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new poetry

Lauren Martino

Artwork

03/20/2015

The Art of Lauren Martino

Women We Worship

by Lauren Martino

we worship the women who are barely there
pigment void eyes
and platinum white hair
her torso is so thin she threatens to disappear
her skin is so white it’s verging on clear
she is a silent image with no voice of her own
she is an object of perfection — a capitalist drone
she is the height of Dennett’s zimbo —
the disengaged bimbo
and we’ll never hear her theory of mind
and she’ll never skull-crushingly illuminate humankind.

But there are these women who are filled to the brim
with pigments so demanding —
as to color the passion within
with voices so loud your brain will vibrate
and you will thank her out loud for showing you heaven’s gate

Her curves are fierce with unapologetic life
and her enormous dark eyes strike like an amorous knife
We must worship the earth as we worship the air
we must worship the women who are actually there.

The Vision of Collision

We are perched on a peak as we watch it collide,
deep and destructive.

The static in our veins
is the wreckage of the week
and the avalanche has become conductive.

We will see it unfold
before we have time to catch up
and the bottom falls out all over.

We crack like eggs into a syrupy glue,
the contents of our souls simmer out like steam.

We are but a dream in the land of a baffled philosopher.

And so we lay naked,
confused,
soulless,
in the contents of one another
hoping to make something more than a child.

More than another one
of what we are
or always were
or became.

We are the seams of dreams
meeting as one defies
the Other
and we seek to retreat
from the hearts pulse
into the cosmic beat.

Internal Battles

Claustrophobic thoughts, I must be insane
Packed tight in the tousled tubes of my brain
Electric, shaking, wild, and dense
A vicarious vacuum of intangible sense.

Conflicted and raw, my heart beats in my eyes
Pick the wrong card and the fantasy dies.
Muffled truths cry out in dirty-rotten air
You’ve said it before mama, you sincerely don’t care.

But ill stand idle in the night neglecting the drowning hours
Dismal and dead are their strong standing forever-powers.
Callous deceiver,
Your mind is so weak.
Notorious griever,
Your moans are so meek.

Now picture this

Without word or a rhyme

You drop into space

One inch at a time.

Give me your eyes
I can give them true vision

Now give me your heart
It’s not your decision.

Artist Statement:

It feels as if I am filling in an impulse, or a beat, what feels like an intuitive template or scaffold that I never asked or looked for. The process of my work often feels more like an unfolding rather than a directed venture there is never a point A to B, Its a point A to which ever point feels natural. My portraits are all informed by the psychology and personality of the subject as well as my own state. I strive to find an integral balance of external and internal impressions, a marriage of the objective and subjective. I would consider my photography to be an attempt to use my perspective and addition of various edits to reconcile the objective information a camera provides with the subjectivity of the shooter’s perspective and imagination. Finally, my abstracted pieces are the expression and solidification of something that I cannot verbalize, they are physical imprints of my innermost personal interpretation of reality. All of my pieces are learning experiences, I have mastery over none of them nor do I attempt to, i wish only for my pieces to reflect intentionality and to have autonomous agency.

BIO:

My name is Lauren Martino and I refuse to write about myself in the third person. I paint, I write poems, I take pictures, I draw, I sculpt, I build sets, I make things. The day I stop learning is the day I die. I am the daughter of two painters who gave me the experience of a lifetime by raising my twin brother and I in a building called Westbeth Artists Housing. I pray one day to be at least half as talented as they are. Taking summer classes at FIT throughout my adolescence had an enormous part in shaping me into who I am today. I am currently embarking on a new journey as a part time student at the New York Studio School. I have shown at Westbeth Gallery under the alias of Heather Bridges because if they knew how old I was they wouldn’t have accepted my work. I have worked as a Set Designer for the ID channel and other independent projects. I am young, with time I will collect more anecdotes to inspire and impress perfect strangers, but for now this is me and that is all.

To view more of Lauren’s work:

Marina Carreira

Poetry

03/20/2015

Capela da Nossa Senhora dos Aflitos

by Marina Carreira

Here on my side of the ocean, the mist
is a mantle of woolen smoke around the cliff
so many women have jumped from. I walk

steadily to the old chapel so many fisherwomen
have prayed in for the return of their husbands,
but I’m not here to pray. I stand and bear witness

to the crumbling blue and white tiles that form
the Blessed Mother of the Afflicted, the saint
of women plagued by fear and famine, phantasms

of both the mind and the body. No one knows I’m here
to plead for my mind back, for the return of the brain
that belonged to a woman who feared nothing.

To the kneeling woman on my left and the two
to my right, I am nothing more than an overwhelmed
tourist who forgot her camera but doesn’t care.

