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Article 7

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Gavin Yates


Gessamine


I had fiction. I had the violinists of this passion fruit.
I didn’t see them nude or creeping through
to strangle my houseplant. I had fiction.
Drawn out from the flickering light-year where blizzards
rave your periphery: I will simmer when the sunflower
pours me out of its kidney and into your needle.
I know I put my footstool through winter; it’s uncharacteristic,
but if the black rustle of the gardenia can hold your handbrake
in darkness, the mountainous lapels are wandering.
Fulminating from overgrown virtue where windpipes breathe
your holy shampoo. One nimbus in the smiling rainstorm,
in the weapon you call your necklace. It’s a loophole:
a monarch found carving the stone of dripping leaves
inside an accordion. Car accidents are beyond me
and rattle like a pomegranate in a jacket pocket.
The multi-coloured lights are numerous and your fear
may loosen of a promise and its screw. I had fiction.




Gavin Yates is from Melbourne, Australia. His writing has featured in Canada Quarterly, Colloquy: text theory critique, Cordite Poetry Review, foam:e, Tincture Journal, Verge, and Westerly, among others.
 
 
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Article 6

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Matthew Hall


Brno
&nbsp&nbsp&nbsp&nbsp for martina

you replicate money oak leaf
rose lear wheelhouse
Hrad star&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp  picket arrows
are the limits
of the nation bush
splinter moorish wall&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp  rillet
sky. raincover arch, who desires you
now in the operatic day
of cannon mist.
new rock dead flag
crows high in octangular dome
mauve rose. You are a mason
amongst crumbling
walls, the graffiti’d limit
of fresh starts.
smoke stack archetypes
with nothing to reclaim a keyhole
gender security
camera tropes
you don't construct a castle to take
the place
of a church
you edit back
blood but there are miniature horses
in the park
fall out
shelters holding
red patio furniture
black pines

your syntax in the rain
blue eve's
blanched playground
white
epitaphs with fuscha
sneakers

we flock to bronze ravens
and birdhouses behind
glass
yet
amongst laureled
kebab shops
one misses
quinces




Matthew Hall is a poet living in Melbourne, Australia, where he teaches literature, writes criticism, and edits for Cordite Poetry Review.
 
 
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Article 5

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Marilyn Stablein


From A Lettrist Notebook




Correspondences










two brown envelopes
interlock
back to front
two pages of a book
above window
white oval tile
an address
#19






Magyar Posta
Nederland 4 cents
well-traveled envelopes
World Wide
Stamps Guaranteed Genuine
Attractive Pictorials
glassine envelope
insert






pen & ink
handwritten letters
fine penmanship
Residencia Universal
Espana Correos
US postage
one cent






Correspondez-Karte
one side for address
another for correspondence
3 Post Cards
white lettraset
black & red letters






Correspondences, 2018, 5.25” x 7.25” x .25” Interactive sculptural artist book. Opens to 10.5.” Unique 4 envelope flap binding, brown and blue stationery, four envelope back to back pages. Postal collage & inserts, vintage stamps, posted cards, vintage postmarks, cancellations, stamp collector’s glassine packet, lettraset & stick on letters.




Marilyn Stablein, artist, writer, illustrator, teacher, author of fourteen books. Collages forthcoming in Gargoyle magazine and Raven Chronicles books. Her work is widely exhibited and in private and public collections. Visit marilynstablein{{dot}}.com
 
 
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Article 4

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Ken Bolton



The Stars—a cosmology

“So, Mister, Mister DJ, keep those records spinning”

(for Lou, Patti, Thelma, the Christines)



The Thelmas


& there is Seneca, of course,
the property tho

of Thomas ‘Sphere’ Eliot


The Pleiades


The wisdom of Jimmy Barnes

—wide, comprehending—

(“I’d die to be
with you tonight”)
#

tho “ JIMMY LIVES!

(old saying)

#

from the night sky:—


the Thelmas

look down

stellar twins
kindly divinities

wise, consolatory

they do not forgive
they do not forget
they accept

#

here I sit

on this bench,
(stile almost),
(simple ‘form’) —

& gaze out —
upon the round slope,
of the hill, as it falls away—
sered grass, the limbs &
stems of the gums—('die-back')—

to the vast pond of blue


Kangaroo Island


#



blue orange silver



#

where I lived once
for a week


the Christines


Irwin & O’Connor

The Caths
Catherine Murphy, Cath Cantlon


Dejection? an Ode?


“(O)des” — think Keats
O’Hara, Pindar

would Adorno figure,
here, amongst these tutelary
figures?


The Johns, Forbes & Jenkins —
& Glenn Johns

The Thelmas,

(Ritter & Todd)


who
look down judiciously


with some pity? some
gesture
… of acknowledgement ?


— Mistakes,
Errors Of Judgement —

Thelma warned of them

suffered for them

To dance, to
hot cha-cha

& die
expire upon
a car seat in
a garage the
motor running

wearing a boa



The dead Ted

& O’Hara


we who are about to hot cha-cha …
etcetera

John Barbour

Freddy King.

