Monarchy

By Matthew Nelson Hendryx

The warrant for my informant’s arrest meant meeting in a public place where we could keep track of anyone approaching. We settled for the revamped carousel on the National Mall. He could watch in all directions as we rotated. I, freelance reporter Stacy Prickelton, was meeting with a prominent member of the Operation Zap opposition, who suggested I refer to him as “Crazy Cake,” to protect his identity.

He arrived carrying a Bugs Bunny mask. “A good disguise for a children’s area, don’t you think?” he said.

“I don’t think the mask is necessary.”

“You sure?” he asked.

“We’re safe,” I said, not interested in debating the pros and cons of a bunny mask.

The informant was in his early forties, dumpy build, and wide-eyed as a Jack-a-lantern, but he looked scared instead of scary. With my notepad resting on the top of a horse’s head next to his camel, we quickly got used to the fact that he was up when I was down.

“Start the story from the beginning,” I said. “Don’t worry about repeating common knowledge. It’s important for me to hear it all in your words.”

“It started,” he said, “with President Rump’s press conference, the same day the New York Times exposé came out about bug zappers installed on Rump’s Wall. When asked about the Times piece, the president said, ‘I’m taking action to stop the largest wave of undocumented Mexicans of any president.’”

Crazy Cake paused to look around. “At the time, no one knew what he was talking about. Then came the ‘Eleven O’clock Tweet’: ‘The Oyamel forest should be bombed.’ It puzzled everyone. Finally, Jan Gather realized the Oyamel forest is in Mexico, where monarch butterflies stay each winter. Then they fly north, across the border, in the tens of thousands, possibly millions.”

“So, butterflies created a policy problem?”

“An inside source, called ‘Tuning Fork,’ leaked the White House position. None of the monarchs applied for visas and they constituted the majority of undocumented immigrants coming into this country. To stop them required Operation ZAP—Zap All Pests.”

“What do you know about Tuning Fork?”

“The Post knows the details,” Crazy Cake said, “but the scuttlebutt is she’s young and attractive and fed up with his groping. Wants revenge.”

“And your take on the Posse Comatosis?”

“It’s one of those sleeper militias. No surprise they issued a statement that it was about time a president took a stand against wet-back butterflies. But Press Secretary XXIV calling them a reputable organization shocked a lot of people.” Crazy Cake paused for the carousel to do one rotation as he peered across the mall before continuing “That’s when the U.S. Butterfly Society—actually the Lepidopterists Society—pointed out that in the Monarch’s life cycle exactly three generations are born in the U.S. Each Fall the third returns to Mexico. Those three generations are U.S. citizens. Zappers would be killing American citizens returning to Mexico.”

“The Secretary of the Interior sounded befuddled when he announced the On-in-Spring-and-Off-in-Fall policy. What was that about?”

“According to Tuning Fork the Secretary believed the policy was for safe passage of all children of exiled Kings and Queens living in the U.S.”

The merry-go-round stopped, and I went over to give the attendant another couple of tickets.  When I returned, I said, “Give me more background on this visa thing.”

“Monarch butterflies, if they were citizens, were to acquire and carry visas.  All monarchs would be stopped, and those without documentation would be treated as illegal immigrants and deported immediately, without appeal. A sub-committee of the Lepidopterists Society formed the Committee Opposed to Monarch Eviction.”

“They didn’t know that people would abbreviate it to COME?”

“It was intentional—‘COME’ as in ‘welcome.’ COME pointed out the documents were beyond the lifting capacity of any butterfly. The administration countered that monarchs could purchase small drones to perform the task.”

Crazy Cake studied someone in the distance, then his face relaxed. “That’s when I joined COME, just as they filed for an injunction in the Minnesota District Court—their state insect is the monarch. The court issued an injunction against ‘stop and detain’ measures, but the rest of Operation ZAP was allowed to proceed. In other words, the bug zappers would stay in place.”

“Tell me about February thirteenth.”

“The administration announced the success of Operation ZAP. All the zappers were up and running. On the 14th, COME wanted to bring a massive number of monarchs across the border. That’s why the announcement, ‘Valentine’s Day Massacres ZAP.’ The San Antonio Express reported numerous sightings of monarch butterflies and included a photo of one sunning itself on a statue of Sam Houston. The monarchs had obviously found another way across the border.”

“The administration didn’t comment?”

“No. Tuning Fork said they knew it would be a public relations nightmare if the multi-billion-dollar wall failed to prevent the largest wave of immigrants.”

“Do you have any proof that COME was responsible for the smuggling?”

When his camel was in the down position, he grabbed his satchel. Fumbling around in it, a granola bar and a pair of soaks fell out. He was a man on the run. Ignoring the spilled items, he extracted three crumpled pages.

“Here’s a transcript.”  He handed it over.  “You can read it.”

Crazy Cake: Do you know how we’re bringing the monarchs in?

Secretary: Oh, yes. I’m good friends with Mary [Fuddleston]. COME needed a container that had air holes and was big enough for butterflies. Just after we elected Mary for president, she came up with the idea while helping her daughter, Frizzy. Frizzy was in tears because her Suzuki violin teachers said she played “Twinkle Little Star” out of tune. Anyway, Mary realized Suzuki violins would provide the perfect solution. Did you know violins are made with a glue that breaks easily to allow repairs?

Crazy Cake: No.

Secretary: I didn’t either. But it meant taking the back off and putting it back on was easy. Mary experimented with five volunteer monarchs and found the ‘f’ holes allowed sufficient oxygen for the butterflies to remain comfortable. We diverted all Suzuki violins coming from Japan headed for the U.S. to first go to Mexico. The operation started on Valentine’s Day.

