Novel of Life: Madrid, Spain

Hashish

In online novel on June 5, 2008 at 5:47 pm

A long, long time ago in an artificial suburban hamlet called Barclay Park,

beside a high stucco wall covered with ivy,

behind a flowering bush (Calochortus nudus),

Lethe smoked his first cigarette.

Tasting the harsh fumes of death, Lethe grew hardened and ambitious to continue smoking each week. He slipped out of the house when his parents weren’t looking and he ran to the end of his street to smoke. He knew the family who lived in the house at the end of the cul de sac, he played soccer with their son. Nevertheless he pretended they couldn’t see him going into their backyard and hiding behind their flowering bushes.

He was born into a gated community. Smoking, being the great rebellious act of any adolescent, instilled him with a sense of expansive liberty. He was saving a corner of himself for misdeeds, a part of himself which his father couldn’t influence.

The dark deed of smoking was repeated over and over like a ritual. When he entered high school, he could say that he smoked, not once, but often.

The shadow of his youth became like his double. When he wasn’t studying to get good grades to earn his father’s approval, the shadow took full possession of him. At times, the shadow felt more real than anything else.

The neighbors never did see him scurrying into their backyard. They never ran out of the house to evict him from the flowering bush, the site of his early transgressions. And if he wanted to jump the stucco wall, he did so fearlessly. He threw his bicycle over it and rode across the highway where there was a hotel and a golf course.

Sometimes he spent whole afternoons wandering through the hotel. Like a gentrified dandy, he sat on the couches and drew in his sketchbook. He was mimicking his mother, who used to do the same. She would sit for hours in expensive hotels with her sketchbook, capturing the faces of the crowd. He made doodles and comic strips only he could decipher. He pretended to be a guest in the hotel. If anyone asked him what he was doing there, he would say he was the son of a wealthy politician.

His father was a doctor. A prescriptive man by nature who communicated to his son mainly through lectures. His father never understood his mother’s inclination toward art, and he appreciated Rose the artist only in the sense that this calling was alien to him. Because Lethe took after his mother, he tended to develop in opposition to his father.

Cigarettes tasted like the harsh fumes of death. Lethe grew used to the taste, but never completely. There was always the residue of something bitter and coarse.

During his senior year he smoked every morning while driving to school. He drove his father’s Oldsmobile; he was never given a car of his own. In the neighborhood where he grew up this was unusual.

If he wanted to escape Barclay Park, which he often did, he had to climb the stucco wall. When he was able to drive, he roamed the leafy suburb at night, smoking cigarettes one after the other.

On the balcony of the Senora’s apartment, Lethe removed the tobacco from one of his cigarettes. He kept the paper. It was three o’clock in the morning. The night air had a wavy, moist feel. The stars in the sky fell under the horizon like lost buttons and pins. You had to search for them. Directly above him there was nothing. Only a gulf of darkness.

He filled the cigarette with the hashish he had just purchased. A Moroccan sold it to him. You could find Moroccans in almost any park after 11:00 pm. They clustered around benches and stone steps, drinking whiskey and shouting gleefully. You simply had to approach them and they understood what you wanted. Lethe learned these things from living in Spain.

The leader stepped up to Lethe. He pressed his body against Lethe’s and took his cash. Then he removed a little piece of clay wrapped in plastic and tore it in half between his teeth. Muttering something in Spanish, he put the hashish into Lethe’s hand.

Lethe caught sight of the Moroccan’s mouth. It was the dirtiest mouth he had ever seen in his life. The Moroccan was missing all but four of his teeth, and those teeth were yellow and stumpy.

The rest of the Moroccans had pockmarked faces and greasy hands. They grinned whenever you were communicating with them. They couldn’t stop grinning.

The joint tasted like his first cigarette: overpowering, dirty, coarse. But he sucked on the end of it until his head was full, and his senses lazily unstrung. It was like slipping out of the house and running to the end of the street. It was like hiding beside the flowering bush and taking those first drags off a half-smoked cigarette. It was like jumping the stucco wall.

The neighbors wouldn’t notice a thing.

The early morning pleased him in a disorienting way. It was somewhere between morning and night and for Lethe this was a comfortable place to be. He liked how the trees below the Senora’s apartment grew out of their little concrete squares. He liked how the storefronts gleamed in the oily moonlight. He noticed the fruit seller’s wooden cart which had fallen on its side from the wind.

