Heaven Can’t Wait

By Dean Liscum

Less than 48 hours after the mass murder of 26 people in a church in Sutherland Springs, Texas, investigators are pursuing a theory that the attack was planned by the congregation itself. They were tipped off by Fox News host, Ainsley Earhardt.

During an interview with Texas Governor Greg Abbott, Earhardt suggested that she and her co-workers of faith thought a church was the best place to be shot. She reasoned, as much as a Fox News host can, that being shot in a Christian sanctuary was the best of all possible scenarios. “We’re all going to die,” she pointed out, “so it doesn’t get any better than dying while close to Christ and asking for forgiveness.”

That comment got the local sheriff to thinking. “The proximity to Jesus makes this scene a perfect place for a self-assassination,” he said enviously.

According to the department’s latest theory, the attacker was actually managed by Heaven Can’t Wait LLC.

Our researchers have found that Heaven Can’t Wait’s incorporation papers state it is an organization that traffics in end-of days and rapture fantasies. It advertises that it is uniquely qualified to “hurry you to Heaven.”

The company website, recently shut down, indicates their only product offering is “Expedition to Eternity,” product code E2E.

The E2E kit includes detailed plans for:

  • How to recruit a member, or friend of a member, or a disgruntled ex-in-law to be the “hero”
  • Where churchgoers should stand to receive their hollow-point blessings
  • When the deliverance should take place.

The offering also comes with several package add-ons, including:

  • A choice of weaponry: AR-15, AR-15 with banana clip, AR-15 with automatic firing kit
  • Costume options including: Disgruntled Postal Worker, Black Ops Wannabe, and Open Carry White Guy
  • Pre-scripted social media post packages designed to throw investigators off the real motive behind the attack. Options include: Domestic Issues, Hillary’s Emails, and Failure to Apply Oneself in School, Thus Unable to Get the Job They Didn’t Work Hard Enough to Earn and So It’s the Immigrant’s Fault.

The plan outlines how the shooter should prepare for and execute the “mission of mercy.” It also provides tips for “recipients of eternity” to ease the process.

Once the “expeditor” has performed his duties, the white male leaves the sanctuary by foot or automobile. When alone, he’s instructed to dial into the company’s private confession hotline, which is outsourced to Bangalore, India; confess to “hurrying along to Heaven” his fellow churchgoers and the suicide that he’s about to commit; ask for and receive forgiveness prior to the act; and then finish the job by shooting himself with a silver bullet that has been pre-blessed and disinfected.

The lead investigator is certain that his theory is correct, but he says it will be hard to prove. The owner of Heaven Can’t Wait is one of the alleged “willing victims.” Authorities suspect that because of shooting’s finality, it was conducted as an exchange of services and not a monetary transaction. Thus, no money changed hands, which makes it difficult to trace.

“Worst of all,” added the town comptroller, who also serves as its coroner, “it’s not taxable.”

“It just doesn’t seem fair,” said one of the junior detectives and a member of the congregation who skipped church that day. “The perpetrators get to escape prosecution and all the evils of this mortal coil. They expedite themselves and their loved ones to an eternal reward, and the rest of us have to clean up the mess.”

Law enforcement organizations and Chambers of Commerce across the country worry about copycats. “This could get bigly.” The comptroller/coroner said. “Once this heavenly business model gets out, we expect it to flourish in Texas, Florida, and anywhere else that people love god and guns, and hate taxes.”

 


Dean Liscum lives in Houston, Texas and writes fiction. Sometimes it works. Other times, not so much.

 

Plato says–

By Elisabeth Horan

Nothing in the affairs of men is worthy of great anxiety
&^%$$%*!
Ahem, the affairs of women, now let’s examine that

Breakups
Acne
Skinny
Not skinny
Fat as hell
Beauty Contests
Potlucks

Hurricane Sandys
Our Babies
Sandy Hooks
Our Chilluns
Fergusons
Nuestros Hijos/as
Border walls
Familias separadas
Harvey/Irma/Jose/Maria

Trumps/Putins/Pences/Fences
Congress/Senate/Selfish/Impasse
Health insurance/Obamacare/Medicaid/Medicare
Is Obama ok, where is he now?

Money
The 99%
The 1%

Polar Bears
Melty winters
Choices, choices, choices
Decisions, decisions, decisions
Cancer
Thyroid
Pills, pills, pills

Mother/Father
Alzheimer’s
Sons/Daughters
Bullies
Teasing
Eating Disorders
Driving permits
Hymens
Condoms
Abortion/adoption/PMS/infertility/fertility/C-section/menopause
Vaginas
Pussies

Senility
Lucidity
Addiction
Addiction
Addiction
Therapy

Death, death, death –
Losing
Winning
Knowing

 


Elisabeth Horan is a poet mother student lover of kind people and animals, homesteading in Vermont with her tolerant partner and two young sons. She hopes the earth can withstand us and that humans may learn to be more kind to each other and to Mother Nature. She was recently featured in Quail Bell Magazine and Dying Dahlia Review. She has work forthcoming at The Occulum, Alexander & Brook and at Switchgrass Review. Elisabeth is a 2018 MFA candidate at Lindenwood University and teaches at River Valley Community College in New Hampshire. Follow her on Twitter @ehoranpoet.

Image credit: Plato’s Academy. Mosaic from Pompeii (Villa of T. Siminius Stephanus). Second style. Early 1st century B.C. Inv. No. 124545. Naples, National Archaeological Museum.

