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.

The President Signs the Criminal Justice Reform Act

By Jack Mackey

 

In the Oval Office dripping in rehearsed applause
from the full-pocketed and the bloated
paid to do a job by corporate wardens enriched
by a three-strike law that scooped up traffic
violators like escaped farm animals

surrounded by billionaire brothers who bought
a conscience on closeout after years of dictating to
lap dog stenographers in the Capitol their wishes
placing innocents into the jaws of a meat grinder

smoothing silk tie with one hand he grins
and turns with camera-ready graciousness to his left
to his right cloaks himself in the mantle of
unearned praise halfway extends his barely average
hands to his greedy kin who get credit for
finally noticing injustice now
because it nested in their family patch

he moves the pen up and down with theatrical force
forging a scribbled signature turning his name towards
the cameras like a child with a finger painting.

I watch this revival-tent duplicity on my TV
wondering, how do we mend a wingless sparrow how
do we put a daddy’s push on the seat of a girl’s swing how
do we place a mother’s palm on a boy’s delicate
fingers guiding as he practices his letters.

How will a new law fix a bad law, return
the confiscated lift all the clothes and furniture
evicted to the curb and fly them back inside the house?

 


Jack Mackey lives in Rehoboth Beach, Delaware, and Washington, D.C.  He holds an M.A. in English from the University of Maryland. His poems have been published by, or forthcoming in, Darkhouse Books, the Rehoboth Beach Writers’ Guild, Third Wednesday and Rat’s Ass Review.

Photo credit: From the ACLU website.

Abortion Stories from Writers Resist

Unlike the statistics above, our stories help humanize the theme of abortion, and this week we are sharing five of them, in poetry and prose, by Mileva Anastasiadou, Andrea England, Vicki Cohen, Heather Mydosh, and Penny Perry.

Like every piece in the issue, each abortion decision is unique and intimate, and it is owned by only one person, the person who is pregnant.

To those who feel confident they know better than the people to whom the decision belongs, we invite you to learn otherwise, and then join us.

Writers Resist is passionate in our support of reproductive justice—and we are in the majority—but we must do more to assure that across the United States abortion is legal, accessible, and safe for all.

 


The chart is from Pew Research Center.

How to Disappear Completely

By Mileva Anastasiadou

 

She’s not that young, already in her mid-twenties, when the double lines appear on the test. She is careful enough most of the time, yet that’s how it goes; life happens and spoils all plans.

At first, she’ll panic. That doesn’t mean much, her boyfriend will say; everybody panics at the prospect of responsibility. She’ll have to take some time to think about it before she makes up her mind. She doesn’t need to, for the decision is already made, yet she pretends to consider all options, because that’s what’s expected of her. Being a mother was never her dream. Nor was being an astronaut. Or a lawyer. So she’s not an astronaut, or a lawyer. Does she have the right not to be a mother, though? She’ll wonder for a while if motherhood is a choice or an inevitable fate, yet she’s certain and firm. Her partner is not negative about a pregnancy, as usually expected in stories like this one. She won’t blame it on an irresponsible boyfriend. We could start a family, he’ll say. It’s up to her and she knows it. She’ll shake her head. She can’t even picture herself as a mother. He’ll hold her hand and ask her if that’s what she wants. She’ll nod.

She’ll make the arrangements next morning. She’ll remain detached, not out of second thoughts, as expected in stories like this one. She only regrets not being careful enough. She doesn’t enjoy unnecessary medical procedures. No one does. Nor does she enjoy her body being invaded by an alien creature, even if it’s her future offspring. She’ll sing inside that Radiohead tune about how to disappear completely. She’ll recognize it’s a sad song.

The doctor will see her partner standing beside her and won’t know what to tell him. In his mind, it’s the boyfriend’s fault. The girl would love to be a mother, he thinks, had she found the proper man. Wouldn’t every woman? She’ll keep her boyfriend away, go and fetch some sandwiches, she’ll tell him. Now that they’re alone, the doctor will feel more comfortable asking her. Are you sure? She’ll nod.