Crazy Cake: Didn’t Immigration become suspicious with hundreds of violins coming across the border?

Secretary: It was thousands. They didn’t bother to look inside because each violin had a different shipping address. We pulled it off by having supporters across the country start Suzuki classes. Every time Customs checked to see if the sale was legit, they found a kid’s parents had actually purchased it. The kids loved the fact they were supporting the cause.

The carousel made one of its periodic stops, and five children with birthday hats got on.

Crazy Cake pointed at the kids and whispered, “Spies.”

“Not likely,” I said, “although they might be Suzuki violinists.”

“Then they should be careful.” He gave them a final check and returned to me.

“So how did the administration learn of the smuggling operation?”

“Rump ordered the FBI to investigate. We spotted the agents too late to cover out tracks.”

Crazy Cake scrutinized the Mall as we revolved, his right hand in a nervous quiver. “It was mid-March when Rump surprised everyone with his executive order making owning a violin illegal. All violins were to be turned in at the nearest police station. People found owning a violin after April 1 would be arrested. Most people thought the president was pulling an April Fool’s joke, but given his tweets, it became clear he wasn’t. The FBI acquired warrants for suspected violin owners—orchestra violinists and violin teachers. There was confusion whether the order covered violas, cellos, and basses, but Rump amended the order to include all stringed instruments. Then amended it again to exclude pianos and harps.”

“What was COME’s response?”

“We organized the parade of Suzuki violinists marching up and down the Mall and around the White House playing ‘Twinkle Little Star.’”

The carousel stopped, and I was out of tickets, but the attendant indicated we could stay on. “COME was responsible for the march?” I asked.

“Definitely. I was in a meeting with Mary Fuddleston in the final planning stage.”

“You’re willing to go on the record as a source?”

He hesitated. “Yes, but you can’t use my name until I’m out of the country.”

“Go on.”

“COME thought they had the administration cornered. How do you oppose fourth graders? What a mistake on our part. The Washington D.C. police arrested over one thousand of the violinists until the jails were full. The AP released photos of the police cuffing fourth-graders and smashing their violins. President Rump brushed it off with a tweet: ‘Liberal parents are cowards making their kids break the law.’ We sought support from other organizations around the country. Numerous groups started petitions against ZAP—even the AFL-CIO, which argued there was not one instance of an American worker being replaced by a butterfly. Within a day of Rump’s executive order, members of the House raised objections that the president’s actions were the equivalent of legislating laws, and therefore under the purview of Congress alone. The president tweeted ‘Fuck Congress. See if I care.’ Everything sped up then. The House and the Senate introduced bills to eliminate the ZAP policy. Opposition was limited to the members of the RARE caucus.”

“The Rump is Always Right on Everything caucus?”

“Yes. Despite the caucus, the Speaker and the Senate Majority Leader guaranteed passage before dinner. Rump vetoed that evening, and the next morning, the vote to override passed.”

“Then the courts got involved?”

“Not yet. It was the infamous Black Wednesday tweet: ‘They can’t make me stop ZAP.’ The Congressional leadership asked the Supreme Court to address the constitutional breach without going through the appeals process. The Court didn’t want to do it, but COME found evidence that some justices had recently engaged in sexual harassment. We went to the Chief Justice and said, ‘Hear the case or we release the evidence.’ We never expected the 9-0 decision against the President. At that point everyone thought ZAP was dead.”

“That’s when Rump said he’d ignore the court?”

“Yes. And the Supreme Court ordered the U.S. Marshals to use the bug zappers for target practice.”

“The TV coverage was brilliant.”

“No one in COME or Congress or anywhere else expected President Rump would call up the Posse Comatosis to defend his policy against U.S. Marshals.”

“When did COME members know they needed to go underground?”

“It was the tweet, ‘COME members are terrorists.’ We issued a general warning to the membership. Then the FBI arrested the first dozen or so members and any children violinists, including Mary and Frizzy, and sent them to the detention center on Guam. The administration won’t say how many. Nearly all COME members decided to disappear. I’ve been on the run ever since, but they’re closing in on me.”

At that moment, the carousel tune went ‘Pop! goes the weasel,’ and I saw someone looking our way through a pair of binoculars, from the other side of the mall. “We need to leave,” I said. “Put on your Bugs Bunny mask.”


Matthew Nelson Hendryx writes short stories, novels and poetry. He studied at Indiana University, London School of Economics, and the University of Wisconsin. Currently, he is focusing on short stories, but plans to dive into redrafting his first novel. Although he is a resident of Fort Wayne, Indiana, he spends a couple of months a year in New York City. His best writing occurs when one of his four cats is in his lap.

Photo credit: Catseye Pest. Really.

To, Not With

By Sydney E. Beaurivage

 

Most readers associate themselves with the writer

Empathizing with the words

Do not do this

My writing is not for you

It is to you

 


Syd is currently a Peace Corps Volunteer serving in the Philippines as a Coastal Resource Manager. She enjoys writing in her free time and hopes to become a journalist. Follow her on Twitter @SydBeaurivage.

Photo by Miguel Bruna on Unsplash.

The Beast Come Round

By J David Cummings

“Everywhere the ceremony of innocence is drowned.”

                                                     —W. B. Yeats, 1919

It is born, it is here, it moves among us,
not as nightmare, the comforts of metaphor,
but in the real of time. Mothers are caged
and raped, girls are raped, children are stolen.
The children die. Close-watched boys are burning
their minds with the faces of guards, the dream of knives…
for the time to come, the time of blood and now.
And I am a silent grave.