In the Dark

By Sarah Sutro

how to survive
a long
disconnect,
a winter
of nationalist
intent,
a reduction
of feeling?

this morning the
green slate on
the window sill
glows blue,
under pots
of flowers and
bulbs
raw edges
like edges in a
gorge upstate,
shale-layered
rivers,
like pressed layers
of filo dough
in fine pastry

snow on
far buildings
also blue-
like early
moonlight –
more snow
expected
this afternoon

can you see
a flower in the dark –
huge bell-shaped
blossoms like
horns blaring
from the stem?

or make a cup
of tea
in the dark,
feel for bag of
wet leaves –
guess consistency,
how dark?
add milk. …

about our own future:

dark night already –
laws rescinded,
rights gone,
a strict new reality.
is there death of a
country as there is
of the body?
where does light
go
when there is
no lamp?

a multi-celled
being,
a large tree
or animal,
each cell
connected to the
other
so we can
speak,
breathe,
as one

we must be
the underlying
slate that
sits out
time until
running water
begins to
move the
rivers again


Sarah Sutro is a poet and painter. Her work is published in numerous magazines and books, including Amsterdam Quarterly, Panorama: Journal of the Intelligent Traveler, Rockhurst Review, The Big Chili, Greylock Independent, and in the anthologies Improv, From the Finger Lakes, Bangkok Blondes, Unbearable Uncertainty, Life Stories and Ithaca Women’s Anthology. Author of a poetry chapbook, Etudes, and a book of essays, COLORS: Passages through Art, Asia and Nature, she was a finalist for the Robert Frost Award, the Mass. Artists Foundation Poetry Grant, and won fellowships at MacDowell Colony, Millay Colony, Ossabaw Island Foundation, Blue Mountain Center, and the American Academy in Rome. She lives in the Berkshires, in Massachusetts, and you can see some of her artwork at Blue Mount Center.

Photo credit: Thomas S. Hansson via a Creative Commons license.

 

Proofreader

By Kris Faatz

 

On the day the world finally changed, Cinny had her feet up on the end of the bunk in her prison cell and her nose in a lame women’s magazine. Today marked her seventeenth day at Washington D.C.’s Correctional Facility for Troubled Women. Seventeen days out of the three thousand, six hundred and fifty-two she had been sentenced for her career as a professional thief. Already she knew she would rather read toilet paper than these dumb magazines, which were printed by order of the Devoted Patriot—on actual paper, no less—and were the only things CFTW inmates were allowed to read. Supposedly they rehabbed you into a real American woman.

Cinny was staring at the dumbest of the articles when one of the stoolies came to the door. The cell doors stood open all day, prison rules. Over the top of the magazine, Cinny saw the stoolie stop and reach out to knock anyway, and then pull her hand back like the door was one of the Devoted Patriot’s army of undercover cops, ready to do a Screengrab on her. Like any Screengrab could matter when you were already inside this pisshole.

“Cinnabar Jackson?”

Cinny went on staring at the article, about how to program your i-Serve personal assistant to style your permed hair with just the right bounce. As if anybody in here was allowed an i-Serve, and as if Cinny had ever had a perm. Her blonde hair hung perfectly straight. She’d chopped it off boy-length five years ago, the same time she’d started thieving.

“Cinnabar Jackson!”

Cinny let the magazine flop onto her chest, but didn’t sit up. “Yeah?”

She didn’t recognize this stoolie. The guards changed them out all the time. This stoolie was tall, way taller than Cinny’s five-zilch, and strong-built, with dark skin and dark hair tied up in a knot. The dark ones outnumbered the pale ones in here, dozens to one. Most of them liked to throw their weight around when they could. Christ knew they couldn’t do it outside.

“Warden wants to talk to you,” the stoolie said.

Cinny still didn’t move. “Hell did I do?”

“Hell should I know? She just said bring you in. So get up.”

No doubt she figured that tiny, lily-white Cinny wouldn’t want to mess with someone almost twice her size. Cinny was built like a dancer, and people forgot how strong dancers had to be. But what the hell. Not like Cinny was doing anything else.

The stoolie led her through the CFTW Ward 7 maze. Built ten years ago, at the start of the Devoted Patriot’s first term, the prison was designed to be riot-proof. No hall led in a straight line: They were all zigzags and curves, with random corridors branching off and cornering back around in strange ways. It would take a long time to memorize the map.

Cinny knew she was lucky not to have see the inside of a CFTW a long time ago. Crime wasn’t supposed to work anymore, now that Screengrabs were standard. Screengrabs were the DNA samples the undercover cops could take from anybody, any time. Someone brushing against you on the street could be a cop, and he would run your Screengrab against his database implants and know everything about you in an instant. The tech should have meant that criminals had nowhere to hide. Of course, Cinny thought, the prisons stayed full anyway, especially the CFTWs.

The stoolie, who had a map implant, led Cinny down yet another corridor. At the end of it, there was an open door, a narrow gray room, and a woman who could have been anybody’s grandmother except for the stun pistol in her belt.

“The prisoner, ma’am,” the stoolie said. She pushed Cinny inside and swung the heavy metal door shut behind her.

Granny Warden pointed to a metal chair, the only piece of furniture in the room. “Sit.”

Cinny obeyed. You didn’t mess with wardens. She had been hit once with a stun pistol, only once.

“Cinnabar,” the warden said. “The color of passion. Also poison.”

Cinny couldn’t hide her surprise. Nobody else in the legal system had looked twice at her name. “A gifted thief,” Granny went on, standing in front of Cinny and sizing her up as if Cinny was an i-Serve the warden was thinking of buying. “Pickpocketing. Cat burglary. Felony misdemeanor sheet considerably longer than the average arm. An amazing career, all told.”

Cinny didn’t have to answer. It was all true. She had lifted wallets out of pockets and purses, picked locks and skimmed through houses, making no more noise than a breeze. Nothing had felt better than the rush of the score, but in the end, she couldn’t do it forever. Nothing lasted forever, except the Devoted Patriot.

Granny sized her up again. “It seems to me, you’re wasting your talents in here.”

If they wanted to make her a stoolie, they could guess again. Cinny kept her face blank. Then Granny said, “You’re such a talented thief, you could almost be a cop.”

Cinny’s mouth opened on its own. “What?”

The warden smiled for the first time. Cinny revised her first idea of the woman. No grandmother could smile like that: wickedness crystallized.

The warden said, “You know about Screengrabs, but I’ll bet you’ve never heard of Proofreading.”

