PTSD Pantoum

By Jean Waggoner

 

Me and Apple were out on patrol….
Each story begins with a line like this,
the travesty of its grammar a buddy thing
for the philosopher-boy turned to grunt.

Each story begins with a line like this,
a breath-stopping return to war
for the philosopher-boy turned to grunt,
blank-out humping huge loads, splattered in guts.

A breath-stopping return to war,
newest research blames prior trauma;
blank-out humping huge loads, splattered in guts
(What a nice cost-savings for Veterans Affairs).

Our newest research blames prior trauma;
he saw a brakeman uncle’s three-day death;
(What a nice cost-savings for Veterans Affairs!)
a man’s train-severed leg and wailing from pain.

He saw a brakeman uncle’s three-day death,
not the buddy blown up in WW II:
a man’s pain-severed leg and wailing in pain,
or maimed Civil War vets in Depression soup lines.

Not the buddy blown up in WW II,
not the leap to the trench from your rest:
or maimed Civil War vets in Depression soup lines:
blame it on the screaming child at night.

Not the leap to the trench from your rest,
of your father’s or brothers’ war, or yours;
blame it on the screaming child at night.
Those without prior trauma don’t get PTSD.

Of your father’s or brothers’ war, or yours,
Afghanistan vets trump them all.
Those without prior trauma don’t get PTSD;
(Ah, so many recruits homeland-brutalized.)

Afghanistan vets trump them all.
Maybe our movies can shoulder some blame;
(Ah, so many recruits homeland-brutalized.)
Before “shell shock” and PTSD, the cowards were shot!

Maybe our movies can shoulder some blame
for extreme violence or magical thinking.
Before “shell shock” and PTSD, the cowards were shot!
Me and Apple were out on patrol….

 


Jean Waggoner has sporadically published poems, stories, articles and fine arts reviews and she co-authored The Freeway Flier and the Life of the Mind, a book about the Adjunct Faculty experience. “PTSD Pantoum” references a controversial 2007 Institute of Medicine and National Research Council PTSD analysis discussed in Sebastian Junger’s “The Bonds of Battle” in Vanity Fair, 2016. Jean has retired, no longer leads an Inlandia Institute creative writing workshop, and will soon update her website.

Photo credit: Elijah O’Donnell on Unsplash.

In the Time of Avian Politics

By Josh Nicolaisen

 

Attempting to influence opinions
and implement policies
through terse tweets,
it’s clear he sees
himself as the
great golden eagle of
social media,
and America.
Sure, bald would be
more appropriate and
more patriotic,
but don’t we know
appropriateness is
apart
from his concerns
and that the
narcissist would never
ignore gold, nor
allow himself to
be paired with a word
like bald
with such negative,
albeit alternative,
connotations?

Plus, we all already
saw how the
white-headed raptor
reacted to him
prior to his
inauguration.

After just a few months
of following his feeds
we’re sure he’s a predator
but no raptor at all.
Lacking the right skills,
he’s surrounded himself
with generals, and though
he wishes he were a hawk,
he’s more like a preposterously
self-indulged peacock
presumptuously poised
to strut its stuff for an
ever-attentive audience.
An immature and
inexperienced rooster
who can’t secure his flock-
staffers starting to run
from our cock-of-the-walk,
his racist agenda,
and his hate-filled talk.

A raven screaming
and squawking
with no end in sight,
set only on its own story;
adding shrill to silence
for its own sorry plight.

A vulture vociferously
pushing violence
and vending cheap hats,
while working to keep us
fighting each other and
scrounging for scraps.

No, he’s no eagle,
and no robin, wren,
or sparrow with some
sweet songs to sing.
We should now see he’s
a sort of scarlet ibis
or rotting albatross
hung round the neck of the nation,
a disgusting and daily reminder
of what we’ve done
and how far we still
have yet to come.

 

 


Josh Nicolaisen has taught English in both public and private schools for more than ten years. He spends summers as a caretaker on Squam Lake’s historic Chocorua (Church) Island and lives in New Hampshire with his wife, Sara, and their daughters, Grace and Azalea.  Josh has poems in Underground Writers Associations’ anthology The Poets of New England: Volume 1 and Indolent Books’ online project What Rough Beast.

Photo credit: Book Man Film via a Creative Commons license.

House of Worth

by dl mattila 

 

High-pitched brow, purse-proud

veneers: Harry Winston links,

filigreed graffiti, pelts,

cashmeres — your armature, your

lah-di-dahs, your house of worth.

 


dl mattila is a linguist and poet residing in the Greater Washington DC Metropolitan Area.

Welcome Ying Wu, poetry editor

Ying WuWe are delighted to introduce our new editor, Ying Wu, who is joining editor Laura Orem in the Writers Resist world of poetry.

Ying Wu is a poet and cognitive scientist, and host of the Gelato Poetry reading series in San Diego (meetup.com/BrokenAnchorPoetry). She is also a proud member of the editorial team of Kids! San Diego Poetry Annual. More examples of her work can be found online at Poetry and Art at the San Diego Art Institute (poetryandartsd.com), in the Serving House Journal (servinghousejournal.com), and in Writers Resist, as well as in the material world at the San Diego Airport and in print journals, such as the Clackamas Literary Review. Ying currently studies insight and problem solving (insight.ucsd.edu) at UC San Diego and lives with her husband and daughter on a sailboat in the San Diego Bay.

