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hyena

hyena salvation

by robert paul cesaretti

 

 

the hyena looked up at him from the small, bare condominium yard. it always sat next to the rusted bar-b-cue grill, his little altar perhaps. the hyena was ugly, not beautiful in the least but he loved it just the same. he was dying and as he was dying he was coming to believe the hyena understood death, his death in particular. this was mysterious.

he had stolen the hyena from the zoo where he had once worked, when it was very small, when it was cute. they figured an owl probably got it, which is what he had suggested. then he retired from the zoo. he thought it a good idea to have the hyena as a reminder of his good times at the zoo, which he had enjoyed very much. they used to play cards amongst the elephants, him and the guys he worked with, and dash through the lion pit on a dare. what fun it was. the camaraderie of it all. and he had a girlfriend at the hotdog stand. the time of his life.

he had come to like africa very much while he was there, at the zoo, because of the animals that had come from there, from africa. feeding them and cleaning them so well like he did. he would imagine the great beauty of africa while he did so. zebras, ostriches, gorillas. he thought of africa as a sort of place where life poured itself out. and now he had let to go of the things he had done in his life, work play love, as he was facing his death, as it was coming his way. work play love, those things were working themselves out ok, but his thieving, not so much so. the many things he had stolen, from the many people he had stolen them from. precious things. thieving had been so very close to his heart, he had come to cherish it. this was bothering him now because death was showing itself as a thief, they had come to know each other it could be said. but he did not want death to have a hold on him, he wanted to go right on through to heaven. that would be best.

he would take the hyena to africa he decided, where there would be a life for it to live with other hyenas and where it could eat animals and fight lions like a hyena should. and when he set the hyena free he would let go of his death, into the heart of africa, freeing himself up for more life to come. he went down to face his hyena with a steak and he bar-b-cued the steak. they ate it together. and then he held the hyena gently and spoke softly to it, speaking to it of the savannahs and jungles and deserts they would see in africa. the innocence that carries us away.

 

 

 

BIO

Robert CesarettiRobert Paul Cesaretti has published in Plain Brown Wrapper, The Atherton Review, Gambling the Aisle, SN Review, Dark Matter Magazine, Mad Hatters‘ Review, Commonline Journal,  Avatar Review, The Zodiac Review. He is the founding editor of Ginosko Literary Journal, http://GinoskoLiteraryJournal.com and a native of the San Francisco Bay Area.

 

 

The Blitz

The Blitz

by Liz Gilmore Williams

 

As a . . . Pearl Harbor survivor, I am often asked what ship I was on. When I reply that I wasn’t on a ship
but was stationed at Hickam Field, I am usually asked, “Where is Hickam Field?” The Japanese certainly knew!
―Master Sgt. Thomas J. Pillion

 

On December 7, 1941, Ernest Galeassi, a private in the Army Air Corps’ 324th Signal Company based at Oahu’s Hickam Field, got up, shaved, dressed, and went to mass, then to the chow hall for breakfast. He walked back to the barracks and sat down on its front steps, looking across the airfield. He soon spied planes almost grazing the barracks’ roof, planes marked with the red rising sun of Japan, dubbed the “meatball,” by the GIs. As the planes zoomed overhead, Galeassi yelled inside to those in the barracks, “We’re being attacked!” He ran two blocks to the motor pool as an ear-splitting boom sounded from Pearl Harbor, the first target. Black smoke billowed over the naval base. Hickam’s air raid siren blared.

While Galeassi sprinted to the motor pool to move the company’s trucks under some palm trees, my dad, Herb Gilmore, worked teletype in Hickam’s Bomber Command Signal Office in the Base Operations building―the centrally located nerve center of the base. He relayed new developments from one headquarters to another and sent and took orders for the Commanding Generals. Only his helmet and the building protected him. Outside, dive bombers whined, machine-gun fire chattered, and bombs thundered.

A lineman truck driver in Herb’s company, Private Thomas J. Pillion, and another signalman drove a truck full of field wire, telephones, and other equipment to Base Ops. Japanese bombs hit the hangar line and hangars, whistling past Pillion and his colleague, Bill Kokosko, as they arrived at Base Ops and huddled under a palm tree. The smell of gunpowder filled their nostrils.

Lt. Col. Guy N. Church, the ranking Signal Officer, drove up in his staff car and got out with his arms full of sporting guns. He handed Pillion and Kokosko each a shotgun but no ammunition. They left the guns at the message center. As they exited Base Ops, Japanese planes splintered the Hawaiian Air Depot, hangars, and hangar line. Pillion and Kokosko ducked under the building where a grating had been removed. Minutes later, they headed to their company’s supply building. Meanwhile, Air Corps gunners manned the parade ground―without cover―and got mowed down like blades of grass, to be replaced by more gunners.

The bombing stopped for about 30 minutes. Ambulances began picking up the wounded. Then the bombers returned, blasting Hickam for another 15 minutes. This time, some Japanese planes exploded from anti-aircraft fire. Every time an enemy plane blew up, everyone stood up and cheered as if at a baseball game. The enemy hammered supply buildings, the base chapel, Snake Ranch, and guard house.* The sparkling, new consolidated barracks shook repeatedly with the force of the explosions, which splattered food, trays, and the bodies of men in the chow hall. Almost all of the 100 Japanese bombs dropped on Hickam hit a target. Reportedly the most heavily bombed building on Oahu, the consolidated barracks burned for four hours. Bodies lay everywhere.

Though at first some men at Hickam wandered about, panic stricken, most took heart and fought back, firing .50-caliber machine guns, Thompson submachine guns, Colt .45s automatic pistols, and even World War I-era bolt-action Springfield rifles. They may as well have thrown their guns at the bombers. Thirty-five AAF planes took flight, some engaging the enemy and others in pursuit, unaware the Japanese had already left the area. Hawaiian Air Force fighter pilot and heir to the grape juice fortune, George S. Welch, shot down 4 of the 29 enemy planes destroyed that day, the first American to down a Japanese plane.

 

This iconic photo shows Hickam's brand-new barracks in flames after the Japanese attack. The truck at the base of the flag pole belongs to Herb’s company, members of which were fixing a damaged cable. The tattered flag in the photo later flew above the United Nations charter meeting in San Francisco, over the Big Three conference at Potsdam, and above the White House on August 14, 1945, when the Japanese surrendered. (Signal Corps photo from Herb’s collection)

This iconic photo shows Hickam’s brand-new barracks in flames after the Japanese attack. The truck at the base of the flag pole belongs to Herb’s company, members of which were fixing a damaged cable. The tattered flag in the photo later flew above the United Nations charter meeting in San Francisco, over the Big Three conference at Potsdam, and above the White House on August 14, 1945, when the Japanese surrendered. (Signal Corps photo from Herb’s collection)

 

Pillion and his buddies spent most of the day running field wire and supplying field telephones to bomb squads and headquarters groups. At night, the cratered parade ground and burning vehicles made passage almost impossible when Pillion and another signalman, Jim Bagot, drove back to Base Ops. At midnight, the air raid siren wailed. Spotlights beamed on more planes overhead, U.S. Navy planes. Everyone with a weapon shot at them. The sky lit with red hot tracers, Pillion and Bagot dove for shelter under Base Ops. Feeling secure, they laughed, probably from nerves, and lit cigarettes. “Sgt. Herbert Gilmore” told them to put out the smokes. “Go to hell,” they replied.

Like Herb, men from all signal companies at Hickam stayed at their posts to radio, teletype, or phone messages at a moment’s notice during the attack. The switchboard operators handled thousands of calls every hour. Linemen repaired severed or damaged lines. Those who stayed on duty in the Base Ops building, like Herb, should have received medals of recognition but did not, according to Pillion’s oral history of the attack: “Everyone in the company performed the duties for which they were trained without question. I was proud to have served in the 324th Signal Company.”

Oahu suffered horrifying carnage and wreckage: more than 2,300 men died and 1,100 were wounded. AAF posts on Oahu lost more than 200 men, with 700 wounded. Though Hickam lost 121 men, with 274 wounded and 37 missing, the attack claimed no lives in Herb’s company. Of the Hawaiian Air Force’s 146 planes, 76 were lost; an additional 128 army planes were damaged island-wide. Forty explosions had rocked Honolulu, all but one the result of U.S. anti-aircraft fire. Honolulu lost 48 civilians, 3 fire fighters, and 4 government employees.

During the attack, known in Hawaii as the “Blitz,” untried troops responded as veterans. Silver stars and purple hearts decorated the chests of 233 men at Hickam afterwards.

I looked through one of my father’s scrapbooks to see if any of his buddies had been cited. There, among their poems, messages, and names and home addresses, I found two signatures of awardees in Daddy’s company: Joseph P. Miszczuk, of Nanticoke, Pennsylvania, and John S. Lopinsky, of Summerlee, West Virginia. Lopinsky, an outstanding baseball player for the Hawaiian Air Force, played on a volleyball team with my father.

The night of the Blitz, critical units headed for wooded areas beyond the base, on 24-hour alert. The bomber command moved to its forward post, which it used until the next day. Herb’s company sent enough signalmen along with the command to maintain 24-hour communications.

Like disaster evacuees, Hickam’s men found shelter under trees or blankets that night or in pup tents, unlocked family quarters, or wherever they could sleep. Under a moonlit sky, a blackout cloaked all light on the ground to help thwart an invasion. Neighborhood wardens patrolled to see that residents shut off lights and covered windows with black cloth; those who failed to do so could be arrested.

Frenetic activity took place immediately after the Blitz. All important buildings in Hawaii received a coat of camouflage paint, including Hickam’s beautiful water tower, and Honolulu’s Aloha Tower, then the tallest structure in Hawaii. The military convinced 200 or so “lei women” to weave camouflage nets instead of leis. To prevent Japanese landings, the military strung barbed wire along the beaches. All paper money in the Territory was recalled and burned to prevent the misuse of U.S. currency if Hawaii was captured. As in World War I, people began planting vegetable gardens of eggplants, lettuce, carrots, sweet potatoes, and onions. Children started toting gas masks everywhere they went.

The military convinced the governor of Hawaii to declare martial law. The authorities arrested civilians, including 370 Japanese, 98 Germans, and 14 Italians, to prevent them from aiding the enemy. Martial law remained in effect for three years. Like grounded teenagers, the once light-hearted islands succumbed to curfews, rationing, and endless regulations.

Herb, like many Americans, viewed Japan’s unannounced attack as sneaky. As the United States declared war on Japan on December 8, 1941, Americans rallied―none more than the airmen, soldiers, sailors, and marines on Oahu. They wanted revenge.

 

*The Snake Ranch, so named because “You walked in but crawled out” was the enlisted men’s beer hall.

 

 

BIO

Liz WilliamsLiz Gilmore Williams worked as a writer and editor for more than 20 years in Washington, D.C., for two agencies of the U.S. Congress, a trade association, and a few consulting firms. Her essay, “April Love,” won an Honorable Mention award for creative nonfiction in the Virginia Writers Club’s “Summer Shorts” Contest for 2014 and was published by the Indiana Voice Journal in February 2015. Her essay, “The Last Time,” published by the Wilderness Literary Review in January 2015, was the most read piece in that online issue. Both essays and her story “The Blitz” derive from her book, No Ordinary Soldier: Discovering Daddy in My Parents’ Letters from World War II, for which she is seeking representation. She received an MA in American studies from the University of Maryland and belongs to the South Carolina Writers Workshop and the Charlotte Writers Club.

Twitter: @warletterlover
Website: www.warlettersfromwwii.com/

 

 

 

bruce mcrae

Perception Management

by Bruce McRae

 

How it is and how it isn’t…

We look for you as if a lost key,
retracing our steps, constructing models,
comparing the right eye to the left.
We employ statistics, the blunt instruments
of guesswork and guesstimates,
and see little harm in chicanery.
Lies can be good for you.

We’re building a better monster,
history airbrushed, the rain holding off,
sin considered an accomplishment.

Now we’re tapping the collective consciousness,
a ready source of gods and archetypes.
We’re instructing you in the art of complacency,
the law on the side of the lawyers.

A hush falls over the Earth
as we prepare our presentation,
including suitable lighting and soothing ambiance.
Even the dead are invited to dine.
Even the living.

 

Identity Crisis

You were the Wife of Bath
and I was Claudius Ptolemy.
I was your sixth or seventh husband
and you were my invisible lover, Mrs. Succubus.
We played games in the sack by candlelight.
We crossed deserts.
Some days we didn’t even know each other.

Little wonder I was so confused.
How does one label their experiences
when rampaging Visigoth’s are at the gate?
With biblical floodwaters rising?
In these damnable firestorms?

One minute we’re Bedouins in a Saharan caravan
and the next we’re planting tomatoes back in Omaha.
“Now you see me, now you don’t,”
you cried out from behind a burning mulberry bush.

And I couldn’t have said it any better.

 

Step Forward

They wanted a volunteer.
I brought them a head on a silver salver.
I pulled your name out of a hat.
I gave them my neighbour’s phone number.

They required donations;
all for a good cause, we were assured.
So I took the loose change out of your pocket,
the gold fillings out of your mouth,
the two pennies reserved for your eyelids.

The gods demand a sacrifice, they insisted.
Of course, we nodded in unison,
jostling for the honour of being first,
taking turns jumping into the bonfire.

Unrestrained in our passion.

 

 

BIO

bruce mcraePushcart nominee Bruce McRae is a Canadian musician with over 900 poems published internationally, including Poetry.com, Rattle and The North American Review. His first book, The So-Called Sonnets is available via Silenced Press and Amazon. To see and hear more poems go to ‘BruceMcRaePoetry’ on YouTube.

 

 

 

dan darling

I Found a Heart

by Dan Darling

 

 

I found a heart under one of those freeway overpasses in the bad part of town. It was a place where the bums bunked during the winter and the bats shat their guano in drifts during the summer. It was a place where the small-time drug dealers and the prostitutes and the existentially destitute outcasts like me went to have our shame rumbled over and over and over by the cycles of endless interstate traffic. It was a place with cement gray pillars that held up thousands of tons of cement and asphalt amidst colorless urban blight. I found the heart at the base of one of those pillars. The heart was gray. It lay coated in desert grit. A dead leaf stuck to the underneath of it. I picked it up and flicked the leaf away. The heart was cold and clammy and hollow.

I was a 23-year-old girl out wandering the summer streets. I was single and lonesome. I was hobbling around on one crutch, and my face was bashed up from a hit and run. I was drunk as a hyena during apple season.

I interpreted the heart as a sign, so I took it to David’s house, of course.

He opened the door and tried not to look blown away by my mangled body. He wore maroon bell-bottoms and a tan shirt with pearl buttons. A green scarf twined around his long, slender neck. He’d grown his mustache out a little since I’d seen him a couple weeks before. He had high cheekbones and when he saw me they turned red.

“Amy,” he said. “What the hell did you do to yourself?”

I hadn’t been returning his calls. I didn’t return much of anybody’s calls, but I’d been ignoring his for a special reason. I didn’t want to talk about getting hit by the judge’s son in the red convertible, so I showed him the heart.

“That’s a lamb heart,” he said, “isn’t it?”

“It’s a human heart,” I said.

He tilted his head back and a delicate smile curled his lips. “It’s an animal heart. You bought it at a butcher’s shop.”

“I found it in the street,” I said. “Human cast off. Evidence of a dying culture. Torn from the chest of a pregnant mother as her body and the body of her unborn were shredded in a terrible wreck. A life-saving organ donated by a terminal patient in a moment of ultimate generosity, only to be thrown from a moving ambulance by some misanthropic hospital tech.”

“They transport donor organs in planes or helicopters,” he said. “I saw it on ER, Chicago Hope, Grey’s Anatomy, and Scrubs.”

I pushed the heart toward his face and he yelped. He was skittish like that.

He was on his way to a party, but I made him stay. We looked the heart up in the encyclopedia. It was a World Book with a blue cover from 1989. He had a whole set of them, volumes for every letter except for X, Y, and Z, which had to share. He was retro. He didn’t believe in the internet. He had plush chairs that he’d upholstered himself with glossy velvet. They were lost in time. He hung his walls with gold-framed mirrors and sewed his own bell-bottoms. He was a tall, olive skinned man with a wiry mustache and when he wore sunglasses he looked like he had a terrible wasting disease. He was the skinniest man I’d ever known and he was hiding in the past. He wasn’t even current enough to read Marx or Nietzsche; instead he read Fourier, who believed that all social ills could be handled by carefully orchestrated orgies. In Fourier’s utopian socialism everyone would attend orgies where they would bind every part of their body up with black cloth except for their most beautiful part so people would value them for their best attribute. I had a vision of myself clad from head to toe in black, like a planet in eclipse.

According to a picture in the World Book, the human heart was dull red like a brick that had been left out in the sun. My heart was grayer than that, but it looked like it had the same ventricles and general shape as the one in the book.

“Pigs’ hearts, lambs’ hearts,” he told me, “they look just like human hearts to the untrained eye. Doctors transplant pig valves into human hearts.”

“They should start doing the opposite,” I said. “Pigs are nobler than human scum. I’m going to donate my body to the pigs when I die.”

“I want them to throw my body in the desert,” he said. “It’ll be put to good use. It’ll be gone in a day, just like people’s memories of me.”

He was always saying self-pitying bullshit.

“Do you have anything to drink?” I asked.

He did. We sucked mouthfuls of wine straight from the bottle. We passed it back and forth while we leaned on his kitchen counter and read about hearts. They were essentially just big, hollow muscles with a bunch of tubes attached. They didn’t keep you alive. They kept the stuff keeping you alive flowing. The heart propelled blood around in an endless depressing circle. That’s all.

I took the bottle and threw myself on his couch. His studio apartment was a landslide of ukuleles, retro button-up shirts, pants with impossibly long legs, argyle socks, sewing thread, pincushions, and the kind of ancient books printed with titles in plain font and nothing else on their wooden covers. His TV’s rabbit ears protruded through a cap of melted candles. A body-shaped cavity imprinted the pile of books, newspapers, and clothes on his couch, which was also his bed, which was also the place where we’d spent June together. I hadn’t been calling him back since the incident at the Fourth of July party.

We’d done a lot of TV that June. He was on classics: I Love Lucy, All in the Family, The Andy Griffith Show—programs where the -isms sprung from the screen in naked hyperbole. We were hipsters, and over-the-top racism, sexism, and nerdism pleased us in that ironic way hipsters feel pleased. Real pain and oppression were so distant that they were kind of snark-worthy—that’s what we told ourselves. The truth is, every hipster’s a traumatized person. We’re a bunch of unpopular, ugly, fat nerds. Only we’re no longer unpopular, fat, nerdy, or ugly. We get rid of those things, but we keep the shame. It’s part of us, like a dark organ we hide away among our wicked inner recesses.

That summer I was neck deep in my own ugliness. David’s favorite show was Leave it to Beaver, a show that I hated because every beautiful person in it was good, and all ugly people were evil. As an ugly girl with hair in all the wrong places and a strange face and small breasts and legs like a caber tosser.. I also hated almost every visual print medium. I’d been hooked on Holocaust movies. The ones where the most terrible shit you can ever imagine takes place in moving life and sound. It’s a movie, documenting a reality. Movies feel realer than real life, so I was drenching myself in hyper-hell until I met David and switched to classic TV.

He shut the encyclopedia and carefully inserted it back between G and I.

“You’re going to a party,” I said from the couch. “Take me with you.”

His brow furrowed up into a point over his nose. His purple lips puckered up a little and he had trouble looking me in the eye. I could tell that he wanted to bring me to the party but he didn’t want to. That was the conundrum of the human heart.

I got up and held the bottle in one hand and the heart in the other, with my crutch in my armpit. “Tally-ho!” I said.

“Leave the heart in the fridge,” he sighed, “and be nice.”

“Get better friends and I’ll be nice all night long.” I opened the fridge and slammed it. I brushed past him, letting my skirt whisk against his leg.

We took dirt alleys and cut through parking lots. That was the terrain of our city: asphalt, strips malls, dumpsters, chain link, and endless huddling concrete. Every now and then a tumbleweed rolled in from the desert to see the sights and died in a ditch or pressed up against a fence. We drank the wine on the way. I yelled at passing cars about how much I hated screw-off wine caps. We walked by the grease trap of a MacDonald’s where it smelled like someone had died. I cursed fast food and chucked the wine bottle at the drive-through speaker. Glossy wine spun from the neck, painting the starlight with blood. The bottle missed the speaker and tumbled harmlessly into a pile of trash bags. David strode beside me, swinging his legs in the long way he had, a nervous grin on his face.

 

I’d met him in the early days of summer, when the sun beat the hell out of the city during the day and the desert winds took over at night. It was a season of tank tops and jackets. I first saw him at a release party hosted by a literary magazine that published only experimental writing that blurred the line between prose poetry and flash fiction. ProseFlash—it was awesomely irrelevant. I’d had my first pieces published in their most recent cyber issue and instead of an honorarium they gave the contributors shots of Patrón. We tossed them back and swore nothing could ever corrupt us.

David juggled at that party, which was held at the house that all of the editors rented together. They had a compost heap, several rotting couches, and a kiddie pool in the all-dirt back yard. The air swirled with flies and bumblebees. David stood in the blue and pink plastic pool. The grimy water lapped at his slender hairy ankles and he wove three apples between his long-fingered hands. His pants were folded up to the knee. His skeleton looked like it had traveled back in time from a dystopic future where food was scarce. I took off my own shoes and mismatched socks and folded up my corduroys. My legs were hairy. I stood face to face with him and he tried to teach me. I dropped apples. We got wet. We splashed. I bit an apple and he took it and turned the shape of my mouth into a carousel between his hands.

I was called away to read aloud the prose poems I’d written about a time-traveler named Dr. Cone who could never find love because he was lost among the many dimensions. They were a hit. Later in the night I found David sitting in a circle of chairs around the fire-pit. He strummed a guitar and taught everyone to sing “The Internationale.”

I stood close to him and with my hip against his bicep and my arm draped around his frail shoulders. He looked up at me. His eyes were brown.

“We’re pals now,” I told him.

He smiled like a shy boy, without showing any teeth. His mouth was wide. His face was made of pits and mountains.

“Get my number from somebody,” I said.

“Give it to him now!” someone yelled. Their face was a tangle of smoke and orange firelight.

“I can’t remember what it is!” I yelled back.

People hollered out digits. They suggested 1-900 numbers and vulgar websites. Someone said, “Recite us a poem!” and I tried to step into the fire pit to prove I was divine. I spilled words into the panic. Someone took me in a fireman’s carry and David hung in an inverted world. His mouth was an O and the hole of his guitar was an O and his eyes were Os where the primordial red gathered in pools. I told him how I saw circles in everything as they carried me away and put me to bed.

