Survive/Spite
Trash Wonderland Issue #1
September 2022
Edited by Kit Lascher
Featuring:
N. Claire Askew
C.E. Hoffman
Steph Kudisch
Max Mundan
Andaelentari
Ana
otto LA
Cate Vreede
Brittany Wallace
Notes
These artists have survived a lot. Given the theme of this issue, some content may be disturbing to some readers/viewers.
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Brittany Wallace
this happened to a friend of mine once
The show concludes, my favorite song goes unplayed. That’s okay, I liked all the other songs too. My favorite song isn’t one that’s “live show compatible”, anyway.
The crowd congregates in the lobby. The concrete floor leads up to concrete walls and then to a concrete ceiling. Unfriendly, and by design, I’m sure. It’s a particular mix of people that gather here, aftershow. Glory-day chasers, new fans, gearheads. I’m probably closest to “new fan”, though it feels like it’s been a long time. Music you like will do that to you, though, especially when it slots in just right.
I’m standing with someone I know, but don’t know well. She’s an internet acquaintance– you know how it is. It’s nice not to be alone sometimes but I’m not sure if this is one of those times. We’re waiting our turn to speak with the lead singer. Internet Acquaintance is holding something she’d like him to sign. It’s… A VHS tape. He voiced a character in the movie contained within it some 30 years ago. She thinks it’s funny. I guess I agree.
Lead Singer is graciously chatting with fans. The line is, frankly, not that long, and we are able to hear each conversation as it takes place. There’s a dynamic at play here; each fan who speaks to him speaks with him as though they are old friends. But again, it’s each and every one of them. In succession. In earshot of each other. You know? It’s weird. And I can’t decide what’s weirder: the fans for behaving this way or Lead Singer for engendering it. And then I look down at myself (a fan), noting where my feet are planted (in line to speak with Lead Singer), and opt to stop thinking about it.
We reach the front of the line. Internet Acquaintance goes first. She chats with Lead Singer like she has many times before, as she told me while we waited. I watch as his face goes from confusion to polite agreement to genuine recognition. He laughs with her, recalling out loud for her that he remembers having fun recording voice lines. Their conversation gives me the same weird feelings as before. Internet Acquaintance beckons her boyfriend over to take a picture of her and Lead Singer. She’s sure to check the outcome before saying, “See you soon,” to Lead Singer and nothing to me. She leaves.
We both watch her go for a moment. When I look at him again, he’s taking a sip from his drink and as he sets it back down, I take a step forward. I remember, belatedly, that it is not the first time he and I have spoken, either.
“Hi,” I say. “Great show tonight.”
“Thank you,” Lead Singer says. “It was fun. We haven’t been out this way in years.”
“I bet. I saw you with another group out west and that was fun, but this was exciting. Getting the band back together, as they say.”
“Exactly,” he laughs a little at my bad joke and I feel a pulling sensation in my chest. “That’s exactly it.”
Here, he takes another sip. I rub at my shoulder.
“How have you been?” he asks me, his lips smacking at the taste.
Ah, he remembered. He remembered me. We’ve spoken before, I mentioned that to you here, I’m sure. I take stock. How have I been? I shrug, noncommittal.
“Not that great,” I say, grim mirth in my voice. Weary. “It’s been tough. I’ve been struggling.”
He sets his glass down and leans in close, gripping my shoulders.
“I know,” he says. Gin is strong on his breath. “I know.”
“You know?” I ask. This seems like much, even for him. How could he know? The hold he has on me is comforting, his hands warm against my skin, even through the sleeves of my t-shirt.
“Yes,” he says, sagely. “It’s him, isn’t it? Your boyfriend?”
I’m not sure how he knows that but that thought is only fleeting as the next ushers itself in: Yes. He sees it on my face; he lifts a hand up to say he understands without my saying it. He backs away a little, brows knit together as if searching for the next step. He scrubs a hand down his face, like he’s feeling tired and hurt too. I know that he is, his heart is big; there’s empathy in there for me, just for me.
“I think I know what you have to do,” he says. I’m distantly aware of the people still in line behind me, chittering away and killing time until their own turn. Very distantly.
“What?” It’s been so long and I’ve been hurting for so much of it. I’m tired. I really am tired, bone-deep. “I’ll try anything.”