Please join us in welcoming Ying Wu and celebrating her poem— 

We

breathe the air

name stars

snap photographs

count minutes, kilometers
degrees, Ohms, inches
Herz, decibels, terrabytes
millivolts, microns, pounds

notice
when
the clouds
are turning pink

or thick
and smooth
like blankets

or high
and thin
in rippled wisps

believe
in heaven

speak in
metaphor

speak in
grammar

talk about
infinity

stretch our
hands wide.

 

Caged

By Edytta Anna Wojnar

 

The song of birds outside
pulls her

out of a nightmare
in which chicks hatch

from eggs submerged
in boiling water.

She hastily retrieves them
and not knowing what to do next,

she blankets them with foil
and places in a box.

Outside, the chirping
is gregarious.

A neighbor’s dog
starts a riot.

More birds migrate
to the yard behind her white house

where she fills
a feeder with seeds,

watches chicks with open beaks
hop behind their mothers.

The families nestle
together at night.

By the border,
mockingbirds cry.

Terror traps
children
under space blankets.

 

 


Edytta Anna Wojnar emigrated from Poland in 1986. Her poems have appeared in Paterson Literary Review, Shot Glass Journal, Adanna, and other journals. Finishing Line Press published her chapbooks Stories Her Hands Tell in 2013 and Here and There in 2014.

Photo credit: Marc Falardeau via a Creative Commons license.

Between the River and the Rock

By Liz Kellebrew

 

We were born to this place, to the broad bowl of the sky and the rolling fields of the plains, to the buffalo and wild horses, to the clouds and tall grass. We tore strips of lightning from our sides, and our ribs spread out like the wings of eagles. This is how we fly, from one end of the plain to the other, out where only birds can see.

The buffalo are gone but we are still here, guarding the future with hearts drawn. Arrows will not win this war, nor will guns or dogs or rubber bullets. But when the war comes to you, what can you do?

The soldiers came dressed in black, which doesn’t show the blood. They brought guns and dogs and mace. They told us we had to get off our land, that it wasn’t our land anymore. Some bigwig billionaire had a lot of money invested in this pipeline, they said, and we were standing in the way of progress. Illegal, they said.

The days are long gone when battles are won with arrows or guns, when our men women children lie dead on the cold earth with their still hearts bleeding. These are the days when we have nothing left to lose.

So we are here, with our horses and our songs, with our roots deep as the cottonwood in the river soil, with our memories of rain. It is bitter cold here today, like it was at the day of our birth, and the soldiers will rain freezing water upon us, a prayer for our death.

And we? We pray for the water that brings life, whether that life is ours or another’s, a white man’s or a red man’s or a buffalo’s or a raven’s, and we pray that that life will be long on this good earth, long after our bodies are grass.

 


Liz Kellebrew’s prose has appeared previously in Writers Resist, as well as The Coachella Review, Elohi Gadugi, The Conium Review, and other publications. Her grandfather’s grandmother walked the Trail of Tears. Visit Liz’s website at lizkellebrew.com.

Photo credit: Cat Calhoun via a Creative Commons license.

Behind every shithole country

By RC Wilson

 

Behind every shithole country
Is an act of colonial rape
Behind every terrorist bomb
Is a smiling missionary or corporate agent

Back when Africa was being gang banged
By Leopold II, Stanley and Livingston,
The French Foreign Legion, Firestone Tire & Rubber,
All seven of the seven sister oil giant offspring
Of the titan Atlas, banging away
Back when Africa was being improved, educated, modernized
Tied to a bed and stripped of her diamonds
Stripped of her rubber, stripped of her ivory and ebony and gold
Stripped of her cobalt and uranium
Stripped of her children sent to mines
For the sake of our cell phones
Our tires, our necklaces and engagement rings
Stripped of her languages, the oldest on earth,
Stripped of her boys forced to soldier
Stripped of her girls forced to brothels

Back when Africa was being gang banged
By her own people, pitted against each other
By unseen powers, market forces, commodity traders,
Gang banged and forced to labor
With hands cut off and other mutilations

But that all stopped in 1907, or 1912, you say, or was it 1945, or 1963?
But that all stopped, you say
As African children work to death
Even as we speak
Poisoned while digging for the poisons we need

Back, way back in the dark heart of the past,
When Africa was being gangbanged by Europe
And America and China (sing)

And what are we doing here this time boys?
Is it terror we fight? Or terror we use?
She is there for the taking and
If we don’t do it
Somebody else will
So bang away, bang, and haul away home!

The stuffed animals
The ceremonial masks/ look at the detail!
Amazing what they did with such primitive tools
Not people like us, but clever in their own way
And yet, their countries are shitholes
So best they stay home, for the good of us all
For the good of us all
For the good of us all.

 


RC Wilson is a retired civil servant, living with his spouse and two cats in Kent, Ohio. He has written poetry since he was a teenager. His chap books include: A Street Guide to Gary Indiana; Sex, Drugs, Poetry, and Home Improvement; Down the Back Steps; and most recently, Side Angle Side. He is part of a group who read to each other monthly at Last Exit Books in downtown Kent. RC has been a frequent organizer of poetry readings in the Kent area.