On the other side of time, a poet wrote
“magic is afoot, it moves from arm to arm,”
and beautiful losers dreamed sweet forgetting.
What moves here moves by insidious means.
It slaves minds in high office and would-be heroes
in spineless talk, the aggrieved in an ignorance
of mouths, almost the pulse Sieg Heil, Sieg Heil.
And I am a silent grave.

Tomorrow and tomorrow and tomorrow…
but tomorrow is drowned. It’s made of infants,
remember? Bereft mothers and chained men.
All the past. Remember? When you knew nothing
except what you dreamed. It’s made of the utter,
consuming dark and the ashes of memory,
the songs of children, light in a lover’s eyes.
And I am a silent grave.

 


Writers’ Resist published 3 a.m. November 11, 2016 Turtle Cove Cottage Po’ipu, Kau’I, a poem co-written with my wife Christine Holland, in Issue 7: 12, Jan. 2017, and my poem If I Could Write a Political Poem, It Would Say, in Issue 72: 04, Oct. 2018. I have one published collection of poems, Tancho, selected by Alicia Ostriker for the 2013 Richard Snyder Poetry Prize, published by Ashland University Press, Ashland University, Ashland, Ohio. You can follow me on Twitter @jdc99tancho and Facebook.

Photo by Moira Dillon on Unsplash.

Monster’s Lullaby

By Elka Scott

 

The first time someone called you a monster
you swallowed your own teeth
without chewing
like so many unanswered prayers.
It did not make you more human
but it made silence easier,
made you more acceptable.
You walked into the world without bite
and consumed yourself from the inside out.

The next times this word was uttered
you buried it within yourself
and shed your skin.

If the forest wanted you back you did not show it,
that dark place you came from
impenetrable but by fire.

When their pitchforks pierced your side
you stood still as the moon,
quiet,
waning.
They did not acknowledge your light
but you did,
you had to.

You do not consider it oppression
because it did not hurt enough.
Your scaled and scored skin
had learned to endure by then.
You stuffed your monster deep enough inside
that nothing could beat it out of you

The forest was still dark
but even their fire could not touch it.
It needed a soft touch
like ash over snow
like moonlight on a river

You hid your claws inside your pockets
as you grew, they went with you
longer, sharper, harder.
They became the layers of your soul
telling you that you survived climbing back up the cliffs and the windmills.
You survived
everything that you thought would kill you.
The fire inside you
raged despite the water you shed like leaves

When the forest called your name
you howled back with spit in your teeth
your blood surged but did not boil

When they finally came for you directly
you bared what was left of your teeth against the storm
and stood steady.
You took their blows and did not waver
though it hurt,
it hurt.

You still did not understand why they could not love you
but you did not hate them for it
anymore.
The only fire you wanted was your own,
the slow burn of bitterness had no place under your tongue.
When they finally came for you
you accepted that they may win
but that you,
you were always the one guaranteed sequels,
the one branded invincible by popular vote.
You rose to face each hero
with the knowledge
that your fire
could not be put out.
Your teeth,
swallowed,
never lost their sharp.

 


Elka Scott writes short, novel-length fiction, and poetry. They watch horror movies with the lights on and obsessively read weird comics. They studied creative writing and psychology in university and are currently working to become a creative writing therapist. Elka lives in Saskatchewan and recently received a grant from the Saskatchewan Arts Board to write their first graphic novel. They are previously published in The Voices Project. Follow Elka on Twitter @elka_scott, Instagram @inkstainedelka, and on Tumblr.

Image from The Public Domain Review.

The Last Straw

By Corey Miller

 

The entire world was transfixed by the TV. In all languages, the broadcasters described the atmosphere in the room. The camera zoomed in on the lucky woman chosen; next to her, a polished glass and a bottle of Coca Cola. All went quiet. Earth held its breath. The woman cracked the bottle open and decanted the smell of sassafras and caramel. She brought forth the last straw. The humans at home tensed their muscles and observed, not wanting to scare the endangered species.

The woman tore the end of white wrapping paper and the straw poked out of its home. Flashing lights and the sound of awe surrounded the straw. The woman slowly slid it out like a sword from its sheath to slice the Earth down to its fiery core. The straw dove to the bottom and attempted to float its way back out, longing to hop the rim of its cage and return to its unnatural habitat. The woman kinked her head to use the tool that moves liquid six inches and began to suck, her throat pulsating from gulping the sugary juice. The world watched in silence, while the Coca Cola disappeared like the ball dropping on New Years’ Eve. At last, a loud gurgling noise ended an era.

The humans sprung into the air cheering. People ran into the streets shouting and kissing their neighbors in jubilation. Parties broke out and alcohol was consumed. They would tell their children where they were the day of the last straw.

Without notice, while the humans looked the other way, the straw bent and rolled itself out of sight and out of mind. It floated down rivers past parties of people embracing like reunited lovers. It floated past politicians congratulating one another. It floated into the ocean searching for answers. Searching for its origin.

The waves pushed and pulled the straw like an accordion, creating dynamical tones, moving it deeper into the sea. Schools of fish knew all about plastic and carried the straw as servants would carry their ruler. Turtles with plastic belts and snappers with tummy tucks led the way. More and more plastic congregated with the currents. Eventually, the straw washed up on a netting of plastic bags interwoven to catch the guests of Trash Island. Greenhouses constructed from smooth beach glass, hotels of soggy corrugated cardboard, and convenience stores of non-recyclables formed the infrastructure.

The streets were immaculate and travelers constantly flowed in. The beer bottles howled as the wind blew across their lips, the shotgun shells would shoot the shit, and the used condoms got a private beach. The crazy straws arrived by pelican stomach like smuggled inmates who broke out of prison.

