portion of the artwork for William C. Blome's story

What We Have Over There
William C. Blome

What we have over there is Daniel, who keeps peevishly watching Chloe rather long after she had stood all by herself—ramrod straight and solemn, dressed smartly in gray, looking down and chewing hard on the thin white stick of what just a short time ago was a lime lollipop—and had dropped a pair of metal chopsticks (both at once) into the storm drain that runs along the edge of the street. I’ll catch up with Daniel later and ask what conclusions he’s drawn or concerns he now houses, if any, though I’d guess he hasn’t even considered changing his mind about having Chloe pose for his sculpture. The Indochinese community here plainly want a monument of one of their ancient goddesses as an integral part of the large concrete arch under which all foot traffic and road traffic will have to pass, entering or exiting the northern chunk of Kokomo, and they’ve already confirmed they’ll be present in force when Daniel publicly inks a contract with the municipality. My understanding is that a major reason he won the design-build competition was because his proposal pictured and identified Chloe as the model to be used for the monument. That’s what he pitched, and I’d eat my felt fedora if it wouldn’t take a steam-locomotive-hitting-at-full-force kind of effort to get the City of Kokomo to agree to the use of a substitute subject.

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FRiGG: A Magazine of Fiction and Poetry | Issue 50 | Fall/Winter 2017