131 lines
2.9 KiB
Markdown
131 lines
2.9 KiB
Markdown
|
%title Malina
|
||
|
:writing:poetry:fiction:sawtooth:furry:
|
||
|
|
||
|
## I
|
||
|
|
||
|
'''
|
||
|
It was with no small amount of irony
|
||
|
that Malina lay down all of her finery
|
||
|
|
||
|
and went to work in a coffee shop.
|
||
|
The Book and the Bean was a short hop,
|
||
|
|
||
|
after all, from her home, close enough
|
||
|
that, after the walk, she was hardly fluffed
|
||
|
|
||
|
at all. Just a badger, a bit portly, a bit tall,
|
||
|
who gave up on a job in personal finance, one fall,
|
||
|
|
||
|
to, as she'd told Cyril, "head for greener pastures."
|
||
|
Internally, she couldn't shake the stress of last year's
|
||
|
|
||
|
troubles with the boss. Stupid git.
|
||
|
She'd promised Cyril that she'd be a good fit
|
||
|
|
||
|
and make things work out financially.
|
||
|
"Our house is paid off, we're substantially
|
||
|
|
||
|
self sufficient. Far more so than most!"
|
||
|
she'd said over that evening's roast.
|
||
|
|
||
|
"And I'm perfectly willing
|
||
|
to admit I'll never make a killing
|
||
|
|
||
|
working in a coffee shop. And if it doesn't
|
||
|
work out, I'm just as willing to admit it wasn't
|
||
|
|
||
|
a good idea, and head back to the books."
|
||
|
Cyril had given her the weariest of looks
|
||
|
|
||
|
and shaken his head, and that act, or non-act,
|
||
|
which showed his opinion of the fact
|
||
|
|
||
|
that moving from a comfortable CPA position
|
||
|
to a barista down the road, that that transition
|
||
|
|
||
|
was, perhaps, one big bad idea.
|
||
|
"It could work, but Malina,
|
||
|
|
||
|
please keep an eye on reality."
|
||
|
'''
|
||
|
|
||
|
!{Maybe continue there to more dinner/conversation?}
|
||
|
|
||
|
## II
|
||
|
|
||
|
!{The problems with boss}
|
||
|
|
||
|
'''
|
||
|
When one's coworker up and goes missing,
|
||
|
taking her life and leaving without even kissing
|
||
|
|
||
|
her husband goodbye,
|
||
|
it takes every good lie
|
||
|
|
||
|
you've told in the office and either makes you ask
|
||
|
why you told it, or shatters the carefully constructed mask
|
||
|
|
||
|
it implies. Your boss, for instance,
|
||
|
might come after you with some persistence,
|
||
|
|
||
|
aiming for a kiss here, a touch there,
|
||
|
Even as he wonders aloud, "Where
|
||
|
|
||
|
has she gone? And why?" It makes no sense.
|
||
|
You rebuff every approach and set up a little fence
|
||
|
|
||
|
around your desk, one made of papers and inboxes,
|
||
|
and work with your back to a wall to keep that fox's
|
||
|
|
||
|
advances at bay. It could be that you're just, you know,
|
||
|
imagining things. That your boss is just stooping this low
|
||
|
|
||
|
not because he's upset, but because you are.
|
||
|
Even then, it doesn't really matter just how far
|
||
|
|
||
|
he goes. Sigh. He's still an asshole.
|
||
|
One day, you reject and rebuff a pass while
|
||
|
|
||
|
explaining what a shitty thing that is to do,
|
||
|
and finally tell the truth about how little you care who
|
||
|
|
||
|
he thinks he is. He backs off, anger cool and plain,
|
||
|
but he does back off.
|
||
|
'''
|
||
|
|
||
|
(or maybe that's just you imagining things now that she's gone, etc)
|
||
|
|
||
|
(makes you question your validity as an employee)
|
||
|
|
||
|
## III
|
||
|
|
||
|
!{The first day}
|
||
|
|
||
|
## IV
|
||
|
|
||
|
!{Settling into a routine}
|
||
|
|
||
|
## V
|
||
|
|
||
|
!{Malina's existential unhappiness and the search for meaning}
|
||
|
|
||
|
## VI
|
||
|
|
||
|
!{A day in the life of the coffeeshop}
|
||
|
|
||
|
## VII
|
||
|
|
||
|
!{Cyril's interlude}
|
||
|
|
||
|
## VIII
|
||
|
|
||
|
!{The Book and the Bean}
|
||
|
|
||
|
## IX
|
||
|
|
||
|
!{A bad day followed by a fight with Cyril}
|
||
|
|
||
|
## X
|
||
|
|
||
|
!{Endless questioning into what happiness means}
|