We met for coffee the next day and spent 30 hours or so together, dovetailing TV shows one into the other, drinking cans of beer, talking about every last piece of nonsense, passing out on his couch at dawn, waking up at noon to order pizza. We had to order it cheese-less and meatless because I was lactose intolerant and he was a veggie. After that we became inseparable. We sashayed from drunk to sober in diurnal cycles. Every day after work I’d walk to his tiny apartment and we’d mock TV all night, or play revolutionary Scrabble where the only proper nouns allowed were the names of revolutionaries and they counted triple, or we’d take each other to parties where writers and musicians and socialists gathered to partake in the joyless fuck of life.

 

The party we went to the night I found the heart was a pretty amiable, dignified affair when I hobbled up with David in tow. It was at a house mid-way through the process of falling apart at the seams. Peeling stucco and vigas split by decades of sun and storm. A yard of dirt, weeds, cigarette butts, and skittering cockroaches. A front patio with a cracked brick floor peopled by sensitive guys with thick-framed glasses wearing sandals and skinny or chubby chicks with hair dyed primary colors and names like Monet or Lenore. Plenty of silk scarves, awkward noses, and inscrutable tattoos on necks, feet, and forearms. A skinny white boy with dreads spun in hippy-inspired bliss. I made sure to crunch one of his bare feet with my crutch. I elbowed a very sweet-looking girl with a flower behind her ear and cursed someone’s bandana-wearing dog. I trailed impending disaster behind me like a cape.

I blundered my way through the rooms of peeling white paint and into the back yard. They had a keg. I put the tap in my mouth, but David pulled it away and filled a couple of those red plastic glasses they have at all bad parties. I took a sloppy drink and let myself enjoy a foam mustache over my real one. David’s eyes couldn’t keep still. They rolled around in his head as if he’d lost his mom and expected her to show up at a lame post-college pre-life party.

Some guy with a blond beard and glasses came around with a jar of suspicious-smelling honey. I let him put a spoonful on my tongue and found out a few minutes later that the colors of the night were more splendid than I’d ever realized. I got myself a perch on a dead washing machine by the fence and talked to a teenaged kid about space-time travel. He had a theory that every dream had a tiny dose of warp capability and that if you got enough enlightened people dreaming hard enough in the same place, a worm-hole would open and suck everyone’s consciousness to a more harmonious dimension. David hovered at my elbow with his gaze everywhere but on us.

The first hour blurred by and I found myself part of a ring of people standing around listening to some gorgeous moron. He was a libertarian or a communist or a more generic sort of idealist, and he was too handsome to look at. I wanted to smash his face because I wanted to kiss his face. He was speechifying all sorts of crap and being generally worshipped because of his chin and his eyes and his shoulders, and eventually he said something absurd and offensive like, “Wouldn’t the world be a better place if people just listened to each other?”

So, I pulled out the heart. I’d faked putting it in the fridge, of course, and then slipped it into the tote bag I used as a purse. I wound up like a starting pitcher and hurled it at him. The heart hit him in the mouth. It made a tennis ball sound and rebounded surprisingly far. The handsome guy flicked his tongue in and out like a snake. He rubbed his palm across his lips and inspected the slime that lay spread across it. He stretched his tongue far out of his mouth and wiped it on the sleeve of his ironic t-shirt.

I picked up the heart and brandished it in the air like a talisman warding off dumbness. I gave each and every person in the circle a dose of my terrible yellow stare. Then David slipped his hands under my armpits and dragged me off toward a more remote part of the party where I wouldn’t bother any of the decent company.

 

I’d ruined a lot of parties. I was good at it. One of them was the 4th of July party, where David and I had begun to disintegrate.

That was the summer when I worked for the city. They’d hired me to research all the terrible things that could happen to you if you became a meth head. You could lose your teeth, for example. Your fingernails could shrivel up until they looked like Triscuits. Your teeth could fall out and you could age thirty years overnight until your skin looked as wrinkly as genitals all over. Your hair could thin and straighten and turn orange until you looked like a scarecrow from hell. Then one day as you, desperate for a fix, were shooting liquid drain-o into your neck, you’d accidentally start yourself and your meth-baby on fire and burn out like a dying star.

That was the kind of stuff I’d write up so that my boss could wince at it.

The party was split into living room and backyard factions. Through the living room window, I spied gorgeous Patrick, a boy I had a crush on, who’d looked at me as if I were a leper when I walked through the front door of the party. He had curly black hair, green eyes, and freckles. He stood in the backyard kissing a girl with smooth brown hair and smooth brown skin. She had boobs and all that other stuff that guys like. I stared at them touching each other and kissing in the curtains of twinkling and flashing light showered down on them from the bombs that we throw to celebrate America. They kissed and the sky thundered with joy. I wanted to burn the picture into my retinas. I wanted it to hang over everything I looked at for the rest of my life, like a ghost of just another moment that proved I was the worst thing the world had ever seen.

Around me, everyone in the living room was listening to someone tell a funny story. Everybody was guffawing and having a grand time. I busted into the middle of it and grabbed a shot of tequila out of some meathead’s paw. I held the shot glass of clear tequila up to the bare light bulb in the ceiling and thought I could see pure nihilism on the other side, shimmering in white light. I yelled “Down with penises!” and threw the shot back. People cheered and hooted and booed. Someone handed me another shot and I toasted to “True Hate!” and drank liquid that tasted like fire.

The next thing I knew David and I were lying head to heels on a hammock strung between a weeping willow and a lone fence post. My tongue lay numb and alien in my mouth, swaddled in the acrid paste of recent vomit. As we swung gently in the night breeze, David’s arm strayed across his chest and his fingers began to toy with my ankles. They brushed down along my calf and twined in my leg hair. His other hand, lying between our bodies, probed around, trying to find mine in the dark.

I fell out of the hammock. I rose to my hands and knees and then by some miracle stood on my feet. David sat up. He lay his soft fingers against my cheek. His dark eyes hung a few inches from mine. His breath gusted from his nostrils and fanned my clavicles with chilly air. “You’re the moon, Amy,” he whispered. “You’re the moon.” He tilted his head and closed his eyes and pushed his face gently toward mine.

I managed not to pull back so hard that I fell. His hand stayed suspended between us where my cheek had been and his face showed such naked emotion that I couldn’t look at it.

“We’re pals,” I croaked. I walked away without saying anything else. I did it because I was a closed-off person and because I thought that if I fell for someone like David—a skinny boy, whose face didn’t look quite right and whose shoulders were narrow and sloped and whose chest caved in instead of jutted out—I thought, if I get with this boy everybody will say, look at the ugly people in love. We guess they had no other choice. So, I turned away from his soft lips and velvety whiskers and blundered off into the night.

The next day, on my walk home from work, I was hit by a car. That was a Tuesday.

I was crossing the street with a walk signal and everything when the dashing judge’s son in his red convertible made a right on red. He wasn’t expecting a pedestrian, because in America you’re supposed to drive. He knocked me into the intersection and sped away. I lay with my cheek on the asphalt and watched his license plate grow quickly smaller, then disappear around a corner. I had no insurance and no lawyer would take my case. I didn’t have a dime to spend on one, nor enough beauty or charm to barter, and everyone knows if you’re broke there is no justice. My leg never healed right. It still hurts when I go down stairs and on the damp winter days. During my overnight stay at the hospital no one came to check on me. When they released me with torn ligaments and fifteen stitches in my face, I had to ask the welcome desk to call a cab to take me back to my apartment.

 

David hauled me away from the man I’d hit in the face with a human heart and installed me in a lazy boy in a back corner of the yard. It stank of rust and mildew. The cushions, once green, had been tortured and scorched by wind, rain, and sun into a dismal hue. I cranked the handle on the side and the foot rest lurched up crookedly. I let my sandals fall on the ground, lifted my legs onto the rest one at a time, and tilted my crutch against the arm.

David sat on a stool at my feet. A security light shone from the alley directly behind me. It turned David’s glasses into mirrors that held twin images of a girl splayed on a derelict recliner framed by weeds and junk. She had thick copper and gold curls on her head, legs, and forearms. She had amber eyes and downy gold fuzz on her upper lip; her right cheek was a hill above a sunken plain of acne scars, and her left was a purple and yellow rumple of swelling and stitches. A black bruise the size and shape of Texas creeped down her left thigh below the hem of her skirt like something evil that was trying to escape and corrupt mankind.

David wrapped his long fingers around the girl’s feet. My feet. His face was tender and miserable.

Maybe the heart was a revelation. Maybe hope existed and every now and then the world delivered you up a symbol that could renew and rekindle that hope. Maybe the heart was saying, hey Amy, you’re not getting it. Life is good and possible and all that crap you never believed in. You didn’t believe it, so I’m this really obvious symbol to tell you. Believe. Try. Have hope.

I let my legs fall to each side of the leg rest and leaned forward. I fell into David’s chest. I caught his shoulders in my palms and kissed him. His lips were soft between the wire of his facial hair. His breath was like butterscotch. The tips of his eyelashes brushed mine and that minute twining was the most intimate thing I’d ever felt.

David pulled his face back until our lips separated. He took my wrists in his hands, lifted them from his shoulders, and eased me back into the rotten embrace of the lazy boy whose owner had hated it too much to even throw it out properly. He picked up my hurt leg and lay it again on the leg rest.

The party was picking up steam. Behind David, the house spewed more and more revelers who huddled around the keg and clustered across the barren landscape of deceased lawn, skeletal bush, and wizened tree. David rose from the stool, turned, and shrunk into that tableau of wasted life until he was just an obscure figure with long legs and curly hair. His figure mingled with others tall and short, stocky and skinny, until it met with a particular silhouette that stood beneath the awning’s shadow and in front of the light streaming through the window. It was a girl’s figure. She was on the petite side and a nimbus of red stood around her head from where the light hit her, like a lunar eclipse. I watched until the two figures stepped from the shadows into the moonlight, and I saw David leading a ginger girl with skin like a glass of milk toward the gate around the side of the house. They left together and I knew who he’d been looking for all night.

I awoke in the same chair in the morning and no one had spread a blanket over me. The sun hovered just above the horizon. Its rays sliced between the houses and cut across my eyes. I levered my stiffened body up with my crutch and fished my tote bag from where it lay in the dust. The bulk of the heart pressed outward against the cloth. I teetered through the side yard and banged around at the gate until I got it open and then I let my misery loose on the early morning streets. I limped home across the desolate city, beneath the overpasses and across the black parking lot wastelands. I cried out my laments at the emptiest bluest sky you’d ever see about how the judge’s son had maimed me with his rich person car, and how a whole houseful of festive people had left me in a dark corner to die, and how the most beautiful and gentle boy would now never be mine.

 

 

BIO

dan darlingDan Darling has worked as a juggler, bartender, IRS agent, cafe manager, and magician. He earned his MFA at the University of New Mexico and now serves as a professor of writing and literature at Normandale College. 

 

 

 

 

 

 

L Vargas

Laughing Until It Becomes A Cough

by Lauren Vargas

 

The thin-lashed girl gets it,
a single spinal chill at every roadkill.
It’s not real, she repeats, picturing
a purple pig balloon that’d careened
through the sky, tangling about its
one dimensional, curly-tailed string
and fell at such high speeds that it hit
a telephone pole line, exploding ham
on either sidewalk. Waiting

and watching for a good laugh,
the kids give her a home and lodge
their popcorn kernels behind her tonsils.
She shoves a finger through her ear
to scratch the roof of her mouth, to
speak again if a loved one has been affected
by mesothelioma, legal compensation is
just around the corner. As children use their
heels to scrape sulphuric tar from the
defrosting water line and then

examine candied teeth with a
knife’s thinnest glittering edge between
waves, sweat beads accumulate on
the girl’s palms like transparent
bowling balls. She holds them out and
notices tremors. Asbestos rains down.
The kids ask her to drink fluids to cure
that dry cough but all the water is
leaving to house fishes in the dictionary.

 

 

At The Open House, My Aunt
Describes How To Deadhead

My aunt trims conversation with the real
estate agent. Mentions he might come back with a better
offer. All I ever wanted was a place to call home.
Deadheading helps the flower grow fuller, stronger, clearing her
throat with chested coughs, aunt takes cuticle
scissors to infected orchid roots hanging from slatted baskets
nailed to the mantle. Rotted tissue flutters mostly
to the wood. Careful to not slice any live stems, she issues

an apology to the dead leaves. My fingertips churn pots of fern
fiber and volcanic stone. I guide her root
before packing the surface with charcoal flakes. Now firmly
planted in the coconut shell, she emits a white
lemon aura. Her silhouette morphs. Purple fragile now, swallows
moisture from the air, and begs me to sacrifice
the bloom. Mindful of keeping her from lying in water,
I pray she’ll have room when fully grown.

 

 

Carpal Tunnel

But on a molecular level, dryness. No matter
the post-op sweat — her skin, like her emotions,
remains rubbery. To live in a white box shouldn’t cost
this much: a view of the stucco roof, its squares that
protrude from the ceiling to prop up a man in blue
who’s eating a wheat bread and jelly sandwich like
it’s the last meal. Scrubs, a patchwork of used vinyl
wristbands, collect in linoleum basements like fraud.

She drops her pendant cross in a tall glass filled
with denture solution, and hangs a row of teeth
from a silver chain around her neck. Her inability
to inflect certain vowels is as if her lungs occlude
apologies. Like the important things are slipping
away, she asks about the demon men in overalls
sitting at the foot of her bed. It’s hopeful to imagine
she’s talking about the food tray cluttering her toes.

 

 

Upon Hearing Of My Uncle’s Dog-Leash
Suicide, I Realize My Own Neck Pain

His children’s only solace
is desiccation. I say
sorry, he’s hanging around
in my mind pissing himself.
The doorframe — humor and bloat
are observed by relatives,
I hate their stiff face muscles.
Were you close to him? I’m just
asking how a two hundred
fifty pound man fits in a
small mahogany box. Voice
mail condolences begin
jarring birds from telephone
pole lines. After falling through
a cracked window, their necks thud
against marble countertops.
Chaos is the only true
family history. Home-
made soggy meat loaf leaves blood
streaks along the sink’s steel walls,
but I don’t speak because none
of this can be removed with
bleach. The oven light’s broken,
treats smell guilty. Duct taped glass-
ware fails to keep the juice in,
and cellophane bubbles up
around paper plates holding
stale brownies. I’m wondering
why a blue dog leash would kill
a man. You may be seated.

 

 

BIO

L VargasLauren Vargas is currently working towards an MFA at Queens University and is a full time writing curriculum-tutor in Southern California. She believes in the power of language and poetry. Her works have previously appeared in ElevenElevenAmpersand Literary Journal, Chinquapin Literary Journal, and CalibanOnline.

 

 

 

The Art of Bill Wolak

 

Rhythmic Triggers

Rhythmic Triggers

 

Where Lightning Hesitates

Where Lightning Hesitates

 

Ibycus Agrees

Ibycus Agrees

 

Bittersweet

Bittersweet

 

Fleeting Things

Fleeting Things

 

Graceful as Fire

Graceful as Fire

 

The Net of Spells

The Net of Spells

 

Between the Hallucination and the Footnote

Between the Hallucination and the Footnote

 

Frantic Pleasures

Frantic Pleasures

 

Unrecognizable Tenderness

Unrecognizable Tenderness

 

 

Artist Statement

Collage undresses the darkness with a mirror’s secret undertow. It’s a dance done on burning kites while dreaming at the speed of light. Expectant as nakedness, collage is a door that surfaces in the shipwreck of your sleep. It’s a caress with the irresistible softness of a slipknot in a velvet blindfold. At its best, like poetry, collage is a moan just beyond delirium.

I make collages out of all kinds of materials. Most are made out of paper engravings. Many collages are digitally generated or enhanced.

 

BIO

Bill WolakBill Wolak is a poet, photographer, and collage artist. His collages have been published in The Annual, Peculiar Mormyrid, Danse Macabre, Dirty Chai, Hermeneutic Chaos Literary Journal, Lost Coast Review, Yellow Chair Review, Otis Nebula, and Horror Sleaze Trash. He has just published his twelfth book of poetry entitled Love Opens the Hands with Nirala Press. Recently, he was a featured poet at The Hyderabad Literary Festival.  Mr. Wolak teaches Creative Writing at William Paterson University

 

 

 

Sarah Parris

NaNoWriMo – What Is It and Will It Eat Me?

by Sarah Parris

 

To most people November is a simple month, a lull between Halloween and Christmas where you get a week to eat turkey and be merry. To elementary students it’s the time of year to learn about the pilgrims and the Indians, and Christopher Columbus. To me it’s time to write a novel. National Novel Writing Month is a yearly event that thousands of people across the world participate in annually. The rules are simple. You have the thirty days of November to write 50,000 words, and all 50K must be written within the month.

To many this sounds crazy. I agree. To write over 10,000 words each week? Near impossible! Except that I have done it twice now, and look forward to it again next year. Why, you may ask. Why would I put myself through this? The answer is more complicated than you might think. That I love to write should be a given, but it’s not just about that. There’s something exhilarating about the mad dash, the craziness to get it done, the desperation to reach the goal, the endless nights of typing away when the rest of the world has long fallen asleep. I imagine it’s like running a marathon. You go and go and go, and when you finish it’s like you’re standing on top of the world. Plus, there’s the undeniable satisfaction of having a fat stack of paper by the end that you can mold into a story.

There are two types of writers when it comes to NaNo – the plotters and the pantsers. Plotters, like myself, spend the weeks leading up to November plotting out our stories, planning the characters and their backgrounds, charting maps of their worlds and figuring out how characters will get from Point A to Point B. This is well within the rules, as long as none of the story is actually written until November begins.

Pantsers, on the other hand, go into their stories blind and figure it out on the way, writing by the seats of their pants – hence the name. They trust their characters to lead them into the unknown and to find their way out again. They come up with the map and the history as they need it. This type of writing offers its own kind of excitement for the writer, and is well-suited to those who appreciate the flavor of spontaneity in their writing.

But no matter if you’re a plotter or a pantser, your goal is the same – write, and write quickly. NaNoWriMo is designed such that the writer is forced to slam out a story before she has time to think about it too hard. Creativity’s worst enemy is the writer’s inner-editor – that voice in the back of the mind that questions and criticizes everything, analyzes a story to death even before it’s born. The constant demand of NaNo to keep an eye on the outrageous word count goal presents writers with an opportunity to not only find out what they’re made of, but to hash out their raw ideas before they have time to quash them. Only after the month is over is the inner-editor released from whatever cell it was thrust into on November first, and once again allowed to clean up the typos, order chapters chronologically, and run continuity checks on characters and plot holes.

In fact, so much is done during NaNo to try and get that little editor out of the writer’s head that there are mini games and challenges that force the writer to expel it from thought. The NaNo community all but depends on these when the going gets tough, and writers in need can always find each other on the NaNoWriMo site when they need motivation or a writing buddy.

Word wars are mini-challenges that a writer takes against herself or others that encourage her to write as fast as possible without stopping to question her thoughts. In a word war the writer sets a timer for however long she likes (my favorite is ten minutes), and within that time writes as many words as she can possibly slam onto paper. If two or more are playing, the person with the most words wins. This almost guarantees that there will be typos, so much so that the five-minute word war has been universally dubbed the “Fifty-Headed Hydra” among the NaNo community. The nick-name was born when one writer’s five-minute word war yielded only three correctly spelled words; fifty, headed, and hydra.

Sprints are a variation on this theme wherein the writer is challenged to sprint to the nearest thousand words of their document in as short a time as possible. For example, if my document were sitting at 32,500 words, I would have to write 500 more words to make it to 33,000. Obviously, these can be more or less difficult depending on the last three digits of a manuscript’s word count. Blessed be the writers sitting at 32,997 at the beginning of a sprint.

Another strategy for those who fall behind in their writing is the dreaded 10K Day, a tactic I have had to employ a couple of times. The name is self-explanatory. The writer undergoing this challenge must write 10,000 words by the end of the day. I have only completed it once, the first time drawing close with about 9,000 words. I have heard tell of writers who have topped 15K in a single day. I salute them, and also wonder what kind of bionic fingers they have traded for their human ones.

Often when I talk about NaNo to others I’m met with awe and incredulousness. Several people have told me they simply wouldn’t be able to think of something to write 50,000 words about. To them I say I used to think the same thing. When my friend asked me to do it with her the first time I truly wondered if I would be able to make it to the end. What kind of story could I produce that deserved that many words? What could be worth that much of my time, that much devotion? But as I wrote, I discovered that my story came alive under my fingertips.

I had started the month with a rough idea of my story and the world it was set in. I had written other stories in this fantasy world for years and had a good idea of how the world worked. My characters were more of a mystery. I had my protagonist, a young girl of twelve years, a man, aged twenty-seven, both born with magic in a world where it does not come often to humans, and general of the goblin army. How were they connected? How would they meet? How would this story affect the overarching story of my world? I didn’t know, and I couldn’t know until I plunged in blindly. I only allowed myself one question – ‘what if?’ What if the goblin general were holding the girl’s mother as a prisoner of war? What if the girl set out on a mission to find her? What if the young man joined her along the way?

As I continued to write, thoughts came flying into my head that I couldn’t explain. I suddenly knew why my young protagonist thought her mother was in the goblin country, why the pixies in the southern forest were so angry all the time, why the goblin wars had gone on for so long, and exactly how evil my evil queen was. The longer the month stretched on the more frantic I was to finish. So much so that I holed myself up in my bedroom for the entirety of Thanksgiving break, only emerging to eat. Meal times were the only moments my family saw me, so engaged was I in my characters and the world I had created. I believe that can happen to anyone who finds a story they truly want to tell. It doesn’t take someone special to complete NaNo. It takes passion and dedication.

There are other challenges similar to NaNo. One of them, Camp NaNo, is associated with NaNoWriMo. It is held every April and July. Unlike in the November NaNo, Camp NaNo participants set their own word count goals, as small or as large as they like. The only rule to winning is that you hit your mark.

For script-writers, there is a challenge called Script Frenzy. This used to be hosted by NaNoWriMo, but due to decline in interest they were forced to let it go. The challenge stands, however, for anyone who wishes to write 100 pages of script in a month.

National Poetry Month is in April, and so is National Poetry Writing Month for those who want to test their hand at writing a poem a day in April.

Short storyists have claimed May as National Short Story Month and for those who wish to try it there is a Story A Day challenge where participants write 31 stories within the month.

There are also monthly writing challenges available through many social media sites, such as the #500words page on Twitter where participants are encouraged to write 500 words a day and post their progress for their followers to see. This is meant to get writers in the habit of writing every day.

I think one of the appeals of these challenges is that they’re not limited only to writers. Everyone is welcome as long they have stories they want to write, or even if they want to challenge themselves to do something new. So whether you’re a new writer or an expert, keep the tradition going! Set those pens to paper and show the world what you’ve got!