MONTY!

( Rommel ?? )
Montgomery Clift

(though
was he
a
“young lion” ? )

who might have played him,
in the bio pic we will never have


the live a-hunted
& the dead a-huntin’

[O’Hara]

JOHN— & his “luminous hum”

we/I salute him

and the hornet
Jimmy chased from the room
outside

to some “various field”


the stars, that look down

protectively
On me, on Catherine

— no, not

the city,

( near Darwin, Alice Springs )

Cath Kenneally


that look down, maybe,
on Tony Towle
that look down,
at least, ‘in’ him
— tho where? in which?

in some, surely —


as he goes
to Bloomingdales


On Pam & Jane,
the stars look down
on Rosemary & Laurie

on Banana & Chris

& Gabe & Stacey
on Yuri, on Yuki

& Tengis & Gerel

on Noah, & Teague & Jude & Ryder

Clinton!

Clinton Kenneally—
(not George, not Bill)

all is forgiven

Thelma Ritter, look after them

Give them some good times (Lou, Patti, Thelma T …


(Sam Cooke)
)


if you take requests

#

Play that song called ‘Soul Twist’



LITTLE ELEGY, 1984



I shudder while feeling quite happy—I have just read a Ted Berrigan
poem, while I have seen a jar of Cow gum look 'clean' but 'sickening'.
At the same time. You can do this when you're stoned. And now,
the cat gets back,
to my lap,
from the table,
as I had told it it would—
just a while ago.
The radio's going & has just explained that the
bassoon is only 'good' for Satire & Mourning.
And there's a lot of
slow ‘mourning’ on, & has been for some time.
(I don't mind.
The cat doesn't seem to care either. The cat I think prefers mourning
... to satire. "I'll do the satire around here ... (if anyone's going to do satire)"
is her attitude. "This's good," she adds.)

I'd like to have ‘just met’ Ted
Berrigan
& got along with him. I've been in mourning, for him,
ever since I found out he'd died.

#

Quite a while ago now.

#


&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp It changes the poems somehow, a little. It's true:
&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp something I guess mournful is happening, I can't
&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp do anything about it.




Ken Bolton'sSTARTING AT BASHEER'S has just been released by Vagabond Press.
 
 
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Article 3

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John Pursch


Saskatchewan


I axel you Saskatchewan,
angled who constabulary,
fence appropriation with
intentional divide.

Soggy sorghum
ballast knees
flock to serendipity;
coastal aster neato
swells to plumb
defibrillation.



Amsterdam


Windmills
turn to dusk,
filling the calendar
with gel.



Juneau


Perforated pipsqueak shaves
to stubbly toga tankard tee,
shirtless in a slugfest.

Golfing orcas penetrate
the truth of sunken ham.



Hawaii


The world’s most
perfect sunset lost
in leis, sequential luaus,
hips and drums and ukuleles.




John Pursch lives in Tucson, Arizona. Twice nominated for Best of the Net, his work has appeared in many literary journals. A collection of his poetry, Intunesia, is available at http://www.lulu.com/spotlight/whiteskybooks. His pi-related lit-rap video is at https://www.youtube.com/watch?v=l33aUs7obVc. He’s @johnpursch on Twitter and john.pursch on Facebook.
 
 
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Article 2

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Issue forty-nine Date of Publication May 1, 2018.
Individual pieces Copyright © 2018 by their respective creators

Editor: Mark Young










This issue of Otoliths is dedicated to the memory of
Jill Chan & Philip Byron Oakes, both regular contributors,
& who will both be deeply missed.

Most of the images in Otoliths can be enlarged by clicking on them.