And I mean it. He takes my hands in his.
“You have to run,” he says. “Get out of here. Leave!”
He pushes some imaginary hurdle out of the way, a sweeping gesture of his arm. I look at him, searching his face. The emotion of it all seems to have brought a bead of sweat to his hairline. I feel my eyes grow wide as it sets in, this new reality of mine.
“Leave,” I say. I pull the bundle of our four hands closer to my chest. “Lead Singer, where will I go?”
“It doesn’t matter,” he says. I can see each idea appear on his face in succession. He’s formulating an airtight getaway for me. “In fact, it’s better if you tell no one. Don’t go home from here. Just go. Don’t use credit cards. Pull your cash and go until you can’t and land wherever that is.”
Again, he sees it in my face. I’m afraid. Wouldn’t you be?
“You’ll be okay,” he says. He pulls me in by the back of my neck to kiss my forehead, firm with a deep breath in. Like he loves me. “I promise.”
“Okay,” is all I can say in return. The adrenaline is pumping through me now, ready to take the leap. “Okay.”
Lead Singer looks over his shoulder. Squeezes my hands.
“Go,” he says, looking back at me now with wide eyes. He releases me. “Go. I’ll cover for you. Go!”
I scramble two steps back from him, the urgency setting in. I look past him, then back at him.
“Will you come find me?”
He checks over his shoulder again before leaning in, playfully clandestine.
“Always. I’ll always find you.”
I turn, and run.
otto LA
In this pandemic, language that is used to refer to illness and bodies must be queered, continuously. Historically, identifiers and rhetoric about disability are used to designate "quality of life" without allowing disabled people to have self determination. As a queer disabled Jewish person, I have ancestors that I have never met, who were prescribed narratives surrounding their bodies. Golem are described as being voiceless and the name itself means “imperfect” and “unformed” in Hebrew.
I subvert and reclaim golem lore by coding a golem who is perpetually recreated through Hebrew words. In Jewish folklore golem are humanoid creatures created with clay and words to protect Jewish communities that are in grave danger. It is compelling that golem are created with words, an intangible material that they are said to lack. In these stories, golem are often dehumanized and treated as objects who, once they gain agency, are perceived as dangerous and subsequently killed.
Many of the messages within these stories reflect ways that systems of power function in relation to disability today. This work is deeply entwined in a questioning of dehumanization, alter-humanization, allowed agency, cultural anxieties around monstrosity and how humanness is delineated and awarded to certain bodies.
From “Imagining Dust”
az men kumt iber di plankn, krigt men andere gedanken
"if you sing while on the plank, new thoughts will come"
Steph Kudisch
Andaelentari
Max Mundan
WHEN YOU LOOK IN THE MIRROR (and you’re not there)
Someone is staring
back at you
someone you knew
you would never become
Are you crying?
Is that a tear
rolling down your face?
Do you miss the one
you were hoping to see?
I remember the first time
the first time
that I fucked somebody
I didn’t want to fuck
I let them run
their course, ugly hands
all over my smooth body
let them shove
their sour, sullen tongue
deep into my mouth
while I tried
not to gag
not to choke
and then I smiled
a big, wide, bullshit lie of a smile
while they mounted me
so intent
on the satisfaction of their lust
never bothering to notice
my eyes
which were begging
pleading
for them to see
the real me
Are you crying?
or are your eyes
dry?
Have you forgotten
the face
you were praying
to see?
Still, someone is staring
back at you
Someone you knew
you would never become
BLACK AND BLUE MASS
arms entwined
legs wrapped
around backs
sweat mixing with
sweat, blood commingling
with blood
and saliva
and love
and loathing
for you
for me
forever
obliterate my borders
in the kingdom of you
hit me, kiss me, hit me
slap my tear-stained face
make me scream with
bitterness and bliss and rage
crack my skull
against your knee
snap my fingers
in your teeth
punch me
hard
harder
harder
so that I can’t feel
the pain
Ana
Content Warning: sexual assault & drugs mentions (“Alice”)
N. Claire Askew
At that age even pronouns belonged to Eros
and I wanted any I could be given, burned to be a nameless agent of holy sabotage in the way I first understood it – a full adult’s you that I could carry with me
alone, close or habitual enough to a man to claim him,
being the evident she. In that era after cell phones in high school but
before the handheld moving body, a pulse of color, a grain of light
meant his text to me in my AP Calc. O immediately-deleted jpegs. Hey you –
In those years still at the origin, the irrelevant first point of contact, I would
have given up my name to be seen as a person and not a teenage girl, to be taken in by someone who had read books I hadn’t and who had those lines on the hips I didn’t know what to call but knew, Adonis belt, or, I later learned, cum gutters –
what announced itself was a direction I could turn and be turned.
