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The Writing Disorder is a quarterly literary journal. We publish exceptional new works of fiction, poetry, nonfiction and art. We also feature interviews with writers and artists, as well as reviews.

Seacoast Village
By the Mediterranean Sea
Girl Yellow
Color the Fun Building
Crauzet
Gravity and Grace
Molly
Sailboat
Weathered
Whimsical Row Houses
Contemplate and Relax

Tom Plamann

If I were an artsy artist, this is where I would put an “art speak” word salad paragraph. Instead, I will put down one sentence that you can understand.

I like to paint pictures that others like to look at.

https://www.tomslooseart.com/

https://www.instagram.com/tomslooseart/


Who I am:

After years of crafting stories and visuals as a media director, I’ve embarked on a new chapter—exploring the vibrant world of watercolor painting. What started as a creative curiosity has grown into a deep passion for capturing light, movement, and emotion on paper. Each brushstroke feels like an adventure, and every painting tells a story of its own.

This artistic journey has been both humbling and exhilarating, reminding me that the beauty lies not just in the final piece, but in the process itself. Whether it’s a serene landscape or a fleeting moment frozen in color, I’m grateful to share this evolving passion with you.

Welcome to my world of watercolor—where every drop of paint carries a piece of my heart.



Landlines

by Roberto Ontiveros


Three months after my father’s funeral, I started to wonder whatever became of my 8th grade crush Demi Mora.

“Demi” was, of course, not the girl’s real name.  Her Lanza Middle School ID card said Diana Racine Mora, which is a pretty nice name if you ask me, but this girl thought she looked like the actress Demi Moore, or someone told her that when trailers for The Seventh Sign came out and she soon got a nickname.

I never thought Diana looked like Demi Moore and never lied to her that she did despite how much that would have been to my advantage.  When I was a kid lying to people made me feel like a criminal.  Thankfully, by the time Indecent Proposal and Stiptease came out I was no longer speaking to her. 

Demi Mora preferred her fake name despite thinking she also looked like Jami Gertz, or that  “Elaine” character from Seinfeld too.  I could see “Elaine” a bit.  I did not dash her dreams about her celebrity self-regard, that she looked much more like her mother who looked like the singer Gloria Estefan – and how could this be an insult?  But it must have been because she preferred Demi Moore or the dark-haired lady who played a reptilian space leader on that NBC mini-series V, or Andie MacDowell; so I kept my mouth shut about the whole thing. “Demi Mora” did not look at all like Demi Moore.  I would have been happy to tell her if she did.

. . .

Since my Dad died, and my Mom moved in with my sister and her kids, and I was out of work and out of a relationship, I had no problem accepting the job of getting my childhood home ready for rental.

I have been going through boxes of saved stuff that I know I should throw.  I can trash most of the report cards and second place or GOOD TRY ribbons, no problem; school pics and hard to find Scratch ’N Sniff stickers, yeah, I’ll keep those and they won’t take up more than a MEAD folder to store. That was my routine.  Then I go for a walk.  Then I drink.

Deep into my routine of clean up and constitutional I kept walking past the Mora house and started to wonder about what looked like some serious neglect.  The dead grass and the flecked off paint.  I was surprised by the exterior suggestion of inner squalor.  I used to think that Demi and her family were loaded, which shows you how broke everyone was all the time.  Demi’s Dad had some kind of businessman job or he wore a suit and it was supposed to be big deal impressive.  But my Dad wore a suit too when he worked as the Shoe Department manager at Joe Brand or when he sold insurance or when he sold cars for that one week, so to me the big deal was all about the pretense that the Mora family seemed to affect.  Demi’s Mom did not have to work, so she fixed up the place with mirrors and vases; there was a den that was all bronze and wicker and blown glass, this sunken floor area of trinkets and objet d’art on display, and they had a maid who was about as old as Mama Mora, who looked like she could have just been related to them and who might have been a cousin too now that I think about it.  The family went on a winter trip and a summer trip and were members of the McAllen Country Club, which was all golf and sandwiches really and right by La Plaza Mall, so not that far from Mexico either and the most Mexican looking parts of McAllen.  The Mora home seemed to have a lot of fancy booze on display.  My family did not have any booze in the house ever.  Against our religion I guess, or my Mom’s Apostalic background.  My Dad adopted an (in the house at least) abstinence when he got with Mom. The first of many refusals of familiarity for my old man. Dad grew up Catholic but converted for my Mom, and in the end our family attended one of those nondenominational mini-mega churches that would always have guest preachers and we did communion but it was seriously Welch’s grape juice.  Back then drinking was a sign of class to me, and Demi would tell me about these dinner parties her family threw that she would sit in on to make me feel like I was missing out on some kind of high society down here in lowrider land, but really everything Demi bragged about was a TV joke, like she was describing a Dynasty episode.  Materially speaking, I have to say, I was pretty jealous.  The Moras had a big screen TV and they had that Porsche and Demi’s Daddy made like 70 grand a year, which sounds like nothing now, but which made him pretty well off in a the Rio Grande Valley where having HBO in 1982 made people think you were rich, and if you had a laserdisc player in 1988 it was like you were a big showoff.  Demi’s aspirations were all based on movies like St. Elmo’s Fire and Oxford Blues, those catalog ambitions to the preppie look and the occasional John Hughes friendly dip into New Wave attire à la Orchestral Maneuvers in the Dark.  She wanted to play tennis or said she did, and invited me to the McAllen Country Club a few times.  I never went and the invitation was extended to some other guy named Paul.

. . .

Nine months into being back in my childhood home, and asking myself why I was still here and was still walking past Demi’s old home, I was struck with a kind of impulse to walk up to the door of her old home and ring the bell. This was not any idea that made sense.  I knew from Google searching all variants of Diana Racine Mora, that her father was dead, and that she had married someone in another city and changed her name to Frost. 101 Lucite really looked ruined right now, like no one could live there.

The mouth of the mailbox was open and letters were there ready for someone to take them if so inclined.  Dry dead grass but there was a car in the driveway; covered in a black car cover.  It was mid-morning enough that if anyone had to leave for work the car should be gone,  and I was so curious.  I walked up to the veiled vehicle and lifted the black car cover and recognized the maroon almost sugar ant-colored Porsche right away.  Same car that Demi had been promised as 14-year-old she could drive when she got her license.  My heart raced when I thought that Demi Mora could still be here in her childhood home – just like I was back in my old childhood home.                                                                     

I approached the sliding glass door by the kitchen I knew so well and got a look at myself in the reflection.  I remembered how much Demi liked that I, at fourteen, resembled the lead singer from Depeche Mode.  I did, it was true, so scrawny and with that big sexy nose and black hair, but that was then.  I looked like a demonic Richard Gere today.

I rang the bell and heard a little dog yelp and then silence as a door closed and the little dog was likely put away.  I rang the doorbell once more, and stood straight like I was really supposed to be here before this door and at this hour.                                                             

The woman who opened the door was wearing black biker shorts and a sports bra like some fantasy I would have had in the 8th grade, when gym class erotics colored my daydreams.  The woman had black hair with a few white wisps along her bangs, indicating that she was a contemporary and did not bother dying her hair.  She had a very familiar face that I could not place.  Could this woman actually be Demi? Demi Mora after some very specific Mia Sara-centered surgery?  Mia Sara, the ingenue from Ferris Bueller’s Day Off was yet another actress that Demi believed she resembled.  But I was the only one she ever dared share this information with. The reason she was quiet about the Mia Sara thing was because there was another girl in our grade who really actually did, no joke, look like the actress and was just as innocent looking as her “Lili” character in Legend, right before “Lili”  meets up with Tim Curry’s “Darkness” character and has that black lipstick dance with her shadow self.  The true Mia Sara lookalike was a girl named Claudia Sanchez who I really believed was playing up the act of a kind of shy beauty that might make the resemblance more obvious, like she was in the know on her attractiveness and exploiting it.  Then one day when I heard her talking to our teacher in Spanish, it dawned on me finally that the girl was an ESL (English as a Second Language) student and was very likely uncomfortable talking in class.

I said hello and felt my face smile in honest cheer.  I was about to just start to lie, just make up a story about seeing an ad for a car for sale on this street and say that I thought this was must be house, but upon seeing the inside of the Mora home, it’s tan and oak color scheme, the bark brown carpet still there and evermore threadbare, I opted for a very basic honesty.  “I know this might sound like a joke but a girl I used to know lived here in this very house like twenty-five years ago and I am feeling this certainty that she is still here.”  I said this to the woman at the door, then I said my name and that I was very close at one point to Demi Mora, and I said that her real name was Diana Racine Mora but she might go by Diana Frost these days, unless she is divorced and then I don’t know.  I made sure to signify that I did not know much.  “I don’t know if you know where she has gone to, but I recognized the car out here and thought … Hey, I just had to make sure.”

The woman’s eyes widened but no lines appeared on her forehead.  She looked still and like she could not move her face.

Then she started to nod and there was even what looked like sudden recognition.  When she said my name I knew that this woman was somehow Demi.  My heart started beating faster and I felt something close to fear but subsided when the woman at the door invited me in.

“Oh my God, Bob, I have not seen you  in …,” and now the woman placed her left hand over her eyes as if closing them to truly consider the years, adding: “Well, you might know better than I how long it has been.”  She walked over to the leather couch to sit, not looking at me at all now, as if she could not meet my eyes and speak her words at the same time.

I was shaking my head a little, smiling though because this all seemed like a joke.

I apologized for interrupting her during her workout, and she shook her head in what seemed like some sly mockery of my obvious unconcern for interrupting anyone: “These are just my clothes, Bob.  The clothes I am wearing here, trying on old items from … Jesus, from back when we used to talk on the phone all those hours all those years ago.”

Standing by the bronze hat rack, not yet even trying to get comfortable in a room I had been in perhaps twenty times, I nodded at the information that seemed obvious and true and also dizzying to me.

“I was thinking about you, you know, all week.” she said.  “Do you believe it?”

Now this felt like a genuine put-on and I said: “Why and just how … yeah, I want to call you, Demi, but something is holding me back.”

“Those notes, Bob, all of those dang notes we sent each other in Mrs. Malta’s English class.  When we were kids we left notes all the time, and then all the phone calls. I was looking at my old journal and it seems I liked you a lot but that you liked me much more.”

This was the truth, but that did not mean this was the true Demi.

The woman went on: “Everyday we wrote notes and you … you even wrote poetry sometimes, sometimes even about me, and I still have all that, of course.  So, I was thinking about you when I found the notes, just yesterday, just last week … I was reading the notes over and over thinking about what you would look like, or really who you would look like now. You looked like different people I remember.  I have two pictures of you my Mom took when you visited.  You look like a singer I don’t listen to anymore and an actor I have not thought of in like twenty years.”

This was approaching a mad plane of compliment and conspiracy.  But I liked how this woman was talking to me and responded: “You know … you don’t … look like what I recall at all.”

“I had work done,” the woman said, very plainly, “and I will have more work done – it will take a while.  It will take … I don’t know … another three or four years to be okay with what I am.  So it is not quite my life’s work.”

My eyes went right to the bar.

“Ah, I see where you are looking,”  Demi said and started walking over to the setup of decanters and high end Scotch.  “I drank all the time then when we were kids, more than I ever do now that I am getting healthy.  I drank on the phone with you and when you came over I drank but you never saw me drink because it was more fun you just thinking I was that kind of natural trippy-tipsy.  I have not had a drink in a while, Bobby.  Will you join me for a bourbon and water and we can understand all this together?”

The woman did not have to ask twice.  When she walked over my eyes scanned her calves for an asterisk-shaped birthmark that always caught my eye when she wore this one black skirt I loved to see her in.  I did not see the birthmark.  Although she could have had it removed, I reasoned. 

“Yeah, I will take that drink,” I said.

I was glad to have it, and was comfortable enough with it in hand that I joined the woman on the couch. When I got up to pour my second drink we moved to the kitchen area like I was getting a home tour.  My simple questions were answered simply.  Yes, of course, she had left home, but had decided that she really needed to take care of this place, now that her Dad was dead and her mother was having memory trouble.  Watching the woman take a kind of pride in her sacrifice to spruce up her childhood home, it dawned on me that there was no way this woman was really Demi Mora.  That twenty-some years since I had last seen her could not account for an increase in perhaps three inches of height.  The real Demi was always wearing pumps to seem taller, and this Demi had a pronounced widow’s peak.

The girl I knew from Mrs. Malta’s 8th grade English class, did not.

I would have really known what she looked like too, all that time looking at her in class and at night I even drew her face from memory sometimes, sitting before the TV watching Cheers go to Night Court and scribbling out her face in my spiral notebook like it was some kind of important homework.  I blushed thinking about this, and would make a point to find those pages and get rid of them now, but, yeah, I knew her face.  This very attractive grown up lady I was sitting with was not her.

But I liked that I was talking to this brazen fake, and the fact that I did seem to actually recall a secret charm.

“Did you get into an accident or something?” I asked now tipsy enough to spill into speculation and have it be forgiven as a slippy style of chat.

“Oh yeah,” the woman said, “tons of work done, so much work. I am surprised you can even recognize me,” she said with zero irony while shielding her eyes and forehead from me with her right hand.  I noticed – as she did this mock gesture of shyness, a gesture belied by the smile beneath her index; her thumb and forefinger poised a centimeter from touching as if holding an invisible cigarette – that her wrist was thin and her fingers were spidery-slender.  Demi did not have those kind of fingers, and in fact would often bite her nails and get angry at her very bones; she wanted her cheekbones to show and would suck her cheeks in when she looked at mirrors, and she wanted specific cheekbones of certain models. She used to cut pictures out of what she joked would be her future face all the time.  Her cosmetic surgery threats were obviously more about fishing for compliments than anything else, but they unnerved me, made me feel as if the girl I was staring at would soon disappear.  As I was recalling all this, the woman I was drinking with held her palm out as if to frame her chin and said: “Don’t look at my scar; it never went away,” and she seemed to really mean it.

“I see no scar,” I said and the woman touched her left ear.

She put her palm down and smiled for nine seconds.

“Good. Very good. Maybe the Mederma I use worked,” she said when she was done smiling.

I wanted to leave suddenly, feeling that I was talking to a mad woman but I also had a curiosity to know more.

I asked her what her plans were for the day and then closed my eyes as she started to tell me her chore list and her evening aspirations, which includes organizing lots of old photos now that she was sure there was a reason she was going through middle school memorabilia, and then taking in a swim at 3 p.m. I kind of tilted my head in suspicion because I knew the Mora house had no pool, and the woman corrected herself by adding: “Above ground Jacuzzi.” I smiled at her clarification, making my desire to see this version of Demi again obvious.

With my eyes closed, listing to the woman talk I really got the voice of the Demi Mora I knew so well, from hours and hours of being on the phone with this person late at night and all the time talking, this forever middle school flirting that went nowhere and was really a kind of torture that taught me I was no masochist.  Jesus, it was that same voice, but when I opened my eyes it was not the same girl: no way this was Demi.  When I opened my eyes I looked at her lips. The pout on this pretender was nothing I recalled but that did not matter.  If the real Demi ever had a problem with her lips she would certainly have no problem with them now.

“Do you have any pictures of us from when we were kids? I remember once when I was dancing with your sister in this very room, your little sister, who was like five-years-old, who wanted to dance in the room and it was like a trick you made her play so you and your mother could take pictures of me being silly and I was all upset when you showed me the secret pictures because of  my intense profile.”

“I like your nose,”she said.

“I liked it for a while too,” I said.  “It was better before it was broken, I mean,” I added, then felt wrong for not just taking the compliment from a woman who I knew had only just met me but was acting like she knew me for years.

Fake Demi shook her head, and said: “No one would know anything about your nose unless you told them, or right away they would not.  No one knows anything at all unless you tell them,” she said like this was some hard won truth.

. . .

As soon as I was back home I knew this was not Demi Mora. I sat in front of the TV and put on some Family Ties reruns from when I had a big TV crush on Justine Bateman’s “Mallory” character.  I pulled out a mostly blank spiral notebook from my Career Investigations class,  which was a home for doodles anyway, and started to draw the woman I had just visited from memory with a ballpoint pen.  I recreated the imposter’s features from my brief encounter and then looked at this fast sketch, saw the widow’s peak and the large eyes, the grin and did this woman have slightly pointed ears too or was I making her more and more elfin in some playful way of unwinding?

I pulled a few beers out of the fridge and then went online to cyber stalk the real Demi Mora like some jilted and now obsessed ex-lover in a movie. Pictures of her were around if I went for the real name: Diana Mora now Diana Mora Frost. Alive and not living on Lucite Street at all, but still in town, not very far from our old junior high, on Vine Street.

Someone rang my doorbell.  I never got visitors and did not get up to get the knock to deal with UPS I was not expecting or pizza I never ordered. I kept typing around for more information and then I wanted another drink.

Close to what should have been dinner time, I opened the door to look outside for no reason, to just stare out onto the lawn of a neighbor I never spoke to, who had likely seen me for months now and also not bothered to say hi.  I went back to the kitchen to drink water and wet my face and think about dinner options that would require little work.

  . . .

The next morning I skipped any kind of morning walk and kept on doing those easy internet searches to figure out the Demi mystery.  Her Dad died ten years back.  Some casual social media searching led to family funeral pics where I saw the real Demi who always liked to wear black anyway, here in these shots wearing black for mourning purposes: she was thicker but recognizable; this was her, the exact same way she did her hair, no doubt her, and that was her little sister too who ended up looking just like her, and the brother, who looked now so much like the dead Dad, and a very tiny lady who looked like all the adult kids in the picture.  I knew these people.  This imposture in their house was not related in any way.  I called up the landline number I still remembered later and when the woman pretending to be Demi answered I asked if I could meet her. 

“Sure thing, Bobby. You could come by anytime and meet here,” she said.  “You know where I live.”

“Yeah, I could do that and I would like that but I want to see you outside that house,” I said.

The impostor was quiet for a bit then said: “Can’t do that.  Not for a while.  I have to be here for some time.  Call it a kind of house arrest.”

“Someone came over and rang my door last night.  I did not answer.  No one ever comes by,” I said.

“Ah, that was not me,” she said. “I don’t have any idea where you live.”

“I’ll come over,” I said.

 . . .

I picked up a bottle of wine and a tallboy at the Circle store and then went into FedEx place next door to print out the most recent online pic of Demi Mora I could find. The image was thirteen years old and was taken at some marketing event where Demi dressed in what I recall she always wore: skirt and blouse and pumps in this picture.  I could see even in this picture the insecurity that she was battling. There were no other pictures of Diana Mora Frost online and I had the strong hunch that if she could get rid of this one picture she would.

The impostor I came to confront smiled when she saw me and let me in and said: “Look, Bob, if you don’t mind watching me do some chores you could sit right here at the kitchen table and I will be done in about twenty minutes and then we can talk.  For real, like even in fifteen I will be off the clock,” she said like she was a maid, and it then occurred to me that she must be in fact something very close to a domestic, someone hired to be in this house and keep it clean and keep it going.

The outside of the Mora home looked a horror of dry grass and neglect.  No one was taking care of that, but here inside things were … what? Returning? Yes, returning to something familiar for someone who would know.

I heard a familiar little doggie yelp down the hall whereupon this version of Demi palmed some kibble from a cleaned out Whip Cream tub on the shelf and walked over to placate the animal, by leading it to the bathroom where it would be gently shut away with treats.

Feeling very comfortable and free I opened the fridge and noticed how bare it was, save for a whole side shelf of Slim Fast and fruit-at-the-bottom Yoplait and a single green glass bottle of Perrier on the top shelf.  I recalled that Demi would buy these items when she was fourteen and often make a big show of purchasing fad diet foods and try to get me to compliment her purchases or tell me she did not need them. The items would just fill the fridge like trophies of body insecurity.  There was no beer, which was what I tried to stick to these days, and I realized that, of course, there was never any beer here.  This was a Scotch and soda house with the wine coolers for Mommie maybe, whiskey and wine and Gin and top shelf bourbon for Dad and for his sip-sneaking daughter.

I poured myself a glass of the booze I brought over and waited a few minutes while I saw Fake Demi motioning back and forth looking like she was vacuuming but she was not; it was some floor-roller device that just picked up lint and string or fortune cookies and confetti with no noise and no vacuum cleaner smell.

The Merlot I brought was this cheap brand I was always wanting to grab because when I was a kid I used to see the empty bottles of this brand in my friend Billy Thoren’s home, washed and sitting up on the bookshelves like decorations.  Sometimes a candle, sometimes filled with little fish tank rocks or pesos or sand like the boozeless bottles were now art.

I took another sip and then poured Fake Demi a glass.  I knew that as a kid the real Demi talked about having wine with her family, or lied about it to sound cool and sophisticated and also to disparage people who drank beer.  I was convinced that this put-on all came from TV shows where some parody of a snob and a pastiche of a lout are arguing wine versus beer like it was all some deep discussion on the virtues of varietals. Almost always when a show tries to do this joke the cliché characters exchange drinks and end up appreciating each other’s palette.

Fake Demi sipped in gratitude then exhaled and started to flick her black hair from her widow’s peak back into place as if preparing to be seen.

I held up the picture of the real Demi Mora and kind of waved in front of me slowly like I was being carted down a ticker tape parade.

“Oh, Bobby, that takes me back,” she said and leaned in as if to study the picture. I thought we were all a little dressed for some retirement party,” she said. But Debbie’s last day, right?  Let her see us looking like we are about to go clubbing, right?” She said this and laughed and then smiled like it hurt and placed her left palm over her eyes in happy fatigue, not trying to fool anyone at all.

I had no courage in my frown, and I wanted us to come clean, despite the fun I suspected could be had if I stuck with the lie.

“You’re not this woman,” I said. “This woman who when she was a girl used to write out lists of actresses she thought she looked like and ask me to rate them from like 1 to 5 who she resembled the most. You’re not this woman who when she was a girl was in ballet all elementary then quit when she was twelve and forever after blamed the lack of dancing for a perceived extra ten pounds. You are not this worried woman.”

“No, Bob. I am not that woman,” she said.

“But you work for her,” I said.

The imposter nodded, then shook her head, then clarified that she only worked for mother Mora now.  “After Mr. Mora died I started working for the family.  Doing … doing what I still do now.”

“Being a housekeeper? Or groundskeeper? Being ….”

“Being her daughter, being Demi Mora.”

“For her mother?”

“For her mother, yeah, but really for people who come by.  For you. For everyone who needs Demi to be here now. For Demi, who is a very private person these days, who does not want to be seen, who I have not seen since her sister hired me for this gig after their father’s funeral.”

I took a sip and as the woman looked at the work picture of a woman she was pretending to be.  She started trying to make her face the way Demi always did, to make her cheekbones more prominent for pictures, taking a deep breath then getting serious and stern with her lips, her full and naturally full lips, that were nothing like Demi’s despite the similar magenta lipstick that matched the color of the Porsche outside and under a black car cover.

The lovely imposter touched her widow’s peak, and I could see she was trying to push her head up and tilted it ln the way Demi would. That she had really studied her part.

“Where is Mama Mora?” I asked out of genuine concern.

“In her room, of course. Would you like to say hi?”

“No, I’m leaving.  But you could tell her that Robert stopped by.”

The pretender shook her head. “She won’t remember you.  I know she won’t.  I have brought up ‘Robert’ and ‘Bobby’ and ‘Bob’ a few times. I asked her again last night but she does not know him.  She does talk about a guy named Paul.  She calls him that ‘good guy, Paul.’ I think she would really like to talk to Paul.”

I stood and walked over to Fake Demi and said, “Paul would like to talk to her too.”

“Then let’s go in and say hi,” she said, and smiled as if a bet that would deplete no one’s personal economy had been settled.

I held the pretender’s hand and we started to walk towards a door.  I was fully prepared for there to be no one at all behind the door and that perhaps this girl was taking me to her bedroom or pulling some major prank but then she called out: “Mama, you’ll never guess who is here to see you?”

And a woman’s voice shot back, quick as if just woken from a nap, curious and glad to have a visitor and glad to have surprise. “Who, mija? Who came to see your Mama?”

My skin pricked with happy anticipation at the familiar voice of Demi’s mother.

I looked over at the caregiver for approval to commence the beneficent con and when she nodded back I said, “Mrs. Mora, it’s Paul. I am here. I came all this way to be here for you.”



BIO

Roberto Ontiveros is a fiction writer, artist, and journalist. Some of his work has appeared in the Threepenny Review, the Baffler, AGNI and the Believer. His debut collection, The Fight for Space, was published by Stephen F. Austin State University Press, and his second book, Assisted Living, was published by Corona/Samizdat Press, which will release two novels, Secret Animals and The Order of the Alibi, in a single volume.







Setting Sun

by Cynthia Pratt



Time as it turns into,
what, a noose, a lock
with no key?  Here,
a list: braggart, turnstile,
a shopping list with missing
items, family, no family.

What do you want when
time creeps in through
shadow doors and there
you are; you turned into
a doorknob that never
opens.  Let me explain.
This age thing we fell up
against flattened you
into the soil that once
was my life.  Now,

it’s my turn, soon
because the sun moves
across the sky drawing
me into longer, thinner
shadows—first my legs
stretch out, then my torso.
My arms lean down to
the earth; my head extends
like a rod reaching for
the horizon.  I surprise
myself when each morning
I awake, thinner and thinner
but breathing steadily
into an unknown sunset.



Defining Want



Think of the intransitive,
that of being needy or destitute,
to feel need, to desire to come,
or go or be. Think of where to,
where from, of what, in this
definition. Or maybe to fail to
possess, the ardent yearning
to covet. Oh, my hunger,
I pine, salivate, lust for this
sin, this ache more now
then ever in my youth,
that time so many years ago.



BIO

Cynthia Pratt is one of the founding members of the Olympia Poetry Network’s board which has been in existence for 35 years. Her poems have appeared or are forthcoming in Raven Chronicles, Feminist Theology Poetry, The RavensPerch, The Last Stanza Poetry Journal, 3rd Wednesday Magazine, Humana Obscura, Kestrel Journal, Sad Girl Diaries, among other publications, and in six anthologies, including Washington Humanities and Empty Bowl Press, I Sing the Salmon Home (2023). She also has poems in three other upcoming anthologies, including Bird Brains: A Lyrical Guide to Washington State Birds. Her manuscript, Celestial Drift¸ was published in 2016. Her manuscript, That Wild Knocking, is forthcoming in 2026 through Finishing Line Press. She is a former Lacey Councilmember and Deputy Mayor of the City of Lacey. She is the first Poet Laureate of Lacey as of 2022. She reads too many murder mysteries and talks to birds.

Website: Cynthia-pratt-poet.net







Make a Wish

by Sohana Manzoor



1.

She sat in the shade of a champak tree in the garden of her host family. It was late October and slightly chilly. Not a single flower bloomed in the garden and not one spec of joy in her heart. Her six-year-old son played by an old fountain with the statue of a water nymph and she watched him unmindfully. Tears welled up in her eyes uncontrollably. There were all gone – all her four brothers. They would never hug her again, or even tease her about her cooking, or the splattered kajal around her eyes. A spasm of renewed grief shook her and she bit her lower lip to control herself. Her mouth filled with warm fluid with metallic taste. Just a little blood, she thought. But her brothers, mother, and father lay in pools of blood, and there was nothing anybody could do. All killed on the same night.

That was when she saw him. An elderly man was seated in another chair not too far away. She could have sworn that he was not there minutes ago.

“Where did you come from?” she asked, her voice croaking. “And who are you?”

“You wouldn’t recognize me, even though you’ve seen me before,” he said, a faint smile on his lips.

She looked at him suspiciously. Dressed in a plain white punjabi and white pyjamas, the man had an elegant aura about him. He wore a pair of gold rimmed glasses and his greyish beard was trimmed. He did seem familiar, but she could not recall where she had seen him.

“Do you want anything from me?” she asked. “I was a princess like Snow-White even two and a half months ago. But as she lost her mother, I have lost my entire family. Now I don’t have a country or home, I am worse off than a beggar woman…” her voice faltered.

He nodded. “You cried so much young lady that I had to come. Make a wish. What do you want?”

She laughed through her tears. “Make a wish? Like a fairy-tale?”

He nodded. “You just said you are a fallen princess, didn’t you? So, tell me Princess, what do you wish and it will come true.”

She smiled sadly. “Thanks for trying to make me happy. But I… I don’t know…”

“Is it so difficult to wish when you crying for your loved ones everyday?” He paused and nodded. “Keep thinking then. I will come back.”

When she looked for him a moment later, he was not there. Was she hallucinating or something? This was bad. Her husband often said that she was drowning in depression. But what could she do?

2.

She waited at a huge airport. Life in the past five years had been difficult. A well-wisher here, a friend there. She had been hosted by so many people in so many countries that she had lost count. Finding asylum had been difficult. Then two months ago, she had this phone call telling her that the military commander who had taken over after her father’s death had been killed in a coup. The ruling government was inviting her back to her country. She and her husband would be reinstated as honourable citizens.

Now that she was finally going home, things seemed unbelievable to her. But was there actually a home waiting for her? Her family was gone like the spoof of a smoke. A handful of cousins and tattered memories were all she had left from that past life.

She looked at her two children sitting across her in the airport lounge and her husband who was a doctor by profession. Where would they house her, she wondered. It could not be their old house where her entire family was killed, could it? The team of young men who had worked as a go-between had said that she and her family would be living in a guest house until other arrangements were made. Her husband had suggested that they could be living in his family residence which was not too far away from her late father’s house.

He leaned towards her. “We’ve two hours still. I’ll have the children eat something. Do you want anything? Orange juice?” He was never a very handsome man. But talented. And reliable. That’s what her father had wanted for his only daughter. “Marriage and love are two different things,” he had said. She looked at her father’s chosen man. Yes, he was reliable and had followed his fallen princess of a wife like a doting husband. But her heart never really warmed up to him. Not quite.

She shook her head. “I’m not hungry. You go ahead.”

He left with the children throwing a worried glance at her. These days he saw a gleam in her eyes that made her appear very different from the tearful woman he had grown used to seeing.

“Is it time for you to make your wish?” A mild voice woke her up from her reverie. A man in a plain full-sleeve grey shirt sat in the chair vacated by her son. His parted hair was slightly ruffled and he wore gold rimmed glasses.

She had not forgotten him, but she had thought that he might have been just a figment of her grief-stricken mind.

“What can I wish for?” she asked as she bent forward. Her hazel eyes shone as if they had some lurking secret not yet fully realized.

“Anything. You are the chosen one, and we thought you deserve a chance.”

“Who are we?”

The man did not reply at first. Then he said, “It’s too complicated. Just tell me what you wish.”

“And everything will change?” she scoffed.

“It will happen eventually.”

She sat up straight. “I want revenge,” she whispered.

“Revenge? On who?”

“Those who killed my family.”

“What do you want to happen?”

“ I want them to suffer. I want justice.”

The man seemed thoughtful. Then he said, “Revenge and justice are two separate things. Your wish has not taken a concrete shape yet. As long as it is not a concrete wish, it can’t really happen. Keep thinking. I will come again.”

And he was gone.

3.

