James Allen Hall


Hotline Grandma

You've reached the Back Door, the recorded voice

growled—a butch queen greeting I skipped. 

I didn't want reminding the cost of leaving 

my body behind. I could go to Voice Mail Jail

—where the "inmates" recorded 30 seconds 

of inmost desires. I could be found in the Dark 

Rooms: 9 chat chambers maxing out at 13 men. 

Some nights I was lost in the anonymous mist 

of moaning.  I loved it when a guy climaxed, 

triggering one or two more, field spilling

into bloom. But mostly, I dialed in to talk 

like an old lady, talk in a creaky high voice

to guys who dreamed up aliases, handsomer 

lives. People called me names: transvestite, 

crossdresser. You think I put on my pearls for you

baby?  I'd say in my pinched-purse voice. Oh, no, 

babysitter precious. We were what we invented. 

I was their clowning wise crone, Grandma 

Moses, dispensing advice when Jake tested 

positive, when Jeremy went away for heroin, 

when Gary died but no one found his body 

until Chris called his sister. Chris wasn't even

mentioned in the obituary, where he saw 

Gary's real face for the first time—older, 

chubbier than he'd let on, a picture of a man 

looking out a window from a French 

country kitchen, utterly unrecognizable 

if you'd heard him laugh or come.

 

Hunger

I was the only first-year in The Composite Novel,

Dr. Morris's late-night seminar, spring semester.

I stayed silent, in awe of the seniors' insights, 

said succinctly, jaggedly. They were jousting

for approval. After class, the best of them would continue

the debate over coffee and burgers in the all-night diner

in that tiny college town. I went there to write 

when I did not know what else to do with my body. 

As if the hostess knew, we were always sat 

on separate wings: the writers, the critics. 

 

The night in class we discussed Winesburg, Ohio

how desire illuminated people, I finally spoke up.

It was late February. I don't remember exactly how 

I defended Wing Biddlebaum—the novel's queer, 

a fat and bald man who dreamed about young men,

and whose hands were constantly unrested—

fidgeting, Anderson writes. I immediately regretted

my voice in the charged air. I could feel them lean

away from me. He's a pervert, Serge said, he should be beaten 

for wanting to touch those kids. 

 

He's dreaming of other menI said, not his students. And try 

as she might, Dr. Morris could not steer us away

from the expected discussion: pedophilia as synonym 

for queer. Later at the diner, Dex invited me to carry on

with the five of them, to talk more about Wing 

and his hands. I slid next to Serge, whose body visibly

steeled. You could almost hear his neck tighten.

Sit over there, he hissed, and I moved, making a joke

weak as the coffee. I paid for everyone's coffee 

with my parents' Visa. I was never summoned again. 

 

At the end of the story, Wing kneels at the sight 

of crumbs on his kitchen floor. He gathers them 

one by one on a wet fingertip. He licks his finger,

the penitent on his knees, cleaning his dirty floor

with his hands, with his mouth.

 

James Hall MBF.jpg

author bio

James Allen Hall is the author of two collections of poetry, including Now You're the Enemy and Romantic Comedy, which won the Levis Reading Prize and is forthcoming from Four Way Books. His poems appear recently in Georgia Review, New England Review, Pleiades, and Ploughshares. He teaches creative writing and editing at Washington College, where he directs the Rose O'Neill Literary House. He is the editor in chief for Cherry Tree: A National Literary Magazine at Washington College.