Photo credit: Child miners in the Congo by Enough Project via a Creative Commons license.

I Knew.

By Michelle J. Fernandez

When we arrived we were four footsteps at a time:
his and mine.
Standing on the front steps of a government building
just like all the lovers before us
just to make it official.

There is something about signing on a dotted line
before god and country that somehow
makes it real.
On the morning of your birthday
you don’t feel any different,
it’s not until they start wishing you well
that the day becomes itself.
You walk a little taller,
finally grow into your ears,
start giving advice unasked,
become generous with your smile.
It’s like that.

I knew by the time his heels disappeared
behind the heavy door.
The way your mother knows you have a fever without feeling your forehead.
The way you know one more bite will make you throw up.
The way you know when someone is watching you from across the room.
The way you know in the wrist you fractured ten years ago that it’s about to rain.

I knew
and I stomped for two
and I yelled for two
and I danced for two
and they didn’t even bother to silence me because they didn’t have to.

And he, inside
a man, who like all men
could barely sit up in bed
while battling the common cold.
He, inside
in pieces.

I lived a thousand lives in those hours
walking toe toe heel heel
until they dragged me away
screaming twice as loud and kicking twice as hard.
I knew we’d be leaving as one
but I didn’t know how.
And I will forever be stepping for two.

 


Michelle J. Fernandez is a writer and public librarian from New York. Visit her at michellejfernandez.com and on Twitter, Facebook and Instagram at @meeshuggeneh.

Photo credit: Javier Morales via a Creative Commons license.

Reparative Therapy

By Dein Sofley

 

It’s not that there’s anything wrong with you. It’s just that, well, you know … it’s normal to have sexual feelings. Our bodies were made to procreate.

Reproduce.

Have babies.

When you’re married.

It’s just that a man and a woman, they fit together, by design.

See?

A woman provides the egg and a man provides the seed. It’s how God intended it to be.

Yes, Jesus, too.

Well, Mary was a virgin birth.

A virgin is somebody who hasn’t had sex yet.

Sex happens when a man and a woman love each other and they want to make a baby.

Yes, Jesus is God’s son.

No, God doesn’t have sex. Didn’t they teach you anything in Sunday school?

God made Adam out of dust and Eve out of Adam’s rib. “Be fruitful and multiply,” that’s what God said to them.

Do you understand?

You can’t make a baby with two women or two men. You need an egg and a seed.

That’s why I’m here to help you. Me, and your parents, just want what’s best for you. We want you to have a great life.

What you have is a condition.

Yes, it’s kind of like being sick.

No, I don’t have to administer a shot.

We might do some body work and EDMR.

No, it’s not going to hurt.

Eye Movement Desensitization Reprocessing.

Don’t worry. I’ll explain it to you later. I assure you, it doesn’t hurt.

What?

Oh. The condition’s called SSA. Same Sex Attractions.

But, don’t worry. I can cure you.

Look, there’s a lot of changes happening in your body. You’re just confused about your feelings.

There. There. It’s okay. You’re not alone. We all struggle with sin. What you’re going through is just a moment.

Here. Take a tissue.

You see, this is how you know God loves you. He listened to your prayers.

We’re all here to help you and there’s other people, kids your age, who struggle with the same condition. They can help you, too, through support groups and prayer.

It’s called “SSA.”

No, you’re not born with it.

No, an SSN is a different thing.

You see, sometimes we’re attracted to people for different reasons. Say you like Ashley’s hair or the way Danny laughs.

Okay, well, whose hair do you like?

Fine. Sadie’s hair.

Danny snorts when he laughs?

Okay, so maybe my examples weren’t the best, but you get the idea, right? You don’t have to be gay. It’s probably just adolescent infatuation or maybe you felt alienated at some point in your life.

No, not like Lilandra in X-Men.

I’ve never read Sandman.

Loki’s a shapeshifter, that’s different.

Look, we all seek approval. We all need love and acceptance.

Yes, even Blake. Pray for his salvation.

It’s just that sometimes we don’t get enough from our parents, or we get too much, and our imaginations run riots trying to invent what we lack. What you’re experiencing is a call to come back home to God. It’s a test of faith.

Here, why don’t we start with this worksheet?

No, it’s not a potato.

It’s an iceberg. See, those are waves. That’s the ocean. Down there’s a whole lot of stuff we can’t see. Feelings.

Yeah, sort of like your mom’s five-layered bean dip, I guess. More like … hmmm … has a friend ever wanted to play a different game than you at recess and it made you angry? Well, maybe you felt sad, too, down here, underneath.

That’s the stuff we’re here to find out about, so we can sort out your feelings.

It’ll be okay. I promise. You’ll feel better. Happy. You won’t be gay anymore. Godliness just takes a little work. You’ll be a better Christian, you’ll see.  You’ll say, “Thank you Jesus for saving me.”

 


Dein Sofley teaches refugees English in the sanctuary city of Chicago. She earned her BA from Columbia College and her MFA in fiction from UC Riverside’s low-residency program. Her work has appeared in The Coachella Review, Writers Resist and the upcoming Five on the Fifth.

Westboro Baptist Church photo credit: Travis Wise via a Creative Commons license.

Frankenstein

By Christina Schmitt

It is 2018, the 200th anniversary of Mary Shelley’s novel,
Frankenstein.

