“The Graves of Saint Paul” published at Hotel by Masticadores

Hello, everyone. My new short creative nonfiction story titled  “The Graves of Saint Paul” is now live at Hotel by Masticadores. I’m truly grateful to editor Michelle Navajas for sharing this piece with her readers at Hotel. It’s a bit of an anomaly for me as I generally write poetry exclusively. Back in my younger days (prior to giving up writing for twenty years out of frustration), prose was my vehicle for expressing myself, and although none of my fictional pieces from my early years found a home at a publishing house, they still hold meaning for me. It was a thrill to actually complete a short story again after thirty-three years, and I hope this is only the beginning and that more will come. This piece is based on elements of fact, with a bit of creative license included. Thanks a bunch, Michelle, for this opportunity.

“The Graves of Saint Paul”
© 2025 by Michael L. Utley

“My mother lay in the ground at my feet beneath sun-bleached summer grass and faded plastic flowers and a headstone I hadn’t seen for nearly ten years. Her name, Victoria, clung to the gray stone above a bas-relief of pines and wild flowers and blue birds. She’d asked for a cross on her headstone—made it clear to everyone that she desired her faith to be front and center after she died—but my father, in his infinite malice and pettiness, had chosen some random wilderness picture rather than honor her wish. Just one more reason I hated him.

And now, his name sullied my mother’s headstone.

Ten years. Ten years of shame and regret. I hadn’t visited my mother since the headstone was erected shortly after her burial. For months after her death, I made excuses to avoid the trip to town, to the cemetery. At first, it was too raw, too soon. Maybe in a few weeks, a month or two, then I could do it. And then my life flipped upside-down again and I relocated out-of-state unexpectedly and that felt like a more legitimate reason, but I always intended to visit her grave like a good son should. Except…except maybe I wasn’t such a good son after all…”

You can read the rest of my story here:

Also, please consider following and subscribing to Hotel by Masticadores, where you’ll discover a world of wonderfully imaginative and profound writing.

“The Graves of Saint Paul”

“The Graves of Saint Paul”

© 2025 by Michael L. Utley

My mother lay in the ground at my feet beneath sun-bleached summer grass and faded plastic flowers and a headstone I hadn’t seen for nearly ten years. Her name, Victoria, clung to the gray stone above a bas-relief of pines and wild flowers and blue birds. She’d asked for a cross on her headstone—made it clear to everyone that she desired her faith to be front and center after she died—but my father, in his infinite malice and pettiness, had chosen some random wilderness picture rather than honor her wish. Just one more reason I hated him.

And now, his name sullied my mother’s headstone.

Ten years. Ten years of shame and regret. I hadn’t visited my mother since the headstone was erected shortly after her burial. For months after her death, I made excuses to avoid the trip to town, to the cemetery. At first, it was too raw, too soon. Maybe in a few weeks, a month or two, then I could do it. And then my life flipped upside-down again and I relocated out-of-state unexpectedly and that felt like a more legitimate reason, but I always intended to visit her grave like a good son should. Except…except maybe I wasn’t such a good son after all.

When my father died two years later, that settled the issue, and I knew I’d never be able to look at that headstone now that it was desecrated by his name.

David. Wife-beater. Monster.

And yet, here I was, standing at the foot of the grave that held my mother’s bones and my father’s ashes, the midday sun hidden behind a thick overcast sky, rivulets of sweat accumulating beneath my baseball cap and running down my back, the world almost completely silent in my deafness, the scent of grass clippings in the still air. Here they were, together again, this time for eternity. My mother could never escape my father in life, and in death he had finally ensnared her forever.

I stood there, motionless as the stones that rose from this small acreage of sorrow, my mind blank, my eyes dry (still no tears after all these years–what’s wrong with me?), and my dead heart buried in my chest. I don’t know how long I was lost in that moment—time flows differently in places of death; sometimes it doesn’t flow at all. Not knowing what else to do, I whispered, “I’m sorry, Mom…” and lowered my head. I couldn’t bear the thought of my mother witnessing my guilt-ridden face anymore.

A few moments later, I noticed an old fellow approaching, moving gingerly among rows of crosses not far from my parents’ plot. He wore dull green overalls and a sweat-stained cap, the name Pablo embroidered on the left side of his chest, grass-stained work gloves jammed in his pocket, the butt of a Marlboro between thin lips, eyes buried in a crevasse of wrinkles. He stood beside me for a long moment, studying my parents’ headstone, then glanced at me and spoke.

