2020-02-26

In Memorium (short story 3)

Over a year ago, as an exercise, I started writing one short story a week. This was something Harlan Ellison (I think) suggested to one of his fans, his reasoning being "You can't write 52 bad short stories in a row." I'm not sure about that, but here's one of those stories.

Inspired by A. Chekov's short "The Orator."
*

Helen Sodre, the youngest mathematics professor ever tenured at Yale, unlocks her door. It has a name plate “Professor Helen Sodre” above the paper tray mounted beside her door. She enters her office and dumps a pile of papers and books on a chair. To anyone else, it’s a messy office, but to her it is carefully organized. She knows where everything is. If you were to ask her, where’s Zalivsky’s paper on the classification of strongly regular signed graphs? She’d tell you it’s the third paper under the red book by Gramwood on combinatorics in the pile on the floor near the window.

Emily, her only graduate student (meaning, Helen’s Emily’s thesis advisor), knocks on the doorframe and comes in asking a math question. “What if I use Kramer’s method to do the estimate?” Emily’s about the same age as Helen. They communicate like equals.

“Good idea, Emily. Try it,” Helen said, as she sits in front of her computer reading emails. “Did you ever meet Jorgensen?” Helen asks.

“Jorgensen spelled with an ‘son’ or with an ‘sen”’ Emily asks.

“Spelled with an ‘sen”’ Helen says.

“No. I heard he got cancer the year before I arrived. Why?”

“I knew him pretty well until he got sick. He mentored me when I first got here. The organizers of his memorial conference have asked me to give a talk. Wanna go?”

“Where is it?”

“Bowdoin.”

“Maine in the summer? Sounds nice. Thanks Professor.”

“It kind of does, doesn’t it? Let’s go. Pack light, no sweaters or coats.”

*

Helen and Emily depart a shuttle van in downtown Bowdoin, each wearing a short-sleeved shirt and dragging two-wheeled luggage behind them. A “Welcome to Bowdoin” sign is ahead. They see a Bank of Bowdoin sign with a time of 2pm and a temperature of 35 degrees. Next door to the bank is Annie’s Tavern.

“Why do we have to fly into Bowdoin the one day of the summer when it’s friggin’ freezing?” Helen asks.

“That tavern looks warm.” They head to Annie’s Tavern.

Once inside, Helen and Emily sit at a small table, with their luggage beside them. “Nice and toasty in here,” Helen says, taking her coat off. A waiter walks up. “Just two beers,” she orders.

“You got it,” the waiter says, then leaves.

“What are you going to say about Jorgensen in your talk?” Emily asks.

“Good question. I guess people what to know what it’s like to work with him. I knew him as a co-worker, not as a co-author or advisor.”

The waiter returns with their beers. “Here you go,” he says, putting the bill down as well.

“Were you friends?”

“God no. He got my friend Matilda pregnant. She had to leave grad school to have the baby. She never told him.”

“I had no idea. Are you going to tell everyone that?”

“Should I? What do you think? He’s dead, what good would it do?”

“Won’t his widow be at the talk?”

“He never married,” Helen says.

“What if Matilda's not the only one? What difference does it make?”

Helen thinks about it as they finish their beers.

“We should make it to our rooms. Your talk is at 5 o’clock, right?” Emily says.

“Yeah, let’s go,” Helen says, putting a ten down down for the bill as they put their coats back on.

Outside, Helen and Emily start to shiver as soon as they leave the tavern. Dragging her two-wheeler suitcase behind her, Helen says “Holy crap, it’s cold. Did the temperature drop that fast?”

Emily points ahead. "See The College Tavern a block ahead? Let’s stop in there just to warm up,” she suggests. They head to The College Tavern.

Inside, Helen and Emily sit at a small table, with their luggage beside them. “My teeth were chattering out there,” Emily says.

“This feels much better. The heater’s overhead.” A waitress walks up. “Just two light beers,” Helen says.

"Did he ever hit on you?" Emily asks. "Jorgensen, I mean, with the -sen."

"Back then? Let me think. I think it was more sexist jokes. I didn't laugh."