It is 1818 and mad Chemist Victor Frankenstein steps back from the lab table,
Covered in blood that is not his own.
Instruments of life scattered all over the kitchen floor,
His apartment is a literary landscape of graveyard bodies, when
One of them starts breathing.
Heart being, he stares up from the ground where he lies at his creator’s feet.
Frankenstein decides to play God today.
Plays lab coat dress up
Breathes life into creation and
Abandons it

Frankenstein, the ghost of Mary Shelley’s literary challenge,
Teaches us what happens when
We abandon what we create.

It is 1945 and President Truman steps back from the situation room
Covered in blood that is not his own.
He paints landscapes of obituary innocence, is
Astounded at mad chemist’s ability to animate metal
leaves tools of destruction all over the kitchen floor.
America woke up and decided to play God today
Decides who gets to live today
Peers over the world map chess game
And checks Hiroshima like it is Sunday afternoon, like
We are Frankenstein, like
We don’t have to take responsibility for our creation.

It is 1962 and Rachel Carson slits Silent Springs from her wrists
Watches rivers of red seep into soil
Prays to god to hold America accountable.
When god does not, she does.
She calls America to trial for identity theft.
For playing God.
For abuse.
For using alternative facts
For saying rivers have always run synthetic pesticides
She calls Flint Michigan for an eyewitness account.

She calls America to trial for abandonment
For leaving earth bleeding
All over the kitchen floor
For forgetting what happened to Frankenstein, that
If you do not take responsibility for creation
It will kill you.

It is November 2016
And America steps back from the ballot box
Blood all over the voting booth.
It is January 2017
And poet puts America on trial
For abandonment
For neglect
For not wanting to talk about the mess all over the kitchen floor
For social media crux instead of showing up
When you do not show up
You die at the hands of your creation

It is March 2018 and
17 more students die at the hand of animated metal
Covered in blood that is their own

It is 1818
And Frankenstein cowers from the creature he created
Who killed everyone he loves.
Who will kill him.
Who thunders,
“You may be my creator, but I am your master”

Frankenstein learns the hard way.
That creation is not play-thing.
That playing God has consequences.
Frankenstein does not live to learn from his mistakes.

It is Halloween 2018 and there is a monster at my door.
He is painted green,
bolts protruding from his neck
Hair black and slicked back.
He calls himself Frankenstein.
Silly boy.
Frankenstein is not that monster.
Frankenstein plays lab coat dress up.
Calls himself God.
Is charged with abandonment by the abandoned.
Silly boy, this monster dies
at his hands of neglect
He is mess all over the kitchen floor
Always covered in the blood that is not his own.

It is 2018, the 200th anniversary of Frankenstein.
And what have we learned?

 


Christina Schmitt is a graduate student at Emory University studying Theology and Ethics. She writes around the intersection of theology, ethics, and feminism. She is previously published in Voices of Resistance: An Anthology by Sister City Connection.

Monster image credit: Reclining Nude by Pablo Picasso, 1932.

Complications

By Michael Peck

 

there were too many complications
too many forms of behavior expected
nice right angles meant to shape
your life and opinions
nobody else seemed to mind
or maybe the shaping process
had worked more effectively on them
having started earlier
before the individual character
had formed roots
freedom and independence were valued
as slogans on posters
and in speeches
but not valued in the individual
not in daily life
unless you had the money
to remove yourself
from the working-class reality
which demanded a much more
tight-fitting social uniform
and mindset
schools were to train a workforce
not educate a thinking population
people who think are dangerous
acting independently of the expected norm
only a few very wealthy individuals
were allowed into that room

 


I am a gregarious loner who lives in the desert in the Utah Four Corners area. I love getting up early in the morning and drinking coffee and writing poetry. I call it a coffee meditation. Writing helps to distill all the local and national political problems that are fermenting in my mind into a usable and drinkable spirit.

Photo credit: Ian Cook via a Creative Commons license.

Simone de Beauvoir Sends Trump a Sext

By Sandra L. Faulkner

 

“A man is in the right in being a man.”

I’m going to pull you by the power tie
and drag you through the rooms of my mind
like a man        beg me            for the boot in your face
my foot imprint eye-black smudged on your cheeks

“and man defines woman not in herself but as relative to him.”

Then, I will top you    like a cork-stopper
screw the cap on tight   tighter than your golf grip
small balls streaming past a wet bunker
scoring high    on the way      to your hole in one

“And she is simply what man decrees; thus she is called ‘the sex.’”

I will   be the bottom of your form
sign my name in permanent blood
as you like it    and should like it
my stain          a sheet of satin in your drawer

“For him she is sex—absolute sex, no less.”

Let me talk you all night
grab your         midnight part
until we      see the wee           hour sparks
and glisten       in the TV light

“He is the Subject, he is the Absolute—she is the Other.”

I’m going to    punt and peel   the layers
push my fingers          into your dough
the middle of us like a big-bigger pie
my box            of plums tucked inside my pants

 


Sandra L. Faulkner is Professor of Communication and Director of Women’s, Gender, and Sexuality Studies at Bowling Green State University. Her poetry has appeared in Literary MamaIthaca LitGulf Streamdamselfly and elsewhere. She knits, runs, and writes poetry about her feminist, middle-aged rage in NW Ohio with her partner, their warrior girl, and two rescue mutts. Read more at https://bgsu.academia.edu/SandraFaulkner.