The welcome reception at the airport blew her away. She had not expected so many people and such a mountain of flower bouquets. When her father had returned home after being held in the enemy prison, wasn’t it exactly like this? That was more than ten year ago. She saw many faces through her tears—welcoming her home as the lost princess, the only remaining descendant of her great father. She wept tears of sorrow and tears of joy. All this time she had wondered how not a single person protested the gruesome murder of her father. He was the leader of the nation, and he was always surrounded by people. How could they have forgotten him like that? Now she learned that there were many who loved and respected him. But they were also afraid, of their children and family even if not for themselves. And yet, there were people who protested and died for him too.

She met the new president. He was a military man but he was respectfully calling her “elder sister.” He had promised her a new house and status already. Her husband was to join as one of the directors at the nation’s most prestigious hospital.

“I assume you would want to rebuild your father’s political party? I understand that the leaders are eager for you to join and perhaps take over? Do what you need to do. You have my heartfelt support.”

The world around her started to change fast. But soon she realized that stepping into her father’s shoes would not be so simple. She was a woman and while the people saw and respected her as her father’s daughter, she was also expected to listen to the male advisers of her party. She often thought about the old man she had seen in the garden of her old friend, and later again at the airport. When would he come again? She wanted to become a great leader like her father. She wanted the nation to follow her and she would lead this poor country to become a leader in her part of the continent.

At night, she sat before her dressing table and said, “Make a wish,” she whispered. “Now I know what to wish for.”

But it would be still some more years for her to come across him again.

4.

Eight years later she stumbled across a scenario she had never envisioned. Even though the military leader helped her to reinstate, his was not a democratic government. And there were movements to overthrow him.

In her mind there was not a shred of doubt that hers was the most prominent political party in the country. But lately she had noticed that one of the other parties also gained a lot of attention. She did not understand public sentiment—how they could support a party that was at least partially involved in the murder of her family. She often wondered how the people of the country forgot history so easily. She promised herself that when she became the prime minister, she would make sure that people knew the correct history.

The election took place and the results just stunned her. Her party did not win the majority of votes. It was the other party, the man slightly younger than herself at the helm of the party, who was elected as the next PM. The people of the country called him “the uncompromising leader,” while she herself was recognized as “the autocrat’s adopted sister,” albeit her father being the most respected leader of all times. All their preparations for celebrating victory were discarded. She found herself crying in her room, alone.

“Now is perhaps the time to make your wish?” She saw him sitting in the easy chair of her bedroom. How did he get in here? She had no clue. But she sat up straight and said, “I want to become the prime minister of this country.”

The man took off his glasses and started cleaning them with a piece of cloth. “You want to be a leader?”

“First, I want the power to punish those who destroyed my family. Then yes, I would also become a leader greater than my father.”

“Hmm.”

“What? You think I can’t be a leader because I am a woman? I don’t want to be that princess who ‘lives happily ever after.’”

“There is no happily ever after,” the man said finally. “You should, however, know that such a choice will harden your heart. You will become the prime minister, but you will also cease to be the daughter your father cherished, the sister you were, or the woman who is loved by all those around her.” He paused again and looked at her fully for the first time. She realized that his golden eyes saw the past and could decipher the future.

She faltered and asked, “Is it wrong to seek justice?”

“What you seek is revenge and power. And those are the things that destroy the human soul.”

She went silent.

“I will come to you again. You must let me know then.”

5.

Years passed like the running waters of a river. She noted that the dynamics in her family had changed. Her husband stopped complaining that she was not the loving and caring wife she used to be. Her son and daughter did not seek her out to share their troubles. They sought solace elsewhere. She tried to compensate her time for her children by providing them with all kinds of comfort she could find—the best teachers, the best schools, the most modern gadgets, expensive dresses, all the best things. They were her children, her most cherished treasure after all.

Then that time came when two of her most trusted friends and allies were killed in a bomb blast. She questioned her old advisors—how come they had no inkling. Her capacity to lead the party was questioned. She felt battered and bruised.

She sat at the back of her residence on her favorite swing. She had cried so much that she felt she had nothing left.

“Where are you? I am ready to make my wish,” she almost spat out the words. “I will sacrifice everything. I have to become what even my father could not become.”

“So be it,” the faint whisper came not from too far away. The old man stood near the guava tree. Brown leaves fell around her as blessings or curse, she did not know. There was something akin to regret in his eyes. And then he disappeared.

6.

The next several years were years to rebuild what she had lost, and claim what she never had. Those around her noticed her iron-will. She took decisions that often seemed cruel, but they were necessary for her party. She discarded old friends and advisors of her father and invited new blood. There were lawyers, business tycoons, media people, all those who had something to offer. She secured funds, promised power and positions to her new supporters.

Her party rose and she started to being recognized as the formidable daughter of the old leader. Finally, her turn came and she became the prime minister.

“Mirror, mirror on the wall, who is the smartest of them all?” she whispered to the full-length mirror of her dressing room. Once upon a time, she thought she was like Snow White. But the words she spoke were uttered by Snow White’s step-mother who wished to devour human hearts.

What she wanted was to become the most powerful of them all—something that the next election might change. So, she started strengthening her empire. She also started eliminating her enemies one by one. She would never make the mistakes her father made. She had come to rule, and she intended to rule as long as she lived. Maybe from beyond grave.

During the next election, there was nobody left to contest her. Only 17% of the voters came to the polling centre. The results showed that 82% voters came. And she became the PM again.

7.

One evening, she was getting ready for a social program when she saw her old friend sitting quietly at one corner of her dressing room. Did he have a special message for her? She was suddenly happy, but was taken aback by his words.

 “What do you mean that someone else is getting to make a wish? Am I not the chosen one?” she asked.

“Your time is up. There is only one way for you left—to go down.”

“But why?” she asked in a trembling voice. The dreams of her father had only started to come true.

“Look into the mirror. You had it designed in a way that it would show the reflection  of the daughter your father loved—a young, innocent girl yet untainted by the muck of life.”

“Are you trying to say that I am tainted now? Let me tell you I have always upheld my father’s teaching.”

“For once, do take a look at yourself. Humans most often don’t even know what they wish for.” He sounded impatient.

She closed her eyes, and slowly she turned around swirling and twirling in her pale blue jamdani saree that cost more than four lakh taka. She was seventy-two years old, but this full-length mirror hid her age well and showed a woman closer to her girlish figure at twenty-two. Yes, the saree was a bit on the expensive side, and there were reports that the country people were facing famine. But she was a queen and the queens never faced famines. Slowly, she opened her eyes and as her gaze rested on the reflection, she could only belch and stare.

A piercing scream brought her attendants to the dressing room finding the PM in total disarray.  She was trying to disentangle herself from her saree and screaming, “Bring that old man to me. That wicked old man that made me see false dreams.”

“What old man?”

“The man who was here just a few minutes ago.”

They looked at each other. “But no man came this way, Madam.”

Then someone gasped, “What happened to the mirror?”

Everybody turned to see the super-expensive full-length mirror in the PM’s room cracked from side to side.

8.

She had heard about the girl who was rising fast. A mere chit of a girl who was a student leader. Unlike her she carried no legacy. And yet, Fate had chosen her as her replacement. The only thing she could do was to wait. To wait for the girl to make her choice. She wondered what would happen to her. Would she end in the prison like many of her enemies? Or would she be killed in a coup like her father or the military general who had him murdered? How many did she herself had tortured and murdered? A cold, black fear coiled and recoiled in her heart and she felt she was falling down, down, and down.

If only she had another chance. She would make things different. She promised.

9

She woke up in a room that certainly was not her lavishly furnished bedroom. She looked around. It was an ordinary bedroom in an ordinary house. The bed she was lying in was a single bed and there was a window at the foot of the bed. She got up. She was dressed in plain cotton shalwar kameez of a light pink and white print. A table and  a chair stood in one corner. A few books were on the table along with a small flower vase with Arabian jasmines. A wooden closet also stood beside the table. Where was she? The room did seem vaguely familiar.

Gingerly, she walked toward the door when her glance fell on a mirror hanging on the wall. An oval shaped mirror with a bronze frame. But who was she seeing? A slim young woman with hazel eyes stared back at her. She wore her long, dark hair in a plait. She froze momentarily in surprise. And then she heard a long forgotten booming voice, “Tell your sons not to act like hooligans. Beating up other people’s sons makes me look bad. Where are those rascals?”

A woman’s voice followed. “They are just boys, a little too spirited perhaps. But they are your sons. Give some money to the father and say you’ll reprimand them. It will be okay.”

“Right! How many more shall I pay off? Do you know your eldest son insulted one of the senior members of the party?”

“I will talk to Salim,” said his wife in a placatory voice.

She stood rooted to the spot. That’s why the room seemed familiar. Her eyes filled with tears at the thought of being back with her parents, her brothers. She wanted to rush out and hug them, and yet she just stood there. A small seed of a thought had started to germinate in her mind already. Now that she had another chance, would she back her father and help him reprimand his sons? Or should she, like before, stand with her mother and pamper them? What had happened in that other life? The boys that used their father’s name and ran amok the streets like bandits. Looting banks, beating up opponents, raping women—what did they not do? They paid with their lives bringing down their parents and other family members as well.

And her father? Was he really the great leader she had tried to present to the world? Didn’t he also have his opponents mercilessly murdered? If he was a true leader, why was he killed like a common criminal? The searing pain of that loss maimed her in a way she had never envisioned.

She stood behind the closed door of her old room, a different thought already taking shape in her mind. Her promise was to change things. But what would she change? She was merely the daughter of the family. She would never come to the limelight if her brothers lived. Could she give up all that glory and power and live under the shadow of her brothers?

Her heart throbbed. Slowly she turned the knob of the door, ready to face her family. This time, she would make her choices consciously.



BIO

Sohana Manzoor is a writer and storyteller from Bangladesh, with a PhD in English from Southern Illinois University Carbondale. Her work has appeared in Bellingham Review, Eclectica, Litro, Apple Valley Review, Best Asian Short Stories, and elsewhere. She is the editor of Our Many Longings: Contemporary Short Fiction from Bangladesh, published by Dhauli Books in 2021.Currently, she resides in Vancouver, Canada.







CORONA

by Daniel Buccieri



Victor showed me a framed photograph titled Cielito. It depicts the interior of an old van, perhaps a Volkswagen Bus, pre-1970 because the windshield is split into two segments. In the photo, on the dashboard, in the sharpest focus sits a delicate Virgin of Guadalupe figurine. A symbol of salvation. An endless blue sky beyond the windshield provides the richest wash of color. A little slice of heaven through the windshield of a Volkswagen, frozen in a photograph.  

Anything Volkswagen reminds me of Big Steve. Interior of an old van in a photograph along a whiteboard sill at UCLA – Big Steve. The guy down the block in the VW auto club – Big Steve. The cover photo the album of Double Nickels on the Dime by The Minutemen, an interior of a VW Bug – Big Steve. That album even opens and closes with the fragile metal rumble sound of a Volkswagen engine rolling over. I only know that because of Big Steve.

He was obsessed with all things Volkswagen. So consumed that he got the VW logo tattooed on his calf. We called him the Volkswagen King. His crown an unkempt wave of brown curls. Sometimes slicked back tight with the grease. Other times, just tendrils reaching out for a small piece of sky. By the time he was 22, he had already owned over 50 cars, the majority of them Volkswagens. He would sift through the Auto Trader papers, searching for cheap, broken cars. Big Steve would buy them. Repair them. Sell them. He took a picture of every car he flipped and kept them in a photo album. Just like they were loved members of his family. Maybe they were.

He would reminisce about the cars he had nurtured and released. A ’66 Squareback in lima bean green. A ’63 Bus, the one with the tiny rear-view window. The ’72 Bug with the battery top exposed just beneath the backseat, and if someone were to bounce too hard on the seat, the spring could spark against the battery terminals and ignite a fire. I remember sitting in the back of that black bug. Whoever sat in the back had the responsibility of keeping their nostrils on stand-by at all times. Detect smoke, sound the alarm. Heading somewhere north on the 15 freeway out of Temecula, I thought I smelled smoke, despite a deviated septum and fucked up sinuses.

“I think we are on fire!”

Big Steve’s thick fists yanked the steering wheel, hard to the right. The black bug skittered across lanes, sliding when balding tires hit the loose dirt of the shoulder. Four of us exploded out of the doors and rolled onto the gravel. Big Steve grabbed the fire extinguisher from the bug’s trunk in the front of the car, pulled up the back seat above the battery. Then paused. He revolved to face the three of us. False alarm. I was relieved of my duties as human smoke detector.

I knew nothing about cars VWs or otherwise, but I was drawn to Big Steve’s infatuation with them. He never held on to a car for very long. He was always on the lookout for the next one. At a red light we would pull up next to Volkswagen and he yelled out the window, “Hey, wanna sell it?” That usually didn’t work. But it didn’t stop Big Steve from trying. When he was between cars, I would drive him around the old, empty, rural, sections of Riverside County. Nowhere places with names no one has ever heard of. Places maps forgot.

“Hey, slow down,” he would say with eyes fixated beyond the windshield, searching for the round fenders of the VW bug, or the rectangle panels of the Bus. Always hunting the circle with the V, a crown above the W inside. The emblem scratched into his calf for eternity. And when a Volkswagen was found, doesn’t matter the state it was in, running or not, containing wheels or not, even if it was just the hollowed out shell of a car, Big Steve would order me to stop my car and let him go knock on the door of a complete stranger’s house. I could never do something like that. I live with a sometimes paralyzing fear of awkward situations. Knocking on a stranger’s door, in the middle of an unincorporated expanse of tumbleweeds, trailers, transplants from another place, another time, and asking them if they were interested in selling the VW heap out in their yard–awkward. I remained in the driver’s seat and watched from behind. Big Steve, with one hand always pulling down on the wire curls of his exaggerated goatee beard. The other hand perched on the soft rolls of flesh that tugged at his t-shirt and fell beyond the grasp of his belt.

Most trips ended with no transactions. But Big Steve never let that deter him. It was the great finds of the past that drove him to continue searching out the next big VW score. The next photo for his album. The next member of his automobile family tree. He was 22. I was still in high school. I was happy just to tag along. I enjoyed following madness around. There was always something to new learn about life.

One searing Riverside County afternoon, out on the car hunt in the crags and ridges of Aguanga, Big Steve instructed me to stop at a ramshackle liquor store off of State Route 79. He hopped inside and came out armed with a six-pack of Corona and a smile of all teeth and sunshine. He directed me to a bluff, over-looking land that stretched out south and to the east until it was swallowed by the horizon. Land that looked untouched by the wheels of time. Riverside County now, but it was once Mexico. But it was once Nuevo España. But it was once Luiseño tribal lands. Then it became a prize to present to the King. A jewel for the crown given by the conquerors. Then it became a swathe of rural communities fighting against the desert for existence. Then it became a place to search through for discarded and forgotten Volkswagens.

We sat on the hood of my car, sweating under the sun, and split the six-pack. We took a break from the car hunt. I probably listened to a Big Steve car story, or a girl story, or a combination car and girl story and looked out at the terrain that lives beneath a blanket of endless blue sky.



BIO

Daniel Buccieri lives in Los Angeles with his wife and two children. He has taught World and US history in the Los Angeles Unified School District since 2003, twice being recognized as the district’s teacher of the year. His writing has previously appeared in various literary journals and in the UCLA Writing Project annual anthologies since 2009. He loves spending Sundays in the kitchen cooking dishes so exquisite that now his family just cannot eat Italian food anywhere else.







This is What the Moon Whispers at Midnight

by Erika Seshadri



I am
betrothed to the tide
through darkness and light
in consequence of
eras, epochs
eons

Over millennia
I’ve watched the argosy
sail forth in brine and solitude
brimming bow to stern
with hiraeth

I’ve witnessed
this century’s secrets
flow like water through gills of
ancient Greenland sharks
to be buried ever
deeper

I move
stony-faced, inured
as ruthless hundred-year storms
rage in succession—
one right after
another

You’ve prayed
for withering waves
among this contrition for decades
but you won’t find
forgiveness
in the sea

Though its rising
is of no concern to me,
I must say, it looks like you could be in trouble now



How Far They’ve Come



when the refugees arrive
let us wash their feet
tenderly
so we can know
how far they’ve come
to stand where we stand,
each tremulous soul.
let us place around their necks
lockets grown from
softness, bursting
with heartbeats
yours, mine, theirs

like brothers and sisters,
mothers and fathers

then we will
flatten our feet
and refuse to become soldiers
until our voices wither
and we become un-



BIO

Erika Seshadri lives in Lamy, NM. She is a 2025 Best of the Net nominee. Her first book, HIMALAYAN TSUNAMI (Memoir; Austin Macauley Publishers; Erika & Niranjan Seshadri), won a 2024 BookFest Award and is currently being adapted for film.







Rohk & the [nearly] Marvelous Maurice: the Intern of Doom

by Andy Schocket & Paul Cesarini



Rodriguez barely dodged the next blast, diving behind the remains of the ticketing counter. Three more searing bolts shrieked past, gouging deep scars into the moldstone and turning the backstop into a smoking ruin. A stack of nearby museum holomaps ignited, sending half-burnt pages spiraling through the air.  He glanced up—just in time for another beam to rip past his head. The heat singed the tiny hairs on his left ear, filling his nostrils with the acrid, strangely sweet stench of burnt flesh and paper ash. He grimaced and slunk down behind the counter.  He watched as one of the smoldering maps slowly landed on the floor next to him.  Pity, he thought, those were the new ones that had just arrived that morning.  He remembered how much he liked the sheen of that paper, how the maps had all the updated exhibits, and how he was actually listed as Assistant Curator for one of them. With a sigh, he licked his fingers, snuffed out the embers, and carefully folded the map into his pocket. If he made it out of there alive, he’d order another case.

“Repent!,” Patelinu roared again.  Rodriguez heard an explosion somewhere to his left, across the Great Hall, followed by a shower of plaster hitting the floor. Whimpering floated from that direction, likely Neersif, the new employee in visitor outreach. Some first week for her, he thought.

“Are you an authorized employee of this museum?” an unfamiliar voice asked from behind him. He turned to see a dark grey, granite-like stone slab hovering about two units off the ground. A network of pulsing, lighter-grey and whitish veins ran from its lower left to its upper right, interrupted only by, around a third of the way up its polished front, a horizontal metal rectangle framing a thin slot that ran around across its ‘face’. A few black wires ran from the shiny metal behind its back. How this thing got in the building on an inservice day, he had no idea. 

From behind the slab floated a lavender-colored cephalopod, alternating between translucent and opaque.  Rodridguez noted that it was roughly the size of the armoire from the predynastic Crittig exhibit downstairs, then quickly dodged another beam before seeing it slice clean through the cephalopod and hit the wall directly behind it.  The cephalopod barely noticed.  It turned slightly to view the wall, right as another beam also went right through it, then held up one of its tentacles as a third beam passed through it, as well.  Rodriguez felt an odd humming in the air and an equally odd crackle of static electricity.  He looked down at his forearm and saw his hairs standing on edge, then glanced back at the cephalopod just as it changed from lavender to a muted pink.  A fifth beam ripped out at it, but this time it bounced off that same tentacle, leaving a tiny indentation that quickly healed.  The cephalopod lowered it, then pivoted and faced him.

“Well, perhaps it’s not sentient.” The voice appeared to come from the slab, although Rodriguez had no idea how. Two of the cephalopod’s tentacles made a shrugging gesture. Another blast hit the wall beyond them, near the freight elevator.

“I didn’t say it definitely wasn’t sentient. I just said perhaps,” said the slab, seemingly to no one at all.  “What?  I don’t think we need to ask if it’s sentient.  It either is or it isn’t.  What good would asking do?  No. Why would we do that?  If it isn’t sentient, it won’t understand what we’re asking it, right?  If it is, then the question itself is irrelevant.”

The cephalopod, still facing Rodriguez, held up a single tentacle between itself and the slab.

“Fine,” said the slab.  Yet another beam sliced by, obliterating the Museum of Indigenous Technology – Main Entrance sign behind them.  “Be that way.”  The slab turned toward Rodriguez and, in a somewhat exaggerated tone said, “You there, are you sentient and, if so, are you an authorized employee of this museum?”

“What? I’m… I mean, well…” Rodriguez half whispered, half hissed.

The slab moved closer, somewhat uncomfortably closer, then moved past him and faced the counter.

“I said, are you sentient and, if so…”

The cephalopod stretched out another tentacle and gently tapped the back of the slab.

“What is it now?” said the slab, pivoting around.  The tip of the tentacle motioned down toward the still cowering Rodriguez, right as yet another beam shot by and blasted the last remaining batch of maps.  “This… being?” said the slab, motioning toward him.  “You think it is the sentient one?  Really?” Another two tentacles drifted over, pointing to Rodriguez, with still another resting on the back of the slab, nudging it toward him. “But, this countertop is a dense, igneous substrate, likely millions of cycles old.  You don’t get to be that old without sentience.  It takes skill – wisdom – to reach such an age.”  Another tentacle made a dismissive gesture.  “Really?” said the slab. “Biological life forms all look the same to me.  I mean, how do we know it doesn’t run around on all four limbs, gnawing vegetation?  Hold on.  I’ll ask it.  You – creature.  Are you sentient?”

“Um, well, y-yes?”

“Ah, sentience.  Do you gnaw vegetation?”

“Well, um… my species is vegetarian, so, yes?” he said, his eyes darting back and forth from the slab to the Great Hall.

“I see.  Apologies for confusing your primitive appearance with a lack of sentience.  You’re an employee of this institution?”

“I-I am.  I’m sorry, but could you keep it down? We’re in a…. situation here!”

“You certainly are,” the slab replied. “And it’s very serious.” The cephalopod folded two of its arms, and wagged a third at Rodriguez. “But we’re here to help.”

“Great!” A wave of relief came over Rodriguez. “What are you going to do about…?” Rodriguez pointed a thumb at the Great Hall. Another explosion boomed.

“We are here to solve that problem. I am Rohk,” the slab said. “The Seventh Kalun of Inthwatan, Heir to the Great Wapghniki, and Bearer of the Sacred Nvokol!”

There was an awkward pause, until the cephalopod reached out a tentacle and tapped the slab.

“And this is my Tendril, a member of a parasitical species that travels with me.”

The cephalopod tapped the slab—Rohk—less gently.

“A symbiotic species.”

The cephalopod folded two of its arms, then started tapping the ground loudly with another one.

“Its name is Maurice.”

The cephalopod’s skin pulsed.

“No,” Rohk said, annoyance creeping into his voice, “I’m not saying that.  You’re not ‘Magnificent’. You don’t just get to be ‘magnificent’.”

The cephalopod’s skin pulsed brighter, changing from pink to red.

“No,” said the slab.  “No one here is magnificent.  Look around.  I’m not going to call you that.  That’s just not a thing.”

The cephalopod flashed bright red.

“Fine,” said the slab, exasperated. “This is Maurice, the… nearly Magnificent.”

A burst of colors that reminded Rodriquez of fireworks played across Maurice’s body and limbs, and it looked like it started into a dance.

Another “Repent!” drew Rodriguez’s attention away from the cephalopod. A blast from Patelinu’s mouths passed within units of the display holding the Precious Holy Urn of G#πan. Words came back to him from his first day of training: All of the artifacts here are rare, but PHUG, which is how Curator Chanyit referred to it, is our crown jewel.

“So, um…” said Rodriguez, still cowering behind the counter,“You’re here to help, right?” Maybe this was some sort of ancient enemy or keeper of the technology or species or being that was or had possessed the artifact that Patelinu had been putting in the display case, he thought.

“And help we shall. I am a Level N-92 agent of the Intergalactic Museum, Archive, and Cultural Depository Confederation’s Asset Inventory Authority’s Sub-Agency for the Reconciliation of Interdepartmental Documentation Informatics.”

Maurice tapped Rohk.

“Maurice… works with me.”

“Wait, you’re with what?”

“You probably know our sub-agency by the more popular acronym we call ourselves.” Rohk emitted a series of low-pitched wails, interspersed with guttural clicking sounds that grew to a crescendo to the point where Rodriguez felt his teeth vibrating inside his head, then it abruptly stopped.  “It rolls off the… what would this species call it?” Rohk paused. The cephalopod turned slightly green, then slightly bluish.  “Yes, tongue, right?”

Rodriguez stared at them blankly.

“Species in your quadrant usually just refer to us as the Confederation’s form guys.”

Rodriguez nodded. That, he somewhat understood. He faintly remembered from various trainings and, since then, overheard snippets of conversations among department heads about how much effort Confederation compliance could cause. It was a relief to find out that the Confederation could also ride to their rescue.

 Bolts hit somewhere in front of Rodriguez and to his right. He was probably safe for now, but maybe not if Patelinu came much closer.

“So,” Rodriguez whisper-screamed, “you’re here to help us?”

“Naturally,” Rohk responded. Traction-fed paper began emerging from the slot on Rohk’s front, a seemingly endless scroll of it that Maurice caught as it came out, tearing from the edges thin strips of paper with holes punched in it—perhaps, Rodriguez guessed, to help guide the paper out of Rohk—and folding the sheets until, finally, they stopped, with Maurice holding a stack of paper that appeared to be thicker than Rohk. Where all that paper came from, Rodriguez had no idea.

“Are you authorized to complete Form FHP-5812-R-7?” Rohk asked. Maurice proffered the ream-sized stack to Rodriguez.

“What? We need to fill this out for you to help us?”

“You need assistance, correct?”

“Repent!” Patelinu thundered again, and the sound of four bolts exploding against what to Rodriguez sounded like the museum’s newly-installed, massive, perfect-to-scale 1/200th-size model of a ceremonial chamber from the Great Temple of Bixfhloshadon. He and the curation team spent nearly three cycles researching and consulting on the construction of it. Rodriguez didn’t need to look to know that it was destroyed beyond repair. He turned back to Rohk and Maurice.

“Can you just stop Patelinu, or whatever’s possessed her – now – before she destroys the museum? I’ll get an office head to fill that out later.”

“Tell me more about this Patelinu.”

“She was recalibrating the Trinquidernian Cube, like she does every week, and then all of a sudden she started – ”

Two blasts exploded, and Patelinu roared “Repent! Repent!” Rodriguez peeked out, and quickly calculated that, given where Patelinu was and where the blasts had hit the wall, they couldn’t have missed the PHUG by much.

“That,” Rodriguez pointed a thumb toward the Great Hall. “First her eyes started glowing  purple, then she started telling us to ‘repent’—why or about what, I have no idea—and then some sort of energy bolts started coming out of both her mouths.”

“I see,” Rohk said. “The Trinquidernian Cube is exactly the exhibit that we came here to address. Do you have Confederation certification 12-HZ, and do you hold a supervisory position?”

“What?” Another bolt hit the ceiling at the other end of the Great Hall. “No, look, I…”

Rohk emitted a sound somewhere between a sigh and a groan. “Maurice, after all that prattling, it appears that this functionary does not possess Level 4-N authority.”

Maurice put the back of a tentacle to its forehead and shook its entire head back and forth.

“Sentient being, can you please direct us to a properly certified supervisor?”

“I think Johesh is pinned down by that big stone arch leading to the Lower Wing.”  He picked up one of his maps and pointed to where, when Patelinu had first gone berserk, he had seen Johesh dive for cover.

“Excellent. Maurice, come along.”

Rohk glided out into the Great Hall, with Maurice trailing.

“Wait!” cautioned Rodriguez, “you’ll get—” As a bolt came in their direction, he ducked back behind the ticketing counter’s rubble. He heard two sounds in rapid succession, the first a loud electric popping sound coming from the direction of Rohk and Maurice, the second the now-more-familiar report of a bolt hitting plaster. He looked out to see Rohk and Maurice continue toward Johesh. A wisp of smoke rose from Rohk’s upper right—corner? Shoulder? Did that thing, being, even have what could be said to be body parts?

“No,” said Rohk, apparently addressing Maurice in a frustrated tone, “that energy emission was entirely unauthorized.” Rodriguez watched as Rohk continued in a straight line, seemingly oblivious to the bolts screeching this way and that, the sparks emanating from where a screen had been hit, or the sprinkler that activated over the smoldering ruins of the scale model of the ceremonial chamber.

“REPENT – OR BE FORSAKEN!” The bolts definitely increased in frequency, he thought. Rodriguez looked around.  Engineered to withstand a quantonuclear event, the  building’s structoskeleton could probably withstand days of this kind of bombardment. But the axaro-glass that protected the PHUG, he wasn’t so sure. Rodriguez knew from his training that the exhibit casing was sealed and radiation-proofed, and could withstand pressures of up to three macromass per square unit. But whether it could weather one of those bolts, he had no idea.

Rohk rotated when he got to the arch. Although unable to make out exactly what Rohk was saying, Rodriguez was relieved that Johesh was alive, and maybe could get Rohk to subdue Patelinu before they all got crushed. Maurice began slowly drifting behind Rohk, clearly now conversing with Johesh, who Rodriguez couldn’t see but assumed was sheltering behind the arch. When the cephalopod got around ten units behind Rohk, it suddenly darted around twenty units in the air and up to its left, directly in the path of a bolt that passed right through it. Its surface glowed an alternating orange and red. Maurice then flew nearly across the Great Hall in front of another bolt that passed through, this time flashing a pattern that reminded Rodriguez of fireworks. Another bolt, and now Maurice glowed a pattern reminiscent of… paisley?

When something touched his back shoulder, Rodriguez nearly jumped out of his skin. He turned to see Johesh crouched behind him, his normally bright orange tendrils flecked with dust and bits of masonry. 

“Hey! What are you doing here?” Rodriguez asked, embarrassed to have lost his cool.

“Sorry!” Johesh whispered, the gold stripes on his arms and face pulsing as his three eye stalks darted around. “I didn’t want to draw the attention of… whatever’s inside Patelinu. But, why wouldn’t I be here?”

“Oh, I thought…” Rodriguez started to point out toward where Rohk was, but then looked back at Johesh.

“I circled back around once the shooting started. What’s the situation?”

“Patelinu, or whatever’s in Patelinu, is still busting up the place.”

“Right! Well, it’s all on us then, isn’t it?,” Johesh said. “Where’s all the other museum personnel?”

“They were all out of the line of fire and on the other side, so probably down in Two, in the safe room.  Is help on the way?”

“I used the emergency call holo, but the dispatcher said that with all the budget cuts, Central Ops is down to one response unit, and they’re out at a big collision on Flyway 7.  They could get here by tea, or never.” Johesh gestured toward the stack of paper at Rodriguez’s feet. “Hey, what’s that?”

“Some slab of stone and his floating octopus showed up. They say they’re from the Confederation.” Rodriguez pointed his head out at the Great Hall.  The sound of another blast echoed.

Johesh’s left and central eyes looked at Rodriguez and narrowed, while he extended his right eye stalk to get an angle at the Great Hall.

“The Confederation?  Really?  Wow, Rohk and Maurice!” Johesh exclaimed.

“You know them?”

“Heard of them. They’re, like, legendary. Literally.  Minor deities. I saw them at a risk management conference once, on one of the Kaltric moons.  Great symposium.  Their spreadsheets were pristine, let me tell you.”  Rodriguez nodded politely, still furtively glancing over at the chaos behind them.  “Believe it or not, in the system where they came from, Rohk is the demigod of paperwork and, I don’t know, hovercraft racers or shoelaces or something. Shows how big the galaxy is.  There’s a demigod for everything, you know?”

