Object No. 100 of 100

[The auction for this Significant Object, with story by Jonathan Lethem, has ended. Original price: $1. Final price: $76.]

Listen, friend, forget about the bartender, you could wait all day in this dive, we might as well be invisible over here, I kid you not. Here, let me pour you a drink. No, really, I insist, it’s on me. I brought my own. Just swab out the dust and fingerprints with my shirttails, good as new. Love the way it claps down on the bar, gets your glands salivating, doesn’t it?

No, after you, I insist. My pleasure.

See that freaky little bird? That’s the state bird, my friend. The Missouri Hunt-and-Pecker. Never heard of ’em? Well, then I guess you’ve never been to Missouri, have you? Maybe passed through, didn’t get out of the car. Or changed planes in the airport, or went up in the Arch once, just to say you’d done it. But that’s not Missouri to me. St. Louis is the gateway, sure, but you want to know Missouri you need to drive a few hours into the corn, you want to visit St. Joseph, up through Maryville — skirt the Iowa border, though Iowa’s a sore point from where I sit. You need to get lost in Missouri or you never really were there in the first place. Even then you won’t be likely to meet the Hunt-and-Pecker unless you circulate a manuscript or two.

Manuscript, you heard me right. See, very few know it, because we keep it to ourselves, but Missouri is sick and silly with apprentice fictioneers, the whole state’s like one vast harrowed and furrowed MFA workshop. Why do you think the license plates call it The Show-Don’t-Tell State?

Yeah, sure, Iowa. We’re not promiscuous like them. Rather sit on a manuscript for a hundred years than publish before we’re ready. And when you really contemplate the motto’s implications… show, don’t tell… well, get me here, we’ve taken it to heart. By the time a roving Missouri critique outfit has detasseled your kernels, you better believe me you’ll have second thoughts about advancing into the marketplace. More likely cancel your subscription to Poets & Writers, renew your vows to craft. Scene, setting, voice. Look at that fugging bartender, he’d serve a wood duck in a halter-top before he so much as glanced at us.

You like that? Here’s another. Go ahead, you know you want to.

Or shut up entirely, always an option. That’s the ultimate endpoint, you know. Don’t write a word, just be a writer. We’re more than a little stoical out here on the plain, son. Write more? Write less. I strive to write less every day, some day I’ll get there. Not-telling isn’t as easy as it appears.

Lookit ’im there, cool as a flippin’ cucumber, straddling the state like nobody’s business. Crazy little red-tailed devil knows more than he’s saying too, can’t you tell? Love the way he flushes amber, then goes all transparent again. Strive to be like a windowpane, not a mirror, that’s how he makes his way through the world.

All right, I’m out of here. Here you go, you bastard! Keep the change! See, I always leave that sonuvabitch a tip — one red cent. Honest Abe, another fellow from the heartland who knew exactly when to shut up. Keep it real, friend.

Object No. 93 of 100

[The auction for this Significant Object, with story by Kate Bernheimer, has ended. Original price: $1. Final price: $104.50.]