 

 

BIO

Sarah ParrisSarah Parris lives in Missouri with her family. She is a recent graduate from Stephens College in Columbia, Missouri where she earned a BFA in Creative Writing in 2015. Her stories are typically set in fantasy realms and center around young female protagonists. She presented a short story at the national Sigma Tau Delta convention in Albuquerque in the spring of 2015.

 

 

 

Michael Brownstein

REHABBING THE HOUSE

by Michael Brownstein

 

Dear wife, everything is not a relationship:
the pipe below the sink leaking water
is not always an example of neglect changing everything
(old age has a hand in things, too)
this mop hair full of brownish grime
no longer able to clean surface scars
will be renewed with bleach and detergent,
even thick grass tangled into stubbornness
can be tamed with an adequate lawn mower.

Dear wife, friends are sometimes
enough. Enough to carry one day forward
into another. Night is not always a comfort,
yet it can be, and we can fix
this old house, reinvent it to ourselves.
Perhaps then you will be able to understand
thinking and passion do differ,
the full moon has the same beautiful face,
we are still invited to the canopy of the forest.

 

 

A VISIT TO THE ZOO

 

I nurture the wrong people,
gangrene girls with color scars,
small breasts like the yellow cusps of dandelion.

I have broken so many fights
the count is beyond fingers,
beyond toes.

We walk the stone paths of the zookery.
Ivy, oat, barley. Great frogs, green shade,
wood ducks, a rock ledge.
water lilies like thick fish, spotted fish,
striped fish turning delicate hoops.

We eat lunch on stone benches jutting out over water,
a breeze ghosting through spiked grass.

Swifts move through the air like Chinese fighting kites
and there by the fallen tree, an egret,
wings stronger than hunger,
wings stronger than selfishness.

My girls do not see the wood duck, the swift.
They do not see the fish, the large frog.
My girls complain about the walking,
this was a trip to the zoo,
we came to see animals

not Lake Michigan,
not the break wall,
not a rumble of rock blocking waves,
the water green gray blue,
not shells, not algae,
not sand thick with alewives.

I nurture caged girls,
meat-eating girls,
and when the rock dove lands by thrown bread,

I nurture girls who glory in the herring gull’s attack,
a rock dove retreating quickly,
wild wings sparking like fields of lasers.

 

 

WHEN THE CAR BROKE DOWN

 

we had to walk two miles into town,
the wind not the rabid raccoon we feared,
but the gentle new boy who also disliked baseball.
The fields snowbound,
streets unplowed,
sidewalks buried,
everywhere fairy dust and stars,
the sky a frozen lake, thistle and cottonwood seed.
When we passed the high school, my son said,
“The new windows look nice.”
On the bridge, he pointed to the four deer
buried to their neck,
body heat creating puddles of snow
and the four of them stared at the two of us,
unafraid, unabashed, silent.
When we entered the first store,
removed our heavy scarves
and freed our hair from hoods
hot spiced apple cider awaited us,
and at the second and at the third.
We lingered with people we knew and people we did not,
shared stories of huge snowmen,
angels we drew with our arms
and then a man much older than all of us
entered the bookstore with a large snowball.
“Perfect for packing,” he said,
tossing it out the door,
We could not wait to get home and go cross country skiing.
First tracks,
the entire landscape a stained glass in whites,
tree limbs transformed into liberty roses
and white poppies

 

 

A REGISTER FOR LIFE

I will tell you this and I will tell you this this time
In the register of the person
In the rhythm of the building
In the stepping stones of one handshake to another
In the bathroom of broken concrete and scarred walls, graffiti and cracked windows
Twice the dream came over me like fog
Only more intense
Like thunder with lightning
A crack with fire
A break in the line
I woke crying and uncomfortable.
The terrible thing about writing in the morning is you forget that someone you love can
            die
Or you never knew them before they die
Or the breath you breathe is meaningless because someone you should know is dying.
Then there is nothing left to tell.

 

 

 

BIO

Michael BrownsteinMichael H. Brownstein has been widely published throughout the small and literary presses. His work has appeared in The Café Review, American Letters and Commentary, Skidrow Penthouse, Xavier Review, Hotel Amerika, Free Lunch, Meridian Anthology of Contemporary Poetry, The Pacific Review, Poetrysuperhighway.com and others. In addition, he has nine poetry chapbooks including The Shooting Gallery (Samidat Press, 1987), Poems from the Body Bag (Ommation Press, 1988), A Period of Trees (Snark Press, 2004), What Stone Is (Fractal Edge Press, 2005), I Was a Teacher Once (Ten Page Press, 2011) and Firestorm: A Rendering of Torah (Camel Saloon Press, 2012). He is the editor of First Poems from Viet Nam (2011).

 

 

 

Amtrak

by Hannah Frishberg

 

I slept through America on a Greyhound Bus and woke up for cities I know only from 40-year-old films I’d watch on VHS tapes in my grandma’s basement, but there’s miles and miles of track between me and that musky floral plastic wrapped living room couch as thick with dust as these woods are thick with trees and cabins and boys named Washington (I imagine)

Silos round as this planet, green as algae, companies named after oceans now only so much rubble in these soupy towns churning out noodles, and I remember where I am from people are as complicated as telephone wires but here everything is muffled by moss and cars crawl by like giant ants on the freeway, crawling across the horizon as I steam through America

I stare until my vision goes fuzzy and picture Iroquois between the grass, which only lives to grow, whispering the secrets of the soil to me through dirty plate glass windows, the backside of billboards in Baltimore, this town of broken glass and baseball, smoke stacks and advertisements for things gone long before I came

Boxcars stacked like Legos, these homes are shanties, no one lives here, and you’re a million times my senior, Baltimore, but I want to kiss each broken shard of your glass till my bloody lips are a map of your windows, and be as complacent in my own decay

These cities are islands of humanity amidst the trackside wilderness, floating like the gardens of Babylon, industrial relics alight in a sea of leaves and Little League and cherry blossoms every few miles among the parked cars and baggage, among the endless tracks and train cars who alone have seen the edges of America

Land of radio towers, as vast and quiet as the open sky, endless attics and fields of green and a water tower in the distance! Blooming big and blue! A truck depot! And the clouds seem bigger. Buildings standing on three legs with little boys on top blowing kisses to the setting sun, and the boy sitting next to me, fast asleep

We’re almost there, and I can see the border of summer is clouded by rain and floating petals
sneezed into the atmosphere, in front of me like a mirage waving back as we slow down for the Last Stop All Passengers Out.

 


Danse Macabre

 

MEDICAL RELEASE: On 3-11-2004, at approximately 3:45 AM, personnel from the Kings County Emergency Care Center responded to a report of uncontrollable dancing in front of a pharmacy at 4752 Cropsey Avenue. A small crowd had gathered to watch a young woman, possessed with what was posthumously diagnosed as terminal Boogie Fever, dance her life away in the middle of the street. She’d been there for hours, one woman said, performing every Latin American dance in alphabetical order, except for when an elderly gentleman asked to mambo even though she’d only just finished the bomba. She hasn’t said a word, one boy noted, but 27 separate prescriptions have fallen from her coat pocket. Tony can’t stop tapping I think it’s contagious, a lady shrieked, corralling her children away from the scene. Witnesses verify that, in the month of February alone, the ailing female had been seen waltzing in Westchester, cha-chaing in Chinatown, swinging in Sunnyside, Lindy Hopping in Little Neck, and twerking in Tribeca. In Ozone Park, she remained on point for two weeks until her nails peeled up and rats gnawed off her toes. Two pre-med students on Staten Island measured her heart beats with a snare drum and approximated that she spun at the same rate as the world. Construction workers in Throggs Neck observed that neither thunderclaps nor wrecking balls made her miss a beat, and thus theorized she was being rocked by the City itself. It was at 5:32 AM (sunrise, exactly) that she danced herself to death, sporadic fireworks erupting from her ears as she tripped on cement in the middle of a dougie and bled out through her feet. Upon autopsy, no space could be found between the bruises on her calves, and it was discovered her brain had over oxidized on street lights. Her insides were a nasty bloody failure, her ribcage in pieces, her heart in shreds, her mind in shards. The body was too broken to be buried; instead it was cremated. At the exact moment the ashes were released into the Hudson, 36 different FM radio broadcasts across the Tri-state area were interrupted by a whispered:
Oh baby, do you wanna dance?


 

This Social Generation

 

I. Children in the time of technological revolution,
We are united in our conformity
To the blue paneled man.
We congregate on this combat zone of words,
Of suicide notes, soul-searchers, and virtual love,
To sacrifice our time
And privacy
In exchange for pixelated satisfaction.
We send our thoughts and feelings out to sea
On emoticon-ships and status updates,
Trusting the world will see
And care
About our wants and whims.
A generation lost online,
Individual personalities somewhat discernable
Between the crotch shots and the Photoshop,
The likes and the favorites,
Not flesh and blood but binary code
And computer innards.
Deleting loneliness by logging in,
The world grows larger
By becoming small enough to understand.
The exponential growth of pixels
The cancerous growth of machines
Our lives morph to fit into computer screens.
Wasting time, crossing space
The fabric of emotion unthreading into shapes.
We are natives to this electronic existence,
Fluent in its language.
We translate our dreams, translate our lives,
And feed them to the void.

II. On all fours,
The night falls back out of our mouths
As the world is filtered into colored light
And the human body decomposes into textured shapes.
Piss and blood and laughter
And that perpetual bassline
All surge and ebb with the beat of our healthy hearts.
Only we appreciate the many tiered flavor
Of a 3AM Mickey D’s cheeseburger,
The perfect smear
Of morning-after eyeliner,
The taste of a night shared with a smoker.
We treasure a day’s quirks
And never look at the bigger picture.
And though the lyrics don’t make sense
We respond to that bassline
Always the bassline
Trying to thrash out the music
Drink out the music
Forget the music,
The bassline.
God is long gone,
Heaven along with him,
And the static electricity in our bodies
Is far greater than any force in hell.
We are draped in shadows
And the night is cheering us on,
The chemicals in what we do so much stronger
Than the chemicals in what we are.
We are animals
Looking for the warmth of a whisper
The warmth of a body
With whom to share a cigarette
With whom to share these sunless hours
With whom to share this long winter.
Because it is cold
And snow is much softer
When there are two bodies in a nest.

 

 

 

 

BIO

Hannah FrishbergHannah Frishberg is a freelance writer and photographer whose work has previously appeared in the Huffington Post, Gothamist, Narratively, Curbed, Atlas Obscura, and Urban Omnibus, among others. She is a fourth generation Brooklynite and is working on a book about the Gowanus Batcave.

 

 

 

Little Red Wagon

by Richard Thomas

 

 

Rebecca hated her father for what he’d done, refusing to help him dig the grave, arms crossed, tears running down her face, the body under the tarp no longer Grandpa, no more secret conversations when they were alone, just the two of them now—her father the killer, her father and his constant worries, her father convinced that the old man had finally fallen sick. They’d been alone for a long time now, the three of them living off the land, the radio antenna built up tall in the back yard, stretching up into the sky. Nobody ever answered, but she sat in the kitchen, turning the knobs, trying to find a sign of life, anyway. The black box sat on the table, static and interference crackling from the device, the puddle of blood on the floor where her grandfather had fallen, the hammer that killed him still lying there like a sleeping snake. Sitting next to her, the thick, black lab nuzzled her hand, whimpering. Sadie was upset, she didn’t know what to do, and neither did Rebecca. She was a teenager now, but inside, she was still a child, a baby—and she felt helpless.

One percent, that’s what Grandpa had said—only one percent had survived. This had been several years ago, when one percent meant something. He’d tug on his long, gray beard and stare at the television set as the man on the news rattled on, updates so infrequent, most of the population dead and gone now. Around them, the world had simply disappeared—no cars driving by, no planes overhead, with the farm still functioning, but just barely. Their pantry was filled with canned goods—it had been easy to drive around their small town and fill up the bed of their pickup truck with more. In the beginning the stench had been unbearable, meat going bad, bodies lying everywhere, but over time the animals and elements picked at the bones, leaving little behind but broken, white skeletons. One percent had turned into another one percent, and that’s when it all went quiet, went dark. The second wave erupted, the mutation—airborne or dormant, nobody knew—and then no more frantic man on the television set, hair sticking out in all directions, shouting at the camera. No, there was nothing more after that.

Grandfather talked about keeping the race alive, that they had to find a female, a woman—that was why they had the radio going, why he’d built the tower, why they constantly scrolled up and down the dial, looking for any survivors. He was a handy man, Grandpa, able to build most anything out in the barn with his tools and charts—his years of engineering so helpful now that the world had moved on. A stack of books sat by his leather recliner—biomechanics, computer programming, artificial intelligence, and bionics.

“What’s your earliest memory?” Grandpa asked her.

“What do you mean?”

“Think back,” he said, easing into the recliner. “What do you remember, the very first thing you can think of?”

Rebecca sat on the couch, and pulled her long, brown hair behind her head and into a ponytail, something she did when she was concentrating.

“Anything?” he nudged, his hands together in a steeple, pressed to his lips.

“I remember a little red wagon,” Rebecca said, and he nodded. “And inside it are a bunch of puppies—little black bundles of fur. Was that here on the farm?” she asked.

Grandpa didn’t answer, merely raised his eyebrows and grinned.

“They’d been born on the farm and I was taking them down to the end of the driveway, there were six of them, and we were going to give them away. You told me I could keep the last one, but only the last one. That must have been Sadie.”

“What’s two times two, Rebecca?”

“Four, silly.”

“What’s four times four?”

“16.”

“12 times 12?”

“144.”

Grandpa paused, looking at her, as Rebecca focused in on him, her eyes shifting, the pupils getting smaller, then larger, then smaller again.

“144 times 144?”

“20,736.”

“Good girl,” he said.

Rebecca stood in the kitchen, watching her father dig the grave, out beyond the apple trees, the shovel piercing the dirt, over and over again. She loved her grandfather, and didn’t mind the private examinations. He said it was important, their little secret, and this is what her father had yelled at her about as he stood over her grandfather’s body—but he was wrong, so very wrong. After the world went silent, after they’d filled the pantry with canned goods and planted a new harvest, made sure the pigs still had their slop, the chickens clucking at their feed—all they had was each other. The well wouldn’t run dry, Grandpa assured them, they had water and food, and solar panels lining the roof, as well as the barn, the windmills spinning, always spinning, at the back of their twenty acres, down by the creek—Grandpa said he saw it coming, it was only a matter of time. He said a lot of things when she was lying on the cold metal table, out in the faded red barn.

In the beginning, she thought it was just part of her education. No school anymore, so Grandpa would toss out math questions, give her writing assignments, talk to her about history, and even human anatomy. It used to be exams at the kitchen table—stethoscope on her bony chest where breasts refused to grow—seemed she’d always been twelve years old. He’d look in her eyes and make noises, humming to himself, muttering okay and yes and just fine as he looked in her nose, checked out her sinuses, made her stick out her tongue.

He didn’t start taking her out to the barn until her incident with the fingers. She came to him as he sat in the recliner, a book in his lap. Father was nowhere to be found. And if Rebecca had probed her memories, she’d find that to be very accurate—at first. She was pale as a sheet, sweat running down her face, the fingers on her right hand bent back and sideways at strange angles—no blood, merely broken bones, bent fingers.

“Grandpa?” she said, “Grandpa, help me, help me…something’s wrong.

He leaped out of his seat, the book falling to the floor, Sadie sitting up, always the same weight, always black, her muzzle never getting gray, barking at the sudden movement and Rebecca’s panicked voice.

“It’s okay, sweetie,” he said, rushing to her, as she stared down at her mangled hand, holding it gingerly but feeling no pain, sick to her stomach, and yet, no blood gushed forth. He put his hands on her shoulders.

“It’s okay, I can fix it, I can splint it,” he said.

She felt his hands on her neck, her shoulders, pressing down, as if searching for something, and then she fainted.

When she woke up her right hand was in a cast.

“It’s okay, honey,” her grandfather said. “It wasn’t nearly as bad as you thought. A few fingers were merely jammed, two fractured, but I set them right. You should be okay. Any pain?” he asked.

Rebecca shook her head. There was no pain, none at all. She sat up on the cold metal table and looked around the barn. Sadie jumped up and placed her front paws on the steel table, licking Rebecca’s bare leg.

And then, her father was around more. Suddenly he was a dominant presence on the farm—always keeping an eye on her, chopping wood, feeding the chickens, no longer the ghost or rumor that he used to be. Used to be, she’d think. She searched her memory for her father—she saw him driving away in a beige sedan, a salesman she thought, the letters popping up in her head like a neon sign. Then she saw him with a briefcase, walking in the front door. She saw him place airline tickets on the kitchen table and pour himself a cup of coffee. Yes, she saw her father well.

After the accident, she would meet Grandpa in the barn on a monthly basis, but only when her father was out cutting the grass or running the thresher. Her grandfather said it was because he had to run tests, diagnostics he called them, make sure everything was working right, and that it was okay for a doctor, for him now, but not in front of her father—he wouldn’t understand. It always made her sleepy, lying on the table. He poked and prodded, mostly by her head, always studying her eyes, what he called optics, when he muttered to himself. He was gentle, always gentle, and by the time his hands were on her shoulders, her head, she’d fallen asleep.

The questions certainly didn’t make Rebecca’s father feel included, the way she and Grandpa would talk in the living room, math and science, complex equations and theorems, always going quiet when her father came into the room. They would laugh, and say that he had plenty of education already, go milk the cows, they’d chuckle, go toss some hay around, and they’d both make muscles, flex them, and her father would scowl, and leave the room. He never had a good sense of humor.

Her father was a quiet man, a big guy, strong and silent, a bit of a worker bee, she used to think to herself. Grandpa would say that he was so grateful her father was around more—now that he was getting old, and she could see it in his eyes, his hair and beard sprouting more white every day, the way his skin wrinkled, and the spots by his wrists. She worried about him. But it gave Rebecca comfort to see her father outside in the yard, splitting timber, lugging buckets of water or slop, bales of hay tossed around as if they were nothing, a downed tree cut and cut and split, only the trunk left, a chain attached, a tractor pulling it, and then his massive arms wrapping around the roots, pulling it out and lifting it up, as if it were made of paper.

All it took was one time, one instance of her walking out of the barn buttoning up her blouse, and her father’s scowl turned into rage. She heard them yelling, Grandpa assuring him it was science, there were no doctors now, he was the only mind they had, that he was just making sure Rebecca was healthy. Her father wasn’t very trusting—almost simple at times. She’d seen him cry over a dead rabbit that had been gutted by a fox, holding the creature in his lap, rocking back and forth, so distraught. It had upset Rebecca—not the dead rabbit, it was just nature after all, but him, he had upset her, his reaction. No emotion, never laughing, never joking, never singing or dancing when Grandpa put on some music, but this—crying over the rabbit. It made no sense to her.

So she stood in the kitchen, and watched her father bury the old man, Sadie licking her hand. She was suddenly tired, her batteries run down, and so she went to her bedroom, and lay down on the floral sheets, staring out the window at the setting sun, orange turning to red, so tired, so sad. Maybe Grandpa had been sick after all, one percent of one percent of one percent.

She closed her eyes and replayed the scene at the kitchen table, her Grandpa holding her hand, trying to explain something to her, what was out in the barn, frozen and kept for a reason. He spoke about her as if she were two entirely separate people—and he spoke of her father the same way. He talked about her mother, and when he said the word mother a jolt went through Rebecca, a wave of confusion crashing in her head—and where there should have been memories, nothing. He said he’d fix everything, in time. But he was getting old, he needed help, the work he’d done wouldn’t last forever—the radio signal must be stronger. He spoke of amplifiers and how they might have to travel, all the while holding her hand, and yet, all she could do was stare at him—mother. It didn’t add up, didn’t compute. Why had she never asked about her mother, why was there nothing to cling to, no memory? Her father had walked in and stood by the door, his face an eternal frown.

The day after her grandfather had talked to her in earnest, trying to explain that they were running out of time, she lay in bed, not wanting to get up, a candle burning on her desk, vanilla and sandalwood drifting to the ceiling. Images of her mother came rushing back to her—hanging laundry on a clothesline outside, her auburn tresses flowing in the wind, her mother with an apron full of eggs, coming from the chicken coop, her mother singing a lullaby as she poured water over Rebecca’s head in the bath, smiling as she did it.

“In time,” her grandfather had said, standing in the doorway. “Give me time. I’ll make it all whole again, I promise.”

But now he was gone. Rebecca felt weak and unable to rise. On the floor by her bed, Sadie slept, hardly moving at all. Rebecca could feel the great shadow of her father in the doorway—standing there, silent.

“Dad?” Rebecca asked, tears in her eyes. “Dad, come here.”

The big man lumbered over, Sadie not even raising her head.

“Tell me about my mother. I can hardly picture her. What happened, where did she go?”

He sighed and placed his hand over hers.

‘I don’t know, honey.”

“What do you mean?” she said.

“I don’t remember.”

Rebecca stared at him, as she felt the energy draining out of her body.

“What do you remember?” she asked.

Her father sat there, arms heavy, his head hanging low, a soft whirring sound filling the air, his frame suddenly growing weak, the room dark and quiet.

“What’s the first thing you remember? Go back as far as you can, what’s your first memory?” Rebecca asked.

Her father stared at the floor, the gears turning, trying to think back, to remember, something from his childhood. He held her hand, no longer warm, cool to the touch.

“I remember a little red wagon,” he said, and she nodded. “And inside it are a bunch of puppies—little black bundles of fur.”

Rebecca closed her eyes, two tears slipping out, as her chest moved up and down, slowly, and then, not at all.

“They’d been born on the farm and I was taking them down to the end of the driveway, there were six of them, and we were going to give them away. Somebody told me I could keep the last one, but only the last one. Who was that?” he asked the room. But there was no response—it remained silent.

He held his daughter’s hand, now cold, the black lab at his feet not stirring, the house around him closing in, the silence deafening.

“What have I done?” he asked.

 

 

BIO

Richard ThomasRichard Thomas is the award-winning author of seven books—Disintegration and The Breaker (Random House Alibi), and Transubstantiate (Otherworld Publications); three short story collections, Staring Into the Abyss (Kraken Press), Herniated Roots (Snubnose Press), and Tribulations (TBA); as well as one novella in The Soul Standard (Dzanc Books). With over 100 stories published, his credits include Cemetery Dance, PANK, storySouth, Gargoyle, Weird Fiction Review, Midwestern Gothic, Arcadia, Qualia Nous, Chiral Mad 2, and Shivers VI (with Stephen King and Peter Straub). He has won contests at ChiZine, One Buck Horror, and Jotspeak and has received five Pushcart Prize nominations to date. He is also the editor of four anthologies: The New Black and Exigencies (Dark House Press), The Lineup (Black Lawrence Press) and the Bram Stoker-nominated Burnt Tongues (Medallion Press) with Chuck Palahniuk. In his spare time he is a columnist at LitReactor and Editor-in-Chief at Dark House Press. His agent is Paula Munier at Talcott Notch. For more information visit www.whatdoesnotkillme.com.