Cinny shook her head. “I’ll explain,” the warden said. “And I might have a job for you.”

•     •     •

A month later, Cinny left the city she had lived in all her life. She drove the car she’d been given, a 2027 Ford Ultra, north to Baltimore and then caught the big east-west route toward Cumberland, out in the country. Traffic unclogged west of Frederick until she was humming alone down a slash of pavement with nothing but green on either side, as far as the eye could see.

Countryside made Cinny nervous. She liked crowds and big solid buildings, shadows that swallowed her up, tangles of people that left pursuers confused. Out here, she had nowhere to take cover. She also had not one but two sets of new implants, which Rose Taylor—Granny Warden’s real name—had promised Cinny she wouldn’t feel, but that wasn’t true. Cinny thought her brain was jammed up with all the new data stuffed into it. And then, last but certainly not least, there was what Cinny was supposed to do now. What, in fact, she was now.

She’d gotten basic police training in two weeks. As Officer Taylor said, Cinny already had the most important skills a cop needed. She could be fast and sneaky, use her brain and lie through her teeth—as well as the cops or better. After all, it had taken them five years to catch her. Screengrabs were just like pickpocketing: you snagged a piece of hair or brushed your hand against someone’s skin. And Cinny had exactly the right looks. Pale skin and blonde hair got you anywhere you wanted these days. They would especially get her into her final destination, at the end of this road.

The other two weeks of training she’d had were the elite stuff. The stuff nobody knew about yet, because it had come straight out of the CFTW.

Officer Taylor had explained it all on Cinny’s last day as a CFTW inmate. “We’ve waited a long time,” the warden had said. “It’s taken years of careful setup.” Cinny couldn’t believe her ears when she heard what had been going on in the prison, right under the Devoted Patriot’s sizeable nose. “Nobody thought to watch us,” the warden said. “Women aren’t smart enough to cause real trouble, you know.” She flashed her smile. “Everything’s ready, but we needed the right agent. You, Cinnabar, are it.”

So Cinny had learned about Proofreading. The skill worked a lot like a Screengrab, except backwards, and with a couple of other differences. One of the biggest was that once done, it couldn’t be undone. When you used the skill on someone, they would feel its effects forever. Proofreading, Officer Taylor said, would throw some serious sand into the Devoted Patriot’s gears. After ten long years, the CFTW women believed they had found a way to bring the Patriot’s great machine down.

By the time the afternoon sun had turned orange, Cinny had made it to the end of the road. The Devoted Patriot’s country manor.

The Patriot was eighty years old now. He refused to live in Washington anymore, but Cinny knew he hadn’t wanted this place either. He had no interest in the outdoors because he wouldn’t find any mirrors there to admire his reflection, and the trees weren’t covered in gold paint. Somehow, though, his top advisors had persuaded him that this custom-built mansion would be a smart move, a sop to prove he actually did give a shit about woods.

Cinny bet, as she drove up the long path from the gatehouse, that the one thing he’d liked about this property was watching the trees cut down so the mansion could be built. She hung onto that thought to distract herself from the idea of what she was going to have to do now.

Passion. Also poison.

Cinny was no soft vanilla cupcake. She’d had her share of men over the years, especially ones who got off on increasingly rare female smarts, but this was different.

Officer Taylor had explained the setup. The Patriot was between wives again. The CFTW in D.C. gave him the goods to satisfy his appetite. Officer Taylor had told Cinny it gave her no small taste of satisfaction to know that when Cinny did her job, no other women would be sent to the manor. And the best part was, Cinny matched the image of the Patriot’s ideal woman so perfectly that his security would rush her straight to him. Nobody would think, for instance, that she, unlike all the other inmates, carried no GPS tracker or electroshock system to make sure she went back to prison.

And they wouldn’t think to search her for the goods she did carry. So small, but so powerful, fixed inside the right cup of her black satin bra.

The mansion stood at the top of the drive. Glaring white, low-slung, and sprawling, it looked to Cinny like an enormous half-melted marshmallow. Already one of the security guards, in his red-white-and-blue uniform, was hurrying down the front steps. The Patriot was expecting her.

Cinny parked the car at the near end of the lot, closest to the end of the drive. When she smoothed her hair in the rearview mirror, the blue eyes peering back at her looked worried.

The hell are you doing this for?

Because prison was boring as fuck, and this had sprung her out years ahead of time. But not just for that.

Cinny smoothed down the long sleeves of her tight black dress and quickly slipped out of the loafers she’d driven in, exchanging them for black patent-leather heels. No, she wasn’t doing this just so she wouldn’t have to go back to a cell. There were the magazines, and the Screengrabs, and the fact that the cops behaved like criminals until a criminal like Cinny herself made a better cop. There were all the other women who’d been sent here to the manor. Over her few weeks in prison, Cinny had heard stories about the Devoted Patriot’s appetite for those women, how he reached out and grabbed them like a baby would grab a cookie, how he pawed them and slobbered and used them up knowing that when he did, somebody would hand him another. And there was the fact that it didn’t pay to be a smart woman or to have too-dark skin or to talk too loud or too often.

Long and short, there was everything the past ten years had been, ever since the Devoted Patriot came along. There was everything those years had meant.

Cinny pushed the car door open. Her heels clicked like pistol shots on the pavement. Time to do this thing.

•     •     •

Afterward, nobody was quite sure what had happened.

The Devoted Patriot’s security had left him alone with the blonde woman from the prison. CFTW inmates were never any trouble. The Patriot’s guards certainly knew that the one thing you never, ever did was interrupt the boss when he was “in a briefing.”

So nobody knew quite when this last briefing had ended. Nobody knew when or how the blonde woman had gotten out of the bedroom, out of the mansion itself, into her car and away. It was almost dawn when the guards realized the car had gone. Then somebody took his courage in both hands and forced his way into the bedroom, with two other guards behind.

They found the Patriot stark naked, curled up on the floor. At first they assumed the worst, but then the old man looked up at them with the wide eyes of a three-year-old and whispered, “I want to go home.”