Mercedes Webb-Pullman
Three Poems

Lauren O'Connor
An interview with Louise Landes Levi

Aditya Shankar
Two Centos

Simon Perchik
Two Poems

tENTATIVELY, a cONVENIENCE
Butt Poem #001, for Karen Lillis

Dawn Nelson Wardrope
Eight Visual Pieces

Kyle Hemmings
pages from A Nuclear Fallout Shelter Primer

George Messo
Visual Translations of Some Poems by Asaf Halet Çelebi

Sanjeev Sethi
Three Poems

R. Keith
3825

Joseph Cooper
Ghost Sonnets 20 & 21

Mary Cresswell
LUNAR ECLIPSE

Drew B. David
Four Pieces of Vispo

Jim Leftwich
Expositions & Commentaries

John M. Bennett & Jim Leftwich
Fourteen Visual Poems

Jim Leftwich & Steve Dalachinsky
Eight Poems

Lynn Strongin
Two Poems

Daniel de Culla
CRAZY JOKER MOTHERFUCKER

Seth Howard
Four Poems

David Lohrey
What It Means to Be Human

Rose Knapp
Four Poems

Philip Byron Oakes
Three Poems

Darren C. Demaree
Three Poems

Francesco Levato
from Arsenal/Sin Documentos

Holly Friedlander Liddicoat
The Ministry of Immigrant Absorption

Kathleen Reichelt & Randee Silv
Responding to Farnessity

Olivier Schopfer
Trees

Willie Smith
Two Prose Pieces

John M. Bennett
Ten Text Poems
Five Visual Poems

John M. Bennett & Thomas M. Cassidy
Seven Visual Poems

Steve Dalachinsky
Two Poems

Carol Stetser & Andrew Topel
Echoes

Michael Thomas Nelmida
Filipino translations of Hay(na)ku by Eileen R. Tabios

Dah
Two Poems

Pete Spence
Three Poems

Jasmine Nihmey-Vasdi
Breakfast

J. Crouse
Said in the Preface to the First Edition

Heath Brougher
Four Poems

Clara B. Jones
Love Sonnet

fátima queiroz
Five Pieces of Typewriter Poetry

Andrew Hale
Three Poems

Penelope Weiss
Two Poems

Adriána Kóbor
from As Well As The Mirror

József Bíró
from As Well As The Mirror

M.J. Iuppa
Three Short Prose Pieces

Linda King
Two Poems

Alyson Torns
Three Visuals

J. Ray Paradiso
from 4th Church Suite

Sheila E. Murphy & Douglas Barbour
Continuations CVIII: & CIX:

hiromi suzuki
joyeux l'oiseau

AG Davis
On Despair

Márton Koppány
Angel — for Peter O'Leary

Francine Witte
When I'm Done

Andrew Topel
marks

Jeff Bagato
The World According to Gonch

Joe Balaz
Three Poems & A Visual

Izzy Oneiric
from Bibliomantic Poetica

Daniel f. Bradley
from P.w.a.t.h.

Jesse Glass
Four Visuals

Jeff Harrison
Eleven Poems

Karl Kempton
Discourses 7-14
Discourses 15-21

Richard Kostelanetz
Four Quadrigraphs

Eileen R. Tabios
COMMUNITY OF VOWELS

Scott MacLeod & Texas Fontanella
Stop Every Tragedy Except This One
Panels 1-12
Panels 13-24
Panels 25-36

Cecelia Chapman
Post-Postcard

john sweet
Two Poems

Lakey Comess
Three Poems

Michael Mc Aloran
from nowhereon: Section III

Tony Beyer
Two Poems

Sudhanshu Chopra
Tautology

Bruno Neiva
Coverage Sites

Jon Cone
Poems

Joseph V. Milford
Five Poems from After The Mermaids Have Gone, Vol. 1

Mark DuCharme
Three Poems

Raymond Farr
Two Poems
Five More Poems

Keith Polette
A Photograph

Matthew Jenkins
bots

David Baptiste Chirot
Eight rubBEings, mainly Asemic
Three DEATH FROM THIS WINDOW & Five Other Visuals
HEADS, FACES

gobscure
five visuals

Sabine Miller & Richard Gilbert
from Poetry as Consciousness

John Levy
Two Poems

Tom Montag
Three Poems

Natsuko Hirata
Rainy bamboo garden

Linc Madison
Seven Days Make A Week

Pat Geyer
Faces in the Forest

Eduardo Padilla, trans. by Anne Gorrick
from Hotel Hastings

Joseph Salvatore Aversano
Four Poems

Keith Nunes
Three Visuals & A Poem

Bob Heman
from INFORMATION

Simon Brown
USES OF MOUTH (NEW AND OLD)

Jack Galmitz
Five Visuals

Pat Nolan
Eight Poems

Marcia Arrieta
Four Collages & Seven Poems

Jack Kelly
contradict Strategy Cake

Johannes S H. Bjerg
Eleven Pieces of Vispo

M; Margo
Four Visual Poems

Carla Bertola
Six Visual Pieces

F. J. Bergmann
Five Poems

Ruggero Maggi
Diptych

Michael Gould
Four Visual Pieces

Robert Ford
Two Poems

Carolina Skibinski
Two Poems

Alberto Vitacchio
Eight Visual Pieces

Tim Wright
on garnet and tinning

Michael Brandonisio
Three Visuals

essa may ranapiri
Three Poems

Thom Sullivan
‘Diesel & Dust’ homestead [a landscape]

Brendan Slater
Three Visuals with incorporated text

Madeline McGovern
LEAVING/FINDING/DREAMING/HAUNTING

Ken Bolton
Two Poems

Paul T. Lambert
Seven Visuals

J. D. Nelson
Two Poems

Shloka Shankar
Five Visuals

Gavin Yates
Gessamine

John Pursch
Four Poems

Matthew Hall
Brno

Marilyn Stablein
Correspondences

HOME




Otoliths would like to acknowledge the Juru People who are the traditional custodians of the land where this journal is prepared.





Article 1

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Shloka Shankar



be (v.)


Asemic petroglyph


Asemic abstract


Cubist abstract


listen (v.)




