Excerpt From Upcoming Dave Housley Novel Hits The Rumpus
"It just all feels impossible. Pappas, who steals tape from the supply room, entire rolls of toilet paper from the bathroom closet, pens and microwave popcorn and Microsoft Word, standing here in his Dockers and Gap sweater, a millionaire? Cowens, who Robertson had to personally tell to stop saving porn to their cloud-based file storage? Mowery, with his weird Central Pennsylvania accent and his eBay store where he sells the motherboards they are supposed to be recycling, is worth eight point eight million dollars?"
In this Rumpus-exclusive excerpt from Dave Housley's upcoming novel The Other Ones, follow four of the principle characters in the novel as they discover that their detestable colleagues have become overnight millionaires. Artist, Lauren Kaelin, supplies original illustrations to accompany the excerpts.
Chastain and Craver are office friends and co-conspirators in cynicism, smoking together in the stairwell and poking fun at the fragile façade of the American office space. But, when their usual targets become recipients of one-way tickets out of daily drudgery, will they be able to sustain their cool detachment?
Robertson is a millennial a few years out of school toiling away in the company's IT department. His direct superior, Mowery, a MAGA-hat-wearing bud-light-swilling caricature of American intellectual indolence, is now a millionaire eight times over. While Chastain is already knee-deep in student loan and credit card debt, Robertson looks forward to years of honest toil and virtuous drudgery just to attain an iota of the stability Mowery has drunkenly stumbled into.
Russell is Robertson's foil, an old-timer who is long past caring about most anything other than keeping his head down and putting in whatever work he is mandated to perform.
Read about Chastain, Craver, Robertson, and Russell at The Rumpus HERE
And order The Other Ones HERE
“On the Road, Columbia, South Carolina, Spring 1959” A Poem by Reuben Jackson
“There’s much said in what’s not said in Reuben Jackson’s poetry. His cleverly sparse style often convincingly veils the complexities of which he writes, just until the poet sharply corrects our deception.” Linda Stiles
Those deceptions Ms. Stiles refers to above often come from Reuben’s use of the child’s point of view. As a child, the narrator, and reader by proxy, is looking up at the absurdity of adult interests and actions with a renewed curiosity. The narrator misses the cut of the barber’s words when asked “aren’t you proud of being negro?” The narrator cannot reason why the neon lights of the roadside motel are fading in the rear-view window, and yet his father seemed once so confident…
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