Photo credit: “Desire” by Sandra L. Faulkner ©2018

Black Lives Matter

By Joel Fisher

 

The black pain explodes
Where he dropped
Disintegrating to flowers

And in that moment
Shot and shot and shown
The heavy-gauged

Is a mourning of
Its blue-grey trigger
The reality that

On this pavement
Stained just as red
We hold, self-evident

Black Lives Matter

 


Joel Fisher is currently an undergraduate reading Creative Writing at Canterbury Christ Church University.

Photo credit: “Taking a Stand in Baton Rouge” by Jonathan Bachman for Reuters.

A Reckoning

By Chinyere Onyekwere

 

“They’re here, Papa!” cried seven-year-old Kene Biko, careening into his father’s outstretched arms. They felt each other’s thundering heartbeats—had that kind of connection.

The sight of men cavorting on his property like they owned the place jolted Julius Biko, sent fear knifing through his innards. The dreaded land infringement conundrum was suddenly upon him.

The stricken look on Julius face struck a raw chord in his boy, evoked deep empathy and a sense of sickening trepidation. Soulful eyes teared as he watched his father caught up in a web of corrupt circumstances beyond his comprehension, their menace threatening the kind, mild-mannered man.

Frozen by the reality of the unfolding drama, father and son looked on helplessly with angst-filled eyes, as the men scurried around with their measuring tapes and an air of contemptuous resolve.

Five years earlier, Julius had taken advantage of Nigeria’s then roaring oil and gasoline economy to invest his hard-earned savings in erecting a petrol pump dispenser and miniature semi-detached brick house (serving as his office) in Omambala metropolis, near the green sprawling plains of Orange Grove neighborhood, a humble, thriving community named for the plentiful orange trees dotting its terrain.

His property stood tall and proud on the edge of an incline, enjoying modest patronage by motorists grateful to Julius for siting the petrol pump in the district’s outskirts where vehicles most likely needed to top up their petrol for their long-haul trips on the adjoining highway.

A meek, fastidious and law-abiding man, Julius had made painstaking efforts to keep in consonance with Omambala Town Planning’s property siting and landscaping guidelines, spelt out in a thirty-page handbook. He had jumped excruciating hurdles to acquire from the agency proper documentation and registration for the land— including the almighty Certificate of Occupancy, the most pertinent of the lot.

Julius’ woes came calling when a new breed of villainous scheming men insidiously infiltrated the OTP agency to corner the long-awaited roadway construction project by Nigeria state government. The expressway was mapped to run alongside Julius’ property.

Whisperings from the Orange Grove grapevine revealed the con men had arrogated to themselves absolute power. They were infamous for abhorrent practices of nullifying and erasing client’s land and registration records, railroading victims into a lifetime of litigation by a dubious state government—if the victims were too pig-headed to grease palms.

Graft rot ran deep in most establishments, including top echelons of power.

The men had surprised Julius with their unscheduled visit. They pontificated on the flagrant obtrusion by property owners on government projects, berated him for sabotaging efforts in getting the road constructed, and swiftly moved in unison, like a rampaging tsunami, to paste on the westside wall of his office, a red, six-foot-tall letter “X,” OTP’s ominous property demolition sign—and last straw that broke the camel’s back.

Julius squeezed his son in a tight embrace as if to shield the boy from life’s never-ending onslaughts.

Fate had again dealt the father and son duo a horrendous blow, quickening Julius’ descent into melancholic madness. He had struggled to make sense of his loss when the boy’s mother met her demise in a bungled cesarean delivery caused by a power outage that struck the maternity ward on the day his son came gasping into the world. Despite decades of independence, his nation had devolved into a baffling paradox—a land of great wealth plagued by privation.

Willfully repressed trauma simmered to the surface of Julius’ subconscious, had him grieving afresh for his beloved Ann, fueled him with defiance against a hellish system, galvanized him to pay OTP a visit—to set the records straight with the powers that be.

In the agency’s decrepit offices situated on the seedy side of town, Julius sat across from Jackson Dike, OTP’s Land Infringement Task Force head and, due to dire circumstances, the wrecking ball crane operator.

His amenable features did not fool Julius, who perceived the gluttonous pervert behind the man, who reminded him of a crocodile he’d once seen, its seemingly smiling demeanor strangely at odds with its deadliness.

“You had no right putting up that confounded sign on my wall,” said Julius, ditching pleasantries, looking directly into Jackson’s shifty eyes. “My property doesn’t encroach on the proposed roadway. My documents prove it, your records, too.”

“Says who?” snapped Jackson with snide arrogance, incensed that Julius had dared challenge his fiefdom. “My predecessors were reckless with records. Who knows?”

“Tell your meddling minions to keep away from my property,” Julius said with calm comportment that belied his fury. “I have no intention of playing in one of your convoluted games. I’d watch my steps if I were you, Mr. Dike.”

“Did you just threaten me right—”

“Did I?” cut in Julius. His sudden backward movement sent the cheap plastic armchair skittering on a worn and filthy vinyl floor.

“Get that despicable sign the hell off my wall,” glowered Julius before storming from the office.