She’ll come home to sleep. Not out of regrets, as expected in stories like this one. She’ll be exhausted but glad the whole thing is over. I’m more than just a womb, she’ll say to herself. She’ll wonder if love is only about procreation. She’ll know, though, she did the right thing. She’ll be happier without a baby, so will be the unborn kid. What would life be like for a child growing up with an unwilling mother? Next day, she’ll go to work like nothing happened. Her colleagues will ask if she enjoyed her day off. She’ll nod.

She’ll still be child free at forty, privileged enough to live a life of choices. She’ll have been careful enough to not go through the same situation again. She won’t see the ghost of her unborn daughter, as usually expected in stories like this one. Strangely enough people only imagine unborn daughters, not unborn sons. People will wonder why she doesn’t have kids. Not all people are made out to be parents, she’ll say. They’ll assume there’s something wrong. Physically or mentally. They’ll ask questions and offer unsolicited advice. To avoid further explanations, she’ll nod.

In an alternate universe, the girl won’t have a choice. She’ll have to keep the baby no matter what. She’ll look at it and every single time she’ll be reminded of the life she hasn’t lived. She’ll hate it, only she won’t be able to admit it. People never do. She’ll raise it like a committed mother and little by little she’ll love her kid, like all parents do. Or most of them.

By forty, she’ll have completely disappeared, enslaved in a life unchosen. That’s when the ghost of the life she could have lived will come to haunt her. The doctor will hand her the appropriate pills, asking her to calm down. She’ll take them without hesitation and she’ll nod. Not out of determination this time, but that nod will be the white flag signaling acceptance of defeat.

 


Mileva Anastasiadou is a neurologist, from Athens, Greece. Her work can be found or is forthcoming in many journals, such as the Molotov Cocktail, Jellyfish Review, Sunlight Press (Best Small Fictions 2019 nominee), Ghost Parachute, Gone Lawn, Ellipsis Zine, Queen Mob’s Tea House, Bending Genres, MoonPark Review, Litro and others. Follow Mileva on Twitter @happymil_.

Photo credit: Carlos Ebert via a Creative Commons license.

Coat Hanger Song

By Andrea England

 

The baby born into a subway toilet

between Harvard and Porter

Baby

with the too-big head and ears

that flap in the wind from a smack

Baby addicted to crack turned

blue as a bruise in his birthday suit

Baby unwanted and doesn’t know why

His father raped his mother

Baby taken

and fostered and fostered and

jailed for no crime of his own

Baby who commits suicide at nine

with a needle spooned from the shelter

of homelessness

Baby hit by the hunger of

water just to be wet

Black baby White

baby

Baby nursed by wolves or cats

Baby who killed his mother and

died anyway in the NICU of  broken

hearts or the

Baby kept in a shed of his own

milk and blood

Beaten like a drum, in the back

alley of our glorious forsaken nation.

 


Andrea England is the author of Other Geographies (2017, Creative Justice Press) and Inventory of a Field (2014, Finishing Line Press). Her work has been published or is forthcoming in Potomac Review, Glass: A Journal of Poetry, Fourteen Hills Review, and others.. Most recently she had the honor of being a Writer-in-Residence at Firefly Farms (SAFTA). She lives and works in Kalamazoo Michigan, where she teaches English and Creative Writing for various universities and organizations. To learn and read more about her and her work, visit andreajengland.com.

Photo credit: Photo by Palash Jain on Unsplash.

On Abortion

By Vicki Cohen

 

I am a nurse-midwife.

For over thirty years, I provided prenatal care for pregnant women and welcomed new life. It was mostly happy work, but sometimes I’d find myself worrying about the women who lived in poverty or suffered from substance abuse, the thirteen-year-old who didn’t know she was pregnant until too late to consider her options, or the woman about to give birth to her eleventh child. I often left work feeling jaded and tired.