Shloka Shankar is a freelance writer and visual artist from Bangalore, India. She loves experimenting with Japanese short-forms and remixed/cut-up poetry alike. Her poems have most recently appeared in Drunk Monkeys, Untouched Journal, Former Cactus, Failed Haiku, and so on. Shloka is the founding editor of the literary & arts journal Sonic Boom, as well as its affiliated press, Yavanika. Twitter: @shloks89
 
 
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Article 0


Article 18

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Andre Bagoo


from The City of Dreadful Night














Note: These pieces are taken from The City of Dreadful Night, which was published in May by Prote(s)xt, an imprint of Paul Hawkins' Hesterglock.




Andre Bagoo's work has appeared in journals such as 3:AM Magazine, Asian American Literary Review, Boston Review, Blackbox Manifold, Cincinnati Review, St Petersburg Review, The Poetry Review and Wasafiri. He is also the author of: Trick Vessels (Shearsman Books, 2012), BURN (Shearsman Books, 2015) and Pitch Lake (Peepal Tree Press, 2017). He was awarded the The Charlotte and Isidor Paiewonsky Prize by The Caribbean Writer in 2017.
 
 
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Article 17

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David Lohrey


Happy Birthday


Many years ago, my mother decided I was queer.
She never asked me. When I was 15, she told me
not to read D. H. Lawrence because he was homo.
On my 37th birthday, she gave me a novel by Gore Vidal.
Some years later, I got one by Armistead Maupin.

My mother hates queers. She told me so.
She asked me once if I knew what a homo was. I told her yes.
She said, “A homo is a man who loves another man
the same way as a real man loves a woman.” I said oh.
For my 42nd, she gave me Edith Wharton.

Something about me reminds her of patrician women.
My mother was always interested in what other people do in bed.
She spoke about men with whom women could relax.
A real man should make a woman feel alive. It’s all about
being made to do what one doesn’t want to.
Real men are predators; they make women feel threatened.
“If you were a real man, women wouldn’t feel safe around you.
Remember that.”

The year my father died, my mother was 71.
She called to say she wanted to be 17.
She was determined to be taken advantage of.
She started going to the local bars.
She found the Mexican men attractive.
She liked that one of them stuck his tongue down her throat.
She didn’t want anyone to say she was old.

My mother bought a gray convertible.
When I objected, she called me a pansy.
She needed a place to fuck.
She hated me for telling her to be careful.
She hung up when I objected.

She called to say she felt lonely. Why not stay the weekend?
When my wife and I arrived, she talked incessantly
of a new girlfriend who wanted to go down on her.
It thrilled her to tell us. She’d invited the girlfriend
to move right in. We’d better go to a motel.

A few months later, she kicked her out.
She came home to find a total stranger sitting
in her living room on her sofa. Her new girlfriend
Had invited in the neighbor. That was her mistake.
My mother doesn’t like surprises. She didn’t want visitors.

The next week, the police tried to stop her for speeding.
She drove her new car into a retaining wall on the freeway.
Her Prius was totaled.
Her new boyfriend with the tongue stole her money.
He sent his wife over to help clean her house. She boosted
mother’s silk scarf and tried to take her mink coat.

My mother is 80. For her birthday
I gave her a pack of leak-proof condoms.
She and Mario preferred to make love poolside.
I thought she might like to stay protected
if they fell from the patio into the water.

Thank God, she no longer drives.
She thinks she’s 18, but she’s been grounded.
She lost her driver’s license but kept her DUI.
She still thinks I’m an old queen. She misses men.
She wants one to come over and knock her teeth out.



The Rubble of Cant


Letter to the Editor,

I am writing in response to the press conference
held yesterday afternoon by Chief of Police McDonough
of the Omaha Police Department. He made a series
of less than satisfactory statements in response to questions
from the press and from the distressed public about
the investigation into the murder of Lesley Ann Bower,
the 8th grade school teacher in Neeler County, whose body
was found in Bryant Park.

These responses are summarized in brief.

I wish I could,
but,
at this time,
ladies and gentlemen,


I can’t answer that question, not today.
We can’t release that information.
We can’t ignore protocol.
I can’t agree with that.

I wish I could,
but,
at this time,
ladies and gentlemen,


I can’t explain further.
I can’t say anything more.
I can’t say for sure.
I can’t confirm or deny that.

I wish I could,
but,
at this time,
ladies and gentlemen,


The coroner says he can’t.
The mayor says he can’t.
The mother says she can’t.
The school says it can’t.

I wish I could,
but,
at this time,
ladies and gentlemen,


The hospital can’t, no.
The doctors can’t, not now.
The neighbors can’t, that’s for sure.
The girlfriend can’t.

I wish I could,
but,
at this time,
ladies and gentlemen,


This investigation is ongoing.
We are following standard procedure.
Who’s to say?
That’s prohibited.

Our investigation has just started.
We’ll let you know.
Now, if I may be excused,
I have to get back to the station.
Thank you.”

I wish to add my name and voice to the chorus of outraged citizens who are appalled
by the indifference to human tragedy expressed by the Chief of Police.

When will the police respond to questions?
What information is the President hiding?
Why will the government not answer our questions?
How much longer will the Congressman refuse to answer?