Rain is coming, and that is one less thing to get wet.
Later, on your side of the ocean, you tell me
about the sweltering heat of mid-afternoon in Newark:

It’s murder out here, even the sparrows stick
to the bark of the cherry blossoms to stay cool.
And we all know how they love to fly, so imagine.

Requiem for the Heart

Tiny purple gris-gris bags,
swimming in circles in my chicken soup.
I pick them out
and lay them lifeless
on the side of my plate.

The 4×4 cut-out
cards I exchanged with only girls
in my 5th grade class on Valentine’s day
now boxed
in my mother’s unfinished basement.

That pink birthmark,
a wet kiss on your lower back
hip. Your father has the very same
one he covers up every day
with Wranglers.

Hanging off the gold necklace
he gave me the Christmas after
we lost our virginities,
in it, our picture:
eighteen, unwounded, wide-smiling.

What my grandmother says
men are good at
eating. Easy like oranges,
their teeth slowly separating
each chamber.

En Route to Montreal, on Our Anniversary

5:36am

Day breaks slowly over the Catskills,
tree trunks scissoring the light.

White and wide as whale teeth,
lines divide us

from other cars on the Thruway.
I’m some spare part

of rib – rheumy-eyed, documenting
all my grandmother would call madness.

5:36 pm

We stop at Betty Beaver’s Diner
in Lewis. The heavy-lidded waitress serves us

bread and eggs as curry yellow
as the afternoon sun

breaking through the window’s grease.
Home feels four thousand miles away,

and it’s been nine lives since I overheard you
say Marriage is overrated.

BIO

Marina Carreira is a Luso-American writer from the Ironbound section of Newark, NJ. She holds a BA in English from Montclair State University and a MFA in Creative Writing from Rutgers University. Marina is an adjunct professor of English at Essex County College and a correspondent for the Luso-Americano newspaper. She is curator and co-host of “Brick City Speaks”, a monthly reading series at Hell’s Kitchen Lounge in Newark, NJ. Her work is featured or forthcoming in The Acentos Review, Naugatuck River Review, Writers of the Portuguese Diaspora: An Anthology, and Paterson Literary Review.

Kent Kosack

Poetry

03/20/2015

Spent Grains

by Kent Kosack

Once it was salvation, that

First cold sip, the bitter notes.

So bitter!

The malty sweetness.

The bubbles in my nose.

The sun playing across the

Lot, shimmering with heat,

The empty chairs, the

Barrels of spent grains.

Once it was just so.

Then, things went astringent.

Bad end notes.

So bitter.

The way you stormed out,

Theatrical, past the grains,

Spent.

So bitter.

The attic

Youth is what you loved.

Yourself too. And maybe the

Margaritas we used to drink

Naked and close, in front of

An old air conditioner. Our

Own world, that patch of

Cold in an otherwise

Sweltering attic.

Your hair

Close-cropped it falls,

Thick and full and defiant,

Escaping through my greedy,

Searching fingers.

No one likes

Goodbyes.

Commute

Barreling down the hill towards (a job, I’ll say it, but who cares? It’s not me. It’s life in the cracks that counts) downtown, a piston, Barry Allen, a demi-god.

Yelling, straining more with the song of it than anything else, a half-remembered tune (from the Muppets?) humming inside me somewhere.

Approaching now, the road narrowing, options narrowing. The winnowing of a day. I, the chaff. And silence. Waste. A day-long suffocation.

Stepping heavily up each stair. Each. Stair. A change in atmosphere. Pounds of pressure per square inch, pressing, bearing down. Like astronauts in training.

Astonishing. A vast wonder. Lost in it. You can hear it—or not. What is it? (a tether to an unseen weight) All about, the void.

BIO

Kent Kosack teaches English and writes poetry and prose. He lives in Seattle.

Claudia Putnam

Poetry

03/20/2015

Ain’t Got No

by Claudia Putnam

In grade three Scotty said I ain’t got no
lunch money. We were delighted.
We crowed, That means you do.
If you don’t have none, then you have
some. Mrs. Cole, otherwise kind,

had just taught us the double negative.
But Scotty, one of those kids always
moving, dirty, in trouble, starved for food,
kisses, laughter, anything and everything,
still had no money for lunch.

Some languages would let Scotty
have his doubled poverty. Russian,
for instance, negates everything.
U nevo ne bylo nichevo. Literally:
In his possession nothing of anything wasn’t.

U nevo is interesting. With him, beside him,
near him, in his possession, in his situation,
in his position, he is characterized by.
Most common English translation: he has.
U nevo nichevo. He has nothing.

English gathers round Scotty, jeering.
Don’t you know how to talk? Haven’t
you learned anything? Can’t you think?
Russian isn’t concerned with that logic.
Russian is concerned with nyet.