Rodriguez glanced again beyond the desk, to see Maurice continuing to zigzag across the vault of the Great Hall, transforming each time the cephalopod absorbed a bolt.

“If Rohk’s the demigod of paperwork, what’s Maurice the demigod of?” Rodriquez asked. Johesh looked down at the floor, then up at the ceiling, then shrugged.

“War?  Or maybe wine?  Something with a ‘w’, I think.”

Johesh extended all three of his eye stalks to spy into the Great Hall. Patelinu emitted another blast that Maurice chased, and while Rodriguez couldn’t make out the words, Rohk appeared to be trying, and failing, to elicit a response from the granite base of the Great Arch.

“Let’s get them over here,” Johesh said. He waited for the sound of a blast, then leaned out beyond the desk and inflated his mouth sacks. His voice boomed loudly across the Great Hall. “Rohk! Rohk! Over here!”

Rohk rotated back from the base of the Arch, then turned toward Johesh and Rodriguez and glided toward them.  As Rohk zipped back across the hall, an absurdly thick stack of forms trailed behind it as it spat out of his slot.

Rohk showed no regard either to Patelinu’s increasing frequent blasts – which bounced off its angular backside and ricocheted into several exhibits – or exhortations to repent. Maurice continued to chase the blasts, one turning it day-glow yellow, another giving it alternating green and purple stripes. Rodriguez noticed that a blast had hit directly over the PHUG. A section of the ceiling had fallen on the case, and an exposed pipe dripped on the top.  He was relieved that the case and PHUG appeared undamaged.

“Are you a) sentient, b) an authorized supervisor, and c) have you completed Form FHP-5812-R-7?” Rohk asked Johesh.

“Um, yes, yes, and no.  Well, not yet!”

“Maurice!” Rohk bellowed, if a seemingly solid slab could be said to bellow. The cephalopod darted to the end of the long scroll of paper now extending across the floor, folded it in a whir, and dropped the stack of forms next to Johesh with a moist fwump.  Maurice gestured to it with a tentacle while patting Rodriguez and Johesh on their backs with two other ones.

Rohk hovered over to them. “You must complete Form FHP-5812-R-7. As a certified supervisor, you may also initiate protocol SR-90, granting temporary authority to deploy Interventional Bureaucratic Disruption measures.”

“What does that even mean?” asked Rodriguez.

Maurice flashed a sequence of calming blues and greens as Rohk said, “It means we file the pink form.”

“The… the pink form?”, asked Rodriguez, nervously.

Johesh grimaced. “You can’t be serious. The last time we used that, it took three cycles, two elective surgeries, and a tribunal!”

“We’ve updated it,” said Rohk, with a slight tone of satisfaction. “It now only takes four signatures, a temporal acknowledgment waiver, and a single elective surgery.  The tribunal is entirely optional now (though I still recommend it – the pageantry is magnificent).”

Maurice solemnly extracted from Rohk a shimmering pink form and handed it to Johesh.  With a sigh, Johesh reluctantly signed it by way of a palm print.

Rohk moved back slightly, then announced in as official a tone as possible, “Let the Interventional Disruption commence!”  It inhaled deeply—or emitted a noise that sounded like a slab inhaling deeply—and then unleashed bureaucratic hell.  A vortex of papery light burst from Rohk’s front panel. Flocks of humming microforms swarmed through the air, spiraling toward Patelinu. Most bolts she launched were quickly intercepted mid-flight by holographically printed carbonless triplicates, which absorbed the energy, glowed a furious orange, and then filed themselves neatly into the air like origami doves.  The few bolts that weren’t intercepted ricocheted around the hall, randomly bouncing off, punching through, or vaporizing  exhibits depending on their chemical composition.  Out of the corner of his eye, Rodriquez saw the PHUG disappear in a flash of teal smoke.

Meanwhile, Maurice floated directly in front of Patelinu, its form pulsing in an incomprehensible bureaucratic rave tempo. A field of what appeared to be linked holostyluses surrounded the cephalopod in orbit, scribbling furiously in languages known only to tax assessors, archivists, and Quivistalian bookmakers.

Patelinu’s eyes glowed brighter, her arms shaking as she screamed, “REPENT!—”

“Form HN-2A filed!” Rohk boomed.

“—REP—”

“Request for Energetic Possession Moratorium, subclause 8, filed and retroactively backdated!”

Patelinu froze.

Maurice extended a tentacle… and gently tapped her forehead.

She blinked. Once. Twice. Then collapsed, completely unconscious.

For the first time that morning, the Great Hall was as quiet as a xenomouse.

Teal smoke drifted lazily above the ruined exhibits. A scorched Ancient Reliquaries & Databases sign, once hanging proudly above the entrance, swayed flaccidly behind them.

Rodriguez and Johesh cowered in stunned silence, until they heard the sound of printing.  They turned their gaze to Rohk, who emitted what might have been a receipt of some sort, which Maurice grabbed from Rohk’s horizontal slot.  In a blur of tentacles, Maurice folded it in a seemingly prescribed manner, and promptly swallowed it.

Rohk turned toward them.

“We have contained the artifact’s emergent entity and retroactively revoked its dimensional possession permit. You’re welcome.”

“You… what?” asked Rodriguez, blinking far too many times.

“We nullified the breach via regulatory intervention.” Rohk turned to Johesh. “Now. Regarding the aftermath—”

Maurice dropped another stack of papers from out of nowhere.  They landed with a thud and a poof of masonry dust.

“What… what is this?” Johesh asked in a low, quiet tone, filled with dread.

“Incident Reports, Destruction Logs, Dimensional Possession Appeal Forms, Unauthorized Energy Discharge Summaries, Historical Reconstruction Authorizations, and, of course, the Post-Event Custodial Statement.”

“But… the paperwork! It’ll take a lifetime!”

Rohk’s slab-face somehow smiled. “Perhaps, for a carbon-based life-form. And don’t forget the appendices.”

Maurice helpfully unrolled an additional scroll that extended across the debris-strewn floor.

“But wait—didn’t you cause some of this?” Rodriguez asked, gesturing to the still-smoldering display that had once housed the PHUG.

“Oh, that,” Rohk said, floating serenely above the wreckage. “Minor collateral compliance deviation. You’ll find the PHUG destruction covered under Clause 47-B of Form FHP-23: ‘Incidental Sacred Artifact Loss Due to Form-Processing Interventions.’ Very standard.”

Rodriguez slowly knelt, picking up the glittering, cracked base of the PHUG. He looked back up, horrified. “That’s the crown jewel of the museum!”

“I’m sure it was,” Rohk said.

Maurice flashed sympathetically, draping a tentacle around Rodriguez’s shoulder.

Rodriguez collapsed into a heap beside the paperwork as Rohk began to glide toward the exit. Maurice rose from Rodriguez and floated above Rohk.

“Oh,” Rohk called back, “someone will be in touch within two cycles for your compliance audit. Good luck!”

Maurice did a figure-eight in the air. Smoke wafted from the smoldering remains of  the model of the Great Temple of Bixfhloshadon, obscuring Rodriguez’s sight.  When the smoke blew past, Rohk and Maurice were gone.

Rodriguez turned to Johesh.

“I’m gonna need… so much coffee.”

Johesh sighed a deep, low sigh – one that, to civilians, may have just seemed like any other sigh.  Yet, to any public administrator, civil servant, or middle manager, it was immediately recognizable.  It was not simply a sigh: it was the sigh: the sigh of drudgery, of forlorn acceptance, of lost youth, of green eyeshades and short-sleeved dress shirts, of unfulfilled potential wrapped in a timesheet and a pivot table.  He then cracked his knuckles, picked a holostylus off the floor, brushed some masonry dust off it, and handed it to Rodriguez.

“Let’s start with Form 1.”

The sprinkler above them activated again.



BIOS

Andy Schocket is a historian, writer, and proud union member. He lives in the banana republic known as “Ohio.”

Paul Cesarini is a Professor & Dean at Loyola University New Orleans.  His fiction appears in numerous venues, with additional stories in-press. In his spare time, he serves as the editor/curator of Mobile Tech Weekly, at: https://flipboard.com/@pcesari/mobile-tech-weekly-lh2560e4y

Paul is a big fan of science fiction from the 1930s–1950s. He is not a fan of wax beans. Beans are supposed to be green, not yellow.







Sunset: Beyond the Ordinary Appearance of Things

by A. M. Palmer



The sound of gravel giving way to plastic tires filled the afternoon, as a child’s toy broke the silence. It was a July day in New Mexico, and his mother waved greetings in my direction, as the boy’s Jeep replica announced their presence. Alex was a typical child of four years in many respects, active and somewhat adventurous, and very close to his parents as they traveled for his father’s work as a pipeline welder. However, he had yet to begin speaking, preferring occasional squeals and grunts to express himself, a problem that stumped professionals but left his parents unphased.  

Sometimes, the ordinary appearance of things belies a darker truth.  

The day unfolded in the silhouette of its predecessors, moving slowly as desert wind cooled the atmosphere. By sunset, Alex’s father, Archon, had returned for his time of relaxation, sitting out front with a colleague for drinks, vaping, and a bit of marijuana, nonsensical stories about fistfights and their own toughness lingering in the night air. On such evenings, his wife knew to remain indoors with Alex.

A native of Texas, Archon was over six feet tall with broad shoulders and cropped blonde hair, proudly able to overcome multiple opponents with his fists, while remaining courteous and helpful towards those he considered friends. However, anyone who challenged him, or dared to decline his drinking and smoking invitations, would encounter his less agreeable side, very quickly. And, on a certain unfortunate occasion, a stranger discovered this in no small measure.

The weather was mild and perfect for a day at the pool, so Archon and his family donned their swimsuits, and he toted a six-pack of hard iced tea to the water. Alex laughed and squealed as his toy Jeep crunched along the path under a bright sun. However, shortly after they arrived at the pool, prepared for a day of fun, a group of mothers dared to complain about Archon’s vaping, an activity which was prohibited in common areas. And with that, the women became the latest set of villains in the drama of his life, audacious enough to insist that he observe rules.

Eventually, the owners of the property arrived, one of them a woman in her seventies, and politely asked that he either abstain from vaping or return to his residence, a reasonable ultimatum, it would seem. However, the challenge had been issued and a loud argument ensued, during which Archon leaned down to yell directly into the elderly woman’s face—nose to nose—incensed that she had dared to hold him accountable. In the end, the man and his wife were proud of his actions for reasons only they could fathom. As for the mothers and children who witnessed his aggression, they avoided the pool until the work week began and Archon returned to the pipeline.   

The following day, the owners initiated proceedings to evict the family, not for vaping but for the man’s threatening behavior towards an elderly woman. Predictably, however, he and his wife were angry at the property owners for asking him to follow the rules, as the world should, without hesitation, conform to the demands of an angry drunk man with clenched fists. And this brings to mind the psychology of family dynamics and the tragedy of substance abuse.

It’s no less than folie à deux (the madness of two); ethics are redefined by addicted/enabling parents who eschew accountability and despise all forms of authority. In Archon’s stupor, he felt threatened by an old woman, an authority figure who had reminded him of social responsibility. In similar fashion, his wife believed that the property owners were wrong and that her husband had merely defended his family’s rights—by intimidating a defenseless elderly person. Indeed, a tragic form of madness prevailed on that day.             

Like their children, alcoholic parents possess vast imaginations and the ability to craft fanciful scenarios, reality being a mere guideline for the stories they wish to believe. And were it not for the occasional intervention of strangers, their habits might go entirely unchallenged.

The next day, I saw Alex as he walked hand-in-hand with his mother, still unable to speak and careful to avoid eye contact.    



BIO

A. M. Palmer is a nonfiction author and retired City of San Diego park ranger with work appearing in Brevity Magazine, Decolonial Passage, Belle Ombre, First American Art Magazine, and other publications. A member of the National Association of Independent Writers and Editors, Palmer’s second book, Workman’s Orthodoxy: Collected Essays & Poems, was published in 2023 and received recognition at The BookFest Awards.







The Messenger of Light

by Lia Tjokro



            You need to come home.

            That was it. That was all the message that Mama had left in my voicemail this morning. No how are you, no I miss you, let alone I love you. Nothing of that sort. Mama’s voicemail was always so short, so succinct, with that unmistakable sense of urgency in it.

            The message seemed important enough though. Mama never called me. I usually called her first. So if Mama did call and leave a voicemail, it meant it was important—important to the point of catastrophic consequences if I did not respond right away.

            I went and checked my work schedule for the next few days. I had just been accepted to work as a research assistant in a psychology lab in this university, my alma mater. My task was to manage the research participants’ data and contact, and this kind of job, though did not pay much, was a good bridge between my undergrad psychology degree and my plan to apply for a postgraduate education sometime next year. So I hated it that so soon after I began working, I had to ask for a few days leave. That would leave a bad impression to my supervisors.

            But Mama, and by extension Ah Gong[1], had always had that hold over me. Like all that they wanted me to do had to be done or they would make sure I remembered my disobedience for days or even years to come. I knew, because my going to the university was an act of disobedience in their eyes, their pride was wounded because I did not follow the path that they had prescribed for me: Joining the family business.

            However, they gritted their teeth, forced a smile, clenched their fists, and allowed me to go to the university. I used to wonder why they relented and let me go, until I realized: They gained an upperhand on me because of that. Upperhand, because for years after, they never ceased to remind me that it was because of their generosity to allow me to go that I got to taste higher education. Though it was Papa (who had been the one fighting to get me to the university), a full scholarship offered by the university, and a chance to get away from Mama and Ah Gong that convinced me to go to the university.

            Papa passed away two years ago, so Mama and Ah Gong had been hinting about me finally joining the family business.

             I disliked the term family business, because what Ah Gong and Mama did was not really a business, for me it was more like a family obsession, albeit an outdated, borderline unhinged, obsession. They called themselves and the family business as “the messenger of light,” but I failed to see what kind of light they meant.

            I loathed my childhood home, a home where Ah Gong and Mama still lived in now. It was not just the two of them who made me feel like it was never a home for me.

            It was those people. I loathed them too. Very much. They did not do anything to me, but still, they scared me. They were not even supposed to be there. Over the years, I had learned to just ignore them, pretended they were not there.

            It was all Ah Gong’s, and to some extent, Mama’s fault. They should stop doing their dealings with those people. I knew the presence of those people was the main reason why Papa divorced Mama when I was on the cusp of pubescence—he had held on for so long and they broke him at last. He moved so far away from us, never came back to visit the family home anymore until he passed away.

            I used to go to Papa’s tiny apartment for a much-needed vacation, though Papa —with his love-and-hate relationship with alcohol and shaky employment history—would never be able to take me in and raise me. So that was how I got stuck with Mama in that wretched house.

            Being away at the university was a reprieve for me, but now I was called to go back home.

            So I had to go home.

            The next morning I got my bus ticket and sat for hours in the bus to go home. My heartbeat got wilder the closer I got home, and I toyed a few times with the possibility of just calling Mama from the bus terminal and told her I could not go home because I felt sick, or better yet, just completely went off the radar and ran away from her and Ah Gong.

            But that house. Mama. Ah Gong. There was this strange pull that made sure I always came home—like a gravitational force that pulled me straight into a black hole.

            I arrived home when it was almost dinner time.

            My childhood home was located far from the neighbours, behind black welded steel gates. The old colonial-style house had stood there since the beginning of the last century. Ah Gong’s grandparents were the ones building it.

            The house was dilapidated—peeled-off paint, cracks on the glass windows, busted lightbulbs, dead plants. The only plants that were still alive were the frangipani trees in the four corner of the front yard. Those people liked the frangipani, I did not know why, maybe they were attracted to the sharp and sweet smell of the flowers.

            There used to be a rock pond where koi fish swam and a small water fountain gave a calming vibe to the front yard. The koi were long dead, and the pond had dried out and was overrun by some tall grass and the rotten branches of fallen trees. There was nothing left of it to see. Too bad, because that pond was my only beautiful memory of this place. I used to sit there barefooted, dipping my feet into the koi pond with Papa doing the same next to me. We would sit for hours, watching the koi fish swim around our submerged feet, chilling, and chatting about important and unimportant matter. I missed that moment a lot and it made me want to cry to think that that moment would never return. The koi fish,  the pond, and Papa were all gone.

            Mama opened the door after I rang the doorbell. She wore her usual ensemble—cheongsam[2]-style silk top and knee-length silk skirt, both in worn-out pink. Her thinning dark brownish hair was meticulously swept in a small bun on top of her head.

            “You have arrived,” she nodded with such formality that I wondered if she had forgotten that it was her daughter who was standing at the door.

            I nodded back.

            “Ah Gong is resting. He has been very busy these days. Would you like to have dinner?”

            I nodded.

            Mama’s expression softened as she led me through the house that smelled more and more like dust and mothballs. Rattan furniture, ceramic floor, dull green walls, all were old and looked like they came straight from the 1970s. I remembered even as I was growing up here, I rarely invited any friend over to visit this home. I was not sure why, maybe because the vibe of this house was nevercozy or homey. I did not want my friends (not that many to begin with) to meet those people. That would be calamitous.

            Mama was quiet as she prepared a bowl of rice with some braised pork and steamed broccoli on the side and handed it to me. She let out a loud sigh before settling herself on the chair next to me.

            I ate my bowl of rice with chopsticks, staring in full focus at the sticky grains of rice, the oily braised pork, and the overcooked bland broccoli. Mama was never a talented cook—she cooked because she had to, because that was what expected of her, because we could not afford a domestic helper, so she did what she could. I learned to appreciate whatever she cooked, and once in a blue moon, when I got the chance to eat at my friend’s house or someone else’s, they always praised me because I was such an easy eater.

            Your mama has raised you well, that was what they said. If Mama had heard that, she would have disagreed. She raised me to be obedient, and I was not obedient. I was difficult and stubborn (she had said it herself to me on many occasions).

            Mama kept her eyes on me the whole time during dinner, and that made me nervous—it was like she was examining me, my demeanor, my chewing, my using of the chopsticks, my whole being was being prodded, investigated, and analyzed.

            “You look thinner,” she concluded. I found it rather amusing that that statement had come from Mama. She was much thinner than me. Her collarbones protruded, her cheek shriveled like dried plums, her jaws bony, and her skin had less and less tautness and lustre on it.  It was like living in this house had sucked the vigor of life out of her.

            “I’ve been busy.”

            “I called you to come home because we need to talk about your future. Ah Gong gets older and more easily tired now. He almost fainted a couple days ago because of fatigue.”

            “Is he alright now?” I looked up to Mama.

            Mama sighed. “He is alright now, but still weak. That is why we need to talk about you and your future—” Mama paused, looked at me straight, and continued,”Your future here, with us, in this home.”

            “My future is doing a postgrad study at the university, Mama. I know what I want.”

            “Come back here, live with us again. Ah Gong gets weaker and there are more people out there that need our help,” Mama stared unblinked at me as she spoke, it was as if she did not hear any word of what I had just said about my future plan.

            “No.”

            “Do not be stubborn, Eva.”

            I remained quiet and struggled to swallow a chunk of rubbery pork in my mouth.

            “You can start your training soon.”

            I lifted my face to Mama and shook my head hard. “No! I do not want to-to do whatever you guys do!”

            “What do you mean you do not want to?!” a thunderous roar startled me. My heart sank.

            “Ah Gong!” I turned around, saw Ah Gong, a man in his 80s, with short and slightly obese stature, sparse white moustache and balding head. The off-white sleeveless cotton shirt he wore did not hide layers of fat dangling from his armpits. The wrinkles formed lines crisscrossing his face, and his expression was grim. His greyish eyes fixated upon me.

            Mama stood up like a robot and rushed to him, helping him to his seat at the head of the dining table, then she sat on the chair next to him, across from me.

            “You have to do it,” he bellowed the moment his buttock touched the seat.

            “No, I won’t, Ah Gong,” I wanted to be brave, but my voice trembled nevertheless. Ah Gong was, and had always been, scary to me.

            “Your mother here has no talent whatsoever! But you, since the day you were born, I could sense a great talent in you!” he pointed his meaty index finger at me.

            I instinctively glanced at Mama, she avoided my glance. Mama looked so frail next to her father. Her back was bent and curled almost like a ball, and her head bowed down like she was in a deep shame.

            “No, Ah Gong. I want to study psychology at the university. I want to continue studying it next year—“

            “No! We gave you a chance to pursue that-that psyc-pycholo-whatever that is. That is it!”

            “No. I will not live here and do whatever you do, Ah Gong! I do not want to!” I was stubborn and angry and loud, but what the heck, they would not listen when I was being polite (which was in a lot of occasions in the past), so might as well be loud and angry. I grew cold when I saw Ah Gong eyes grow wider, his wrinkles seemed to pulsate, while Mama shrunk even deeper in her ball-like shape.

            I was determined that I would not back down. I abhorred this house, I abhorred the cloying smell of incense and jossticks that had filled the air I breathed since childhood, and above all, I abhorred those people.

            Ah Gong glared at me, his fingers tapped the table, and Mama looked at me with widened eyes, like she was fearing for my life and hers. I did not care, Mama never stood up for me anyway. She was always on Ah Gong’s side, and I could never understand that. Ah Gong never thought much of her. Your mother here has no talent whatsoever, callous as it sounded, but it had become so normal for me to hear it that I wished Mama could just say something back, retaliated, shouted, be pissed off, whatever it was to show Ah Gong her displeasure. But no, never.

            “Go to your room and think about what you have just said!” Ah Gong pointed at me with his right index finger, his voice hoarse and thick with rage.

            “Eva, please just say yes—“ Mama’s voice was so meek, a plea that annoyed me so much I threw my chopsticks on the table and rushed to my bedroom.

            “You think you are so smart, don’t you? You got university degree and now suddenly your own family is not good?!” Ah Gong was not done yet. He was banging on the table and screaming as I dashed even faster to my bedroom.

            My bedroom was the one closest to the living room, just across from Ah Gong’s work room. Work room. I never wanted to go inside Ah Gong’s room. I could not breathe in there with the thick incense smell and God-knows-what else that was burned there. Ah Gong would accept his clients in there, and I could hear them talking, crying, screaming. Then those people came, those I did not know who they were, those I ignored.

            I saw some even now. Years and years of practice had turned me into an expert at ignoring them,  but still I saw them from the corner of my eyes.

            Those people. They did nothing. They just stood, stared at me with their emotionless, pitch-black iris of the eyes, sometimes they faded away after I blinked, sometimes they persisted. I did not recognize them, I had no idea who they were, their clothes showed they came from different decades of the century. I thought of them as statues that decorated the interior of this house, they were part of this house, but not part of me.

            Ah Gong and Mama did not know that I could see them. That would remain so.

            So now I just sat on my bed.

            One of those people was in my room too. She stood next to the window. A young woman about the same age as me, her exquisite makeup, her ankle-length red silk cheongsam with thigh-high slit, wavy shiny black hair clipped with a gold butterfly hairclip, made her look like she came straight out of the peak of the roaring 1920s in Shanghai. She was beautiful—pale and lifeless, but beautiful nonetheless.

            “Who are you?” I whispered.

            She did not reply. She did not move. She just stood and stared at me.

            I knew those people would never answer when I asked them anything.

            I chuckled to myself. How could they answer you, silly?                 

            Those people were dead people, some of them had been dead for a long, long time judging from the clothes they wore. The dead did not just carry on conversation like the living now, did they?

            This month was the hungry ghost month[3], those people loved this month. I saw them everywhere I went, not just in this blasted house. Getai[4] was their favourite hangout and I avoided those as much as I could. I had enough of those people at home, I did not need to see them out there too.

            From outside my bedroom, from Ah Gong’s work room to be precise, I heard another of Ah Gong’s clients wailing and screaming—she was wailing in Mandarin about something, but I could not catch what it was she was saying.

            I got curious, so I stood up and went to the door. I pressed my ear against the door, and I saw the ghost girl by the window tilted her pretty head slightly, as if she was curious too. I closed my eyes and listened to the woman’s wailing—

            I want to meet you, dear husband.

            I am so sorry for all the wrongs I did you.

            I want to apologize. Please come, come visit your heartbroken wife.

            Your children miss you so much too.

            We promised each other love of a lifetime, how come you leave me now by myself?

            I want to see you one more time. Just one more time.

            Please come.

            Please come.

            The woman’s wailing made me sad too. Such heartbreak. I remembered what Ah Gong always told me,”We are the messengers of light, Eva. We help people in the darkness of grief. Nothing is darker than grieving an unfinished matter, an unspoken love, an untold secret. We help bring light, bring consolation to people! We are the messengers of light!”

            I did not want to be a messenger of light like him.

            I would never understand why I had to be born into a family of mediums.

            My Ah Gong, my Mama (who was not so talented), and their predecessors were all mediums.

            The living (the client) came to Ah Gong with some urgent messages and unfinished business with the dead. Then Ah Gong called the dead people to come talk to the living. The living wanted closure, and the dead had to provide it.

            But those people, those dead ones, they did not always go back to where they had been before they were summoned back to the world of the living by Ah Gong and his mantras.

            They lingered in this house—trapped and lost in a limbo between the world of the dead and the living.

            I could never tell Ah Gong and Mama that I could see those people, I could see ghosts. That would confirm to them even more that I had to be a medium too.

            I began to see them when I was a little girl, about four or five years old maybe. I remembered the very first ghost I saw was this young boy about the same age as me at that time. I thought he was a kid who lived nearby who happened to wander into our yard to play. He just stood underneath the frangipani tree, so I started talking to him, he did not answer. I thought he was sick because he was so pale. I went into the house to get some toys to play with him, and when I got back to the yard again, he was gone. I did not think much about it, until I saw more. Young, old, females, males. Cold, pale, ephemeral, silent. In the shadow of the frangipani trees was their favourite spot in addition to being inside the house.

            At first I thought they were my parents’ or Ah Gong’s guests, until they began to appear in my bedroom too, and when I blinked, oftentimes they were gone, just like that.

            It was Papa who made me promise not to tell Mama or Ah Gong that I could see them.

            If you want a life outside this house, if you want a future for yourself, you have to stay quiet, ignore them, and do not ever tell Ah Gong and Mama that you can see them. Understand? That was what Papa had told me when I blurted out to him that I could see those people. It was when we were sitting by the koi pond one clammy evening, dipping our toes into the pond water.

            Eva, promise me you will not let Mama and Ah Gong know you can see those people. Do you hear me? Papa held my hands, repeated his request, his voice shivered, like he almost cried. I knew he was dead serious.

            So I nodded. I promise, Papa. A promise I had kept all these years and I was thankful for Papa and his keen warning.

            I refused to spend the rest of my life among those people, to be a living person trapped in this house with the dead, ghosts, spirits, whatever they were called. Sometimes I wondered though: Do those dead people feel trapped too with us, the living, here? Don’t they have some beautiful, peaceful place they can go to after they are done with the world of the living?

            If my family business was to be the messenger of light for the living, what were we then to the dead if they ended up being unable to move on with their journey to the beautiful, peaceful place, to their afterlife? My family had trapped them here in this house.

            From the corner of my eyes, I saw the ghost girl stand right next to me.

            I turned to look at her, and a faint smile broke on that lifeless face.

            It dawned upon me: The ghost girl was so much like me.



BIO

Lia Tjokro is a Chinese-Indonesian writer with a background in cognitive psychology & cognitive neuroscience. She was born and spent her childhood and part of teenage years in Palembang in Sumatra Island, Indonesia. She writes in English and Indonesian. Her works have appeared in Porch Litmag, Kitaab, The Citron Review, Mekong Review, Harrow House Journal, Ricepaper Magazine, and ScribesMICRO. She has published one novel in Indonesian. She has lived and worked in Singapore and the US before, and currently she lives in the Netherlands with her husband, son, and their family dog. You can find her on IG februalia1 (https://www.instagram.com/februalia1/).




[1] Grandfather from the maternal side.

[2] Traditional Chinese-style dress with standing collar, knee/ankle-length, close-fitting shape, it is also called “mandarin gown.”

[3] Seventh month of the lunar calendar, around August-September in international calendar. The month when it is believed that spirits of the dead roam the world of the living because the gates of the underworld are open.

[4] Boisterous live music stage performance set up to entertain the spirits of dead, usually done in some countries like Malaysia, Singapore, and some parts of Indonesia during the Hungry Ghost Month. The first row of seats in getai performance are typically left empty, they are reserved for the spirits.







The Marine Biologist

by Kevin Dwyer


for Adan Quinn


“And they said, is death that which gives meaning to life? And I said no, life is that which gives meaning to life.”
—Donald Barthelme, “The School”



I remember vividly the humidity
my skin soaked like sugar cane

the dollar twenty-five I gave the ice cream lady in quarters

how I managed my way ‘round the truck
how I readied myself to cross

the split second screech

the woman in the car
rattling her hands

our screen door

I remember my mother sprinting
sobbing in a Spanish dialect that was not yet accustomed to speaking English

her eyes filled with tears that seemed to run for eternity

telling her I dropped my ice cream in the street
the comfort of her suffocating love

I remember running to and from the public library a couple blocks from home

my white soles blackened by asphalt
reading book after book about the depths of our oceans

knowing only three-fourths of the words

my nose pressed against the pages
the smell of mothballs

I remember the pressure in my ears when I swam deeper down in my pool

reflecting on the hidden planet inside our own
its embryonic peacefulness

how we’ve had yet to reach its bottom

I remember running outside after it rained
studying puddles of murk rainwater

what seemed to be galaxies of tadpoles

filling a mason jar to the rim
running to the bayou

dumping them with the universe of others

infinite amounts of tadpoles
repeating that for hours

the exact steps

‘til my mother’s voice echoed through the oak trees
blood orange sun reflected off the bayou

every puddle was empty



Valhalla 2/3/15


“What we have here is: we have a mosaic” –
National Transportation Safety Board Vice Chairman Robert Sumwalt



nobody knows why
that gate
that arm
those caution lights at the crossing
those lights caution flashing
39 seconds
those seconds flashing
flashing seconds
flashing
that arm
that gate
lowering
later
seconds
later
late
pressed on the back
on back
back
of her car
between the track and the other side

but not on the track

she got out and looked at what was holding her back
touched that gate
how calm she was
she
that gate
touching
she did not panic
she did not hurry
how calm she was
even though both gates were down

she looked directly at me
directly
and me
I motioned her to come back
I don’t know if she could see me
my headlights on
flashing
on
those seconds
flashing
instead she got back inside
she got back inside
got back inside
back inside
inside
instead
and pulled forward
onto the track

perhaps she thought she had more time

but what about the horn,
no louder than a blender
or someone shouting
then suddenly
louder than an ambulance
sounding
seconds
sounding
more
sounding
more
seconds

perhaps she thought she had more time

he doesn’t remember hearing the horn or the bells of that train
though he did see the flashing
those bright whites piercing through the red
the panting
that gate
that arm
sounding

a terrible crunching,
terrible
crunching
crunch
sounding

and just like that,
the car was gone,

was
there was no way she could have known what hit her
just like that
gone
the car
back
sounding
then an explosion
fireball
was
sounding
flames
just like that
from the train
from the front
fuel-fumed
flaming

holding his head in his hands
she was there
then she was gone
there and gone
there and
there
there and gone
and gone
gone
was
in an instant
she
gone
was
gone
sounding

he did everything he could,

perhaps she thought she had more time




The Linstock Castle ring[1]



restless hoofs
the rise and fall of music
sweet journey adornment

the rise and fall of music
dancing as freezing water

fierce horns in combat
comfort each decree

the day ruptures luminous
an atom discharge of men
in troops of water

sweet journey adornment
the rise and fall of music
dancing as freezing water

rest at ease among the immeasurable
an atom discharge of men
in troops of water

blowing sorrow
in troops of water
restless hoofs
rowing endless across the land

over a misty passage
restless hoofs

splendid applause unbroken
an atom discharge of men
over a misty passage
restless hoofs

narrow heart in time
an atom discharge of men
in troops of water




A bone amulet carved in the shape of a rib from Lindholm, Skane, Sweden[2]



restless discourse of hoofs  lightning livid  restless discourse of hoofs  riding beyond  a miry place  long enduring tossing troops  divine mouth  seizing wounded swans within the marsh  divine mouth  [eating affliction]  a miry place  long enduring tossing troops  divine mouth  sustenance of exiles  divine mouth  seizing wounded swans within the marsh  wrapping storms  divine mouth  night-cloud covenant  restless discourse of hoofs  lightning livid  divine mouth  :

[3]divine mouth, divine mouth  divine mouth  divine mouth  divine mouth  divine mouth  divine mouth  divine mouth  seizing wounded swans within the marsh  seizing wounded swans within the marsh  seizing wounded swans within the marsh  seizing wounded swans within the marsh  hearken the hearts of our offspring  hearken the hearts of our offspring  hearken the hearts of our offspring  reaching up to touch a crown of boughs  giving themselves up to the deserted maw  glorious trumpet  night-cloud covenant  night-cloud covenant  night-cloud covenant  :  divine mouth  long enduring tossing troops  glorious trumpet  :


[1] Ring made of agate. Page takes the inscription to be a corrupt version of the engraving on the Kingmoor and Bramham Moor rings (An Introduction to English Runes (2nd ed) 112). The location where this ring was found is unrecorded, but Page suggests that it is identical to a ring found at Linstock Castle in 1773 (112).