They gathered and assembled, first an island, next a castle, then a city for the ecosystem. Straws of all colors connected like Lego bricks to create walls, houses, and districts. The last straw was clear. A looming force banded together. The tides had changed.

 


Corey Miller lives with his wife in a tiny house they built near Cleveland. He is an award-winning Brewmaster who enjoys a good lager. His work has appeared or is forthcoming in X-R-A-Y, Barren, Cleaver, Bending Genres, Hobart, Gravel, and Cease Cows. When not working or writing, Corey likes to take the dogs for adventures. Follow Corey on Twitter @IronBrewer.

Photo credit: MetroUK.

Brigade

By Alia Hussain Vancrown

 

fireflies talk to each other

with light

 

in some firefly species

only one sex lights up

(but let’s not make that

everything)

in most species

both sexes glow

 

fireflies produce cold light

two chemicals

are in a firefly’s tail:

luciferase and luciferin

and here the story begins

the root of the lightbringer

Lucifer, commanding men

all over the world

to blackout living things

especially women

 

a firefly finds its way

inside Dar-ul-Islah

lands on the green curtain

drawn horizontally across

the entire mosque

to separate the pious men

from the pious women

(but let’s not forget

if we were pious

there’d be no need

for forced separation)

 

from this distance

you can’t tell

the sex of the firefly

I imagine the human brain

emits its own cold light

eating itself

light eating light

in the darkness

 

when you look at a living thing

you don’t consider binaries

you imitate its light and flash

the dark little by little

the two of you lighthouses

signaling the lost safely ashore

the two of you

tunnel and train

the two of you

astonishment

 

these are not acceptable

philosophies of the sermon

or the sermonizer

surahs in baritone

imagine Arabic in soprano

it would be a song

it would be Jannat under our mothers’ feet

 

I could have sworn

the firefly on the green curtain

wouldn’t choose a side

yet there it flits and lifts

well beyond the dome

of the mosque

 

I could have sworn

the acorns scattered along

the cracks in the stone path

didn’t ask to be crushed

by devout children, their light

made up for them

the dusky husks

of cicadas on leaves

a tinny orchestra of autumn

 

yet here we are

the world’s music a cacophony

of destruction and softness

in equal parts

but destruction ever louder

 

would a male god allow

something goddamn else

a male god who gave some of his animals

the ability to create their own light

as a means of survival

 

I’m telling you if I sit in the back

behind men any longer

sectioned off as sin

the darkness will extinguish me

 

and I’m not saying

I should have been born a boy

or that I identify as anything other

than a woman warrior

(though why is it so wrong

to be a scattering)

but I’m telling you if I sit

behind these men making

all of the decisions

for every one of us

 

fireflies are going to charge

out of my mouth

light will cannibalize light

they don’t live long

let this be a warning

 


Alia Hussain Vancrown has published in journals and magazines in print and online. Her poetry has twice been nominated for the Pushcart Prize. She was selected to participate in Winter Tangerine’s 2018 workshop, Singing Songs Crooning Comets, featuring seminars by Kaveh Akbar and Aricka Foreman. Alia works at the Library of Congress in the Law Division. She currently resides in Maryland. For more, please visit www.aliahussainvancrown.com and Instagram @aliagoestothelibrary.

Photo credit: slgckgc via a Creative Commons license.

To the Twenty-Five Percent of You

By Mark Williams

 

Consider the time my dad and I took classes at the Exum climbing school in the Tetons, and one of our classmates was Carol Lawrence. Maria of West Side Story Carol Lawrence. Nicest woman you’d ever want to meet, Carol, and who wouldn’t want to meet her, with that voice and pleasant smile and small feet—perfect for Broadway stages and mountain crevices. So when our wiry climbing instructor invited the class to a meeting at a backwoods cabin that night and Carol asked if she could bring her husband “Bob,” as in Camelot’s “If Ever I Would Leave You” Bob, who wouldn’t want to meet Robert Goulet, even if you were more into Neil Young and the Stones. Only when we get to the meeting, neither Carol nor Bob is there. For that matter, besides the instructor, Dad and I are the only ones from our climbing class to show up. There we are, Dad, me, and twelve or fifteen others sitting in uncomfortable chairs in a rustic cabin listening to the wiry instructor talk about actualizing this, shedding that, and something about dynamics. But before he tells us how to actualize or shed or what he means by dynamics, he has an exercise for us to do. “Pair up,” he says.

I’m always hesitant to describe anyone’s physical characteristics in unflattering ways, so let’s just say that my partner, a young man with chestnut, shoulder-length hair and a narrow face, looks like a horse and leave it at that. “Now, for the next thirty minutes, look into each other’s eyes and let your mind go where it goes,” the instructor instructs. Where my mind goes is, he looks like a horse, followed every so often by, don’t start laughing. I’ve read where three-fourths of Trump voters will vote for him even if he shoots them in the middle of Fifth Avenue first. But to the other twenty-five percent of you who went to the cabin in hope of seeing Carol Lawrence and meeting Robert Goulet (so to speak), but now find yourself stuck in an uncomfortable position, when you feel the slightest tap on your shoulder, conscience, or whatever, whether it’s your father tapping or not, listen to him when he says, “Let’s get out of here,” and get out.

 


Mark Williams’s poems have appeared in The Hudson ReviewThe Southern ReviewNew Ohio Review (online), RattleNimrodThe American Journal of Poetry, and the anthology, New Poetry From the Midwest (New American Press). Finishing Line Press published his poem, “Happiness,” as a chapbook in 2015. His poems in response to the Trump administration have appeared in Poets Reading the NewsTuck Magazine, and The New Verse News. This is his second appearance in Writers Resist. He lives in Evansville, Indiana.