Nikovo nikogda nigde nichevo ne bylo.
No one never nowhere nothing was not.
A person with no lunch money could say,
U menya nichevo, ni deneg, ni obeda.
I am characterized by nothing,

nothing of money, nothing of lunch.

This Isn’t Really Happening

My black bird was bigger,
my mountains were burning.
The snows stopped coming

sometime around 1999. The wells
dried. The shower sputtering
with soap in my hair

so I was always late. That tame crow
someone set loose spying
through the skylight, jeering.

How many ways is that? Each year
the river running thinner,
fleeing its shrinking glacier.

The Arapaho said the thunderbird,
black as any bird
gets, lived just west of here.

Someone must have seen it,
the day it flapped away.
We don’t get regular afternoon

stunners the way we used to.
You could set your heart on
those 2 PM monsoons. Biblical

lightning, all that water. Now: rusting
Ponderosas, centuries old,
disrobing. All good things

must end. Perhaps nightmares
also end. Not perhaps
in our lifetimes.

Poor lost crow, these are not
the best of times
to be falling asleep.

Sync

A few months with other women,
a woman bleeds.

Ten years’ time, a woman synchronizes
with her man.

Over thousands of miles, your arousal
brings my body astir.

Men make movies, you said—now they loop
through my head.

Golden locks on our dark headboard,
naked ass raised.

If I were making this up, I’d be watching you
both; the camera’s on her.

Your currents churn through my body;
don’t think I don’t know.

BIO

Claudia Putnam’s work appears in I-70 Review, Weber: The Contemporary West, Literary Mama, Barrow Street, Artful Dodge, Cimarron Review, Confrontation, and in many other journals. A chapbook, Wild Thing in Our Known World, came out last year from Finishing Line and is available from Finishing Line Press and on Amazon. In 2011-12, she had the George Bennett Fellowship. In 2015, she’ll be at Kimmel Harding Nelson. www.claudiaputnam.com

Kelly Thompson

Poetry

03/20/2015

Legacy

by Kelly Thompson

My mother always said
(Giving me a look)
“You’re just like my mother.”

I see Grandmother’s ghost
In the corner of my eye
At the supermarket again today
Rounding the bend of an aisle, she
Pushes her shopping cart in rage
Her wet heart calls – Escape! I follow her
Path among the produce; she steals a grapefruit
Offers me an illicit berry – “Here take it”

Mother washes a dish, sighs
“My mother was not domestic.”
Dries a plate, “You should never get married.”

Back at the supermarket, Grandmother runs, crazy
Through the aisle, throws jars of pickles, relish, capers
Crashing to the floor. She screams, “No more!”
I bend down among the vinegar, the rolling
Olives, pick up the red pimientos.

“You’re just like my mother,” she would say.
My mother, dusting the piano, looking off
In the distance, wistful.

The chill air prickles my arms, sleeveless
The condiment shelves empty, price tags
Intact as if to remind us of the cost
All the jars
Smashed – ketchup and mustard, salad oil, peppers –

Grandmother and I bend
Reaching for the same jagged shard of glass
Her eyes my mirror, I kneel
Before the shadow of her early death
Her aborted
Passion.

Colorado

Denver is the capital city of Colorado. My heart is the capital of a small frozen pond.

All of the “Beulah red” marble in the world went into the Capitol. It cannot be replaced.

Flower – Rocky Mountain Columbine (1899)

Left on my porch in Blue Jay, California for my 42^nd birthday.

Colorado was admitted to the Union August 1, 1876. I was admitted to schools, hospitals, psych wards.

Tree – Colorado blue spruce (1939)

Hunkered down in Alaska, blue spruce between me and the neighbor.

Colo. is the abbreviation for the state. My mind abbreviated by grief.

Bird – Lark Bunting (1931)

Sorrow my sparrow, as soon as I left: a murder of crow, a kindness of raven.

The area of Colorado covers 104100 square miles. Circles I made in the snow.

Animal – Rocky Mountain Bighorn Sheep (1961)

Exposed on the cliffs the day I got up from the table. The world’s largest flat-top mountain is in Grand Mesa.

Colorado was the 38th State to be admitted to the Union. I admitted, at last, only to failure.

Gemstone – Aquamarine (1971)

At the western base of this ancient chain of granite peaks was once an inland sea. Still,
I kept trying to get out of the boat.

The three largest Cities in Colorado are Denver, Colorado Springs and Aurora. Minus 47 murdered in Denver.

Colors – Blue and White (1911)

I said yes to the stretched out hand and walked on water.

The Colorado State Motto is “Nil sine Numine,” translated as “Nothing without Providence”
And just it is that I should pay the rent.

