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Avery’s first memory was of waking up and forgetting. Everything he knew. Everything he had known—gone. Four years old and completely disoriented. Tabula rasa. A blank slate. He pulled himself out of bed, placed his bare feet on the shag carpet, wiggled his toes, captured the yarn between them, tugged, felt each individual fiber of each individual thread of each individual staple. He gulped air like a fish out of water; he knew the ratio of the ten gasses trapped in his lungs; he could feel his red blood cells expanding with oxygen, spreading throughout his entire body. His fingertips glowed. His lungs burned. He felt himself for the first time, simultaneously within himself and without himself, like watching a film where he was the star, knowing both worlds at once.
He floated out of his room and down the stairs. He saw his mother in the kitchen and she poured him a bowl of cereal. He knew her, but he did not know anything about her. He saw his father in the bathroom, inspecting himself in the mirror, adjusting the knot of his tie. Avery knew him, too, but he did not know anything about him either. When his father emerged, he ruffled Avery’s hair on his way to kiss his wife on the cheek. That’s my dad, and that’s my mom, but it’s like I’ve never met them before. Avery’s head flooded with uncertainty.
“I’ll see you after work,” his father announced to both Avery and his mother. His voice seemed distant. It was almost like Avery was swimming in an aquarium, listening to the rumble of his father’s voice through the trembling water. But no one had bothered to clean his tank, and now everything was fuzzy.
Three days passed. Avery questioned everything. Was he dreaming? It felt like a dream. His actions seemed unreal. He was a marionette; when his hands reached out to twist doorknobs or when his feet carried him across thresholds, it’s not because he willed himself—he was being controlled. When he looked at the clock on his nightstand, the numbers were garbled; time had no meaning. It was dark outside, it was light outside, but that’s all. What Avery found most puzzling, though, was the framed photograph on his nightstand—a two-year old Avery sitting on the shoulders of some Jeremiah Johnson. They were in the woods, and the colors were muted and dim except for where they stood, in a patch of light shining down from a recess in the canopy of the trees. Avery had no recollection whatsoever of this man, who looked like he’d rather be scalping the poor boy, not playing with him.
By the end of the third day, vanishing just as quickly as it had arrived, Avery’s obscure perception disappeared. His conscious mind had dominated, leaving his subconscious locked in the heart of a babushka doll.
When he had awoken that morning, Avery’s life had flashed before his eyes, and it was only at this moment, twenty years later, that he remembered what he had forgotten. He could remember the warmth and darkness of his mother’s womb and how much more comforting it was breathing in amniotic fluid instead of air, and the faint red glow of sunshine through his mother’s skin and blood, and the shape of his father’s large hands making shadow puppets against his mother’s stomach, rabbits and dogs and eagles, and then those gentle hands just holding on and trying to reach out to something so intangible yet so real, and the sound of his father’s passionate “I love you” meant for two, and how Avery before he was Avery kicked with excitement and recognition at the sound of his father’s voice, and how he could feel the wave of his mother’s laughter rocking him like an earthquake as she giggled, “He’s kicking! He’s kicking! Feel!” and how he could have stayed like that forever; he remembered how being born was like a VHS tape being ejected from a VCR and how the room was so much colder and brighter than what he was used to; he remembered the first sting of oxygen in his lungs and he remembered his mother’s shrieks of pain turning into happy laughter and then turning into a lullaby, a soft coo like a dove as he heard his name for the first time, Avery, as he wrapped all five of his miniscule fingers around only her index finger, and he remembered the pain of circumcision and his umbilical cord drying and falling off and being able to distinguish orange from red and the first time he laughed and the first time he called for his mother “Hum” and saying his first real word and then being able to string two together and asking questions and understanding more than he could say. And, then, it slowed, and he could remember being tall, sitting on his grandfather’s shoulders with his grandfather’s strong, calloused hands wrapped tightly around his thighs so he wouldn’t fall as they traipsed along John Muir trail, hearing his mother call, “Turn around!”, and the click and shudder of the Polaroid camera capturing the moment, freezing time.
