Honey

In our carnivorous garden in the country, a slew of beehives bobbed and glowed sensually in the dark, buzzing like tiny floating homes. The hives haunted the Alabama air, dripped honey onto grass.

I tried everything to get that honey out of my hair.

I was eleven years old the summer the honey was its most irresistible. A skinny girl, no training bra. My teeth were splattered potato chips in pink gums.

Etta and I had spent the afternoon chasing tadpoles at the reservoir. We climbed trees in early evening preparing for sunset fireflies and the taffy leaves slickened to my feet and forearms. When I slipped, I clutched  a fat hive on my way down. We landed on a mushroom colony, me and the fragments of the hive in my lap like pieces of a broken pumpkin.

Through the backdoor, I snuck up to the bathroom where I scrubbed my body clean, but the honey had already half-dried in my hair, strands like cold, sticky spaghetti. I tried peanut butter, chewing gum. I moved through Venus flytraps, shook their trunks for nectar, where they flourished like sunflowers at the side of the house.

My mother caught me. She bent me over the couch with my pants around my ankles and paddled  me.

So I tried a blow dryer in the bathtub.

In college, I let a boyfriend ejaculate in my hair. I slathered brownie batter, warm cake, and boysenberry sauce. I visited a woman with cheeks like crushed roses. She performed hot ceremonies on me in a pool. I even went to the bathhouse where an old crow asked me if I was brain dead. You have to be brain dead, it cawed. I sought the company of lice, lye, and sun blisters from a magnifying glass. I tried deer’s blood. I threw money at it. I threw hands into the air.

After college, when I returned to the hives, wiser, wearing a tank top sweat-soaked from the muggy air, I crept around the honeyed bend, away from the warm lit windows of my mother’s kitchen where strangers still ate oatmeal at midnight.

The hives were as I remembered them, unevenly strung, glowing in the bushy trees above blue-green grass. A busy community of bees flew in and out of the hives, darting, swaying like drunks. In moments, a plump, hairy bee quivered in circles around the tip of my nose, licking its legs. I crossed my eyes then smiled and almost coaxed it to sting me.

 

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p style=”text-align: justify;”>Melissa Ross is a poet and fiction writer of absurd realism in Denver, Colorado. She is currently working on her first novel, an absurdist’s predictions for the American working class.  For more writing, photography, and the reliving of childhood humiliations, she updates her blog at least once a week: melissafiction.blogspot.com.

The Indefinite State of Imaginary Morals

The Indefinite State of Imaginary Morals

 

“Rae Bryant’s stories yank at you over and over, desperate to give you the clue you never had and to point you, by what’s left out, to a spot on this good earth where the heart might flourish. Getting there is your business, she seems to say, and she doesn’t hold out much hope of your arrival, or of hers. Is it fun? Not so much. Is it necessary? Absolutely.” Frederick Barthelme
 
“Rae Bryant’s fiction is smart and sexy and post-feminist and dangerous and akin to doing the tango with a succubus. Do you feel lucky? Part Hannah Tinti, part Kim Addonizio with enough intense characters, flashy dreams, and edgy visions to entangle your heart and skull for eons. Bite into these thorny stories, before they sink their teeth into you.” Richard Peabody, Editor Gargoyle Magazine
 
“Bryant’s language is meant to be chewed on and turned over on the tongue. Her sentences are elegant mouthfuls that mingle lyrical passages with moments of stark, plain prose.” C.A. Schaeffer, Quarterly West
 
“Reading Rae Bryant can be a harrowing experience; hers is a harsh world without wrong or right. But as you make your way through, pains and pleasures meet and build, until it’s like drowning in a lake of silver light.” —Ben Loory, Author of Stories for Nighttime and Some for the Day
 
“Rae Bryant’s fiction is rich with sensual detail, its surface clamoring for our attention like the glamoured skin of a new lover, everything fresh, everything undulled by long familiarity. And what waits beneath, begging to be revealed? Perhaps a writer striking poses, alternately a seductress, a tease, a joker, or perhaps a trickster: for while Bryant is always sure to show us a good time, there comes a sense that sometimes she’s making us laugh just so we don’t notice what else she’s doing, the way her fingernails dig deeply at our freshest wounds, aiming to free the many splinters stuck beneath our skin, and also that oh so good pain waiting just below.” Matt Bell, Author of How They Were Found
 
“Addictive; the rawness, messiness, unattractive infection of love that can cause a woman to gnaw off her arm to sneak away from her sleeping lover. It’s no surprise to find, among these stories, a new Wonder Woman, with a whip. Ah, you say: of course.” Karen Heuler, Author of Journey to Bom Goody, recipient of the O’Henry award.
 
“Will make you simultaneously laugh and cringe at the squeamish awkwardness of post-one night stand intimacies…witty…strangely fantastical and familiar.” —Chelsea Bauch, Flavorwire
 
“If I had to describe Rae Bryant’s collection The Indefinite State of Imaginary Morals in two words, the words would be these: damn impressive.” —Mel Bosworth, Outsider Writers Collective and Press
 
“A new genealogy of morals… a madcap ride through a land of errant desire and lost time.” —Gary Percesepe, BLIP Magazine (formerly Mississippi Review)
 
“Bryant creates a vivid portrayal of what it means to be human, in its gritty glory.” —Robyn Campbell, Weave Magazine
 
The Indefinite State of Imaginary Morals commands attention. Bryant’s observations on the arcana of the mundane—life, sex, a sense of being—are matched only by her ability to render them strange. Alternatively lyrical and minimal, these stories exemplify the capabilities of the literary weird mode. A must read for any student of post-millennial fiction.” —Darin Bradley, Author of Noise
 
“A distinctive collection that’s imaginative and compelling. These stories show the enormous talent of Rae Bryant beginning to take hold.” —Tim Wendel, author of Castro’s Curveball and High Heat
 
“Deadpan, visceral, sharply funny.” —Julie Innis, Three Squares a Day with Occasional Torture
 
“Sweetly erotic without going over the top.” —Jared Randall, Apocryphal Road Code
 
Innovative, daring, original writing.” —Kathy Fish, A Peculiar Feeling of Restlessness

– See more at: http://www.raebryant.com/theindefinitestateofimaginarymorals/#sthash.6QS4mFVK.dpuf