Song – “Where the Columbines Grow” (1915)

I shall already have forgotten you when the river runs red.

Shape of a Song

Who stole it from me father?
Fear of the water is inborn in some.
Your great-grandmother was a witch. You’re just like her.
Her power lay in the words she controlled. She had a pack of wolves, a swarm of bees, a murder Of crows.

Father said she read his fortune in tea leaves but when she looked into Gene’s cup she turned, Refused to tell. She wanted a pair of silver shoes.
It’s a gift, she told him. You’d have to sell your ____ to the devil.
But even she was afraid of the dark.

The witch’s daughter told the great-grand-daughter how it would be. She sang her into the shape Of a song.
She lived so long that a little girl could outwit her.
Father would not spill the water though the creek ran high.
The Wicked Witch of the West was destroyed by water.

The place we would step into the current will not come again.
But first, she starved the Cowardly Lion.
In the wagon they carried their most prized possessions, a guitar and a fiddle.
The witch’s daughter rode shoeless.

The witch foretold that men would land on the moon.
She saw the writing on the wall.
She named their firstborn but they declined the gift.
They preferred a new rhythm.

In time and space, they gave their children something blotted, blank, something human,
Where before, a melting witch lay steaming on the floor.
Father, said the daughter, I still carry her bequest.
The remnants of fires lay banked around them.

You were born without a ____, he said. Consequent bastard, he said.
The silver shoes I have thrown in the ocean.

BIO

Kelly Thompson’s writing has been published in 49 Writers, Manifest Station, Metrosphere, Limp Wrist, and Reflections: Narratives of Professional Helping. She has won awards for her poetry from Writer’s Digest and was awarded funding to attend Key West Literary Seminar based on her short fiction. She is currently working on a memoir entitled Oh Darling Girl. Just as the narrator gets sober, one of her two barely adolescent daughters descends into addiction and rebels against her mother’s new found lifestyle of recovery. As the narrator struggles to save her daughter and face down a transgenerational legacy of violence, addiction, and shame, the lives of grandchildren hang in the balance and heartbreaking choices must be made. Kelly is also currently working on a chapbook of poetry focused on the themes of ancestry, transgenerational trauma, and legacy. Besides writing, Kelly is a psychotherapist who primarily works with soldiers returning from the wars in Iraq and Afghanistan, and their families. Kelly lives in Denver, Colorado, in the sunshine of the spirit. You can follow her on Twitter @stareenite.

John Lowther

Poetry

03/20/2015

Selections from 555

by John Lowther

You know, this stuff you put four drops in a pot with boiling water and feel like a koala bear goin’ wild on drugs.
And even more starkly, there’s a very clear trend in the data, where each step up in waiting time results in a higher risk of death.
It all looks more than a bit scruffy; there is nothing along the road to soothe the eye, no riots of flowers to cheer the heart.

I get off where thought addresses the unthought and articulates itself upon it.
The occasionalist argues that all events are radically independent of one another.

Only through communism can we come to experience our bodies again.
Despite the title this is not about finding your soul mate.
The preamble explains why this matters and where this is going.
This is non-reg, but the cops have better shit to worry about, especially when it doesn’t impact the corporati.
Death is a black camel that kneels unbidden at every gate.
Frosties are just corn flakes for people who can’t face reality.
If the tweetstorm is right, this is a pretty grim situation.
The ego is the theology of free enterprise.
All theory of knowledge has sexual connotations.

I welcome the dead into my soul.

It uses many of the genre tropes, little kid, estranged family, nobody who believes, creepy house in the woods.
The world is its own best model.
The problem with all of my dreams is that I don’t speak the language.
Here’s some Swiss cheese and some bullets.
Don’t fall in love with yourselves, with the nice time we are having here.
It’s a fast-paced sci-fi trip.
The ride to complete the loop from the mine was on a diesel engine, which blew out lots of debris.

But what about those things out there.

A revolution without dancing is not a revolution worth having.
They were too close to the door to close it.
In the back seat was a fur coat, and in the street was blood mixed with car fluid, nail polish, lip gloss, baby booties, a toy piano, condoms, and a collection of music on compact disc by Andrew Lloyd Webber.

Vacuous suavity remains the abiding deficiency of self-consciously ‘good’ writing.
One is always responsible for one’s position as a subject.
Thus, by building robots, our intention is to learn something about intelligence, and not so much to build technologically sophisticated robots.

Judging from your pictures, you hate facts like poison.
The wind tunnel tells them all the same thing.
Sometimes I text myself a little pick me up.
I like knitted hats and I like vinyl records.
This is the traditional modus operandi of the sophist.
Without judgment, because it is judgment that defeats us.
Please try to stop shaking now and just breathe.
Don’t ever be yourself, it’s the kiss of death.
Let’s talk about spout fluid beds, fundamentals and applications.