Photo by DDP on Unsplash.

No Drone

By Willa Carroll


Willa Carroll is the author of Nerve Chorus, one of Entropy magazine’s Best Poetry Books of 2018 and a SPD Bestseller. A finalist for The Georgia Poetry Prize, she was the winner of Tupelo Quarterly’s TQ7 Poetry Prize and Narrative magazine’s Third Annual Poetry Contest. Her poems have appeared in AGNI, LARB Quarterly Journal, The Rumpus, Tin House, and elsewhere. Video readings of her poems were featured in Narrative Outloud. A former experimental dancer and actor, she has collaborated with numerous artists, including on text-based projects with her filmmaker husband. Willa lives in NYC. Visit her site at willacarroll.com.

How to Not Be “Racist”

By Tara Campbell

 

Neighbors,

These are difficult times for True Patriots. With election season coming up, the lamestream media is going to start sniffing around our peaceful Neighborhood, asking for our opinions on things. You never know when an Enemy of the State is going to stick a microphone in your face, waiting for you to say something “Offensive” to make their bosses happy; or worse yet, catch you unawares, undercover with a hidden microphone, and splash your First Amendment Speech all over the news for Socialists to mischaracterize as “Racist.”

It’s always one thing or another, isn’t it? First, they said we didn’t respect Women, even though we let one run the PTA for Pete’s Sake. Then, it was how we treat Illegals, and now we’re supposed to be Racist.

Well, I’m tired of these Outsiders coming around, taking up our parking spots in front of the Diner and eating the last piece of pie while doing their Gotcha Journalism. That’s why I produced this Flyer, printed on 100% genuine American Flag letterhead so you know it’s True, and put it in your mailbox to tell you how to Arm yourselves against unfounded accusations of Racism and Bigotry.

When you see an Enemy of the State, or anyone else who isn’t from the Neighborhood (because remember, undercover), use the following phrases with caution:

“I’m not Racist but…”

When you hear yourself starting a sentence this way, stop and think: Is the person you’re speaking to really White-white, or do they just look White? Things have gotten to the point in this Country where you can’t be sure, and if you’re not certain, you’re probably not in a safe space to finish this sentence.

“How was ‘[insert your statement]’ Racist?”

Never ask this question around someone who has experienced Racism, or any kind of Bias, because frankly, they are too close to the issue to give you an objective answer. They are way too Biased to be trusted with a question of Bias.

“It honestly didn’t even occur to me to interpret it that way. I’m Colorblind, I guess.”

Caution: Be prepared to show more than two forms of Minority friend as proof—and no, your babysitter or your lawn guy are not valid for this purpose, no matter how nice you are to them.

“They’re the ones creating Division by talking about it.”

As true as this may be, it only makes the other side angrier when you point it out, opening the way for more trouble for you in the form of Facts and Evidence. Locate an exit in advance, so you can storm out of it easily if they react in this manner.

“He didn’t really mean that.”

Have a Plan. The other side will often be able to provide verbatim quotes, and follow up by asking you how to interpret that phrase, leading you to make statements you will have to apologize for later. Be prepared to either say he misspoke, or to tell them why they shouldn’t take it so seriously. If you choose the second tack, be sure not to use examples of threats that have actually come to pass.

“Go back to their Country”

Even if you say nice things about whatever Country it is, that phrase just ticks people off, and then they start talking about History, and Indians, and Pox Blankets, and that doesn’t end well, so just forget it.

Please note, the following words are also to be used with the utmost care.

Racially-charged

It’s elegant, yes, but it is beginning to lose its power due to the other side calling it insufficiently “accurate” or “rigorous” or “True”

American

Yes, we know what that means, but the other side will pretend not to, goading you into an actual explanation that will make you say things that you will later have to say you didn’t really mean. We know what this word means, so there is no need to explain ourselves.

Freedom

Again, crystal clear to those of us who already have and cherish it, but the other side tends to expand the definition too far beyond Firearms, Capitalism, and Christianity to have a meaningful discussion about it.

One last note, Neighbors: I’ve been careful to distribute this Flyer to everyone but that one family on Elm St., and I trust that you know which family that is. They will likely not be able understand the true intent of this Flyer, which is certainly NOT “Racist,” but Educational. If they encounter this Flyer, they may misunderstand it, and explicitly disallow their use as proof of Minority friends, and none of us can afford that.

And lastly, if anyone has any Questions—I’ve found it’s best not to ask.

Respectfully,
Your Neighbor

 


Tara Campbell (www.taracampbell.com) is a writer, teacher, Kimbilio Fellow, and fiction editor at Barrelhouse. Prior publication credits include SmokeLong QuarterlyMasters ReviewJellyfish Review, Booth, and Strange Horizons. She’s the author of a novel, TreeVolution, a hybrid fiction/poetry collection; Circe’s Bicycle, and a short story collection, Midnight at the Organporium. She received her MFA from American University in 2019.

Photo by James Kenny on Unsplash.

 

How to Eat a Soldier

By Matt Pasca

 

Lobsters mate for life—on menus they are called lobster.
And all’s fair in fowl: duck called duck, chicken chicken—the winged
as unrenamed as the sea.

But cow & pig & deer, stars of the big screen as Elsie & Babe & Bambi—
we unmammal their meat with abstraction:

Beef. Pork. Venison.