When he was four, Avery had woken up and forgotten everything. His subconscious mind had gone into hiding, but, now, twenty years later, it had all come rushing forth like water thundering from a collapsing dam. An icy and bone-crushing torrent. It smothered his body and drowned his mind and left him in a watery tomb, submerged and forgotten, but still alive.
What if you could cheat death? All of our lives, we are taught to look to the future, but what if that’s all backward? What if the key to the future is tapping into your past? His subconscious had awoken from its dormant state, mingling everything he had forgotten—everything that had been reality—with every fabrication that he had made throughout the years. The borders between reality and imaginary had been erased, and he was no longer Avery who defined his life around perceptions of the past; he had become Avery who had swum to the deepest chasms of the ocean and seen himself reflected in the core of the Earth. He was Avery who had seen God in the love of a mountaineer. He was lucid; he was real. He was his own puppeteer.
“Life is just a memory,” Avery breathed. He snapped open the lid of his Zippo, lit the edge of the photograph, and watched as the ink bled, bubbled, and finally disappeared.
Our assignment was to write a few paragraphs or the intro to a short story based on some dialogue we overheard. The dialogue that I picked up on was rather simple, but definitely could have been turned into a dirty joke if no one knew the context of the conversation: studying. So, here's the few paragraphs. I'm downright awful with dialogue. I've got to work on that. And I wonder why "dialogue" isn't in my computer's dictionary. It keeps telling me I've spelled it wrong.
Vanilla Milkshake
“Girls that have guys line up for them, and are completely oblivious to it, must have something wrong with them,” I complain to Zahara, who is seated on the bar stool next to mine. I can’t help but think this every time I’m in line at the Bank of America or in the Starbucks drive through. I guess you could say I’m impatient. Whenever I’m left waiting—for anything—I’ll find myself thrumming my fingertips on the closest available surface (right now, the side of my chilled mug of Blue Moon) or absentmindedly picking at the chipping pink polish on my fingernails. It comes naturally, I guess—my impatience. I’m impatient with stutterers and slow drivers; I’m impatient with people who can’t articulate, and boys who line up, and girls who are oblivious.
Like, the other night at dinner. It was me and Zahara and Zahara’s friend Beth. We went out to this new, quirky little corner cafĂ© with rainbow Christmas lights hanging low from the ceiling and an all-Vegetarian menu (a magnet for deck hipsters) that we’d all been dying to try.
So, we sit down, and we’re about to order when, out of nowhere, Beth says, “Oh, I almost forgot, I invited Rob to dinner.” I don’t know Beth that well, but I know that guys line up for her like the apostles lined up for Jesus (she’s always got some new Matthew, Mark, Luke or John doting on her hand and foot).
Right about then, Rob rolls up in his black pea coat and his maroon corduroys and an expression on his face like he’s a Litebrite or something and Beth just shoved a ton of pegs into him and flicked his switch on. Seriously, this guy is fucking glowing.
So, Rob sits down diagonally from Beth, and you know what the first thing he says is? He says, “Was it better in the library or in the room? In the room, right?” He waits for a cue from Beth, a vigorous nod of her head and a toothy grin, before he continues, “Yeah, I thought so too!”
And now all I can think is, “What the fuck?” I’m trying to fight it, but I can tell that my eyes are shooting daggers at Zahara and she’s trying to keep her panicked expression under control by shrugging it off. But, seriously, all I can think about is how my jealousy is wringing my heart out like a wet sponge and shoving paper towels into my lungs to soak up all the oxygen and how I need to just keep breathing and smiling and keeping my cool or else, I swear to God, I’m going to kill Beth right now.
About then, I shove the straw of my vanilla shake into my mouth, take a quick, heated glance between Rob and Beth, and suck the freezing liquid down my throat.