"Sounds like a misogynist jerk."

"He wasn't that bad. Is that a problem with you or the other female graduate students?"

"At a grad student mixer, one guy said he wanted to fuck me right there. Just like that. We'd just met that day."

``Sounds like a jerk. I hope you slapped his face."

"Look at the time," Emily says, changing the topic. Helen and Emily leave the tavern dragging two-wheelers behind them.

“Holy mother of christ, it’s freezing out here,” Emily says, teeth chattering. Helen points to a "The Polar Bear Bar & Grill" sign a block ahead.

Inside, Helen and Emily sit at a small table, with a large neon “Polar Bear Bar & Grill” above the bar on the other side of the room. Emily is shivering. “I’m starting to defrost,” Emily says.

A waitress walks up. “T-t-two beers, p-p-please,” Helen says, teeth chattering. In a moment, the waitress returns with their beers. “I gave you ladies ale’s. No up-charge,” she says, putting the bill down as well.

“Thank you,” Helen says, taking a large sip.

“So Jorgensen with an 'e' slept with at least five grad students, getting three of them pregnant?” Emily asks. “I heard Jorgenson spelled with an 'o', who's much younger, slept with some of his students. Almost sounds like him.”

“No, we’re talking about Jorgensen spelled with an ‘e.’ Plus, Jorgensen stole Smottle’s construction of strongly regular graphs.”

“You mean, Jorgensen graphs are actually Smottle graphs?”

“Yep. Smottle slept with the chairman’s wife around the same time Jorgensen refereed his paper. Jorgensen put his name on it and told Smottle to shut up about it to keep the affair secret,” Helen says.

“That’s the worst case of academic dishonesty I’ve ever heard of. I thought the Jorgenson in Jorgenson graphs were spelled with an ‘o.”’

“‘E’, Emily, not ‘o.’ That jerk Jorgensen will not be missed.” They finish their beers.

“It’s 4 o’clock and your talk is at 5,” Emily says.

“We'd better go straight to the auditorium,” Helen says.


*

Helen and Emily sit at the edge of the front row of a crowded auditorium. Helen belches loudly.


Professor Morgenstern introduces Helen. “Our last speaker of the day is the youngest mathematics professor ever tenured at Yale. She’s also the only scientist who’s won both the Abel Prize and the Wolff Prize: Professor Helen Sodre!”

To generous applause, Helen mounts the stairs to the stage, tripping drunkenly over the top step.

“Here did that fucker come from?” Helen jokes on her way to the podium. Helen looks over the crowd of smiling faces. A elderly woman in black sits in the center of the front row. Behind her sits Professor Jorgenson. (That’s Jorgenson with an ‘o,’ for those keeping score at home.) “We are here to reflect on the memories of by former colleague Professor Jorgensen. What a man,” Helen says.

The elderly woman in the center sniffs and dabs her eyes with a hankerchief.

“We mathematicians are personifications of truth and rigor,” Helen says. Everyone nods. “I want to share the truth about Jorgensen.”

“Oh, no,” Emily says. She slouches down in her seat.

“I have a friend named Matilda who he got pregnant. She had to leave grad school to have the baby she had with Jorgensen,” Helen says.

“What did you say?” asks the elderly woman in the center.

“She never told him,” Helen adds.

“What did you say?” Jorgenson asks.

“Is there an echo in here?” Helen asks. Then she belches.

“She wasn’t the first,” Helen continues.

The elderly woman in the center breaks down and cries.

Helen belches. “But that wasn’t all. Have you heard of Jorgensen graphs?”

Jorgenson gets up with an embarrassed huff and quickly leaves.

“Jorgensen graphs ... wait, Jorgenson graphs are spelled ‘son’ not ‘sen”,’ Helen says.

“That’s what I told you before,” Emily says.

“After three beers, I can’t understand what you are saying,” Helen says.

“Are you saying my husband stole his results?” asks the crying elderly widow.

“Who are you?” Helen asks.

“Mrs Jorgensen,” she replies.

Beellccchh. “Is that spelled ‘son’ or ‘sen”,’ Helen asks.