Chief McDonough, answer our questions!
President Trump, tell us what happened!
Secretary Clinton, release your emails!
Mr. Putin, have you no decency?
Prime Minister, have you no conscience?


Signed,


Millie Cole, retired nurse, Neeler County Hospital



David Lohrey is from Memphis. He graduated from UC Berkeley. His plays have been produced in Switzerland, Croatia, and Lithuania. In LA, David has had plays staged at Group Rep, FirstStage, and the Long Beach Playhouse. His plays appeared at the Studio Theatre, ArtGroup and TRU in NYC. In addition, he has seen plays performed at university playhouses in Arizona, New York, and Pennsylvania. Several are published online at ProPlay. Internationally, his poetry can be found in Otoliths, Tuck Magazine, and Southword Journal. In the US, recent poems have appeared in New Orleans Review, Obsidian, and Apogee Journal. His fiction can be read in OJAL, Dodging the Rain, and Literally Stories. David’s newest collection of poetry, MACHIAVELLI’S BACKYARD, was published last year by Sudden Denouement Publications.
 
 
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Article 16

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Cecelia Chapman


@semi@, @lph@w@ves, medit@tion










Cecelia Chapman writes:
"In the drawings @semi@, @lph@w@ves, medit@tion 2018, I want to produce Alpha state, the middle of the brain wave spectrum, considered the healthiest wave range. Delta and Theta waves are associated with unconsciousness and deep-sleep. Beta waves, just above Alpha waves indicate a state of intense concentration, and, when maintained for a long time, transform into feelings of fear or anxiety. Beta state is crucial in danger, and fight or flight, when mental alertness is essential. Gamma waves are dangerous to the brain, cycling at the highest frequency.

"Artists and creative thinkers generally have high levels of Alpha wave activity. An Alpha state aids a person’s problem solving skills, when both hemispheres of the brain communicate. The Alpha state is intuition, and at 7.5Hz it is clearer, closer to your subconscious mind, the base of your conscious awareness. Children experience Alpha waves more than adults. With age brain wave pattern shifts from Alpha to Beta.

"My process to construct alpha environment is to deconstruct graphic strategy. The visual skills and cues I have accumulated and learned to communicate with, rapidly, aggressively, and clearly, have been inverted and reversed. I used asemic drawing and writing, which, with it’s lack of message and visual rhythm, is conducive to Alpha state. Using the @ in the title I wanted to indicate brain states are ‘places’ a person can go to. The mandala is an image associated with meditation and alpha state.

"Strathmore paper, gouache, watercolor, ink, graphite, personal rubber stamps. 11 x 14 in., 28 x 35.5 cm."
 
 
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Article 15

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Nicholas Bon


from Our Secret Handshake


a storm without its mask



for once




+==============================+
|| || ||
|| || _.._ ||
|| || .' .-'` ||
|| || / / ||
|| || | | ||
|| || \ \ ||
|| || '._'-._ ||
|| || ``` ||
||============================||
|| || ||
|| || ||
|| bark at my moon ||
|| || ||
|| || ||
|| || ||
|| if it is what's there ||
|| || ||
-+==============================+-
\________________________________/







FORGETTING







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##############
##############
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##############
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do you have a basement?


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so many things don't get a special name

when they're placed under the ground

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<- lungs & cement & imperfect bodies ->






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``````````````````````````````````````````````````
+
|
|
|
+--> how strange everything looks all the time --+
|
|
|
|
+-------- how strange everything tastes <--------+
|
|
|
|
+--------------> so much like water -------------+
|
|
|
|
+-------------------how strange------------------+
|
|
|
|
| ,( ,( ,( ,( ,( ,( ,( ,( ,( ,+
+-' `-' `-' `-' `-' `-' `-' `-' `-' `-' |
|
|
|
+-----------------------+
|
|
|
V
++++++++++++++++++++++ +++++++++++++++++++++
¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶ ¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶
++++++++++++++++++++++++ +++++++++++++++++++++++
¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶ ¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶
++++++++++++++++++++++++++++++++++++++++++++++++++
¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶
++++++++++++++++++++++++++++++++++++++++++++++++++
¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶
¶ ++++++++++++++++++++++++++++++++++++++++++++++ ¶
¶ + ¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶ + ¶
¶ + ¶ ++++++++++++++++++++++++++++++++++++++ ¶ + ¶
¶ + ¶ + ¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶ + ¶ + ¶
¶ + ¶ + ¶ ++++++++++++++++++++++++++++++ ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ ++++++++++++++++++++++ ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + don't forget + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + the feeling + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + of the feeling + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + of the feeling + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ ++++++++++++++++++++++ ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ ++++++++++++++++++++++++++++++ ¶ + ¶ + ¶
¶ + ¶ + ¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶ + ¶ + ¶
¶ + ¶ ++++++++++++++++++++++++++++++++++++++ ¶ + ¶
¶ + ¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶ + ¶
¶ ++++++++++++++++++++++++++++++++++++++++++++++ ¶
¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶
¶ ++++++++++++++++++++++++++++++++++++++++++++++ ¶
¶ + ¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶ + ¶
¶ + ¶ ++++++++++++++++++++++++++++++++++++++ ¶ + ¶
¶ + ¶ + ¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶ + ¶ + ¶
¶ + ¶ + ¶ ++++++++++++++++++++++++++++++ ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ ++++++++++++++++++++++ ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + there's a ocean + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + under your skin + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ ++++++++++++++++++++++ ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ ++++++++++++++++++++++++++++++ ¶ + ¶ + ¶
¶ + ¶ + ¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶ + ¶ + ¶
¶ + ¶ ++++++++++++++++++++++++++++++++++++++ ¶ + ¶
¶ + ¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶ + ¶
¶ ++++++++++++++++++++++++++++++++++++++++++++++ ¶
¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶
¶ ++++++++++++++++++++++++++++++++++++++++++++++ ¶
¶ + ¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶ + ¶
¶ + ¶ ++++++++++++++++++++++++++++++++++++++ ¶ + ¶
¶ + ¶ + ¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶ + ¶ + ¶
¶ + ¶ + ¶ ++++++++++++++++++++++++++++++ ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ ++++++++++++++++++++++ ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + blood red moon + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + blood red sky + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + blood red trees + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + blood red blood + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ + + ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶ ++++++++++++++++++++++ ¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ + ¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶ + ¶ + ¶ + ¶
¶ + ¶ + ¶ ++++++++++++++++++++++++++++++ ¶ + ¶ + ¶
¶ + ¶ + ¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶ + ¶ + ¶
¶ + ¶ ++++++++++++++++++++++++++++++++++++++ ¶ + ¶
¶ + ¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶ + ¶
¶ ++++++++++++++++++++++++++++++++++++++++++++++ ¶
¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶

