The Weirdness by Jeremy P. Bushnell

that he’s saying stuff like
pshaw
. He forges on, though: “I liked it.”
    Elisa pauses. “You didn’t read a second one, though, did you?” she asks.
    “I did not,” Billy admits, freely.
    “Well. At least you’re honest.”
    She walks to the edge of the sidewalk, cranes her head out into the street like she’s looking for a cab.
    “I see a bar,” she says. “You’ll be glad to know that it looks open. You want to get out of this cold?”
    Of course he does.
    They each have a shot and then they each order a second one. Talk thereupon quickly returns to the gripe they have in common, the Hyacinth piece.
    “It got me so shook up,” Billy says, “that I don’t actually want to read, like,
any
of my preexisting work.”
    “I know,” says Elisa. “I was up half the night writing six new poems. They could be good, they could be crap, I don’t even know anymore. But I figure, fuck it. It’s something different.”
    “Exactly,” Billy says. “Something different. That’s the key. I’m half thinking that I’m not going to read anything at all but instead do like a piece of, I don’t know, oral storytelling.”
    “Well, if it’s good enough for The Moth, it’ll work here.”
    “Oh yeah,” Billy says. He’d forgotten about The Moth. Somehow that shakes his confidence in the violent originality of his idea. A bit. Just a bit.
    They seem to have exhausted this line of conversation. She looks at him and he at her. The second round of shots arrives.
    “Cheers,” she says, and they down them with all due haste.
    Seconds pass. She looks at him. He can see the intelligence in her eyes at work, making some set of complex assessments. She leans in incrementally and her nostrils flare once: Billy would swear that she was sniffing him, if there was a way that that made any sense at all.
    She leans back. “Okay,” she says. “I don’t know you well, Billy Ridgeway, but you seem like an honest guy, and I like that.”
    “Thank you,” Billy says, and as he says it he realizes that he’s starting to
yearn
for Elisa Mastic. Maybe this breakup with Denver—for that is how he is now thinking of it—doesn’t have to be a bad thing. Maybe it’s a piece of good luck. Maybe it’ll be an opportunity: a chance to start over with someone who doesn’t know all his flaws.
    “I’m going to ask you a question,” she says. “And I want you to answer honestly.”
    “Okay,” Billy says. “Is this a test?”
    “This is a test,” Elisa says.
    “I’m ready,” Billy says. This is normally the kind of thing that would make him nervous, but the bourbon is helping.
    “The question is: What is the worst thing you ever did?”
    Billy blinks. He doesn’t want to think about whatever might be the worst thing he ever did. And whatever it is, he’s certain it’s bad, and he doesn’t want to let his bad side enter into full display. Absolutely not. The whole point, the whole goddamn
point
of this conversation is to showcase only his
good
side: to be charming and funny and charismatic. He looks around for a story that will highlight those aspects of himself but also maybe seem a little mean or over-the-top. It takes him a minute to find something that qualifies; during that time Elisa calmly examines her hand, all five fingers extended in front of her.
    “So I had this girl over,” Billy says. This is a Denver story, which gives him a queasy feeling, but he needs something. Elisa raises her eyebrows in a way that conveys a very guarded species of interest.
    “We’d been out,” he says, “out at some restaurant or having drinks or something, after what had already been a pretty long day, and then we got back to my place, totally exhausted, and I remembered that I didn’t have any clean laundry for the next day, and instead of just saying
screw it
I insisted that we go out to the Laundromat. This girl just wanted to lie on the couch and I made her get up and come with me because I wanted the company. I even