The Dark Issue 4: The Dark, #4
By Jack Fisher and Sean Wallace
3.5/5
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About this ebook
The Dark is a quarterly magazine co-edited by Jack Fisher and Sean Wallace, with the fourth issue featuring all-original short fiction by S.L. Gilbow, Yukimi Ogawa, Silvia Moreno-Garcia, and Natalia Theodoridou.
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Titles in the series (100)
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Book preview
The Dark Issue 4 - Jack Fisher
THE DARK
ISSUE 4, May 2014
Mr. Hill’s Death
by S. L. Gilbow
Perfect
by Yukimi Ogawa
Phrase Book
by Silvia Moreno-Garcia
The Land Baby
by Natalia Theodoridou
Cover Art: Broken
by Susan Justice (aka McKivergan)
ISSN 2332-4392.
Edited by Jack Fisher & Sean Wallace.
Cover design by Garry Nurrish.
Ebook design by Neil Clarke.
Copyright © 2014 by TDM Press.
www.thedarkmagazine.com
Mr. Hill’s Death
S. L. Gilbow
Mr. Hill’s death is posted on YouTube. You can’t actually see him. Just the back of his sunflower yellow convertible, top up, cruising along a two lane road. The fifty-second clip, taken from a dash cam in a following car, seems rather ordinary at first, and you might think you were watching a typical drive through a wooded countryside. That is if the clip weren’t titled Tragic Car Wreck.
Emily Williams, a stack of notecards cupped in her right hand, slouches in front of a whiteboard presenting her end-of-term Tone Project.
Tragic, an adjective,
says Emily, sounding mildly uncertain.
The Tone Project is Mr. Hill’s way of giving his eleventh grade English students one last chance to boost their grades and review key terms prior to the final exam. Mr. Hill sits at a chair-desk combo in the back of the room grading the presentations. He’s not dead yet.
Pertaining to tragedy.
Emily glances at her notecards then looks at Nate and Janet and Mr. Hill, making eye-contact with each one, just like Mr. Hill taught her. Associated with death and great sorrow.
Acceptable,
Mr. Hill writes in the definition block of the grading rubric. Emily’s definition is accurate, but Mr. Hill had hoped for more depth, more insight. May not fully understand tragedy,
he writes.
Emily pulls a strand of blonde hair back behind her shoulder, clears her throat, and reads a passage from Macbeth:
Tomorrow, and tomorrow, and tomorrow,
Creeps in this petty pace from day to day
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Emily puts down her notecards and walks around the classroom displaying a diorama she made of a decapitation scene from Cut to a Scream, a recent horror film she highly recommends.
These things have a tragic tone,
says Emily, returning to the front of the classroom. People suffer and die and that is tragedy.
What makes someone’s story a tragedy? Mr. Hill wrote an essay on tragedy his senior year in college. The paper earned him an A,
and he has considered himself an expert on tragedy ever since.
Mr. Hill leans toward the classical definition. Tragic hero. Noble stature. Hubris. Self-knowledge. Reversal of fortune. All the ingredients from Aristotle’s Poetics.
According to Aristotle, and Mr. Hill, the tragic hero must be of noble stature. Mr. Hill has given that some thought, and sometimes wonders if he is noble enough to be a tragic hero. He’s a teacher, certainly an important profession, but not noble by the classical standard. He’s not a king. Not the principal. Not even one of the assistant principals. He’s been working at Meritville High School for eight years and hasn’t even made English department head yet.
Sure, he might rise to the level of Willy Loman from Death of a Salesman if you’re inclined to go with the more modern interpretation of the tragic hero. But he’s no Macbeth. Not even a Jay Gatsby.