++++++++++++++++++++++++++++++++++++++++++++++
+ +
+ ++++++++++++++++++++++++++++++++++++++ +
+ + + +
+ + ++++++++++++++++++++++++++++++ + +
+ + + + + +
+ + + ++++++++++++++++++++++ + + +
+ + + + + + + +
+ + + + + + + +
+ + + + + + + +
+ + + + blood moon + + + +
+ + + + blood sky + + + +
+ + + + blood trees + + + +
+ + + + blood blood + + + +
+ + + + + + + +
+ + + + + + + +
+ + + + + + + +
+ + + ++++++++++++++++++++++ + + +
+ + + + + +
+ + ++++++++++++++++++++++++++++++ + +
+ + + +
+ ++++++++++++++++++++++++++++++++++++++ +
+ +
++++++++++++++++++++++++++++++++++++++++++++++

..............................................
. .
. ...................................... .
. . . .
. . .............................. . .
. . . . . .
. . . ...................... . . .
. . . . . . . .
. . . . . . . .
. . . . . . . .
. . . . blood . . . .
. . . . blood . . . .
. . . . blood . . . .
. . . . blood blood . . . .
. . . . . . . .
. . . . . . . .
. . . . . . . .
. . . ...................... . . .
. . . . . .
. . .............................. . .
. . . .
. ...................................... .
. .
..............................................









......................
. .
. .
. .
. .
. .
. .
. blood .
. .
. .
. .
......................




Nicholas Bon is the author of My Circus Mouth (Ghost City Press, 2018) and the editor of Epigraph Magazine. Their recent poems can be found at (b)OINK, METATRON, Dream Pop Journal, and elsewhere. Find them online at nicholasbon.com.
 
 
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Article 14

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Annabelle Ballard


To a Cuckoo Feminist

Every conversation
we have these days,
you transfer bones from
one graveyard
to another.
I hate the way
you
trot out the past, it rat
tles like milk teeth.

You skim a measuring tape
under my breasts
they still tickle

when I leave in your unwanted dress.
To you,
I’m slice of prized pelvic bone
- snapped at the end
of a family meal. The future
scat
tered - like knucklebones
shattered
the cracked plate between your legs.

Marinating under the covers -
at least I have the guts to lie in my own bed.
Lamplight pours over sister’s sketch:

&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp Silhouette in green dress
&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp Pinching potato chip – 2015.
&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp Crayon on butcher’s paper.
&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp Price on enquiry.


Baby, I bounce like Crayola eyes
sucker each socket, peel
away scales where
anybody
else’s lips better be. I used to whisper tinder tales
praying we could become equals.

Instead I got teeth in my box
cause all the best snap-stories
are about robots.



Annabelle Ballard is a writer and undergraduate student at Monash University. Her work has been published in Voiceworks, Incisors & Grinders and Dissent. She lives in Melbourne, Victoria, and is absorbed by all the indie games on Steam.
 
 
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Article 13

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Kyle Hemmings


Rommel in New York





















Kyle Hemmings is a retired health care worker. His latest collections of poetry/prose are Scream from Scars publications and Split Brain on Amazon Kindle. He has been published in Otata, Wigleaf, Haibun Today, [b]oink, and elsewhere. He loves 50s Sci-Fi movies, manga comics, and pre-punk garage bands of the 60s.
 