Desire is the crucible within which the self is formed.
If you’re on board you’re on board all the way.

BIO

John Lowther’s work appears in the Atlanta Poets Group’s anthology, The Lattice Inside (UNO Press, 2012) and in Another South: Experimental Writing in the South (U of Alabama, 2003). Held to the Letter, co-authored with Dana Lisa Young is forthcoming from Lavender Ink in 2015. John also works in video, photography, paint, performance and other mediums as the need arises. He’s writing a dissertation to reimagine psychoanalysis had intersex and transgender lives been taken as foundational for understanding subjective possibility. He blogs as Lowtherpoet at WordPress.

Gerard Sarnat

Poetry

03/20/2015

Where Erasers and Wastebaskets and I Am Kept

by Gerard Sarnat

I work for two desks.

One overlooks the sea, the other the forest.

The former is Lucite. Uncluttered. It’s all about open water.

The latter’s socked in by zealous woods plus sentimental photo fog.

On holidays overlords undo my chains, force me to go outdoors.

BIO

Gerard Sarnat is the author of three collections, 2010’s HOMELESS CHRONICLES from Abraham to Burning Man, 2012’s Disputes, and September 2014’s 17s. He is now working on Patriarchs. Harvard and Stanford educated, Gerry’s set up and staffed clinics for the disenfranchised, been a CEO of healthcare organizations and a Stanford professor. For Huffington Post reviews, future reading dates and more, visit Gerard Sarnat.com. His books are available at select bookstores and on Amazon.

Ho Cheung Peter Lee

Poetry

12/19/2014

Coffee

by Ho Cheung (Peter) Lee

New shop opens downstairs.

His affair with caffeine wakes

him punctually against every medical

advice. Acting some forty odd years

he enters the shop being a Frenchman

with the slangs and winks and all.

The coffee today as dark as ever.

He thins it with water and honey

for that differs it from the coffee

perceived by him as toxic.

He takes one sip after another;

each sigh a chronic suicide.

What matters now

is not the days in his pocket, but

the forbidden cups in which he still

manages to find his flesh and guts.

First day we meet though.

A pat on the back of my head and

he leaves with glints of gold

in the majestic storm he carries.

Without

Whose good heart —

cursed as he bears his face

poisonously elaborated by this

monstrous bulge of growth.

Other than his right eye,

he gave up every facial feature

in this complex of meat and

feral veins doubling his head now.

I tried to visit him again today.

The Internet inference brought

me to the decapitated victim

of some Israeli governmental

acts though; and in that prismatic

mass, I saw myself kissed by the

Pope as he mistakenly took

me as the disabled boy from

Rhode Island. And why not?

I was inevitably reinvented

from my sacred obstinacy

against you;

your shampooed hair

still murmured the weight of

your sockless feet.

2700 fps

The sag swelled with fluid crystal,

waiting patiently

for the inviting tip of the lean silver

to pierce its impermissible membrane.

A chosen sperm motionless, it

ruptures the wall of life for life.

The pink layer fractured and

shrunk to set off the hungry fireworks.

A translucent orb uncovered in mid-air,

emitting sparks and mist of diamonds.

Her face wrinkled and wavy

like melting glass.

She gushed downstream naked

breaking into an abstract splash.

Left behind her a galactic brook;

A burning tail of a formless comet

to commemorate the ever-ephemeral climax

of a soundless blast.

Eaden

Term breaks. I was a kid back then only

summered by him returning from Baden-

Württemberg. Five years older this ex-neighbour

under whom I was put ―

the only right thing my parents ever did.

My cell windowed every Wednesday as I

could go. This chamber never had light with

the two crumbling vine-encumbered

trees blackening every vitality. He brought me out

from the water of the pitcher-plant,

washed me with his radiance. His room my

wonderland. We read and gamed. He taught

me how to slice like Graf and counted my

new-formed pack. He lifted the shirtless me

during my brittle chin-ups. Our sweat took

most of the dirt from the carpeted floor

as we wrestled like in the movie

we came back from. Two damp vests

dangled from the corner of that tall

cabinet in the whispers of the air-con.

He combed my bare back that night when

I had my first wet dream.

There was a time when I looked up

the cobwebbed ceiling every night just

to find that stone-blocked opening

through which I last breathed

in the outer sky.

BIO

Ho Cheung (Peter) Lee, Ed.D., resides in Hong Kong where he teaches and writes. He earned his doctorate from The University of Hong Kong with a thesis on teaching reading. His poetry has appeared in aaduna, FIVE Poetry Magazine, Poetry Pacific, Red Booth Review, The Chaffey Review, The Interpreter’s House and elsewhere. His short stories have also been published in Eastlit, Miracle Magazine, River Poets Journal and The Oddville Press. He is the founder and Editor-in-Chief of BALLOONS Lit. Journal (www.balloons-lit-journal.com).

