Sea Monkey Theatre

Cara Hoffman

   
 

If you wait until ten o’clock I’ll take you to the coffee place where they pour steamed milk on your cappuccino in the shape of hearts and trees. If you don’t want to wait you can go play, or if you want to go now, we can go now. I can just stop writing this and we can go.

Down on the sidewalk outside our place will be that guy who made the sea-monkey theatre. He’ll draw back the blue curtains decorated with crowns and castles, and reveal the aquarium set up on a little metal table behind it. Then he’ll play the sea-monkeys’ favorite music, which as everyone knows, is harp music. When he strums the harp, it seems like they are not swimming but flying around their little plastic castle, like fairies or angels. God knows how long sea-monkeys live. But they lead really fabulous lives that we can’t even begin to understand, and their concept of time is nothing like ours. If they die, for example, they can be resurrected. We call it reconstituted - but it’s the same thing as far as they are concerned.

Out in front of the coffee place those girls will be climbing trees. They’ll be wearing candy necklaces, and their heart-shaped fake tattoos will be a little faded. You can climb while I order our caps, but I won’t put sugar in yours because I don’t want to ruin the steamed-milk picture on top. I’ll put your cup next to me on the bench while you climb until you feel like coming down. And I’ll drink my coffee and smoke and read. Those girls in the tree have learned how to curse in several languages and also how to hang upside-down by their knees. If you want to practice those things yourself, I’ll spot you, or cover my ears.

If we get hungry later, we can eat. And if we get tired, we can go home. And if we get bored, we can make up some jokes. If our apartment was a sea-monkey theatre, the curtains that concealed it would be decorated with pictures of cars and houses, and the guy running it would play the banjo.

Inside our little apartment, as it would be revealed when the curtains are pulled back, we would be cooking, or playing cards, or talking about things. And the creatures watching from outside, whoever they might be, could read our lips and our expressions. They would say: That one’s the mother, and that one’s the kid. See how she’s laughing when he stands up and does that thing?

They would say: It seems like they are dancing to that twangy music, the way they move their arms around. And they would say: Who knows how long they live, but they lead really fabulous lives that we can’t begin to understand. When they die, for example, they can’t be reconstituted, so every beautiful thing that happens gets added to the next until it has a weight - see how the weight holds them to the floor of their castle so they don’t drift off? It’s the same weight that makes them laugh like that.

At ten o’clock, we can go do all that stuff, but if you don’t want to wait you can go play, or stay here. I can stop writing, and we can just stay right here.

 





 

Cara Hoffman is the author of Nike: A novel (Factory School 2004) and The Wedding (Factory School 2006). Hoffman is an associate editor of Fifth Estate Magazine, the longest running anti-authoritarian publication in North America.

 

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