Professor Morgenstern mounts the stairs to the stage shouting, “Let us thank our speaker?”

2020-02-18

Fun with the Fords (short story 2)

Over a year ago, as an exercise, I started writing one short story a week. This was something Harlan Ellison (I think) suggested to one of his fans, his reasoning being "You can't write 52 bad short stories in a row." I'm not sure about that, but here's one of those stories.
*

We're watching a rerun of an old TV sitcom "Fun With the Fords":
Young husband Fred Ford enters the kitchen where his wife Ginnie is fixing dinner and watching over their 1 year old baby, Hank.
“You sexy thing. Say something dirty to me,” Fred says.
“Clean the toilet in the downstairs bathroom,” she replies.
Canned laughter.

Even louder than the laughter from the laugh track is the laughter from Chuck Dillon, the actor who played Fred Ford years ago. He’s sitting in the living room in his comfy chair, with his back to the adjoining kitchen and dining room, watching a rerun from 20 years ago. Chuck polishes off a third beer as the credits roll and his wife Edie in the dining room finishes preparing the dinner table.
“Dinner’s ready,” Edie yells.
Down the stairs come their son, 21-year old Sam, and daughter, 25-year old Dottie. They both cram into the dining room to take their seats at the dinner table.
“We’re waiting for you, Dad,” Sam says.
“That show paid for this house,” Chuck says getting up, watching the credits finish, then walking over to sit with the others for dinner. “You can wait.”
“What good is a house if we starve to death in it, Daddy?” Dottie jokes.
“Very funny,” Chuck says.
“I made a list of foods for you to buy at the store, honey,” Edie says.
“Why do I have to do that? Why can’t you?” asks Chuck.
“I told you, I’ll be at the cardiology conference all week,” Edie says.
Chuck looks at Dottie.
“Daddy, I’ll be working late every night until my team’s project report is finished. We’re beta testing a new kind of smart glasses,” Dottie says. “But if you need anything, just give me a call. I’m only an hour’s drive away.”
Chuck looks at Sam. “Dad, I’m leaving for Chicago to gather footage for my thesis film. It’s going to be a documentary on how poverty social programs have changed in the past 25 years,” Sam says.
“I’m going to be alone all week?” Chuck asked.
“No, honey, you’ll have Buster and Felix. Buster has a grooming appointment on Wednesday. Don’t forget to get more tick meds. Felix has a check-up with the vet on Friday. She just needs some shots. Don’t let her sleep on the sofa.”
*
The next morning, Chuck wakes up. He gets up and notices the sheets on his side are messed up and on Edie’s side are neat. She's gone. On her nightstand there's a framed collage of pictures of all her activities at work - getting an award, posing with patients she’s cured, and an old photo with Sam and Dottie when they got an award in middle school. Chuck looks on his side of the bed. His nightstand has old pictures of him on set of “Fun with the Fords”, old stills Larry King Live with other actors from the show. He was absent from his family then. He’s absent now. It dawns on him that, in some ways, he’s changed places with his wife and kids, who are now successful themselves, while Chuck has to read Variety and People magazine articles calling him ”washed up.”

He drags himself downstairs and puts the dog Buster out into the fenced back yard, then he shuffles into the kitchen to make himself a cup of coffee. As he slurps away, he wanders into Sam’s old bedroom, then wanders into Dottie’s old bedroom, missing them all.

*

For lunch, Chuck sits at a table in the local Deli with his producer friend, Tony. Chuck complains Sam is away and he misses him.

Tony lost a son 6 months ago to a fentynal OD. “I miss mine every day,” Tony says. “Spend time with him while you still can. You’ll regret it if you don’t.”

On the drive home, Chuck punches the phone button on his steering wheel. “Call Sam,” he orders.
“Hello, Dad?” Sam answers. “Is everything all right?”

“Hey, buddy. Yeah, I’m just calling to see how your thesis project is going. It’s something about poverty, right?”
“Yeah. Can I call you back? I’m on a shoot and it’s super crazy busy right now.”

“Sure thing. No problem. Love you, Sam.”

“I love you too, Dad.”

Click. Sigh.