“Expect my wrecking ball machine in the days ahead!” yelled the enforcer, caught off guard by the effrontery and scuttled pay-off.

That dusk, Kene watched his father’s every move. The man had left his food untouched, looked dangerously emaciated. Whatever was happening with his papa seemed fatally bad.

The boy put his arms around his father’s drooped shoulders in a show of loving comradeship.

“Stop worrying. We’ll be fine, Papa,” he comforted.

By the next morning, the curious Orange Grove neighborhood had caught wind of Julius’ run-in with OTP, and people looked on with bated breath as the wrecking ball machine rumbled up the incline, heaving its way toward Julius’ lot.

Jackson spewed a blizzard of profanities as his heavy vehicle grappled with treacherous terrain—and he choked with apoplectic rage at the sight of a young male child, his arms firmly clasped around the petrol pump.

Irked to be deterred by a mere street urchin, Jackson inched closer with his mammoth machine for the carefully planned assault. But the boy bravely stood his ground, did not budge an inch, ignoring his father’s frantic pleas to stand down, to clear out from the wrecking ball’s imminent path of destruction.

The stand-off morphed into an extended battle-of-wills. It attracted mainstream media that honed in for the kill like a cackle of ravenous hyenas, capturing the father and son’s pitiable plight.

But Jackson’s depraved sadism came to an inglorious halt when, in a bizarre twist of events, the machine’s massive tyres lurched, skidded out of control, and sent the steel ball on an erratic pendulum swing. It smashed the crane’s cab windows to smithereens with an earth shattering blow that reverberated around the neighborhood.

Jackson hardly knew what hit him when flying glass shards blinded him. He was bundled off the lot screaming like a demented soul from the pit of hell.

As if the tempestuous spectacle playing out on Julius’ lot was not enough uproar for one day, a disgruntled arsonist with a score to settle had a momentous meltdown and purged OTP of its long overdue excesses.

The headline, “A DAY FOR THE UNDERDOG,” and a large image of the colossal wrecking ball pitted against the puny child protesting the demolition of his father’s property, were emblazoned across the front cover of Nigeria’s leading newspaper and foreign bureau tabloids. It became an iconic symbol of a system’s tyranny over its long-suffering citizens, sparking outrage, a beastly backlash against government, and a clamour for justice for the hapless little boy, who received an outpouring of love never before witnessed within or beyond national borders.

“They’re here, Papa!” shrieked Kene gleefully, as road dust heralded a gleaming white SUV racing up the incline.

A Nigerian couple spearheading a nonprofit organization helping motherless children had followed Kene’s poignant story with keen interest—had lovingly opted to cater for his welfare until teenhood.

“I’m off to boarding school. You’ll visit me soon won’t you, Papa?” Kene’s eyes sparkled with unfettered excitement.

“Of course son, you bet I will,” Julius said, tearing up.

They hugged each other tightly and shared the joyful pounding of their hearts.

 


Chinyere Onyekwere is a freelance graphic designer and self-published author in Nigeria. Her passion for the written word won her Nigeria’s 2006/2007 National Essay Competition Award with her story titled “Motion Picture and The Nigerian Image.” Chinyere holds a master’s degree in Business Administration from the University of Nigeria. When she’s not glued to the computer screen, Chinyere keenly observes human conditions and the state of the world in general, while trying very hard not to be hoodwinked by her mischievous grand twins. She’s currently working on several short stories. You can reach her at ockbronchi@gmail.com.

Photo credit: imageartifacts via a Creative Commons license.

Human Profiling

By IE Sommsin

 

To spot a fascist requires no great skill.

Note the curl of the lip, the smirk, the sneer,

the glint in the eye, the stare and the leer,

the look of contempt that aspires to kill.

Something in their faces, odd, off and wrong,

something missing under the skin and bone,

and in their voices a metallic tone

that makes a tuneless and relentless song.

Then how is it so many seem puzzled?

Why is the obvious that hard to name, when

the cruel children piss on the flame and

the mind of a nation is muzzled?

People have little need for eye or ear,

if they will not see and refuse to hear.

 


IE Sommsin, a writer and artist from Kentucky, lives in San Francisco and has a fondness for sonnets.

Image credit: DonkeyHotey via a Creative Commons license.

Basta!

A ghazal by Andrea Fry

 

Is there a common measure of enough?
And which increment morphs into “enough?”

A subjective voice must name the limit—
masochist signals when his pain’s enough,

The politician who keeps on smiling—
What’s his tipping point? When’s he heard enough?

I’m so confounded by all the excess,
yet the clamor says I don’t have enough.

Get more stocks, sex, friends, technology.
Worry that I’m not fit or thin enough!

Then lift my jowls into emoticons.
Despair that I’m no longer young enough.

The crooks in office sold their souls en masse.
The scale of their enrichment not enough.

Drill the oceans. Shaft the poor. Go for more!
Get more guns, never tragedy enough.

Do I need to list the suffering? Is
violence to children not vile enough?

And now a crude, corrupt and greedy thug,
marbled lobbies, bikinis—not enough—

tweets rage, misogyny, intolerance.
His world’s not white and masculine enough.

While I can’t find refuge from his squalor,
for him the spotlight can’t be big enough.

I swear now is that elusive frontier.
That universal measure of “enough.”

Perhaps it’s got nothing to do with man,
and what we think is or is not enough.