They couldn’t get anything else out of him. Not then, not later, not even when his advisors came and begged him to pull himself together; told him the wolves were at the door, the hurricane was blowing, the wrath of God had come upon them. In short, the whole machine built by years of power was falling to pieces faster than a paper umbrella in a monsoon. They needed him, the one who’d held onto control with brute force, the one who’d stomped out the warring factions and ruined the pawns who had stood against him. Now the factions smelled blood and swarmed in, and the pawns came riding up with their swords out, but the Patriot, for ten years untouchable, had gone into his second childhood. No warning. No preparation. No instructions for those he left behind.

They never found the blonde woman. It wouldn’t have done much good, but at least they could have learned what the fingernail-sized plastic thing on the back of the Patriot’s neck was for.

•     •     •

At two in the morning, after completing her mission, Cinny slipped out of the bedroom window with no more noise than a breeze. Carrying the patent leather heels in one hand, she ran barefoot along the back wall of the mansion. Her black dress blended into the dark.

“Proofreaders,” Officer Taylor had told her, “find mistakes, of course. They also correct them.”

Once the Patriot had Cinny on her back in his bed, she’d used all the skill she had to make sure he only paid attention to one thing. It wasn’t too hard. His appetites were huge and simple. He never felt the light tap that affixed the plastic device to the back of his neck.

With Screengrabs, you analyzed a person’s DNA. Proofreaders went a step further. They studied your brain activity patterns, your eye movement, and your body’s electromagnetic signals, and compared them against a second, highly specialized database. The CFTW women had put that database together after years of carefully compiled research. The data covered things like the way your pulse sped up when you told a lie, the way your pupils dilated when you saw something you liked, the way some parts of your brain woke up when you felt excited and other parts got busy when you were depressed.

Warden Taylor had explained it all to Cinny in more detail than Cinny could take in. She got the idea, though, that long story short, Proofreaders could read your mind.

Thank Christ, Cinny thought as she rounded the mansion and saw her car sitting at the far end of the lot, that the Patriot’s cops had never gotten hold of this new tech. Not least because, once you had all the information about your subject’s thoughts, a good Proofreader could turn those thoughts right around and send them back to their point of origin.

What the Proofreader had done was very simple. No one else, in eighty years, had managed it. It had shown the Patriot exactly who he was on the inside, stripped of all the trappings of a lifetime. While Cinny satisfied his body, she had given the device time to dig deep enough to find out the things he had always known about himself. And when the technology turned those truths around and plastered them inside his brain where he couldn’t look away, oh, what a job they had done.

Guards didn’t pay much attention this late at night, out in the country, when the only outsider in the mansion was a prison woman. Nobody was even out on the front porch when Cinny made it back to the car. After tonight, she thought, they might decide to be more careful, but after tonight it would be too late.

To be safe, she didn’t turn on the headlights until she got out of sight of the house. The guard at the gate, assuming she was going back to the CFTW like all the others, opened it for her without a word.

Cinny sped down the dark highway. In her head she saw the Patriot again, curled up helpless on the floor, lost inside a truth he had avoided all his life.

Passion, Cinny thought, hugging the picture tight. And poison.

 


Kris Faatz’s short fiction has appeared in Kenyon Review Online, Potomac Review, Reed, and other journals. Her debut novel, To Love A Stranger, was a finalist for the 2016 Schaffner Press Music in Literature Award, and was released May 2017 by Blue Moon Publishers (Toronto). Kris has been a contributor at the Sewanee Writers’ Conference and a contributor and teaching fellow at the Kenyon Review Writers Workshops. She is a manuscript consultant, pianist, and teacher. Visit her online at krisfaatz.com.

Photo credit: Starchild from 2001: A Space Odyssey.

 

History

By Rachel Custer


There is only one story
a woman says and maybe
she is saying something about the truth, or maybe
not. The history of a place like this is the history
of those who leave it. It’s a great place to be from
they might say, and smile. Pretty men and pretty
women and their easy belief that they are moving
forward through the world. Their necks graceful
in their city clothes. There is only one story and
it is not this story, sweat and grease and the grace
of ritualized days. The pinch of repetition in the
joints. The world would be forgiven for believing
the best of this land is the dust that a hand knocks
from old boots. Maybe there is something of the
truth to what she says, like there is only one way
to live in a place one cannot leave, and that’s to
love it. Take the raw animal of its days by the
throat and throttle the one story from its jaws. Or
maybe not. There is only one way to live in a place
where everybody believes nobody lives. Like
there is only one way to be a fire and that is to burn.

 


Rachel Custer’s first full-length collection, The Temple She Became, is available from Five Oaks Press. Other work has previously been published or is forthcoming in Rattle, The American Journal of Poetry, B O D Y, [PANK], and DIALOGIST, among others. She is currently completing the Tupelo Press 30/30 Poetry Marathon fundraiser. “History” was previously published by Tupelo Press.

Visit Rachel’s website at www.rachelcuster.wordpress.com.

Photo credit: © 2014 K-B Gressitt.

Not a Strange Grammar

By Eduardo Escalante

nothing to raise Abel
or make a song and dance about

at the extreme of disorder
a hundred-year’s   flood   every   decade

stories   stir   shadows
over our   small   hours

there is no place
principle     or signal
right left center
where to live

no cause, no cause

at the extreme of disorder
the disorder
is the only place.

 


Eduardo Escalante is an author, writer, researcher, living in Valparaíso, Chile. He writes about happiness, love, social justice, and current events. Eduardo’s work appears in several Spanish publications and reviews, including signum Nous, Ariadna, Nagari, Espacio_Luke, and Lakuma Pusaki, and in Spillwords Press.

Photo credit: “Chaos Theory” by Patrick McConahay via a Creative Commons license.

Thoughts & Prayers

By Jane Rosenberg LaForge

 

They are offered in rote
as if the supply is bottomless;
like abstractions, inaction
and aesthetics; they could
be meaningless or mean
anything, so long as they
are not so sustaining as
steak & lobster for the
impoverished; more like
succotash & wilted lettuce.