“Call Dottie,” he orders.

“Hello, Dad?” Dottie answers. “Are you okay?”

“Hey, sweetheart. Yeah, I’m just calling to see how things are going. YOu're doing something with smart glasses, right?”

“Yeah. We can always use beta testers. Do you want to do that? It would really help me out.”

“I guess so, sure. What do I do?”

“I’ll express mail out a pair and call you tonight with instructions.”

“Sounds good. Can you call after 7?”

“Yes. Don’t want you to miss your reruns.”

“That's my girl. Love you, Dottie.”

“I love you too, Daddy.”

Click. Smile.

“Call Edie,” he orders.

“You have reached the voicemail of --”

With a sigh, Chuck hangs up before he can leave a voicemail on his wife’s cellphone.

*
The next day, the smart glasses arrive, with a charger. He plugs them into the charger to charge them. After an hour, he puts them on, presses ‘Record’ then plays with Felix inside the house and plays in the backyard with Buster. He then downloads the files to his laptop and watches the video.

As Chuck drinks a beer, he gets a idea about a TV show. He’s so fired up by it he calls Edie. It goes to voicemail. This time, he leaves a very upbeat message about his great idea. He knows she’ll be proud of him this time.

Later that day, at lunch, Chuck sits at the same table at the same local deli with his friend, Tony. Chuck brought the smart glasses with him and puts them on the table between them.
“So, what’s this great idea you told me about, Chuck?” Tony asks. He’s trying not to be too skeptical.

Charles pitches his idea. “This will be a serious film documentary portraying the suffering of poor in American society. Sam is working on a similar idea.”

“He’s working on his thesis film?”

“Right. He’s studying how social programs for Americans in poverty have changed in the past 25 years. My film will involve the study of poverty through the lens of smart glasses to get some of the footage.”

Tony rejects his idea. “You’re a sitcom star, not a documentary filmmaker. The business has changed since your show ended. This isn’t something I see you happy doing. I love you like a brother, but let’s face it, you have a pretty
lazy work ethic.”

“I want to change. I want to get more involved with my son. Like you said, if I don't, I'll be sorry. What if he dies tomorrow? What kind of father have I been to him?”

“He’s not going to die tomorrow, Chuck. Besides, he’s a great kid, going to film school.”

“Which Edie pays for. My residual checks are getting smaller and smaller.”

Tony counters with a reality show concept. “Here’s an idea that I could sell. You star in a reality show titled ‘Life as a Has Been’. Go around town and see who recognizes you and who doesn’t. Tell some jokes. It’ll be funny. What do you think?”

“That is the opposite of what I’m envisioning. I want to do something right, not something I have to do so show biz execs can make another buck. I’m done with that.”
“Good luck, brother.”

*
Another scene from “Fun with the Fords.”
Chuck drinks his third beer and closes his eyes. In his mind, he laughs along with the laugh tracks to old jokes. His son Sam laughs with him, as does Dottie and even Edie. The whole family sit in the living room, laughing with him. Chuck drains his beer and when he opens his eyes they are gone. It’s just him alone, getting drunk. Buster gets up to sleep in the other room.

The next morning, Chuck plays with his Dottie’s smart glasses. He calls her. “Daddy, go out into town. Test them out, that’s why they’ve been loaned to you,” she says.

Early the next morning, in the bedroom, Chuck picks out some old jeans and an old junky jacket, and takes off at daybreak into the inner city to record some real video of inner city life. He records a purse-snatching, huge rats, and used hypodermic needles in elementary school playgrounds, all with the smart glasses.

Once he gets back home, he then watches the video on his laptop. This gives him another idea.

*
Another lunch, Charles and Tony in the same deli, same table. Charles places the smart glasses on the table between them.

“Am I having deja vu?” Tony asks.

“I’ve got an idea for a reality series,” Charles says.

“I’m listening.”

“This is based on me wandering the city in disguise, capturing the real effects of living in poverty. Call it ‘People On The Edge,’ okay?”

“Love the title. I’m liking the vibe of this. Go on.”

“The footage will be captured using smart glasses. We’ll get Google as a advertiser.”

