C4 antho - Chamber Four
C4 antho - Chamber Four C4 antho - Chamber Four
~26~ The Chamber Four Fiction Anthology surface will finish on the rich side of amber, the girlie side of brown. Though he’s added a few cherries for color, he knows at the end of the line the stuff is going to come out brown. The bowel end of the line. The brown end. Auto-chromatically. Brown, brown, brown. And now he’s got the mini camera to prove it. It’s regal, it’s pizzazz, the way it works, and real spirit-fueling. At the sound of a hiss in the oven, Malchicken begins to fret. He knows the sound is telling him that liquid inside the pastry is drilling its way outward and falling to a carbonized hell. It’s a sign of shoddy workmanship. Working with previously frozen chicken parts and dried beans, it’s hard to control the moisture. The hissing may also be a wicked ploy taunting Mal to open up the oven door―do it do it do it―a reckless action that will release the heat trapped inside and end in disaster. It’s a bread-knife-to-the-sternum type of experience, the hissing, the wanting to know, the splintery edge of sawed bone. His best bet is to leave the kitchen and let the baking run its course, to retreat to his room’s darkness, disturbed only by a lukewarm moon. Setting the egg timer, which sounds out each painful second, on the sill, Mal pulls open the curtains, spraying beads of condensation diagonally across the glass. Mal takes a shy finger to the window, outlining shapes and cross-hatching them in with fat little squiggles. Freshly moistened dust tickles his nose. The bleating of the egg is steady. Malchicken takes his head to the pillow, unbuckling his pants as he reclines. By the side of his bed there’s a wire he can pull which causes a mobile hanging above his head to spin. His body is a doughy exaggeration of an obese child. Born without the well-sectioned Chicken neck, Mal’s headto-torso slope makes him a true pyramid-shaped American, according to FDA standards. Golden brown hair from his long pin head graces the tops of his shoulders where the tips
Eupcaccia ~27~ bounce with princely charm. His wads of fat are segmented and move independent of each other, colliding to form peaks and valleys. The color of his skin is that of un-fired porcelain with undertones of scarlet and lavender. Next to his skin the threadbare fabric of his underwear appears velvety, sophisticated, and magical in hue. With a yawn, Mal rolls over and pulls out from under the bed a jimmy-rigged little VCR and B/W monitor. The two are connected to each other via a fat black cable that he fondles awkwardly. The video he’s about to watch is a Malchicken masterpiece. It was shot using a mini self-leveling camera now tucked away inside a flannel pouch he keeps on his nightstand. The camera’s original use―fastened to a metal skid and attached to 200 feet of cable through which was pushed twelve gallons of water per minute from the back of a Santa Fe County sewer truck―was to go headfirst into clogged sewer systems and record the journey into darkness. Mal considers sending the camera into the kitchen to peer into the oven and laughs. He would be single-handedly responsible for improving the camera’s worldview. It’s perspective. From poop to pastries. He cups his head between his hands and sets the video to Play. Seconds pass before an image comes into focus. * * * * The Chickens’ septic system had always been a “ball breaker,” and the way it “worked” had all three of them practicing the ancient art of inhalation and retention before crossing the threshold. Even without the contributions of Mr. Chicken over the last few years, the tank “kept its own way of thinking,” and Mrs. Chicken tried everything (short of liquefying the load before sending it down, and Malchicken had to
- Page 3 and 4: The Chamber Four Fiction Anthology
- Page 5 and 6: “Semolinian Equinox,” by Svetla
- Page 7 and 8: uses of copyrighted selections repu
- Page 9 and 10: For the Sake of the Children . . .
- Page 11 and 12: American Subsidiary . . . . . . . .
- Page 13 and 14: The Chamber Four Fiction Anthology
- Page 15 and 16: Liz Phair and the Most Perfect Sent
- Page 17 and 18: Liz Phair and the Most Perfect Sent
- Page 19 and 20: Liz Phair and the Most Perfect Sent
- Page 21 and 22: Liz Phair and the Most Perfect Sent
- Page 23 and 24: Eupcaccia* _________ by Angie Lee f
- Page 25: Eupcaccia ~25~ mother shuts off the
- Page 29 and 30: Eupcaccia ~29~ carving ruts through
- Page 31 and 32: Eupcaccia ~31~ “Sure as heck that
- Page 33 and 34: Eupcaccia ~33~ or else he wasn’t
- Page 35 and 36: Eupcaccia ~35~ “This here video c
- Page 37 and 38: Eupcaccia ~37~ tantalizing view up
- Page 39 and 40: Watchers ________ by Scott Cheshire
- Page 41 and 42: Watchers ~41~ and told my mother ab
- Page 43 and 44: Watchers ~43~ husband and teenage c
- Page 45 and 46: Watchers ~45~ Lorraine waits, she s
- Page 47 and 48: Watchers ~47~ students for who know
- Page 49 and 50: Watchers ~49~ toy-men crouching sma
- Page 51 and 52: How to Assemble a Portal to Another
- Page 53 and 54: How to Assemble a Portal to Another
- Page 55 and 56: Seven Little Stories About Sex ____
- Page 57 and 58: Seven Little Stories About Sex ~57~
- Page 59 and 60: Seven Little Stories About Sex ~59~
- Page 61 and 62: Seven Little Stories About Sex ~61~
- Page 63 and 64: Seven Little Stories About Sex ~63~
- Page 65 and 66: Seven Little Stories About Sex ~65~
- Page 67 and 68: Seven Little Stories About Sex ~67~
- Page 69 and 70: Men Alone _________ by Steve Almond
- Page 71 and 72: For the Sake of the Children ~71~ y
- Page 73 and 74: For the Sake of the Children ~73~ P
- Page 75 and 76: For the Sake of the Children ~75~ *
Eupcaccia ~27~<br />
bounce with princely charm. His wads of fat are segmented<br />
and move independent of each other, colliding to form peaks<br />
and valleys. The color of his skin is that of un-fired porcelain<br />
with undertones of scarlet and lavender. Next to his skin the<br />
threadbare fabric of his underwear appears velvety, sophisticated,<br />
and magical in hue.<br />
With a yawn, Mal rolls over and pulls out from under the<br />
bed a jimmy-rigged little VCR and B/W monitor. The two are<br />
connected to each other via a fat black cable that he fondles<br />
awkwardly. The video he’s about to watch is a Malchicken<br />
masterpiece. It was shot using a mini self-leveling camera<br />
now tucked away inside a flannel pouch he keeps on his<br />
nightstand. The camera’s original use―fastened to a metal<br />
skid and attached to 200 feet of cable through which was<br />
pushed twelve gallons of water per minute from the back of a<br />
Santa Fe County sewer truck―was to go headfirst into<br />
clogged sewer systems and record the journey into darkness.<br />
Mal considers sending the camera into the kitchen to peer<br />
into the oven and laughs. He would be single-handedly responsible<br />
for improving the camera’s worldview. It’s perspective.<br />
From poop to pastries. He cups his head between<br />
his hands and sets the video to Play. Seconds pass before an<br />
image comes into focus.<br />
* * * *<br />
The Chickens’ septic system had always been a “ball<br />
breaker,” and the way it “worked” had all three of them practicing<br />
the ancient art of inhalation and retention before<br />
crossing the threshold. Even without the contributions of Mr.<br />
Chicken over the last few years, the tank “kept its own way of<br />
thinking,” and Mrs. Chicken tried everything (short of liquefying<br />
the load before sending it down, and Malchicken had to