Maybe they’re a law firm
the kind advertised on television
with a jingle and 1-800 number
children can’t help learning
before their alphabet; so much so
they’ve become a part of the literacy process!
A tentative, baby step toward
discerning cliché from idiom
because language: it’s a young
person’s business now, if they can
survive being a soft target.

Or perhaps it’s becoming part
of the international ergot, like a traffic sign
or the symbol for “no,” or a name
we give to conglomerates selling
mattresses or men’s clothing:
instant recognition for the product
and everyone knows just where to go
to find the best discounts.

For this year, I was thinking
they might make a particularly
poignant salutation for the season,
what with the war on Christmas
always burgeoning, so coming to you
on a greeting card soon, from a raft
of similar partnerships: O.F. Mossberg
& Sons, Heckler & Koch,
and Clint Eastwood’s truly evergreen
friends, Smith & Wesson.

Or they might be best employed
as a broadcast sign-off;
not so much like Walter Cronkite’s
“& that’s the way it is,” if he were
working on a Wednesday, the 14th of February, 2018;
but as his successor attempted
for five days no one remembers
except for the derision and embarrassment:
“Courage,” was all he said
as if looking into the future,
because we’re going to need a lot more of it.

 


Jane Rosenberg LaForge is the author of Daphne and Her Discontents, a full-length collection of poems from Ravenna Press; and the forthcoming novel, The Hawkman: A Fairy Tale of the Great War, from Amberjack Publishing. For more information, visit jane-rosenberg-laforge.com. and follow her on Twitter, @JaneRLaForge.

Image credit: An anonymous internet find.

I Am Not a Person

By Jessie Atkin                                                                                             

 

I do not want children I decide, stretched out beneath the eyes of the late-night newsmen.                   My own eyes ache, but not as much as my ears, as my age, as my soul. Yet this ache, this loss without losing, without losing anything I have but the future stings less. It stings less because I choose, even if it is a choice of deprivation. But we have been deprived so long in this house, in this city, in this country. The face of this country is a man’s face, and the face of this family is a man’s, will be a man’s, in image and in name. Because my name is a man’s, given to me by my mother with only the question of ‘will you take his name,’ not ‘who’s name will you take?’                And they take and we give. They trade us names in exchange for babies so that we can give them more children to take more of their names. These are the names that will be carried into the future to represent them and not me.             But who would want to represent me? Who would want to represent something so secondary? So low? So inhuman? For I am inhuman. On the rug, beneath the TV that tells me so, I am not a person. I am not a whole person. Like my daddy, like my brother, like the walls of Wall Street. All have more rights than me.              Rights, or wrongs as my sister calls them. They have all the wrongs, she says. She says many things. Things to fill the silence and drown out the noise. But it is harder to drown something you feel, not just something you hear.                      I didn’t hear his hand on my back. I felt it. Felt it in stiff stock-still silence. Still, his hand moved beneath my shirt until it was beneath my waistband. The waistband of my jeans, which wasn’t so tight as my dad said because, if it were, no hand would have fit. But it would have fit no matter the size of my jeans. Jeans I was wearing, like everyone wears, all of them wearing and sitting, and oblivious because what was happening was normal. Normal, like what I was wearing.          Normal like what he was wanting, and what the newsmen said he could take. It’s what the movies said he could take. It’s what the law said he could take.      So I take my sister aside and tell her I’m not going to have children. I tell her they can have all the wrongs, but I won’t give them anything else to take from me. She tells me I don’t know, not now, how can I? How can you? You’re fourteen, you’re a baby, she says, as if sixteen is so much less of a baby. As if the babies aren’t the whole point anyway. And anyway, if I’m a baby I should matter more, according to Twitter, and television, and talk radio.                You only lose your personhood with your babyhood. Only when you have opinions and ovaries, boobs and babies of your own do you lose the other things you could have had too. You lose them to history and tradition written down by the very humans who don’t have the things they punish you for having. I can’t have babies, I say. And she says, I know that’s not true. It’s true I can’t have human babies, I correct. I am not a human. I am not a person.          Not a person? Is a woman not a person?         No, I say. I am no mere man with grief and woe connected to the letters. I am more. I am Athena, I am Artemis, I am an Amazon.     The Amazon is a river in Peru and the power of gods on earth is impossible, she replies. But I know impossible is where we already live.

 


Jessie Atkin received her MFA in creative writing from American University in 2015. She has had short work featured in the Young Adult Review Network, The Grief Diaries, Quantum Fairy Tales and The Rumpus. She has also had two plays honored and produced as staged readings through Rochester New York’s Geva Theater Regional Writers Showcase and the Washington University in St. Louis A.E. Hotchner Playwriting Competition and Festival. She published her YA novel, We Are Savages, in 2012. Visit her website at www.jessieatkin.com and follow her on Twitter @JessieA_7.

Photo credit: Maternity ward, 1918, U.S. Library of Congress.

Two Poems by Gary Glauber

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Planet of the (r)Apes

The melancholy rubble
of all that once stood proud
& we went along with the story,
saluting & nodding
when it seemed easy to do.

What did we know & when?

So many who buried knowledge
behind shaky patriarchy,
its false melancholic glory
an inadequate foundation.
Smiles confidently ignored
awkward power inspiring
subordinate duck & cower,
looking akin to turning away,
looking the other way.

Aren’t you enraged?

Day to day to another lost year,
seasons of blind abuses,
making poor excuses &
safely moving on.

Then came the turning,
slowly at first,
a quake barely registering,
a low rumble of complaint
that gathered strength
to surface secrets
needing to be heard,
that one day might
lead to the kind of change
that will topple all.

This failure of gender
in plentiful mad assumptions
& unforgivable sexual plunder
seems a strange fiction,
a fetish-like affliction,
but sheer numbers say otherwise.