Now, in my semi-retirement, I mostly do the opposite of what I did before. I help women prevent pregnancy and help them when those plans fail. Which they do.

On social media, in response to an article about abortion, a man wrote that women should, instead of killing the baby, use birth control or the morning after pill. I could not stop myself from responding. I wrote that I am an abortion provider despite the fact that abortions are a fraction of what I do. I wrote that birth control is not 100 percent effective, nor is emergency contraception. I wrote that an unplanned pregnancy never happens without a man. Whoever claims they don’t believe in abortion rights may make their own decision not to have one.

My post received applause and gratitude. It also received more than one veiled threat in which I was told I was going to Hell. I think I do not want to go to their Heaven.

Yes. I do abortions.

I also provide contraception and STD treatment and preventative care.

Many days, I pass protesters who block my car from the clinic parking lot, who engage the women who are coming to see me or the other clinicians I’m proud to work with. What I think about these people—holding pictures of dead babies, handing out business cards for fake clinics, pamphlets filled with inaccurate descriptions of what we do, and propaganda such as the claims that sperm protects against pre-eclampsia or that birth control pills cause cancer—is: How dare you? This is not your business.

I can dismiss them. But my patients? Maybe not.

The second time I saw the rape victim was a month or more after the assault. The first time she’d asked me to look at a small bump that turned out not to be the herpes she was worried about. But this time, after sitting at her side while she tried to catch her breath long enough to tell me why she’d returned, to describe the pain of sitting, the torture when urine hit her skin, the agony caused by the multiple eruptions on her genitals, I had to tell her that this time, she was not so lucky. I sat with her as she sobbed, distraught over the thought of being reminded of the rape every time she has an outbreak of an infection she will never be rid of. This woman was not pregnant. Still, before getting inside, she had to walk past people who called her a murderer.

The day before, while deciding whether to renew the state’s last reproductive health clinic’s license to operate, Missouri’s health department passed a requirement that clinicians do a pelvic exam prior to the already mandated three-day waiting period before a woman has her constitutionally protected abortion. There are few situations that would make this exam medically necessary. This is punishment, pure and simple. Punishment for the women—some of whom, according to news reports, feel obliged to apologize to their clinicians for this prerequisite—punishment for the providers who, I imagine, feel as if they have guns to their heads.

In Oregon, where I work, we’re lucky to have a liberal governor and liberal laws. It is easy to convince myself that whatever the federal government does, we will be safe. And yet.

The federal Title X gag rule has been upheld in the courts. This rule tells health care providers they may only discuss prenatal care or adoption with their pregnant patients. It tells us, if we continue to provide education about or access to abortion, that we will lose Title X funding. What will this mean for the adolescent requesting chlamydia screening? For the married woman who learns her husband has been having sex with men? For the recovering addict who wants to be sure they don’t have HIV? Or the woman with the breast mass, the one asking for her first cervical cancer screening in ten years, the one with bleeding that could be controlled by a hormonal IUD even though she’s never been sexually active? The trans-man who feels rejected everywhere else or the cis-man who wants condoms, a vasectomy, or testing for STDs? Besides being a question of choice, this is a public health issue, pure and simple.

Sometimes the protesters outside my clinic are women. Head-bowed women holding prayer books line up along the sidewalk singing hymns. The woman in the headscarf, when she’s not pushing brochures, lies prostrate at the entrance to the property. I would like to tell them about the women who start out just as convinced of the morality of their views as they are, but who end up inside, making a choice they never imagined they’d make.

Sometimes, the protesters are men, to whom I want to say: You, too, bear responsibility. The only thing that guarantees no unplanned pregnancies is not having intercourse with a man. So why is the onus on women? It’s simple. Men can walk away. We cannot.