At 19, a man folded his civilian hopes like a flag & placed it
in a box, wrote ME in sharpie across the top. America cheered, called him

Soldier. Corporal. Hero.

At 23, he returned, his flanks braised & mind ground to chuck—
a nightmare pureed so he’d be easier to digest, his potential inconvenient

as a stain, hunkered down between Starbucks, bank vents
& voices in narcotic wind. He’s been renamed:

Veteran. Homeless. Bum.

They spit at his best cardboard sharpie, his camouflage curbside
dolor, another self severed overseas, tranquility amputee

because terror’s meat is never done, named or
broken with bread around family tables, break-time or

ballgames, not at the PTA or Field Day where kids don’t
flinch at fireworks. War clamps down, becomes blood’s

quantity, sight’s tightrope, the cat on 22nd Street—eyeless &
still—taxis swerving politely now its dead, like the gun

salute he’ll get when they find him one morning, hard as a tank
on 54th & Lexington. War rapes the “home” inside, America,

so forget the 8,000 beds for your 200,000 bullet-holed, fire-eyed
unstrung children—follow them instead into taverns &

clinics, churches & kitchens filled with humans
waiting for you to remember what they are.

 


MATT PASCA is a poet, teacher and traveler who believes in art’s ability to foster discovery, empathy and justice. He has authored two poetry collections—A Thousand Doors (2011 Pushcart nominee) and Raven Wire (2017 Eric Hoffer Book Award Finalist)—and serves as Assistant Poetry Editor of 2 Bridges Review. In his corner of New York, Matt facilitates The Sunday Grind, a bi-weekly writing workshop; curates Second Saturdays @Cyrus, a popular poetry series; and spreads his unwavering faith in critical thought and word magic to his Poetry, Mythology and Literature students at Bay Shore High School, where he has taught for 22 years and been named a New York State Teacher of Excellence. Read more at follow him at www.mattpasca.com, @mrpasca (IG), and @Matt_Pasca (T).

Photo credit: Julian Tysoe via a Creative Commons license.

I’m With Exxon Mobile

By Carl Dimitri


Carl Dimitri, a Providence, Rhode Island-based artist, is committed to drawing one cartoon a day until the Trump era is over. Carl has received fellowships in painting from the Vermont Studio Center and the Rhode Island State Council on the Arts. He was also elected in 2012 into The Drawing Center in New York City.

A version of this cartoon was previously published in Entropy magazine.

Hope and Furies

By Shana Ross

 

When vengeance descends
in a collective
noun with feathers:
do we expect
a murmuration
or a murder?

 


Shana Ross is a writer, mother, muse, sometime wallflower, middle-aged ambivert with a BA and MBA from Yale. Since resuming her writing career in 2018, she has accumulated over 20 publication credits. She is a 2019 Parent-Writer Fellow of Martha’s Vineyard Institute of Creative Writing, and is an editor for Luna Station Quarterly. She does not fully understand why women are not rioting, right now.

Painting, Orestes Pursued by the Furies, by William-Adolphe Bouguereau, 1862.

A Moment of Silence

By Rebecca Lee

 

The bus station smells like stale cigarettes and something milky mixed with a sour aftertaste. Babies and homeless people. They are completely opposite from each another. One has lived too much and the other, not enough. Together, they sit in the row of blue plastic seats in front of and behind me.

Overcoats are wrapped tightly around us all. It’s cold and the concrete floor feels chilly even with boots. I am wearing a black zip-up with fur and lace lining the hood. I bought it eight years ago, and it’s no longer in fashion, but other women wear similar things.

We sit and wait, not looking at one another. We busy ourselves with gadgets.

On the wall in front of us is an electronic clock with the estimated time of arrival for each bus. I watch as the number of minutes clicks down in precise synchronization with the incoming buses. It’s like I am God.

Number 7 is coming in three minutes. Number 5, which was coming in three minutes, will now be here in two seconds. I can see it curving around the street just a block away. This is how it will go hour after hour. In a world where babies and homeless people have places to be, there is order in the sanctity of scheduling.

People sit next to me, but there’s always a chair between us. I’ve seen the same women on the same bus for years, but I don’t know their names. The older woman who takes tiny, deliberate steps, sits at the edge of the row so she doesn’t have to maneuver around everybody else’s legs.

We are alone in our own worlds. I have my earbuds jammed inside my ears so that the entire bus station looks like an orchestrated skit moving to Bob Seger.

When a man sits directly next to me, I pretend not to notice even after he waves for my attention.

“Miss,” he says, pretending to take something out of his ear. “Miss,” he says again.

His jeans are weighed down by everything I cannot see. His parka makes him look like the mascot for Michelin Tires.

I no longer feel like God. Two more minutes until the 7 will be here and then I’ll be somewhere else. I take out an earbud, but leave the other in.

“Yes?”

“You know when the 4 gets here?”

I point to the electric screen at the front of the station where all the arrival times are posted. He doesn’t look.

“Where you going?”

The woman at the edge of the row doesn’t make eye contact and the women with babies are busy. I smile and put the earbud back in.

“You’re not going to say?”

I can hear his voice and I know it registers on my face. I wish I had turned the volume up louder.

“You don’t want to talk to me?”

The unspoken bus station boundaries have shattered all around me, and I can smell his cigarette smoke mixing with mine. Menthol and Cowboys tangled together. I know why the babies are crying.

One minute before the bus comes and I can leave this plastic seat.

“Where are you going?” he repeats, but I’ve already faced front.

If I stay still, his words can’t penetrate my music.

He turns, brings his hands up in the air, and then slams them down onto his knees. His sigh is audible to everyone in the station, but I still pretend not to hear.

