Sanjiv bhai approaches the boss

“Give me an advance, malik,” I told the boss.
“Why, you’ve probably pandered all your paycheck again, and not even half the month is over.”
“Yes, boss.”
“I bet you lost it all playing shuffle.”
“Yes, boss. That blasted shuffle.”
“You need to quit shuffling, Sanjiv.”
“I know, malik, I promise I will. But you know Mallika and the kids are starving.”
“All right, Sanjiv, one last time. The very last time.”

This boss was so easy. Every time I’d give him the same story, and every time it was the very last time.

But we both knew that very last time would never come. Mallika was his sister. And I was too addicted to pandering and shuffling. Besides being completely underpaid.

– Surendra Sparsh (© 2010)

Written with advance, pander, shuffle from 3WW.

Center, on right foot

One nail not cut. Must
have escaped last campaign. Tall
among short siblings.

– Leonard Blumfeld (© 2010)

An earth-shattering discovery that simply had to turn poetic.

Magic

For her, again and again

She opened her eyes, and they were all dreamy.
“That was magic!”

“Shall we do it again?”
She blinked her eyes in consent, and we dove into another one that left us utterly breathless.

“I could get used to this,” she said, “that was so –”
“Intimate?”

“Yes. I don’t think it could ever become routine.”
“Shall we try?”

“Let’s.”
And we did. And it still wasn’t.

When we came up for air after a small eternity, she smiled and said, “And after that you expect to take the girl’s clothes off, right?”

I burst out laughing.
“I thought it was funny, too, but not that funny.”

“Well, the funny thing is that I’m obviously kissing someone who has read Raymond Chandler, which is rare nowadays –”

“I love reading Chandler,” she interjected.
“and, if you wish, I’d only be too happy to proceed in the Chandler way.”

“We’ll see about that – eventually,” she cautioned, but with a twinkle. “First we’ll have to get some more practice with magic, intimate and routine.”

And we proceeded to do exactly that.

– Leonard “Raymond” Blumfeld (© 2010)

Written for Café Writing (Magic) and Option 5 Seven Things, but not quite going by the instructions. The instructions were “Give me seven examples of every-day magic.” Instead, I let myself be carried away by the Chandler quote which preceded the instructions:

“Alcohol is like love. The first kiss is magic, the second is intimate, the third is routine. After that you take the girl’s clothes off.”

Echoes

For her (who else?)

Past knocks on door, perturbing –
all a bad dream?

It was like this a long time ago –
an endless, semi-mute coexistence,

ups and downs brought on
by nothing but my imagination

(which is fruitful, very
fruitful, but hesitant to

come to the surface).
“You have a rich interior

life,” my therapist told me,
“it’s just that nobody

knows about it.”
She also told me that anecdote

about walking along
and stepping into a pothole.

That doing it once is ok,
even repeating it once

can be excused. But three
times means you’re

a bad learner. I am.
I can’t seem to wait

to set up the next pothole
for myself to step into.

– Leonard “He Who Suspects the Truth” Blumfeld (© 2010)

Written for One Single Impression and Echoes.

Fronzy in his new piece of heavy Detroit metal

Pressing the clutch in such a fine car was such delight. And the thrill of hitting the gas pedal, of that roar from the twin tailpipes!

Tomorrow Fronzy’s gonna sign up for a thousand shares of new GM stock. And he won’t tell Tilda about it for as long as possible.

Cause Tilda won’t be happy about it. Just like she wasn’t happy about that bloated gas guzzler, as she calls it, in the first place.

But there are some things a man’s gotta have, and there are some things a man’s gonna do.

– Leonard “Out of Love with Detroit” Blumfeld (© 2010)

Written to involve clutch, delight and happy from 3WW.

Daisy and Kuno

(Scenes from a not so reminiscent love story XVI)

“I treasure those immediate gestures of yours,” he said.
She heaved a sigh of relief.

“And I’d feared that those very immediate gestures
were the reason you’ve been silent all week.”

“Why, I love the immediacy of them! I wouldn’t
treasure anything else nearly that much.

Not nearly that immediately or moderately
or even vaguely.”

By that time she had forgotten who he was
and could not for the world remember

what gestures these might have been, and why
anyone would have called them immediate.

Happily, she began to look forward to another
day of grazing. In fact, to many other days of grazing,

to many months, or even years of grazing
on luscious alpine meadows like this one.

Or like another one.
The alfalfa of the future was shining brightly.