I motioned that I was deaf—a little finger-dance between my right ear and lips, and pulled a small tablet and pen from my pocket and mimed for him to write instead of speak. He smiled and nodded and wrote, “Your family?”

After a pause, “My parents.”

Another nod, and this time he scrawled, “Victoria is a beautiful name, amigo.”

I looked at him closely. He was old, perhaps my parents’ age (if they still lived), and I wondered why the town would allow a fellow who was obviously pushing his mid-80s to tend the cemetery.

As if reading my mind, the man wrote, “I come here every day. Tend the plots, cut a little grass, gather the broken flowers—the dead deserve better, yes?–and talk to my Maria.” He pointed a crooked finger toward a cluster of pines and crosses. His attention lingered there for a bit, then he looked at me, his expression indeterminate, as though he were in deep thought.

“Your father,” he wrote. “David. I knew him.”

A gust of wind kicked up a few plastic flowers from a nearby grave, scattering them across the walking path. The man took a drag on his cigarette and eyed me intensely, then put pen to paper.

“Yes, I knew your father. Ese malvado matón… That cruel bully…”

I felt a headache germinating inside my skull and closed my eyes. A memory—completely unbidden—flashed in my mind, startling in its vividness and urgency.

Michael.” My father calling me. I am twelve years old. My father sits on the sofa, an old photo album spread open on his lap. It is early evening, my mother cooking dinner in the kitchen, my sisters chattering at the table. Some random sitcom plays on the hulking console television, a comedy laugh track in the background. I go to my father, terrified. What have I done this time? I wonder. He is grinning. This frightens me even more. “Look here,” he says, pointing a grease-stained finger at an old black-and-white photograph. My father smells of diesel and sweat and cigarettes. I am wary of his every move. It is a school picture dated 1949. My father’s second-grade class photograph. A dozen children stand stiffly, awkwardly, at attention before a run-down one-room shack, an elderly woman with a severe expression hovering beside them. “That’s me, right there.” His dirty finger moves to a dark-haired, cowlicked boy in a soiled white t-shirt with a missing incisor on the left. On the television, a man is arguing with a woman about a dog. “Now, see this little Mexican kid here?” He points to a diminutive Latino boy huddling in a ball at the far right, a dull expression on his grainy round face. “I used to beat the hell out of that kid every day at school.” My father grins wider, shark-like, and laughs. On the television, canned applause explodes and a commercial break begins. I swallow. I stare at the small boy with tousled black hair and knee-patched trousers and striped shirt, and all I can say is, “What was his name?” And my father beams at me. “Who gives a shit?”

I began to speak, but the old man waved me off. “Ah…it was many years ago, do not worry,” he wrote. “Life is long and hard, and we learn much or we don’t learn anything. Who’s to say?”

“Pablo. Your name is Pablo…”

A nod, a flick of the pen. “Yes, little Pablo, el niño pequeño. I was small, but quick. And I survived.”

“My father tormented you, and all these years I wondered who you were, what your name was, and why.”

“Amigo,” he wrote, “sometimes there is no why. Sometimes, there are no answers. Sometimes we must endure until we can fight back or escape.” His eyes softened. “If you’re looking for logic or sense in this lifetime, you’re on a fool’s errand. Just live. Just let go and live.”

“I don’t think I can…”

The old man flipped the page over and scribbled, “Look out there at all these graves, all these lives. Years and decades and centuries, gone and forgotten. But not quite, for old Pablo remembers them, old Pablo cares for them. When we are remembered, we live, and when we are remembered fondly, we live gloriously! Your mother–” and the old man motioned toward her headstone, “she is not gone. She remains forever in your heart because you love her. And she knows this.” He looked at me firmly. “And no matter what your father has done, he will never change her love for you. Trust me on this, amigo. I am old and wise, although my Maria might disagree with the latter.” He winked.

I glanced again at my mother’s name. It looked beautiful on the headstone. I will remember you well, Mom, I said to myself. The old man penned one final note on the tablet then returned it to me, squeezed my shoulder, and headed back to his Maria beneath the pines.

Just live. Just let go and live.

..

“How Swift the Stream” published at Hotel by Masticadores

Hey, friends. I’d like to let you know my poem “How Swift the Stream” is now live at Hotel by Masticadores. Many thanks to editor Michelle Navajas for publishing this poem. It’s an honor and a delight, Michelle.