An elderly man is staring out a window. A child is playing with his mother’s phone. I watch the 7 silently glide into the front of the bus station as I get up to walk outside. I can see people’s mouths moving. Someone is miming laughter. We’re all together going somewhere else, but their voices are drowned by my volume.

 


Rebecca Lee has published in a variety of magazines and journals, including, Able Muse, The Virginian Pilot, and Existere Journal. Her essay, “Rules of Engagement,” was listed under notable essays in The Best American Essays anthology.

Photo credit: Tadson Bussey via a Creative Commons license.

Crime Scene

By Mark Blickley and Nancy A. Kiel

 

 


Mark Blickley is a proud member of the Dramatists Guild and PEN American Center. His latest book is the text-based art collaboration with fine arts photographer Amy Bassin, Dream Streams.

Nancy A. Kiel lives in Sydney, Australia, where she’s an award-winning musician, songwriter, writer, and founding member of the New Zealand band Baby! and the Australian group Party Girls. Nancy is the founder and Managing Director of Miss Nancy’s Dried Berries.

For Four Years, At Least

By Mark J. Mitchell

For Lyle Grosjean and those of us who walk

None shall kill when all are completed.         

—Kenneth Patchen

Our boots—
brown, heavy and clunky
as gray cinderblocks—
can rest at the backs
of our cluttered closets unless
bright wild flower hills
call us by name.

The green room—
new, shiny, its long table
still wrapped in clear plastic—
will stay empty. No pink
flesh will feel the bite
of silver needles. The window
will be blurred by dust. No one
need witness human sacrifice.

We will not walk
across the red bridge
on blue mornings except
to share quiet joy in each
the other’s company, watching the white
city and the green hills—
our walks yellow and bright
as summer.

For four years, at least,
the machinery of death
will be left to rust.

 


 Mark J. Mitchell’s novel, The Magic War, appeared from Loose Leaves Publishing. He studied  at Santa Cruz under Raymond Carver and George Hitchcock. His work has appeared in several anthologies and hundreds of periodicals. He lives with his wife, Joan Juster, making his living pointing out pretty things in San Francisco. Since 1978, he has walked from San Francisco to San Quentin, with a likeminded group, each time an execution has been scheduled.

Photo by Tanya Nevidoma on Unsplash.

The Safety of Stairs

By Sue Katz

 

No one could explain why she kept falling down their flight of stairs. Her mother and father couldn’t remember when it started, but Lynne would never forget that night when her sister Brenda was five and she herself was four. While their father was saying good night—as he did every night—Brenda squirmed out of his embrace, ran out to the hall, and flung herself down the steps. She screamed at the bottom so that their mother, who was downstairs washing dishes, ran to her.

It had been a broken elbow that first occasion. But as time passed, Brenda seemed to figure out how to fall so that she only got bruises, not breaks. Their father kept tucking them in at night while their mother was usually downstairs. Just sometimes, Brenda would start fighting with him to get away, rush to the stairs, and throw herself down.

After about three times, their mother took Brenda to the doctor. She was tested for epilepsy, for multiple sclerosis, for sleep-walking. Once or twice she was asked what happened, but no one listened when she said that she fell down the stairs so that she would be safe.

When their father decided that Brenda was getting to be too much trouble, he paid more attention to Lynne. One night when he tucked her in, Lynne said, “That’s not nice, Daddy.” Brenda realized what was going on and ran out to the hall and threw herself down the stairs. The counselor suggested therapy three times a week. Her daddy spanked her with her pants down. Her mother washed the dishes.

 


Sue Katz’s business card identifies her as a “Wordsmith and Rebel.” Her writing has been published on the three continents where she has lived, worked, and roused rabble. She has been a martial arts master, promoted transnational volunteering, and partner danced more than her feet could bear. Her journalism and stories have been published for decades in anthologies, magazines, and online. Her fiction, often focusing on the lives of elders, include A Raisin in My Cleavage: short and shorter stories, Lillian’s Last Affair and other stories, and Lillian in Love.

Sue’s new fiction collection, A Raisin in My Cleavage: short & shorter stories, was released this summer by Consenting Adult Press. Visit her website for more information.

Photo credit: Get directly down via a Creative Commons license.

Apartheid

By Rebecca Ruth Gould

 

“We don’t serve Arabs,”
says the man behind the counter.
He fixes his eyes on me &
awaits my consent.

My Arab taxi driver is unfazed.
Racism is an old story
in the land of David.
Politeness took over.

We head for the car.
The road is a silent witness to atrocity.
Barren valleys cascade,
one after another.

God is a strange creature,
I think to myself.
What idiot would choose this sterile land
for launching his career?

We reach Bethlehem: checkpoint 300.
I disembark.
Arabs are not allowed
to cross like white women

with American passports.
I journey by foot to the two-storied
white limestone home where
I’ve taken up abode.

I pass tourists in t-shirts,
Banksy portraits,
& soldiers armed with kalashnikovs.
Like the racist at the counter—

like every well-heeled politician—
like every international law—
armed soldiers avert their gaze,
revealing glare of the sun.

 


Rebecca Ruth Gould’s poems and translations have appeared in Nimrod, Kenyon Review, Tin House, The Hudson Review, Salt Hill, and The Atlantic Review. She translates from Persian, Russian, and Georgian, and has translated books such as After Tomorrow the Days Disappear: Ghazals and Other Poems of Hasan Sijzi of Delhi (Northwestern University Press, 2016) and The Death of Bagrat Zakharych and Other Stories by Vazha-Pshavela (Paper & Ink, 2019). Her literary translations have earned comparison with the world’s greatest poets, with a reviewer in The Calvert Journal recently noting, “With her new translation, Rebecca Ruth Gould follows in the footsteps of Russian literature luminaries like Osip Mandelshtam and Marina Tsvetaeva.” Her poem “Grocery Shopping” was a finalist for the Luminaire Award for Best Poetry in 2017, and she is a Pushcart Prize nominee.

