https://www.pinterest.com/tnc0007/fiction-ii-story-2/
Emory Ward
They brought me into the long-term
psych ward at Emory Hospital just after my twentieth birthday in May. After an initial evaluation, it was decided
that I should be placed with the adolescent patients. On the first day, the guards searched my bag,
pulling out pockets and tickling the seams of my jackets, even bending backward
the spines of my books and shaking them like broken tambourines. A few of us were allowed to eat with family
that day. One kid sprung up, propelling
a green pudding-like material off of his plate and onto the walls, and he
screamed without any kind of words or syllables until some large men carried
him out with forced kind smiles, his gangly body jerking like spider legs. I thought it strange at the time that no one
said anything about it, not even my usually talkative grandmother sitting
across from me who fingered her emerald broach as his screams faded out and the
only sound left was the ugly weeping of the woman that I assumed was his
mother.
That first day, I noticed that the
entire place was lit by long tubes of fluorescent light. The stairwells, hallways, bathrooms, and
every single bedroom, all under those oppressive things. After being there for four months, I really
thought that I would get out soon, and that sounded so nice mostly because
those white tubes had become my bitter enemies.
Four months and I was still noticing some things for the first
time. We shared a basketball court with
the adult inpatient ward. Russell was a
big man in his forties that had come in around the same time that I had,
volunteering to be admitted after his wife hung herself from the rafters in
their living room. We were playing
one-on-one and the September skies were overcast when I saw for a moment an
awkward rendering of a creased neck emerging in ink from under his shirt
sleeve.
“Didn’t know you had a tattoo,
Russ,” I said.
“It’s my only one,” he said. “Got this in Austin in ’92, the year I met
Penny…”
He pushed up his sleeve and the
strangely detailed face of Willie Nelson stared at me with big, black pupils
set deep in a maze of wrinkled skin and paisley bandana pattern. It was not just the slightest glare on the
film of his moist eyes, the meticulous density of his aging beard, or the
cavernous shadows under his chin that showed me first the lonesome resolution
of this Willie Nelson, but his lips that bent only so faintly in a frown. His face, drawn in ink on this man’s arm,
seemed to be whispering to me a request for something, calling me to a
responsibility.
I felt, when I was first carried
through the sets of controlled security doors and down endless latticed hallways,
some relief and hope that I could start to feel normal and act normal. The blood that I had pushed out of myself
only revealed a decade of mounting juvenile angst that came to require a slow
and tactful deflation in this kind of sterile tranquility. Those early days rang with commitment and
innocence, and a self-imposed isolation from the patients that surrounded
me. All of these conditions could not
withstand four months of repetitive examinations in which I was supposedly “not
making adequate progress” because I still thought sometimes about trying to
tangle myself in the high razor wire that surrounded the courtyard. I still wanted, at times, to throw tantrums
at others for fun. When I arrived at
Emory’s psych ward, I was my only source of pain.
The night after I saw the tattoo, I
dreamed of Willie Nelson. He led me
around corners of curious stone, singing “Whiskey River” and frowning in my
direction. The aura of it all was truly
confusing, and I felt nothing like the obligation that came from Russ’s tattoo
the previous afternoon.
I woke to the sound of my roommate
mumbling in front of my bed. His voice
was sharp and hollow like rain on sheet metal, and he stood with his face in
the corner of the room.
“Darryl, it’s 3:00 AM, what are you
doing?”
“They’re after me…invisible people…”
I stood up and moved toward the
door.
“No one is after you, Darryl.”
I entered the hallway and the overnight
guard glared at me.
“What are you doing out?” This was what he thought appropriate to start
with for patients in need. I beckoned
him into my room and he began to try to talk Darryl down. This only made him cry out loudly and squeeze
his head between his hands.
“…people after me…”
I stood in my doorway wearing only
my thin pajama bottoms as all of the doors in the hall opened and the rest of
the patients emerged halfway into the hall with squinting eyes to listen to the
kid begin to scream and cry. A doctor
rushed down the hall and into my room.
He gave Darryl a quick shot and he immediately fell into his bed and
slept. Everyone returned to their
rooms. When I woke up at 5:00 for vital
checks, the other bed was empty and all of Darryl’s belongings were gone.