 

 

 

Daniel Mueller author

The Embers

by Daniel Mueller

 

At potlucks you never failed to evoke the flesh and blood of the living Christ. Once all were seated at card tables in the church basement before plates heaped with Beth Ann Constable’s meatloaf, Ruth Goetzman’s chicken casserole, Helen Wolfe’s deviled ham puffs, Margo Humphrey’s German stew, and my then-wife Lorna’s short ribs, seared in batches on the stove and braised in the oven in tomato sauce seasoned with Tabasco, with arms outstretched and palms to the ceiling you asked the Lord to bless our food and reminded us that it was, in sacramental terms, no different from the morsels of bread and thimbles of grape juice distributed during communion. A skeptic at best, I said my “Amen” with the others and tried to ignore any pangs of conscience, but never forgetting that in Dante’s Inferno the lowest circle of Hell was reserved for hypocrites.

Dinners at your home, on the other hand, were served without a word of grace. You and Bev were close in age to Lorna and me, your daughters Holly and Jill close in age to our sons Leo and Vance, and in addition to the canoe trips down the Saint Croix River our families took together each autumn to admire the colors, every six weeks you would join us for supper at our house or we’d join you at yours. Still, as much as our families enjoyed each other’s company, I’d come to dread the moment when, our wives and children having retired to their respective domains, you would say, “May I have a word with you, Bruce?”

“Sure, Myron,” I’d say. Then we’d descend the stairs to one or the other of our partially modeled basements, to one or the other of our paneled offices, mine displaying in a locked mahogany gun rack the Browning 30-30 deer rifle and Remington 12 gauge pheasant gun that had followed me from childhood, though I’d lost all interest in hunting after the boys were born, yours displaying a framed diploma from Wesley Theological Seminary in Washington D. C. and many of the same photographs that decorated the walls of the church’s narthex, of you robed and beaming beside tiers of confirmands, teenagers in dresses or suits and ties with hair that seemed to grow in length and breadth with each successive class. In the lower right corner of each was a placard listing the name of our church, Good Samaritan Methodist, and the year of the confirmation. Three pastors had preceded you since the church’s inception in 1953, but since 1968, the year I completed my residency and first practiced obstetrics and gynecology professionally, you’d been our flock’s shepherd, and I knew no one to speak ill of you.

By turns self-deprecating and welcoming, in thick-lensed glasses that magnified your eyes to twice their natural size, you had the air of a counselor to whom much had been entrusted. I was grateful, as I’m sure you were, that most of our conversations were light. As we waited for Lorna and Bev to call us to dinner, we discussed whether the Vikings, your team, had a better chance of making the playoffs than the Packers, mine, some state and national politics but in strokes broad enough to leave the question of whether we agreed on fundamentals to the imagination, musky fishing, and church business, whether I thought replacing the carpeting in the aisles and nave a worthy investment of church capital, which I did not, or whether more money should be channeled into church youth programs, which I did. The only OB-GYN who was also a regular church member, I was the one you called upon to talk to each confirmation class about sex, not the mechanics of it, which by fifteen and sixteen all should have known, but the joy of it when shared with the right partner at the right time and, of course, the risks. Years before the outbreak of AIDS, I recited the litany of garden variety venereal diseases of which they needed to be aware and outlined the standard methods of birth control, from I.U.D.s to the pill and from condoms, diaphragms, and spermicidal jelly to sterilization by vasectomy or tubal ligation, and—while not the most exciting method known to humankind, I told them, certainly the most effective—abstinence.

If the termination of a pregnancy, also known as an abortion, was in the strict sense a method of birth control, I told them that I’d performed them only under the direst circumstances, when the mother’s life had been endangered by an ectopic pregnancy, for instance, or when diagnostic tests had detected in the fetus a fatal genetic disorder like trisomy 18 or a fatal disease like Tay Sachs, and would not perform them just because the mother, regardless of her age or station, didn’t wish to see her pregnancy through to term. This was a lie, of course. And you, who during each of my talks had sat with the kids in the living room of Yahweh House, a forest green bungalow bequeathed to the church by Delores Peacock upon her death at age 92, knew it. You knew it not because I’d confessed to you the guilt I’d felt at performing them, though I had. You knew it because both abortions—there had been two—I’d performed at your request on the teenaged daughters of prominent church members. In both cases, the parents of the pregnant girl had come to you for counseling, and while I wasn’t privy to your conversations, I’m sure you recited their options to them, including keeping the baby—it would be their grandchild after all—or putting it up for adoption. From our conversations, I gleaned that neither girl’s parents had been in favor of her seeing the pregnancy through to term. When I met with the girls themselves to discuss the procedure, neither, in truth, were they. Everyone involved, parents and patients both, agreed that to spare the girls the stigma and shame associated with their conditions their pregnancies should be terminated at the earliest opportunity, and not at an abortion clinic with Right-to-Lifers lying in wait to harangue and harass them but at a doctor’s office in an upscale OB-GYN clinic befitting their upbringings and class. And because of my reputation as a doctor and church member, you felt that I should be the one to do it.

The problem was, except in the instances cited in each of my sex talks, I had not performed an abortion on any of my own patients who had elected to have one but had referred them instead to the one partner of the eight of us at the clinic, Dr. Heath, who performed D and C’s discretely when he felt the situation required it and took, I think, some pride in the work, believing the Supreme Court ruling in Roe versus Wade toothless without physicians willing to handle the demand. In truth, Myron, my aversion to terminating a healthy pregnancy had nothing to do with the Supreme Court ruling—I believed then as now in a woman’s sovereignty over her own body—but rather in the part of the Declaration of Geneva that reads, “I will maintain the utmost respect for human life.”

All of this I explained to you, the first time in your office, the second time in mine, in the half-light from our desk lamps while we waited for our wives to call us to dinner, and both times you absorbed every word, your closely cropped head bowed toward your lap, your khaki trousers crossed at your knees, the grooves from your cheekbones to your chin carved, one never doubted, by the deep well of your compassion and desire to help those of your flock in need.

“Could you think of this, Bruce,” you said both times after I had finished, “as a form of tithing? Because that’s what it is. A tithe, an offering, a very generous gift.”

And both times that was how I viewed what I then agreed to do.

 

Between the first two abortions you asked me to perform and the third, six years elapsed. The church grew—our kids grew, too—and while I hadn’t washed the taste of the first two abortions from my mouth, I assumed you’d taken what I’d told you to heart and realized that despite my calling I wasn’t cut out for tithes of this magnitude. Another OB-GYN, Sunny Li, and her husband Niles, a radiologist, had moved to Minneapolis from Illinois and joined Good Sam in the meantime, and it occurred to me that perhaps you’d turned to her for assistance. Confirmation classes had more than doubled in size, such that the synod had assigned the church a youth minister to assist with the religious instruction, and the cultural endorsement of sex without consequence, ubiquitous in cinema, television, pop music, and advertising, hadn’t made being a teenager any easier.

Indeed, when Lorna handed me a copy of Hustler Magazine our younger son had squirreled away on the top shelf of his closet beneath a stack of Sports Illustrateds, I was as shocked as she by the explicit nature of the “artwork” inside—vaginas splayed open by fingernails manicured as if by airbrush, cameras positioned no further away from their subjects than I was from mine during pelvic exams, even the urethra, a speck, discernible to the untrained eye. Though I joked, “I had no idea Vance was remotely interested in his old man’s line of work,” and suggested returning the contraband to its hiding place, reluctant as I was to eradicate an outlet that, rechanneled, might lead to graver outcomes, I was saddened by the absence of subtlety, even if by today’s standards the photos might seem as antiquated and quaint as the pornographic cabinet cards my own father kept behind the bar as curiosities he pulled out for the amusement of patrons in the 40’s and 50’s.

Behind my parents’ tavern in Milwaukee, Wisconsin had stood the icehouse, and one of my jobs as a kid had been to chop ice for the wells from blocks nestled in the straw. While filling the wells from buckets one day, I told Lorna as I passed Vance’s magazine back to her, I first encountered the set of silver gelatin prints of female nudes—“naked ladies,” my friends and I called them—perched on divans as they smoked cigarettes at the ends of long holders or inserted hairpins into tresses before Baroque vanities. None of the women were entirely nude—each was draped in a bed sheet or strings of pearls—and yet once seen I couldn’t erase them from my mind, the shadowed loins, the thinly sheathed breasts and nipples, the powdered expressions of knowing nonchalance.

“So that’s why you became an OB-GYN,” Lorna said. “It all makes perfect sense. ”

It was a Saturday afternoon in the summer of 1980. The lawns were mown, front, back, and sides, the edges trimmed, and the boys had taken the Volvo, Leo in the driver’s seat, to Bush Lake to wash the grass stains from their ankles and forearms. I laughed, and Lorna did, too. Then she said, “Oh my God, Bruce, will you look at these?” and displayed a section of the magazine called “Beaver Hunt,” which featured snapshots that women from across the United States and Canada had had taken of themselves and mailed to the publisher, each with her legs parted as if by invisible stirrups, for the $150 that would be hers if her photo was run. Some sat on ratty sofas or chairs. Others rested on filthy shag. One I remember to this day lay sprawled across a child’s inflatable bathing pool, her tropical-colored bikini wadded on the grass beside her feet. At first I thought she was Katie Schnegel, an OR nurse with whom I was having an affair and, in truth, had slept that morning after rounds. Poor as the photo’s quality was, the crazy, gap-toothed, take-no-prisoners smile was Katie’s. So, too, were the brown pigtails. And yet upon closer inspection, a Jack-o-lantern’s grin of keloids at the base of the subject’s mound of Venus, presumably from a poorly incised Cesarean, differentiated her from Katie, who was childless.

Lorna, ever curious, wanted to know at which of the photos I was looking, and I tapped it with my finger. By then she was sitting in the chair beside mine at our kitchen table, squinting at the citations beneath the photos.

“Don’t tell me you recognize B.K. from Vancouver, British Columbia,” she said.

“I thought she was a patient is all,” I said. “But she can’t be, not if she resides in British Columbia, right?”

“You know who she looks like?” Lorna said. “Katie Schnegel, the OR nurse you introduced me to at the hospital.”

A month before, when the Mercedes dealership had been out of loaners, Lorna had picked me up after surgery as I was saying goodbye to Katie.

“Honestly, the resemblance would never have occurred to me, honey,” I said.

“Are you kidding?” Lorna said, “It looks just like her,” and I agreed, not about to point out the telltale scar that followed B.K.’s swimsuit line or, having by then scrutinized the image more closely, the mole on her vulva and larger-than-average clitoral hood.

Instead I closed the magazine and said, “Escarpment,” an innocent enough word that not long before had fallen outside either of our children’s vocabularies and, because Lorna and I had both liked the sound of it, was code for: Let’s make love at the first available opportunity. When our kids were younger, they, too, had delighted in the word and neither of us had felt the least compunction to give it context, both of us blurting it apropos of nothing. But as Vance and Leo matured, we had to become more sophisticated in our usage, reminiscing about the escarpments we had seen on vacations—the Mogollan Rim in Arizona, for instance, or Devil’s Slide in California—or would, we imagined, on vacations to come—the Serra da Mantiqueira in Brazil, Baltic Klint in Sweden, or Côte d’Or in France.

“Can’t you be any more original than that?” Lorna said.

“Under pressure, sure,” I said, and we retired to our bedroom, but not before returning Vance’s magazine to his bedroom closet.

In contrast to our working class parents, we saw ourselves as enlightened, and after all the talks about sex we’d had with our sons, their private lives were their business, we agreed, not ours.

 

The third abortion I performed at your request was on Teri, the 15-year-old daughter and only child of Glen and Myrna, who belonged to our bridge group. All four couples were members of the church, and while before and after services the wives planned each month’s bridge party, once we squared off in the four cardinal directions with our decks of playing cards and bowls of chocolate espresso beans, conversation ended, so well matched and competitive were we. Though friendly with both Glen and Myrna, I knew little about them other than that he was a tax attorney with a high-powered law firm downtown and she, unlike the other wives, worked, in her case as a French literature professor at a small liberal arts college in Saint Paul. Neither parent accompanied Teri to her consultation, which I thought strange since without a consent form signed by one of them I could not legally perform the procedure.

When I repeated this to Teri, who sat in my office in a chair across the desk from me as a clinician observed our proceedings from a second chair beside the coat tree, Teri replied, “No worries there. They’re Vulcans.”

“From Star Trek, the television series?” I asked.

“No,” she replied, “from Vulcan, the planet.”

“I see,” I said.

It was August, and I wondered if she’d attended the sex talk I’d given to the confirmation class in February. I had no recollection of seeing her there or, for that matter, ever seeing her before, not even at Glen and Myrna’s the half dozen times our bridge group had convened there. She was a pudgy thing, not from her pregnancy, for she was barely six weeks into her first trimester, but from baby fat that had retained a vestigial hold on her cheeks, arms, and thighs, all flushed from the eleven miles she’d pedaled across town on a girl’s five-speed Huffy she’d left in the waiting room propped against a ficus. A Ziggy t-shirt enveloped her like a sack, and stenciled onto the violet fabric was the fleshy, affable, long-suffering comic strip character holding up a picket sign that read, “Ziggys of the World Unite!”

“So wouldn’t that make you a Vulcan, too?” I asked.

“Technically, yes,” she replied, “though unlike Mother and Father I was born on a spaceship, and Earth is the only planet I’ve ever known. They, on the other hand, remember our home planet vividly.”

“Have they shown you photos of it?” I asked.

“Not photos in the conventional sense,” she replied. “Vulcans outgrew what humans know as photography, having developed the capacity to share memories with one another telepathically, through a phenomenon known as a mind meld.”

“And you’ve melded minds with them?” I asked.

“Oh yes,” she said, “we do it all the time. It’s how I know that Vulcan is a desert planet, far lovelier than Earth, and why we can go without water for much longer than the average human, who hasn’t had to adapt to such austere living conditions.”

“You do know you’re pregnant?” I said.

“So I’m told,” she replied.

“And why you’re here?”

“I’m here,” she said, “as a preliminary step to aborting said pregnancy.”

“That’s right,” I said.

Behind her sat the clinician, high-lit Afro wagging. I didn’t like being there any more than she did, but as a physician I believed it important for patients to understand each step of a procedure they had elected, and as I described to Teri the technique known as vacuum aspiration, I wasn’t sure Terri did. She had, after all, claimed to have been birthed onboard a Vulcan spaceship, and during my brief presentation had not so much as blinked, much less registered through facial cues that she grasped what would be done to her. Her expression was blank, and I felt less in the presence of a teenager who had gotten herself into a bind from which her parents, pastor, and I hoped to free her than in that of a traumatized psyche so deeply buried as to be unknowable without force.

“Not every patient who opts to abort a pregnancy,” I said, “can predict how she’ll feel about it later,” and recommended three psychiatrists who specialized in treating post-partum depression in patients who had lost unborn babies.

I wrote their names and telephone numbers on a prescription pad, and as I pulled the sheet from it, Teri said, “Don’t worry about me.”

“Oh yes,” I said. “I forgot. You’re Vulcan. Like Spock on Star Trek, you don’t have emotions.”

She laughed, and even it sounded mimicked, like a myna bird’s imperfect replication of human speech. “That’s a common misconception.”

“What is?” I asked.

“That Vulcans have no emotions. We have emotions. We’re simply not slaves to them, having developed highly refined methods of controlling them.” She smiled at me as if with great compassion. “I understand that this is hard for you, Dr. Holcomb.”

“I don’t perform abortions,” I said, “except—”

“I know,” she said.

“How?”

“The confirmation class, remember?”

Unlike the two teenagers on whom I’d performed abortions in the past, girls whose bodies had matured early and who, from the vantage point of having gotten pregnant, spoke with authority about the pressures they’d experienced, the temptations to which they’d succumbed, and the gravity of the decisions they were making, Teri might as well have been discussing a tonsillectomy.

If I was able to hide my agitation, the clinician was not hers. “What I’d like to know,” she said, “is whether that baby you’re carrying is Vulcan or not.”

Teri turned to her. “Of course, it’s Vulcan. I’m Vulcan. I was born into a Vulcan household.”

“But how many Vulcans do you know, honey,” the clinician asked her, “outside of your immediate family?”

“None,” Teri replied.

“So it isn’t even half human?”

“Not even half.”

I brought the consultation to an end by reminding Teri that the State of Minnesota required a parent’s signature. Teri assured me that her father would fax the consent form to the clinic from his office and, low and behold, it was waiting for me in my mailbox, signed by the relevant party, when I returned from walking Teri back to the waiting room.

That afternoon I fired the clinician for insubordination. She hadn’t worked for us long, six weeks tops, and I no longer remember her name if, indeed, I ever knew it.

“Do what you have to,” she replied as she collected her things from the lab, “but that poor child was raped. By someone she knows all too well.”

“We don’t know that she was raped,” I replied, though I knew it the same as she.

What was more, Teri knew that we knew it, for both the clinician and I had seen the flutter of panic as it came to her, what she’d admitted.

 

A few weeks later I came home from work to find my family seated at the kitchen table staring at a wrinkled flyer. September had arrived and the boys were back in school, Leo in 12th grade, Vance in 10th, and while I’d enjoyed horsing around with them all summer, Lorna had confided to me that she was ready to have the house to herself again. Leo captained the cross-country team, Vance played tight end on the Junior Varsity football squad, and from 7:30 in the morning when I dropped the boys off at school until 5:30 in the evening when the friends of theirs who owned cars brought them home, Lorna’s weekdays were her own. Never one to complain, she was less high-strung once autumn came, and over the years I’d come to associate the reds and yellows of the elms, oaks, and maples, through which sunlight filtered in resplendent hues, with domestic tranquility if not bliss. Not only that, Leo had been accepted into the U.S Naval Academy in Annapolis as a midshipman, having—on his own recognizance —solicited a letter of nomination from then-U.S. Congressman Al Quie in the months before Quie was elected governor, and with the money I’d set aside for his college education I’d put a down payment on an A-frame cottage outside Hayward, Wisconsin, the self-proclaimed musky-fishing capital of the world.

The lakefront property, bordered on the north by the Chequamegon National Forest, included a dock and the previous owner’s Crestliner fishing boat, rigged with a 90-horse outboard and in-dash sonar fish-finder, and at night as I fell asleep I imagined the lunkers that would surface for my plugs, spoons, and crank-baits. The previous Sunday Lorna had cancelled our upcoming canoe trip down the Saint Croix River with your family in order to spend the weekend “beautifying” our new lake place, an effort to which I hoped to add a trophy that, from snout to tail, would span the length of the fireplace mantel. What made me giddier still was the distance it would put between you and me, for the get-away would mean missing a Sunday worship service for once.

Though the abortion had gone well enough, with Glen having taken off time from work to accompany his daughter to and from the clinic, afterward I felt as if I’d not only ended a human life but destroyed criminal evidence. Without DNA samples from Glen and the fetus, for which one would need a court order, there was no way to establish paternity, and from this alone I derived solace. For his part, Glen, distracted and fidgety, provided none, and I wondered what Teri had told him about her consultation. If he was guilty and knew that I knew it, I predicted he and Myrna would leave our congregation and bridge group, and though I didn’t know it on the evening that Lorna, Leo, and Vance sat me down at the kitchen table to show me the notice Vance had removed from a telephone pole three doors down from our house, they already had.

The flyer had been crudely made, the lettering cut from newspaper headlines and pasted onto a page that had then been photocopied.

dR. BrUCe HoLcoMb, m.D.
YOUr NeiGhBorhOod AboRtioNISt
StOP iN foR yOUR freE ConFIDeNtIal cOnSultATioN
NO jOB toO sMAll oR ToO bIg!!!

At the bottom of the flyer were the addresses of my home and office as well as the telephone numbers where I could be reached. In the middle was an illustration, taken from an anatomy textbook, showing a baby, its eyes closed in slumber, nestled in the womb.

“Dear Lord,” I said.

“They’re up all over town, Dad,” Vance said. “So far Leo and I have ripped down more than fifty.”

“The first one I saw was five miles from here,” Leo added, “on a run. We need to report this to the police.”

“We will. We will,” I said, enveloped by something resembling shock. I say ‘resembling’ because I was as calm and cognizant of what was happening around me as I was in surgery, when all eyes but the patient’s were trained upon my gloved hands as they cauterized, excised, and sutured within a narrow opening. Yet I was also removed, as if observing myself from a distance, the way I, too, in surgery watched my hands, as if they, and not I, were responsible for the operation’s success or failure.

“It’s slander,” Vance exclaimed. “You don’t perform abortions.”

“You’re right, I don’t,” I said. “Not usually.” It was gratifying that Vance, too, had been attentive during my sex talk.

“What do you mean, ‘not usually’?” he asked.

“I’ve performed three,” I said, “in twelve years of practicing medicine.”

I said it not to redeem myself, for in truth I felt about what I’d done as he seemed to, his cheeks as flushed with outrage as they were when refs overlooked an opposing team’s penalties, but rather to hear what God would hear if He in his infinite compassion existed, which I doubted.

“You shouldn’t have performed even one,” Vance said. “That’s what you said.”

“That is what I said.”

“Then you lied to us,” he replied. “Why did you lie?”

I had no answer for him. In time, Leo said, “Give Dad a break, Vance. I’m sure he had his reasons.”

“Go fuck yourself, Leo,” Vance said.

“Hey!” I scolded him. “That’s no way to talk to your brother.”

“No, Vance, you go fuck yourself,” Leo said and slugged him in the arm.

When the boys were younger I would wash their mouths out for using less vulgar verbiage, but they were too old for that now, and I felt as if I, at the root of their disagreement, were powerless to rectify it. Lorna’s head was bowed. I did not discuss medicine with her and assumed she was as disturbed as Vance was by my confession. Raised in the Methodist tradition, she had never not gone to church and, before we were married, insisted our children be raised Methodist too. Upon first settling in Edina, she found Good Sam in the phone book, and from then on I mouthed the prayers and hymns, took communion, and wrote checks to the church that, I assumed, were as large as any in the offering plates. If the community’s affluence was reflected in the deep pockets of the congregation, many of my patients were church members, and in my more cynical moments I thought of the amount I gave to the church as my advertising budget.

Lorna looked up and said, “Let’s go to The Embers,” a dimly lit Twin Cities franchise that offered booth seating in a burnt umber décor and a crosshatched New York strip, baked potato, and wedge salad for under seven dollars, and there was one not five minutes away, just off the freeway next to a Howard Johnson’s. Lorna hadn’t started dinner, so we four piled into the Volvo as we did on other family outings, and in this soon-to-be defunct local institution had our last supper. Lorna ate mutely, and in time, I feared, I’d hear what she thought about what I’d done, but upon our return, after we’d played back all the answering machine messages from anonymous callers informing us that I was going to Hell, after the boys had retired to their bedrooms to finish their homework amidst all the phone ringing, Lorna and I lay in bed wondering if the ringing would ever stop, for by then the answering machine had reached its storage capacity and we’d resolved not to answer the phone again. Between rings, Lorna turned to me and told me that she knew Katie Schnegel and I were having an affair, that she’d observed me kissing Katie on the lips outside her apartment that afternoon and swanted a divorce.