The entertainers, politicians,
professors, those in charge,
acting as if this was their due,
their sick advantage exercised
on a league of less fortunate targets
to satisfy predatory urges
and pseudo-supremacy,
an illusion of power
affording privilege,
a false birthright
making skin crawl accordingly.

Slowly, finally,
voices are being heard,
change forthcoming:
a legion of victims
finding expression after ages
of silent acrimony & regret.
So many (far too many)
& therein lies ignominy.

Apologies & feelings of shame
will never be sufficient
to even this brash misconduct.
We are a broken society
in need of new instruction
toward mutual respect
& overdue recognition.

These wrongs have
destroyed this planet
in ways only time
& right actions can heal.

That final scene of realization
on the beach, surrounded by
bikinis (& atolls forming),
epiphany of seismic proportion:
this is our Earth.

“You finally did it, you maniacs.
You blew it up!”

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Sublimation

He enthusiastically supports
the man whose conflated policies
can thwart & negate him
because he is living proof
Willy Loman did not die in vain.
He sells; he is well-liked.
It’s Muslim with a small m,
no Nation of I action here.
His string of successes
is tied tightly to the capitalist
benefits of fossil fuels
& a planet slowly dying.
His carbon footprint
leaves divots the world over.
& yet, invited to become a member
of the prestigious country club,
he jumps at the chance.
Eighteen holes to prove
he is an example, an exception,
paraded around as proof,
a minority friend &
he gladly looks the other way,
focusing instead on the movie star
shaking hands gladly
across the banquet hall.
Every photo op
is his small revenge,
& he who laughs last
lives to laugh another day,
even when things get serious fast.
Life is funny like that
& compromise is the new normal,
alternate facts showing how
bleak is the new black.

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Gary Glauber is a poet, fiction writer, teacher, and former music journalist. His works have received multiple Pushcart Prize and Best of the Net nominations. He champions the underdog to the melodic rhythms of obscure power pop. His two collections, Small Consolations (Aldrich Press) and Worth the Candle (Five Oaks Press) are available through Amazon, as is a chapbook, Memory Marries Desire (Finishing Line Press). This past summer he read selections from his most recent collection at the 2017 NYC Poetry Festival.

Illustration credit: Osiris, a dying planet, NASA

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Testimony

By Lynne Handy

I smell it—
testosterone bones the very air I breathe,
raping seas and waterways, regulating wombs
and ovaries, paring healthcare to a nub.

I smell it in warlords’ jizzy elbow-rubs,
in stilled dissent and parody;
in decay of human brain cells,
contempt for learning. It is strongest
in the threat of nuclear cinders
and human ash, and truths hidden
in the swamp-clot of lies.

This frazzled world needs correction.
’Til yesterday, we were progressing,
but then a curtain dropped
on science, sanity, and good sense.

It’s time to sanitize,
revitalize the world.
Infuse it with truth,
train youth in humanitarian pursuits,
gather all the terrible bombs,
sink them into a sea-safe,
and melt the key; revere the oceans,
heat the world with only sun,
respect the intellect of women,
read the beatitudes, a really good primer
for the lost. Erect monuments to poets,
inscribe their words in the sky.

Let calm breezes waft
in tropes of humility and good will;
a butterfly propulsion,
a timbre of fragile wings
made momentous by their mission
to save

 


Retired librarian Lynne Handy lives in the Illinois Fox Valley with her terrier, Schatzi, and her beagle mix, BoPeep. She writes poetry and fiction, and participates in poets’ groups and open mikes throughout the area. She has written Spy Car and Other Poems, and three novels, Where the River Runs Deep, The Untold Story of Edwina, and In the Time of Peacocks. Her poems have been published in several literary journals. You can contact her lynnehandy.com and on Instagram.

Photo Credit: “Phillis Wheatley, poet at work,” Boston Women’s Memorial, by Lorianne DiSabato via a Creative Commons license.

Stand Up, Kneel Down

By Israel Francisco Haros Lopez

 

Artist’s statement: “Stand Up, Kneel Down,” digital art, was made to speak to the historical connection of Colin Kaepernick’s act, to speak to the issues that continue to plague our communities. His kneeling and those actions that have followed suit will stand in history as a moment when a peaceful quiet act spoke fiercely, loudly, to the greater political reality that is begging for change.

 


Israel Francisco Haros Lopez was born in East Los Angeles to immigrant parents of Mexican descent. He is a recent recipient of the Kindle Project’s Makers Muse Award for his community work. He brings firsthand knowledge of the realities of migration, U.S. border policies, and life as a Mexican American to his work with families and youth, as a mentor, educator, art instructor, ally, workshop facilitator and activist. Even with a 1.59 high school G.P.A., Israel managed to go back to community college and raise his grades to get accepted into U.C. Berkeley and receive a degree in English Literature and Chicano Studies followed by an MFA in Creative Writing. At formal and informal visual art spaces, Israel creates and collaborates in many interdisciplinary ways including poetry, performance, music, visual art, video making and curriculum creation. His work addresses a multitude of historical and spiritual layered realities of border politics, identity politics, and the re-interpretation of histories. Visit the artist’s website at www.waterhummingbirdhouse.com.

Administration Rumination

By Kathy Douglas

 

I step over the cracks trying
not to break my mother’s back
while news accelerates to sideshow
with Prez T as the bearded lady
and Melania in the wrong place,
wrong time. Time starts to taste like wormwood
and rue, sour herb of grace, and climate change parodies itself
in debates over how and why it is named and who does
the naming. In this aluminum wrapped house
it’s like a can’s about to be recycled—
we are poised on the sharp lip
of a popped top waiting
to be dumped into
the hopper

 


Kathy Douglas’s published work can be found online and in print in Unlost Journal, Calyx, Drunken Boat, The Cafe Review, Noctua, Right Hand Pointing, After The Pause, shufpoetry, and Poetry WTF?! She holds an MFA in Creative Writing from Bennington College. Recently, she has been focused on cut up and collaged found poems. This interest is rooted in the positive reinforcement in Catholic grammar school of a somewhat above average ability to diagram sentences. During the 45th administration, she almost takes comfort in slashing sentences apart and remixing them into poems. By day, she supports the career development of young professionals in fields related to saving the planet. She tweets @kathydouglas and blogs periodically at medium.com/@kathrynd.