Global warming, germs, the San Andreas…
Instead, might the earth say to us?—Enough!

 


Andrea Fry was born in Dallas, raised mainly in New York City and the Catskill Mountains, and educated at Union College and Columbia University. She published her first collection of poems, The Bottle Diggers, in May 2017 (Turning Point Press). She was nominated for a Pushcart Prize for her poem “Murder,” which was published by J Journal.  She was a finalist in Georgia College’s Arts & Letters Prize 2010 contest, a semi-finalist in the 2010 Gulf Coast Prize in Poetry, and a semi-finalist in River Styx 2010 International Poetry Contest. Her poems have appeared in journals such as Alaska Quarterly Review, Ars Medica (University of Toronto Press), Barrow Street, Cimarron Review, The Comstock Review, Graham House Review, Reed Magazine, Stanford Literary Review, St. Petersburg Review, and the chapbook Still Against War, Poems for Marie Ponsot. Andrea is also a nurse practitioner at NYU Langone Medical Center. She lives in Manhattan with her husband and two formerly feral felines. Visit her website at www.andrealfry.com.

Photo credit: Thibaud Saintin via a Creative Commons license.

Why He Said It

By Don Krieger

He knew what he was getting into
                 — US President during a bereavement phone call

 

Telling a dead soldier: You knew what you were getting into
is simply saying: Don’t blame me.
It’s cowardly, which is why our president said it.

Telling the soldier’s family: He knew what he was getting into
is more nuanced.
It still says: Don’t blame me,
a coward’s statement
which is why our president said it.

It also says: Blame your son for your sorrow,
a brutal statement
which is why our president said it.

It also says: Though this is a bereavement call,
I offer you my excuse from responsibility as your son’s Commander in Chief
and a brutal sentiment to add to your grief,
an incompetent and vicious statement
which is why our president said it.

 


Don’s  poetry has appeared in Tuck Magazine and Uppagus, VerseWrights, Neurology, and in English and Farsi in Persian Sugar in English Tea.

Image credit: Morning Calm Weekly Newspaper via a Creative Commons license.

“Why He Said it” previously appeared in Tuck Magazine.

Costa

By Amirah Al Wassif

 

Everyone has heard of Costa’s miracles in our grey village: the boy who had a wooden toy and a cheerful wren bird.

His giant miracles were in his spoken wooden toy, which could create a lot of jokes in a loud tone.

His second miracle was in his talented wren: a wonder-bird that had the ability to sing several numbers of songs starting with the first letter of anybody’s name.

“Oh! What a lucky boy,” everybody whispered in each others’ ears.

Actually, all the people in our village felt jealous of Costa, because of his miraculous talents that made his luck very rich.

The sun in our village was usually not very clear. It was not orange or yellow. It was covered only by a colour so grey. Due to this, our village was named “the Grey Village.” So, all our times were grey, and we did not ever see this bright light universally known as the sun.

Day by day, when all the people in our village felt sad and disappointed because of the spreading of grey colour, strangely, Costa was falling in love with each detail in our sky.

The boy of miracles never got bored of the grey colour. When the village people sat unhappy and miserable and did not look at the sky, Costa watched its grey. He tried to count the stars in the night patiently and sent his unseen wishes to the hidden sun all the days.

When our people were puffing, feeling hopeless and waking up with no excitement, Costa woke every day, smiling and jumping, from his deep sleep.

Costa burnt with curiosity to look and look at the sky, which led him to know the strangest things in the world, such as his wooden toy and his splendid wren bird.

All our people were unhappy except for Costa: He was very glad. But as he was a boy who loved all his neighbours, he wanted to make them feel happy like him, despite their jealousy over his magical power and his marvelous gifts.

Every day, Costa demanded secret wishes from the sky, and he whispered in nature’s ears.

The boy of miracles wished good things for his people in the grey village, he wanted them happy like him or even more.

Costa gave his soul more joy and magnificent meanings for life, that nobody knew how this boy had learned such things.

While Costa discovered many secrets about the sky from his daily meditation, he made himself a promise. Accordingly, he decided to make a daily show in front of his people, to draw a smile on their lips with his magical gifts, the speaking wooden toy, and the singing wren bird.

In the Costa daily show, most of the people laughed, some of them smiled, but there was one odious boy who neither smiled nor laughed.

One time, the odious boy, named Jimmy, intended to steal Costa’s magical stuff. He waited until Costa slept, moved closer to him, and took his wonderful stuff away.

Now Jimmy had the wooden toy and the singing wren, and all the people in our grey village gathered around Jimmy. They watched and watched the boy, who started to move the wooden toy up and down, left and right, as Costa used to do in his shows. The surprise occurred, when the wooden toy did not move and did not through its creative jokes make a loud tone as it did before.

Jimmy felt so angry. He tried to move the wooden toy many times vainly. Then he put it down and started to carry the wren bird, to sing its wonderful song, which was supposed to start with the letter “A,” the first letter of the folk chosen to be the beginner, but to his unfortunateness the wren bird did not sing any song either. It remained very calm and quiet.

Jimmy was shocked, he did not understand why the magical stuff did not work. People who gathered around him watched him like miserable souls.

Suddenly, the people in the grey village realized the importance of Costa’s daily shows which gave them happiness and joy that they really needed.