My new roommate was twelve years
old. He arrived the day that Darryl left
and was the youngest patient that I had ever met. I wondered if I would ever be transferred out
of the adolescent ward. As soon as the
nurse that had led him into our room had left, he removed a bobby pin from his
white-blond hair and stood on the one wooden chair to neatly position it on the
top edge of the window frame.
I thought that he looked closer to
nine years old, skin pale and hairless and cheeks with no rosy color at
all—only sharp indentions that twisted when he grinned, showing his shiny,
crooked teeth. His great, protruding
Adam’s apple vibrated with his voice which was the highest thing I had ever
heard.
“Hi,” he squeaked. “I’m John Henry.”
“Hello, John Henry. My name is David.” It was like we were meeting at summer camp,
or on the first day of school.
“I think that I should learn
everyone’s name,” he said. His white t-shirt
was almost see-through and the faint stains that covered it were only made more
visible by the spotlessness of the sheets on which he sat.
“Everyone’s name?” I asked. “There are a lot of people here. There are
nurses, doctors, guards, orderlies, and the other patients—”
“I
should know everybody’s name.”
“I don’t even know every name,” I
said. “And I’ve been here for months.”
There were probably too many glowing
tubes of light that watched over us in the soft, sky blue vinyl chairs of the
rec room. I sat low in these chairs and
poked tiny holes in the upholstery with a safety pin, and all of the nurses
that walked through avoided eye contact.
Every nurse was forced into an agitated tone and a perpetual frown by
their daily work. Some of them were very
honest and that meant a lot to those of us that listened. They would tell us that they were overworked
and undernourished and that their child was sick, maybe even in the ICU with
something very serious, but the father had left or died or never even cared and
it always started me thinking about life outside the Emory mental ward and
about where any of us really belonged and how it was that we could get there
and then I would just repeat the word belong
until the honest nurse shook me hard and back into the cold, beeping nearness
of the examination area. I would ask what
my medicine was supposed to do and there would be no response.
John Henry asked everyone their name
and never spoke to them again. I do not
even know if he remembered any of them.
He spent most of his time sitting on the floor in the back corner of the
rec room, softly smiling and waiting to be called in for more sessions with Dr.
Norton. I often wondered whether he
spoke at all during these examinations.
After we were confined to our rooms at 10:30 each night, he would talk
to me for hours…memories he supposedly had from the age of two, a teacher that
he had hated because of a silver necklace that she wore on the first day of
school, a book that he had read about a monster that lived on a farm. I never asked how he had ended up with us.
“Well, this monster is very
depressed,” John Henry said.
“A depressed monster? That’s new…how do you know that?”
“I just know…he is always bent over,
like bad posture, and he tells the farmer at the end that he ate his daughter
because he was bored and because the daughter was disgusted by him. See, the monster is like a sort of blob with
a face that’s really hard to see. He’s
like an upside down bowl of mashed potatoes that leaves gravy everywhere he
goes. He touched the daughter and she
screamed names at him and he didn’t even leave her clothes behind.”
“How does it end?” I asked,
realizing that I had just bitten off a fingernail and a tiny thread of blood
was growing from underneath it.
“The monster grows up and gets huge
and he goes to confront the farmer’s son so he can get himself shot,” John
Henry said quietly to the ceiling. “But
the son who is the main farmer now doesn’t shoot him. He invites him to live in their barn instead
of out in the woods and the monster accepts the offer. I think that maybe he didn’t recognize that
he had eaten his sister, or maybe he felt sorry for the depressed monster…”
“You don’t think that the son got
eaten later?”
“No…I think that they did not become
friends, but things just worked out…”
“It seems that the monster would
have later gotten hungry and eaten him,” I said.
“Well, probably not, because the
story ends there.”
There were no shower curtains, and
the bathroom doors did not lock. The
only kind of soap that we were given was Dawn hand soap. Every bedroom had light blue walls instead of
the white that covered the rest of the ward.
There was the isolation of the Emory ward from the rest of the world,
and there was the isolation of our rooms from the rest of the Emory ward. The burn from direct contact with my own
thoughts was becoming unbearable.
Some sort of contact with whatever
was outside the place could be found in television. Almost everyone spent a lot of time in front
of it. For some of us, it was like a
reminder of what things were like, what things would be like, when we leave,
and that we cannot forget how it all works while we are in there. It was mounted in the top corner of the rec
room. We looked up at it to understand
how people were supposed to think and act.