“Awesome sponsor suggestion. Kind of a Candid Camera but for the inner city. We could sell this to Oprah’s network.”
“I’ll pitch it.”

The next day, Tony calls Charles and tells him the producer’s boss loves it. It’s green lit the day after that.

*
Chuck calls Dottie to tell her. As a result, of the smart glasses show going into production, she expects to get a promotion at Google.

Chuck calls Sam to brag to his son about the new show. “Maybe you can get hired on as a consultant?” Chuck asks.

“Awesome, Dad. You are the best. I can’t wait to tell my thesis advisor,” Sam says.

Finally, Chuck is able to talk to his wife on the phone. She cancels a scheduled dinner meeting at her conference to spend the night talking with him on the phone.

“I’m so proud of you, baby,” she says.

“Oprah loves it. The show will draw attention to issues in the inner city, but entertaining.”

“I can’t wait to get home to you, you sexy thing."

"I miss you, honey."

"Say something dirty to me,” she teases.


The End

2020-02-11

Russell, editor extraordinaire (short story 1)

Over a year ago, as an exercise, I started writing one short story a week. This was something Harlan Ellison (I think) suggested to one of his fans, his reasoning being "You can't write 52 bad short stories in a row." I'm not sure about that, but here's one of those stories.
*

It’s eight o’clock on a quiet Sunday night. Russell’s finishing up notes on an article he’s editing for Modern magazine.


His mathematics professor wife Bertie is happily knitting. A sock, a blanket, or maybe it’s a sweater, he’s not sure. She knows a lot about mathematics, but she’s not the best knitter.



Should he call it a day and have a nightcap, or read one more submission? Just one, he decides. Russell settles into his comfy chair with the article, a fresh cup of decaf coffee and his trusty red fine-point pen.

He plops his feet on the coffee table and starts reading Russell, editor extraordinaire. “Russell was an editor, an extraordinarily good one,” he reads. Strange coincidence, but good name and occupation, Russell thinks. Who wrote this? Henry Maxwell Dempsey. Never heard of him.

The phone rings. Bertie doesn’t even look up. “It’s for you,” she says.

Russell picks up. “Yellow.”

“Russell, good news. Did I wake you?” It’s his boss, Tamika, the managing editor.

“Yes, you did. Does that mean it’s bad news?”

“I did not. You’re wide awake. This is good news. You got a promotion.”

“Is there a pay raise involved?”

“No, but it’s a really good deal. You’ll only edit works written by other editors.”

“So, presumably, less crap? Not that any of our authors submit crap.”

“No, of course not.”

“But they do.”

“Think of your old self like a crude sieve, a gatekeeper of the barbarian horde –”

“I always said that.”

“And your new self is a finer filter, more select, more elite.”

“Oh, elite. I like that.”

“You’re an editor extraordinaire.”

“I get it. What about this piece I’m reading now by Henry Maxwell Dempsey? What do you want me to do about it?”

“I know him. He edits for EC Comics, keep reading it.”

“Will do.”

“Remember, only edit those editor-writers who do not edit themselves.”

“Thanks, Tamika. I guess.”

“Yipee! Congratulations! See you tomorrow at the office.”

They hang up.

“More money, honey?” Bertie asks.

“No. She just called to tell me I only edit for editor-writers who do not edit themselves. She calls it a promotion.”

“Do you edit your own stories?”

“Of course.”

“Not any more.”

“Because I –”

“... only edit for editor-writers who do not edit themselves.”

“Right. Now I can’t edit my own stuff, dammit. I gotta call her back.”

“Hold on. You do not edit yourself –”

“I just said that.”

“Don’t interrupt me. You do not edit yourself, but you ‘only edit editor-writers who do not edit themselves,’ right?”

“Sounds logical.”

“Therefore, you can edit yourself.”

“Bertie, thank God you’re the mathematician in the family, not me. I’m glad we straightened out.”

“You’re welcome.”

“So, for the record, you’re saying I can edit my own stories after all?”

“No. I’m saying you don’t exist,” Bertie says, returning to her knitting.

And, with that, Russell disappears.