– Leonard “Silliness Alive & Well” Blumfeld (© 2010)

Written around gesture, immediate, treasure from 3WW.

Semi-Borgesian notes on this one
Borges was always good for a library-steeped, erudite explanation to make something purely imaginary entirely real. To confound my readers, I volunteer the following background information: Daisy was a black-and-white stuffed cow I brought back from a trip to the U.S. for my daughter when she was about 5 years old and going through a stuffed cow phase. Kuno was another black-and-white stuffed cow that my mother-in-law brought from the U.S. for my daughter, who was still going through the same phase, even though by then it was waning. I would tell my daughter bedtime stories about two cows called Daisy and Kuno. Kuno was madly in love with Daisy but occasionally unbearably overbearing. Daisy was capricious and could not make up her mind about whether she loved Kuno, detested him or was merely oblivious to him.

A world of friction

An attractive youngish woman dressed in some kind of frumpy lilac frock walked up to the desk that had been set up for the reading.
“Hi, my name is Frue.”
That surely had to be Sue, and I was about to quote Johnny Cash (“So how do you do!”), but thought better of it and smiled politely.
“I hear you’re a writer of friction,” said the woman.
“Of friction?”
“Yes, of froze.”
“Froze?”
I was beginning to sound very dull to myself, simply repeating her cues.
“Yes, froze, as fropposed to froetry.”
“That is true, I hardly ever write froetry. How about you? Are you a writer too?”
“No. I come from Frampton, which is near Frondon, and that is –”
“... in France?” I simply knew it had to start with an F and an R.
“What gives you that fridea? – No, it’s in Frotland, of course.”
“Which makes you a true Frot, I suppose.”
“Indeed, and I’m froud to be one.”
Was I ever going to snap out of this fruity world of friction?
I decided to steer the conversation back to the realm of reality ... err ... freality.
“So, Sue from Hampton, would you like me to sign a copy of my book for you?”
“It’s Frue and Frampton, and I don’t want you to frign a fropy of your frigging frook.”
“Oh?!”
“I came here for friction, and what did I get? Only frustration and fret.”
I frinally frinked my freyes – and that frid it.
Frue, with a frap of my froes, went up in a frume of froke.

– Leonard F. R. Blumfeld (© 2010)

Written for Sunday Scribblings and Friction.

The late phone call fib

For her, as usual

Late
at
night my
love did ex-
hibit the friendli-
ness of a steel brush when I called.

– Len "Will He Ever Learn" Blumfeld (© 2010)

Reality notes
What is it with her? You call and inevitably get the distinct frosty feeling she'd like nothing better than to shake you off the soonest possible. And it's not like I call at uncivil times, either.
But perhaps I'm only ultraresistant to hints that are as clear as a totem pole.
Started this one with the first words of a song by Joan Armatrading that is among my all-time favorites:

I need you

Late
At night
I feel so lonely
Here's a body next to mine but I'm feeling cold

And baby in the morning light
When I look in some stranger's eyes
It's then I know that the need in me
Is really for your paradise

I dance
I sing
But there's something missing
Every night a different name to call

But you know when I hold 'em tight
I always give the game away
I try so hard to make it right
But it always ends up the same

You know I need you

I need you
Like I needed you
The first time we kissed
I need you
And I need you now
And I can't resist
Standing by your door in case you leave

I miss you mostly in the night
And I miss you through the day
I hate myself for hurting you
Yes I know I drove you clean away

You know I need you
But now I need you

(Written by Joan Armatrading, from me myself I, released in 1980)

The intense immense ditty

Some people like it all intense –
I must admit I find that too immense.

Feelings looming like a tower
can do a lot to overpower.

How about some relaxation –
with plenty of room for imagination.

A steady love is what I crave –
steady, quiet, not one to enslave.

None of these spells and bouts I get from you,
and most of them come without a clue.

Some people like it all intense –
to me that shows a lack of common sense.

– Leonard “Calmly But Surely Intense” Blumfeld (© 2010)

Rhymed and timed for Sunday Scribblings and Immense.

55 words or more

There's a story called 55 words or less by J. M. Collinz (here), which inspired me to write this one, titled 55 words or more. Forget everything you've read so far. The story follows below. Hold your breath. Tie your shoes. Adjust your tie. Take your foot off the pedal while observing traffic to see that it's safe to do so.

Here it comes:

More

– Leonard “Dil Maange More” Blumfeld (© 2020*)

*This story is so leading edge, tunnel blasting and futuristic that I’ve put the copyright date ahead a bit.