[2]Found in 1840 in Skåne, Sweden, while cutting peat from a bog. This cut the bone in half and resulted in the destruction of one rune in the second line of text. The sequence in the second line contains a magical string of runes.

[3] The runes here mirror the runes of the first stanza.



BIO

Kevin Dwyer is a Catholic high school educator, inspiring his students to read and write passionately. He earned his Honors BA from Saint Louis University, MA from Fordham University, and is completing his PhD at the University of Louisiana at Lafayette. Nominated twice for the Pushcart Prize, Kevin’s chapbook, broadsides, and poems can be found at Yellow Flag Press and MockingHeart Review.

You can connect with Kevin on Instagram at instagram.com/Kdwizzle







The Shiva Option

by David A. Taylor



1.

Dmitri Somers rode to the conference center, cocooned in the office car from Bangkok’s dense custard of sound, struggling to collect his thoughts. A street vendor, threading her cart between lanes in the long jam of traffic, drew his focus. It was a welcome distraction from the task before him, which his supervisor had assigned the day before, of giving a public presentation about their research on tree species for farm families. At a conference! Twenty-four hours notice.

“The invitation had been there a while. I think he just didn’t read it,” said Tinya, the office manager. She told Dmitri this in a tone of consolation. He’d spent the rest of the afternoon reshuffling slides to assemble a story: trees in orderly rows, lush trees on farms, spindly saplings in dry terrain.

Outside his passenger window, a tuk-tuk rushed by with a tourist slumped in the backseat.

His driver, Daeng, was a sturdy man with a gruff laugh. After they turned onto a busy street near the city center, Daeng pointed to the roadside and said, “That woman speaks very good Thai.”

Dmitri looked where Daeng was pointing: a white woman in a sarong was using a traditional broom to brush the wet pavement. Doubled over as she flicked trash into the trickle of the gutter, she didn’t look like the image of proficiency.

“I hear her on the radio,” Daeng continued, “and she speaks Thai very well. She’s lived here for a long time. Maybe twenty years.”

Dmitri was often taken off guard by this kind of comment from Daeng. With a few followup questions, they eventually got to the point where Dmitri, as an American from Pennsylvania Dutch country, might have started the conversation. He would have said: “That woman runs a training school for dogs. The place she’s sweeping, that’s her pet supply shop. Sometimes I hear her on the radio.”

No, instead the driver came at it from a sharp angle.

They crawled through traffic past another set of posters for the upcoming election. The posters came in clusters of three photographs each, headshots pasted to every lamppost, red numerals beneath the faces indicating which box to mark on the ballot. Paper medallions fluttered everywhere. This would be the first election in years. Yet all the headshots simply reminded Dmitri of the posters of the Thai junta members that were still up on billboards.

“They say banks in the Northeast have run out of fifty-baht notes,” Daeng said. He shook his head. “So much vote-buying.”

Daeng rarely talked politics, was always crisply dressed. Yet Dmitri heard from Tinya that the driver was more of an activist than he let on, and even spent evenings tearing down posters of the junta’s candidates. Riots the week before had left people on edge. News reports were confusing. The other day Daeng had left the office early to visit a friend in the hospital. Dmitri had many questions, some doubtless inappropriate. Like, where had his friend been hurt? Now Dmitri was itching to follow up that vote-buying comment but felt paralyzed by what he knew of Thai politeness.

They rode mostly silent for the rest of the way.

When their progress stalled near the Buffalo Bridge intersection, Daeng cleared his throat. Dmitri expected him to hock out the window. Instead, the driver glanced in the rearview and asked, “Is Madam Meetri okay?”

Dmitri nodded. “Still in Bali. She’s fine, thanks.” Now it was his turn to go quiet, with her being gone two weeks and counting.

As they reached the conference center, Dmitri felt jitters about his presentation. As conferences go, this wasn’t a big draw, but if Dmitri did a good job more chances might come up. He and Jan had talked about traveling more. He was hoping for trips to Hanoi and Manila. She was now with her sister in Indonesia, strolling to a batik gallery in Ubud or soaking up the peace of a ricefield at breakfast.

The lights went down for his talk, and then the tech troubles escalated. First the clicker refused to advance. Dmitri kept squeezing it like he was searching for its pulse. No change, then it clicked furiously. PowerPoint went berserk and the images suddenly sped up on their own. Dmitri tried to catch up, and scrambled his sentences—a forest in Australia, the plantation with cracked soil of poor farmland in northeastern Thailand, a ditch choked with leaves.

He sensed, in his stomach, the audience abandoning him. But the images kept going, the way still images flash on the screen in a futurist Chris Marker film. Except they were eucalyptus trees passing in a dizzying stutter. When he finished, a pall fell on the room. Someone at the back raised her hand and asked why Dmitri’s group conducted research on “inappropriate” tree species, exotics that soaked up precious water that farmers needed for other crops?

Dmitri cleared his throat. “It’s true the trees can be placed where they aren’t well suited for local needs, but that doesn’t make them wrong everywhere,” he replied. “You need to choose your location wisely.”

There were no further questions. The session ended. He could breathe again.

He encountered his interrogator afterward in the marbled lobby. She was Thai, and wore a striking, deep blue sari. She swept up to him, balancing a plate with a slice of yellow cake, and interrupted the organizer, who was apologizing for the audiovisual glitch.

“Extraordinary topic, Mr. Somers. Pardon me, but you seemed so ill at ease that I didn’t press further. But I come from in the Northeast, where families are hungry because of those trees. Maybe researchers who promote them should go hungry for a little while too?”

What an extraordinary thing to say! Dmitri was stunned. Such blinding directness, so taboo in this country.

“Thank you for attending,” he mumbled.

“Yes, an important topic,” she said. “And you’re right, one needs to choose wisely.” She handed him her business card. It had a sweeping blue logo of a kingfisher bird in the upper left. Below her name, Nunti, it said, DEPUTY DIRECTOR, SHIVA ALTERNATIVES. He smiled and pocketed it as she walked away.

Why the sari? he wondered. It was an unusual choice for a Thai woman, neither a traditional wrap nor a modern-style outfit. In his head he heard a punch line: And the bartender says, ‘Why the long face?’ Dmitri told himself: Careful, you’re giddy. It’s easy to be smug and feel misunderstood, he thought, working with Thai researchers who themselves saw the lives people led in the countryside, the chip-dry fields of the Northeast. There were Thais on both sides of the issue of introducing new tree species and their damage and promise. He didn’t take such questions personally. They were legitimate. But this professor’s provocative tone got under his skin.

When he and Jan had moved to Thailand the year before, he felt their life was charmed. They were newly married, he had meaningful work in farming research supporting a cause of equity and sustainability. It was an exciting time to be in Asia. When disappointments surfaced, he found himself unsettled, feeling once again insufficient. Really, that day’s assignment of speaking at a technical conference when he was no technician, was the least of his troubles. At the top of that list was the crisis with Jan.

The conference organizer said that Dr. Nunti was a bit eccentric but had a remarkable story. “She grew up in a poor family in Isaan,” he said. “She got a scholarship to Oxford. And then she came back. And then her troubles began.” He went on: her son had become a student organizer and he had been lost in the recent protests. (Nobody knew much about the boy’s father.)

As the coffee break ended, Dmitri stayed long enough to signal he wasn’t some aloof expat who breezes in, yaks about his work, then leaves. But the fact was, the next session about legumes was out of his area. So when the lobby emptied, he made for the door.

He was on his own—this late in the afternoon there was no point returning to the office, with rush hour mounting every minute he stood at the university gate. There was no reason to surf the traffic tide to their empty flat. Jan and her sister were cavorting in the rice fields and craft shops of Ubud, having skedaddled as soon as the Bangkok protests had grown likely. Honestly, Dmitri took comfort that she was away. The Red Shirts occupied the shopping district. One night on the phone, he asked when she was coming back and she couldn’t say. She was confused by the news about the danger, and she knew Dmitri tended to underestimate problems. It irritated him when she said that, but he missed seeing her lips as she said it.

He hailed a cab, undecided where to go. As he sat in the passenger seat, he uttered the name of the lane in the old downtown where the Thai-German Cultural Center was located. Why had he said that? The cabby, a young man, looked impassively ahead.

After an hour the driver let him out, and drove off in a skein of rain pooled by the curb. The sky looked angry enough to dump another cloudburst and cause another nasty snarl. But the lane was quiet, as he remembered. Dmitri and Jan had come here in their first days in Bangkok. The garden and the manor-style architecture were the sanctuary he recalled. He realized it was a Wednesday, the day they showed movies at every Goethe cultural center around the world. He would get dinner in the compound’s Teutonic Ratsstübe and then climb the steps to the auditorium, and sit in darkness and forget his loneliness. As a foreigner, he was used to being an outlier; he wore it like one of the office shirts in his closet. But this evening he just wanted to escape the awkwardness.

The movie was a Werner Herzog film, a “visionary” documentary about nomads in the Sahara, the poster said. Dmitri liked Herzog, his imagery was vivid and weird. Things were looking up.

He took a seat in the café, and his thoughts turned to the woman at the conference. She was indignant, as if Dmitri were forcing farmers to grow the only tree with a market demand, instead of seeing him as part of an effort to broaden farmers’ options. Some of these nonprofit groups had such narrow agendas! Weren’t they all on the same side?

For the thousandth time he reflected that nobody ever conveyed their perspective clearly. We never really listen, we just listen for our own beliefs. He should have laughed and said, “Well, professor, you know Osmo Wiio’s first law: Communication usually fails; it succeeds only by chance.”

He waved to catch the waiter’s eye but the man skillfully avoided him and slipped away. Dmitri’s gut tensed – less than thirty minutes remained before the movie started.

Until an hour ago he hadn’t planned to see any film, but suddenly it was vital that he get himself to the auditorium in time for the opening credits of this film. All he wanted was to fend off a foreboding he had, that this lonely stretch would last much longer than expected.

Was it only a month ago he was eating noodles with Jan as they sat together on a bench in Lumpini Park? She had shared her complaints about life in Bangkok: the throttling traffic, the constant feeling of disorientation, the smog, the tropical heat and constant sweating, the stultifying social life. She had been trying hard to look past all those things, she said, to make it an adventure.

The morning of the coup had been like any other. There was a radio announcement after ten in the morning. Dmitri would have missed it but for the local staff’s murmuring. Frankly, in the chaos of jockeying between the prime minister and parliament, the news struck many as a relief. Initially. But the days that followed weighed on everyone. Dmitri and Jan had talked quietly over dinner – how long would it be before elections were called?Had the prime minister really been on that flight out? The traffic and smog were building again. Jan started missing a day or two of work to migraines. Dmitri would come home and find her in the room upstairs, on her back in bed. She rose a bit slower than usual. He saw it was getting to be too much.

“I might need a couple of weeks to figure things out,” she said, head resting on her laced hands. That was before the riot. He had sat there on the park bench, as he sat now in the Ratsstübe, without any words in his head. Was this the start of their first hard rough patch? Why did he feel so numb?

Finally Dmitri caught the bartender’s eye, who alerted the waiter, who nodded across the room to Dmitri.

As it turned out, he made the film in plenty of time. In front of the theatre, two women sat at a table with a sign-up sheet. Their handbill was printed in Thai. He could make out that it was an announcement of a concert, or a petition. Once in his seat, he stared at it and saw halfway down, sandwiched in the middle, the English phrase ‘Empower the people.’ Those words apparently had a valence that rendered them untranslatable (otherwise why leave them in English?). He wondered at how those words must look in all their foreignness, like in vitro and ex situ in scientific papers.

At the bottom, also in English, were the words “Shiva Alternatives.” The page dimmed and the film began and someone behind him coughed in the darkness. Then the screen filled with a blinding shaft of Saharan sun and waves of heat rising from the earth.

The next morning Dmitri opened the newspaper to more images of Red Shirt protestors who had camped out at the Siam Square mall. Riot police had dispersed them, and violence erupted again. He called Jan that evening to check in and reassure her. “Tinya asks if you’ve gotten sick from the food,” he said. “She says Bangkok food is the best.”

“Of course,” she deadpanned. “Everything okay at work?”

“Same old,” he said. “You?”

“Ha. Sharon has fallen in love with the concierge. She likes men in sarongs, apparently.”

Their tone stayed light. But when they were about to wrap up, she said she wasn’t sure it was safe for her to come back. He replied that the disturbance was miles away from their daily lives. “But I completely get your concern,” he added. “Things look scary, especially from far away.”

Silence on the other end of the line.

The next day was Monday, and Dmitri was back in the weeds of editing research papers, summarizing items for the newsletter, visiting a print shop for publishing a monograph. On the drive downtown Daeng seemed distracted. Dmitri asked about his friend.

“Not well,” Daeng said. “That day he got hurt, I went to find him. I got on a bus to Siam Square, but it stopped. There was smoke. The police ordered everyone off the bus.”

They rode the rest of the way in silence. Dmitri could think of nothing to say. The only words that came to him sounded cheap.

They made a series of tight turns onto narrower lanes in the old neighborhood beside the river. This was Dmitri’s first time using this particular print shop which offered a discount. His office had shifted to mostly online publications but they did need to print a small run for officials and others.

Dmitri walked through the facility with the manager, nodded at the presses used for different-sized runs. It was like touring a history of publishing. Every few steps they passed another generation of blackened, steel printing technology, all jammed together. The city’s few remaining print shops were cramped, factory spaces, wedged into these alleys by the river. They thundered with the clatter of metal smacking together like blocks in a typesetter’s tray. Dmitri liked the pungent smell of ink and the sound of paper hurtling out of the press.

He came out onto the street with an agreement for the print job, and realized that he was only a short walk from the thicket of lanes that housed the address on Dr. Nunti’s card. Daeng called to say he was delayed in traffic, so Dmitri suggested they meet in an hour at the entrance to that lane instead.

He made his way to the address, past buildings crushed against each other. He scanned the street numbers, which skittered up and down with no clear sequence. He had allowed time to get lost, he expected to get lost. He succeeded, overshooting the smaller lane—an alley, actually—that snuck off in a dogleg. Doubling back, he found the sign that said, along with many Thai characters, St. Louis Court.

He choked out a hiccup of laughter. The notion of a posh Western name in Roman lettering at that spot struck him as richly absurd. St. Louis Court! He ventured down the alley to what looked like a mechanic’s shop. Then he saw the street number above a blue door.

Nothing said Shiva Alternatives. Still, he was at the number on the card, so he rang the doorbell. He looked across at a small shop with a metal accordion gate that was firmly shuttered. The shop’s sign, as Dmitri pieced out the Thai lettering, said something ‘press’ but also contained the word ‘gun,’ transliterated from English. Curious.

The blue door opened and a young man in a white shirt and pressed slacks let him in. He guided Dmitri to a chair in the narrow hall, then retreated to the back and returned bearing a cup of instant coffee. After two minutes Dr. Nunti appeared. This time, she was wearing jeans and a dark top, and her hair was pulled back. She looked at ease, if a little mystified by the unexpected visitor. She cleared off a desk in the front room and gestured for him to sit opposite her. “What can I do for you?”

At that moment Dmitri couldn’t imagine why he decided to visit this person who had oozed disdain at the conference. He had just a gnawing curiosity, as if to uncover some hypocrisy or contradiction. He didn’t know. But the handbill he picked up at the movie screening pushed a question to his mind.

“What does your organization do?” he said.

“What do we do? Did you hear my presentation at the symposium?”

“I did,” he lied, “but I wondered if there was more to it.” He recalled with embarrassment leaving the conference for the Ratsstübe.

“Well, here’s a brochure,” she said, handing him a photocopied page. “I presume your interest is in our community agriculture and forestry work?”

He nodded equivocally, as if to say Sure but honestly, I was hoping for more.

“This will give you an overview. If you have questions, please let me know.” She stood and walked back to the staircase.

He read the brochure, feeling the assistant’s eyes on him. Dmitri glazed over quickly at the call for action in wording identical to many other groups. What was he looking for here? Equity, justice.

Yet the brochure presented the problem of rural poverty and exploitation from a different angle than most of the papers that he read. It showed a clear moral framework, with good and bad actors clearly etched. He felt a pang reading “the unwitting accomplices in oppression who try to impose unworkable solutions through the acronyms of international agencies.” A paragraph near the end carried a familiar administrative obliqueness:

Unrestricted by the sectoral blinders of government and international agencies, Shiva Alternatives faces rural problems in a holistic manner. Disease, declining farm yields, and poverty are symptoms whose common source is the system. Shiva addresses this system at all levels, from local empowerment to policy work, including public debate and retribution.

Some editor had messed up. The last word should obviously be “redistribution,” with “of wealth” or “of resources” to be added. Dmitri frowned. This kind of error made him crazy—it undermined all the authority of the text. Maybe Doctor Nunti wasn’t committed to communicating after all. He approached the assistant, absorbed in his task.

“Could I have one more word with her?” he asked in Thai. The young man nodded just perceptibly toward the back staircase.

The second-floor office was small. Light squeezed in through a window and onto Dr. Nunti’s desk. She swiveled her chair toward him.

“Excuse me?” she said crisply. Even in a frown of irritation, her face looked intelligent, her gaze intense.

“Sorry, I wanted to thank you,” he said. “This gives me a much better idea of your work.”

She nodded.

“Also, sorry—but I noticed a tiny error. It’s small but, of course, I’m an editor,” he said with a silly shrug. He held out the brochure and pointed to the sentence.

She read it and returned his smile. “Yes, that’s correct.”

“It should say redistribution, yes?”

Her smile tightened. He waited for her to elaborate, still holding the brochure out. Nothing.

“What,” said Dmitri, “does retribution mean here?” He heard his voice wheedle higher than he intended.

“Something we should not hesitate to dole out when oppressors persist in being obtuse,” she said. “To be honest, you seemed more astute than this, Mr. Somers, if I may say.” Now it was her turn for eyebrow raising. “That was my sense at the conference when you tried to put a sympathetic face on wrong-headed research.”

“Excuse me?”

“It’s a reason you’re spared.”

“Spared?”

“So that you might report on what you witness. Without blinkers.”

Dmitri felt light-headed.

“You read the brochure,” she continued. “You know the blinders education forced on past generations, how it inured them to change despite their good intentions. You know the influence that international agencies have on forest departments–the suppression of local, better adapted efforts. What is it that you don’t understand?”

She stood, arms folded, a western posture. It was confusing to encounter a Thai person so willing to be confrontational. He bristled, yet was also fascinated.

“About me being spared?” he said.

“You’ll understand when it suits you.” With a brief nod, she signaled they were done.

When he pulled the door shut behind him, his hand rested on the doorknob. Across the alley, Gun-something printers was now open. His exchange with Dr. Nunti struck him as even more bizarre now that he was out in daylight, standing across from an everyday shop with a cement floor and old calendars on the wall. He walked back past the street sign announcing, ‘St. Louis Court.’ 

He thought again of what he should have said. “Well, you know Osmo Wiio’s first law: Communication usually fails; it succeeds only by chance.” Someday he would use that.

As he reached the mechanic’s garage, his phone rang. Daeng’s number came up on the screen with electric urgency, and Dmitri had a feeling of dread. In the distance he heard sirens.

2.

Dmitri was rattled as he watched the streets spin past the taxi’s window. What bothered him wasn’t Daeng getting tied up in traffic. It was that the exchange with Dr. Nunti had left him feeling on edge, and a nerve pain behind his right ear. She had basically said he was on the wrong side, again. Part of him dismissed that but some part of him nodded.

Every day more people were streaming downtown to the protests. The front page of the Bangkok Post that day had shown a sea of faces filling the Royal Green. TV clips panned across swaths of university students, street vendors, labor organizers, many donning bright green shirts. The next morning on the way to the office, Dmitri asked Daeng about his friend in the hospital.

“Not good,” the driver said flatly. He cleared his throat but didn’t say anything more. Daeng occupied the driver’s seat directly, like a pilot in the cockpit. They continued on. Cramped in the passenger seat, Dmitri turned his knees toward the window. The seatbelt’s sleek band slid against his clavicle. He considered the hospital. An image of Jan came to his mind, walking into a room where he was lying in a bed with metal side rails.

“How is his family?” he said.

Daeng’s eyes darted to meet his in the rearview mirror, then looked away. “Okay,” he said. “Worried.”

His extended arms swung the steering wheel slowly for a left turn. On a public university campus, people rarely talked openly about politics. International offices like theirs pretended they were above local politics, with chatter mainly about Asian issues. Even the local staff mentioned the protests only tangentially–comments about traffic detours and blockages, that kind of thing. He felt tempted to probe Tinya about the strange absence.

The issue finally came up in his Thai language lesson that afternoon. His tutor came to the apartment once a week, and politics was often a topic for conversation practice. She asked him to call her Kru, like at the school where she taught. Sometimes she came straight from classes, dressed in muted professional colors. Once she came directly from the hair salon, laughing and apologizing for the hair net—the stylist had run late. This time, she came from school, took her usual seat at the dining room table, and touched her glass of water repeatedly, a nervous tic.

Dmitri pushed himself into the Thai tonal ups and downs, and the long Pali-Sanskrit words for abstract concepts like “judge” and “democracy.” It was like the Latin creeping into Old English. The tutor touched her glass again, and gave a short laugh. “These words are tricky! My boss says the protestors at Royal Green got what they deserved.” She lifted her chin, a bit of bravado. She added that she herself agreed with the protests.

He struggled to stay in character as a language student. “What will happen with the protestors?” he asked carefully in Thai. “What will happen with democracy?”

The tutor giggled. “We do not know.”

Dmitri considered that. “I am thinking of going to Royal Green,” he said in the cadence of a textbook dialogue. “To see the protests.”

Kru made a face like she’d bitten something sour. “That is not good,” she said. “Foreigners should not intrude.” She added, “How will you know what to do?”

He practiced several forms of future tense. “I will observe,” he said.

“That is a bad idea,” she said, still with a sour face. “You are not a reporter.”

“Why?” he said. “What will happen?”

She shook her head. “Foreigners should not intrude in democracy.” Then she laughed.

The conversation kept gnawing at him. At the office he asked Tinya to lunch at the university cafeteria, hoping for some insight. But instead, over stir-fried rice, they traded complaints about the director and his misuse of the budget, and squandered credibility in the research community. The talk strayed to other countries. Tinya praised Chinese industriousness and endurance, and the broad education she’s gained from working with a range of people. She only recently learned the meaning of the Hindu Mel Pula holiday: Krishna’s killing of a bad ruler, celebrated with lighted candles. She encouraged her kids to go to Muslim families’ homes on Muslim holidays despite the bias that kept her from doing that as a kid. It was an unusually personal conversation. Yet Dmitri came away feeling he’d missed an opportunity.

He found himself craving the comfort of fast food. This was a source of shame; he considered himself a citizen of the world and hungry for other cuisines generally. But feeling ungrounded, he was soon in the mall near Democracy monument, queued up in McDonald’s. He took his fish sandwich and sat, hunched in a plastic seat, feeding the hot potato bits into his mouth. He felt vulnerable in the fluorescent light. In such settings he had spent many moments of his childhood. The bright plastic seats of home. He pictured Jan across from him, pointing a pencil-thin french fry at him, smiling. Her look is so playful, like he remembered from their years in St. Louis. He hasn’t seen that mischievous, lopsided smile in a while. And where was his?

What would she make of that? “Your subconscious is telling you something.” He didn’t see how she came to that conclusion (in his head). But maybe her fast-food avatar had a point?

That night after dinner, Jan called. “We should get you back here,” she said. “My morning walk today? I passed the place we stayed last year.” Then a pause. She asked how Bangkok was feeling. Was it safe for her to return?

He couldn’t read her intent through the receiver. Did she want to come back? “It feels safe to me, getting chauffeured around,” he said, “I mean I’m a farang, right? I have an international visa, we’re not harassed. We’re not the targets.”

“Right, but still,” she said. “Things happen.”

He sighed. “Right. But you hear what I’m saying? There’s the bad stuff you see in the news and there’s our life far away from the Royal Green.”

“Not that far. Maybe six miles, not a long ride. And my parents see the stuff on the Green, they stress, and then I hear about it.” After a pause, she said, “What do you want, Dee?”

Dmitri put his left hand on the counter and splayed his fingers on the cool stone. “I want you to feel safe.” He added, “I want you to come back.”

To learn more about the university’s role in the arrests, he began listening carefully to exchanges on campus, in the hallway on the way to the office, in the cafeteria where he got lunch. He heard rumors of camouflage-painted trucks in convoys headed for the western border, carrying bodies.

Then came the day the following week that Dmitri stepped outside for his ride to the office, and the office car pulled up, and he was met by a different driver. He asked where Daeng was, and the young man didn’t know. When they reached the office, Tinya was pacing outside the entrance. Dmitri approached and saw her face was drawn taut.

“Daeng is in the hospital,” she told him. “He was in a place he shouldn’t have been.” She blinked back tears while Dmitri stood, dumbstruck. He asked which hospital, and if he could get a driver to take him. Tinya nodded.

When they got there, it was a building that Dmitri would not have taken for a hospital if he rode past it, stuck between two rows of stores on an industrial artery. It was faceless and rather dingy, like a public factory. He walked in, looking for an information desk but found no central hub. He wandered deeper into the building until he pushed through a door and faced a hall where soldiers in camo uniforms stood at the doorways of every other patient room. There several people were moaning, or crying. One voice (male? female?) was keening in pain. He felt the chaos. As the soldiers turned to him, Dmitri turned and retraced his steps.

That’s when he nearly ran right into Dr. Nunti. He pushed a swinging door, rushing to leave the ward, and she was approaching from the other side. This time she was in a dark uniform. She regarded him with a startled frown.

“You shouldn’t be here,” she said. Dmitri apologized and explained he was trying to find the patient information desk. She pointed over her shoulder. “That way.”

He had begun walking in that direction when, behind him, Nunti said, “But there are no farang patients here.”

He turned, nodding in profile to show that he understood. “It’s a friend,” he said.

“Seems unlikely,” she said, not looking up from what appeared to be a clipboard. He felt dismissed, like when he had visited her office.

“He was at the protests,” Dmitri said, his voice rising in exasperation. He stopped himself from adding, “for chewing gum.”

Then she looked up. She walked briskly back toward him. “Listen,” said in a lower voice. She approached as if she knew him. “Don’t say that when you ask about him. Just give his name. Say you don’t know what’s wrong with him. They’ll have to check all the intakes then. Who knows where they put him.”

She turned and disappeared through the swinging door.

He found Daeng in the cardiac ward. Dmitri couldn’t get a grasp on why, but the room number the nurse gave him was correct: a shared room with a wide window and four starched hospital beds. In one of them was the rigid face of his driver. Daeng was lying on an incline, his neck in a brace, his eyes and forehead smeared in purples and blues.

As Dmitri approached, Daeng’s eyes lifted and a woman in the chair beside the bed, Dmitri guessed his wife, turned to wai the foreign visitor. “Mr. Meetri,” said Daeng in a low voice. “You have come.” Something about his expression signaled embarrassment.

Dmitri shook his head and smiled to lighten the mood. His tendency to skewer seriousness with a joke felt overwhelming, but not appropriate. “My friend,” he said, “what are you doing here?”

Daeng smiled in the Thai manner of using light laughter to signal discomfort. The woman maintained her pose, palms together, deep bow. When she sat up, she too was smiling.

“You look a little rough,” Dmitri continued. “I’d hate to see the other guy.”

“He looks worse,” the driver said. Dmitri eyed him closely. What deep cover this guy gave to his ember of humor, Dmitri thought.

“I guess they ran out of beds, putting you in the heart ward. Have they told you when you’ll get out?” Dmitri blinked as if scrolling past all the questions he wanted to ask. Who did this to you? What happened?

Daeng didn’t reply. “We made ourselves known,” he said. His wife stared at him, it was impossible to say whether from fear or love.

Dmitri gave a slight nod. The room felt too open for this conversation, even a light-hearted version— there were three other patients in various states of consciousness. Yet standing there, looking down at his coworker in the hospital bed, sallow in a blue-patterned hospital gown, Dmitri felt suddenly close to the man and his wife. “How is your heart?” he said.

Daeng nodded curtly, his lips pressed flat.

“Let me know how I can help,” Dmitri said.

A small smile of acknowledgement creased Daeng’s face, as if it were painful and caused a twinge.

“And your friend?” Dmitri asked.

Daeng, straight-faced, simply stared ahead and blinked. Their conversation was ending. “And Madam Meetri?” he said, his brow knitted.

“She’s fine, thank you,” Dmitri said. He pictured Jan at a batik studio in Bali. Daeng looked expectant, as if waiting for Dmitri to share more, about why she had stayed away so long. As if probing Dmitri’s fears. “Any message for Tinya and the others?”

“Please apologize for my absence. I will be in soon.” A sheepish smile. “Then Supro can take a break.”

Daeng’s wife said something in Thai that Dmitri didn’t catch. Daeng added, “My wife thanks you for coming.” She smiled and nodded at Dmitri, a gesture across the language chasm. Dmitri wai-ed, turning from her to Daeng, then glanced around the room and turned to go.

