Why Are You Hitting Yourself?
Jeremy Griffin
On the projector screen, two boys stalk
through a high school cafeteria, sidestepping
overturned chairs and abandoned bookbags,
brandishing semi-autos with the insensate
authority of scepter-wielding tyrants.
They fire into the backs of the kids scurrying
toward the exits, easy as blockbuster heroes
dropping henchmen, and I’m certain
this is how they see themselves: a force
vital to maintaining the planet’s proper tilt.
It’s not until the video is over that the brawny
officer manning the projector reveals
it is simulated security cam footage.
This is what could happen, he warns,
if you’re not prepared, and how pleased
he appears to have duped us, this sheepish
troupe of teachers, bespectacled and arthritic,
who have never had to face down an assailant
with anything more than the modest armor
afforded us by language. I want to tell him
that everyone knows what it means
to be pummeled with their own fists by those
who believe strength is in the holding, not
the letting go. If only I could show him
how, in the icy quiet before I begin a lesson,
when the students are slumping into the room
like lineup suspects behind a two-way mirror,
I’ll inevitably imagine a gun leveled at my skull,
the slugs tearing through tissue and bone,
heedless as arena-bound bulls. If only
he could understand, this man in his combat
boots and tactical polo, that there is nothing
left to learn about death. Instead, I turn
my attention to the voices drifting
in from the quad outside, the young people
greeting each other like finches warbling
amidst the branches of saplings, high enough
off the ground that no one can reach them.
Jeremy Griffin is the author of the short fiction collections A Last Resort for Desperate People: Stories and a Novella, from SFAU Press; Oceanography, winner of the 2018 Orison Books Fiction Prize; and Scream Queen: Stories, forthcoming from Black Lawrence Press. His work has appeared in such journals as the Alaska Quarterly Review, the Bellevue Literary Review, the Iowa Review, the Hopkins Review, Oxford American, and Shenandoah, among others. He has received support from the South Carolina Arts Commission and the Martha's Vineyard Institute of Creative Writing, and he teaches Creative Writing at Simpson College in Indianola, Iowa