Colin Dodds

Poetry

12/19/2014

Loneliness Grows Stranger the Larger It Becomes

by Colin Dodds

We brought food to their lips. But they would not eat.
We implored them with prayer and self-flagellation.
But they would not be moved.
We blasphemed to the limits of our imaginations.
But they would not raise their hands or voices against us.

Still we fed, praised and cursed them.
Until, with an atom bomb to deflect creation’s question,
we left that home.

Secrets of the Modern Race

My tribe held a gun
to the head of the world,
only to learn
that you can’t just laugh off
something like that.

Babies find it strange
to be born among us.

The TVs fill with fantasies
about institutionalized cannibalism.

And even the billboards concede
that the primordial trust has been broken
in the worst possible way.

The shape of that catastrophe
worry the men all day
and give them erections at night.

“How are we supposed
to get excited, to glow,
unless people are maimed and killed?”
asks everyone, in or near a movie, now showing
all the time.

The ancient processes are short-circuited.
Certain extreme measures unveil themselves.

The urgent center expands,
takes the newspaper as its skin.

Room Without End

The endless room flickers.
Its lightning is line charts and its thunder is poverty.

The endless room makes men and women
equivocal as anthropologists’ apologists,
even in the privacy of their own hearts.

You can do alright here for awhile.
But you’ll never beat the dead man in charge.

BIO

Colin Dodds grew up in Massachusetts and completed his education in New York City. His poetry has appeared in more than a hundred fifty publications, and has been nominated for the Pushcart Prize. The poet and songwriter David Berman (Silver Jews, Actual Air) said of Dodds’ work: “These are very good poems. For moments I could even feel the old feelings when I read them.” Dodds is also the author of several novels, including WINDFALL and The Last Bad Job, which the late Norman Mailer touted as showing “something that very few writers have; a species of inner talent that owes very little to other people.” And his screenplay, Refreshment, was named a semi-finalist in the 2010 American Zoetrope Contest. Colin lives in Brooklyn, New York, with his wife Samantha. You can find more of his work at thecolindodds.com

Kevin McCoy

Poetry

12/19/2014

Phone Rings

by Kevin McCoy

phone rings – eight people answer – i don’t know none of them – vapors through wires boil and collide – center of the sun – they squeak

incinerate the earth in a flash – lay to waste the demon hordes – drive the divine from the day – new sun deals the hand

phone rings – the truth is never nearer – baking winds – summer’s long flames – landing zone is hot

road is eternal in its twists – past fountains of bishops where flows complacency – regret – apathy – can we meet in circles – leave the squares for better people

phone rings – dog answers – he is busy building tombs for me – can’t talk – can i have him ring you back

A Thousand Threads

these images run through me –
a thousand threads.

a thousand burning needles burst
in the black.

the crashing of the ages around us.

voices crushed by radio static.

King Street Aberdeen

king street – aberdeen
i give you place.

long ago.
i give you time.

i give you electric dreams –
desperate wisdom.

i am alone.
top of the double decker.
senior commons room.

face – hands.
i give you flesh.

i am alive.
breathing – dreaming –

stretching for something maybe
forbidden.

my eyes blink blinding
i give you sight.

and for worthless mouths
i give you taste.

BIO

Kevin McCoy’s works have appeared in Forge, Wisconsin Review, Crate, Natural Bridge and several other journals. His collection “Tea in a Bowl” will be published by Unsolicited Press in January 2015.

John McKernan

Poetry

12/19/2014

THE THIN SCAR ON SUSAN’S RIGHT WRIST

by John McKernan

Under silver jewelry & light
Would point at a thread of moon

White shadow
High in a midnight sky
Off-white woven blue thread

In a red background
If ever she noticed me
Noticing that scar
She would whisper some thing

“A beautiful body
Deserves a gorgeous tattoo”

“At least it’s not a rusty bullet
Through a left ventricle”

“It’s me but it’s also not me”

WHY DO SOLDIERS

Carry
Brass knives

Where do they get
All those silver axes
In leather holsters

Who gave them
Buckets
And buckets
Of waterproof melanoma

And how come
Those gold pitchforks
With oak handles
Monogrammed
Sparkling in sunlight

When all it takes
Is a thick tree limb
Or a stone
The size of a small hand
To send a neighbor
A million miles away

BIRTHDAY NUMERO 47

My father died
When he was forty-seven

I still love chocolate cake
Chocolate frosting
Candles in a dark room

My name is
My father’s name
The same sound
But the silence is different

Spools of tomorrow
In green slats
Of sunlight
The letters are identical
Written in granite

