How the first strangers met the coast guard

By Arturo Desimone

 

The maritime guards stopped the half-naked,
very tall animal-headed strangers
on their boats
Asked them “Show your papers, please”
“All we have
are these roses.
Yellow and red
given to us, a gift,
they were once showered upon us from the earth
shot from the first catapults, made to launch pure prayer,
to the clouds fecund,
seeds hit us in our faces, wounding our sleep
The throwers expected our thanks.
Flowers were carried to our mouths in our sleep
by the bearers, hoping
flowers of inedible gold would not descend back
that the shadows of the roots
would end in us.”

The guards brandished their weapons, lifting them from the hilt
guns shone like their aerodynamo-sunglasses,
shaven human heads dulled,
touch-screens of their phones bright, all iridescences worn
by opaqued minds of gendarmerie.

“It could be done without any weapon, muscle of titanium tin ton and iron,
muscle of love-borne waxwing-wind
without any of you enacting vapid designs
or tinkering, in defiance of us
and our plans for your present
and future omni-mud” the gods went on

”Remove the animal masks please” asked the police academy justice officers,
interrupting, calling in the higher-ranking managerial levels
of divisional security
and other devils that trample the waves and extolled winds.
They phoned them in
on their pink plastic hand-held radios.

the gods answered—But these are our faces.
Only angels tear off their own heads
Every morning, when it is cool they do it down by the lake

 


Arturo Desimone, Arubian-Argentinian writer and visual artist, was born in 1984 on the island of Aruba. At the age of 22, he emigrated to the Netherlands, then relocated to Argentina while working on a long fiction project about childhoods, diasporas, islands and religion. Desimone’s articles, poetry and fiction have previously appeared in CounterPunchCírculo de Poesía (Spanish) Acentos ReviewNew Orleans Review, and in the Latin American views section of OpenDemocracy. He writes a blog about Latin American poetry  for the Drunken Boat poetry review.

Photo credit: Helder Mira via a Creative Commons license.

Landowner

By Andrea Ciannavei

 

I am not financially literate.
My chaos with money leads me to behave desperately.
Always borrowing.
Always paying back.
A text message came through on Saturday.
A marshal had taken possession of the apartment I kept in New York.
I had been withholding rent. I’m broke.
Eviction proceedings went forward and no one told me.
I’m going to pay. I always do.
Making amends for past wrongs done to others is easier than the ones I am supposed to make to myself.
I am a debtor.
You don’t get more American than me.
The only asset I have is a jeep. No home. No condo. Credit cards maxed.
A renter.
The idea of owning a home makes my mind collapse in on itself.
A hysterical blindness arrives.
Homes and families are not pleasant things. They are heartache and secrets.
They are snake pits full of hissing monotonous gossip.
Choppy sentences. Nimble sidesteps.
The other problem with homes is they have doors.
Nothing good happens behind them when they are closed.

I do own one other thing – I almost forgot:
When I was 16, my mother told me she bought a plot for me at the St.
Francis Cemetery.
Her subconscious is very proactive.
It’s because of her husband. My father.
And her father before him.
Possibly my great-grandfather too but we will never know.
It’s because I was fat and embarrassing. Lane Bryant was the only place we could buy clothes to fit me in the 80s.
She once said to someone after a successful diet I had just completed, that my weight loss was the happiest time in her life.
I am, down to my organs, dropforged by generational sickness and inarticulate rage.
Musty porn magazines in trash bags in the corner of garages.
And now here comes:
Me too. Me too. Me too.
Even more than rapists, molesters, assaulters and the incestuous:
I hate the people who are shocked.
There is a special place in hell for these innocent liars.
What world have they been living in all this time?
And when do I get my one-way ticket there?
Everyone wants to have empathy now.
That’s very nice. But it’s like finally getting the back rent.
Now I know how my New York landlord feels.
All this empathy has finally arrived but it’s 32 years late –
I’ve already cleaned up most of the damage.
Now that everyone wants to listen, I don’t want to tell.
No one gets to hear the details of my incest, or sexual assault when I was 15.
Or being kicked out of an all-girls Catholic school because I made the mistake of telling a girl what happened to me which made her parents mad.
Or the casual harassments on NYC street corners.
Fat asses are low hanging fruit.
No one will hear those details.
None of your business, you know.
Besides, they’re rusted and tangled and thrown willy-nilly
in the little plot of land I own in the St. Francis Cemetery.
My mother wants me buried with the family
but this is all she’s getting:
My jagged metal scrap heap.
I made my friends promise:
Should I die before my parents,
I am to be cremated and tossed into the Pacific Ocean.
No ceremony. No speeches.
Just get rid of the evidence.