He couldn’t explain why the brief visit seemed significant. They had exchanged no real information. Had the driver understood about his and Jan’s crumbling relationship all along? Seeing Daeng in the hospital bed, Dmitri felt a kind of acknowledgment. After so many meaningless non-conversations to and from campus, they had seen each other here. Maybe this was the coda to Wiio’s law? “…succeeds only by chance.” Maybe this was that chance.

Dmitri was nearly at the hospital entrance when he heard his name. He turned and saw Dr. Nunti. “Did you find your friend?” she said.

“Yes, thank you for that advice.”

“Not at all,” she said. There was an awkward moment. He noticed her eyes were moist.

“Are you visiting someone here too?” Dmitri asked.

She bit her lip, regained composure. “They’re not anymore.”

He started to apologize. She shook her head emphatically. “You know what you need to do?”

Dmitri saw her professional hauteur fall away, her gaze now was raw. “What do you mean?” he said.

“You have a role, remember,” she said.

He winced, recalling her first declaration of that. Weren’t they past that? “I might do better with a press badge. They say it’s a bad idea for farang to butt into Thai affairs.”

Her eyes narrowed. “But you’re already here.”

He was backpedaling. It felt validating, what she was saying. “Well, even that could change,” he said. Under his breath he added, “Though I suppose you have a point.” He recalled Daeng and his wife, heads bowed. But Nunti was gone.

The news broadcast conflicting reports of casualties. Some outlets said that hundreds were dead or missing, the main newspapers reported only a few dozen. Even getting updates from the hospital staff proved impossible. Then a few days later, Tinya appeared in Dmitri’s office doorway, her hands templed in a distracted pose.

“Do you have a moment?” she said. She paused. “Something has come up.” Dmitri motioned for her to come in, but she lingered in the doorframe.

“I’m so sorry Daeng won’t be able to drive you,” she said in a hesitant monotone. “It’s his funeral ceremony.”

Daeng’s funeral? Dmitri felt light-headed. He had no hint that the man was close to dying. Tinya went on explaining in the same even tone where the event would be, how and when Dmitri should plan to attend. Was she dissociating? Dmitri wondered as she spoke. Was this conversation at all normal? He felt his neck stiffen at the notion of a formal Thai funeral—he’d never been to one—but he focused on her explanation. And he saw at the edge of her eye a wet glimmer.

The next day, wearing the prescribed long-sleeve white shirt, Dmitri road in the car with the other driver, Supro, to the temple. Supro said nothing during the entire drive.

They reached a quiet neighborhood and the temple Wat Phra Mongkut at dusk. The place felt like a small town with children playing in the road. Walking into the temple compound, Dmitri saw Daeng’s wife and felt a strange dual role of manager and personal connection to this couple with whom he’d exchanged only a few dozen words. He saw the three younger people sitting with her, they must be the children. There were folding chairs set up in several rows, and in the small sanctuary flower arrangements hung from the ceiling around the edge of the room, up to the white casket in front. To the left of the casket, a framed photo of Daeng, looking stiffly directly into the camera, stood on an easel.

Was the older girl beside Daeng’s widow their daughter? She held her mother’s hand tenderly. From her outfit and haircut, bangs wedged on an angle like the students on campus, she appeared to be an undergraduate. It shifted his picture of Daeng and his wife, of their hopes for their children. Seeing the two together made his stomach twist with sadness.

Dmitri was headed for one of the folding chairs but Supro motioned toward a small air-conditioned room off to the side, with several large wooden chairs. This was some kind of VIP green room, and struck Dmitri as a typical postcolonial trope: the white guy getting special treatment. But it may have also been due to the perception that Dmitri was Daeng’s boss. It stirred feelings of being an imposter; Dmitri sat erect in the wooden chair. A local in his forties sat beside him and introduced himself as Daeng’s brother-in-law. He spoke English well, and explained patiently some things Dmitri needed to know about paying respects. Dmitri did as he was told: kneeled before the casket, bowing just once. After Dmitri returned to his seat, the brother-in-law told him about Daeng’s mother, who raised eight children on her own, selling fried snacks and ice cream in order to feed the kids.

Four young, head-shaven monks filed into the room through the glass doors, a line of golden-clad figures, followed by a youth who began chanting a drone that mingled with theirs. Each monk held a large blue fan before his face. The chanting lasted ten minutes, with all attendees bowing deeply with hands steepled together. This scene felt like an incantation, a comforting echo of the church liturgy of his childhood but more salving. Part of that, no doubt, was the fact he understood none of what was being said.

Tinya had come and sat in the chair on the other side of Dmitri, and took up the role of explaining customs. As the ceremony was winding down, she said, “It is time to give the monks their offering.”

The ceremonial white guy role again. Dmitri was guided to stand before the row of monks, kneel and wai the monk before him, bow and present a basket of food. Dmitri felt like a total fraud trapped in a kabuki role, kneeling and bending forward. Also, it felt strangely meaningful.

Afterward, Dmitri bowed to Daeng’s wife and then followed Supro out into the night toward the car as it started to rain. He wished he knew more phrases in Thai that he could have said in consolation. Even in English, he had almost none. My deepest condolences. May his memory be a blessing. Tinya appeared at his elbow and asked for a ride. “It’s on the way,” she said. She conferred with Supro in Thai, and rode in the front seat. At one point on the highway, she turned to speak to Dmitri in the backseat. In a dreamy, almost nostalgic voice she said, “I remember during the war, all the trucks would come on the highway from the airport with the bodies.”

Before he could react, she went on: “They were dripping, they had them on ice. The melting ice and the blood dripping from the trucks onto the pavement.” Still dreamy sounding, her voice rising at the absurdity and horror. Trucks zoomed past them in the night, the shadows that brought the memory back.

Back at home, Dmitri wondered how Daeng had gotten himself to the Royal Green that day of the protest. Had he taken a river taxi downstream and docked, then walked the last bit through the narrow old-town alleys? Surely he didn’t drive. Would he have stood on a bus like any other pedestrian, waiting for his stop? Did he walk from the bus stop, looking to meet up with someone at the Green? Dmitri followed him in his head, searching for signs of how Daeng approached the unknowable future.What did he expect to find? What did he hope to accomplish?

Maybe the brother-in-law would have told him some of these things if Dmitri had asked. Maybe his friend at Shiva Alternatives had a brochure that would shed some light. Maybe none of those things mattered. When he imagined sharing these questions with Jan, he heard her sigh, as she did at news from the protests.

Unable to sleep, Dmitri went to a small filing cabinet in their bedroom and pulled out a folder. He took it to the dining room table and laid out its contents: a generic will template, filled out; a page with key information on account numbers and health policies; and a clipping – a headline from the date of the coup six months before, when the junta seized power. Dmitri wasn’t sure why the clipping was in with the formalities of their expat life, but looking at it now, it seemed a vital piece of information.

The cone of light from a floor lamp included the clipping and the photocopy of his passport page. Six months now. He looked back; it was five months ago when he and Jan began having small squabbles about stupid things. He was used to ascribing these to the stress of expat life. The first he noticed it might be more was just before her sister came, a couple of months ago. He thought about Daeng, and tried to recall any changes with him in the weeks leading up to the demonstrations, any words exchanged, observations about politics, the weather, the sunlight.

He packed up the folder again, stuffed it back in the file cabinet. He played some John Prine, then went to bed. Again came the dream-like imagery from the McDonald’s episode, a video game character pounding down the track, racing, and mirror images on either side. Was Dmitri shifting from the central figure to a side character? Was he becoming? Where were they going? God, he was delirious. But he had already made, he felt, a kind of promise.

3.

The next morning, instead of going to the office, he asked Supro to drop him at Lumpini Park. He decided he would walk to the Royal Green from there.

Lumpini was one of the few Buddhist names Dmitri knew, the birthplace of Siddhartha. The name held a kind of mythic power in the grimy center of the concrete metropolis. He heard it in the way that Bangkok residents savored the word, a kind of comfort food.

He had heard it in Supro’s voice as the driver banked off the highway and rolled from the exit ramp into stalled traffic, saying, “I’ll stop at Lumpini corner.” The intersection off the ramp was snarled near a schoolyard where parents were dropping off uniformed children. Dmitri and the driver barely exchanged another word before Dmitri launched from the passenger seat and skipped to the curb. The morning was gray around the edges but deep blue straight overhead.

He walked through the green park conscious of his breathing: a slow intake, the hold, and the whoosh of exhaling. He felt composed and his body felt good.

The Royal Green was an hour’s walk west of the park. Rama IV Road at that hour was choked with yellow-and-green taxis, hulking white commercial trucks, and shiny dark sedans of people who lived in the highrises out Sukhumvit Road.

To choke off protestors’ downtown access, the mayor had closed the monorail stations, and brown-uniformed police blocked the entrances. On foot, Dmitri passed department stores, cafes, electronics outlets and steakhouses along the way, and beggars who staked out the overpasses, as real-estate conscious as any retailer.

From the park’s edge, he soaked in the lawn and trees, the lake with paddle boats tied together at the shore, bobbing patiently for weekenders who would never come. Dmitri could stay here and have the park to himself for the day. Soak up the vibe, then hail a cab back home.

That day when he was with Jan in the park and they were eating noodles on the bench and she was telling him her frustrations while he stared dumbly at those tethered boats, he had imagined the two of them pedaling one out into the center of the lake. In his mind, they were laughing at their ridiculous bicycle motions over water, dumping the weight of their worries into the lake. He saw themselves actually miming the opening of a heavy sack and turning it upside down, shaking it out on the ripples stirred in the light breeze.

Now even the memory of that daydream felt somehow obscenely escapist or colonial or something.

Coming to join the protestors was more serious than being a witness. His presence was a political act. His job required political neutrality and this was not. He couldn’t discuss this with his boss, of course, but the afternoon before Daeng’s funeral, Dmitri had broached the subject with Tinya. Dmitri had harrumphed that he didn’t understand how there wasn’t wider protest against the junta, and said, “For Daeng I should do more than just show up at his funeral.” Tinya shot him a look of fear. “He did more than he should have,” she said. “He put us all in risk. You know the term loose cannon? They don’t know the damage they do, rolling around and exploding.”

A low roar now came from the direction of the Royal Green. It seemed to rise from the treetops before him, but the source must have been further away. Dmitri wasn’t sure if the noise came from the unamplified crowd or if it had the electric crackle of a speaker and a P.A. system. Walking through this refuge in the middle of the city, the low rumble felt ominous. He became a bit terrified.

In his pocket he clutched a dark blue bandanna, flimsy protection against teargas and batons. He wondered if this path he was taking toward the Green, the Rama IV road and side streets, would also be his escape route when things went tits up. On the sidewalk at an overpass he passed another child begging with her mother, and put a 20-baht note in her cup.

He passed on, and felt a sense of purpose carry him forward. He was part of something larger, even if it wasn’t really his fight. He wasn’t Thai, but thought if democracy in the U.S. were facing an existential threat, he would be out in the streets. But he was here, and had to admit his presence was optional.

He heard Jan’s voice, warm and reasonable, when he talked about going to bear witness: “Do they need you there? Does it really advance the cause to have a farang detained?” It made her feel physically sick to think of him in a jail like the immigration detention facility where she had done volunteer work, helping detainees get what they needed. “What good would it do?” she said.

Dmitri wasn’t sure.

She had booked her flight, finally, returning to the States with her sister. She had gone back and forth for weeks on the idea of returning to Bangkok. Her sister had prevailed. “Until the State Department revises its safety alert,” she had said. Jan sounded calm, the trip had given her distance and perspective. He could hear her concern in her voice.

He pulled out the dark blue bandanna from his pocket. The moment he tied it over his face, he knew, he would become a target for police attention. Was he a reckless person? What had Daeng done in his position?

Daeng thought, as he approached the Green: Am I a reckless person? I have family.

Dmitri couldn’t make out the words over the sound system. The sounds from blocks away were a muddy sludge. Walking in that direction, he didn’t feel reckless, he felt determined. He watched a flood of traffic come toward him, and saw at the edge of the road a young man in a wheelchair, rolling himself against the tide of headlights. Dmitri felt a pang of fear for the young man’s safety but as he got closer he could see the other had no such fear. He was pumping his arms furiously on the wheel rims, powering himself onward toward the Green, unfazed by cars passing within inches of his hand.

Dmitri greeted the young man in Thai, and received a nod in response. Dmitri asked if it would be more safe coming onto the sidewalk?

“Nowhere is safe!” the other muttered. Unspoken: Stupid farang. True enough.

“You are going to join the demonstration?” said Dmitri, carefully pronouncing the word from Pali-Sanskrit.

The man continued pumping, nodded. Raised an eyebrow. “You?”

Dmitri was abreast of him now, matching the wheelchair pace. “Yes. Going for a friend.”

The young man glanced in Dmitri’s direction without letting up his pumping. “Your friend doesn’t need you now,” he said.

“Look, friend,” Dmitri said, a little louder than he expected, “can you manage with this crowd? It could get dangerous.”

“Who’s your friend?” said the man, meeting his gaze.

Dmitri recognized something about his expression—the calm yet challenging directness so rare in this country. It was familiar and disconcerting. Nunti, it was her expression when he had pointed out the brochure mistake. Clear, dead-eyed, observant.

Suddenly Dmitri realized that he would see her this morning, most likely. She would be at the edge of the crowd, watching, scanning for her son among the speakers and activists. Or maybe she would be busy at a white tent emblazoned with the Red Cross, assisting wounded or tear-gassed people, providing first aid or handling intake information, wielding a clipboard and wearing a white coat.

Or perhaps the professor would be standing atop a makeshift barricade, feet planted to steady herself, waving the striped Thai flag aloft like Liberty in the Delacroix image of the French Revolution. She would make herself a bulwark. Sure, nonprofits like Shiva Alternatives charged the ramparts and demanded action in the name of the disenfranchised. For most, it was show. Dmitri felt an equally important role was played by system-type workers, plugging away at bland research that addressed the needs of those disenfranchised and the sidelined farmers of Asia. Dmitri had seen many of them in the three years he’d worked and traveled here: saronged men and women in the hills of Sri Lanka, survivors haunted by a brutal, decades-long civil war. In Indonesia, he walked with a knot of head-scarved Balinese women at the fringe of a field (a few miles from the rice-terrace beautified hotel where Jan and her sister were now staying, where he had stayed with her in happiness before), talking about planting a windbreak to shield their vegetables from the killing winds.

In his mind’s eye, these scenes churned against a background of forests and his powerpoint slides, strung together by wisps of tear gas. Those fields linked him and his trek trudging city pavement to the Green. Of course he would be there! His life had been pointing to this. Even Prof Nunti played a role in getting him here. They kept on to where Rama IV turned into Progress Road (Charoen Krung), approaching the palace.

 He and the young man had almost reached the intersection when suddenly the crowd noise swelled to a dull roar. Dmitri saw a tide of thousands of human forms, with white police helmets bobbing like buoys above a current of black hair and varied headgear. As Dmitri’s eyes adjusted to the chaotic motion, he made out the hammering of batons and a clatter of hard clear shields. The sound sent a jolt to his system, his neck and shoulders.

He turned and saw people following behind them. They too appeared curious to see what the crowd was up to. One couple appeared younger, maybe late twenties. Dmitri observed he was the only farang in the wide scene. He was an idiot.

“Can you manage?” said the young man in the wheelchair. It took Dmitri a moment to realize he was talking to him. Before he could answer, a rock landed on the pavement at his feet.

As the young guy gave his rims another spin, a smoking cannister rolled into one of the wheels. Dmitri’s brain registered teargas as his eyes started to prickle. A swarm of bees were attacking his retinas. He thought of kicking it away, but saw that he might topple the wheeled man if he did, so he turned and ran, grabbing the bandanna from his pocket. The wheeled man careened one way, the centripetal force appeared to raise him up on one rim as he made a turn, and Dmitri ran at an angle as he sprinted the other. He was making for an open alley, one not clogged with vending carts and people. His feet found footing where none seemed to be. His body had kicked into gear, leaving his mind back in the plumes of smoke unfurling across the street.

But his mind back there soberly took in the advancing police with their plastic shields, truncheons raised high, then swinging down. The stakes. He became aware of a hiccupping, gasping sound pursuing him as he pounded forward. It was coming from him, he realized, he was struggling for air. Another alley appeared and he raced through it.

Running, dodging, his mind fixed on those truncheons and Nunti’s voice, telling him he’d been spared. By whom? “Without blinkers,” she said. He looked around and saw so many others running too, fleeing. He slowed to a jog, took in a deeper breath. Was this really a step toward witnessing?

A map clicked into place in his head, with streets pointing back home that he did not have time to question. At the far end, there was the wide boulevard beside the canal, which he could follow to Democracy Monument. There he might find a taxi willing to move for an extra pink note.

Minutes later he was in one, watching the streets roll past, his hair pasted to his forehead, bandanna stuffed back into his jacket, soaked with sweat and smelling of teargas. His eyes were still stinging, blinking furiously. The driver eyed him in the rearview, his worried face examining Dmitri’s.

He would get out at the Buffalo bridge intersection and walk back to his apartment. Lay low for the rest of the weekend. He had to document what he’d seen. Maybe things had unfolded the way they were meant to. He wouldn’t tell Jan about the demonstration yet–it would just upset her. And for what purpose? When she returned from the trip with her sister, they would start things over. She’d cancel her ticket home.

But he would check his notes against every article he could find about the demonstration, listen to every podcast, and in the brutal crackdown that followed, he would scan reports for names of the missing. Would he recognize any? What happened to the young man in the wheelchair?

He was asking himself that a week later, while writing up a few pages about that day, which he decided he would send to the Bangkok Times, the English-language paper. He would send it anonymously, to avoid blowback for the office. But word needed to get out about what happened. He had it mostly written and was shutting down his computer for the evening when Tinya appeared in the doorway. “I wanted to ask,” she said, “if you might visit Daeng’s family this weekend.”

Dmitri looked at her and considered how she had asked. He saw that it was the right thing. So he filed an overtime request for Supro and on Saturday, the driver came and drove Dmitri to the riverside neighborhood. They arrived at Daeng’s family’s house amid a rat-a-tat of jackhammers. The city’s transformation didn’t stop for weekends. Dmitri asked the driver, as he turned off the engine, if he would come in and translate if needed. Supro nodded.

In the end, no translation was needed. Dmitri rang the doorbell, waited, and rang again. When nobody came, he looked around, unsure whether to leave a note. As they walked back to the car, Dmitri could see into the temple compound across the lane. There beneath a filigreed awning of the temple, a small group of people gathered. The temple’s facade was covered with pale plaster where bits of glass and candy-colored mirror fragments glittered. The dancing light had a shimmering effect like a mirage. 



 

BIO

David Taylor’s fiction has appeared in Rio Grande Review, Washington City PaperGargoyleJabberwockThe MacGuffin, and anthologies, and has been nominated for a Pushcart Prize. His debut story collection, Success: Stories, received the Washington Writers’ Publishing House Fiction Prize. His nonfiction book Soul of a People (Wiley) about the WPA writers, provided the basis for a documentary feature of that title and for The People’s Recorder, nominated for 2025 Best Indie podcast. He teaches at Johns Hopkins University.







A BELONGING

by Juanita Rey



It’s windy outside
just the way the rattling trash cans like it.
Curtains shake.
Window rattles.
A pen rolls off the table,
onto the floor.
The noise startles me.
But it’s not about fear.
Just the dubious nature of my life here.

Mice scamper through the walls.
Spiders crisscross the ceiling.
Shadows steal half the floor,
then my leg up to the knee.
A friend I have not seen in years
appears to me in this kitchen
of all places.
It’s amazing how creative
light and dust can get
when they have my memories
as a model.
But, of course, it will be totally dark soon.
She cannot stay.

I’m reading a book in English.
I feel proud of that for some reason.
But it makes me a little less Dominican
and no more American than I was before.

Then my neighbor from the apartment below
knocks on my door.
She says she thought
she heard somebody home.
That’s not altogether encouraging
but it’s a start.




THE TAINO MOON



The sun sinks into the sea
but the moon is another kind of rising,
like the lilt of a song but without the sound,
a drum-less palo, a choir of departing gulls.
It has the air, the breezy cadence of a fateful moment
but, as I head towards home, it turns perfect.

The lights ahead are a human constellation,
the public eyes of the ones who make do,
most inside now, concluding this day
in the manner of all days, the light
nudged westward, the dark overseer,
and the old moon of the Taino,
held over for these times.




POEM TO THE WORD “NO”



Why is someone’s tongue
forcing its way into my mouth?

My legs are curled up
so I push back with my hands.

How many ways can I say “No.”
If the word’s not heard,
it must get physical.
Thankfully, “No” has muscle.

I want to believe
that life is about the choices I make –
good or bad –
and not what other people want of me.

Thankfully, he leaves –
first, out of my mouth
then through the door.



BIO

Juanita Rey is a Dominican poet, US resident. Her work has been published in Mixed Mag, The Mantle, The Lincoln Review, Lion and Lilac, amongst others.







Polaris

by Denisha Naidoo



It is not my father’s funeral and yet my legs wobble and threaten to succumb to gravity. Memories infiltrate the fog in my head and blur the divide between the past and the now. I am lost in thoughts that leave me unmoored, directionless.

I lean on the brick wall for support. My eyes half-focus on something on the sidewalk—an old wallet, scuffed and worn. A passerby kicks it.

“Dissociative trauma response,” my therapist calls it.

The bruise on my forearm is real. A purple badge where I pinch myself. I am awake.

In my dreams I am four maybe five. My father is still alive—strong, robust. I inhale his scent—the smoky hint of sandalwood, I run a finger along the ropey muscles of his forearm—the childhood scar he never explains and sink my hands into the thick silky waves of his ebony hair. I dream of the desert, red sand, sunset glow and the brilliance of stars in a vast inky blue night sky. In this place, I can feel forever. I hear nothing and sense the fullness of space above us juxtaposed against the firmness of sand beneath our feet.

He draws patterns in the sand—the stars, the constellations.

“Polaris,” he says and points to the heavens. “To navigate by.”

I look to the stars and find joy.

The rough brick beneath my fingertips calls me back to the present. I am as unnoticed as the discarded wallet—a relic of someone else’s loss.

Feet nudge the wallet one way and then another. It travels at the mercy of fate. A pair of brogues kick it in my direction. Black boots complete the final pass until the wallet stops at my feet.

I slide down the wall to take a closer look. The leather, soft and scratched is curved to the shape of someone’s body. No one notices when I pick it up. Bereft of money and credit cards, it weighs nothing at all. I gently turn it over in my hands. Grains of red sand fall onto the bone white sidewalk.

Longing slides down my spine. I run my fingers through the wallet and find nothing. I hold it to my nose and inhale the scent of warm leather.

When darkness descends, I look to the sky. Polaris winks back.



BIO

Denisha Naidoo is a South African Canadian physician psychotherapist, poet and writer, who lives in Ontario, Canada with her dog Maverick. Her work has appeared in Killer Nashville Magazine, Amazing Stories, Gramarye, PRISM International, Passager Books, Prairie Fire, The Temz Review, The New Quarterly, Open Minds Quarterly, The New Quarterly, and Ladies Briefs: A Short Anthology, and others.

Website: https://denishanaidooauthor.com








ADIRONDACKS IN FALL

by John Grey



The great bird forest
sheds its red and gold feathers;
on the trail through the woodland
they alight
as soft as palms patting
the heads of babies;
across the pond
where a few leaves float
like crinkled lily-pads,
a beaver slips
from shore to dam
with kindling in its teeth;
the breeze blows cool
and the dead descend,
from a sun
now even farther afield,
light pulling away
from weary trees
grown tired of growth;
free of civilization,
I needn’t recognize
a single aspect of myself.




TUBES TIED



She had her tubes tied at 35.
Too many failed pregnancies.
Too much anticipation
bleeding on the kitchen floor.
She confessed it to the priest.

His response was garbled.
She retreated into a dozen
half-hearted “hail Marys”,
and fingers wrapped tight
around rosary beads.

But her body would
never fool her again.
It would be the provenance
of sickness and disease
and nothing more.

No more exhaustion by hope.
None of that doptone
on her stomach
listening for ghosts.

From now on,
if she isn’t feeling good,
the reason’s simple.
There is no good to feel.



HAWK


So the bird you feed
is killed by the hawk you didn’t see coming.

You put the seed on the tray.
You hung it from the oh so visible branch.
You watched as birds descended in their numbers.
You took advantage of their hunger.
You invited the victims in.

And then you stared in horror
as the huge predator dropped down
and gripped a startled starling in its talons,
snapped its neck,
flew up to a rooftop,
and devoured its flesh,
spit out the feathers and bone.

But you still feed the birds.
You watch their antics from your window.
And they still sing between mouthfuls,
get in their thanks
before your return as a hawk.




DEGREES OF SEPARATION ANYONE?



For me to be with Angela,
I had to meet a man
who introduced me to his cousin
whose best friend worked
at a bookstore I was unaware existed
which I began to frequent
on a regular basis
where I found myself
one Tuesday evening
side by side with a
young woman in the
“American History” section
who invited me to
a gathering of herself
and a number of like-minds
at a nearby coffee shop
where I began chatting
to another young woman
who, after a date or two,
felt like it wouldn’t work
between us but that
her younger sister and myself
were a much more likely couple.
And, here we are, years later,
and I run into that man
I met way back,
and I neither thank him
nor blame the guy
for my current situation
because it would be
too complicated,
too convoluted to explain,
and, as for the younger sister
of the woman I dated
who was part of gathering
of like-minds
in a coffee shop
that I became temporarily
involved with
thanks to another woman
I met in the “American History”
section of a bookstore
where worked this best friend
of the cousin of the guy
I met way back
and had just run into
for the first time in years –
her name wasn’t Angela.
No, Angela was the lovely woman
the man is out walking with.
This is where my story
really begins.



BIO

John Grey is an Australian poet, US resident, recently published in New World Writing, River And South and The Alembic. Latest books, Bittersweet, Subject Matters, and Between Two Fires are available through Amazon. Work upcoming in Rush, White Wall Review, and Flights.







A Long Short Trip to Tangier

by Robert Eastman



     The sign was missing. To the right of the door, where it should have been, there was but the shadowy outline of where the sign once was, the ghost sign a silent witness to the passage of time in Tangier.

     DEAN.S BAR
     1937

     I am in Tangier, at a certain address, standing in front of a building, staring at a ghost of a ghost. I would not understand what I was really looking at until much later. At this moment, I am instead struck by disappointment. In my head, the sign was still there. I wanted it to be there, to see white letters standing out from the metal plate under a noirish light on a dark night, Joseph Dean standing under the lit-up marquee jutting out over the sidewalk.

     Do I have what Simon-Pierre Hamelin, owner of Tangier’s Librairie des Colonnes, calls “Tangier Syndrome”? He cites the symptom of self-reinvention as the “primary pathology” – pretending to be what one is not. However, when Hamelin refers to “a veritable manufacture of larger-than-life characters,” I am unclear whether he is discussing self-reinvention or excessive idolatry of writers and artists. Coming to Tangier to try to understand what Tangier meant to Burroughs, Ginsberg, Kerouac, Corso, and Bowles – to the extent that is possible 75 years later –  makes me feel that I am in Hamelin’s crosshairs. I make no pretense of being a literary pilgrim – an inadvertent literary tourist, perhaps. I may be afflicted more with a secondary pathology, nostalgia, than the primary; the cure for either seems worse than the disease.

     * * *  

     My little hometown, Buckland, Massachusetts, was far away from Morocco – 3,500 miles west, and 7º of Latitude further north. Buckland and the neighboring town of Shelburne are often collectively known as “Shelburne Falls,” particularly the small downtown where the excitement of the day in my youth might have been the bowling alley hidden behind Main Street, the community swimming pool, the drive-in Theater, or enjoying a root beer at the Baker Pharmacy counter. When all else failed, we would say we were from “near Greenfield”, the county seat, 15 miles east of Buckland, which seemed like a big town to us – Greenfield’s population of 17,000 dwarfed either Buckland’s or Shelburne’s populations of a couple of thousand residents each. Greenfield is where the restaurants were (Howard Johnson’s all-you-can-eat fish fry on Wednesday nights was a place to be seen), the Garden movie theater, Wilson’s Department Store (grand by Western Massachusetts standards), and the Franklin County Fair every September.

     My mother took my sister and me regularly on many Saturdays to our small-town library in Upper Buckland, where I devoured biographies of the presidents and the Hardy Boys. Our home was not particularly literary. The built-in bookshelves in the living room of our 150-year-old house were always full, but not with what one would call “literature”. The composition of the shelves changed somewhat after my father died when I was 6 years old, and my mother remarried 4 years later. I would be forever looking at the books lined up on the shelves (never opening any of them to read): 2-3 Abridged Reader’s Digest books (“Forever Amber”); H.G. Wells’ The Outline of History, Volumes I and II; A Treasury of Great Mysteries; at least 3 Bibles, and several scrapbooks, sitting among assorted bric-a-brac.

     I was not aware of the Beats in my youth, except for reading On the Road in high school. (I would not learn until I was about to embark on my trip to Morocco that Herbert Hunke, who with Jack Kerouac conjured the term “Beat,” was  born in Greenfield in 1915, and had lived at 10 Grinnell Street, Greenfield for the first 3 years of his life.) I had heard about Allen Ginsberg’s “Howl” in the hallway or on the bus, but neither Ginsberg nor “Howl” registered with me.

     Somewhere in my youth, however, I had developed a deeply buried enthrallment with the Beat, or was it the derivative Beatnik? They represented a secret society, a cabal of some sort. The Beatnik oozed a coolness that I could only dream of possessing: the goatee, black turtleneck, black pants, and dark glasses. They hung out in places, I imagined, that I would never be admitted to, a smoky, chiaroscuro setting, softly playing jazz music drifting over furtive conversations in dim lights. Where this fantasy came from, I have never been able to resolve. Could it be a yearning for admittance to a fold of platonic male companionship, perhaps to fill a void left by the death of my father? Or did this fantasy develop from a book that I eagerly ordered from the high school library’s monthly book catalog?

     My reading appetite began to turn to the most arcane and obscure topics before I turned 13. Even more than my high school library’s shelves, the monthly book catalog was a menu of unimaginable delights to me. I would pore over each catalog multiple times, unable to choose which or how many books to order. Inevitably, my focus was increasingly drawn to the books on the most obscure topics. I immersed myself in existentialism and was delighted by the arcaneness of Madame Blavatsky’s theosophy.

     These two aspects of my youth lay dormant for most of my life: my secret desire to belong to the secret society, and my thirst for books of the most arcane nature. A trip to Provincetown, Massachusetts, years later would force me to revisit these impressions of my youth and start me on a journey I never knew I wanted to take.

     * * *  

   On a warm August day in 2018, I was on a regular, but not frequent, visit to Provincetown (Massachusetts), “Ptown” to any local and to most tourists. Every such visit inevitably involves a customary ritual of wandering from one of Ptown’s 3 bookstores (at last count) to another. I was in the 3rd bookstore on Commercial Street, Tim’s Used Books, eager for a score. As usual, I was shifting indecisively from one shelf to another, looking for that arcane volume that would have the most obscure references in the back pages of the index. After working my way through the shop, I returned to the tall, narrow shelf that greets customers as they enter. On a shelf higher up,  my eyes landed on the thick binding of “Dharma Lion,” Michael Schumacher’s 2016 biography of Allen Ginsberg.