West Bank mural photo by Dan Meyers on Unsplash, 2014.

Dan’s note: This was done by Banksy, which I didn’t learn until a couple years later. I paid a Palestinian cab driver to take me to their side of the wall and took a few photos of the “graffiti”/art with my iPhone. The West Bank is walled off like a prison and heavily guarded by the Israelis. For those reasons, of all the “graffiti” I saw, this one resonated the most with me. I hope this pic introduces others to this amazing piece of art or gives some context to those who have seen it before.

Passion Play

By Jose A. Alcantara

 

The men in white collars
worship the crucified Christ

or what passes for it –
a soft-fleshed boy on a bed

stripped naked,
arms spread, ankles crossed.

They shoot polaroids
to share with other men

of God, those not lucky
enough to be there

that day, on Golgotha,
when the innocent wept

and even thieves
begged forgiveness.

 


 Jose A. Alcantara has worked as a bookseller, mailman, commercial fisherman, baker, carpenter, studio photographer, door-to-door salesman, and math teacher. He is a former Fishtrap Fellow and was the winner of the 2017 Patricia Bibby Memorial Scholarship from Tebot Bach. His poems have appeared in Poetry Daily, The Southern Review, Spillway, Rattle, High Desert Journal, San Pedro River Review, Pilgrimage, Spoon River Poetry Review, and the anthologies, 99 Poems for the 99%, and America, We Call Your Name: Poems of Resistance and Resilience. His poetry has been nominated for both a Pushcart and Best of the Net.

Photo credit: Photo by lAI mAN nUNG on Unsplash.

On the President’s Announcement of Our Hashtag

By John Linstrom

 

The President announced we need to keep
some carbon in the ground; he sounded sure,

his raised and lowered index finger maybe
mimicking an oil rig I’ve seen

on my computer screen. I caught his talk
distilled at first, a single image meme,

hashtagged to my cell phone’s glowing face,
the floating phantom of a president

in light above this tiny glowing slab.
Such phones are made of matter. I forget

sometimes the way the world is swept for me,
the oil that forms the plastic, metals heaved

from mines, and heavy metals concentrated
to this short-term task. I hold it here—

the screen dims—it reminds me of the black
obsidian we’d often find in flakes

along the old ravine. We pretended
that was magic, too, but we really knew

it made the body of the place we played,
the mud’s black fingernails, skeletal

outcropped source of grounded mystic wonder.
That stone had been there for millennia.

Then we’d each lift a rock and toss it up
into the clicking branches, watch it fall

gleaming along a trail the trees had altered,
and catch it in our shirt-sleeve-guarded hands.

Later, we’d return the stones to the mud.
The soul of Earth is black like that, I think,

obsidian and coal and oil, the bridges
from molten core to surface, dinosaurs

to us. We listen to our President
on magic flakes we’ve swept from earth’s ravines.

The flakes can prophesy to how we’ve made
an end to all we’ll ever dream to make—

a human listening to the soil’s voice
might speak of moderation, or of love.

#KeepItInTheGround

 

 

Poet’s note: Written on the occasion of President Barack Obama’s rejection of the Keystone XL Pipeline, November 2015.


John Linstrom’s poems have recently appeared in Commonweal Magazine, Bridge Eight, Valparaiso Poetry Review, Dunes Review, and Narrative Northeast’s “Eco Issue.” In 2015, Counterpoint Press published his centennial edition of Liberty Hyde Bailey’s eco-philosophical manifesto, The Holy Earth, with a new foreword by Wendell Berry. He now has a collection of Bailey’s garden writings, The Liberty Hyde Bailey Gardener’s Companion, forthcoming from Cornell University Press in the fall. John currently lives with his fiancée in Brooklyn, where he is a doctoral candidate in English and American Literature at New York University, and he also holds an MFA in Creative Writing and Environment from Iowa State University. Visit him on Twitter and Instagram @JohnLinstrom, at his website at johnlinstrom.com, and on Facebook.

“On the President’s Announcement of Our Hashtag” was previously publish by This Week in Poetry.

Photo credit: Photo by Zbynek Burival on Unsplash.

Street Folk

By Ellen Girardeau Kempler

 

Disembodied. Disenfranchised. Disconnected. Disassociated. Disowned. Disliked.

Distained. Disrespected. Disregarded. Disparaged. Disgraced. Dismissed.

Discarded. Disavowed. Disqualified. Disappointed. Disheartened. Distanced. Disbarred.

Dislocated to:

Dis City,

The Inferno,

Sixth Circle of Hell,

Not in My Backyard,

Planet Earth 00000

(Do not forward. Do not return.) Disappeared.

 


Called “a timely and powerful selection of climate poetics,” Ellen Girardeau Kempler’s first book, Thirty Views of a Changing World: Haiku + Photos, was published in December 2017 by Finishing Line Press. In 2016, she won Ireland’s Blackwater International Poetry Prize and received honorable mention in Winning Writers’ Tom Howard/Margaret Reid Poetry Contest. She posts a daily haiku and photo “anti-selfie” on Instagram @placepoet, you can follow her on Twitter @goodnewsmuse, and she publishes a newsletter called Tiny Letters.

Photo credit: Photo by Fred Pixlab on Unsplash.