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Original Essays | September 18, 2014

Lin Enger: IMG Knowing vs. Knowing



On a hot July evening years ago, my Toyota Tercel overheated on a flat stretch of highway north of Cedar Rapids, Iowa. A steam geyser shot up from... Continue »
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    The High Divide

    Lin Enger 9781616203757

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Fugitive Pieces

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Fugitive Pieces Cover

 

 

Excerpt

My sister had long outgrown the hiding place. Bella was fifteen and even I admitted she was beautiful, with heavy brows and magnificent hair like black syrup, thick and luxurious, a muscle down her back. "A work of art," our mother said, brushing it for her while Bella sat in a chair. I was still small enough to vanish behind the wallpaper in the cupboard, cramming my head sideways between choking plaster and beams, eyelashes scraping.

Since those minutes inside the wall, I've imagined the dean lose every sense except hearing. The burst door. Wood ripped from hinges, cracking like ice under the shouts. Noises never heard before, torn from my father's mouth. Then silence. My mother had been sewing a button on my shirt. She kept her buttons in a chipped saucer. I heard the rim of the saucer in circles on the floor. I heard the spray of buttons, little white teeth.

Blackness filled me, spread from the back of my head into my eyes as if my brain has been punctured. Spread from stomach to legs. I gulped and gulped, swallowing it whole. The wall filled with smoke. I struggled out and stared while the air caught fire.

I wanted to go to my parents, to touch them. But I couldn't, unless I stepped on their blood.

The soul leaves the body instantly, as if it can hardly wait to be free: my mother's face was not her own. My father was twisted with falling. Two shapes in the flesh-heap, his hands.

I ran and fell, ran and fell. Then the river: so cold it felt sharp.

The river was the same blackness that was inside me; only the thin membrane of my skin kept me floating.

From the other bank, I watched darkness turn to purple-orange light above the town; the color of flesh transforming to spirit. They flew up. The dead passed above me, weird haloes and arcs smothering the stars. The trees bent under their weight. I'd never been alone in the night forest, the wild bare branches were frozen snakes. The ground tilted and I didn't hold on. I strained to join them, to rise with them, to peel from the ground like paper ungluing at its edges. I know why we bury our dead and mark the place with stone, with the heaviest, most permanent thing we can think of: because the dead are everywhere but the ground. I stayed where I was. Clammy with cold, stuck to the ground. I begged: If I can't rise, then let me sink, sink into the forest floor like a seal into wax.

Then — as if she'd pushed the hair from my forehead, as if I'd heard her voice--I knew suddenly my mother was inside me. Moving along sinews, under my skin the way she used to move through the house at night, putting things away, putting things in order. She was stopping to say goodbye and was caught, in such pain, wanting to rise, wanting to stay. It was my responsibility to release her, a sin to keep her from ascending. I tore at my clothes, my hair. She was gone. My own fast breath around my head.

I ran from the sound of the river into the woods, dark as the inside of a box. I ran until the first light wrung the last grayness out of the stars, dripping dirty light between the trees. I knew what to do. I took a stick and dug. I planted myself like a turnip and hid my face with leaves.

My head between the branches, bristling points like my father's beard. I was safely buried, my wet clothes cold as armor. Panting like a dog. My arms tight up against my chest, my neck stretched back, tears crawling like insects into my ears. I had no choice but to look straight up. The dawn sky was milky with new spirits. Soon I couldn't avoid the absurdity of daylight even by closing my eyes. It poked down, pinned me like the broken branches, like my father's beard.

Then I felt the worst shame of my life: I was pierced with hunger. And suddenly I realized, my throat aching without sounds — Bella.

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cindy nelson, January 1, 2012 (view all comments by cindy nelson)
Simply one of the most beautiful books I have ever read!!! It is so lyrical and just wonderful! A definite "must-read"! Gorgeous!
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adisrad, January 20, 2011 (view all comments by adisrad)
This is absolutely the most spectacular novel I've ever read. It's so powerful to see into the consciousness of lives forever changed by the Holocaust. Beautifully written. Extremely moving. Don't go another day without reading this novel.
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Product Details

ISBN:
9780679776598
Author:
Michaels, Anne
Publisher:
Vintage Books USA
Location:
New York :
Subject:
General
Subject:
Literary
Subject:
Fiction
Subject:
World war, 1939-1945
Subject:
War
Subject:
World War, 19
Subject:
Psychological fiction
Subject:
War stories
Subject:
Literature-A to Z
Subject:
fiction;holocaust;canadian;canada;novel;greece;wwii;historical fiction;orange prize;20th century;war;poland;literature;canadian literature;toronto;poetry;literary fiction;canadian fiction;contemporary fiction;contemporary;memory;canadian author;family;los
Copyright:
Edition Description:
Trade paper
Series:
Vintage International
Publication Date:
19980531
Binding:
TRADE PAPER
Grade Level:
General/trade
Language:
English
Illustrations:
Yes
Pages:
304
Dimensions:
8.02x5.20x.64 in. .49 lbs.

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Fugitive Pieces Used Trade Paper
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Product details 304 pages Vintage Books USA - English 9780679776598 Reviews:
"Review" by , "Anne Michaels has created a world of stunning, heartbreaking clarity where even the unspeakable is captured in the light-web of her words. She is a superb poet, a breath-stopping storyteller."
"Review" by , "This extraordinarily beautiful novel is a world. A book miraculously created because it mends the hopeless and dances with loss. Trust and read it."
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