Hashish was weird. It didn’t fill him with ecstatic energy. It just sort of dulled his senses and dropped him onto plateaus of vacant emotion. There was nothing immediately pleasurable in the effects. But having spent so much time in the Senora’s apartment, doing practically nothing, the slightest difference in his well-being greatly satisfied him.

“What are you doing out here?” The Senora asked suddenly.

Lethe looked at his watch; it was almost 4:30 in the morning.

“Oh, I came outside to have a cigarette . . . I must have fallen asleep.”

“When Don Quixote fell asleep, he was attacked by highway men.”

Lethe smiled. “Are you a highway man?”

“Not tonight.”

They laughed together. “Go to bed, nino.”

  1. Despite my previous comment, I liked this one. I mean, the same criticisms apply — there’s no tension here — but it’s a pleasant, smoldering read. Nice touch at the ending, too.

  2. thanks Chris, yeah I think it depends. I agree with you that dialogue is more immediate, but a good writer should be able to change narrative gears, exposition, commentary, analysis, description, dialouge, action, and so many other forms of narration.

  3. I think the reason this one worked for me is that there is event here. It’s not just a monologue of consciousness. Sure, there’s little or no dialogue, nor body language — there’s little to *experience* — but something does happen. Also, the writing itself is very nice.

    It’s not that dialogue is more immediate, it’s that direct experience is more involving. When you give us conversations to listen to, actions to observe, you involve us directly in what is going on — because we have to put in some effort to figure out meaning from those observations. “Event reveals character” is the mantra my writing teacher used to drill into me. Analysis and commentary, in particular, are things best left to the reader — otherwise, they read on autopilot, and may feel no need to return after they stop. And exposition, in general, is one of those things that needs to be used very sparingly, if the story is to be compelling.

    There are no rules, and I’m not claiming to be an expert, by any means. Hell, I’m still very much learning to write. I’m just pointing out the things I’m noticing in myself while reading, and trying to figure out why I might be feeling that way. I think, in your case, you do use exposition too much for the medium you are working in. If your readers were sitting on a dock, reading to pass the day, then a slow, languorous read might be very appropriate. On the net, though . . . it’s a much harder sell.

  4. Excellent comments. I agree that event reveals character perhaps better than anything else, but what do you mean by “event”? What draws me into a narrator’s stream of consciousness is sometimes the very sound of her words, and the pictures her words evoke, and the emotions, in my mind. Therefore, event can be created broadly in any form of narration, I would argue, and subtle, ambigous meaning can arise from mere speech. Nevertheless I hear your point and I’ve tried to scale back my exposition and in the beginning sections correct that choppiness that affects rhythm. Again, I’m so grateful for all these comments, Chris.

  5. Yeah, I’ve argued roughly this in the past to that writing teacher. ;-)

    In the end, though, event is stuff the characters *do*: things which can be described “he said” or “he did”. The language can be dreamy or direct, but, underneath it all, it needs to be *about* the events in the characters’ lives, in order to truly create a living, breathing character, in a compelling, memorable, and moving story. Summarizing their experience in exposition certainly reveals things, but only as an intellectual exercise. We get a list of traits, devoid of life. In a way, such exposition really only reveals things about you, the narrator.

    To quote that trite, yet infinitely deep writing cliche: Show, Don’t Tell. :-)

  6. Okay, you got me.

  7. [...] favorite chapter is probably “Hashish”; but I don’t know if you want to include that one. I also should tell you that I do a podcast [...]

  8. As I’m reading your work and the comments made from it, I find myself struggling to combine some of the more technical advice given with my reading/enjoyment of the content of the narrative(s). It seems I may be lacking the necessary detachment, which if you knew me, is a rarity indeed…Because of this I feel my comments may seem a little superficial…But I also don’t fully understand what an ‘event’ should be, I also believe an event can be made from any form of narration as it is here…Your descriptions of getting the Hashish from the Moroccan in the park, his mouth, his teeth, the description of how your ’senses lazily unstrung’and the ‘plateaus of vacant emotion’…Isn’t that exactly ’show AND tell?’