We all had zipties that kept our shoes
from flopping off and pants from sliding down.
It made sense—I would not have felt comfortable around some of those
people if they carried belts and shoestrings, so white plastic strips held our
clothes on tightly. Almost everyone on
my hall had been caught switching pills at least once. When John Henry told me that he had snuck off
after lunch and met with Skaggs from down the hall in the game closet for a
quick trade, I did not believe him.
Some days dragged on that I started
to believe the things that Dr. Norton had told me about dysfunctions of
perception and cognition. I tried to
make myself accept that I would probably never leave, but I told everyone that
I was on the way out of there. The
television was always too loud or too quiet, and the afternoon glare through
the windows made it useless to attempt to watch anything until after sunset. With these kinds of routines, nothing is
honestly distinct after a while.
John Henry found a tin of Jenga
blocks late one night and we began to build a tower on the end table in the rec
room. Skaggs watched with disinterest,
occasionally removing and placing a wooden rectangle. John Henry worked with wide-eyed, hypnotic
concentration, bringing his frowning face within inches of the square column
and holding the piece loosely between thumb and middle finger, slowly wedging
it into the most precarious position that he could find. When he said that he was going to start another
tower of alternately perpendicular blocks to look like an “X,” I told him that
the game was not played that way.
“You won’t even make it high,” I
said. “It’ll fall almost immediately.”
“It won’t, it’ll balance,” he said,
raising his voice. “What do you know?”
“I know you need to calm down, John
Henry.”
He brought his fists down onto the
low table and our tower collapsed, sending wooden pieces onto the tile floor in
all directions. John Henry crossed his
arms and closed his eyes. I was angry,
but immediately felt an immense empathy for him. He was acting like Peter Pan without his Lost
Boys—violent, insecure, possessive. For
four months I had been in that light blue room, confronting and grieving
innumerable shapes of doubt and hatred that I had nursed for years. But I found myself unable to look away from
John Henry, his dampening eyes closed tightly in resolve. This obligation was more painful than
spilling my own blood, than being pushed through the sets of secured doors,
than the clean and exposed isolation of our rooms without shower curtains. It hurt that I knew nothing about John Henry,
and he knew nothing about me.
I stood up and walked to the thin,
barred window that faced outside.
Atlanta was a dark blur, and headlights mingled and merged with
terrifying spontaneity. There was total
silence, and I imagined the city whispering about invisible people like Darryl
had. The blue and black sprawl of
buildings below looked monstrous under a cold streetlight grid. I was again incapable to turn away. A dull red firetruck soaked Clifton Road in
blinking light and disappeared down Fishburne Drive. I stood with hands in my pockets like I had
ten years earlier on an icy December morning in Massachusetts. The ground was frozen and my mother placed an
open pink shoebox soaked in kerosene at the end of our driveway, dropped a lit
match into it, and ran toward the house.
Our old calico cat had died during the night. Glittering flames grasped upward almost three
feet, and I watched with terror. The
fleas that escaped were killed by the cold air.
John Henry did not tell me anything
that night across the black space of our room.
The television was malfunctioning
and a small FM radio had been placed on the center table of the rec room. Willie Nelson’s “Yesterday’s Wine” was
playing at a barely audible volume after lunch and I was telling Skaggs how
much I hated Willie’s hick voice and how useless a songwriter he was.
“Can someone change the damn
station?” I asked.
John Henry’s voice came from the
table in the corner where he sat alone.
“Can someone change the damn walls
in this place?” He was standing bent
over the round table, his pallid hair sticking out in strands between his
fingers that pressed dramatically into his scalp. “Can someone damn change, damn…”
“You tell them, J.H.,” said Skaggs.
John Henry had begun to pace around
the room, pulling his hair and mumbling with heavy breaths.
“What happened to the…I don’t know
which…what if he could really hide himself…”
All of the other patients were
statues in their chairs. John Henry
almost walked into me and I saw that one bony ankle was bare. Two guards were suddenly walking toward
him. His voice had risen to a steady
shout and the guards were telling him to sit down and stop yelling.
“Y-you can’t knock me down,” he
cried. “We could just all get out of
here.”
John Henry had backed slowly into a
wide window. He tore down the pink
curtains with a grand sweep of his arm and turned toward the rest of the room,
outlined in new streaks of gold light spilling through the window. His feet were spread strangely far apart and
his hands raised together above his head.
