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Giant

Colin O'Sullivan

1.

Giant takes giant steps. Giant leaps. Giant bounds. Giant long strides over everything and she lands with heavy legs on everything.

Crush.

Giant puts her big feet in the Seto Inland Sea, toes pass Ujina, careful not to disturb the gate of Miyajima.

Giant puts her foot in it, every time.

Giant is years old, years and years and has the wisdom of years. They do not know her, the young ones, and know not what she does. She has time and time on them

time and time and time .

Giant sees from above and looks down below.

And they look up sometimes, and don’t know her, as she goes about her business, for years and years, time and time again, and Giant storms off in a huff and sits her rump on the hump of Shinpozan.

 

2.

Giant is among one hundred and thirty million people.

That’s two hundred and sixty million eyes.

Not many people look at Giant.

What do they do with their eyes?

Look away! Look away!

Today she wears a short navy skirt and some might say that her legs are shapely.

If some would speak.

If some would look at her.

Not many people look at Giant (that’s two hundred and sixty million eyes!)

And when they do they look away

Look away! Look away! Look away!

3.

Gina meets a man. Gina meets (sing) Gina meets (sing) Gina meets a man.

This is a host bar. (This isn’t meet at all). She has entered. You pay good money. Is money good? This is a bar for women to talk to men. That is the meaning of host. They do not look away. They do not look away.

She knows he’s fake. So much is. But that’s ok. Ok, ok.

The shelves have comic books. Pleasure. The manga girls are raped by men in suits. The manga girls masturbate.

Gina says she wouldn’t mind. Wouldn’t mind a drink and so he pours. And lights her cigarette. She doesn’t want to sing tonight she just wants talk. She picks at nuts; she licks the bits of salt from her fingers. Does he see her when he pours, well, does he? Does he see her when she licks, well, does he?

Gina talks about work. Workworkwork. She says it’s not that interesting, and he couldn’t agree more, so he talks about fun. And Gina laughs.

Gina thanks the man and pays. You pay good money in a place like that. Is money good in a place like that? Do you have eyes to count your money or eyes to look at me? Well? Well, goodbye. Till next time. Maybe next time you will sing. Yes, maybe next time I will sing. Sing - Ginaleaves Ginaleaves Ginaleaves the bar.

It’s a long way up to

It’s a long way up to

It’s a long way up to the top floor of the Mitsubishi building. Many people look up at Gina on the edge. She hears them sing. Gina edge, Gina edge, Gina’s on the edge again. She thinks she can jump from this building to the big one over there. Just over there. She can make it. She can take it in her stride. She jumps everywhere, has done for years, from the hills of Iwate to the shores of Okinawa. Easy. She has years and years and years of this. Time and time nd time again. Oh, they are looking now. But they are not faces. They are a cloud of miso at the bottom of the bowl. Murk of miso. They are leaves at the bottom of the cup and not one of them stands up. She can make it. She can take it in her stride. Two hundred and sixty million eyes and Gina Gina Gina jumps

Look away! Look away! Look away!

 

 

Colin O'Sullivan is an Irish writer living and working in Japan.  His poetry has been published in his homeland and abroad in various magazines such as: The Shop, The Mermaid’s Purse, and The Stony Thursday Book. He has written several radio pieces for RTE radio (Ireland), some of which have been published in A Living Word, an anthology of prose featuring Irish writers.

Colin moved to Japan in 1999, to work as a teacher and began to write short stories. Recently, he has had stories published in Whispers of Wickedness and Gator Springs Gazette and accepted at Spoiled Ink.

Colin's previous work for VerbSap was Watching Candida 117.

 

Photo "Hand of Buddha" courtesy of Taro Taylor, London, U.K.

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