This is the first piece I've written for my Creative Writing: Intro to Fiction class. I plan on making it a full-on short story eventually. I guess you're just going to have to deal with the foul language from now on.
Madison Valencia carried a shotgun. She carried a machete. She carried a sewing kit, a scalpel, a blue moon tattoo on her wrist, and two-hundred-sixty-five-home-made-third-degree-burn skin grafts across her body. She carried her father's last name and, after the incident, it had become who she was. After Madison Square Garden burned, she ditched the first name; after she had come home one afternoon to find her gray, deteriorating father smothered in blood and advancing on her from the sunlight filled kitchen; after she had loaded a round into the barrel of the shotgun and feebly stuttered, "I-I-I'm doing th-this bec-c-cause I-I-I-I-I love you," ; after she had blown his fucking brains out. That was when the outbreak had turned into an epidemic. And because of globalization-because of the Internet and airports and fast food restaurants, because of oppression and censorship and because the government could never quite wrap their heads around the fact that Reaganomics screwed the working class-the epidemic had turned into the apocalypse. So, Valencia: Valencia was all she had left, the identity she struggled to maintain, the childhood memories she desperately clung to-but after a teenage daughter has to blast the mindless gourd off of her own father's decayed body, it's not so much about reflection anymore than it is about survival.
Valencia stood poised on the hill watching the city burn below. The skyscrapers engulfed in flames stretching toward the red and black sky, ash rain falling all around her like leaves in autumn or flower petals at a wedding-this was Hell, and it was beautiful. She fingered the matchbook in the pocket of her leather jacket. This was her doing. This was the world now: fire and murder and constant movement-collaborating with fellow survivalists in urban regions and travelling alone through sparsely populated lands. New York had burned; Chicago had burned; D.C. and New Orleans and San Francisco. Every major city was a now crematorium. She carried the weight of thousands of tons of bricks and concrete and shattered glass and the dead and dying dreams of a young idealist. She carried a sketchpad, drawing pencils, crumpled song lyrics, headphones. She did not carry an iPod. The crackles and pops of the dying embers of a city reduced to ash and rubble were her lullaby.
In Seattle, she had stolen a leather-bound copy of the Necronomicon from the public library before she had torched it. She kept it in her backpack. On cold nights, she would take it out and thumb through the pages and look at the India ink script on the thin, yellowing pages. She carried the words, but she never read them- Lovecraft's fantasy was nothing like reality. At the same time, it was everything. Corpses reanimated. She carried the incantations, but she had lost her imagination. There was no magic left in the world. There was no magic; there was just a virus and a lot of people got sick and before she knew it she was alone and there were zombies everywhere. There were fucking zombies everywhere. She carried the virus exceptionally close. She collected tattoos. It was dangerous. It was stupid. For every zombie that had come close to killing her, she checked for tattoos. First was her father's. After his brain had been successfully destroyed, she carved the Celtic cross from his arm with her scalpel and stitched it over her heart. She was no surgeon. She gagged at the sight of blood. Her first patchwork-her father's cross-grew infected. It oozed pus. If she moved wrong, the skin would tear and bleed. Her skin around it had begun to gray. The virus was slowing eating through her flesh from the outside in. After she learned about cremation, after she had burned her first town-her hometown-she thrust the blade of her machete into the flames, allowed the metal to glow white-hot, then held the burning steel to her infected wound, cauterizing it. Over the past two years, of the thousands of zombies that she had destroyed, she had collected two-hundred-sixty-five tattoos, but her father's was her favorite. She was her own Necronomicon, bound in human skin and inked in blood. She carried the natural cycle of life and death externally, but she carried oxygen in her lungs and blood in her veins and perseverance in her spirit. She left destruction behind her.
But destruction meant survival. Survival meant life. Her father had once told her to cherish life, for life is beautiful. These were only threads that Valencia could knot together anymore, the only understanding that kept her human: if life is beautiful, then destruction must be equally as beautiful. She turned her back to the blazing city and walked away. She did not look back.