Underneath his left arm, Russ was visible through the window, playing
basketball outside, his tattoo of Willie Nelson just a blur of ink from such a
distance.
John Henry lurched forward and his
hands struck the tile floor like a hammer.
It sounded like a giant, rattling gear.
People flinched and ducked as if large birds were attacking them. John Henry raised his head and was
immediately hit from the side by a running guard. He was shoved against the wall and held
there, feet straining to touch the ground.
I heard his voice now fouled with breathless pain.
“David…the brother…eaten—”
Another guard wrenched something out
of his hand and held it up to examine it.
John Henry had managed to unscrew a doorknob and stick it in his tube
sock. He cried and screamed to be let
go, pinned up on the white wall by his scrawny, naked arms. Suddenly, a nurse appeared and stabbed a
large hypodermic needle an arm. As his
voice disappeared, creases in his forehead trembled, and his jaw went
limp. It looked like a terrible seizure
and I closed my eyes and turned away.
He was unconscious in the nurse’s
arms. She carried him out and down the
hall. Willie Nelson was still singing
“Yesterday’s Wine.”
John Henry underwent some mysterious
treatment and was gone the next morning.
I do not think that he was forced to leave, but whoever had brought him
here wanted him to be somewhere else.
When he came by the room with a guard to gather his things, I spoke
first.
“When you got hit in the side, real
hard, I felt it in my side,” I said.
“I think that I have to be the
monster, David.”
“That means you get a happy ending,
I guess.”
He stood on the wooden chair and
pulled a bobby pin off of the top edge of the window frame and clipped it into
his white-blond hair. The guard led him
out and I listened hard to their steps for as long as I could hear them.
I sat on my tough plastic mattress,
leaning forward and clasping my hands.
When I was younger, I had been so downtrodden, all the time, so obsessed
with my own neuroses, and so destructive.
Sitting there, I missed those years.
Somewhere, some face had intervened and sent me flying towards insult
and compassion and pain.
I wondered into the rec room and sat
on the shallow, blue couch. The
television had been fixed that morning, and I turned it on and watched a live stationary
shot of the New York City skyline.
Thick, black smoke ballooned from giant holes in a skyscraper. The sky was a spotless, floral blue. A commercial airplane entered the bottom of
the frame and disappeared into middle of the adjacent tower, identical to the
first. Fire burst outward hundreds of
feet and climbed into the sky. I turned
up the volume.
First off, I think you're being way too hard on yourself. This story has a lot of great potential and is really good for a first draft.
ReplyDeleteI love your descriptions, "the ugly weeping of the woman that I assumed was his mother" being my favorite.
I was left with a few questions at the end. What happened to Darryl? The fact that people kept disappearing gave this story a horror-like feel, and I'm not sure if that was what you were going for. If it was, then good job, but if it wasn't, just give more detail. It was also curious to me that John Henry and Darryl were (I'm assuming) moved to another part of the ward when what they were doing didn't seem too drastic. I would think that you would only get moved like that if you had tried to commit suicide or something.
I'm also assuming that is the main reason why David is there. But he seems, for the most part, completely normal. He seems to be a little more introspective, but I don't get the feeling that he is completely suicidal, especially because he keeps looking to the future, to getting out of the ward and connecting with the outside world. I wanted to know more about David's past and his life before Emory. Did his mother commit suicide by burning down their house, but she made sure he was out of it first? Why not the cat?
I wasn't sure what the main conflict was. Was it David's relationship with John Henry? Was it wanting to get out of the ward? I also was unsure of the significance of 9/11 showing on the TV and him turning up the volume.
You do imagery excellently and its something I've never been able to do in a way that didn't feel artificial to me. I loved the image of them shaking the books like broken tambourines and the story is full of others.
ReplyDeleteI agree with Emma that you need to chill out. This story isn't finished, but its a great first draft and you shouldn't beat yourself up over it.
This story seems to be more about John Henry than it is about David. I don't know if this is intentional, but if it is then I want to see him earlier in the story and I want to know more about John Henry that what is currently on the page. If it was not your intention and this is supposed to be a story about David, then I think he needs to have more of an arc here. I'm not sure why he's in the ward. He doesn't seem crazy, but he doesn't seem to particularly want to get out. Everything you have about these characters is great, I just think we need more about one or both of them.