PUBLIC PARK

A dog trotted over the orgasm sunbathing on a towel and lifted his right leg

The woman in the black dress walked up to the orgasm and kicked it

The professor whispered “Thank you The word for orgasm in Braille is orgasm”

Waving a shovel in the sand the child might have been screaming at an orgasm

An orgasm snored in a Dell computer box under the foot bridge to the Rose Garden

A large boy bounced the orgasm down the hill as if it were a soccer ball

When shadows of an orgasm floated past the young man’s heart he began running

An orgasm disguised as a prayer floated from the old woman’s lips

Twin orgasms pulled off their see-through bikinis and began giggling

An assortment of daylights loitered calmly Each one bearing an orgasm

The man with the propane tank & a lighter waited to become an orgasm

The orgasms hovering on the motorcycle mirrors winked twice then vanished

One idea of orgasm flew from the apple blossoms to the eye of the old deaf man

BIO

JohnMcKernan2 John McKernan – who grew up in Omaha Nebraska in the middle of the USA – is now a retired comma herder / Phonics Coach after teaching for 41 years at Marshall University. He lives – mostly – in West Virginia where he edits ABZ Press. His most recent book is a selected poems Resurrection of the Dust. He has published poems in The Atlantic Monthly, The Paris Review, The New Yorker, Virginia Quarterly Review, The Journal, Antioch Review, Guernica, Field and many other magazines.

Tamer Mostafa

Poetry

12/19/2014

Sniper’s Rhythm

by Tamer Mostafa

lay belly down
arms overhead
and palms flat
lift shoulders
expand rib cage
move belly
so the dome
of diaphragm
clenches the guts
line rifle on side
of dominant eye
fit butt and guard
into proper pockets
of the body
keep eyes open
relax forehead
jaw lips eyelids
in that order
recognize wind
speed and direction
adjust accordingly
hold breath
identify target
and begin counting
one two
and pull

Walk to the Coffee Shop

Under a crabapple tree
a black cat
lies on its side
absorbing the leaves.
The stench undeveloped.

A crusted napkin
once red in added color
is picked up by the wind
carried to the tunnel’s
graffiti and halogen light bulbs.

On the unmarked street
a truck runs over
sets of rubber rumble strips
that mimic the sound
of premeditated rapid fire.

The Dealers are Sleeping

The lessons become redundant,
how to cover when you crush
on the clipboard. No credit cards
or crisp bills.

It’s minutes before closing
in the Walmart ammunition
aisle. I haven’t been this light
in years.

Here’s the deserted road behind
the river and all those abandoned
houses that come to life after
midnight.

We shoot bullets to the moon
and hope its shattered craters
land at our feet.

There’s talk and scheming
on how to live righteous
when our numb nostrils
and teeth regain feeling.

You’d forgive anything
in this state, unless it’s only
residue lining the inside of my
cigarette pack’s plastic pouch.

I’m sorry. I mistook you
for an old friend. Can you give
me directions to East Manchester?
I have a pickup to make.

BIO

Tamer Mostafa’s work has been featured in California Quarterly, The Rag Literary Magazine, Poets Espresso Review, Confrontation Literary Magazine, Stone Highway Review, and No Infinite. He was the recipient of the 2011 CSU Sacramento Bazzanella Literary Award in Creative Non-Fiction and the 2013 Lois Ann Latin Rosenburg Prize for Poetry.

Tim Roberts

Poetry

12/19/2014

from 244 Passivity

by Tim Roberts

I want this work to appear in the place where it says nothing will

break through. Where subject matter is the action of doing, what

you are given, the act of writing. We are going to be reciprocating.

The budget and bread of the day. But still, open water, as you

contemplate the happening, it is happening. So that if subject can

only be impossible, only that, then, in front of you. Because of our

motion.

The table makes us simplify. When we get to a question of anger.

When we move through the atemporal, we’re saying “must be,”

I think. That’s all. It’s no more than what you do to lay out the

questioning, which is taking that preeminent place of value, which

is the place of value, writing it out, that is, or are you dragging it

in, something about you that did not want you, to be touched by

you, to be remembered so that it forces you to forget, if you try,

writing it out, to put it down, memorialize it. It won’t be.

There’s fear related to thinking. In the box set on marginal

cities. There’s a right way to rhyme, so and so having chosen, the

element. You study and are not chosen. Why not? It’s the material,

which under certain conditions bends, or doesn’t bend but is

molten. Or then, time passing, you go back into the shade, an

attitude, colorless swamp. Is that you? I have stretched the motion

of contemplating. What I seem to be lifting is story itself. The best

of old behaviors, night birds, quiet flying roaming, and a perch,

one eating another one. There is also a bend in the rain. Forced.