“Why, Bruce?” she said. “Why?”

I could’ve fought to save our marriage. I could’ve told Lorna that Katie and I had broken up earlier that day, which we had, that the kiss we’d exchanged had been that of lovers acknowledging irreconcilable differences, which it had, and that the affair had been a one-time deal, which it hadn’t, but I didn’t.

The phone rang again, and I said, “Because when I’m in bed with her I feel like God.”

“Then I guess ‘God’ doesn’t live here anymore,” she replied.

 

I retired from medicine a year later, my heart no longer in it. Since then, I’ve lived a more or less ascetic life on Ghost Lake in the A-frame I bought in the weeks before Lorna and I divorced, and from April through October I fish for muskies. There are big ones in the lake, some thirty yards beyond the railing of my redwood deck and framed by balsam, birch, spruce, and hemlock that form a natural arbor through which, with binoculars, I can see who’s fishing the south slough. I’ve hauled in plenty over the years, though none as large as the one I’ve observed on still evenings lurking a few feet beneath my plug as I’ve jerked it across the surface to affect the appearance of prey. All the muskies I’ve caught up here I’ve returned to the water—the meat is palatable but packed with tiny, translucent bones and, once lodged in the throat, are difficult to extract—and I worry that the trophy fish I can see off the side of the boat, a six-foot-long, missile-shaped shadow I would mount above my fireplace if I could, remembers my landing it before, that something about my particular style of spin-casting reminds it of traumas past.

Lorna thinks I have too much time on my hands. At least that’s what she tells me when we talk on the phone every month or so. She may be right. Always we have a lot to talk about, our sons, whose accomplishments never cease to amaze us, and our mutual friends, most of whom we met through Good Sam. Though we rarely speak of our shared past, it’s never more immediate than after one of her phone calls. Then the man I am at seventy-five must reconcile himself to the man he was at forty-four, when our marriage ended and I left the church and OB-GYN clinic for good. Probably I wasn’t meant for matrimony. But until one has tried it, how does one know? I tried it, loved it, and would’ve continued loving it if only I could’ve slept with any and all OR nurses who wished to sleep with me, be they fat, thin, wide-hipped, slender-hipped, white, black, brown, or tangerine, my only stipulation being a sense of humor to compensate for my lack of one. Before Katie Schnegel there had been many, each funny in her way, and after her none.

What happens in a surgical theater stays there, and yet, for me, no sex was ever as scintillating or as satisfying as that with the nurse who had been in it with me, who’d handed me the very instrument the moment required, the particular scalpel, clamp, forceps, tenaculum, or retractor without my even having to name it, as if for the duration of the vaginal hysterectomy or the removal of the ovarian cyst she and I had read each other’s minds. That’s how it had been with Katie and me until she blurted out at the end of a successful, if taxing, myomectomy, as I was sewing the patient up after removing more than a dozen fibroids, “I want to have your baby, Bruce.” The anesthesiologist, a burley, bearded, bear of a man, laughed through his mask, as did I as I thanked her, for her tone had been that of one delivering a punchy compliment, glibly admiring of the feat I had performed. I didn’t think about it again until later that day when, lying spent beside me, she said, “I wasn’t kidding earlier.”

“About what?”

“Your baby.” She turned onto her side on the bed so that her pigtails stuck out at angles like those of an Arrow-Thru-The-Head, a popular novelty at the time. “I’m going to have it, Bruce.”

I asked Katie if she was pregnant, and she told me, “A month.” She’d stopped taking the pill three months before, and for the three days she’d known the test results, she’d been too frightened to tell me.

“I’m not asking you to marry me. I’ll raise the child myself. You won’t be responsible to it in any way, Bruce. I just really, really want a baby. Your baby. And, I guess, your blessing.”

Katie had gone rogue, and yet I felt oddly at peace, just as I did in the church sanctuary surrounded by stained glass and before me on the altar the cross rising into the airy heights of the chancel as if from a garden in full bloom. Before making love, I’d told her about the abortion I’d performed earlier in the week.

“The girl, fifteen,” I said, “had likely been raped by her father, a man I play bridge with, and frankly, I don’t know which to feel worse about, the taking of a human life or the destruction of criminal evidence.”

“Perhaps this is something you should take up with your pastor,” she replied.

“He was the one who convinced me to do it.”

“Maybe you should convert to Lutheranism,” she suggested.

“But Reverend Noonan is a good man,” I said. “He was only protecting his flock, doing what he thought best.”

Now, after lovemaking, Katie sat up in bed and said, “Perhaps you could think of this as returning stolen goods, a life we’re bringing into the world to replace the one you took.”

I wasn’t about to tell her about the other two abortions I’d performed for fear she’d want three kids from me instead of just the one. “Have you spoken to your doctor about options?” I asked.

“What options?” she replied.

“You know,” I said. Though I didn’t perform abortions, many doctors did, a D and C as effective and safe for early miscarriages as early unwanted pregnancies.

“You’re kidding, right?” she said. “You have got to be fucking out of your mind.”

“I have to go,” I said.

“You can’t leave,” she said.

As usual our clothes were scattered across her bedroom floor. I pulled a dress sock over my calf. “If you go through with this,” I said, “our relationship is over.”

“It’s already over. You’re married. I know. How convenient for you.”

By the time I was back in my suit, she was waiting for me by the door in an open robe, clothed from sternum to knees except for a strip down the middle of her the width of her neck. She followed me outside onto the walkway that looked onto the parking lot and street.

“You can’t be out here like that,” I said. “What if someone sees you?”

“I’m letting you off the hook. The least you can do is kiss me one last time,” she said, and as I did, I closed her robe and cinched it tight.

 

September is the best month up here, ask anyone. Muskies, fattening up for dormancy, are less discerning than at other times of the season and when striking a surface lure explode from the lake fanning their tails. Their returns to the water are just as spectacular, cannonball splashes that resound to the mottled shorelines. The air lumbers, encumbered by the smoke of burning leaves, except when the Packers are playing, and everyone holes up in front of their TVs. When Rogers connects with Nelson in the end zone or Lacy runs the ball up the middle for a touchdown, the chambers of shotguns and rifles empty into the sky, my own among them, and the reports echo across the lake.

Though you and I went our separate ways long ago, Myron, Lorna and Bev are still in touch, and it’s through Lorna that I know anything about you and of what your life consists, that you retired from the ministry more than a dozen years ago and moved with Bev to a condo in Saint Augustine, Florida. Good for you! Every July when you and she return to the Twin Cities for a week of catching up with old friends, Bev shows Lorna a stack of photos of you and her posing with your daughters, sons-in-law, and four grandchildren before landmarks in the oldest continuously occupied European-established settlement in the continental U.S.—the tourist district and its Spanish colonial boutiques and bistros, the beaches, harbor, fort, and lighthouse—and asks her to guess which one you’ve chosen for your Christmas card. Lorna always guesses wrong, basing her selection on the artistry of the composition—the scenery, light, and contrast of colors—rather than on the number of grandkids smiling, Bev’s sole criterion.

Every year, Lorna tells me, you and Bev try to persuade her and Lincoln to buy a little place down there, a condo like yours with an ocean view or, at least, a view of a cypress-lined fairway, the idea being that if only she lived in a popular tourist destination, our boys, their wives, the six kids they have between them, and I, who unlike Lorna did not remarry, would want to gather for reunions once or twice a year like your family does. But what neither you nor Bev can seem to grasp is that no one in my family, except perhaps the son or daughter I’ve never met, enjoys spending time together as a family, despite how we appeared prior to my termination of Teri’s pregnancy, and the onslaught of Right-to-Lifers it brought to the doorstep of my residence and workplace, forcing me out of the house and into an apartment more quickly than either Lorna or I anticipated, even after we’d shared with Leo and Vance our decision to separate.

Imagine waking before dawn to a man or woman—it doesn’t matter which—telling you through a megaphone that God loathes the sight of you, that to Him you are an abomination, that a seat between John Wayne Gacy and Josef Mengele has been reserved for you at Satan’s table. The sky lightens on a peaceful assembly of between five and twenty planted at the end of your driveway, at your property line, waving signs calling you Doctor Death and poster-sized laser prints of fetuses. More protestors await you at work, among them a minister in a clerical collar quoting scripture from a soapbox. As you pull open the door of plate glass, he points a finger at you, bellows, “Your hands are full of blood!” You wonder why you should be targeted rather than your partner, Dr. Heath, who has quietly terminated dozens of healthy pregnancies at the same clinic where you have terminated exactly three. But you know why. Though you can’t prove Teri is behind the flyers that reappear as quickly as they’re torn down, you know she is the culprit, that she is making you pay not for the human life you took but for the secret you made her spill.

If I tried to set up an appointment with you to discuss my situation—and I did, to no avail—I no longer hold you responsible for the ruination of my career and family. Lately I learned from Lorna of your imminent decline, your memory lapses, which, Bev tells her, are growing longer and more frequent, and of Bev’s worries about having to commit you to an assisted living facility, which she believes will kill you. Probably the time to ask for an apology has passed—you’re eighty, your life’s work complete—but if I did, would you say, “I’m sorry, Bruce,” or would you ask me why I chose to perform the abortions? Why, in particular, I performed the third one when I knew from performing the first two that it would violate my moral code?

“Because, Myron,” I would tell you, “I placed your moral code above my own, believing a Methodist pastor closer to God.”

“But you told me yourself,” I can hear you saying, “that you don’t believe in God, Bruce.”

And you’re right, Myron, I don’t, which leaves me again with the unsettling feeling that I performed all three because I liked you, because I valued your friendship and didn’t want to lose it, and in particular didn’t want you running to Sunny Li, the new OB-GYN in town, a church member, and a woman to boot, to ask her to do what I couldn’t.

But what am I to make of your utter dismissal of me at the time I needed you most? Despite the old chestnut about doctors having god complexes, I am no god and cannot bring myself to forget. You will have the luxury of forgetting soon enough, a silver lining in your situation. Or perhaps you don’t dwell on such matters. Why would you? For all our perceived closeness, I didn’t know you beyond what I projected onto you, a dynamic most doctors know all too well.

Of course, all of this happened long ago, those marvelous dinners our families shared, when our kids jumped on our trampoline until they tired, then lay on it staring at clouds or, if we were visiting you, played croquet until sundown when off they’d dash with Mason jars in search of fireflies that illuminated the ancient willow beside the creek that edged your lot. Across town from each other, you in old Edina, we in new, our homes were close enough to outdoor skating rinks that our kids could walk to them from November to March and return for supper so exhausted and ravenous that after coffee, when it was time for our families to part, we’d find all four passed out in front of the TV, not even “The Wonderful World of Disney” able to keep them awake.

 

 

BIO

Daniel MuellerDaniel Mueller is the author of two collections of short stories, How Animals Mate (Overlook Press 1999), which won the Sewanee Fiction Prize, and Nights I Dreamed of Hubert Humphrey (Outpost 19 Books 2013). His work has appeared in numerous magazines and journals, including The Iowa Review, The Missouri Review, Story Quarterly, The Cincinnati Review, Prairie Schooner, CutBank, Joyland, Surreal South, Another Chicago Magazine, The Mississippi Review, Story, The Crescent Review, and Playboy. He is the recipient of fellowships from the National Endowment for the Arts, Massachusetts Cultural Council, Fine Arts Work Center in Provincetown, Henfield Foundation, University of Virginia, and Iowa Writers’ Workshop. He directs the creative writing program at University of New Mexico and serves on the creative writing faculty of the Low-Residency MFA Program at Queens University of Charlotte.

 

 

 

The Fine, Dark Art of Daniele Serra

 

Mermaid by Serra

Mermaid

 

end Serra

End

 

Alien

Alien

 

Erotic No. 1

Erotic No. 1

 

Pan's Labyrinth

Pan’s Labyrinth

 

Madame

Madame

 

Eyes

Eyes

 

Deep River

Deep River

 

 

 

 

BIO

Daniele Serra was born and lives in Italy. He works as an illustrator and comic artist. His work has been published in Europe, Australia, United States and Japan. He has worked for DC Comics, Image Comics, Cemetery Dance, Weird Tales magazine, PS Publishing and other publications, and he won the British Fantasy Award.

TO VIEW MORE OF DANIELE’s WORK:   
www.multigrade.it
http://danieleserra.bigcartel.com/
http://www.spiderwebart.com/products.asp?artist=Daniele+Serra

The Other Worldly Art of James Lipnickas

 

 

Creature from Space

Creature from Space

 

James Lipnickas art

It Arrived Early

 

James Lipnickas

The James Howling Mysteries

 

James Lipnickas art

The James Howling Mysteries

 

James Lipnickas

The Creepers

 

James Lipnickas

The Creepers

 

James Lipnickas

The Creepers

 

James Lipnickas

The Creepers

 

James Lipnickas

The Creepers

 

James Lipnickas

The Gloaming

 

James Lipnickas

The Looming

 

James Lipnickas

The Silent Drive

 

James Lipnickas

The Snatchers

 

James Lipnickas

What Lurks at Night

 

 

BIO

James LipnickasI am heavily influenced by old sci-fi, mystery and horror movies, monsters, UFOs, hauntings and unexplained events. I love to draw and find inspiration from the strange and unusual. I attended the School of Visual Arts and majored in Illustration in 2012.

Black and white photos have always captured me, specifically their tonal representation. I try to evoke that when creating my pictures. I live in an old cape in the woods of New England. Ideas tend to come to me late at night when everything is quiet. Something about the dark and the silence always gets my imagination going. I start sketching ideas. The planning stage never lasts long and I go right into the drawing. I tend to work small. I like the portability of it.

 

All pieces are pencil on paper.
All images ©James Lipnickas

Contact Info: James Lipnickas

Email: jameslipnickas@gmail.com
Website: www.jameslipnickas.com
Blog: jlipnickas.blogspot.com
Twitter: @jameslipnickas

Shorsa Sullivan

An Interview with Dimitris Lyacos

 

by Juliana Woodhead

 

It can seem all too rare to come across poetry as ambitious and exciting as that of Dimitris Lyacos. His work exists at the intersection of the classical and the postmodern, the poetic and the dramatic, free verse and form. Exploring relationships with death, resurrection, and memory, to name just a few, Lyacos creates a dystopic epic for the modern world – not a post-apocalyptic adventure, but rather an exploration of a world hauntingly similar to our own. This is poetry that makes you think as well as feel. Poetry as finely layered as mica; each (re)reading an unveiling.

Dimitris Lyacos is poet and author of the Poena Damni trilogy, one of the leading examples of contemporary European avant-garde literature. Originally written in Greek, the three books (Z213: EXIT, With the people from the bridge, The first death), have been translated into English, German, Italian, Spanish, French and Portuguese and performed across Europe and the U.S. He is a Fellow at the International Writing Program, University of Iowa. For more information visit: www.lyacos.net

His most recent publication, With the people from the bridge, English translation by Shorsha Sullivan, is available from Shoestring Press. The Writing Disorder spoke with Mr. Lyacos about the new translation and about his work as a whole.

 

Talk about your family life growing up. Where did you live? What was the environment like? How big was your family?

I was born in Athens and lived there until the age of eighteen. This is how I remember the environment of my childhood, with some reliability I hope: A 1970’s classic south-european neighbourhood in a big city and with a neighbourhood atmosphere of course – children playing and making friends out on the street, ethnic homogeneity (all greeks), none of the cultural diversity that one experiences in Athens today. A warm familiar environment – but parochial as well. In the narrow sense of the term, my family was a family of four, parents and two children; but we were living in one big garden with four aunts and an uncle, and I always felt them my family, perhaps, even a little more than my parents. To make a reference to anthropologist Sarah Hrdy let’s say that allomothering is something I was lucky to experience.

What were some of your influences growing up that shaped you as a writer? Were your parents writers or artists?

My father was (and still is) a lawyer and my mother a school principal; no considerable influence there that would lead me to explore writing, although there was a variety of literary masterpieces in my father’s library as I later realized – which I don’t know whether he had ever read but he did not seem to have a great interest in, at least when I was growing up. I only noticed those books, however, when my own interest in “literature” had already developed, so perhaps I should say they gave me a second-order kick. My first influences were all those wonderful books that most of us read during that age: Grimm, Verne, Stevenson, Dumas, London, Dickens, Defoe’s Cruso, Ivanhoe; and entering adolescence it was music; rock music first and foremost.

Name some of your favorite books as a child, and later as a young adult.

The books and authors I mentioned above would answer your question until I reached the age of fourteen. Things changed after that and, rather abruptly, if I recall. The change was from fiction to philosophy – I remember reading a volume of history of philosophy, then a short book by Kazantzakis (Ασκητική – The Saviours of God) and then I sunk into Nietzche’s Zarathustra. If one gets to that point, different roads lie wide open ahead.

What and when was your first published work?

It was a poem that had appeared when I was eighteen in an Athens’ magazine. I remember going through the different versions before submitting, and I still remember the motto I had used, a few lines from Eliot’s “The Burial of the Dead”. It actually occurs to me now that the last section of “The Burial of the Dead” (from line 60 on) and With the people from the bridge seem to relate in a very interesting way; and there is a bridge and a dog to be found in both texts.

When did you first consider yourself a professional writer?

I suspect this is a twofold question: I have considered myself a writer since the age I wrote my first poem, in the sense of my “mental coordination” to that aim if you like – a professional writer, however, I think I have become upon completion of my studies, when I started writing The First Death.

Name some poets and writers you admire today.

I suppose all writers of the so-called western canon could fit here, from Homer on. Aeschylus, Dante, Buechner, Trakl, Tennessee Williams are names that I never forget, although admiration may not be exactly the right word to use here. To my mind, there is always a connotation of “unfamiliarity” when we speak of admiration (as also the meaning of the ancient greek verb θαυμάζω = wonder/admire suggests) and this is not what exactly happens when we come across a text that speaks to us more profoundly. Rather, a journey of “multiple discovery”, unearthing parts of our own insight in other authors is what strengthens our feeling that we also may eventually have something worth saying.

What are you working on now?

Hardly anything at all. The trilogy has taken an enormous amount of time to put together, twenty years now since I started writing The First Death, but also, what I had written before was, albeit rather naïf, a precursor to the same project. As we speak, having completed the trilogy only a few months ago with the Greek edition still pending publication, it is still difficult for me to come up with something new. I really don’t know – something new may even never come by at all: so far, this project has lain always ahead of me; I do not know what I will do now that it lies behind me; unless if something is not right, and I have to go back to it again; so far the whole thing has been a Sisyphean enterprise.

What are you most proud of in terms of what you’ve accomplished, and what are some of your goals for the future?

Normally, here I should answer that this is not about pride, although I am certainly pleased that I have completed the trilogy and that the work has found a readership. In the circumstances, however, I think I am entitled to feel some kind of pride about this, in the sense that working on the trilogy and seeing its gradual success over the years seemed to me like an achievement; Greece is not an easy place to be for a new author, there is certainly a “literary ladder” to climb if you want to get through to the public, and meritocracy is not exactly the rule there. I would say that Greece in literature functions more like a closed system and it is rather difficult to find your way in. So I could say I feel proud, because I have managed to circumvent that system without giving way to it. Having left Greece at a rather early age, I attempted to reach an international public first, through translation. And I have the moral satisfaction now that I feel I have arrived somewhere without making concessions. As far as my future goals are concerned, I would like to go on with my series of readings and lectures in different places around the world. It’s great to be in touch with other authors and readers, I enjoy the feedback and the dialogue.

What are your views of poets and writers reading their work before an audience?

I remember one evening in New York I had planned to meet a few friends, jazz musicians that were performing in a Harlem club. I had a reading in Woodstock earlier that day so when I got to the venue the gig was already over. Upon excusing myself to them I mentioned that I could not have possibly made it because of my reading; one of the musicians exclaimed then: “A reading in Woodstock! Why, can’t they read in Woodstock?” What I like about this anecdote is that I too believe that a reading in which the author simply reads from his work may not be particularly interesting. That is why during my readings I like to limit the time of reading excerpts; I have a much stronger preference for providing the audience with some information about the background of the work and, of course, engage in conversation – and here I would like to add that reading in the States, especially because of the openness and directness of the Q&A part, is something I enjoy very much.

What is your daily writing routine? How much of what you write is discarded?

I don’t have a daily writing routine. Ninety per cent of my time involves reading and preparing to write. You might have noticed that I publish a book roughly every five years. What happens is that after a long period of preparation I get down to writing. Depending on the nature of the work a writing routine will unfold accordingly.

How long do you usually spend on a piece?

That depends again. For example, when I was working on Z213: EXIT I was writing a new piece every two months – that related to the concept of the work: the narrator there seems to suffer from a certain kind of memory loss, what could be loosely described as my own literary version of anterograde amnesia, so I wanted him – and me – to almost have forgotten what was taken down in the previous piece before starting the next one, and show at the same time the narrator’s peculiar psychological “progress”. In With the people from the bridge the strategy was completely different: I wrote the book from start to finish and then went on to review and revise in a more detailed sort of way in order to achieve the consistency needed and refine the details.

Describe your writing space or room. What tools do you use to write?

I don’t have a permanent writing space, or, rather, I have more than one. In Berlin I write in the living room, in Athens I use different places in the house, but in general I do not have a single, comfortable, familiar space to sit down and write. Perhaps, a single familiar space might not be exactly suitable for me if you consider what I write about; what is more important is mobility, I think, and the right frame of mind.

Do you have a family? Do they understand and appreciate the work you do?

I have a daughter from my previous marriage, my parents and my girlfriend. My parents are as alien to literature as they could be, my father being a utilitarianist, protestant-like Greek lawyer; but I would not be fair to him if I didn’t say that I have had his full financial support which enabled me to “cater for myself” as far as writing is concerned, without worrying whether what I write about would help me make a living. My girlfriend is highly appreciative of what I do and looks forward to the Greek edition of With the people from the bridge; she also accompanies me when traveling for readings, which is great support too. My daughter would tell you that her daddy writes books about vampires and zombies; if you think that this is the same perspective adopted by a recent reviewer and that my daughter will be five this summer, I think I shouldn’t complain.

When did you first start writing seriously?

I started writing seriously when I was eighteen; of course writing seriously does not always mean producing serious writing. As you know very well, that takes much longer.

The poem has a wonderful blending of Classical and modern elements. What poets and poems influenced you in writing With the people from the bridge?