I also am confused about the 9/11 being on the TV. It seemed to come out of nowhere and all it did (for me) was place the story in a specific setting. If this was the intention and this was supposed to have some impact on the story, I would add this detail before. Was the idea that 9/11 was kept secret from the patients? If so, why?
In summary, imagery=boss
characters=good, but lacking
ending=a little confusing
I want to read the final draft of this.
I think the delirious mind that wrote the authors note misperceived the story’s qualities, which are truly good. The narrator and John Henry felt real. The world felt real, especially in the first two thirds of the story, which is where you focused on setting most. You combine imagery with psych ward terminology and routine to put me, someone unfamiliar with the world, in it. The story also shares several good insights that enrich the world and pull the reader along. For instance, nurses ignoring the patients, others being honest, the guard asking his brusque question, and the characters’ reactions to these. You have some killer hold-and-hang lines—I think that’s what Chantel calls them—the exemplary one being, “When I arrived at Emory’s psych ward, I was my only source of pain.” Also, the writing is rich, and I can sense Denis Johnson in the much of it and the general style of the story (real talk). One of my favorite parts was John Henry’s monster tale and how it recurs at the end. David’s line, “That means you get a happy ending, I guess,” holds so much weight, despite my not being sure of any exact meaning it might have for the overall story. It is, in the words of a wise man, bitchin’.
ReplyDeleteYou ask about organization. Any answer will depend on what your central principle is (and there is one, even if that’s the absence of one). I think so far it’s something between David growing accustomed to the ward, his understanding himself in relation to others there, and John Henry’s stay there, the stay paced really well, I thought. If anything with organization stood out, it would be a few paragraphs within sections and the arrangement of sentences within some paragraphs (but these I’m sure you’ll notice and solve when you read it again).
I’m having difficulty figuring out the Aboutness of the story, particularly because I’m unsure how David’s interest in 9/11 at the end ties back to his mother burning the cat and to whatever caused him to “push” blood out of himself. Is this about boredom? Is “sterile tranquility” (good phrase) a euphemism for boredom? And then his interest with 9/11 is the fact that it’s real and exciting, anti-boring? Then why the cat (P.S. awesome suggestion it’s in the box by the fleas leaping out)? Otherwise, boredom makes sense for John Henry’s monster and his tantrum in the rec room. However, how does his tantrum feed back into David’s struggle with boredom? Is the suggestion that we get by on exciting things like 9/11 and that’s it? It’s at this point that the good sadness in your story (I mean that, especially for the monster and JH), turns ugly, not sadness but wallowing in the boredom. I’m interested to hear what you were going for and suggestions in the story to direct my reading.
Lastly, besides John Henry, I didn’t get to know the other characters. I got Daryl, but had to remember who he was when you mentioned him later. And when you mentioned Russ playing basketball, I remembered only the Nelson tattoo and not who Russ was. Skraggs, also, I felt I knew only by name. David and JH felt most real because there problems felt salient and consistent (something as small as JH wanting to know names worked). Consider giving characters distinctive problems that help readers identify them and remain oriented throughout the story. You can probably strengthen some of the scenes by having the other characters present.
Overall, though, this was really good. My favorite piece of writing I’ve read in a CW class.
I think you have some good elements in your story and without being super repetitive I agree with most people's saying tey didn't get to know the characters. I also couldn't pinpoint what was the heart of the story as well so I don't have many suggestions on that. I did notice that you kept bringing up Willie Nelson tattoo even though I didn't think it meant anything it reminded me of Music of the swamp when Sugar kept bringing up the boogie woogie man that played at the juke joint. So I thought that'd be a good model for bringing that up or using that should you decide to keep that character. I also didn't feel like I knew much about what brought the main character there besides suicidal thoughts. I'm actually not believing he's suicidal. Idk maybe he's too observant ? Also I would suggest that you finish the scenes. some of the scenes end abruptly, I say read what you have and see if expanding it makes something click for you that will bring out that heart of the story.