“How Swift the Stream”
© 2025 by Michael L. Utley

“as gloaming eventide stalks dying light
to ambuscade the remnants of the day
diurnal requiems give way to night
how quick the gloom
eviscerates its prey

regretful skiffs of shame contuse the dusk
as shadows skulking on earth’s wretched rind
asphyxiate its palpitating husk
how cruel the dark
and all it renders blind…”

You can read the rest of my poem here:

Also, please consider following and subscribing to Hotel by Masticadores, where you’ll discover a world of wonderfully imaginative and profound writing.

“How Swift the Stream”

“How Swift the Stream”
© 2025 by Michael L. Utley

as gloaming eventide stalks dying light
to ambuscade the remnants of the day
diurnal requiems give way to night
how quick the gloom
eviscerates its prey

regretful skiffs of shame contuse the dusk
as shadows skulking on earth’s wretched rind
asphyxiate its palpitating husk
how cruel the dark
and all it renders blind

the dreams of men have withered into dross
the fruits of hope lie rotting on the vine
of apathy and existential loss
how foul the taste
of sorrow’s bitter wine

the torrents of the years in all their guile
and surreptitious whisperings betray
compassion’s current flows but for a while
how swift the stream
and all it sweeps away

“The Barn” (reprise)

(originally posted 11/12/2021)

“The Barn”
© 2013 by Michael L. Utley

On weed-strewn verge of fallow field
The barn still stands, a silent revenant
Of ages past, a mournful sentiment
Amid the dying elms concealed

Its boards the hue of ancient bones
The wind has long since scoured paint away
As season after season rendered gray
Once brilliant lively crimson tones

Dead teasel husks caress its skin
A memory of lilac, wild rose
And hollyhock a melancholy prose
No longer whispered in the din

Of bitter zephyrs in the loft
That magnify each sorrow-laden groan
Each pensive sigh and every hopeless moan
Of dreams denied and yearnings scoffed

On cupola atop the roof
The antiquated weather vane points north
In rusted rictus, ever drawing forth
That demon wind on cloven hoof

Inside, the haymow lost to time
Illusory, a phantom from the past
Whose gilded straws have disappeared at last
An unseen grotesque paradigm

The ladder to the loft on high
Clings stubbornly amid the swirling motes
That dance in hellish pace to eldritch notes
The song of death, fey herald’s cry

And from the loft extends the beam
That transits barn so high above wood floor
Above the stack of hay that is no more
And from this, like some ghastly dream

There hangs a rope no longer there
Recast ephemeral by passing years
Whose insubstantial form allays no fears
Whose memory I’m doomed to bear

All silence now, sere winter’s grasp
Has stilled the air, the motes drift in the night
In moonbeams pale, and from the rope drawn tight
About my neck, my dying gasp

Lilts softly in the midnight frost
As it has done each night for years gone by
Eternal recompense to rectify
All that I’ve done, all that I’ve lost

(Author’s note: I debated whether to post this piece for quite a while. Some of the imagery could be considered disturbing, particularly in the last two stanzas. I used the narrator’s suicide as a metaphor for guilt, shame and loss and how those emotions can haunt us for a lifetime. I considered inserting a trigger warning at the beginning and spent several days researching studies and opinions on such tactics, with the results varying widely and no real general consensus met on how to handle sensitive or disturbing material. In the end, I decided against a trigger warning for several reasons, and chose to add this note instead.

If you or someone you know is suicidal, please talk to a healthcare professional, call your local area suicide hot-line or discuss it with a friend or family member. Above all, know you’re not alone. There is help available to get you through this difficult time.)

“I Did This”

“I Did This”
© 2012 by Michael L. Utley
 
I did this
A handful of fear and feathers
The black eye of God
Dulling
Fading
Misting
Silent
A handful of blood and feathers
I did this
 
A tiny universe
Gasping for breath
Grasping for death
Stopped cold
By the golden orb of fate
 
I have seen myself
In the black eye of God
The dulling
Fading
Misting
Silent
Eye of God
And there I stood
An empty eternity
Before me
My marbled form
Rigid
My ivory eyes
Blind
Yet full of knowledge
A handful of bones and feathers
I did this
 
I cried
As the sparrow died
In my hand
Its blood a tracery
In my palm
A crimson filigree
My life line stained
In its death
I cursed myself
Railed at the sky
At the earth
At all things
Why
 
There is no why
There only is
And this was bitter
 
The dead bird
Was still warm
When I buried it
 
A handful of nothing
A heart crushed by everything
I did this