A long time ago, I was very poor and often traded my body for cigarettes, Chelada, or food (in order of preference). I had two children — both daughters — and together we lived in a motel on the coast. It was a knotty-pine kitchenette cabin, and came furnished with a teapot, a few chipped flowered plates, some utensils, and bedding. The cabin overlooked a paved parking lot and beyond it, the beach. If a man came to visit, I sent my youngest girl out to find driftwood and starfish and shells. (Her sister was in kindergarten, so always gone in the morning.) There was no market for these trinkets among tourists; but they were precious to my little girls, truly their only possessions. We washed them and kept them along the edge of the porch rail and inside, on the white windowsills, which otherwise were very empty, apart from a pink horse my youngest had found in the woods. That pink horse! How she loved it. Once when she had gone a very long way to gather her treasures — all the way under a natural tunnel inside the cliffs, which led to a narrow beach that would trap you and kill you if you were stuck there during high tide — an old woman with pink hair approached her and sang her a song. My daughter told me about this old woman, but I didn’t believe her. Later that week, my girl brought home a sea urchin, closed. She said that when the sea urchin opened, the old woman would return and that she had promised then to bring us good luck. I got an empty jar from the cupboard — it had once been full of beach plum jelly but had been long gathering dust. We walked down to the edge of the ocean and filled it with water. Back in the cabin, we placed the closed sea urchin carefully into the water, where it sank and stayed closed. The next morning my littlest girl didn’t wake up and the sea urchin had bloomed. It was on her grave that my other daughter placed the pink horse. Then she too was taken — by the high tide — the very same week. She’d gone into the magic tunnel. Now I do nothing but drink Chelada all day, haunted by pink. Pink urchins, pink cigarettes. Pink horse, pink horse, pink horse on the grave — if ever the pink horse flies into the sky, your daughters will come back to life. The pink-haired old woman sang that to me once when I passed out in the sand. For now, there you stand in the dark of the wood — beautiful, all-powerful, and silent. Pink horse, you are everything, and everything is everlasting in you.

[The auction for this Significant Object, with story by Jennifer Michael Hecht, has ended. Original price: 99 cents. Final price: $10.50.]

Kathy can remember how she left both of her ex-husbands but she can’t remember how she left Jeffrey. She can remember a phone call that seemed to finalize that she was leaving him with his father but she isn’t sure when that happened or why. Kathy is pretty and rich, but she loathes herself and everyone except Jeffrey. When she is with Jeffrey she loathes herself less, except she gets some sharp stabbing pains of it. She has been with him a lot lately, so has been drinking a lot less.

She is awake alone in the middle of the night. The very nice man she lives with is asleep in their bed at the top of her town house, two flights upstairs. She can turn on lights, make normal noise with a beer bottle against the table. She is drinking a yellow beer with lime in it. The house is warm but not warm enough for no pants and Kathy is wishing pants weren’t two flights away. For the time being she isn’t moving. She’s only had one beer since she got up, but she drank more than a few the night before.

Kathy is smoking a joint in the kitchen and looking at Michael Phelps on a Corn Flakes box. Phelps won eight gold medals swimming in the Olympics and then lost his Corn Flakes endorsement deal because of a photograph of him smoking a bong. Kathy’s boyfriend saw a pre-bong cereal box at the supermarket and snatched it up. He likes things like this. Now the Phelps cereal box has been mounted prominently for many months on a kitchen shelf. Phelps is in the pool up to his neck, holding up one finger and smiling like crazy. She takes a hit and smiles back at him. She replies to his “We’re number one” finger with her own. She rests her lighter on a ceramic figurine of the “Hakuna Matata” guys from The Lion King. Kathy had been to Kenya with her second husband and people there said “Hakuna matata” the way we say, “No problem,” and they pronounce it like a machine gun, fast and hard.

Kathy had grown up with Baloo the bear in Jungle Book as her icon of happiness through low expectations. The bare necessities, the simple bare necessities, the bare necessities of life. As she remembered it, you just eat whatever you find under a log. Kathy is on her second beer. The paper towel wrapped around it is wet from bottle sweat. Drawn-out syllables are playing in her head, “Haah koo na ma tata, what a wonderful phrase. Haah koo na ma ta tahh, it’s no passing craze.”

Kathy picks up the ceramic figurine and closes her hand around it. It is cooler than room temperature; its shape massages her tight palm and fingers. She considers throwing it at Phelps, just to see which way the box would fall but decides it would seem hostile. She chooses instead to duplicate the warthog’s position. Leaving the beer in the kitchen, but bringing the figurine, Kathy walks into the parlor and looks down at the rug. Mutters “Jeffrey’s pillows,” and eases herself down to them. She puts one pillow on her belly, as if it were a meerkat. Closes her eyes.