ReplyDeleteTimothy,
ReplyDeleteYou have a really good story here man, and there are a lot of really good elements that made me want to keep reading. You do a great job setting the scene and really giving me a realistic setting. I also feel that your story reads a little rushed and we never really get a full understanding of any character, only a glimpse. I think the most interesting character to me is John Henry and he reads a little older than 12 years on the page. I would love to know more about his past, why he is there, and see more actions of him and interactions with other patients in order to fully understand his motives and purpose in the story. I think David reads more nuanced that any other character and that's mainly because we are in his head the most. I still don't know what he really "wants" though and what his goals are. What is the central theme here, or what do you want the readers to take away from this story. Is it just a detailed account of David's time in the Emory Ward? And if so what major themes or ideas are we suppose to leave with. There are still some interesting details in this story like the "monster" discussion he has, and I really want to read more about that.
I think you have a really great start to a story. You seem to be going down a little hard on yourself, because this is well written. The dialogue and description are solid. What I would suggest is fleshing out your characters a bit more. For being inside the protagonists head, I didn't quite get as much of a sense of knowing him as I would have liked. John Henry was an interesting character as well, but I would like to see him fleshed out a bit more as well. Another thing I would consider in your next draft is working out your themes. This is a good story, but I don't quite get what the universal truth of the story is. Maybe spend some time making that more clear. You don't have to spoon feed anything, but themes need a stronger presence. I think with those changes, you'll have a very solid story. Good job, Timothy.
ReplyDeleteTimothy, I think you story is extremely well-written and I didn't get the impression that the idea was something I had heard of before. A 20-year-old in an adolescent ward of a mental hospital is something new to me. Don't worry about trying to project to the entire world your story because you'll get caught up in that and your writing will reflect it.
ReplyDeleteYou dive right in, your use of imagery, I feel, is your strongest aspect to your story. THe way you blend certain words together and phase things and compare them to others is beautifully written. I feel you got a good handle on creating this rec room and the bedroom. What I want see more of in this aspect is the places that connect the two. You talk about fluorescent lights lining the hallways and glowing in the rec room. Use those lights to describe the hallways that lead to the rec room.
Next you bring up a lot of specific things, certain items if you will: John's Bobby pin, the narrator's safety pin, the narrator's blood, Dawn handsoap, the jenga blocks, etc. Why do these things matter? I'm not saying cut them, I simply want to see why they are here. I thought for a long time about what the narrator brought up his blood and I haven't been able to figure it out. Also when John Henry gets tackled at the end, he has a doorknob, but didn't use it? I was confused as to why that was relevant.
One thing I wanted to say about the narrator is that in the beginning of the story he seems to have this semi-hyper awareness aspect to him and I want that to be a prominent factor to his character. You drop it later in the story.
In regards to the ending, I like the idea of what you are trying to imply but with what you have written, it just seems so farfetched that it makes me think that it is silly in a sort of way. I think the problem was that the one paragraph you mention earlier about the TV, i doesn't give the idea that the patients watch the TV like a drug and that they believe everything they see. I know you said that specifically but you need to show me, the reader that. The scene where they have the radio, have the patiences almost freak out because they don't have their TV. I know you said you don't have a lot of time but I think if you watch 12 Monkeys and One Flew Over the Cuckoo's Nest (I have both movies) it'll help your writing.
Your story is good. You just have way too many ideas for this short a story. I'd suggest adding a lot more to our paragraphs, getting increasingly specific details. When you go through it, get some index cards and write down all the scenes and all the ideas you have for the story and figure out what you want to do with them. If they seem irrelevant to the story cut them (even if you feel its the idea with 9/11, but that is solely your decision) and those which you decide to keep, flesh them out extensively.
Certain moments are very sharp and vivid, like the memory of burning the corpse of the cat. I also noticed how you had recurring imagery throughout, like Willie Nelson and blood drawn through self-destructive action. I find myself wishing for more information about why the narrator was placed in Emory Ward in the first place, besides phrases like “The blood that I had pushed out of myself” and being “obsessed with my own neuroses, and so destructive,” but the story seems to suggest that this is not the point of the story, that the narrator is grappling with something internally as a result of his interactions with John Henry. I wish whatever that “something” is could be made at least a little clearer.
ReplyDeleteI’m a bit confused as to what John Henry was attempting to do at the end. The most obvious choice would be to escape, but the physical description of the scene is ambiguous on that count. The narrator talks about his own dysfunctions of perception and cognition from his conversations with Dr. Norton. I think you could use the narration itself to explore what some of those might be or how they could manifest. Because as of right now, the narrator seems quite reliable, when his situation and his struggles would lead us to believe he isn’t.