that ran in his veins, or because medieval Spanish kitchens contained such an odd mixture of miasmas, it was soon apparent that he possessed the equally extraordinary ability to make all self-aggrandizing lies come true. When his mother announced, “Madonna! I’ve just had a baby!” and someone else rudely yelled, “Yeah, and I’m the Queen of Spain!” poof, she was. (Incidentally, the long genealogical tree of Isabella is another product of exaggerations made true by this strange brand of magic.)

Other inexplicable wonders followed: while trying to explain who the boy’s father was, Rompeño’s mother developed a birthmark that looked exactly like the crest of the Stephano-Carrero household, and 2 acres of land, which hadn’t initially belonged to her, but were, in any case, roughly as fertile as a Castilian nun, started spitting out tobacco by the pipe-full. The poor woman could think of nothing to do but consult a local doctor. So, with Rompeño in tow, she explained what had happened, and the doctor prescribed some particularly strong medicinal herbs for delusion. But Rompeño’s mother insisted on the truth of her story (even going so far as to jab one long finger smelling strongly of cabbage into the physician’s robes), and demanded that the doctor brag about something completely impossible and see if it didn’t just happen. The doctor scratched his bed-bug-bitten chin, chuckled, and declared in a sardonic voice, “My daughter can spin straw into gold.” He didn’t think any more of it, and went home early that day with a slight headache and the sincere hope that cabbage soup wasn’t on the dinner menu.

But, as we already know, nothing remained the same for the doctor after he came home – he was fabulously wealthy, from all the straw his daughter had just up and decided to try and spin with. Like a good medieval man, he carted her off to Madrid’s city center, explained her gift, and tried to pawn her off on the somewhat financially-challenged royals. A demonstration was duly given, and immediately afterward, a secret wedding.

However, as obsequiously mentioned by one of the high advisors, how was this sudden massive influx of gold to be accounted for? There would be no reason to maintain taxes if it could be suddenly proved that the kingdom was generating a veritable surplus of revenue. And if there weren’t any taxes... well, they might well slip into republican government, or something equally heinous and 300 years too modern. A committee was formed to assess the problem, and after three weeks of very serious thinking, someone suggested that they simply claim to have found some new land, excessively far away (yes!...across the ocean, even!), hand-select a few well-known explorers and throw them temporarily in prison, and announce the unexpected discovery of a group of massively wealthy primitive people who just happened (though appropriately so) to regard the Spaniards as the long-awaited reincarnations of their deities. The royals loved it, the explorers were tossed behind bars (with the provision that they would be let out after telling some ludicrous story about the world being round), and the doctor’s daughter started spinning.

The wanderings of Rompeño’s mother and her magical son eventually brought them back to the doctor’s now-sprawling castle. She immediately realized what had happened, considered it proof that her original assumptions had been correct, and decided to pay the good doctor a personal visit for a little well-deserved “I told you so.” Upon learning where the daughter was, and feeling slightly guilty that she had more or less doomed the girl to a career as a state worker, she proceeded to the city center to see the royals. Though initially rebuffed, the highest High Advisor eventually got wind of a crazy wench with a brag-sanctifying baby hanging around the gates, put two and two together and called an emergency committee meeting. The “wench” was brought into an inner chamber.

While she waited to help that little dear condemned to spinning, an under secretary who found her to have recovered from her pregnancy remarkably well, blabbed the story of the newly discovered empire. He had heard it, he claimed directly from the High Advisor himself, and he’d be damned if the whole thing wasn’t completely true. Rompeño gave a little squeal, and 3,000 miles away from the Stephano-Carrero household’s unrecognized child, the tectonic plates rearranged themselves, a fully formed and populated continent burst out of the ocean, and the imagined-into-flesh natives shook water from their headdresses, and wiped off their spears.

The imprisoned explorers immediately found themselves onboard ships they never remembered setting out in, but in which they now happily stood in gold up to their knees. The letters they had-not-actually-but-now-had written materialized on the broad committee table with a slight popping and sucking noise, and the committee members, forgetting proper language in their total astonishment, uttered “Nnnka! Moiiiahhhh!! Ashhtkkkk!!!” like common cooks. Their cries passed from the inner inner chamber, to Rompeño in the outer inner chamber, and settled lightly upon his ears. Young as he was, and not fully in control of his powers, he allowed these familiar explicatives, which had so often passed into the womb, to adhere to the tribes of the “new” empire.