BIO

Tim Roberts is a writer and editor living in Denver, Colorado. He is the author of Drizzle Pocket (BlazeVox, 2011) and the director of Counterpath.

Christopher Suda

Poetry

10/24/2014

Christopher Suda

Wonder is a Wooden Leg

Tonight, beneath pores of steam I sat
still in a pond imagining your lungs.
(we can not wait on science to show
us something scientific) there’s just

too many sprigs to gnaw in twos and threes.
(If we’re not too careful heaven will
leave us low, or worse) in beautiful

ripe fields where rulers rip
at explanations. You bend mystery with slivers
built on both of us. Strangers told us we

could never handle another fall; so God
please know we can’t just be your sweet
mistakes.

Caterpillars

The vein caterpillars up,
sucks it down through a glass

straw, then we vanish. Its bliss,
by the mean of memory can not

be resurrected, only performed.
Perhaps no different from death

since itself, too is unimaginable. Others pick
and choose but I can’t.

Angels visit through the doors, observe
the war, (discuss the next) then move

on by foot—wingless as always. While
leaving, one articulates ‘effort’. Farther

wins out each stretch. The photograph is said
to depict a sturdy image of time—So will I.

BIO

Christopher Suda’s poetry has been published in blazeVOX, Wilderness House Literary Review, The Aura Literary Review, Poetry Super Highway, The Wayfarer, Danse Macabre, Drunk Monkeys, and other literary journals. Christopher is currently a twenty-four year old undergraduate at the University of Alabama at Birmingham. He is a musician involved in three current music projects: Philos Moore (singer-songwriter) In Snow (Instrumental), and Loveislight (Experimental Hip-Hop).

Robert Lavett Smith

Poetry

10/01/2014

Robert Lavett Smith

SABLE

“Out of darkness, to begin again…”
—Charles Simic

W. B. Yeats, the story goes,
young and impecunious in London,
rubbed lampblack into his stockings
to hide the rends in his boots.
Barely a century earlier, sailors
burned cauldrons of pitch on deck
to keep water-sprites at bay,
and I’m assured the India ink
generations have counted on
is nothing more than midnight’s tallow
fat with the leavings of guttered fires.
In the middle ages, sable showed—
dare we say it?—its darker side:
blood pooling beneath fevered skin
lent a name to the scourge
that tested the piety of saints.
Notwithstanding, I trust the darkness:
moist flannel enfolding a summer night,
stars pinned like disappointments
to its unblemished mystery.

AFTER THIRTY YEARS

Helmer’s, Washington Avenue, Hoboken

Carved wooden bar darkened by the weight
of a ponderous century, ornate scroll work
to which the grime of the late Victorian era
still clings: how little changed it all seems
since I lived nearby decades ago, although
the pert, twenty-something bartender says
everything was refurbished after a fire upstairs,
smoke and water having scarred the walls.

I savor again familiar smells of old varnish
and sunlight. The same elegant antique mirror,
silvered crystal brimming with shadows,
runs the length of the counter, behind the bar.
But whose is this stranger’s face, skin wrinkled
and loosening, that peers incredulously back
through the glittering bottles of aged whiskey,
imported tequila, Fernet and Tanqueray?

AN ACCIDENT OF WEATHER

A.T. S., Oberlin, Fall 1977

Try, if you must, to persuade me
that this street so slick the asphalt
shouldering the morning mist
shines as it might after rain,

this street where a cataract sky
is mirrored, featureless
as though it secreted some meaning
beyond an accident of weather,
cannot possibly lead us to any future
save for the one that you foresee.

I will listen to what you tell me
without speaking, perspiration chill
on my face in the breaking dawn.
I will contradict nothing.

And when you’ve said your piece
and turn to go, I will study the way
your footprints linger an instant
on a film of oily moisture
before they disappear, healing
behind your retreat like wounds.

BIO

Raised in New Jersey, Robert Lavett Smith has lived since 1987 in San Francisco, where for the past fifteen years he has worked as a Special Education Paraprofessional. He has studied with Charles Simic and Galway Kinnell. He is the author of several chapbooks and two full-length poetry collections, the most recent of which is Smoke in Cold Weather: A Gathering of Sonnets (Full Court Press, 2013).

John Ronan

Poetry

10/01/2014

John Ronan

Every Day is Garbage Day, Somewhere

Garbage Guy
Stops, spots
A red sticker
And hauls off
The wasted week,
Full remission
A buck a bag:
The usual suet
And newspapers,
Bluster, bromides,
Embarrassment
Of bottles, rinds
Of every kind.