If a grown man from the mountains had bathed in the Ganges, all body,
and wanted to taste me, if some grad student in Jesus sandals traced the outline of his hand onto paper and mailed it to me in his old ethics textbook (it is not lost on me from here) it meant something corroborative
to the certain prophet I knew lived in my body. Condemned to the hometown, they let me practice dissolve, cup my hands around extant sparks.
I had earned a plane to Cambridge and an unencumbered presence, had hungered for any jargon I could find. I thought they invented it. Thought I could invent only through them, could bend
my body into emissary not exile, the first and fearless defector.
What difference between kidnap and rescue but whether one wanted it?
I had burned myself nearly though. I named I with their eyes reflecting mine.
Alice
Lately I’m a master cartographer of places I don’t want to be. I knew it’d be better to leave on my terms than wait on theirs, so all it took was enough nights up to my elbows in gritty technicolor ice cream to buy some good boots & a fake & I got out. Everyone who speaks such frantic hunger & fullbelly thanks recognizes each other no matter how badly it’s spoken, so at first it was easy, & everything was all kerouac for a while, getting high in the wonderful dirt of the world, wearing all I owned at once, forgetting any words I wanted. Thanksgiving at a popeye’s in vegas and god’s birthday burning my fingers on a pop can in appalachia. Then one night I was sleeping in a barn with my friends & a kid they knew & woke up to the kid they knew’s hand down my pants & I screamed & my friends didn’t do anything, so I heard cartilege breaking & then I was running under a new moon with my jeans falling down grimy & the grass slashing at my thighs & I didn’t stop running til I met her. She asked me where I was going & I couldn’t answer, so she told me, & it was mcdonald’s for a bag of fries & a joint in the fluorescent beige bathroom. She got a palmful of honey from the soap dispenser & washed my hair in the sink. Eyes closed soapsharp & I still saw her, her fingers pale as whistled grassroots after, & that was it. A month or two later she’s tilting her head back against my leg, attending to her cigarette with her regal eyes & deadly smile between inhales. She says she’s not getting wrinkles around her lips, not getting marked forever by a bad habit she had young, so she exhales stretching all the muscles of her mouth taut & round as the rings she’s teaching me to blow, balancing it with the pinch of her lips as she inhales everything. Everything has its balance & its opposite you need to keep close. Every clean thing the dirt waiting for it, every dim hazebox of a rest stop its clean white paper towels & lost coins waiting to become fritos & cans of apple juice. Every wonderland its underbelly & bottomless way out.
Cate Vreede
C.E. Hoffman
No Really Though
And no I didn’t party all night, share mascara, have one night stands. (There were a couple two night stands, like the sweet boy so surprised he never got AIDs what with all the gay porn/intravenous stuff who I met at Animethon when I wore my fishnet top still rolled up in my drawer, as difficult to wear as it is to donate.)
I swore I’d survive as long as it took to hear one of my songs on the radio. Thirteen years later I sat in front of my laptop at that DJ’s place who let me crash in exchange for doing his laundry while you and I texted jokes to each other sitting through an hour of swampy music until it finally got to the song, my song, the one about being a broke whore and sad about it (being broke, not being a whore.)
That feels just as long ago as the time I went to a show in short sleeves, decided to go to school the same way, and definitely regretted that decision.
If I knew then what I know now, I would wear bikinis all summer, every summer, chop off my hair sooner, grow it out longer, get more tattoos and suck less dicks.
I don’t know if I’d give up the cuts, because they remind me how much youth is killed by the young, how few coping mechanisms we had back then, and how many more I have now.
I would go to every concert. Press my boney chest against every stage. Scream for every song that made my ugliest feelings beautiful, because it’s always me alone, in someone’s basement, someone’s apartment, someone’s Airbnb, cranking my personal anthems, the songs I can still recite, the verses that became home.
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