     Dharma Lion’s 82 pages of endnotes and index beckoned – oh, the obscure references to people and places one might find. Sparkie Bourne had bought this book in October 1993 and marked it up throughout in pen, and then apparently was done with the book. Of such small moments, journeys are begun. For the princely price of $7.50, my ticket had been punched for a trip I had no comprehension or intention to make. Any why would I? “Tangier” does not appear in the “Dharma Lion” index and appears only 68 times across the book’s 769 pages.

     Dismissive of Allen Ginsberg 50 years earlier, now this notoriously slow reader ran through “Dharma Lion” like a wildfire, and the fire ignited an intense interest in the Beats. One book led to another, through some two dozen books over the next 4 years: William S. Burroughs, Jack Kerouac, Neal Cassady, Gregory Corso, Brion Gysin, John Clellon Holmes, Herbert Huncke, Diane di Prima, Ian Sommerville, Paul Bowles, and Mohamed Choukri.

    An old phantasm of my childhood had been revived. If I was not ready or able to fully explore in my young undeveloped state of mind, I could allow it fully bloom now. John Clellon Holmes’ definitive 1952 essay in the New York Times Magazine (“This Is The Beat Generation”) captured the Beats and the context of the times well before I was born: a group of writers who had a “lust for freedom, and the ability to live at a pace that kills”. No one has described the 1950s existential center of the Beats better than Holmes, and he makes me wonder now if we might not be hungry again for the restlessness that epitomized the Beats. Later in this essay from almost 75 years ago, Holmes writes: “Sociologists, with a more academic concern, are just as troubled by the legions of young men whose topmost ambition seems to be to find a secure birth in a monolithic corporation. Contemporary historians express mild surprise at the lack of organized movements, political, religious, or otherwise, among the young…Perhaps they have not noticed that, behind the excess on the one hand, and the conformity on the other, lies that wait-and-see detachment that results from having to fall back for support more on one’s capacity for human endurance than on one’s philosophy of life.”

     * * *  

     Tangier is, above all else, a product of its history. Sitting at the juncture of Europe and Africa and at the juncture of the Atlantic Ocean and the Mediterranean Sea, on the Strait of Gibraltar, the city has always been perfectly juxtapositioned at the center of considerable intrigue before and after World War II. For much of its history, the Portuguese, Spanish, British, and French were trying to strongly influence, if not colonize, the country. In 1923, Tangier was declared an International Zone controlled by France, Spain, and the U.K. (and later Italy and the U.S.). World War II complicated matters further. Spain occupied Tangier from 1940 to 1945 before being ousted, and the country returned to the control of France, the United Kingdom, the Soviet Union, and the U.S. In this maelstrom of international influence, Tangier became a haven of free trade ⏤ and smuggling, espionage, drugs, homosexuality, prostitution, and intrigue  ⏤ from 1923 until 1960. (In August 1957, The Sunday Mirror reported that prior to July 1955, Tangier had accommodated at least 25 licensed brothels – 12 for Europeans, 13 for Arabs.) The movement toward Moroccan independence gained momentum in the years following World War II, resulting finally in Morocco declaring its independence on 2 March 1956.

     Paul Bowles, who famously lived in Tangier for over 50 years, arrived in 1947 and remained until his death. Brion Gysin, writer, poet, painter, multimedia innovator, restaurant owner, and close associate of Burroughs and Paul Bowles, had come to Tangier in 1950 (on the advice of Paul Bowles) and stayed until 1958. William S. Burroughs came to Tangier via Rome (which he did not like), ⏤ drawn (according to Barry Miles) by Bowles’ The Sheltering Sky and Let It Come Down as well as the rampant vice of Tangier.

     Tangier’s location, tolerant attitude, and attraction to all manner of vice and intrigue drew many literary figures, painters, and artists, particularly in the 1940s, 1950s, and 1960s. In the same orbit as the Beats, writers such as Truman Capote, Tennessee Williams, Jean Genet, John Hopkins, Samuel Beckett, T.S. Eliot, and Rupert Croft-Cooke mixed it up with a coterie of other poets, painters, writers, and adventurers. They gathered at Villa Muniria (and the TangerInn Pub attached to the Villa Muniria), the Parade Bar, Dean’s, the Bar La Mar Chica, Hotel El Minzah, Guitta’s, Hotel Rembrandt, Café Central, Café de Paris, La Grenouille, Madame Porte’s, and Hotel Armor.

     * * *  

     Christmas is just days away. My son and daughter, grown up and with children of their own, are each spending the holiday this year with in-laws. Given the choice between spending the holiday alone or traveling, the choice seems obvious. I am reading Mohamed Choukri’s For Bread Alone, the 14th book I have read about the Beats or people associated with the Beats since my visit to Provincetown. I am thinking about the intersection of desire and opportunity, and about taking a trip I never thought about taking. A book I bought five years earlier, some sentimental childish fantasy, and a hopeless nostalgia for the restless energy that people used to have before we were overcome by the relentless stress of getting ahead, paying the mortgage, climbing the corporate ladder, and hanging on for dear life until retirement. They are leading me to Tangier.

     * * *  

     From the rooftop of my riad, I can look out on Tanger Bay and, across the 30 kilometers of the Strait of Gibraltar, to the coast of Spain. This afternoon, the water is a shimmering blue; the Strait will always be this lovely shade of blue, I think. The bright sun is still lighting up the waterfront, although sunset is just an hour away.

     I walk out of the riad to explore Tangier. Away from the waterfront, the buildings are beginning to cast long shadows. The air is warm for December for a visitor, but about 25 degrees cooler than in midsummer in Tangier.

     Along the waterfront, in the late afternoon, many families are out walking – children, parents, and grandmothers. Away from the waterfront, during the day, men seem to outnumber the women in the street – either standing outside their shops awaiting a customer, standing together talking, transacting in the Grand Petit or Grand Socco, or sitting at a café. Younger women are apt to dress modestly but not traditionally. Older men and women are often, not always, wearing the traditional djellaba. One Tangerine told me he had 6 or 7 djellabas in his closet, much as a gentleman in the West might have several sport coats in his closet. Being December, the women often wear a warm coat over their djellaba, with a headscarf for tradition and modesty, not warmth.

     Everywhere in Tangier, there are cats. As much as cats are revered in Arabic culture, the life of a street cat seems precarious in Tangier. In one shop in the souk, a shopkeeper had a bowl of food out for a cat and its litter of kittens; in a restaurant, a patron set aside his unfinished plate for two cats milling about. Near my riad one evening, however, a taxi driver picking me up ran over a cat without the least reaction; the cat ran under the wheels under the driver’s side, and then, before slithering away, went under the wheels on the passenger’s side. The driver seemed no more surprised than the cat, and not the least concerned about any moral consequences. I would see more savagery before I left Tangier. This apparently is not, however, the explanation for the Arabic culture, assigning the cat only 6 lives, not 9; the accepted narrative is that cats are respected and cared for in Arabic cities, including Tangier.

     Some alleyways are very clean, but the cleanliness coexists with a fair amount of shabbiness. Some alleyways are lined with lovely plants in pots outside every door. Other alleys and passageways are shabbier, with littered empty lots, and the purpose, occupancy, or habitability of buildings unclear. No one pays much attention to the crumbling. (The Café Hafa has always been Tangier’s version of shabby chic. On the day I visited, the restrooms were filthy to the point of use-at-your-own-risk.)

     I come to a stop at the bottom of a steep street rising to my right. With only a vague sense yet of Tangier’s geography, I suddenly wonder if the Villa Muniria is nearby. I have seen a photograph of this famous literary landmark in a guidebook, but the address is vague. Finding one’s way around Tangier requires patience and reliance upon one’s geographical instincts. There are streets with no posted street name. It’s unclear what constitutes a street and what constitutes a wide alleyway. Streets may have no name, or have 2 or 3 names, names have changed over time, or have a name that is not posted on the street. The visitor trying to traverse the city without Josh Shoemake’s Tangier: A Literary Guide for Travelers, perhaps having inexcusably discovered the book only upon their return, is at a considerable disadvantage.

     In room #9 of the Villa Muniria, in 1957, William S. Burroughs was in a manic creative period, furiously throwing off pages of what would become Naked Lunch onto the floor as quickly as he typed them. Jack Kerouac, who had arrived in Tangier first, and Allen Ginsberg, who had arrived after Jack, gathered the pages covering the floor, and reorganized and retyped the material into the first of several versions of William S. Burroughs’ most famous book.

     Burroughs had written 3 books (Junkie, Queer, and The Yage Letters – only Junkie had been published); he was better known for having shot and killed his wife, Joan, in 1951, in a William Tell party game gone wrong. Kerouac, perpetually restless and uncertain, was still trying to get the book he had written 6 years before, On the Road, published and dealing with the rejections of several other works. He was coming to Tangier for a reunion with Burroughs, Ginsberg, and Gregory Corso. Allen Ginsberg’s growing reputation was about to explode when he arrived in Tangier with Peter Orlovsky several weeks after Kerouac in late March 1957. (Not liking Tangier, Jack left two weeks after Ginsberg and Orlovsky had arrived.) Ginsberg had just published Howl three months before. He was in Tangier for no more than several days when Customs officials in San Francisco seized copies, declaring them obscene. This brought Ginsberg considerable notoriety. Greg Corso had met Ginsberg in 1950, just after being released from prison. Despite a troubled adolescence, Corso developed into a notable poet and associate of Ginsberg’s. His first book of poetry had been published in 1955, and he had been giving numerous poetry readings with Ginsberg.

     Going on instinct more than anything else, I walk up the street, feeling a need to head north and west. The choice of streets is limited, so I take the first street heading north. At the very least, I am heading back in the direction of my riad. This street at first looks respectable enough. An abandoned building on the side of the street is across from a bakery. Then, an empty trash-strewn lot that opens up the view out to the bay, letting light penetrate the neighborhood, signals a change in character for the street. The next block is dreary. Indifferent, characterless buildings of ambiguous use and occupancy close in on the street. One would never know that one of the buildings on the north side of the street is the Hotel Armor, in whose penthouse Allen Ginsberg, Peter Orlovsky, and Gregory Corso stayed on a 1961 visit to Burroughs. (Days later, they were joined at the Hotel Armor by Timothy Leary, also there to see Burroughs.)

     Ahead of me, past the next corner, a group of men and several uneasy dogs watch my approach with what I hope is curiosity. At the corner, a street rises up on my left, framed by another shabby-looking empty lot on one side of the street, opposite a high wall on the other side. The wall is flat and chamfered where it wraps around the corner of the street. At the chamfer, on top of the wall, a white sign with thin black lettering, “Hotel El Muniria and the TangerInn Pub,” sinks into the bushes. A white 3-story building, shrouded in shade, dominates this short, rising street. Two signs hang vertically over the entrance: “EL MUNIRIA VILLA”, in blue lettering, and, above it, in red lettering, “TANGERINN”.

     With no thought as to how I will explain my visit, if I even understand it myself, I knock on the heavy, grated door. There is no light from inside. The only signs of life are a single car parked in front of the entrance. I knock again and then press my finger to a discreetly located doorbell. At last, there are faint sounds of human presence from within. A woman, perhaps in her 40s, opens the door to see who is asking entrance at this late hour in the afternoon in the largely deserted neighborhood. She greets me in what I presume is Darija. (While both Darija and Berber are official languages of Morocco, Darija is by far the more common language in daily use in Tangier.)

     My improvisation skills are required to gain admittance. Through some gesticulations and jumbling of words – “Beats”, “photographs” –  I convey my wish to see “the photographs” (understood without explanation to be the photographs of the Beats reported to hang on the walls of Muneria.). A stroke of luck – my surprised greeter opens the door and bids me to enter. I cross through the two heavy doors into a small, dimly lit split-level entryway, too small to pass as even a tiny lobby. A stairway to the upper floors takes up most of the space; to the right, a narrow hallway leads back to parts unknown. Awkwardly, we engage, without a common language, in a “Here’s the photographs, should I show you more?” pas de deux.

     What first catches my attention, on the wall just inside the door, is a mash-up of a well-circulated photograph. The original photograph or its variants shows Peter Orlovsky, William S Burroughs, Allen Ginsberg, Alan Ansen, Paul Bowles, Gregory Corso, and Ian Sommerville in the Muneria garden, in 1961. This mash-up is a cut-in-half photograph of Peter Orlovsky, William S Burroughs, and Allen Ginsberg, together with a long letter on paper with a “JB or possibly JC monogram” of unknown authorship. The clues are tantalizing but inconclusive.

     My erstwhile hostess steers me toward the stairs. In the short stairwell, Allen Ginsberg’s 1961 photo of a “slightly zonked” William S. Burroughs in his trademark fedora; then Paul Natkin’s March 1981 photo of Burroughs in Chicago, wearing a heavy wool suit and sitting on a couch in front of a graffiti-scarred wall. Near the top of the stairs, Ginsberg’s August 1961 photo of Corso, Bowles, and Burroughs in front of a kneeling Ian Sommerville and Michael Porter in Muniria’s garden. On the first-floor landing, over a weeping fig, a composite of Gysin and Burroughs from an April 2013 flyer for a Gysin-Burroughs exhibit in Tangier. I had expected, without reason, for the photographs to be older or original. This is a collection, not Collection.

     The 3rd floor is half residence, half terrace. The terrace looks out over Tanger Bay to the north. I am taking in the lovely view of the Mediterranean when my host directs my attention behind me. Her family is staring out at me through a set of double doors with a mix of impatience and curiosity. There are no signs of any guests at the hotel; in the finest tradition of Tangier, the ambiguity of the entire street extends to the Villa Muniria. If I wish to know that the family is looking out at me from the apartment in which, first, Burroughs, then Kerouac, and, later, Allen Ginsberg and Peter Orlovsky, lived, I will have to learn that myself. Burroughs moved from this room to the room on the bottom floor, where he wrote Naked Lunch. I wonder if language is the only barrier to my learning any of this from my erstwhile hosts.

     With the fixed stares of the family increasingly pressing on me, I feel an urgency to conclude my unexpected visit. In the confusion of the moment, I forget to look over the wall of the terrace into Muniria’s garden below, missing an opportunity to imagine the orgone accumulator that Burroughs built (his fourth, at least) in Muniria’s garden to capture “orgone energy.

     This elusive energy was first described by Dr. Wilhelm Reich in 1939 as a biological energy, the basis for (among other things) the human orgasm. Reich’s theory was that when this energy did not find a sexual outlet, when it was dammed up, a person could suffer any one of several psychoanalytic issues. Although Dr Reich’s theories were in decline by 1961, eventually resulting in his imprisonment, Burroughs remained a believer in orgone for much of his life. Paul Bowles described Burroughs in the Muniria garden, sitting in his orgone accumulator that Bowles described as being “like a dog kennel.”

     I feel a mixture of satisfaction and unease on making my exit. The visit has been too quick, too constrained. As a technology analyst, my entire world has been about exploring hidden spaces where no one else is looking, asking questions that no one else is asking, and being quite good at it. I was not so good at it today. I would have liked to wander without urgency, letting the building reveal its secrets to me, looking into empty rooms, and meditating about what had gone on in this hotel — the conversations, the writing, the camaraderie that had filled this space. The TangerInn Pub, attached to the Villa, is not yet open for the evening. And with that, my visit to the street that Josh Shoemake calls “the most storied street in Tangier” is over. If the stories are still here, I have not found them.

     * * *  

     The Adhan for Fajr – the first of the 5 Islamic daily calls to prayer – awakens me just before seven. Tangier, 99% Muslim, gives scant notice that this is Christmas Eve morning. The riad I am staying in offers a token Christmas gesture to their Christian visitors — white lights on a Song of India tree in the lobby. A guide recommended by the riad has come to collect me.

     We walk along the north wall of the Kasbah, heading for the souks in the Medina. By 9:30, the air has warmed up just a few degrees. A sweater suffices to take the chill off. My guide is a square, middle-aged man of officious bearing. He wears a blue canvas jacket over a blue polo shirt and black jean pants. His jacket does little to hide a middle-aged paunch. His broad face has unexpected dimples framing his poor teeth, attesting to the Moroccan affinity for sugary mint tea and an attention to dental care that are not in the right proportion.

     My guide is brusque and informative about everything Tangerine, except the Beats. He knows where to take me – he tells of taking another group of men months ago to find the Beats. He evinces no personal interest. He does not know the why, only the where. After nearly an hour and a half of walking, I have learned much about Tangier: the history, the geography, the people, relations with Algeria, the daily calls to prayer, and the bitter orange trees. The Beats are but a small chapter in Tangier’s history, albeit an interesting chapter. He has, I will learn, saved the two places he wants to show me for the end of our time together.

     We stop at a corner where 4 streets converge into a square. The Grand Hotel Villa de France is high up on a hill, gleaming in the sun. We turn left onto a nondescript street. Down 100 meters, we stop in front of a shabby gray building. Even the bright light of the day cannot cast any radiance onto what looks like a bomb shelter. A brown bicycle with a green milk crate mounted on the back has found sanctuary, stuffed into the doorway, padlocked to the grate. Two rusted grated ventilation ports on each side of the door look like empty eyeball sockets that have lost their flesh. Now defaced and rusted, a utility box of unknown purpose hangs from the building front. Below, trash spills out from another opening that once served a better purpose.

     I look to my guide for some explanation. “Dean’s Bar”, he says. I look back at the shabby façade differently, incredulous. I had heard that it was closed. I had not expected the famous watering hole and literary gathering spot to have aged so gracelessly. In one of many old photographs, Joseph Dean is seen standing under the “Dean’s Bar” marquee hanging over the sidewalk in the black of night. “Dean’s Bar” lights up the black door, making it gleam even at night. Joseph Dean stands in a spotlight, looking roguish, his suit jacket hanging loosely, a handkerchief flowing like a wilted flower out of his breast pocket.

    Robin Maugham describes the mix of intrigue and glamour that once was “Dean’s Bar” in Maugham’s 1948 book, “North African Notebook.”

“[At] Dean’s Bar gather the bogus barons and furtive bankers, the tipsy journalists and sober Jewish businessmen, the young diplomats and glamorous spies, the slender French and Moroccan girls, the English self-styled colonels and their friends, the foreign agents.’ More specifically, this is a place where all of Tangier’s most celebrated residents and visitors, such as Errol Flynn, Ava Gardner, Francis Bacon, Samuel Beckett, Cecil Beaton, Cyril Connolly, John Gielgud, Helena Rubenstein, T.S. Eliot, Noël Coward, and countless others, gossiped hard and drank harder.”

    The glamorous, noirish setting is long gone, and along with it, any glamour the building once had. I stand in front of Dean’s, wishing I could somehow turn the clock back. Now even the iconic “1937” was gone, purloined, reportedly.

     Joseph Dean has his own complicated history, much of it shrouded in mystery. Whether he was always “Joseph Dean” seems as likely as not. Before he was “Joseph Dean,” he is reported to have been “Don Kimfull,” a man of questionable character in Britain who escaped to Tangier to leave behind his legal troubles. The story is most powerfully told in Marek Kohn’s 1992 book, Drug Girls / The Birth of the British Drug Underground, which leads one back to a 1966 conversation (that may have been concocted) between British rogue, spy, and conman Gerald Hamilton and Robin Maugham (nephew to Somerset Maugham).

     The mystery has outlived Joseph Dean, who passed away on 14 February 1963, either by heart attack or heroin overdose; take your pick. The only newspaper outside of Morocco known to have reported his death was London’s Daily Herald (15 February 1963).

     Famous barman
     Joseph Dean, owner of the
     famous Dean’s Bar in Tangier, a
     favorite with the international
     set, died yesterday at 59. Mr.
     Dean was born in Herne Bay,
     Kent.

    Dean’s Bar finally ceased to exist, except as a shabby monument, in 2015 (sometime between mid-February and November), having lost its glamour and intrigue long before. Joseph Dean, ⏤ owner, bartender, confidant of writers & spymasters, and procurer of everything you needed except possibly drugs ⏤ is buried, with his secrets, in the cemetery of St Andrews Church, 100 meters away, which my guide leads me past without notice.

    Burroughs himself was not welcome at Dean’s ⏤ Joseph Dean disapproved of Burroughs. Barry Miles quotes Burroughs, “Dean wanted not to serve me, rolling his eyes in disapproval….Dean has heard that I am a dope fiend. More than that, he instinctively feels me as a danger, far out, an ill omen.” Bill was more often seen at the Parade Bar. But this is no easier to find than any of the other bars known to have been gathering spots.

     Don Cook, a journalist, described in 1976 his visit to the Parade in the period after WWII:

“I had been told to seek out a place called the Parade Bar, an expatriate hangout of suitably dubious repute. Tangier is a small place, and the Parade Bar was not difficult to find. I stumbled into an atmosphere of incense and incest, where a number of the gentlemen customers wore mascara and lipstick, and a parrot chained to a perch was hurling obscenities in French at a nearby cage of lovebirds.”

     The Parade closed in mid-1984, without even the dignity of being left to rest as a ghost. At the location where the bar once stood, a large modern building now stands, sitting over a shop on the ground floor that repairs clocks.

     I am stepping into the Librairie des Colonnes, over which threshold writers and readers have been crossing since 1949. Simon-Pierre Hamelin, the current owner, refers to this bookshop as “one of the principal stations of the Tangier pilgrimage.” Hamelin reminds, “Jean Genet used to come to pick up his royalties sent by Gallimard; Tennessee Williams and Truman Capote would meet up there; Jane and Paul Bowles used it as a postal address; Choukri came to borrow books; Mrabet exhibited his phantasmagorical paintings and drawings and always dropped in once a week to say hello to the staff.” Francis Poole, too, has been known to show up, but they do not carry Poole’s book on Dean’s Bar, “Everybody Comes to Dean’s”, which is a tough find. (I eventually find a copy at the Library of Congress in Washington, D.C.)

     The bookshop is smaller than I imagined, both in footprint and in shelved volumes, and is better scrubbed than one expects for a literary bookshop. I sense, again, that Tangier has happily left its storied literary past behind in so many ways. I cannot feel the past in the bookshop or find it on its bookshelves. Perhaps Hamelin feels he is only encouraging Tangier Syndrome if the Librairie des Colonnes retains any of its past. I make it a rule to never leave a bookstore without a purchase, so leaving the Colonnes with nothing that has caught my interest leaves me instead with a sense of guilt. My guide has been getting increasingly edgy, and – as at the Villa Muniria – I let someone else’s impatience burden me.

     We are hailing a petit taxi. My guide is still not interested in sharing the planned itinerary with me; I don’t know where we are headed. Ten minutes later, we are on Rue Al Hafid Ben Hajar, across from a dingy, gray 5-story apartment building. The structure resembles a Soviet-style block building from a previous decade. Four stories sit on top of five street-level shops of no distinction. The top 4 floors, apartments are heavily niched, left and right, astride the center section of balconies. There is no front entrance to the apartment floors.

     My guide anticipates my question. “Where Paul Bowles lived”, he offers. If he knows that this building is known as Immeuble Itesa, he is leaving this, as with so much else, for me to figure out on my own. Paul Bowles was not one of the Beats. He sometimes derided what they stood for. He was, however, companionable with them and was not loath to be photographed with them. I have to imagine that he taught them much about Tangier, having arrived much earlier, made Tangier his home, and lived in Tangier much longer.

     Looking at the building, I try to imagine Jane and Paul Bowles living in separate apartments, one over the other. John Hopkins describes a 1 April 1963 visit:

“Dinner with the Bowleses in Jane’s apartment. The spontaneous affection and sense of fun they share make them seem more like brother and sister than man and wife. Their intimacy is more fraternal than sexual. They live in separate apartments, one above the other, and communicate by a squeaking mauve toy telephone. Jane: “Fluffy, (squeak) come on up. John is here. Dinner (squeak) is ready.”

     Paul Bowles was not known to ever own a telephone in Tangier, which makes the infamous pilgrimages made by so many to Paul Bowles all the more remarkable. Some visitors were expected, some arrived by surprise – all were welcomed.

     A common detail emerges from the visitors’ trip reports – the stacks of suitcases inside Paul’s door (which can now be seen in the Paul Bowles room of the American Legion Museum in Tangier.) In the lobby of my riad, there is a trunk and suitcase stacked against the wall, across from the Song of India tree. I wonder if a stack of trunks and suitcases sits in other Tangerines’ houses, and whether this is a metaphor, perhaps, for the journey we are always on, whether we know it or not. 

     We walk around the back of the building to a wide alley that runs 50 feet between the back of the Immeuble Itesa and a high wall. An overgrown grass island juts out halfway down the alley, spilling out a jumble of weeds and trash. An Oleander tree reaches up from the middle of the island above the wall. We stop at a set of double, green steel-barred doors. My guide rattles the door. This is the first time, he says, he has ever found it locked. My visit to Tangier seems destined to be waiting outside dark, locked doors. Behind me, in the weedy mess, an orange cat sits at the curb amid a pile of debris. Another cat is sleeping a few feet away under the Oleander tree. Only when I look closer, through the debris, do I notice the carcass of another cat back against the wall. The cat’s end was not an easy one, nor perhaps a recent one.

     An unseen hand finally opens the door, and we are admitted into a tiny foyer dominated by a steel door to the elevator. My guide directs my attention to a small sign with irregular lettering high on the wall beside the elevator door:

       PAUL BOWLES
       AMERICAN WRITER&
            COMPOSER
     LIVED HERE FROM1960/1999

     This small sign is what we apparently have come to see. Here, as apparently elsewhere in Tangier, the stories are gone from the premises. At least this sign is still here, unable to disappear from behind the locked door. The descriptions and photos of the interior of Paul’s apartment, and the stories of his visitors, are all that is left now.

     * * *  

     The El Minzah Hotel’s restaurant is empty this evening. The “Korsan” in El Korsan translates to “pirate”, intended perhaps to the history of pirates along the Barbary coast from the 16th to 19th centuries, but then, Tangier does not care to explain itself. The restaurant is elegant and spacious, which is enhanced by several mirrored pillars that throw off soft lighting throughout the large room. A long, raised platform runs back-to-front, covered with a crimson rug featuring a gold center medallion and a decorative border suggesting a Persian or Oriental design.

     Black lacquered chairs are set at tables covered with ornate gold-colored tablecloths, complemented by gold plates and napkins. Floor-to-ceiling chiffon curtains drape the windows on the far side of the room. Moroccan-style samovar lamps highlight the corners of the room. Servers wearing white jackets and red Fezes have little difficulty attending to the few patrons this evening. I am seated on a heavily pillowed couch at a table at the front of the room. Where did Paul Bowles and Bernardo Bertolucci sit, I wonder, when they met here to discuss putting Bowles’ The Sheltering Sky to film?

     In its elegance, the restaurant reminds me of the descriptions of Brion Gysin’s restaurant, 1001 Nights, which opened in 1954 in Tangier. In his biography of Gysin, Nothing is True Everything is Permitted, Geiger describes the scene:

[1001 Nights had] “intricately designed brass lanterns (that) cast wild designs on the ceilings, the menu was burned onto a wooden tablet, Gysin’s watercolors of Algerian and Moroccan desert scenes graced the walls, and what graced the tables is reputed to have been the finest Moroccan fare ever served in a restaurant in that country.”

     The entertainment provided at 1001 Nights included the Master Musicians of Joujouka, from the Moroccan village of Joujouk, and, on other nights, acrobats, fire-eaters, and a dancing boy. The 1001 Nights was the hit of the town for as long as it lasted, which was considerably less than 1001 nights before financial difficulties resulted in Gysin being pushed out, to his everlasting disappointment. A dinner at El Korsan would be the closest I could come to imagining what patrons might have experienced at 1001 Nights.

     Four musicians wearing red fezes and light-colored djellabas take to the low platform at the front of the room. The man on the far left, slim with a friendly face, alternates between a drum and tambourine. Next to him, a second man, more serious, works a tambourine. The third man, stockier, with a pleasant face, cradles his oud, a traditional lute-like instrument. On the far right, the oldest member of the band shows his mastery of the violin. The staccato-heavy beat of their music enchants the restaurant.

     A woman wearing a traditional costume (white silk top, a colorful scarf, and a long, deep red skirt, and on her head a sheshia — a broad-brimmed straw hat with colorful pom-poms around the brim) emerges from behind the platform. She dances about the room, a 100-dirham note prominently tucked into her wide velvet belt to encourage tips. She entices one reluctant dinner guest after another to dance with her, to the bewitching music, working her way about the room before disappearing from the stage.

     Tradition gives way to allure. A belly dancer emerges – it is impossible to say whether this is a different dancer or simply a different costume. This dancer wears a shimmering silver bedlah, her long black hair flowing halfway down her back. Her dance seems more of a popular dance than a traditional Moroccan Shikhat. This performance is more alluring, and patrons seem even more willing to accept an invitation to dance with the performer. The entertainment does not compare to the description of the 1001 Nights, but then, Tangier is tamer now than it was then.

     After 1001 Nights, Brion Gysin became better known for an invention Gysin called the Dream Machine. Geiger tells the story of the origins of the Dream Machine:

“On December 21, 1958, Gysin was traveling by bus to La Ciotat, an artists’ colony on the Mediterranean, near Marseilles, for the Christmas and New Year holidays. As the bus passed through an avenue of trees, Gysin closed his eyes against the setting sun. He recorded the experience in his journal, ‘An overwhelming flood of intensely bright patterns in supernatural colors exploded behind my eyelids: a multidimensional kaleidoscope whirling out through space. The vision stopped abruptly when we left the trees.”

     In May 1982, I was on a commuter train heading home from work, as I did every day. On this particular day, as the train turned from west to south, the setting sun entered my window through a line of trees. I was dozing off slightly. The intense flickering light hit my eyes and produced a mesmerizing effect that put me into a semi-hypnotic state, rendering me incapable of thought. The effect was like an explosion of sensation. I tried with limited success to reproduce the conditions on subsequent days, letting the sunlight come through the same trees with a strong flickering effect. I could never understand what had happened, or why. I had no knowledge of Gysin – I had never heard of him, or his Dream Machine. But I had experienced precisely what Brion Gysin had experienced nearly 25 years before. After his experience, Gysin studied the work of W. Grey Walter and, with Ian Somerville, developed the Dream Machine. A light flicker rate of 8 to 13Hz, Gysin and Somerville found, following on the work of W. Grey Walter, matches the alpha wave rhythm of the brain, producing mesmerizing effects. The discovery – and the invention, unfortunately – proved more fascinating than practical, and Gysin would spend 20 years in futility trying to market his Dream Machine.   

     * * *      

     My last hope for encountering anything left of the Beats in Tangier rests with a visit to the American Legation Museum. I am standing outside large Moorish-style studded wood doors in a dark, narrow-arched passageway, waiting in the darkness for the doors to open. The American Legation Museum is characteristically Moroccan beyond its architecture –the entrance does not reveal any of the complex secrets hidden beyond. That the Legation is the only U.S. National Historic Landmark outside the U.S. is, I will discover, the least of the reasons to visit. Yet, I have left this for my last day in Tangier, reluctant as I have been to leave the streets.