I would say that tragedy was the locus par excellence that always had a very profound effect on me, Aeschylus in particular; also, the form of dramatic monologue; it condenses, in a very efficient way, poetry and drama, achieving maximum effect. In the case of With the people from the bridge my initially more “dramatic” intentions were gradually bent to become more “epic” and, as a matter of course, the narrative element prevailed. This was not against my intentions, however, as I always thought it would be worth revisiting theatre forms beyond the hegemony of drama or realism. There have been dramatists in the past, as well as theorists of drama whose energies, I believe, have not been fully explored: Gordon Craig and the uebermarionette, Adam Mickiewicz’s view of the theatre as a rite of communion with the dead, Maurice Maeterlinck’s static dramas, to name just a few. “Interior” by Maeterlinck is a wonderful piece that reaches tragedy while keeping action to a minimum. With the people from the bridge, perhaps goes back to some similar source and might be related to them.

That comingling gives a sense of straddling the “real” world and some “other”. The different voices, and the interplay between them and the layout, create a strong dramatic effect. It’s an intricate piece… How did you approach writing it?

I failed twice before getting to the current version. Since I was twenty-three I had been fiddling with the idea of a poetic drama and had published then an early draft titled Nyctivoe. Roughly around 1996, I went back to it, trying to make something better out of it and came up with the second version of Nyctivoe, published in Greek and German in 2001, and in English in 2005. Progress was evident from the first to the second version but in 2009 I still thought this was a deeply flawed piece despite the fact that it had given rise to some interesting performances in other media. I decided to give it another go, hoping to fail better again this third time, as Samuel Beckett would have said. One of the differences between the earlier versions and the new one was that this time I worked on certain aspects of the subject that I had previously ignored; now I focused less on the myth of the revenant in literature and more on the long standing folk Greek tradition on the subject, which starts off in antiquity and reaches to the first decades of the twentieth century; this tradition, I thought, was richer than any other; moreover its source in ancient Greek religion as well as orthodox Christian thought and practice reveals its neglected existential dimension. The Greek revenant has, in a way, been a form that helped me integrate many disparate parts in one functional whole.

The postscript adds a haunting note. How intentional was that? And why Hollywood Memorial Park Cemetery?

This leads back to my answer to your previous question. Think of the countless Hollywood adaptations of the vampire myth which by now have sucked the blood of vampires totally dry, and then think that this particular postscript is the report of an actual event that has really taken place in the Hollywood Memorial Park Cemetery – I am quite certain you will find the published article in a LA newspaper if you look for it. I simply copied the clipping, very much like John Dos Passos would have done. You may retort that I am not really answering your question, somehow beating around the bush, but this is intentional of course. The real answer, placing the role of the clipping in the context of the book is a key I would prefer to leave the reader alone to discover.

You worked with Shorsha Sullivan on this translation as well as on the other two parts of Poena Damni, Z213: EXIT and The First Death. How did you two find each other? What drew you to him as a translator?

I met with Shorsha incidentally in 1996 when he was working as a librarian at the Tate Library, London; at the time, he had been interested in buying a couple of copies of the Greek edition of The First Death for the library. After that, he paid me a visit at home and as I had my first reading coming up at the Foundation for Hellenic Culture in London, but no English translator at all, I asked him if he would like to try and translate a few pieces for the occasion. I was particularly drawn to him because of his solid knowledge of ancient Greek and his very subtle taste in literature. It is almost two decades now since we first worked together and I could not stress enough how indebted I am to him for the quality of his translations but also for his dedication to my work. It is very important that I add here as well the invaluable help of Gregory Solomon who, together with Shorsha, and since the very beginning of the translation process has been meticulously reading every draft and offering great solutions due to his highly critical sensibility. He has functioned as the first authoritative reader of the translation and we could not do without his comments. In fact, if Gregory does not okay the translation we are not proceeding to publish. Beyond that, he is the first critical reader of my texts as well as my main interlocutor when I come up with a fresh idea and that, as well, feeds back to the translation. I am very happy that I get the opportunity to thank him in the context of this interview because his name is not mentioned in the books themselves.

How active a role did you play in the translation?

Both with Shorsha and Gregory, we are working very closely together. It is always Shorsha producing the first draft and when he is ready, I and he go through it line by line to make sure that there are no inaccuracies or misunderstandings. Subsequently he produces a second draft taking on board our notes and comments. After that we go through two more drafts in order to reach a smoother, more readable version and, of course, I get to come up with some more ideas then, to widen our spectrum of possibilities; it is always Shorsha of course that will make a final decision. At the end of the third draft we forward everything to Gregory for his comments, which we then incorporate in the next version, the penultimate one, and then we discuss the finishing touches. Some options remain open until the very last minute.

What are your thoughts on the idea that something is inherently “lost” in translation?

To say that something is lost in translation would be true but also trivial at the same time. For a translated text to be produced a whole caravan of culture has to go through the needle of the translating process and it is only natural that something would be lost. There is a very wide range of texts, as you know, especially introductions, in which translators inform us of the unique qualities that they have been unable to bring forward to the “target language”, but I do not remember any of them providing us with some information about what may be found or “gained” in translation. To bring a translated text in the context of a different culture enriches it, in the sense of it now being “open” to new interpretations. No text is like any other of course; in fact in Greece there are quite a few great, very idiosyncratic texts that I would easily say are very resistant to translation, but even those are worth planting in new ground; their fruits will taste different – like hybrids perhaps. And here I should add that we need the cultural community of the target language to welcome translation; I am happy to see that in the US you are a little more open towards translated literature in comparison to what happens in the UK for instance, and I think this results in a greater degree of innovation as far as the American literature is concerned.

What sparked the writing of Poena Damni?

Poena Damni came about gradually, so there was no spark, or perhaps, there was a great deal that had already happened before that spark. Among other things, Poena Damni is an exploration of the concept of hope in a historical moment of foundered Grand Narratives, at least in the western world, even though their constituent parts are still floating around. I felt compelled to still go back and question the foundations of the culture I have inherited, seeking some stable points of reference, or, rather, find my own starting points and then move from there to make my own assessment. My approach may have been rather paradoxical, like that of an alien coming from within, who is simultaneously experiencing a world both familiar and unfamiliar, old and new. Bearing that in mind, it may not come as a surprise that I have used a character resembling a cross-cultural scapegoat, a kind of pharmakos as the ancient Greeks would call him, someone to be disposed of by his community in the course of a cleansing operation. We can go on to speak about other important elements for the kind of structure I have come up with so far, but perhaps it would suffice to say that Poena Damni, as it stands, is the current state in a process of reloading the old system after having attempted a slightly different wiring.

What do you hope readers will take away from With the people from the bridge? And Poena Damni as a whole?

I stumbled across a recent review of With the people from the bridge the other day and what the reviewer seems to have taken away from the book was a “relentlessly grim” essence. If I have understood it well, the work seems to have provoked to the reviewer unresolved emotions, no catharsis so to speak. Brecht would be happy with this, he would say that we need those unresolved emotions to take us out of our bourgeois niche and call us to act. On the other hand, catharsis, in the sense of both emotional purgation and intellectual clarification, is a state I would be very happy to see the reader taking away from the trilogy; think of catharsis in the case of “Oedipus Rex” where Oedipus does not stop short of any grim revelation that eventually tears up the veil of his illusion, he wants to confront reality head on. I don’t know if in the arts, like in ritual, real blood is purified by “symbolic blood”, but at least I think that if there were a way to “digest” our hard realities – even in the innocuous form of a literary work – that would play a very positive role in our composure and life endurance. It would be great if Poena Damni could contribute a little to that.

Talk about the internet and social media today. Do you embrace it, or do you use it as little as possible?

The internet is the most important medium today, it has offered us an enormous amount of freedom, the access to knowledge it has given us is invaluable. There is no better way for “memes” to propagate other than through it and, I think, it has maximized the advantages of writing, since writing was invented, as a form of storage and communication. The prominence of interconnectedness which is its inherent characteristic has, of course, contributed to accessing texts in a more open-ended and, sometimes, fragmentary sort of way. Nowadays all texts are hypertexts, all structures lead to other structures. I can still conceive of a worldview that would be against using internet – I think that would seem like a new kind of asceticism which I don’t think I am ready to endorse.

How can the poet have a bigger impact on social media, and the younger generation who grew up on computers and technology?

I suppose, the poet can have a bigger impact by publicizing his work through social media in the variety of ways that are available. The poet, as anybody, can use the dialogic platforms to disseminate his work, draw the attention of new readers and get feedback. As this may be very time-consuming it would be great if other people, specialized in this, might offer a helping hand: publishers, event coordinators etc. The problem is that the whole enterprise is like a virtuous or vicious circle accordingly, depending on how much publicity the poet enjoys in the first place. Perseverance always helps here, and rather than going around knocking on publishers’ doors you can play your slots in the more hospitable digital fields.

Any words of advice for young writers and poets?

I have always been disinclined to giving advice to the young as that makes me feel a little too old. I think what happens with a lot of young authors who start writing is that they may not have something very important to say when they are making their first attempts; when, in the course of their development, what they have to say eventually becomes more interesting, they get to realize that not so many people out there are interested in listening. So, I would say, get ready for a lonesome adventure, and be patient; and think, perhaps, that by the time people will start seeking the story of your adventure you might have probably come back – and long ago – so the whole thing might have faded a little for you.

What places have you visited in the world, and what were some of your favorite spots?

I have been living out of Greece for most of my adult life. First in Italy, Venice from 1985 on, I lived there and in Trieste until I moved to London in 1992. Next stop was Berlin in 2005. Now I live between Athens and Berlin. I have had the chance to visit different places over the years and I must say that a trip to Tanzania, Africa impressed me deeply. Other than that, I love the US and I go often for readings. It has been mostly the East Coast lately, New York is one of my favorite places, Harlem particularly. Harlem feels like a second home to me, even though gentrification is, rapidly changing the character of the neighborhood. I used to be a regular in St. Nick’s pub, a wonderful place for jazz. I like to think it will reopen some day; for now, with not so many of the old jazz venues left, Paris Blues is my preferred spot.

What are you reading now?

Having completed the trilogy, I feel I am starting again from scratch and, therefore, my reading is rather erratic. “Lectures on the Religion of the Semites” by Robertson-Smith is a classic I have been reading lately, with a lot of interruptions and digressions to other anthropological and religious studies texts. At the same time, motivated by a question in a recent interview regarding a supposed affinity of my work to Lautreamont, I went back to reading “The songs of Maldoror” which I read roughly thirty years ago. It is really interesting to experience how our current and past selves link through the bridge of a text after a huge gap in time. And I also read a selection of poems by Lorenzo Calogero in the new issue of the New York-based Bitter Oleander Magazine, a great initiative on literature in translation; Calogero is a poet the Italians wanted to know nothing about until he died. After that he was fit to become the Italian Rimbaud.

What artists do you admire, past and present?

I could fill pages with names here. In the realm of visual arts and trying to keep a historical order: Bosch, Bruegel the Elder, Goya, Rembrandt, Caspar David Friedrich, Turner, Edvard Munch, James Ensor, Chaim Soutine, Frank Auerbach, Edward Hopper, Robert Rauschenberg. Of course, in different periods and depending on what I am working on, I have felt close to the work of various artists and I may be forgetting some of them now. Perhaps it would be worth adding here that, after the age of eighteen there was a period in which I had been living with visual artists-friends in Venice, Italy; these were wonderful years, very important for the development of my work. And as you may know of course, the trilogy has triggered work in other media and in some of these cases I have had a close collaboration with the artists involved. I would like to keep doing that, I find this kind of dialogue very fruitful and the collaboration itself removes some of the isolation of the “sole and lonely author” experience.

Talk more about your writing process.

I think this question somehow links to what I have just been saying about the “authority” of the work. Over the years, I have increasingly appreciated the collaborative aspect of writing. It may be that the production of a text is something between me and the page, however, before I sit down to write, there are all these people, living or dead, that push through with you and eventually represent themselves, in one way or another, on the page. I usually spend long periods writing nothing, especially when I have just finished a book; since the publication of With the people from the bridge for instance, I have written nothing other than a few notes in a new document with a working title on top. There has to be something new, at least for me, when I embark on a new project and it takes time, I think, for necessary changes to happen, within and without, before I start writing with a definite purpose. In the meantime there is a lot of reading involved, many disparate things that gradually lead to the formation of a “spinal chord”. But even then, there is a lot that is removed and new elements emerge and are tested. What survives this process is the book.

Feel free to add anything you like, that helps other writers understand how you work.

A very obvious point here would be that in two decades’ time my actual production – Poena Damni – counts no more than two hundred pages overall, if you put the three books together. Solely based on that, it is easy for somebody to evince that I could not have worked the way Jack Kerouac did when he was writing “On the Road”. On the other hand, I would like the reader to be able to read through my work without stumbling on the hindrances of reference, like it happens in Pound’s Cantos for instance. Personally, I prefer covert, seamlessly integrated allusions not because I want to play hide and seek with readers and scholars, but because I aim for a text that could make an immediate impact, its different layers notwithstanding, and speak to people with different backgrounds or education: when you are in front of a door it shouldn’t take you too long before you found the key; I see my text as one door, one of many possible points of entry; whether you get in and want to stay, or where you go from there, that should be up to you.

 

Books by Dimitris Lyacos:

With the People from the Bridge (Poena Damni) – 2014
Z213: Exit (Poena Damni) – 2010
Nyctivoe: Second Part of the Trilogy Poena Damni – 2005

 

ABOUT:

Dimitris Lyacos is the author of the Poena Damni trilogy, a leading example of contemporary European avant-garde literature. Originally written in Greek, the three books (Z213: EXIT, With the people from the bridge, The first death), have been translated into numerous languages and performed across Europe and the US. Dimitris Lyacos is Fellow at the International Writing Program, University of Iowa.

FOR MORE INFORMATION

 

Rene Ostberg

Bioluminescent Bay

by René Ostberg

 

I want this to be easy.
Like blink and we’re there easy
think and it’s done easy
wish and you’re here.
I don’t want the involvement of any effort on my part.
Don’t bring me to the luminescence
bring the luminescence to me.
None of this waiting for a new moon
banging around in the blackness with strangers
keeping kayaks in a line
swinging paddles through the Puerto Rican deep.
They tell us:
put your hands overboard
wiggle your fingers in the water
watch the little creatures crackle to light.
Little dinos, little flagellates.
I imagine a tiny long-tailed brontosaur,
a billion of ‘em, biting my rude huge hand
defanged piranha zygotes
lost in the Caribbean. It’s a long way
from the Amazon, a long way from the Mississippi
a long way from the Mesozoic.
I imagine a shiny long-tailed comet,
just one of ‘em, igniting my rude huge planet
smashing the dinos to bits
soldering speck-sized lights into their dino DNA.
The dinosaurs never died away.
They didn’t evolve into rhinos or birds.
They colonized the Caribbean
turned the Puerto Rican tides into a star show
you can swim in.
I want this to be easy so
I do what I’m told:
put my hand overboard
wiggle my fingers in the water
watch the little creatures
the little comet bedazzled buggers
crackle and roar to light.
I’ve come a long way from the Mississippi
for this.

 

 

Aisling

 

There are no locks. There are only high sand hills
which the woman in the house would not feel safe
without. Whenever the sun shines she thinks it’s a
gift from the gods of defense. The sun turns the sand
to coals the hills to flames and no one can get over
and in without a struggle.

The house has hardly a roof. The floors are flooded
with sand so the woman hears the wind whenever
she steps. She sees trees in the dunes and the horizon
through the trees and the lake below the horizon. She
looks for prowlers on the beach and watches them
drown climbing the dunes.

One day she sees the lake and the horizon congeal
to clouds she thinks or jelled waves. Something
is coming. The clouds are beasts cows like bulls running
to land and women like warriors with white skin wild
hair whale eyes and dark stiff dresses. The horizon
churns brown. The woman in the house runs but
has no chance. The sand on the floor is not meant
for more than a pacing.

A girl in a green dress appears and dances into
a side door. The woman spins her around and steers
her out. This is no time for turning mother. The cows
have jumped the hills. The women ride on their
backs. They surround the house and call the woman
across the sand. They list her looks her eyes like
theirs her skin the same her hair an echo of
the speed that they can run. But her arms move
different waving loose like the women’s
hair and the cows’ tails.

The woman in the house gathers the men around
her the ones she never trusted the ones the hills
kept out before needing their protection. They run
to a room that rises higher than the dunes and higher
than the women astride their beasts. There are open
windows in the room. The men lean out and laugh
and push the woman ahead.

The women on the beasts beat their chests and cry
a word that the woman hears but doesn’t know. She
feels her face sharpening her body rising with a rush
of air and she starts to circle the sand hills. She chases
the men down the dunes to the lake to the beach
ravaged by the cows to the dung pits made by the beasts
while the women take the house and call the woman back
to come land on their hands.

The women stay on. The men never return. The woman
circles the land that used to be her home. She circles
most at sunset while the women watch her fly and
list her looks every time she turns to home. The beasts
prowl the dunes and watch the horizon. They have no
memory of the opposite side they only see
a sun burning the lake.

 

 

Coconut

 

A smell is not a soul. If only it were
I would have made you my wife
made your scent my mate for life.

We kissed against the wet stone walls
me leaning into you you leaning into stone
your back suffering the jabs of rock
making dents vents for your coconut scent.

Put your arms around me the scent whispered.
Trust me it told me ghosting itself around me
haloing our embrace. But your mouth
your soft speaking mouth your clutching
tongue tasted of need.
It clashed with the cigarettes I’d swallowed
soured the beer I drowned every night.
…And I never could stand the smack
of a woman’s desperation.

When we made it to a bed made our bodies bare
I melted above your smell became a ghost
of a man haloed by your arms your legs
your lips. By the time we were done
your scent made my body soft
my pores opened wide as the wounds
in your back. My drowned man’s
aroma drunk man’s
corona beer sweat
and cigarettes
unholy trio
unsoulful
so unlike
your smell
coconut.

I don’t blame you for being gone before morning.
You never could stand the smack
of a man’s desperation. You left
behind what I was after anyway. Your mouth
your soft clutching tongue your soul
your arms
your scent
a halo around me.

 

 

BIO

Rene OstbergRené Ostberg is a native Chicagoan who still resides in Illinois. She writes a blog with a travel theme called ‘Writing and Wayfaring’. Her writing and photography have been featured at Drunk Monkeys, Literary Orphans, Booma: The Bookmapping Project, Eunoia Review, Wilderness House Literary Review, We Said Go Travel, Rockwell’s Camera Phone, and the Encyclopaedia Britannica blog, among other places. You can read more of her work at reneostberg.wordpress.com.

 

 

 

Virginia Luck Writer

The Bag

by Virginia Luck

 

Hours pass, we have been walking all night, this glazing winter night when the sky is so thick with snow we cannot break through but move along as if afloat, cold and wet and drifting.  The wind is from the north.

Except for a flash of eyes from the hollow of a tree we are the only ones.  There is the black earth that shines through the snow like ash, dead weeds spiking up, long winds rolling down from our eyes and out in front for miles, and we are on the road resting, no, we are walking, always moving, when it is this cold, this dark, light headed from no food or sleep, listening to the wind spinning snow in the dark, stirring snow like blades on a motor stirs water, the air so heavy about to fall, the way darkness falls with a kind of silence that is not a silence but a restraint, and then we are falling, scrambling on our hands and knees through the snow, looking around at everything that is the same thing or nothing at all because of the darkness spinning around so that it is impossible to know directions, but somehow we get up, we go on, forever it seems, your hand clenched tightly around the bag, held up close to your chest, beneath your jacket, all night, your hand around the bag, holding it carefully as if it is the hand of a scared child or a delicate flower withering away and it is, I think, something so delicate, breakable like glass that glitters under your arm, in your jacket, pressed up to your chest, so delicate, we must handle it carefully, you say, again and again, as you hold the bag out for me to take.

I touch the curve of your wrist as I take the bag and feel the heat from your hand on the skin of the bag, the distance of my shoulder from your shoulder and then too the space from my thigh and yours and also the weight of the bag, and suddenly I am filled with excitement hoping you will touch my hand.  I cannot think of anything other than this:  how we might place our hands together, at once, into the bag and take the contents, half in your hand and half in mine, out of the bag, hold them to our chests.  I am thinking how they will feel against our chests, if they are soft or if they will be rough and crisp.  I like to think they will be something like a gentle newness or a soft haze that is easy to move into and difficult to remove.

Even you say you feel the things in the bag like a voice inside your flesh, every nerve beginning to tingle outward from the center, and I feel them too: vibrating through the skin of the bag, humming as if charged by some electrical current, something like pain, no like fervor stinging the tips of my fingers, this tension that shoots up and down my arms all these forgotten feelings of us.  I squint outward hoping to see more of the things, like the things in the bag, flashing up from the snow like daybreak, wedged between two stones in the dirt, or obscured within the soft fleshy part of a stump peering out at us like two yellow eyes.

But mostly, because of the dark, I see only a vague shape of your body (there is no shadow) trudging along like an animal that is used to the night, so damn dark at times I think I’m going blind, not dawn, not dusk, not starlight, but total dark country, a blackness that spreads through to the middle like a kind of desire, a sense of excitement and danger in the night, pulling on our hearts and hands, whistling through the bones of our fingers like a forgotten affection: the silence that floats up from between two people.

“Listen,” I say, “our footsteps go fading into the dark.”

 

I close my eyes and for minutes I am walking with my eyes closed, listening to our walking, the ice crackling beneath us like the dry skin on our lips, and yes, the skin snaps and bleeds and I can taste the blood when I lick my lips and I can hear the land like the white of your eyes glancing back and the sound of your boots crunching the snow as if you are speaking to me, and you are speaking if ever so softly with your slow and careful steps saying: “It is delicate, you must handle it carefully,” the bag up close to my chest, against my skin, all the separate parts slipping around within the contours of the bag.  I stumble into the snow and then away from it and into nothing.  I open my eyes.  The moon appears like the blade of a knife across our faces and I see the fog floating at your waist and up the sleeves of your jacket; the snow stirring restlessly in the air and then lying down on branches, bending slowly to the weight like someone knelling.

My arms ache from the weight of the bag that seems to expand and increase in size with every step and I know, soon, I will not be strong enough, but it is the idea of opening the bag, your sweet familiar hands over my hands as we caress the things in the bag, that keeps me going and believing in my heart that you are right, that just a little longer, just outside our line of vision, and at any moment, the thing we are looking for will appear like a door to a room, the warm air rushing out all over our faces.  The sky will be blue, the snow less, and the thing we need will be lying in the sun.  I can see how perfect it is going to be.  You see it too, and it is real and we are almost there. This type of discovery happens very fast and can be anywhere, so we have to keep alert and always ready.