Photo credit: Klearchos Kapoutsis via a Creative Commons license.

Just a Test?

By Rick Blum

 

Rennh rennh rennh rudely interrupted Nora Jones,
causing my stomach to clench like a sprung trap –
something that hadn’t happened since Susan Soloway
and I were sent to her basement while a siren blared
at the fire station a few miles from our otherwise
tranquil neighborhood. [This was the late fifties,
when everyone worried that the Russians would lob
a few nuclear bombs our way. Air-raid tests
like this one were considered prudent then,
as was building home bomb shelters and equipping them
with a few months’ supplies, despite the fact that
radioactive air would filter in in short order anyhow.]

After an interminable moment of excruciating silence,
This was a test of the emergency broadcast system
washed across the room like a tsunami on steroids,
allowing me to breathe again. This is how
a loose-lipped president, dripping with false bravado,
can terrorize his own citizenry: by threatening
total destruction of a small country on the other side
of the globe. Ronald Reagan, who set the Republican Party
on the path to its current state of deviancy, proclaimed:
“government is not the solution to our problem;
government is the problem.” He was almost right.
Turns out, a president is not the solution to our problem,
but surely can be the problem. Hugely!

So, in faraway North Korea, President Fire-and-Fury
thinks he can bend Kim Jong-un to his will as easily as
he sues construction contractors into submission.
I hope he’s right, though chances of that panning out
are slimmer than a runway model. More likely
he’ll ratchet up the bluster until the supreme leader
launches us into that fifties nightmare, or a majority
of the cabinet decides our national delirium must end,
and removes Trump from office.

In the meantime, in case I need to make a dash
for the safety – and sanity – of Canada,
I’m keeping the van gassed-up …
and abundantly stocked with tubs of Tums.

 


Rick Blum has been chronicling life’s vagaries through essays and poetry for more than 25 years. His early works were published in several, now defunct, national magazines, whose fate he takes no credit for. He was a regular columnist for eleven years for the newsweekly The Mosquito, which, surprisingly, is still in print. More recently, his writings have appeared in The Literary Hatchet, The Satirist, and The Moon Magazine, among others. He is also a frequent contributor to the Humor Times, and has been published in numerous poetry anthologies. Mr. Blum is a two-time winner of the annual Carlisle Poetry Contest. His poem, Tomfoolery, received honorable mention in The Boston Globe Deflategate poetry challenge. Currently, he is holed up in his Massachusetts office trying to pen the perfect bio, which he plans to share as soon as he stops laughing at the sheer futility of this effort.

Photo credit: Cliff Dix via a Creative Commons license.

A Shithole Is

By William C. Anderson

 

A shithole is an astronomically wealthy nation that refuses to provide healthcare for all people.

A shithole is an astronomically wealthy nation that refuses to guarantee access to clean drinking water and heating for schools in the winter.

A shithole is a nation that has enough wealth to end poverty, but allows that money to be hoarded by a small few.

A shithole is a nation where school massacres aren’t surprising and neither are mass shootings, because of politics and profit.

A shithole is an astronomically wealthy nation where college education isn’t free or guaranteed, but debt for pursuing higher education is.

A shithole is an astronomically wealthy nation where the military budget is enough to fix crumbling infrastructure, but it’s used to murder people abroad instead.

A shithole is a nation that pollutes the earth so badly that it’s causing the climate to change, putting everyone at risk, but the nation refuses to change because of politics and profit.

A shithole is a nation that pretends capitalism is fair and equitable.

A shithole is a nation that institutionalizes white supremacy and then blames those who aren’t white for the barriers they face trying to live under a racist system.

A shithole is a nation that goes around the world destabilizing other countries, killing and ruining lives so its corporations can exploit resources.

A shithole is an astronomically wealthy nation with plenty of space that refuses to accept migrants, immigrants and refugees from the countries it destabilizes with its foreign policy.

A shithole is an astronomically wealthy nation where the rate of mortality among women giving birth is increasing as it decreases elsewhere, even in the so-called developing world.

A shithole is a nation that doesn’t guarantee the human rights of women, LGBTQI, gender-nonconforming people and more, but goes around the world demanding other nations do so.

A shithole is an astronomically wealthy nation that regularly abandons its own people during natural disasters and leaves communities to fend for themselves.

A shithole is a nation that elects Donald Trump president.

A shithole is a nation that regularly attacks the human rights of disabled people.

A shithole is a nation that continues its genocidal legacy of broken treaties, disregard for sovereignty, and harmful policies that threaten Native people.

A shithole is the United States of America.

 


William C. Anderson is a freelance writer. His work has been published by The Guardian, MTV and Pitchfork among others.

Many of his writings can be found at Truthout or at the Praxis Center for Kalamazoo College, where he is a contributing editor covering race, class and immigration.

He’s co-author of the forthcoming book As Black as Resistance (AK Press 2018). Read more about the book and order it here.

Photo courtesy of the author.