     When the doors open, I enter a small lobby that is small and undergoing some renovation. I am handed a two-page Museum map, together with an apology for its inadequacy. Like so many places in Tangier, this institution seems determined to be unassuming, to make you work to uncover its stories.

     The building, since the early 1800s, has passed through a series of purposes (and expansions): government offices, U.S. Consular housing, U.S. Office of Strategic Services (OSS) during WWII, a language school for the State Department and Peace Corps, and since 1976, a Museum. The map is no more than a footprint of the Museum; one has to wander from room to room, and more rooms beyond that, to finally realize what a labyrinthine structure it is. There is so much in the Museum that the staff struggles with how to present it, and this has resulted in a continual changing of identities, purposes, and contents of the rooms and collections. Moroccan, European, and American culture, art, and history: Zohra, “Morocco’s Mona Lisa”; James and Marguerite McBey; the Perdicaris Affair; the WWII spy closet behind a mirrored wall; Paul Servant’s 2000 glass negatives from early 1900s Tangier; research archive of Moroccan newspapers, books, and papers numbering more than 8,000 are among the Museum’s treasures. I am tempted to seek the explanation for the dearth of historical preservation out on the streets of Tangier in the richness of the collections in the Museum – the metaphor of the Museum as a vacuum that has sucked everything into its collections. This may be true in part, but even the Museum gives the Beats only brief attention.

     In the Arab Pavilion, downstairs, in the Paul Bowles Wing, nestled between a movie poster for Sheltering Sky and several of Mohamed Mrabet’s ink drawings are four photographs of the Beats. The photo of what was then Room #9 in the Villa Muniria, where Burroughs furiously ejected sheets of Naked Lunch from his typewriter, a photo shows a writing table pushed against an open window. The Museum considers the Beats in perspective: “[The Beats were] one small group of authors, who shall we say, discovered Tangier [and] who lived in Tangier for five or six years in the 1950s.”

     The Legation Museum – and many others – think better of Paul Bowles, who lived longer in Tangier and did not have all of Burroughs’ moral shortcomings. The Paul Bowles Wing contains rooms of artifacts. I take them all in, but stop in front of Paul Bowles’ suitcases stacked in a pyramid in a corner. Nearby, on the wall, a framed montage of Paul Bowles’ 1979 book, Five Eyes, pays tribute to five Moroccan writers: Abdeslam Boulaich, Mohamed Choukri, Larbi Layachi, Mohammed Mrabet, and Ahmed Yacoubi.

     * * *      

     I am sitting in the Café Central, which has been a gathering spot for all manner of characters since 1921. The café is a long building that dominates the Petit Socco. As I sit with a mint tea, I think as much about what I have seen as what I have not seen – places no longer on the streets, all but forgotten except for a few brief stories here and there. Guitta’s, a villa and restaurant across from a mosque on Sidi Bou Abib, where Tangier’s English-speaking once met and where Jane Bowles may or may not have stripped naked once (she is also reported to have stripped naked in the Parade Bar). The owner, Mercedes Guitta, passed away in the early 2000s. A French Bank has replaced it. The Bar La Mar Chica is nowhere to be found. Madame Porte’s has reportedly been turned into a McDonald’s restaurant. Dutch Tony’s former restaurant, rooming house, and male brothel was located around the corner from where I am sitting, but they are no longer there. Owner Anthony Reithorst, a Dutchman, had five poodles, a penchant for lipstick and rouge, and a reputation for arranging in his rooms absolutely any sexual configuration. Allen Ginsberg’s photo of William Burroughs, Peter Orlovsky, and Paul Lund sitting at a table having lunch in Dutch Tony’s in 1957 is beguiling. I like to wonder what the three were doing before and after lunch.

     I think of this photo again when my guide takes me to a small café near the Petit Socco. The café is narrow and deep, with bright green tiles interspersed with bands of mosaic tiles. The cook and the grill dominate the front entryway looking out into the souk. I squeeze by the cook to get to one of the 4 tables in the back. Shortly, I was served a plate of fish filet, rice, tomatoes, and French fries. I can picture Peter Orlovsky, Allen Ginsberg, William Burroughs, and Paul Lund sitting here, except that instead of sitting on a black stool at a table with sage floral tablecloth under a piece of butcher paper, Dutch Tony’s had chairs and checkerboard tablecloths. And rooms and a brothel. And a good lunch could be had at Dutch Tony’s back in the day for 30 cents.

     * * *  

    My trip is nearing the end. Of the many trips I have taken, this is the first trip that I never knew I wanted to take, and which started long before I was aware I was on a journey. This trip feels like the closing of a chapter for me – a journey that I began either 5 years ago or 60 years ago. I had hoped to see the stories of the Beats still very much alive in Tangier. That may have been expecting too much. The vestiges of the beats are quickly fading. This is disappointing. Their energy and restlessness could be good for more of us now.

     I have learned from this trip that our lives are stories of many journeys. Not all of which involve a car, train, boat, or airplane; some of our journeys are inside of us. Every act every day may be the start of a journey, small or momentous. Whether we choose to recognize the journey can be the difference between living and existing. I learned that the best trips have many layers. If you don’t look at the layers, you may forget that there are questions in your life that you want answers to. You miss the connections. You don’t add to the meaning in your life. I think of Pico Iyer describing Peter Matthiessen’s incredible journey of a quite different sort: “a journey not away from reality but deeper into it…” Perhaps this is the best kind of journey that too few of us embark on.




BIO

Robert Eastman is a Boston-based writer. After a successful career as a technology analyst and writer, he now devotes himself to crafting personal narratives drawn from unfinished family stories, overlooked lives, neglected places, and the dustbins of memory. He divides his time between Boston and Cape Cod. Find him on Bluesky: reastman.bsky.social







Watches

by Nia Crawford



A lot of things don’t exist here: food, work, and sleep to name a few. The loss of those things weren’t hard to get used to, but the absence of time was. No calendars. No watches. No clocks. Here, we just exist, like the wind. Like smoky film in the air. We’re spirits barely visible to the human eye.

Speaking of humans, we love them. We used to be them. But now, all we do is watch them. We watch, but we don’t “watch over.” There’s a big difference between the two, you know.

My wife and I arrived here together, but we don’t know when because of the time thing. We watch our progeny; hoping to interact with our ancestors, one day. But we’re told that’s not how this place works.

We watch Isha a lot. She’s our great-grandchild, and we remember her because we saw her regularly during our earthly existence. Even back then, she was more entertaining than Steve Harvey on Family Feud.

We love to see her interact with her friend Jae; my wife and I dubbed her the pushover. It’s super entertaining when Jae “protects” her “peace.” Like when she sees Isha’s face light up her Android, then lowers the volume. Jae thinks she’s quietly ignoring Isha. It’s so foolish because Isha would never think anyone would ignore her, so why be “quiet” about it?

Not long ago, Isha went looking for an old college buddy who stopped responding to her texts, calls, and Instagram messages. Believing the friend was in peril, Isha decided to knock on the girl’s door to see for herself.  Traffic was nuts, so she rented one of those electric scooters, rode in the Maryland Ave bike lane, and documented every segment of the trip. My wife and I laughed at the foolish girl pulling out her selfie stick for a mini-photo shoot in Baltimore’s busiest bike lane. Isha arrived at the woman’s door an hour later and knocked real hard. When her former friend flung open the custom solid wood door and scolded her for showing up uninvited, Isha tried to explain the emergency, that she thought the friend was in peril because she had not heard from her.

The friend was too angry to explain that Isha’s uninvited visit was another example of her bad personality. She called Isha self-righteous, self-absorbed, and ugly. That girl was either blind or real mad, because our great grand was far from ugly, so much so that her hairstylist never charged her as long as she kept her hair short. Every visit, without fail, the practitioner said, “No hair should cover any part of your beautiful face.”

That might be one reason Isha’s former friend resented her so much. Who knows? One thing was clear: that girl hated Isha. She tried to slam the heavy wood door in Isha’s face, but the door was too old and too warped. Nevertheless, Isha got the message and bawled real tears on the porch, not knowing she was being watched on the Ring cam. My wife and I got a kick out of watching someone watch the same person we were watching.

Days later, when Isha told Jae the story, she asked if she deserved it, if she was selfish and a bad person. Jae was the type to euphemize a situation to death to avoid sharing an uncomfortable truth, so she lied.

My wife and I got a real kick out of that.

A month later, Isha texted Jae, “Call me. It’s an emergency.”

I knew this was going to be good, so I alerted my wife and we watched as Jae decided what to do. We weren’t surprised she ignored Isha. She remembered the last few Isha emergencies, which were a ride to the grocery store that’s five blocks away or help squeezing into a dress that’s two sizes too small.

We thought about spazzle, the dust spirits used in the past to give earthlings a push. If we had it, we’d push Jae to be honest with Isha, but not mean like the old college buddy was. That would make for a better Watch for me and my wife. But Jae was left to her own devices, so she did nothing.

By evening, Isha texted: “Jae, it’s urgent. Call me!!!”

Jae dialed, and Isha picked up on the first ring.

“My house is in foreclosure!”

She explained that her mother forged her signature on bank applications, took the equity out of her house, and never made a payment. As if that wasn’t bad enough, Isha was the last to know. Her sister knew, her brother knew, and her mother’s husband knew.

Her mom did it to pay her medical bills, and the whole thing had been going on for over a year.

Isha sighed, “Can you believe it?”

We could because we saw Isha’s mom, our granddaughter, sign all those confusing papers. We saw the bank lady notarize the documents.

Jae asked Isha what she was gonna do about it.

“File charges against her and sue her. My mom’s going to jail and will lose every asset she has. I’m going after her husband too! Might go after my sister too since she knew about it but didn’t say anything. She’s an accessory!”

My wife and I got a good chuckle out of that one while Jae looked perplexed. She wasn’t sure if accessory worked like that, but she kept her doubts to herself. Isha talked for the next thirty minutes without taking a breath. Finally, she paused and Jae interrupted with some made-up excuse to get off the phone.

Three weeks later, Isha’s face lit up Jae’s phone as she drove to work. When Jae didn’t answer, Isha texted her.

“Call me. It’s an emergency!”

My wife and I tuned in, giving the humans our full attention.

Jae ignored the text and emailed Isha to let her know she was working in a highly secured government building, a SCIF, the whole day and couldn’t use her phone. Email would be spotty too (a lie), but Isha could explain her emergency through email, and Jae would do her best to assist.

None of the lies mattered, because the inevitable spiral happened when Jae learned that Isha’s sister had gone to see her to demand she drop the lawsuit against their mother. Words quickly turned to violent actions, and Isha’s sister crawled to the door holding her side, putting pressure on a flesh stab wound. That was before she stumbled down Isha’s pristine marble steps that we saw her bleach two days before. When Isha looked out the window and saw the sullied steps, we heard her mumbling about the amount of bleach it’d take to clean the stains.

The police and ambulance showed up at the same time, and Isha refused to let either one in. My wife and I wanted to spazzle Isha to push her to open the door, but we don’t have access to the magic dust, so we had to watch the authorities pry open the front door.

Jae found all of this out on her lunch break when she checked her phone. Oh, her face! It went from consternation (after seeing the notice for twenty missed calls and fifteen texts from Isha) to resolve (after learning Isha’s sister was still in the hospital) very quickly.

Jae took off the rest of the day and went straight to the hospital to visit the sister. She got her to agree to drop the charges. Her last stop was the jail where she waited for hours until everything was sorted out, then she drove Isha home.

If there was time for spazzle, it was now. But time nor spazzle exists in our spirit world. If it did, we’d mix the dust with Isha’s self-absorption and sprinkle a lot on Jae to toughen her up. Then we’d mix it with Jae’s over-giving and sprinkle just a tad on Isha to soften her. Just a little. That would make for a more authentic friendship. At the very least, my wife and I would be able to enjoy better Watches. Two self-absorbed friends made for a much better Watch than one!



BIO

Nia Crawford is a writing instructor who writes from Baltimore and Philadelphia.  She’s taught writing to middle schoolers and college students for over 20 years.  She’s been published in Ink Nest Poetry, BODY, Necessary Fiction, and Killens Review of Arts in Letters. Nia is also a real estate agent, and she loves volunteer work and community-based organizations. 







no hallelujahs anywhere

by Allen Seward



I’m sorry to say that I
have no hallelujahs for you
and I haven’t had a single one
since
my high school days
those strange days

back then
in those days
like that

there were hallelujahs everywhere
you couldn’t step outside without
seeing one
or getting hit by one

you couldn’t back out of the driveway
without running one over

but that was way back then

in that strange past
when I was trained for just that
to see hallelujahs everywhere

but that was way back then

and I haven’t seen any since,

thank
God.



no more words



no more bit fingertips,
no more cut wrists.

if these rivers wish to be free
then I
will piss them out
and smile as I flush it all down the drain.

it is time for a great change.

this has done me no good
and frankly I can’t stand it.
I wish to put it all away
and never look at it again.

there you have it.

no more.

no more words. it is finished. kaput.
let the silence and empty space take me.
so be it.

no more fingertips. no more wrists.
no more rivers. no more words.



poking the happy side of life



ready yourself for the barrage
of stone
of glass
of arrow
of bullet
of knife,

ready-or-not, they do not care,

the order has come down
and you have been found guilty
or near-enough to be guilty,
adjacent, parallel,

it does not matter,

the balloon will pop
and no longer be a balloon
and spill everywhere
and not be cleaned up
and scraps will blow with the wind
and the rest will dry,

ready yourself,

you have been adjacent to meaning
for your entire life, parallel to it,
near-enough but not touching,
you have intersected with nothing,
and yet here it comes,

summer is over,

ready yourself.



complex



it has not been made clear and no one asked
so (technically) no one has told a lie
but the truth of the matter is that something is missing
that was once here but no one got a good look at it
or heard it make a sound so it cannot be identified
though it can be missed (the whole world felt it
at least for an instant) so we bowed ourselves to it
subjecting entirely and then we denied it
swearing up-and-down it did not exist (and never did)
until finally we resigned ourselves to accepting
that things gone stay gone and we
will never know absolutely everything there is to know
or even a fraction of it (at least that is
what I would like to say but if you’ve ever spoken to
another person then you know we are still clawing
at our flesh and killing each other over
interpretations of something we’ve never known).



BIO

Allen Seward is a poet from the Eastern Panhandle of West Virginia. His work has appeared in Scapegoat Review, Bitter Melon Review, and Chewers, among others. He currently resides in WV with his partner and five cats.

@AllenSeward1 on Twitter, @allenseward0 on Instagram 







Leave Them Wanting More

by C. Inanen



I’ll tell you right off, I love Old John Otum like a brother but working with him can be awfully frustrating. Sometimes it’s like coming into a movie when it’s half-way over. There’s stuff going on I don’t know about, important stuff.

We’ve been playing together for more years than I care to remember. On stage, he’s in charge. After all, he’s the big name, the draw, and the lead singer most of the time. You can say he runs the show, literally. Off stage I handle the rest of it, bookings, transportation, scheduling, the money end of things, all that. It’s sort of a partnership that works out really well. We’re both of us getting up there in years, too. Old John will never see 70 again. I’m not far behind. We’re kind of set in our ways. Don’t rock the boat, you know?

I guess I should mention the third member of our trio too, Ruby Blue, our drummer, especially since she sort of kicked it off. She’s sitting in the passenger seat of my van, riding shotgun and eating a snow-cone. She’s 19 and used to be in the Punk band wWo. You pronounce that “woe.” Saying she’s really good doesn’t say half of it. Amazingly we all click. She brought something to us that maybe we’d been lacking or had gotten away from, vitality, energy, maybe a new perspective. What did we provide for her? Well, we were an established working band and we treated her like a professional when a lot of other people were treating her like a kid. I want to use the word value, there, but I don’t know exactly how. Saying we valued each other doesn’t seem right. Saying each of us were valuable to one another is close. Don’t ask me, I’m not good with words.  I made $60.41 for “Sausalito Monday Morning Blues” with Evicta Records about thirty years ago. The money was so disappointing the next good song I wrote I gave away to a friend, Lucille Tucker. That was “Only Counting Stars” and she recorded it on the B side of her album Heartaches and Broken Hearts. Even that one, it’s the walking bass line that makes the song. The lyrics are throw-away stuff.

We’d finished tonight’s two sets at the Garden Spot Tavern and were headed home. Old John had recently taken to sleeping on the floor in the back of the van with one of those pads that hikers and backpackers use. It’s the commercial model with only two seats. They’re made out of some lightweight material, I don’t know what, but you roll them up when you’re not using them and they weigh like ounces. Old John claimed it helped his back. I think he didn’t want to admit he was old and tired after a show.

Me? I’m KJ Butler, bluesman. I was driving the van when Ruby Blue asks me, “So what are we going to do up at Great Lakes?”

Here we go, middle of the movie. I looked at her. “I have no idea what you’re talking about,” I told her.

“John told me tonight that we’re going up to the Great Lakes Naval Station in two weeks.”

I shook my head and looked back at the road just in time to see flaring brake lights in front of us. I applied the brakes hard and the SUV in front of us made a right hand turn without signaling. I honked my horn in appreciation. Ruby Blue stuck her hand out the window, showing them the black nail polish on her middle finger.

That woke John up. “Be careful,” he said. “I don’t want to wake up dead.”

“What’s this about going up to Great Lakes?” I asked him.

There was silence in the back of the van for a long time then he said, “I meant to tell you.” I could hear him draw in a deeper breath. “I’ve been talking to Navy Entertainment. They wanted us to do an audition. Some admiral or something. I’ve got his name and number written down at home.”

“Yeah?” I had my doubts about this already. Ruby Blue was listening closely.

“So I told him we don’t do auditions. He could pay us standard rates for a recording session.” He paused. I thought to myself he finally shows some sense to say that. Then he continued, “Or we’d do a show for them. He chose the show.”

I closed my eyes until I remembered I was driving. “In two weeks?” I asked.

“Yeah,” John said. “Friday night.”

“We play Friday nights at the Walk Right Inn,” I reminded him.

“Arnie can find somebody else,” John said. “They insisted. It was the only way they’d pay for a tour.”

“We’re going on tour?” Ruby asked. “Where?”

“Korea,” John told her. “United Service Organizations and Armed Forces Entertainment.”

“Wow,” Ruby said.

“Yeah, we need to talk about this,” I told him.

“Come on over tomorrow afternoon, after church. I’ll grill some hamburgers. Bring some potato chips.” John lived with his daughter, a round, friendly woman. He added after a bit, “And some tomatoes.”

“Can I come too?” Ruby Blue asked.

“You know how to make potato salad?”

“Sure, everybody knows how to make potato salad,” she told him. She might look like a radical Goth sometimes with her blue spiked hair and all that but somewhere deep inside her is Rebecca Barkowski, suburban teenager. “KJ will pick me up, my Toyota’s sick,” she added. This is how John Otum plans things.

Sunday I pull into Ruby Blue’s apartment complex and honk. I’d had to go to the store and buy the chips and tomatoes which is what I did instead of watching the White Sox game on the TV. Ruby comes bouncing downstairs on the run. Today she’s dressed conventionally, tan shorts, a tee shirt, baseball cap, sunglasses and her combat boots. She’s got plastic bowls in each hand. “Drive fast,” she says by way of greeting. “There’s ice cream in here. Peach.” I drive fast.

John’s daughter greets us at the front door. She’s still got her Sunday-goin’-to-church clothes on. “He’s out back,” she explains. “I’m joining you soon as I change. You must be Ruby,” she tells Ruby. They’ve never met.

“Yep,” Ruby Blue admits. She thrusts one of the bowls forward. “Put this in the freezer, OK? It’s ice cream, peach.”

“Oh my.” They’ll get along just fine.

John is out on the deck. The grill’s already fired up and the picnic table has paper plates, utensils, condiments and all that stuff. What’s lacking is something to drink but that’s rectified when John’s daughter emerges from the house with a six-pack of chilled Corona beer and a pitcher of lemonade. We talk as John grills the burgers. “How many hamburgers you want, Ruby?” he asks.

“I’m just medium hungry, not big hungry.” This apparently translates to two. She twists off a Corona cap and hands John the bottle. He works the spatula one-handed anyway.

“Setting aside the Korean tour you mentioned we can’t leave Arnie at the Walk Right Inn high and dry with just two weeks’ notice. He’s always been good to us.” I present my first objection.

“So find someone else to play in our place,” John tells me. “It’s one night. Then you don’t ask him, you tell him.” Ruby Blue’s head is on a swivel, looking at me, then John and back. She’s got her elbows on the table and her hands clasped.

“Easier said than done,” I told him. “First of all it’s two weeks and secondly everybody who’s any good is already busy on Friday night.”

“Work it out with him,” John says. “You’re making this harder than it is. Get my phone, will you honey? It’s on the counter.” John’s daughter heads into the house. “We’ll just see about this,” he tells me.

“Here, watch these,” he tells Ruby as he hands her the spatula, sitting down at the picnic table. He scrolls through his phone, presses buttons and then puts it up to his ear.

“Mabel,” he says. “John Otum. You busy at the moment?” He listens to the response on the other end. “You should have come out here, we’d have made a place for you. I’m cooking burgers. KJ and Ruby Blue are here. Got some cold Corona beer.” We can’t hear the other end of the conversation. “Listen, I need a favor” he tells Mabel. “Two weeks from now, Friday we’re going up to the Great Lakes Naval Base to do a concert for the sailor boys.” He looks at me. “KJ hasn’t found anybody to cover for us at the Walk Right Inn. You going to be in town?” Now it’s my fault. He leans back on the picnic table bench and opens the plastic container Ruby had brought, dips his finger into the potato salad and then licks it.”

“Use a spoon for god’s sake,” his daughter reprimands him, handing him a plastic spoon.

“Detroit?” John says into the phone. He listens again. “Well I appreciate it. You have a good time. Catch you later.” He clicks his phone off and looks at me. “I tried,” he tells me. “She’s playing in Detroit.”

“Who was that?” I ask him.

“Mabel Watkins,” he says.

“The Mabel Watkins?’ Ruby is amazed. “You pick up the phone, dial Mabel Watkins personal number on a Sunday, get her and ask her to cover for us?”

“Yeah” John tells her. “That’s good potato salad,” he adds. “You met her that time we were at Modern Studios. Known her a long time,” he thinks about that, “Since she was your age, maybe younger.”

Mabel Watkins is one of a handful of Blues and Gospel singers whose name is a household word. She plays stadiums and amphitheaters all over the world and the tickets aren’t cheap. She headlines and has sung at the Super Bowl and for the President. Her records go gold before they’re even released with pre-orders, and platinum after they’re available.

“So now we’ve got that out of the way, let’s dig in,” John tells us. “Smells good.” Apparently who’ll cover for us is off his radar and in my lap.

It was good. I hated to spoil the mood by introducing business but I had to ask, “What’s this about a tour to Korea?”

John defends himself by saying “It’s been a while since we’ve done a tour and Ruby’s never been. I thought it was about time so when I got to talking with a guy up at the VA hospital and he was with Navy Entertainment, one thing kind of led to another and I told him we were interested.”

“Where are we going?” Ruby asked. She was obviously excited by the idea.

“MWR Chinhae and MWR Busan,” John said. “Plus some aircraft carrier.”

“An aircraft carrier? Like, on the ship?” Ruby asked.

“That’s right,” he told her. “Audience will be 5000 or so.” She covered her face with her hands. I wasn’t surprised. I’d done Germany back in the Cold War days with the USO. Ruby was used to crowds of 100-200. Do girls still swoon, anymore? I don’t know. She did something anyway that involved placing her head down on the picnic table for a moment.

“Have we still got a press packet?” John asked me.

I shook my head. “Not a current one,” I told him.

“Got to get one, they’ll want that,” he says that like it’s something you go out and buy at the store. It’s not that easy.

On the way home Ruby is practically vibrating. “This is going to be so rad,” she says.

“Concentrate on a week from Friday,” I told her. “One step at a time, a show up at Great Lakes comes first.”

Wednesday night at our regular practice John outlines the song list we’ll perform at Great Lakes. We can play it the coming Friday and Saturday to get used to it. It’s got some changes, for example we open with two of Ruby’s drum solos, “Zulu Mzansi War Drums” and “Ruby Blue War Drums” instead of “Parchman Farm Blues.”  He also asks her “Have you got a title for that one you wrote that we close with?”

“Nuh-uh,” she replies.

“OK, we’ll call it “Angry Sea,” he tells her. No objections from Ruby, in fact it fits, a drum rhythm that emerges from a maelstrom. “How’s the press packet coming?” he asks me.

“Photographer will be there Saturday night for some new photos. Your daughter is helping me with some stuff from your scrapbook” I explain. The new photos will cost us $180 which I don’t mention.

“Do you know any sea shanties?” John asked me.

“No,” I gave him an emphatic answer. We’re not going to do sea shanties.

“I know “Goin’ Up to Boston,” Ruby says, trying to be helpful. I give her a look.

“We can do “It’s Early in the Morning,” he said. “That’ll work.” He looked at Ruby Blue. “What about the extended version of “Angry Sea,” can we do that?”

“The whole thing?” She thought about that. “Sure.” She beamed like a kid who had just gotten both a puppy and a pony for Christmas.

“Good, we’ll tell them that’s dedicated to the U.S Navy and they’re hearing the world premiere.”

“You can’t say it’s a world premiere if we’ve been playing it for six months,” I objected.

“Haven’t played the whole thing,” he pointed out. I just closed my eyes. There’s no point in arguing with John.

Friday night we debut the new set list at the Walk Right Inn. It was a little faster, a little more upbeat and went smooth as silk since they were all songs that had been in our repertoire. The crowd liked it. We stick with the abbreviated version of “Angry Sea” for now.

Arnie the owner listens to me as we’re packing up and takes it in stride. He tells me, “I can get Ronnie and the Revmasters for $200. They’re a Rockabilly group and they’ve got their own following. I’ll call them in the morning. I’ll advertise it as a Rock n Roll weekend.”

“I was just concerned with leaving you high and dry one weekend.”

“I appreciate that, KJ, I really do, but how about I stick to selling booze and entertainment and you stick to music?” I nodded in agreement, probably a good idea.

On the way home that night I tell Old John this latest development. Ruby Blue is all ears too. John says, “Arnie’s got it covered; good.” Then he sacks out on his foam sleeping pad. Ruby Blue and I match quarters for snow-cones. She wins, I have to pay and end up eating one. I don’t even like them. They hurt my teeth.

Saturday night the photographer shows up at the Garden Spot Tavern. We do two shows there almost every week. He’s pretty good; I’ve worked with him before. In fact he toured for nearly a year with a well-known Rock band, documenting their life, so he understands musicians and performances. He’s also a master of working with light and shadows. Something new is he’s got an assistant, a young guy who’s very serious and doesn’t say hardly anything. He does ask for Old John’s autograph, says it’s for his mother. The photographer tells me, “Tuesday” and reassures me he got some great shots. Despite what he says I’m not really reassured. I’ll have to see the photos to believe him. Both sets go well. The first one is more polished with the extra practice. The second one we generally do requests and is more unstructured. We have to talk back and forth among us onstage a lot more. It’s fine too. John’s good at that, smooth. He leads and Ruby and I follow.

Monday morning I call Captain Ernest Swisher at Great Lakes Naval Base. Takes me 26 minutes to get through to him but when I do he’s efficient and very helpful. He’s got a whole list of requirements we need to do before the upcoming show and the tour but it seems as if he’s used to this. I have to send stuff to him and to the Navy Entertainment Program Commander in Washington D.C. In addition to the press kit it includes a complete biography of members and positions of the group, photographs, website URL, contact information, a song list, equipment list, stage plot, a quality CD or DVD, and the tour we were interested in. Copies of everything also go to a navy.mil e-mail address. He thanks me for donating our time and efforts.

I tell him, “I’ve toured with the U.S.O. before and John served in Viet Nam. We both think it’s a worthy thing, you know?” He knows. I only see one glitch, we don’t have a website. We’re old school. Cotton Pickin’ Records has got one, though, with an artists section. That will do.

I call Ruby Blue so we can cobble together a complete biography for her. It takes an hour even though it’s very short but when we’re done we’re both satisfied with it. She sends me a frontal facial pic which will be suitable for the I.D. and then has second thoughts about it since she’s got all her facial piercings and so on in it. She takes a selfie, then and there and sends me that instead. It looks like a mug shot but that works. I assure her it’s fine, nobody looks at those anyway.

Monday is chewed up by doing all that. I have to call John’s daughter three times while she’s at work for help. It doesn’t bother her in the least. She knows how he does things. She grew up and has lived her whole life with it, a really nice, friendly woman.

Tuesday I get together with the photographer. All my worrying was for nothing. He’s got an assortment of photos which are fantastic. The hardest part is picking out which ones I really want, there are so many good ones. One shows every line and crease in Old John’s face, a closeup, and you can practically hear him singing the Blues when you look at it. Another one shows him standing with his head down looking at the floor, guitar strapped in place and both hands at his sides like he’s completely worn out. It’s great, it says something about how much he puts into a performance. That one we’ll use for sure. He’s got one of Ruby Blue in which the sweat is just pouring off of her face. The drumsticks are a blur. She plays with them between her fingers, like a Jazz drummer, not clenched in her fists like so many Rock drummers do. That picture captures some of her energy. He’s also got one where she’s drinking a beer, bottle and face both tilted up. Her neck is long and slender and leads you to look at her black leather vest. You can tell there’s nothing but Ruby underneath it. Corona could use that one for advertising, the label is positioned just right. I’m overwhelmed with the photos but my favorite one is all three of us, taken from the back. You pretty much just see our silhouettes, outlined by the lights. The crowd is just a blur in the background.

Everything gets sent off by midnight. I send an updated press packet to Cotton Pickin’ Records too. I’m getting too old for this stuff. I fall asleep on the couch.

Wednesday I get a call from Hubert at Cotton Pickin’ Records. I’m not even fully awake yet. You know how when you start out making eggs over and screw up and have to make them scrambled instead? I was eating scrambled eggs. “What’s this about you guys going up to Great Lakes Naval Base Friday?’ he asks me.

“Yeah, we’re going to do a set there Friday,” I explained.

“It’s about time you did something new,” he told me. “Unit sales have been low for quite a while.”

“I guess this is new,” I told him. “We’re planning a Korean tour next year in January. This sort of kicks it off, in a way.”

“Korea in January,” he says, “Gonna be cold. Listen I like the looks of your new drummer. What’s her name, Ruby Blue?”

“That’s her,” I agree. “She’ll do three solos Friday night.”

There’s a long silence on his end of the call. Finally he says, “Hard to sell drum solos.” I don’t say anything. “Tell you what,” he finally says, “My son is playing around with videography. I’ll send him up there Friday and maybe he can get some footage. If it sounds and looks any good maybe we can do some in-studio recording. Been a while for you guys.”

“Sure,” I tell him. “We’re going to do the world premiere of a new song, “Angry Sea” there.”

“I’ll be damned,” he says. I give him Captain Ernest Swisher’s contact information. My eggs are cold. I douse them with Cholula Hot Sauce and eat them anyway.