During his Supreme Court confirmation hearings, Brett Kavanaugh was asked to come up with just one law that regulates what a man can do with his body. I couldn’t stop thinking about that question, couldn’t stop thinking about the decisions being made about my body and the bodies of every woman I know and those I don’t. I wrote the senator’s question on a cardboard sign and carried it to a Stop the Ban rally where a stranger informed me that in some states a man still needs his wife’s permission to have a vasectomy, but in fact, such a requirement would constitute not only an ethical lapse, but a violation of patient privacy law that prevents health care providers from discussing a patient with anyone without permission. The person who felt compelled to tell me I was mistaken, was mistaken.

I left the rally with my sister, both of us wondering what made these protests feel so less potent than those we attended when we were young. Demonstrations against the Vietnam War. Fighting for civil rights and the passage of Roe vs. Wade. I couldn’t stop seeing the sense of fatigue reflected back in the faces of those who now protest at our sides. Does it come from the barrage of stories about children in cages, starving polar bears, and mass shootings that flood social media and feed our sense of helplessness? Is it a manifestation of the slow, deliberate cutting away of our rights so that by the time we realize they’re gone we’ve been exhausted instead of energized?

It’s easy to convince ourselves that lives are not on the line, but they are. I am overwhelmed by a pervasive and palpable fear of returning to a time when women died and doctors were assassinated for trying to help.

So, every day, moving forward, I will remind myself of the health care providers in Missouri’s last clinic who, after three weeks of state-mandated pelvic exams—a decree that amounted to nothing short of state-mandated assault—stood up and said, No. We will no longer do this. We will not let you tell us how to do our jobs. I will remind myself of those clinicians who forced the state to stand down. I will remind myself of what is possible.

What if my patient with herpes had been pregnant, if her attacker had given her not just a chronic disease, but had also impregnated her? Who has the right to tell her whether or not to raise a child created by rape? Or to tell the woman who struggles to feed her children that she must have one more; to tell the teenager, who conceives the first time she has sex because her partner removed the condom, that her dreams have just died; to insist that the woman with a damaged fetus give birth even though the fetus won’t have a chance at the kind of life every one of us wants for our kids?

Who has that right? I don’t. And you don’t either. Our opinions don’t matter. We should keep them to ourselves, even, sometimes, when we’re asked to share.

Reproductive justice is about one thing and one thing only. It is about who controls my body and who controls yours, even if you are sure you’d never terminate a pregnancy. Please remember the women I’ve had in my office who, until they sat there, were absolutely certain, too.

 


Vicki Cohen is a nurse-midwife, a writer, and an activist from Portland, Oregon. She received her MFA from the Bennington Writing Seminars in January 2018.

The image is by Lauren Walker for Truthout.

 

Dark Spaces

By Heather Mydosh

For Indiana HEA 1337

 

Eve is a common punch line
in the joke against women
with her penchant for the forked tongue
and listening to more than one
authority figure, but if we
peel it back a little further
to rectilinear Pandora, bless her,
created first among women
by temperamental adolescent gods,
she had it even worse—at least Eve
knew what the apple looked like,
could touch it, fingertip trace its cheeks
and test for firmness. Fondling wouldn’t
have done Eve in, but all Pandora
had to do was crack her box
for the proverbial peak.
She couldn’t have known
what was in there, what could take root
in the world outside herself.
If she could have known,
of course she wouldn’t have
opened it and damned herself
to a notoriety which outstrips her gods.
Still we punish women who look
inside themselves to see
what seeds we bear, what traits,
what crooked stems and strains,
and we damn with new laws
those who slam the lid back down
and seal up in their cups and vessels
that which they will not tend and grow.

 


Heather Mydosh is a professor at Independence Community College in southeast Kansas and a recent graduate of the Stonecoast MFA at the University of Southern Maine. Her work has appeared in The Midwest Quarterly, After the Pause, 99 Pine Street, The Corvus Review, and Kansas Time + Place among others. Visit Heather’s website to learn more.

Painting credit: From the 1951 film Pandora and the Flying Dutchman.