Emily Brisse Last autumn, as a way of passing the time on my commute, I spent a week or so listening to an audiobook of Albert Camus's The Plague. Early September had been A Room With a View, and prior to that For Whom The Bell Tolls. Those dark mornings and late afternoons placed me in a heavy, incense-sweet, tragically beautiful haze, one that fit in nicely with the falling leaves and thick sweaters and general rotundity of the season. It was easy driving. One part of me obeyed the traffic lights. The other diffused into those voices, those faceless sonorous narrators who lifted me above the asphalt into thousands and thousands of words--art, pine needles, rabbit, wine, sonata--nouns of a color, hue, and connotation writ with welcome. Perhaps this is why The Plague left my face pinched and sweaty, my fingers clutching the wheel, my skin itching straight into the hours I spent not driving but also working, eating, sleeping. Rats. Big rats. Rats with sopping wet fur. Rats that halted and spun and worst of all squealed right before blood spurted from their mouths. Vermin, one hundred percent. An infestation. A pestilence. A plague, for God's
River Teeth: A Journal of Nonfiction Narrative – Ashland University
Published: Oct 22, 2016
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