 

Who We Are

By Elisabeth Horan

 

Worrying        scared             ashamed        embarrassed                         angry
sexualized      objectified      demonized
Fat                   disgusting      too thin           too woman
Lesbians         gays                fags                 hags
Sluts                pussies
African American Latinas/os Hispanics Indians Native Americans
Refugees        Syrians           Yemenis         Afghanis         Iraqis              Sudanese
Famine           war                 death
Ignore             /          Ignorance
Bombings       cars on sidewalks                  underground           aboveground             France
UK               USA                 Kabul             Mosul             Mogadishu                 Isis
Boko Haram                           Nigeria            Kenya
Internet                      hate                            trolls
Mother Nature          /          Nurture
Rivers, streams, fish, birds, snakes, bugs, bees, butterflies, bears, coyotes, wolves
Bears Ears                  Arches                        Anasazi Run              Petroglyphs
Clean water              Fracking                    Halliburton                Cheney
Earthquakes              hurricanes                 tornados                     flooding
Self-esteem               respect                       bullying                      suicide
Homeless                    neglected pets           neglected                   people
Pregnant women     abortion clinics         rape survivors          incest survivors
Texas                          intimidation
Hoodies                     guns                           men in Blue              men in Black
Black men
Charlottesville
Sexual assault           police brutality         Emmett Till               Malcolm X
Obama           Oh Lord God, Hast Thou Forsaken Us – ?               Martin Luther King Jr.
Sanders Clinton Warren Leahy                 messy, messy
McConnell Cruz Ryan                                  angry, angry

Elisabeth (Me ) and _____________ (You ).

 


Elisabeth Horan is a poet mother student lover of kind people and animals, homesteading in Vermont with her tolerant partner and two young sons. She hopes the earth can withstand us and that humans may learn to be more kind to each other and to Mother Nature.

She has recently been featured in Quail Bell Magazine and Dying Dahlia Review. She has work forthcoming at The Occulum, Alexander & Brook and at Switchgrass Review.

Elisabeth is a 2018 MFA Candidate at Lindenwood University and teaches at River Valley Community College in New Hampshire. Follow her @ehoranpoet.

Trigger Warning: An Exorcism for Las Vegas

A performance poem by Alexander McCoy

Performed by Alexander McCoy

Cinematography and editing by Adam Jiang


Alexander McCoy is three years out of Clark University where he earned a BFA in theater, and where he got his start as a writer and slam poetry performer. He has since moved to Boston where he makes a living, here and there, as a teacher or—more often than not—a server in some diner or other. Mostly, he writes about his complicated relationship with his Cuban heritage, or else the view from his porch.

Donald Trump Probably Doesn’t Know What a Pantoum Is

By Eve Lyons

Yes we can
HOPE
Love trumps hate
We are all immigrants.

HOPE
Arab translators risk their lives for our soldiers
We are all immigrants
Promised visas, then denied.

Arab translators risk their lives
Muslims demonized
Promises made, then broken
Transgender women demonized

Muslims are most at risk under the Islamic State
We are our own worst enemy
Transgender women are most at risk in bathrooms
We are making up enemies

We are our own worst enemy
Yes, we can overcome
Love trumps hate
We must not turn each other into enemies.

Yes, we can overcome
Yes we can
We must not turn each other into enemies
Love trumps hate.

 


Eve Lyons is a poet and fiction writer living in the Boston area. Her work has appeared in Lilith, New Vilna Review, Word Riot, Literary Mama, Hip Mama, Mutha magazine, and several anthologies.

Photo credit: Women’s March San Diego 2018 by K-B Gressitt.

Breakfast with Santa

By Abby E. Murray

Santa arrives at the chemical bay
on Joint Base Lewis McChord
in a Stryker, 8AM sharp on Saturday,
Colonel’s orders, free of charge.
Santa has an Alabama twang.
Santa says he’d like to make
a quick announcement, his voice
ringing in rented speakers
that broadcast Christmas carols
as well as the pale whistle
of some far off interference.
Santa wants to say he’s thankful
not just for the men who took time
from their training schedules to eat
pancakes with us this morning,
but the families too, who go through
what they go through and I imagine,
for Santa, sacrifice is something like
climbing through a keyhole or
bursting from a busted radiator.
It takes time, it takes practice,
it takes and takes and takes.
Horror and bitterness are naughty spirits
within us. Acceptance is nice.
The children wear paper crowns
with antlers shaped like their own hands
until a sergeant distributes
gas masks by the bouncy house.
The wives aren’t hungry,
they’re never hungry.
There are enough pancakes
to feed a landfill, enough coffee
to thaw a block of sidewalks.
I have crept so far into myself
I can hardly see my own front line
but I am certain both hemispheres
of my brain are begging for peace.
Santa wants us to form a line.
We do. Friends, I can still be saved.
My heart is open as a coal mine.

 


Abby E. Murray teaches creative writing at the University of Washington Tacoma, where she offers free poetry workshops to soldiers and military families, serves as editor in chief for Collateral, a journal that publishes work focused on the impact of military service, and teaches poetry workshops at Joint Base Lewis-McChord. Her poems can be found in recent or forthcoming issues of Prairie Schooner, Rattle, Stone Canoe, and the Rise Up Review. She lives near Tacoma and writes often about what it means to resist when your spouse is a soldier.

 

The Wall

A Poster by Tomaso Marcolla

Trump's wall

 


Tomaso Marcolla was born in 1964, in Trento, Italy, where he currently lives and creates. Graduated from the Art Institute of Trento, he began work as a graphic designer in 1985.

He began to experiment his passion for art with watercolors, “applying them on non-traditional backgrounds, from Japanese paper to chalk.”

Later, his works became a fusion of graphic, pictorial, digital art and illustration, creating an interesting relationship, a technical and communicative interchange between the professional and artistic activity.

Marcolla finds digital art is well suited to the frenzy of the current times: “I choose it for its immediacy and the speed of realization. In addition, of course, for the effect. However, I don’t neglect other techniques such as pen, acrylic, figurative.The effect of the digital art is immediate, including the possibility to post it instantly on the web.”

The right to employment, the economic crisis, solidarity, nonviolence, the preservation of the environment: the subjects and inspirations of Marcolla’s cartoons come from the current news. “Watching television, talking to people, listening to a joke” this is how the artist from Trento finds an opportunity to grab the pen (and the mouse) and represent the reality “in a way that makes people think, and also smile, although sometimes I deal with very serious issues.”

His posters, created by assembling graphic techniques, photography and computer graphics, have received international awards. He’s a member of the AIAP (Italian Association for the Planning of Visual Communication) and the BEDA (Bureau of European Designers Associations).

Read more about Marcolla and “The Wall” here and visit his website here.