At such a tumultuous time, though he knew that Jimmy had stolen his magnificent tools, Costa watched his grey sky. He was not sad, because he understood the most important secret of the universe—that beautiful stuff came by itself to the good people without stealing or seeking.

While Costa meditated, Jimmy went to his place. Without any words, Jimmy gave him his magical tools, which began their extraordinary actions as they came into Costa’s hand: The wooden toy threw its creative jokes, and the wren sang its prettiest song, which started with the letter “A.”

“Oh! How can you explain that?” Jimmy asked Costa in an astonished tone.

“It is very simple Jimmy,” Costa said.

“If you want a charm, be calm.

“If you want a light, be kind.

“And if you help the others, the magic will still be with you forever.”

 


Amirah Al Wassif is a freelance writer and author. She has written articles, novels, short stories poems and songs. Five of her books were written in Arabic and many of her English works have been published in various cultural magazines. Amirah is passionate about producing literary works for children, teens and adults that represent cultures from around the world. Her first book, Who Do Not Eat Chocolate was published in 2014 and her latest illustrated book, The Cocoa Book and Other Stories is forthcoming.

Photo credit: Pete Beard via a Creative Commons license.

“Costa” was previous published by Literary Yard.

Not Dear Mr

By Elisabeth Horan

Let’s get something straight.
This pussy is not for you.
Pussy is for me and my sisters.
Pussy is something I eat for breakfast lunch and dinner.
You might eat vaginas.
Poor those vaginas.

Pussy is something that sits on my lap and purrs and is
soft and sweet and hunts mice for me.
I suppose you could have a cat.
I hardly bet you would stroke it though and
it might scratch you too like us sisters would do to you.

Pussy is nice.
Pussy is mine.
But I am not a pussy.
There is a pussy in my pants but it’s only for my sisters.

You may not grab me or my sisters by the
pussy or vagina or cunt or beaver or cootch.

You may not.
You have no access.

“Cunt” is what I get to say when I stub my toe.
You may say, “Gosh darn it!”

Beavers are in my pond slapping their big wide tails and
eating trees with their sisters.

Cootch – is for cootchie-cootchie coo – I see you!

A pussy-bow, well I just don’t know.
Let’s rename it penis-testicle tie.
More apt for its inverted upside-down shape and the ridiculousness of it all.

We don’t want you.
Us sisters and all our pussies together, are stronger than you.
And our pussies will sneak up behind you and
ask you if you want to go furniture shopping and then eat you alive.

Sincerely not yours:
The pussy, cunt, beaver, cootch, vagina, et al. Sisterhood.

 


Elisabeth Horan is an imperfect creature from Vermont advocating for animals, children and those suffering alone and in pain—especially those ostracized by disability and mental illness. She has two sons. She is trying very hard. She teaches ESL and community college liberal arts. Elisabeth is at Moonchild & Occulum & Burning House & Milk & Beans & Blanket Sea and other pro feminist places. Her chapbook Pensacola Girls (with Kristin Garth) was published by Bone & Ink Press, October 2018. She cries a lot, but is learning to smile 🙂  She loves being a poet and a mom. Follow her on Twitter at @ehoranpoet and visit her website: ehoranpoet.com.

Photo credit: Cosimo Roams via a Creative Commons license.

Six Bells

By Carron Little 

            for Judie Anderson

 

Life started with a brush,
Caressing pigments over fibres
Joined in hands, two became four,
Horns grew life through walls.
Sacred milk became six,
Six pairs of hands became eight
The light keeps pouring,
Milk over water, water over stone

Six shifts, Six pairs of golden horns
Six plates at Six am
The bell rings
Stamping the pigment
The sound rings like a marching band
Printing the daily news
Each letter a historic imprint
The headline “Printers Quit!”
Replaced by the blue ghost

The digital machine moves in to take hold
A hydroponic change brings in a new age
Stacking the cairns in geo formation
Learning quark and illustrator
Library halls become digital walls
The marching band of the newsroom
Loses its song
Between black ink and micro-chips
The Newsroom quits!
The battle of industry and monopoly play
While the last song of the marching band fades

The bell rings at Six am
Six horns, Six stones and Six hands
The mighty Sioux stands over history
The walk begins
A slow march
As the tectonic plates shift again
The design world appears in a blue screen,
Microchips become flies,
Silently watching, silently listening
Stamping the stories into history

Six stones, Six bells, Six golden horns

 

 


Based in Chicago, Carron Little grew up in Britain receiving a BA First Class Honors from Goldsmiths College and an MFA from the School of the Art Institute of Chicago, where she has been teaching in Performance since 2014. Little starts her practice by interviewing people and that becomes the starting point for poetry and performance. She has exhibited, performed and screened films of her work locally and internationally. She is currently working on the public engagement project Spare Rib Revisited that she developed in Lucerne, Switzerland (2016) and Liverpool U.K. (2017). This year she has performed her poetry at Burren College of Art, Ireland; Sarajevo Winter Festival, Bosnia; Grand Rapids; Berlin Performing Arts Fesitval, Germany; and Loge Theater, Lucerne, Switzerland. Follow her on Facebook at https://www.facebook.com/carron.little.5 and visit her website: carronlittle.com.

Digital newspaper stands image courtesy of Mosman Library, Australia.