 
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Article 12

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Mariana Rodríguez


Katharsis

A country has died
The dead come without warning
As a wild wind
Pitiable and fearful

A country has died by the hands of my brother
And mourning covers the face of my father
The mask of the pain hides the face of my mother
And yet, I feel alone in the middle of the family grief.

It wasn’t his fault
The country was crossing the highway slowly
My brother was distractedly singing one old song that
&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp  we used to like so much
&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp  so much…

We only heard a muffled sound
When we realized, the little country was under the tire
My brother and I got out of the car
But it was so late

—I wish this country had a birth mark!
&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp  He said
&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp  Just to know what country was.
—Don’t be foolish! Countries don’t have scars.
He looked at me, he knew I was right.
There was nothing we could do
His chest was broken
There was blood all over the road.

We took the corpse and put it in the trunk
We knew mom and dad would be very upset with us
We promised to clean the whole mess
But the damage was already done

Today, I tell myself that my brother was the silent murderer
That everything was an accident
That country looked very old
I don’t want to accept that it was also my fault
I wanted to go to the lake
It was a beautiful day, the sun was over us
We were just singing our favorite song
The one that
&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp  we used to like so much.




Mariana Rodríguez is a Mexican writer, translator, and editor. Mariana believes that translation is a tool for attacking cultural hegemonies. She is fluent in Spanglish. Twitter: @MGilmouRimbaud
 
 
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Article 11

Article 10

Article 9

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Gustave Morin


Fragments from Chthonic Youth

























Gustave Morin
 
 
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Article 8

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Seth Howard


IN THE CITY OF LIGHT

River of silence that flows
through the city. Of
quiet embers that tell
me I’ve known. Deer

slip through the bran-
ches, & a dove flutters
in the light. River of
darkness that has no

name. Of dream frag-
ments, & a place of no
thought. I gather
my life up from these

pieces. Are you still here?
In a city that encloses
the crows with distant
eyes. In a dream I had

in waking. Is it true?
River of mist that floats
just beyond our reach.
Of elms that hang over

gravestones. I sit still,
patient for a magnanimous
mood. For the waters
that snake in the night.

River of waking, an
entranceway of light.
This lucence I had
known, the hypnotic

waves. Take us to
the current’s pull.
In solitude that en-
closes us, emerge.



A RIVER RUNS ACROSS

Quiet intimacy, in the
mornings that disrobe
before me. Silent
prophets who appear.

A river runs across
my room, & I listen
for what silence
conveys. I who still

believe, & sense
the world is real.
Where ever will
they find us, we

who live the full range
of existence? A
greenish ember.
She washes by the

waters. Schizo-
phrenic limb that
ratchets down.
We who live pain-

fully awake. &
carry with us a
weight, that is
suddenly lighter.



UPON THE RIVERLIGHT

The day opens a pale flower.
We gather our things,
leaving for somewhere
far. Mornings return

us to a place of silence.
A river runs through darkness,
& on its waters float
lanterns. Whenever we

will live again & be reborn.
A quiet light drifts upon
stillness. You say hi to
a girl with an eyepatch.

Whenever we will let
go of our pasts, of these
lingering trials. Words
unspoken in the even-

ing air, but a certain
empathy. She opens
her fan, & we listen
for a signal, or a pulse.

Ancient light across
the river. We exist
in the silences that
guide us in the night.



IN THE SLEEPY VILLAGE

Patient for a moment
when it comes. Our
day drifts somewhere
slightly out of reach.

You draw it back.
Lucence on the waters,
a quiet swell, or a
breath, leaving this

place. I remember her
eyes in the half-light.
To settle back in the
sleepy village. Patient

for a moment when
it comes. & we are
whole again, as
we always have been.

What synergies do
we find in this stillness?
To wake some in
this late morning.

Draw it back until
you recognize the
scent. Days in
the city, delirium.



THE MISSING PERSON

Fragments of presence
scattered at our feet.
I look up. The sky is
lucid, & evening long.

In the quiet mornings you
came to me. Coffee
black, & the serene in-between.
Do we keep on waiting?

A searchlight in the fog.
Sirens screech across the
waves, & she is near me,
huddled under a blanket.

Never sure when the
end would come. Snows
drift over the wharf,
& the search goes on.

Hot coffee warms us
some, & a memory is
kept alive. We wait,
& the snow falls maj-

estic. In mornings
we came to know this
silence. It was too
long a journey home.



WHO WILL SEARCH FOR US

Stillness, & repose.
We who live so
far, somewhere in
the distant north.

Those who come
to search. Who
climb mountains,
histories of glass.

We who sit where
silence drips, live
beyond the world
of cares. What is

called a home for
us, the drifters,
the students of
jade, & oblivion?

So, we travel back
to our beginnings.
Our tracks form
ellipses in the grass.

Day opens for us
its frail blossoms,
our footprints
are sealed in jars.

Who will search
for us, at the zen-
ith of our lives?
Where the mists

slip into the past.
Who will speak,
when the world
is set on silence?