I want to ask you about the things in the bag, if when we have everything together will we see a spark like a woman’s laugh or a kiss that lights up your eyes, the green and blue I remember?  Will they move in our hands, will they shudder like the light in the wind, or our shadows along the cold rock colors of morning?  Or will they be still and silent and begin to look very old, covered in nakedness?  I grip the bag tighter in my hand and the contents seem to align with the curve of my palm and it is hard to tell if they are moving of if I’m moving them.

I also want to ask you about directions and time, which way and how long, if it is toward the west that we are walking where I see faintly, and only at times, the moon washed trees standing like a wall on the horizon, or if the trees are just my imagination because it’s hard to be sure of anything in the dark, hard to tell distances when looking out through the weather into the darkness, as it is also hard to look back and recall the path we took to get here, now that we are no longer there, and it is covered over in new snow as if we never walked along it at all.

But I do not ask anything since we are not used to talking, at least not in that way, and I know it’s overwhelming to wonder too much, especially when we are tired and hungry and we are constantly confronted with the night like deep water, that is, in and of itself, a type of question that asks over and over again at what point will things become clear?

And that’s when you say you see it shining up from the bottom of a ravine off the side of the road.  You jump and throw your hands up the air and yell:  “Its here it’s here!” I hurry to you and then I am at your side and I am looking over the ravine and I say:  “I can’t see it, where is it?”  You grab me by the shoulders and you point with your hand and with your body toward something that I still cannot see but the snow is pulling away from our feet and there are black rocks shaking on the edge like stars and the long night so cold on our backs I can feel it in my teeth and maybe it is there, maybe I just can’t see.

You go first and I follow, slipping on our hands and feet, gripping the black rocks jutting up through the snow that crumbles like old dry bread soundless against our thighs, collecting in the cuff of our pants, entangled within the fur lined boots, stumbling and falling backwards, always holding the things in the bag, delicate, breakable, held up close to my chest, under my jacket, in the palm of my hand.  My other hand reaching out for anything: black rocks, more black, more jagged, the earth that shreds beneath us burned black by the wind, teetering, panting, sweat down the side of my face and along the bone of my ear and then, in a moment that stops and is still, there is nothing to hold but the bag squeezed in my palm and we are falling, falling away – just the clouds of our hot breath scraping up the black rocks.

We land on our backs on the ground, in a hole where dead leaves and debris collect, and I’m watching your lips mouthing words that I cannot understand and I am watching your hands reaching out, turning over stone after stone after stone and there is nothing, nothing but dirt and rock and old dried out mud crusted like a scab over the ground, nothing but these stones crammed one above the other, nothing but my arms opening up like a wide mouth jar reaching out to you, my face into your stiff chest, your cold skin, this single drop of water on the back of my hand that slips between my knuckles and disappears into your hand beneath mine and then along the skin of the bag.

The sun appears above us with its shapes and lines across the low rolling sky collecting light like a patch. The snow seems to pause mid-fall and sway slowly back and forth, and somehow we are out of love, and somehow we’ve grown old, and somehow we’ve lost all the days before and all the days and years and decades before that, and we are looking around like strangers in the light and we can’t find anything, we can’t, no matter how hard we try and no matter how long we search and want things to be different there is no different, no shelter, no love, just a road that never ends and this desire pulling us along like a twig in the wind.

And so we do the only thing that is left to do.  We reach together with our hands and we feel with our fingers the things in the bag, and there are two, smooth as an eyelid and soft as a mouth, and we pull them out, pure and true, deep red almost black:  two hearts entangled with each other, barely beating, pressed to us like a sheet of paper plastered to our chests, and my body feels too as if it has no thickness, as if there is only my face and my eyelids that blink, the white of my eyes that are watery and heavy, roving back and forth, and everything is suddenly still, so still it seems an anguish of its own that nothing can touch, in which there is only our hearts and this stillness growing heavier and heavier, collecting momentum down our arms, this mounting anxiety asking:  Is this it?  Is this the end?

 

 

 

BIO

Virginia LuckVirginia Luck’s work can be seen in Typehouse Literary Magazine, Pif Magazine, Burnside writers and elsewhere; forthcoming in Juked Magazine.  She is an editor for the online publication Rawboned and lives in Seattle.

 

 

 

Robin Wyatt Dunn poet

The Glowing Adventure

by Robin Wyatt Dunn

 

no hegemonic reserve
no final marker
no one and everyone
spent on the full valley
rhyming incessantly
pulled by the panther into the night
into our night

my night your night the night we fought:

but no matter
the light comes by the day
and the end, being closer,
grows sweeter,
your face more angry,
the light glowing:

 

 

Live at Five

 

Alive,
the rest of the end of the world,
the best of the least known chests,
skippered lightly under your blouses
& My mouse houses a world
under my bed

Tell me,
Was it you

who whispered ghosts
into my unrest
and blessed
all of my past

without my realizing it?

 

 

strange horizons*

 

we tilt with the rhythm of the hymn
locked boards seizing
thrusting
our ship like an animalcule in rain water
spinning underneath the sun.

 

 

BIO

Robin Wyatt DunnRobin Wyatt Dunn writes and teaches in Los Angeles. He’s online at robindunn.com

 

*Previously published in 1947 journal.

 

 

 

TELL ME ABOUT YOURSELF

by Dawn-Michelle Baude

 

The following reader survey should be carefully completed with a #2 pencil.

 

Are you a happy person? ___ Curious? ___ Interested in the lives of others? ___ Nosy (you never know what you’re going to find out)? ___ Bored (you knew it all, anyway)? ___ Have you ever wished someone would die? ___ Live again? ___ Do you have an estranged, indifferent, or intimate relationship with nature? ___ How often do you consciously observe the sky? Several times per day ___ Several times per week ___ I never look up ___ Please rate the validity of this statement: “The planets influence our behavior”: Very Valid ___ Middle-of-the-road Valid ___ Somewhat Valid ___ I follow Karl Popper ___ What is your favorite body part? ___ Least favorite body part? ___ Have you ever considered plastic surgery? ___ Reason? ___ Date of last procedure: ___ Do you talk to yourself? ___ In front of others? ___ Favorite public setting ___ Have you ever seen a UFO? ___ Number of orifices probed: ___ Have you ever had an OBE (Out of Body Experience)? ___ An NDE (Near-Death Experience)? ___ Length of the corridor of light: 5 feet? ___ 720 feet? ___ The distance between LA and Las Vegas? ___ What method of STD protection do you use: Medical? ___ Magical? ___ When you were little, what did you want to be when you grew up? ___ Did you do it? ___ Is there still time? ___ Can you touch your toes without bending your knees? ___ Does it hurt? ___ Have you ever dialed a phone number randomly? ___ Who answered? Guru ___ Weird Person ___ Friend ___ How important is truth in your life? Very important ___ Somewhat important ___ Not applicable ___ Do you listen to other’s people’s advice? ___ Do you often give advice? ___ Is your advice taken? ___ When is the last time you pulled the bed away from the wall and vacuumed? (Month/Day/Year) ___ If you need to find an important document, is it readily obtained? ___ How do you prefer your technology? Wearable ___ Pocketable ___ Disguised ___ Implanted ___ When you buy something, is sustainability important? ___ Price? ___ Reliability? ___ Convenience? ___ Brand? ___ Looks? ___ Hormones? ___ Do you judge people by their appearance? Within 3 minutes ___ Less than minute ___ Before I see them ___ Do you consider yourself stylish? ___ Marginal? ___ If called upon to voice your opinion in front of others, would you clear your throat? ___ Pause before speaking? ___ Blurt right out? ___ Who do you most want to overhear talking? ___ Do you have enemies? ___ Recent? ___ Old? ___ Ancient? ___ Antediluvian? ___ Do you play Ping-Pong? ___ Badminton? ___ Sniper Team? ___ Have you ever bought a product because you saw it advertised on TV? ___ Were you disappointed? ___ On a scale of 1 to 10, rate the accuracy of your news feed, with 1 as accurate and 10 as biased: ___ What news section do you read first? International ___ Pornographic ___ If you had to go one direction and one direction only, would you choose north, south, east, or west? ___ What is your favorite word? ___ Least favorite word? ___ List your favorite books and authors: ___ Not applicable ___ Do you have, or have you ever had, a lover with an interest in Feng Shui? ___ What was the first thing you smelled when you got up this morning? ___ Finish this statement: The world is getting: Way worse ___ Much better ___ It depends on my meds ___ Do you pick your nose in your car? ___ Are you virgo intacta? ___ Have you always been? ___ How often do you evaluate your appearance in a mirror: Several times per day ___ Several times per hour ___ What specifically are you looking for? ___ Have you ever lost consciousness in public? ___ What is the last thing you remember before you went blank? ___ Have you ever been Rolfed? ___ Cupped? ___ Visited a psychic? ___ Thickness of ectoplasm: < 1 inch ___ < 2 inches ___ Gooey ___ If you could be anyone other than yourself, who would it be? ___ The whole person, or just particular parts? ___ On which side of your scalp do you part your hair? ___ My hair does not have a sidedness preference ___ Are you easily flattered? ___ Average number of compliments received: ___ /day. Please rate your understanding of events outside your personal sphere: Excellent ___ Good ___ Fair ___ Poor ___ Not applicable ___ Do you like attracting attention? ___ Are you sensual? ___ Erotic? ___ How often do you think about sex? Now ___ Daily ___ Weekly ___ Monthly ___ Yearly ___ Never ___ Date of your last orgasm: ___ Are you most often shy? ___ Arrogant? ___ Resigned? ___ Predictable? ___ Repressed? ___ Liberated? ___ Joyful? ___ Anxious? ___ Combative? ___ Calm? ___ I am mutating constantly and refuse to be pigeonholed ___ Have you ever been assaulted by an archetype? ___ Please describe: ___ Is the past less important than the future? ___ More important? ___ I do not believe in linear time ___ How often do you search for your keys: Daily? ___ Monthly? ___ What keys? ___ What do you regret most about your life? ___ Is your guilt hereditary? ___ Acquired? ___ Viral? ___ Describe the best experience you’ve ever had in a stadium ___ In a park ___ In a bathtub ___. Have you ever been caught in an awkward moment? Please describe: ___ How many hours do you sleep per night? ___ Open-mouthed? ___ Close-mouthed? ___ Is your auditory, visual, tactile, gustatory, olfactory, magnetoceptive, or “Sale’s On” sense more acute? ___ If you were given an apple, orange, walnut, or boiled cabbage to choose from, which would you select? ___ Would you eat it or contemplate it? ___ Please complete this statement: ___ is the reincarnation of ___ Would you say that your speaking voice is an asset? ___ How do you feel about long silences in a conversation? Relaxed, because my interlocutor is considering my comments ___ Paranoid, because my interlocutor is plotting against me ___ Are you encumbered by consumerism? ___ Number of storage units leased ___ Have you ever used dental floss in a public setting? ___ Rate your grooming skill: Above average? ___ Average? ___ Why bother? ___ How many times do you wear the same underwear between washings? ___ Have you ever considered buying the soap powder ERA? ___ What is your favorite charity? ___ Tragedy? ___ Have you ever pondered the nature of meaning? ___ Have you ever been forced to wear a corsage against your will? ___ An electrode? ___ Do you eat the fatty portion of your steak? ___ Do you swallow it or spit it out after the chew? ___ Have you ever drunk milk out of a cardboard container? ___ A plastic container? ___ A breast? ___ What vitamins and minerals would you consider taking on an empty stomach? ___ Please rate your interest in nutrition: Fanatic ___ Moderate ___ It depends on how hungry I am ___ Have you ever walked into a department store and wanted to buy more than you could afford? ___ Did you get an exchange slip? ___ How often do you exceed the speed limit? ___ Park illegally? ___ I am on parole and never break any laws ___ Have you ever ordered something in a restaurant that wasn’t on the menu? ___ Was it really good? ___ When is the last time you went to a drive-in theatre? (Day/month/year) ___ Was it for sex? ___ For the movie? ___ Because you love your car? ___ Is the statement “nothing is permitted to retain its form” by Pythagoras? ___ Attributed to Pythagoras? ___ Falsely attributed to Pythagoras? ___ Consider the situation in which two people hail the same cab simultaneously. Are they fatally attracted? ___ Fatally repelled? ___ Indifferent? ___ Do you feel at home in a cowboy hat? ___ Do you massage your chakras? ___ Do you massage the chakras of others? ___ Do you know where your water comes from? ___ Who do you love? ___ Who have you crossed off your list for good? ___ Who deserves a second chance? ___ Have you ever been afraid alone on a street after dark? ___ Has breaking news ever made you weep? ___ Which artistic lineage would you claim? Objective ___ Subjective ___ Have you ever seen the big picture in any discipline? ___ Please describe: ___ If you had to earn your degree all over, you would study: ___ Please list the drawbacks to this reader profile: 1)___ ; 2)___ ; 3)___ ; 4)___ When did you first encounter beauty? ___ Do you consider yourself: Analytic? ___ Synthetic? ___ What do heliotrope, cerulean, and cochineal have in common? ___ What do you prefer: Complexity? ___ Simplification? ___ Can you rephrase the question? ___ Are you pronouncing this in your head as you read? ___ Who is speaking? ___ Have we met? ___ Consider this sentence: “In a didactic text, the tendency is toward infrastructure.” What is meant by the word “infrastructure”? ___ Where is Herschel’s Garden? ___ The Ampullae of Lorenzini? ___ In 500 words or less, recount the best story you’ve ever heard: ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

 

Thank you for your participation.

 

 

BIO

Dawn BaudeDawn-Michelle Baude is an international author, educator and Senior Fulbright Scholar. The author of seven volumes of poetry (Finally: A Calendar, Mindmade 2009), two volumes of translations (Vision of the Return by Amin Khan, Post-Apollo 2012), three art catalogues, three communications books, and one children’s book, Baude has written for Condé Nast and Newsweek International, as well as various literary and art sites. Formerly of the American University of Paris, she has lived and taught widely in Europe and the Middle East. She is the art critic at the Las Vegas Weekly.

Forthcoming Poetry: Interim magazine, http://www.interimmag.org

Literary Criticism, “Making Strange” in Please Add to This List: Teaching Bernadette Mayer’s Sonnets & Experiments”: (Tender Buttons, 2014) http://www.tenderbuttonspress.com/products/buttons-al-undone

Literary Translation: Vision of the Return by Amin Khan (Post Apollo Press, 2012): http://www.postapollopress.com/vision-of-the-return/

Contributing Writer (art writing), Las Vegas Weekly: http://www.lasvegasweekly.com/sitesearch/?q=baude

Photo by Shane O’Neal

 

 

Charlie Brice poet

Variations on a Buddha Shove

by Charles Brice

 

One day while walking through the wilderness a man stumbled upon a vicious tiger. He ran but soon came to the edge of a high cliff. Below was another tiger. Desperate to save himself, he jumped, grabbed a vine, and dangled over the fatal precipice. As he hung there, two mice, one black and one white, appeared from a hole in the cliff and began gnawing on the vine. Suddenly, he noticed a wild strawberry bush. He plucked a strawberry and popped it in his mouth. It was incredibly delicious! (traditional Zen story)

 

I. Sight

The man skids to the cliff’s ledge
After him   a tiger

He looks down
Another tiger on the canyon floor

He must jump
He jumps

Grasps a vine on the way down
Dangles on cliff’s edge

Two mice appear
One white
One black
Gnaw on the vine

Gnaw on the vine with truculence

The man spies a strawberry bush barely within reach
He grabs a strawberry
Eats it

Luscious!

II. Touch

Tiger-breath bakes his calves
Thighs simmer
Toes cramp against the ledge

Are his shoes too small?

Wind whips his body
Vine furrows bloody his palm
Thick and sticky

Rotator cuff tears   like a tooth yanked with plyers

Legs flail like a noosed man
He feels a tiger-breath chrysalis form around his body

Mice torture and twist
Like night
Like day

Pained strain for the strawberry

Tongue scrapes rough strawberry ridges
Teeth squeeze
Tingle tease

Sweet juice soulburst!

III. Sound

Paws pound the ground like bass drums
Bouncing tympani
Mothers of thunder

His wheezes asthma the forest floor

Below

Toothy pre-crunch requiem
Ravenous roar

Wind buzz
Wind whirl

Hand-skin rips like a butcher’s slice
Rotator cuff pops like a firecracker in a beer can

Lips slurp sweet strawberry nectar
Tongue-suck jails the juice

His smile sounds like a smile!

IV. Smell

Olfactory offal terror reek
Predation musk
Perfume of prey

Acrid attar of lion-breath
Smell of blood

Dust

Dirt

Torn flesh and vine stink

Strawberry scent

Aroma of here
Aroma of now!

V. Taste

Acid
Vomit
Salt
Spitless tongue

Strawberry sugarburst

Sweet saliva syrup
A little tart   but in a good way

Palate of calm!

VI. Transcendence

His world lies in a hospital bed
Her face sweaty marble

She’s not going to make it

Every vein pulses
A tsunami of dread

He’s breathless

Death after him
Death waiting for him
For us all

He leaps

Grabs

Sobs

Days into nights into days into nights into days

Thick tongue mouth sear
Dangling between panic and despair

Forty years married he
Bends towards her face
The edge of peace

He kisses her lips

Luscious!


 

Ten Paintings by Matisse

 

1. The Open Window

iron bars

2. Blue Nude

aren’t they all

3. The Conversation

strictly one-sided

4. The Painter and His Model

were one and the same

always

5. Woman with a Hat

spits at Carole Maso

steals her cahier

6. Bathers with a Turtle

those motherfuckers

he was just a turtle

out for a swim

7. Beasts of the Sea

ask Churchill

8. The Music Lesson

slap my fingers again

bitch

9. Male Nude

age 27

they found water

in his lungs

10. Luxury, Calm, and Desire

set out the juice glass

watch the bees drown

we have time

 


 

Ten Jazz Standards

 

1. I Mean You

Don’t look around
I’m talkin’ to you

2. How Insensitive

On line all day
Hoping to get offended

3. Alone Together

You thought we were friends
We weren’t

4. A Child Is Born

Every time you open your mouth

5. Come Rain Or Come Shine

You are so predictable
Liver flukes are more interesting

6. Autumn Leaves

Why won’t you

7. Take The A Train

It’s for a-holes

8. Day Dream

Any dream
Is better than listening to you

9. In A Sentimental Mood

You hated sentimentality
Something no one will ever feel for you

10. How Deep Is The Ocean

Why don’t you jump in and find out?

 

 

Tarzan In Winter, 1955

 

1.

Our living room in Cheyenne,
fifteen by ten, so large for my
five-year-old body. Two planters
at the far end of the room
filled with ivy and bougainvillea
a jungle where Tarzan protected
Jane and Boy from marauding natives,
lions, tigers, and English missionaries
who threatened with civilization
and school. In my planters
poison darts bounced off Tarzan’s chest
like tiny sticks, the natives falling to their knees
as he beat his breast in triumph.
In my jungle Tarzan tamed lions and
tigers, rode them like a rodeo cowboy;
chased missionaries who ran so fast
their safari hats flew off their heads.
Tarzan, Jane, and Boy used them for soup
bowls on cold nights in the Jungle.

2.

The drums were loud that winter. Tarzan
held up his hand when Jane asked
what they said. It was important
to get it all. The drums said the white man
had made new suns that spread poison
clouds swarming over the land. Did the drums
tell Tarzan about my white count gone crazy,
about Sandy Risha who died of leukemia
when she was twelve; all those kids who fell like ions
out of mushroom clouds? Did he fear for Boy?

3.

Tarzan watched my father wrap me
in a blanket – my ankles swollen again,
my throat sore again. They said I had Romantic
Fever. My dad’s hangover arms held me
to his scratchy face, his hands too unsteady
to shave. “It’ll be alright, Charlesy,” he said,
and carried me through the snow, to the car,
to the hospital, where nurses took my blood
every morning for six months, shoved a thermometer
up my behind every day, made me drink canned OJ,
and wouldn’t let me walk. In my five-year-old mind,
Tarzan waited for me with Jane and Boy
in my planters. He still repelled poison darts
and scared missionaries half to death.
I’d ride a lion through that hospital
one day, needles bouncing off my arms;
thermometers shooting out my butt. I’d scare
those nurses so badly their hats would fall off.
I’d tell Tarzan all about it.

 

 

BIO

Charlie BriceCharles W. Brice is a psychoanalyst and a freelance writer in Pittsburgh, PA. His poetry has appeared in The Atlanta Review, Icon, Xanadu, The Quotable, The Paterson Literary ReviewThe Pittsburgh Post-Gazette, SpitballBarbaric YawpThe Potomac, Shadow Road Quarterly, Wild Violet MagazineZ-Composition, Arsonzine, Bear River ReviewJerry Jazz Musician, and The Front Weekly. Honors: “Goodbye,” third place, 2012 Literary Life Bookstore Poetry Contest (Robert Fanning, judge); “What She Held – 1966,” Editor’s Choice, 2013 Allen Ginsburg Poetry Contest; “Michigan Icebreaker,” semifinalist, 2013 Bailey-Beads Poetry Contest, University of Pittsburgh. Charles was recently named an International Merit Award winner of the Atlanta Review’s 2015 International Poetry Competition.

 

 

 

 

Joseph De Quattro Writer

Rubric for Getting Up in the Morning

by Joseph De Quattro

 

for Jen Schneider

 

1. PAYPHONES

 

In the end Colliver hadn’t put up much of a fight about seeing Dr. Gover, but when the nurse offered him a cup of water he declined it with naked hostility, swallowed the pill dry, then made a mocking face when transformation didn’t happen immediately.

“Still me,” Colliver said.

Dr. Gover stifled a small laugh. “It’s powerful,” he said, “but of course it’ll take some time to appear in your system.” Gover had been Vera’s idea shortly after everything had come out. As psychiatrists went he was in demand, but someone at her agency who knew him had called in a favor.

“Will it say hello when it appears,” Colliver asked snidely.

Dr. Gover looked at him. “Oh, you better believe it,” he said, playing along. “Like Beethoven on Eddie Van Halen.”

On the way out the female receptionist caught Colliver’s eye and smiled at him. He didn’t smile back, only stepped hurriedly into the glare of the afternoon trying to ignore her teeth, her cleavage, the fact that the sun was shining with the sort of seaside brightness that created haloed mottled discs beneath the eyelids. At Fifty-Second Street he found a working payphone, snatched up the receiver and dialed rapidly.

“Hello,” a woman on the line said a moment later.

“It’s ten six,” Colliver said. It was late March, past the formal start of spring but still cold, and now his breath in short, desirous rhythms came in ghostly white bursts. “I changed my mind.”

The woman, who was unable to contain a small sigh of impatience, said, “so you want to now, then?”

“Yes,” Colliver said. “Very soon. Same thing.”

“Yes, yes,” the woman said, “always the same with you. I know.”

Despite saying “soon” he didn’t in fact want to go over right away. Or, at least, he wanted to fight the urge, see if Dr. Gover was wrong, if the Xinaprien would in fact be some miraculous quick fix. Shut it all down inside him and make him head home.