Yet, forced to acknowledge that the fictional ships and imagined empires were no longer lies, and that the (only slightly) more kosher riches were on their way, the committee was faced with a serious problem. The whole bit could be undone at the squeal of a baby. Accordingly, the High Advisor slipped from the inner inner chamber, and, pretending to address the matter of the confined doctor’s daughter, bashed mother, child, and secretary soundly on the head with copies of the codified laws, and buried them in a common grave outside the city.

In order to avoid further unpleasant questioning, it was decided that the whole tale would be foisted off on the Germans, Rompeño de San Stephano-Carrero IV’s name changed, and copies of the story circulated by secret Spanish agents among the German press. Incidentally, the phrase ‘to spin a tale’ comes from a printer in Heidelberg who ran low on ink, and couldn’t be bothered with explanations about straw.

The supremely Catholic advisors of the royals could not, however, resist including a moral twist in their fabricately fabricated story. Accordingly, the little tale they circulated (entitled Rumplestilskin, after the Germanized Rompeño) ended with a trick about discovering a true name and being forced to give up one’s first child. While they intended this as a subtle warning to over-curious etymologists, the death of Rompeño had left a lingering curse on the court, and their plan backfired. Having bumped off Rompeño with some old laws, they naturally could no longer rely on their own bragging to sustain the empire (that is, Spain’s first child), which ultimately fractured, beneath the burden of Spanish law, into the much-feared independent republics. Whether the untimely bludgeoning of the empire by a scroll of antiquated, old-world codifications bears any resemblance to the mode of Rompeño’s death, can, of course, only be left to wild speculation.

Issue No. 9, Strangers - Fragments



In the café, a woman approached a young man writing. “That is so rude,” she said. “You might as well be talking on the phone.”


Unfortunately, I took my daughter to the pier. I stood at the end admiring the view and she did the same, tucked into a ball at my feet. It might have been an itch on her back, or a strong wind, but she rolled to windward and off the pier, dropping that thirty-foot drop, down to where the Mexicans trawled their fish heads. I saw the little splash and the last little bubble. I thought about jumping in after her but quicker thoughts came after – all the way down? in my clothes? is it cold? I couldn’t call anyone because my cell phone was at home and I didn’t want to raise a ruckus with the fishermen. In a panic, I just walked back to the shore, thinking that, maybe, if I just breathed deep and walked steady, the problem would solve itself, like the problem in a clogged toilet that loosens over time.


The boy at the desk beside me pulled a handful of dry pasta from his pocket. He put one spiraled noodle into his mouth and pulled his cheeks into his tongue. A few minutes later he spat it out. It was bigger, rounder. He put it between his teeth and bit it in two. “I get angry,” he said.


I left my life and set out on the road, looking not for the circus, but for a roving band of Jesuit teachers.


The substitue teacher had a photographic memory, onerous when storing the images of small butts pushed up against the windows of passing cars, but handy for remembering license plate numbers.
Round little Sean was picked up for exhibitionism and the poor substitute teacher missed early morning classes, tossing and turning all night from elementary school butt.


Two library books belonging up north were taken and lost on a vacation down south. The signs that tied them to their city, the stamps on each side, the return date, the barcode, were meaningless on the floor of Winn Dixie.


Security laughs at me, but from my post at Crabtree and Evelyn I can see a young man walk back and forth across the garden footbridge in the center of the mall. Every day he comes and with the same distracted, faraway look in his eyes. He paces, stops, and stares down over the railing.


The secret shopper was surprised, surprised and touched, to see a sales clerk so polite. The shopper was hired from an independent firm to weed out the ineffectual workers, those who have the time to lean and use it. But this clerk, oh this dimple of a clerk, he could do no wrong. No machine installed to replace him could be faster, stronger. And the clerk, after all, could smile, a smile that hooked the customer, closed the deal, and warmed the cooler patches of soul left in the poor, retailed sucker. “Let me buy you a drink,” the secret shopper said to the clerk. “I cannot drink on duty,” of course he said. The shopper laughed. “After your shift, son, please, I would never.”


Once, interred at the City Recycling Center, I was to remove from the plastic bottles all the wrappers unwrapped and stuffed inside. Removing them without breaking the bottle in a frustrated fit was a delicate job involving tweezers. The only way I could do it and still retain my sanity was to think that instead of taking the wrappers out I was putting a miniature sailboat in.


The tourist saw a Buddhist monk and shook her head. “That’s no way to live a life,” she told her husband.

Issue No. 9, Strangers - Credits

Fiction: C. Reilly
Fragments: Jonathan Tuttle
Photography: Alexa Garvoille
Drawing: Ben Tuttle