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<h1 style="color: #ffffff !important;">The Way it Ends up </h1>
<p class="summary">[Originally Published in Issue 2] </p>
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<p class="byline">Carter Vance </p>
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<span style="font-family: Georgia;">You said with the cigarette swirl, demonstrating <br>
flight routes, the shape of Prague's astronomical clock <br>
chimes and everything you remembered about Copenhagen,<br>
that, “you still end up eating Subway sandwiches at <br>
uncleared cafeteria tables, you still end up in some corner <br>
with pens, paper and regrets, nursing an <br>overpriced Pilsner and tracing your fingers on the <br>
edge of a Lonely Planet pull-out map.” </span></p><p><span style="font-family: Georgia;">
You know I'd be one of those people in Beaches <br>
one day, growing a front porch garden, painting <br>
siding colours that would huff-up the Etobicoke <br>
Homeowner's Association, voting New Democrat out <br>
of a vague sense of guilt, and talking too much <br>
about Joni Mitchell and Neil Young in some<br>flicker-light barroom on some street without proper <br>
signage I'd take three calls to direct friends to. </span></p><p><span style="font-family: Georgia;">
And I knew you'd live in Little Portugal or <br>
Chinatown, chain smoke cloves out your <br>
window above an all-night noodle house, <br>
try to drown out your neighbours with lutes and <br>
piano keys and thrift shop swing records, <br>
skating on frozen town fountains and handling <br>
out anarchist newspapers to businessmen on Bay Street; <br>
clutching something of a future past to remind,</span></p><p><span style="font-family: Georgia;">
these white-walled and too-bright cafeterias days <br>
are only a phase, were only a phase.</span></p>
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