Sometimes it is for the female character who needs to voice rape that I give her my (rape) blood, or the storyline that needs the downward spiral of addiction...I stir in my father's (bloody) decline and violent madness or when I need to convey being the outsider in a family because you're talented or normal and the others want to insult, beat, rape it out of you in envy, I pluck bloody barbs and glass shards (from memories) and drop them into the stew.
And that tang?
That crunch that might be salt or not?
That part that at a reading in a Buffalo made a woman come up to me crying about a little boy beaten to death, stuffed in a freezer then dumped in a lot? I could expand upon because there were times that I was beaten so severely I wished for death, so I spirit -know the little boy, Michael, written about, true tale from the NY DAs office by Alice Vaachs—-Michael, who was killed by his mothers boyfriend for balling up his first, at 4, in anger at his constant abuse, I know small, baby animal fury at what's being wrought on you so that I can use my blood and his truth to twenty years later, get we, me, others to cry for him. ‘Cause tears are excellent spice.
All that gumbo, when I read others is what I look for, sniff for, taste for.
You can instantly know who's cutting veins and who's just vomiting words in sequence.
You can instantly know who's cutting veins and who's just vomiting words in sequence.
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