Seth Howard is the author of two chapbooks: Out of the East, &Waters from a Well. His work has appeared in Otoliths, BlazeVOX [books], unarmed journal, Big Hammer, Oddball Magazine, Chronogram, Saudade, Elephant, & elsewhere. He hosted the Poetry Open Mic at the Washington Street Coffee House for a year, where he shared much of his own work, & has done several featured readings in local bookstores. He graduated from the University of Connecticut, & studied abroad at Sophia University in Tokyo for three years. In his spare time, he enjoys the practice of Zazen, watches K-drama, & co-edits CAPSULE Magazine. He currently resides in New London.
 
 
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Article 7

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Raymond Farr


Hurdling the Grave of Each Moment

The obvious gambit is
Almost always the wrong gambit

& the wrong gambit is only a shadow
We follow out of the deep grass

& onto the cunning blank page
The luck of too many rabbits

Like the meaning of something I was
Supposed to have found written there—

This clotted eye shaping itself to
The perfect shape of the world!

& while dreamers are
Dreamers only while hurdling

The grave of each moment
Each moment is a corpse, waking

Mid-autopsy—& so I hesitate—
What else can I do?



The Bees

There are
Five or six

Or seven bees
Still left on

The corpse
In the window

& I am the
Quintessential

Existential
American

Movie hero—
The strong

Silent type—
Bruce Willis

I guess
Sly Stalone…

I don’t know…
I walk over

To the corpse
In the window

I throw
Open

The curtains
& shoo

Away the
Evil bees



& So He Sometimes Failed to Act Definitively

& because Johnny
Was in the basement

& no one ever touched him
He sang “the pump don’t work ‘cause

The vandals took the handle”
& this made him powerful & strange

& because this strangeness
Was strange to him & didn’t always

Become him & though poetry
Was a better teacher to him than death

Or the false teacher of his shame
& because he wasn’t just

Another dumb guy named Buzz
Or Wally or Jack—but a lyric poet

Throwing the burning flower
Of his words into the void—

He sometimes failed
To act definitively




Our Next Move
After seeing&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp 
Apocalypse Now&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp 
Last night I dreamt a tiger
Stalked me from room to room—a god in an empty house!

& I woke up screaming. & when I tell him this, Noah only
Moans, “The horror, the horror!” mocking me with his impatience.

But the gesture has only a poem’s venal audacity, & I’m so exhausted—
A digitally re-mastered version of the self as hoax.

& there’s this illusion of a single Vietnamese
Face floating somewhere in the crowd just several heads behind us.

“But if the point is never get out of the fucking boat…,” says Noah—
The crowd herding itself out into the exaggerated emptiness—

& into the vertigo of lights & traffic—of murderers murdering
Murderers—“Then what’s our next move?”



Remembering Perspectives on the Pleasures of Excess

1:
I see 2 heads
Saying nothing

& there is no
Heart-blinding life

Of the purely figurative!
No mirrored bells

In the bright afternoon!
Just a jolly rancher’s

Best last laugh
At shucks, I so thought

I would say it
Just a blank circle

Where dialogue should go
But no dialogue!

Just 60 white hens
Scattered on a highway

Construction site
It’s how music—

The 9 broken feet
Of our waltzing—

Becomes the crux
The ________

Of a concept
We abandon

While dancing—
One leg for

The end of
The world!

2.
3 days we
Watched

The silent movie
Of the earth

No music
To burden us

Only the same
Black & final

Word scrawled
Across the green

& white fences
Of the lives

We claimed
The stars like

An audience
Moved slowly

Away from us—
Dry stones lining

The grey dusk
3 days a dark

Face hid its
Strange teeth

In the bright
Shadow of

The moon
3 days

The drab
Bungalows

Shone with
Our absence



Enigmatic

1.
the last
time
I saw
Giselle
she was
reaching
for the
Pepsi can
that had been
sweating on
the night
stand
2 hours—

the single
word
Enigmatic
scrawled on
the bosom
of her
t-shirt

a storm
cloud
with
a sexy
lightning
bolt
etched
into
the E in
Enigmatic

2.
& now
I am
nothing—

just a
shadow
in the small
enclosure
where
the dog’s
been
asleep
in the
sunlight—

its head
raised
apprehending
the sky

3.
I have
left
the door
open
& wind
is a broom
now
sweeping
the light
of tomorrow
into
the house

It is
autumn
& I am
60

I leave
papers
down
for the pups
& freshen
their
bowls

I want
to paint
everything
the dog
lying
all day
in the
sunlight
sees

but I
convulse
looking
into
its eyes

4.
& suddenly
I’m
thinking

how
calling
Giselle
my muse
would
be like
calling
the tiny
mouse
living
in my
scrotum
father




Raymond Farr’s poetry books are available at www.lulu.com/spotlight/blueandyellowdogpress. His work appears in Otoliths, Caliban On Line Review, Posit, Forklift OH, Word for /Word, & elsewhere. Raymond is editor of Blue & Yellow Dog, http://blueyellowdog.weebly.com& The Helios Mss, theheliosmss.blogspot.com.
 
 
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