For several minutes he milled about the mid-day crush along Third Avenue before turning down Fiftieth Street where he accessed the foyer of a nondescript brick walk-up, pressed a button and was buzzed in. On the stairs, and again despite what Gover had told him (or was it to spite him)?, Colliver noted that he felt exactly the same as he always did in such moments: as if he were drowning though not unpleasantly in his own blood, or, more accurately, adrenaline. Supremely alive and not the least bit hungry. Never hungry.

“Fresh,” he heard the woman saying. As usual the door to her apartment, 3C, was ajar and, pushing in after two quick taps, he found her shaking out a blanket, bed sheets.

“You see?” she said jovially in greeting but without really taking much notice of him. “Fresh.” She was small, French, older than Colliver, with pale well-scrubbed skin and a fading beauty.

“Always keep fresh,” she said again.

Colliver didn’t say anything, only undressed where he stood, put money on the bureau, then fell to the mattress and closed his eyes. As it went, he found himself thinking about payphones. About how they were a necessary tool, as if merely by lifting a receiver he gained instant access to this subterranean continent where until recently, shameful as it was to admit, he’d felt most at home, most himself, most alive. He had never once used his cell phone, not for browsing ads or making calls simply because, as he saw it, the sorted out, digital, modern world had no place here. He wondered how many payphones were left in the city, in America itself, and how much money he’d spent utilizing them since this started back before there was such a thing as a cell phone. All those quarters fished from his pocket then let slip from his fingers into the silver, vertical smiling mouth, while a tawdry colored back page advertisement sat balanced on the metal shelf before him. Stacked, how high would that tower of quarters have reached?

“Fresh,” the French woman was saying brightly. It was over now and once more she was shaking out the sheets while Colliver dressed silently. She didn’t accompany him to the door. He’d seen her enough times that she knew this was unnecessary.

Outside, before heading home, he spent a few moments contemplating the bright sun and that peculiar oxygenated heartbreaking clarity he always experienced immediately afterward.

 

2. BLINDNESS

 

That night Vera’s clothes, her hair and skin, reeked of Ethiopian food. She worked in Early Childhood Intervention and was in and out of houses all day. Mostly in Brooklyn.

“The twins again,” she said distantly while leaning against the counter and eating from a bag of dried apricots.

Colliver took one of the folding chairs leaning against the wall, opened it and sat down at the table. When he did so, it was as if he’d only just then appeared before Vera’s eyes, at which point she remembered the appointment with Dr. Gover.

“Was he nice?”

“A real comedian.”

“You should be happy that he made time to see you.”

“Ecstatic,” Colliver said. “I’m an ecstatic guinea pig.”

Vera made a face. “You know it’s not experimental.”

“Trying to give up a way of life is pretty experimental if you ask me.”

“Sex on an installment plan,” which was how Vera, as a way perhaps to ameliorate for herself the unseemly activity, had come to refer to it, “isn’t a way of life. It’s a problem. Laziness.”

“Laziness?”

“Supreme laziness. Easy way out.” Her voice was void of contempt but she was right. It had been the thing he’d turned to always when life got tough or tedious. “So where is it?”

Colliver put the orange prescription bottle on the table.

“And what exactly does it do again?”

“Makes you blind.”

“Don’t say that.”

“But basically that is what it does,” Colliver said. “Everything small, small, small, until nothing. Blind.” He was most concerned about losing the sun, so much so that in discussing his triggers with Dr. Gover he hadn’t mentioned it. He also hadn’t mentioned teeth, cleavage, or payphones.

“It won’t do anything of the sort,” Vera the caretaker, the fixer, driven by human cause, said sympathetically. Colliver looked at her. They were not now nor ever had been lovers. They’d become friends more than fifteen years earlier in college in Maine, lost each other a year later for another five, then reconnected platonically in New York. That spring when they’d first met Colliver was finishing his undergraduate degree while Vera, who would take another six years or so to finish hers, had dropped out and was working in food service on campus.

“We met during one of my existential crises,” Vera, with no self-consciousness, often told people who invariably came around to wondering about their situation. That was Vera. If she couldn’t express herself, no matter how private, then she’d rather be dead. “I was involved with an Israeli boy whom I loved but was very distant. It didn’t help my mental state. Everything around me shrunk but then one day passing through the food line there was Martin, very clear and close, catching cheese in his mouth like a dog. I’d thrown the cheese. He’d urged me to do so. Right from behind the counter where I worked. It was like nothing I’d ever done before. I flung the cheese like a Frisbee, a big piece of Swiss he caught with his mouth. There was something beautiful about him that needed—finishing, I guess is the best way to put it. That was the feeling. Like we had unfinished business even though we’d just met. But not sexual or romantic. I felt I needed to take care of him.”

Reunited in New York, they decided to room together in a small one bedroom apartment on the Upper West Side not far from Riverside Park, both of them surprised after several months by the serenity of the arrangement and the absence of hidden agendas. Vera’s job weighed heavily on her and so as the years passed it became easier to come home on a Friday night after a week of eight hour days administering tests to toddlers and spend the weekend with Colliver, whose own romantic ventures had become more and more limited, albeit clandestinely, to the pay as you go plan, something which would eventually put a strain on his finances, not to mention his soul.

“It doesn’t make you blind,” Vera said softly, “it changes how you—“

“What,” Colliver said. “How I what?”

“Observe. Take things in. Respond to your environment.”

“That’s just a sophisticated way of saying makes you blind.”

Vera ignored this but eyed him carefully. “You came right home? From the appointment?”

“Sure,” Colliver said. “Right home.” He didn’t tell her about the French woman.

 

3. ROOMS

 

Rooms were always the same, but somehow different too. Hotel rooms were dark, some too dark, lights down to aid deception. TV on. In the bathrooms of these hotels, which Colliver always made a point of investigating first, he invariably found used hotel issued soap. Little bars the color of taffy or white like chalk. Perhaps because the act that brought him to such rooms was so polar opposite, the sight of these soaps often made him think of his childhood, of the trips he’d taken with his parents and two sisters to places like Orlando or San Francisco. The soap in those hotel rooms was wrapped in waxy white paper upon which, in fancy script, the name of the hotel was printed. Here in these bathroom hotels throughout the city the soap was normally unwrapped, out loose on a wet vanity, and almost always grimy. Dirty bubbles on the surface as if just used. Traces of the previous man’s hands, no doubt.

Apartments were dark, too, but these often had hand soap in the bathroom sitting near the faucet. The pump kind, frequently diluted with water.

 

4. ADJUNCTIVITIS

 

Although Colliver and Vera more or less split their bills down the middle, excuses for his continued financial decline were generally believable and given a pass. As an adjunct professor he sometimes went a month, even three during summer, with no pay. Often when he saw the word adjunct on his contract, or on the door to the windowless office where all the adjuncts were housed tightly like a group of monosyllabic, pink-eyed ogres with empty desk drawers, the entire notion of adjuncting struck him as a condition, an infection of some sort, rather than a job. A cycle, a vicious one that offered satisfaction sometimes for a moment or two in the classroom, but always left him wanting: money, health insurance, a feeling of indispensability.

Because of this and due to their rather steep rent, Colliver and Vera lived without certain conveniences, namely comfortable furniture, allowed in part, and an unspoken part, because they weren’t actually lovers. If they’d been lovers the squalor would surely have been unacceptable and lead to depression, stony silence, or explosive fighting. Vera slept on a futon on the floor, Colliver on a ratty couch; they had no real stuffed furniture, only a couple of folding chairs, a table they’d picked up on the street along with a pair of bookshelves, and an eighty dollar splurge black lacquer café table from Target with padded benches that went together improperly so that they wobbled.

Before he’d revealed everything to Vera (finding himself one afternoon utterly exhausted by and unable to keep up with the shifting financial landscape of his lying), agreed to see Dr. Gover and go on Xinaprien, Colliver had never thought of the absence of something so basic like furniture as his fault. But the truth of the matter was that the money he’d spent in his many sexual liaisons the last few years could have easily gone toward furnishing the apartment. And handsomely so, too. Now he understood in a small but certainly horrible way how this unstoppable, driving force had literally impacted his daily life. His and Vera’s. Hour by hour. Minute by minute.

 

5. XINAPRIEN

 

The Xinaprien said hello formally one Saturday afternoon in mid-April shortly before the end of the spring semester. Side effects included bouts of conscience, self-reflection, apathy. It was big, Colliver noticed, on apathy. Additionally, it came with a rustling sound as of leaves. Vera was taking a shower when Colliver first noticed the sound. He thought it was the water. The sun was bright. He listened, looking out the window at the sun, then heard the squeak of the faucet. Silence. Then a moment or two later the rustling sound as of leaves returned, remained. This was how the Xinaprien appeared, announced itself, said hello. There was no Beethoven, no Eddie Van Halen. Only this sound which seemed to have no end.

 

6. ORGANICS

 

One night shortly after Colliver had come clean Vera decided to try and find out where it all began.

“What about your father?”

“I don’t think my dad did this type of thing.”

“No,” Vera said. “What about him as a root?”

“He’s dead,” Colliver said. “I’m sure by now he is a root.”

“Your mother, then. She smothered you, right?”

Colliver didn’t really know how or why it began. He had admitted both to Vera and to Dr. Gover that women’s feet had long been a factor. Sometimes he thought that if he’d lived in another American era when flesh was less a public focal point, the early 20th century for example, the deviant impulse might never have begun to grow. Now feet were big business: in commercials, magazine covers and ads, book jackets, the internet, the street. Feet became a gateway, a suggestive lead-in to something else. Not all, but some. And while this was nothing he liked admitting, made him feel strange in the extreme, he was told that the admission was in fact a necessary part of his recovery.

“Maybe I should take a break from teaching then,” Colliver suggested to Dr. Gover during a quick follow-up visit shortly after the Xinaprien had made its formal appearance. “I see feet everywhere.”

“Absolutely not,” Dr. Gover said. “It’ll be a good part of the process to fail.”

“Good to fail?”

“Allow the Xinaprien to work organically. What occurs in your system at the point of engagement is no different really than if you were shooting heroin. The physiological effects can be the same. In time the Xinaprien will be a little like manually switching off a bunch of lights, unnecessary lights, until those lights cease coming on altogether.”

“Isn’t that a bad thing, though,” Colliver said, “turning off lights?”

“I said unnecessary lights. You’re still operating under the impression that because you’re not ingesting a foreign substance, the feeling—the high—you get from this behavior isn’t physically detrimental to your system. You have to try to begin to see beyond the ethical or moral. The physiological concerns are real, too.”

“And the rustling sound?”

“Is it constant?”

“Almost always,” Colliver said.

“We can alter the dosage if you pre—“

“No,” Colliver said abruptly, concerned about losing the sun. “Leave it.” He felt he could live with the rustling sound so long as the sun didn’t go on him, which, to date, it hadn’t.

So he’d left the office that day thinking that feet, once part of the impulse, were now, under the Xinaprien, part of the control. Dr. Gover wanted him to see—no, that was wrong. He wanted him to look, but not see, allow the blindness to embrace him. Of course, these were not the doctor’s words. At least not specifically.

 

7. THE LAST ONE

 

Colliver often liked to think of the last one just as much he lived in a state of anticipation over the next one. The last one was known, etched in memory, the dark rooms, the images of himself and the other, the lamps, the bathrooms, the soaps, the smells. There were many smells: Chinese food, incense, desperation, semen, perfume, cigarettes. The next one was a fire of anticipation, a potential moment to coagulate hope, like what he imagined, if it could be recorded, what a fetus must experience moments before birth, or someone about to enter into death. Horrible but unable to deny a rising wave of unearthly release. This is how he’d described it. How he’d heard himself describing it to Dr. Gover and, since coming clean, to Vera.

 

8. COLLIVER’S FATHER

 

Very small, very far.

 

9. COLLIVER’S MOTHER

 

With fangs.

 

10. SANDALS

 

By the end of April he was doing what he could to avoid his usual triggers, accomplished to some degree by staying home a good deal, although this proved difficult with spring in full bloom at the window and pulling at him like two hands around his mid-section. Pulling and pulling.

“Make it through one day,” Vera had told him the morning of his last class of the semester, “then the next. You know how it is. Focus on now, not later, or then.”

But in class that final Friday it took all his strength not to take the sight of painted toes on display in wedges, flip flops, gladiator sandals, dress sandals, etc., and run ravingly mad to the nearest payphone, the one which held countless layers of Colliver’s fingerprints, and dial any of the numbers he knew by heart. In fact, though it was evident that the Xinaprien was becoming righteously established in his system, his desire of late had felt that much more acute.

Between classes he left the campus building where he taught Ethics of Writing and ran to the payphone on the corner of Sixty-Eighth and Lexington.

“Ten six,” Colliver said in a flat monotone, though he noticed for the first time that at these code words, the numbers of his birth date, he began to choke.

“Who it is?” the woman said. She was Latina. There were, it seemed, many Latinas.

“Ten six. Are you available? How’s one o’clock?”

“No one o’clock,” the woman said. “I do two. Okay?”

“No,” Colliver said. “One.” His next class was over at 12:50 and the thought of killing an hour, feeling as he did right then—sick, choking, but like someone had gutted him with a knife and his insides were pouring out (normally he felt they were filling up), drowning everything around him, filling the change receptacle at the bottom of the payphone, swamping the parked cars, bashing out the store front windows and the plastic domes covering the streetlights, knocking women’s shoes right off their feet as they passed by—all of this absolutely terrified him. It seemed he was losing or had lost the cold, calculated language necessary to navigate these channels properly, and thus the window that he could crawl through toward this feeling then back out like it hadn’t happened was beginning to close. Normally what was key was walling it all together, the feeling, the calling, the anticipation, the act, the slipping through the window then back out, as if to suffocate the down time of his life with it. That’s how it had to be. How it worked, what made it important. How he felt truly alive. Without that, without it he…

“One o’clock,” Colliver said again. He didn’t recognize his voice. In these moments everything around him in this public space usually went mute, but now it all simultaneously came into rapid, clearer cymbal crashing focus: the sound of heels and tires on pavement, the blaring of horns and chewing of food, the hairstyles and the color of the clothes, the scent of perfume or cologne, the way a briefcase was swung.

“Hello,” Colliver said loudly, choking. But the woman had hung up.

 

11. LANDSLIDE

 

He didn’t raise the concern with either Dr. Gover or Vera, but little by little Colliver arrived at the conclusion that a primary component of the Xinaprien had to be a kind of torturous element whereby it didn’t stop one from participating in whatever illicit behavior they or their loved ones were trying to get them to give up (the appetite raged on in him which is why he kept quiet) but made the act utterly void of any feeling altogether. It used to be why he got up in the morning, but now, unable to stop, it felt like self-imposed torture. Like a place in between one’s conscience, a cold objective place where the subject was forced to watch itself go on through the muck without registering a feeling or sensation one way or the other.

 

12. GOING ON

 

Colliver went on.

 

13. THE GIRL FROM CALIFORNIA

 

He saw the girl from California a total of five times, deep into summer, before the incident at the Marriott Hotel. Actually, he only really saw her twice: blowjob the first time which Colliver felt was conducted far too theatrically; second time it was a handjob which he insisted on when she took out a condom. Both times he failed to achieve orgasm. In thinking about it much later, he realized that he had never once checked the bathroom. Did not look for soap. Fallout, he assumed, from the Xinaprien.

The girl from California with the 415 area code was terribly pretty, had a reasonable rate ($100 for a short stay), dark, shiny hair, and dead black eyes that betrayed everything when she smiled with her perfect white teeth. She was tan. During the first two times Colliver had seen her, when he’d more or less gone through with it—sex was extra and he didn’t have enough for that—she didn’t take off her yoga pants but did let him see her breasts. She chatted casually throughout. The TV was always on and normally he could ignore it, but now he couldn’t help watching for a minute or two. Judge Judy. Another time it was Maury.

After this Colliver made two more appointments with her, each one ending in his not being able to commit either way: he had the money out, but couldn’t put it down, wouldn’t put it down. At the same time he gave no indication that he wanted to leave. Perhaps, he thought, this really was the Xinaprien’s torturous process. He felt he was outside, above himself, watching, unable to go forward or back. He had the feeling, the driving force, but he couldn’t put the money down on the bureau, undress and then fall, fall, fall to the mattress.

The third time this happened the girl from California was clearly annoyed, but she said she understood and let him leave without hassle. The fourth time, though, she found it hard to control herself.

“You have to pay me or you can’t leave,” she said. “Half at least.” Dark, small, strong, without waiting for a response she gnashed her teeth dramatically and kept her body flung up against the door so that Colliver had to physically move her out of the way in order to make his escape.

The fifth time he made an appointment with her was when the incident occurred. Colliver, increasingly sunk in a murky state by the Xinaprien, had thought little of the fact that over the phone the girl from California had agreed so pleasantly to see him, for she had made it quite clear the last time, the fourth, that he shouldn’t even think about dialing her number again.

But he had, and now he was on his back, on the bed, fully dressed, relaxed for the most part but saying he wanted to cancel, saying it as if to no one in particular. The girl from California came and stood over him, then with her lithe body climbed upon him like he were some kind of apparatus, one knee on his mid-section, a forearm across his chest, and repeated the word like she’d never heard it before.

“Cancel,” she said with her white teeth and dark mouth. “Cancel?”

Colliver, sensing a vibrato that scared him, lifted his head and looked around suddenly as if he’d fallen asleep. For a few moments they struggled gruntingly, wordlessly, in a rubbery maneuvering of palm-clasped outstretched arms. Colliver could not see the girl from California’s teeth now. They were hidden behind her pressed, whitened lips. He was surprised at her strength, or perhaps his weakness, but soon he managed to get up, moving her abruptly off him and onto the mattress so that she bounced, shiny black hair fanning out over her face. Colliver, dazed a bit by the exertion, got his bearings and turned for the door at which point the girl from California screamed “now!” at the top of her lungs and another girl, just as small and dark and beautiful, in a fuchsia mini-dress and white heels, bounded out of the bathroom (which once again Colliver hadn’t checked first as he normally did) and leapt onto his back.

Cancel?!” she screamed. Apparently she too was taken with the word. Colliver spun wildly around the room with this girl on his back. Her rage was savage, and now she violently scratched and pulled at his neck with her long fingernails like she was intent on getting down to bone and cartilage, until in one quick motion he turned and flung her to the bed.

The two girls from California (at some point amidst the chaos Colliver had decided that the second one was from California as well) gathered themselves and looked as if they were going to join forces and rush him. But they didn’t. In fact for a time no one moved. The three of them only stood and stared at one another in their heavy breathing silence, in the embarrassing ashes of this particularly horrible human moment, until Colliver, clutching his bleeding neck, backed out of the room and eventually exited the hotel.

 

14. A RUSTLING SOUND AS OF LEAVES

 

Almost constantly.

 

15. FLUNG ABOUT THE CRAVING FOR A FELLOW

 

Some time after the incident with the girl from California, two, maybe three weeks, Colliver went to a payphone and dialed her number by heart, the one with the 415 area code. He listened to an automated voice indicating that the number was not in service, hung up, then slipped the quarter back into the silver mouth of the payphone and dialed again. Once more he heard the same recording. Since the quarter kept coming back he kept using it, slipping it in, punching the numbers, knowing he was dialing right, always getting the same recording and yet trying again.

Eventually he must have gone home, left the payphone on Sixth Avenue and Fifty-Fourth, but it felt to Colliver as though he’d remained there for many days, inserting the same quarter, dialing the number, hearing the recording. The dialing, the action of his fingers, was like digging. Deeper and deeper digging into something that simply wasn’t there.

 

16. TASTE

 

It was some time in early September when he lost the ability to taste. Desire was more like it, for it wasn’t so much a literal loss as it was a steady revulsion at the thought of tasting, all people tasting, so that something switched off in his mind and it became difficult to eat. He dropped weight. The steady decline of his triggers, feet, cleavage, teeth, payphones, and the great sun, continued daily, becoming smaller and smaller. The urge, however, the desire, remained the same.

 

17. TELEVISION

 

Never off.

 

18. DAYS

 

“It’s like having my eyes propped open with toothpicks. What was that from? A cartoon? A Clockwork Orange?” It didn’t matter. This is how it felt to Colliver now, always feeling the urge, rushing to a payphone, choking through an arrangement, sometimes getting himself into a room, everything dim, dim, dim, but not out. Never out. Not fully blind. He’d been wrong. Seeing himself work through the motions for days (forty-six, ninety-six), but never once going through with it.

“Cancel?” he heard on more than one occasion. “What do you mean, cancel?”

Door after door smashing his backside on the way out. Apartment doors were bad, but hotel room doors were downright dangerous. Once, he returned home to find a split and bleeding welt on the back of his head. The anger, the screaming, the scratching, all there for him to hear, see, feel, watch. Without end. “I’m no longer alive,” he often thought. “If so, I’d be able to stop.” He thought this as he watched himself going through the motions, unable to stop. Everything else, all other considerations, escaped him.

 

19. AN AUTUMN, AN EVENING

 

Colliver could tell from the colors of the trees, the depth of the sky at mid-afternoon, that it was autumn but how many summers, falls, winters or springs had come and gone in order to arrive at this point he didn’t know. It felt like several cycles of seasons had come and gone. There was with him now the feeling that something was not fully arriving in his life, and a constant sense that it was evening, despite the sun shining clearly in the bluest sky. A feeling that it was late. Vera was there, but often for long periods she wasn’t there, too.

“I was silly to think I could finish you,” he heard her say once.

“Finish me,” Colliver said. “You mean kill me?”

“No,” Vera the caretaker, the fixer, said. “Complete something. Should I go?”

“For a time or for good?”

“I’ve made it too convenient, probably. There wasn’t enough at stake.”

She was right, Colliver thought, for there had to be a structure for a life, a pattern, rules, something by which one could eventually find their way into an upright, standing position. It had never been beautiful, he saw that fully now. In fact he saw that it was the very opposite of beauty. Still, it used to be why he got up in the morning, shameful as that was to admit. Even if he hadn’t planned on a call on any given particular day, even if he didn’t make a call for weeks, it had once been the thing that got him up in the morning, stood him up, put energy into him to get from one point to the next. Go on upright, aware of life’s grand possibilities.

Steadily though, on into whatever autumn it happened to be, these feelings had left him, been bled away, choked. A putting out, a switching off of lights. Unnecessary lights. So he was told.

 

 

 

BIO

Joseph De QuattroJoseph De Quattro has new fiction forthcoming this summer in Pennsylvania Literary Journal, and has had short stories published in The Carolina Quarterly, Turnrow, Carve, Zahir, The Washington Review, and Oyster Boy Review.  His fiction has been nominated for a Pushcart Prize, and he is currently working on a new novel.

 

 

 

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