We practice Wednesday nights at a Ford dealership, Harmony Motors. That’s a good practice spot. We set up in the service garage. I’ve had that arrangement for quite a few years. Nobody cares how much noise we make or how late we stay. It was no different that Wednesday before the Great Lakes show. John and I are both firm believers in practice sessions and we’ve got it drilled into Ruby, too. She understands. It’s where we hone our sound.

That Wednesday was a walk-through of what we would do Friday night. Recently I’ve been picking up Ruby and John both, for practices, with the van. Tonight it was just Ruby. John said he was driving himself. I haul her drums, of course, a nice five piece Roland kit with “John Otum” on the front of the kick drum. They had been showing signs of use when we’d hooked up with her through an ad on Musicians Connections and with all the constant setting up, tearing down and hauling had developed more character. One thing different was the addition of a second crash cymbal that had belonged to our old drummer, Shakey Jake Allen. After he died unexpectedly, I guess it became mine. I gave it to Ruby. In a way it was kind of like he was still with us.

“Is your Toyota still sick?” I asked her, to make conversation.

“Yeah,” she tells me. “It goes like this,” and she demonstrates how it goes by rocking forward and backward and from side to side violently. “Not all the time, just when it wants to,” she adds. I think Ruby believes that cars and trucks have personalities like dogs and cats. It’s her first car. I commiserate.

I suppose you could say most of what we play are cover versions. These days that’s how it is when you play and sing Delta Blues. Somebody else has sung and played it before you, often a lot of different somebodies. There isn’t a lot of new music coming out of the Delta. Of course we’re not purists. We’re entertainers, musicians. We do some prison work songs and some Gospel, too. Most of what we play runs 2:45 or so in length, sometimes shorter but rarely longer. The reason for that is when recording first came about that was how much music you could fit on a 78 or 45 RPM record. They didn’t have LPs or extended tracks. John keeps the patter to a minimum, too. That’s his style. He doesn’t use 12 words when 3 will do and he rarely tells stories between songs like some front men. As a consequence our shows go pretty fast. The seven song set we had planned for Great Lakes timed out around 40 minutes and that included the 5 minute long “Angry Sea” drum solo. “Zulu Mzansi War Drums” ran about 1:45. “It’s Early in the Morning” goes 4:30 but of course that wasn’t written for a record, it came about to keep men working in rhythm. “Parchman Farm Blues” takes about 2:42. It averages out.  I guess John figures the music speaks for itself.

We were all set up when John finally arrived. He had an old man with him. I had to look twice before I finally recognized him. Frail, stooped and wrinkled it was Moses Berryman. He recognized me right away and his eyes lit up. He gave me a hug and I could feel his fragile bones in his arms. Moses used to be a damn good harmonica player. To be honest with you I figured he was dead, I hadn’t heard anything about him for maybe 10 years.

“KJ, boy” he said. His voice was just a whisper. “Good to see you.” Anybody who figures he can still call me boy is an old, old man.

“Moses is up from Georgia,” John told us. “Thought I’d bring him along.”

“Livin’ with muh granddaughter,” he whispered as explanation. Turning toward Ruby Blue he took her hand and shook it, very delicately. It reminded me of a bird. “Pleased to meetcha,” he told Ruby. “Moses Berryman,” he said. I don’t have any idea what she thought.

“Ruby Blue,” she told him.

“Blues drummer,” he said. You had to listen really closely to hear him. “You beat straw?” he asked.

She was taken aback. Beating straw is a very old technique where a second person beats a rhythm on a guitar body or even the neck while the first person plays. “John and I have tried it,” she finally answered.

“Not many do,” he told her, “these days.” Then he gave her a smile that showed most of his white dentures. He seated himself and was an audience of one as we went through the whole set list one more time.

After, we played “Midnight Special.” John looked over at him and asked, “What do you think?”

I figured John was just asking him for an opinion on our version. Moses nodded his gray head. As he did his eyes blinked open and closed, as if they were connected somehow. “Play it again,” he said. Then he took a harmonica out of his shirt pocket and wiped it on his sleeve, placing it in position against his lips.

We played it again. This time, at various spots in the song, Moses joined in, his harmonica eerie and distant, like the train in the song. It wasn’t much but it sure made a difference. It changed a regular old song into something that was haunting. When we were done he said, “I haven’t got much wind anymore but I can still do that.” I agreed. John looked pleased. Ruby seemed awe-struck.

We finished up the practice session and made arrangements for me to pick everyone up Friday then we loaded out the drums and so on. John and Moses took off. When they were gone Ruby told me “That old man with the harmonica; that was amazing.”

“Yeah,” I told her in total agreement. “Changes the whole song. Enhances the rest of it.”

“Did you know?” she asked.

“Nope,” I shook my head. “That’s all on John. It’s things like that which set him apart from you and me.” We were both pretty quiet on the way home.

Thursday I listed Moses Berryman as an addition to the members and positions of the group in the information for the Navy. I had to call him to get contact information. He was staying with John and his daughter. I used the article in Wikipedia for his biography and had a hard time coming up with a photo of him for his ID. All of the ones I found online he had a harmonica up in front of his mouth. I finally found one from 1982 where he didn’t. It was sort of blurry because he was in the background but it should work. Really amazing what you can get off the internet. I sent all that off to the various e-mail addresses and got a response back from some Lieutenant at the navy.mil address 15 minutes later that said, “So noted.”

Friday I picked up Ruby Blue. This time she was waiting out front of her apartment building. She had her show outfit on, Doc Marten boots, black shorts and her black leather vest. Her Panama hat too, of course, and she carried a nylon windbreaker as well as two more pairs of drumsticks. Her drum kit was piled around her. John Otum and Moses Berryman were ready to go when I got to John’s house. John wore one of his usual black suits with a pink shirt. He looked pretty much like me except my shirt was yellow. Moses had on khaki pants and a tan jacket, blue cotton work shirt buttoned up to his chin. He also carried a folding chair so he had something to sit on in the van.

We only got lost once on the way up to Great Lakes Naval Base. I missed a turn but Ruby figured it out using the GPS in her phone and we only went a few miles out of our way. I have that too but I don’t use it very much. On the way Old John kept remarking how things had changed since he had last been up this way. Ruby and Moses had their own conversation going in the back. I heard parts of it.

Ruby asked him, “Are you a veteran too, like John?”

“Yep,” he told her. “Omaha Beach 1944.”

“Was that Viet Nam?”

“Nope, that was WWII. We won that one.”

“How old are you?”

“98 or 99, somewhere around in there.”

“You don’t know?”

“Not for sure. It takes a while to get there, but once you do the time goes by quick.” He was quiet for a while. “I was about your age at Omaha Beach. Long time ago. It was raining.”

“Wow,” Ruby said. I wasn’t sure Ruby really understood the significance of that. There’s a divide between generations when it comes to history. Other things too, of course.

“I have to rest for a while, girl,” he told her.

Great Lakes Naval Base is a big place. I think it’s 1500 or 1600 acres, something like that. It took me a while to find the right entrance but I did. They checked us through, two stern faced guards, who didn’t find Moses Berryman’s name on their list right away. Then they did and produced a pass for him to clip onto his jacket, like the rest of us.

I parked next to a semi-trailer with the name of the Rock band that was the headliner for tonight’s show. Not far away was the custom bus emblazoned with the Country music legend’s name on it who was scheduled to be the second act. We were slated for the first spot as the opening act. Ruby was all eyes watching them unload amplifiers as big as compact cars.

Navy Entertainment really knows how to put on a show at the Great Lakes Naval Base. They’re as good and professional about it as anything you’ll find at Madison Square Garden or the Los Angeles Coliseum. I’m not just blowing smoke, I know. I’ve been there and done that, you know? We were assigned a corporal who was to be our liaison for the night. He looked at our equipment and asked, “That’s it?” It doesn’t take much to play the Delta Blues. You can do it with an acoustic guitar.

Two sturdy sailors looked on in amusement. “That’s it, John told him. “No offense to you but we’ll hump it in ourselves. Some of that stuff is older than you are.” We got our equipment on-stage, hooked up and plugged in. The two sailors did help carry the drum set. Ruby Blue supervised like a mother duck with her ducklings. It would be a while before we did our sound checks so the corporal escorted us to our dressing room. Actually we had two, Ruby had one of her own but she was only in there for about two minutes and then joined us.

“This is something else,” she told us. She was still looking around in wonder. Everything was spotless.

“Yeah, some places are better than others,” John agreed. He looked at Moses Berryman. “Remember the Racetrack Lounge in West Memphis?”

Moses laughed. “Long way from there,” he said.

Ruby looked from one to the other. I didn’t have any clue, myself, what they were talking about. “What was the Racetrack Lounge like?” she asked.

“Bass player got his throat slashed with a straight razor,” Old John told her. Moses nodded agreement. “Pretty tough crowd,” he added. “Slim something-or-other. I don’t remember his name. He was talking to the wrong girl.”

That was when Captain Ernest Swisher came in and welcomed us. Very professional, very congenial and 100% squared away. He made certain everything was to our satisfaction and told us they were ready for the sound checks.

They were still moving stuff in for the Rock band when we did our sound check. That figures when you’re the opening act. This was the first time Ruby saw the auditorium. It’s pretty impressive, all those empty seats stretching off into the distance. Generally you can’t see that when you’re on stage because of the lights. John and Ruby took a long time getting her drums mic’d right. Finally we were satisfied. So was the sound engineer. Moses didn’t have any problems with his set-up. He’d probably done this a thousand times before. It was pretty cool hearing that lonesome train whistle and the blow and suck making the railroad sound amplified so many times. It wasn’t long before he gave the engineer a thumbs-up sign. We worked with the lighting guys and women too. They had a path marked out for us with fluorescent tape on the floor. We went back to the dressing room and waited.

As the show was about to begin the corporal led us to a position in the wings backstage. The crowd was large but disciplined. I don’t know how many people Ross Auditorium will hold but I’ll guess around 6000 seats were filled that night. Ruby was a little bit nervous. She did that big-eye thing to me. I just smiled and nodded.

John stood center stage with the lights up. “I’m John Otum and we’re here to play some music for you. This is KJ Butler and that’s Ruby Blue.” Ruby and I walked out on-stage. She raised her drumsticks in a salute to the crowd. There was applause and a few whistles. “We sing the Blues,” he told the audience, more applause. Then the whole stage went dark.

A spotlight snapped onto Ruby Blue. She sat there for a moment and began playing “Zulu Mzansi War Drums.” The long roll at the beginning and then the repetitive heavy bass rhythm interspersed with cymbal clashes always gets me. Very militant.

When she finished a second spotlight came on to Old John. It was accompanied by applause from the audience, a lot of applause. “Two hundred years ago those drums called the Zulu nation to war,” he told the crowd. “Now, Ruby’s got her own version.” He turned and nodded toward Ruby Blue. The spotlight on him flicked off and she started playing. Her version is about three times faster and a lot more intense; more complicated, too. When she finished with that single cymbal clash there was silence throughout the auditorium and then it exploded with applause. She raised her drumsticks in acknowledgement and the applause grew louder, accompanied by whistles, foot stamping and calls.

The lights came back on. John told the crowd “That was “Zulu Mzansi War Drums” and “Ruby Blue War Drums.” Ruby Blue.” The cheering redoubled. John let it roll for a few seconds then he tapped the microphone. He knows how to handle a crowd. “Some of you might know this one,” he told them. “Mississippi Fred McDowell’s “Shake ‘Em on Down,” and we were off. That’s a high energy song. We start it out with Ruby Blue’s drum intro which is like no other Blues intro I’ve ever heard for 15 seconds or so and then Old John starts those slide guitar notes. They want the audience warmed up? We’re doing it.

John doesn’t say anything after that one, he just counts it down, “One two three four.” I play the opening notes to John Lee Hooker’s “Dimples” Ruby clashes the high hats and John’s guitar kicks in. Spontaneously the audience cheers. They are into this. And they’re loud.

As the applause and the cheering dwindle away after we finish that one John tells them “Now something a little bit different. Prison work song, “It’s Early in the Morning,” KJ Butler,” nodding toward me.

I start it out, “Well it’s early in the morning…” John and Ruby Blue echo me as I continue, “When I rise, when I rise.” Nice round of clapping after I finish but they don’t go crazy with it. It’s not that kind of song.

John steps to the microphone and says “Got another prison song for you and we’ve got a special guest joining us for this one.” He turns to the wings and looks at Moses. “Moses Berryman,” he says. “Please welcome him.” Moses walks out on stage accompanied by the corporal who’s carrying his chair. Polite applause, mostly the crowd is watching him get seated and so on. He looks ancient. He finally nods to John. “Midnight Special,” John tells the audience and Ross Auditorium is filled with the sound of a distant train whistle. John starts to sing, “Well, you wake up in the morning.” Very long sustain on the “well” and I sense the audience sighing. Most people know this one. Moses’ harmonica comes in again and John sings the next line, “You hear the work bell ring.” The whole first verse is like that, very slow and deliberate. Then Ruby’s drums kick in and we’re all playing and singing. The harmonica has the same effect it had during practice. The song ends and they go wild in the audience, clapping and cheering.

The corporal escorts Moses off of the stage as John tells the people, “Our final song has never been heard in public before tonight. It’s dedicated to you, the men and women of the U.S Navy. It’s called “Angry Sea” and you’ll hear why. Take it, Ruby.” The lights go out again and the stage is dark for a few seconds before the baby spotlight comes on, focused on Ruby Blue, all alone.

Then she explodes. The first 30 seconds of that song are a maelstrom of drums. It’s a whirlpool, chaos and turbulence. The intensity can be felt, not just heard, and then out of that a rhythm arises, almost hidden at first, but it increases and grows more apparent until it overcomes the tumult and disorder. It ends with multiple cymbal clashes. The crowd is stunned. They sit silent for what seems like a long time and then they rise to their feet and cheer, clapping and applauding, whistling, just making noise and showing their appreciation. The lights come back on. John lets the crowd’s response pour over us until it begins to quiet. “That was Ruby Blue, everybody,” he tells them. “I’m John Otum and this is KJ Butler. We sing the Blues.” He clicks the microphone off and we all leave the stage. The standing ovation renews itself and you can hear people shouting for an encore.

Off-stage Ruby tells John, “We’ve got to do an encore.” I know how she feels. She wants to go back out there and play forever.

“Nah,” he replies. “How do you top that? Always leave them wanting a little bit more.” 



             

BIO

C. Inanen lives in the Midwest USA. His work has recently been published in Down in the Dirt magazine and will be featured in the December 2025 issue of Yellow Mama as well. He is also a musician and co-hosted the radio series, History of the Blues, with DJ Protea, Sanet Henn, on RadioMeltdown.







Eject City by Jason Morphew

Forthcoming from Poets Wear Prada, Fall 2025. 88 pp.  ISBN: M0D2083622255

Review by Patricia Carragon


In Eject City, we enter a fragmented world of pain and grief, bottled up for years. Unlike fine wine, pain and grief simmer in the darkness of unsettled family histories that refuse to stay buried, a monster that needs to rage before it is set free from its crypt. Morphew is not afraid to dig into his past, to do his own “shadow work.” He transforms his agony into art. An art form that is helping him heal.

In “Bell’s Palsy,” Morphew suffered a facial paralysis during a Slash concert in Laurel Canyon. This poem explores a sudden loss of control in both language and form. He writes in two columns, where meanings can either be read across or down. But the intensity cannot be camouflaged. We know he is depressed with the current political situation and his own. The concert setting underscores this tension—a public performance colliding with a private crisis, joy disrupted by sudden vulnerability. In “Bell’s Palsy,” poetry itself becomes a reflection of the body’s betrayals and the outside world.

Where “Bell’s Palsy” is about physical disruption, “Suzanne” delves into the intimate world of memory and shame. The poem emerges from a dream state. A dream so unsettling, like a reality dosed with drugs and an unraveling marriage. The poem’s disorientation is internal, lodged in voice and syntax. The backstory behind the poem is about Morphew’s cousin Barry Morphew, who has been re-arrested for killing Suzanne Morphew and is currently in prison, awaiting trial. Beyond the history, “Suzanne” captures grief, absence, and loss in one of his strongest poems, leaving only unresolved questions to haunt the mind.

In “Now that’s my father’s ash,” Morphew writes about his heartfelt experience—carrying his father’s ashes in a bag, alongside a tube of toothpaste—a bizarre contrast of an everyday item versus the human remains of a living person. Unlike the formal experimentation of “Bell’s Palsy” or the fragmentary drift of “Suzanne,” this poem is blunt simplicity but has power in its context. Death goes beyond the grief of losing a loved one. Death is a part of life, like brushing your teeth. That legacy and mortality are never distant abstractions; they live among us, pressing against our daily lives.

Throughout Eject City, Morphew embraces life not as an accident but as a method. The collection’s wide range of styles—shape poems, elegiac lyrics, fragmentary meditations—feels less like eclecticism and more like a deliberate embrace of instability. The book suggests that erratic ruptures are the truest interpretation of experience. Bodies fail, families disintegrate, memories blur, and yet poetry persists amid the broken events of life. Morphew’s background as both a poet and songwriter resonates throughout the collection. Some poems carry a musical cadence; others resist rhythm altogether. Morphew is unafraid to let his poems falter, stutter, or collapse into silence. He is a true artist—a virtuoso who is unafraid to take risks. He transforms his despair and life’s experiences into art—whether of body, of heart, or of legacy. The collection is difficult, inventive, and deeply honest. It will not leave its readers unchanged but may make you think about your trail of shadows.

About Jason Morphew

Jason Morphew started life in a mobile home in Pike County, Arkansas. Of his debut collection, dead boyThe Washington Post says Morphew’s “sharp intelligence makes the poems pop.” His writing has appeared in The Daily Beast, Los Angeles Review of BooksSeneca Review, and other places. As a singer-songwriter, Morphew has released albums on Ba Da Bing, Max, Brassland, and Unread Records. He lives in Los Angeles and teaches at Stanford Online High School.

BIO

Patricia Carragon received a 2025 Best of the Net nomination for her haiku, “Cherry Blossoms,” from Poets Wear Prada. She hosts Brownstone Poets and is the editor-in-chief of its annual anthology. She is the editor of Sense & Sensibility Haiku Journal and listed on the poet registryfor The Haiku Foundation. Carragon’s jazz poetry collection, Stranger on the Shore, from Human Error Publishing, is forthcoming this year.Her latest novel is Angel Fire (Alien Buddha Press, 2020). Books from Poets Wear Prada are Meowku (2019) and The Cupcake Chronicles (2017). Her book Innocence is from Finishing Line Press (2017)







The Idea of Light by John Ronan

(Encounters with Inscriptions, Sliced)

Review by Kristin Czarnecki


The poems in John J. Ronan’s new book, The Idea of Light, soar between earth and sky, body and soul, the sacred and the profane with deftness and ease. Roving through myriad subjects and sentiments ranging from the tender to the ferocious, Ronan lifts us into the cosmos while also rooting us firmly to the ground beneath our stumbling feet. Comprised of three parts, I. Halo and Clay, II. A Certain Rich Man, and III. Ether and Belief, the book explores humanity’s wanderings in spaces both minute and vast. From suburban living rooms to ancient Egypt, from a Parisian café to a veterinary clinic, the poet roves through an array of locales with intelligence, curiosity, and wit.

The title/first poem considers the moon in daylight—bland, dispassionate. “A midday moon says nothing of love: / Albedo ash, atmosphere none, / Heedless of sign or madness, amour,” Ronan writes. “Dusk summons the idea of light: / A Western crescent in ichor white,” evoking fecundity, mythos, and creativity even while the final line yanks us back to earth, for the moon appears as “The illusion of huge. Let us pray.” Other poems evoke a similar pulley-like sensation. “The Pedestal” recounts Catholicism’s fetishizing of the Virgin Mary—that “In the seminary, priests-to-be thought of girls / In Marian images mostly, real flesh / Deflected by confessors urging their celibate selves / And mentored boys to believe only in blessed / Virgins, chaste vessels of the Holy Ghost.” Imagine their surprise, then, encountering a “Mix of piety and dry martinis, lust” in a flesh-and-blood woman. “Human love,” the poet writes, is “laminate, halo and clay,” the saintly and the bodily, a combination embodied in his partner that continues to surprise the speaker decades later.

Poems in Part I explore the range of human experience along with elements of the natural world. In “The Servitude of Eavesdrop,” a couple watch their new neighbors through their living room window like silver-screen images from the silent era; “Nothing You Need” rues the gentrification transforming Main Street, USA, into shoppes hawking soaps, candles, and kale, the “bright brew pub / Featuring Pumpkin Harvest ale”; “A Lumberyard in Gloucester, Massachusetts” ponders harvested wood processed into all manner of objects—“Someone’s dream house, a new garage”—and priced accordingly. The wonderful four-part “Windowsill” meditates on objects seen beneath an office window—as quartz alchemized into a magic jewel, as an ancient pharaoh’s glory reduced to the “Knick knack status” of a small figurine.

In a similar vein, “Princess Ennigaldi” reflects on relics and museums, our penchant for preserving and exploiting the past. The speaker and his partner leave the museum wing of mummified remains, packed with schoolchildren, for a quieter section displaying “the pottery of Kish and Ur— / Where the young Ennigaldi, daughter of Nabonidus, / Assembled the world’s first museum / In 530 B.C. / With something like the urgency of a teen memoir,” a brilliant simile I read over and over, along with the surprising and poignant final line, “Whatever was the Princess thinking?”

The conceit flows into the next poem, “Leaving Thebes,” which imagines “The mummy diaspora who journeyed off / By plane or train, a stagecoach, ship, / To Europe, the East, the New World. / Like Princess Kherima . . . A nobody, really . . .” Her voyage to Brazil ends in literal flames, her body reduced to ashes in a tragic museum fire of 2018. The poem’s collapsing of time and space and critique of traditional museums brings to mind my own recent experience at the British Museum. In the Ancient Egypt wing (where else?), I stared at a crate housing the skeletal remains of a teenaged girl, and I wept for her.

The first poem of Part II features Dives, a rich man whose experience of descending into hell is told in the 16th chapter of the Gospel of Luke in the parable of the rich man and Lazarus. In Ronan’s poem, Dives justifies his “misdemeanors”: his wealth, his empty gestures towards the poor and the suffering, and his stubborn refusal, still, to listen to Lazarus’s instructions to heed Moses and the Prophets to find salvation. Ronan situates the figure of Dives in other poems in Part II as observer, Everyman, or perhaps a stand-in for the poet himself.

“Confirmation Bias” evokes the section’s opening poem in critiquing our uncanny ability to conduct or find research that sanctions our worst impulses and actions, that fosters the “everyone gets a trophy for showing up” culture. In “Transgender,” an aging man finds it easier to pee sitting down, “The gender expression now appropriate” along with his exasperation with the men in his life “Whose fickle piss dries on tiles . . . / Dives’ toilette is a fixed routine: / Tinkle neatly, and with impatience, clean.” “On Rejection” wryly encapsulates the shit sandwich that is the rejection letter all writers know: praise for the writer’s style, reasons why the piece is unsuited for publication, then “a switch / To poetry’s prosaic, publishing concerns— / The next issue’s theme, a subscription pitch, / A sincere request for preferred pronouns.” Dives imagines the recent co-ed, oh so hip, churning out such letters. “He would not kick them out of bed.”

Closing Part II is the devastating “On Regrets” in which the speaker imagines those who die by suicide having regrets at the last moment, when it’s too late. “Dives believes compressed reflection / Must oftentimes include regret, / Prompted by pain, by embarrassing / Grammar lapses in the whiny note, / By not having seen as bright challenge / Life’s suddenly welcome uncertainty.” I’m haunted and inspired by this whipsaw of thoughts, the sudden and tardy revelation of the last two lines.

The poems in Part III Ether and Belief continue to engage earthly and cosmic realms, blurring the two in fascinating ways. “Quietus” features an American tourist in England going through the motions. “This endless English summer day,” the poem begins, “You cruise the Thames, ride the Eye, / Snap the changing palace guards,” zip through museums, and attend a performance of Hamlet in the evening. The figure’s mind drifts from the action on the stage, though, as he pictures the dust accumulating, the plants drying out in his empty house back home. Leaving the theater, he’s “Swept quickly along by the city and green / Lights, the crosswalks counting down” as he, we imagine, counts down the minutes until he can go home. The back-to-back “4015 Alabama” and “Mom’s Watch” reflect on the past, consciousness, and the vagaries of memory. “The Procedure” and “On Placebos” take us along with aging, ailing bodies into hospitals and recovery rooms.

The book’s final poem, “Flight Time,” resembles “On Language” from Part I in its participant-observer noting the people around him. “The rough runway lumbering ends,” the poem begins, “In uplift of this lucky machine / Into ether and belief,”—into power, precarity, and volatility all at once. Such is the condition of riding in a plane and our human condition as well. We see “Rosaried old, second honeymooners / . . . / A burka. A suit. Sweat clothes.” We see the rituals of a transatlantic flight in “A second meal and movie, scotch” / . . . Seatbelt warnings Off and On.” Overheard disconnected bits of conversation. And then, we prepare for landing, “The plane motionless in surrounding cloud. / Position lights blink on the wings.” “Flight Time” beautifully concludes The Idea of Light, its plane soaring high into the air while those inside live out the mundane realities of the everyday. Is life a miracle? Is it absurd? Is there a true light to inspire and guide us? Or is the light just an idea, a suggestion we cling to in order to survive? I appreciate the images and questions raised by Ronan’s provocative, beautiful book.

BOOK AVAILABLE HERE:

BIO

Kristin Czarnecki is the author of two memoirs, The First Kristin: The Story of a Naming and Encounters with Inscriptions, and a chapbook, Sliced. She holds a PhD in English and was an English professor for many years at Georgetown College in Georgetown, KY. She is a past president of the International Virginia Woolf Society and serves on the editorial board of the Virginia Woolf Miscellany. Her next book, My Moomin Memoir: Reflections on Tove Jansson’s Classic Tales, is forthcoming from Legacy Book Press. She lives in Gloucester, Massachusetts.









Discoveries by Being: a review of Sojourns, by John Drudge

Barrio Blues Press. Chicago, IL. 2024. $14.99 paper, $6.99 Kindle

Review by Peter Mladinic

Just as there is a sojourn in time and space, there is also a sojourn across and down the page. Each poem is a sojourn of explorations and findings in language; each poem is a place in the imagination. In the first half of the twentieth century, the poet William Carlos Williams said, “so much depends / upon / a red wheel / barrow …” What depends is the reader’s being alive enough to perceive the poem.  In Sojourners, where I am merges with who I am. The reader travels vicariously, taken into the poem / place by the poet’s manipulation of devices of sight, sense, and sound.

The second half of the Williams poem is an image. Images are key to an appreciation of Drudge’s poems. In “A Poet’s Breakfast,” he sets the scene with details of place: “coast, Boulevard, market boardwalk, Hotel.” The poet “ordered toast / and eggs and a drink.”

The detail of a lit cigarette prepares readers for the revelation of “Expelling the burden / of past deeds and future fears,” a letting go and being in the moment “back in France.”  In the next moment he “began to write.” The scene is often a panorama, a big picture with significant details. “Paris in Transition,” with its tone of familiarity is a good example. Its initial images are ones a traveler might see on the outskirts of any city. And then “you see the Eiffel in the distance / and the bridges / and the river.” The revelation of Paris made striking by the poet’s manipulation of what he shows and tells, culminating in the revelation that “This is Paris / And you are never the same again.” While numerous poems in Sojourners have narrative

elements  “Toy Boats,” set “In the Luxembourg gardens” is contemplative. A toy boat on a pond leads to a memory which, in turn, leads to a revelation. 

I longed for her
To come to me 
Like a faint wind 
Gently rocking 
The loan toy boat 
Marooned on the pond

Just as the wind rocks the boat, breath enables the speaker to long “for her” as he sits in the gardens “Beneath the chestnut trees.”

Manipulating sounds, the poet manipulates silence. There’s a lot of silence in “Drifting,” the book’s opening poem. The voice is as quiet as “the marsh.”  The rhythms, with their pauses, seem like halting steps: “In the clearing / With the day breaking / wishes on rocks / In the creek / In the distance.” This quiet chant is broken by the line “Turn up the volume.” The speaker is telling himself, here at the start of his sojourn, to give words to his “Wandering thoughts.” As a reader might assume from the title “The Road to Monaco” is about driving. Rhythm is involved. The sense of this road poem lies in its variation of sound, and in its silences. The road (this review traveled by tour bus) is steep and winding “Perched above the deep blue / Of the Mediterranean.” The speaker’s sense of driving this road is evoked in the poem’s rhythms:

And the heat 
From the summer road
Wrapping around 
The little convertible 
Bone dry and glove like
The grip

The variation in sound and rhythm is striking. The heat subtly, impressionistically wraps around “the little convertible;” then, the spondees of the one-syllable words evoke the not-so-subtle, but rather emphatic, tightened grip on the steering wheel, and the driver’s exhilaration that concludes the poem: “The faster / The better.”

The meanings of the poems are often rendered in metaphors. “Harry’s Bar” is set in a panorama that consists of “the lagoon / narrow walkways / bridges / canals / another night in Venice.”  Then the speaker saw figuratively “beyond eternity / And fell deeper in love / With you.” “Gargoyles” are a key image in “Spout.” These gargoyles “Aloof over Paris” protect, warn, and serve as water spouts. They stare 

Into tomorrow 
Over the grayness 
Of a near 
November sky 
Moving 
Toward the razor’s edge 
Of a shaky horizon
Where things 
Often go badly
And grief is just love
With nowhere left
To go

While the words “near, razor’s edge, and shaky” accent the “greyness,” the word “Where” connotes a place for things that “Often go badly” and also for “grief” in apposition with ” love” that has figuratively reached a dead end, that love within the sojourner who has “nowhere left to go.” It’s a memorable end, and a revelatory view of grief, a discovery in Paris and within the speaker’s emotional landscape. In “River,” the landscape is a rainforest; the speaker is in a boat that is “Passing at a good clip,” “With the river rushing / Against my fingers / As I breathe / The hot damp air / Of immediacy.”  This journey is as visceral as any journey can be. The immediacy is both the speaker’s and the reader’s. The reader, a vicarious traveler is on that river when “We shore the canoes,” accompanying the speaker on his trek through the dense foliage. At the end of “Windows,” the reader comes to “A dreamscape / Of long shadows” that lead to “windows / That look into us / As we pass through / each other.”  Metaphorically the speaker journeys through the listener, and the listener journeys through the speaker. In all these poems, the outer landscape mirrors the inner.

Sojourns is set in many different landscapes, from cites such as Paris, London, Lisbon, Rome, and Los Angeles, to meadows, fields, and places as an ancient as Stonehenge. In many of the poems the speaker remembers things, people, and places from his past.  In all of the poems he captures moments. “The Look” begins: “She lay stretched out / in the sand.” The setting is a cove, “by the sea.” 

She stirred 
And looked up at him
Watching her
And smiled a smile 
That sent him
Somewhere deep 
Beyond the day

Sojourns is the book, and the bridge between the poet and his audience is language carefully crafted and for elegance never missing a beat. Sojourns is poems about places and people, a one-of-a-kind book of good, and often profound poems.



BIO

Peter Mladinic’s most recent book of poems, The Whitestone Bridge is available from Anxiety Press. An animal rights advocate, he lives in Hobbs, New Mexico, US.









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