 


Andrea Ciannavei is a Los Angeles-based TV writer and playwright. TV: The Path (Hulu), American Odyssey (NBC Universal), Season 2 of Copper (BBC America), Seasons 1 – 3 of Borgia (Tom Fontana, Executive Producer, Atlantique Creations SASU). Plays include Pretty Chin Up produced at LAByrinth Theater Company (Artistic Directors: Philip Seymour Hoffman and John Ortiz) at The Public Theater. She also traveled on behalf of Pulitzer Prize winner Marsha Norman to Thailand, India, South Africa, Kenya, Congo, Rwanda, Burundi, Egypt, Haiti and Ecuador, to conduct interviews and research on human trafficking, sex slavery, gender violence and socio-political and economic issues that impact women. She is a graduate of NYU’s Tisch School of the Arts’ Dramatic Writing Program and Juilliard’s Lila Acheson Playwriting Fellowship 2008-2010. She is a proud member and occupies a seat on the council of WGAE. Visit her website at www.andreaciannavei.com.

Photo credit: Tim Green via a Creative Commons license.

How I Am Not Like Hillary Clinton

By Rachel Custer

 

The woods call to me, too, from across this road,
from away from here, from the opposite
of houses filled with tired people,

from the constant grasping of small hands
that might as well own me. Who wouldn’t be calmed
by a path through the grabbing branches? Still

I don’t go to the woods, trusting more
in the noisy hate of the known world than in
the cold, true silence of a mirror. Here, in the dark

undergrowth of the mob, I am still afraid, but I am
not alone. Here I can weigh a stone in my throwing hand.
Here I can know the stone won’t be thrown

at me. Fear keeps me from the woods into which
you wade, eyes forward, again and again,
because the woods is silent

as it circles me. Here, with the tired people, I can
say to myself I am only tired, that the stone
in my hand can’t be wrong

if we’re all holding stones.

 


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. Visit her website at www.rachelcuster.wordpress.com.

Photo credit: .waldec via a Creative Commons license.

The Grand Old Hanging Party

By James Butt

 

Nate supposed it’d been the circus owner Charlie Sparks’ fault, with his hanging of old Murderous Mary, but that’d been a hundred years ago and Nate couldn’t understand the wisdom of doing such things today.

“I like the card stock it’s printed on,” Elijah said. “Something you’d see for a carnival, or a fancy show.”

Nate snatched the Order from his nephew and tossed it in the trash. “Time to focus. I want to get this over with.” He’d only been given the past week to prep the old rail derrick, it being the only thing strong enough to hold the weight.

“Hey! I never seen a presidential decree before,” Elijah said, rooting in the garbage after it. “Why’d he choose Tennessee for the hangings?”

“The man’s got an affinity for the past, I’d say, or maybe he’s making a liddle point.”

All week, Nate had unloaded shipments coming in from every corner of the country. The military escorts would always ask, “Where you plan on storing them until the hanging?” Nate would simply nod toward the abandoned factory along the rail yard.

“Bet you pass out from all that stink, having them stuffed in there like that.”

“You get used to it, like you do everything,” he’d reply.

The last truck had been yesterday morning. For a job huge as it was, Nate had been surprised at how smooth things had gone. When he argued he wouldn’t have chain large enough for an elephant’s neck, it wasn’t a day later before a special delivery arrived with the anchor chain of the USS America. He was thankful Elijah stuck around to help, too, what with Paul getting canned due to his moral objections.

The crowd had begun to gather the night before, milling around outside the rail yard fence.

“Come help with these extra barriers. Crowd’s getting too big,” Nate told Elijah.

The media started to call supporters, Pro-hangers or Anti-phants, not really agreeing on which one better suited the occasion. Nate figured them all for crazy.

“I don’t get this part,” Elijah said, staring down at the decree.

“Which part is that?”

“‘It takes true daring and acuity to ensure the safety of all, and therefore, by decree, all elephants must be hanged until—.’ Seems odd, talking about elephants that way.”

“You can’t ever know what an elephant is apt to do, is all that means. They’re too unpredictable.”

“You poke at anything long enough and you never know what they’re apt to do. Take Keddy, at Jim Mitchell’s party last year. Everybody kicking and swatting at him, no wonder he went savage. Ain’t no one decreeing to hang him for it, though.”

“Keddy’s a dog. Ain’t nobody going to hang a damn dog. Especially a dog from around here.” Nate headed over to the derrick. “You gonna hold, old girl?”

The platform vibrated underfoot as the throng of onlookers pushed forward. It was nearing showtime, and nothing drew crowds quite like a hanging.

The first elephant was booked to be hanged at noon, and a chant had started to float out from the masses: “Let them hang! Let them hang!”

“Almost time, Elijah. Let’s start bringing them out before the crowd gets too wild. I’ll get the chain ready for the derrick.”

“What are we doing with them, when, you know … after?”

“Order was to burn them, so their ash can be taken out to sea. That way no more elephants would come here searching for their bones.”

“Jesus. I’m not sure I can stay for that, Uncle Nate.”

“Let them hang! Let them hang!”

“Never mind your whining. Just go get the first one before the crowd rushes us.”

Elijah hopped on the flatbed, while Nate climbed into the cab of the derrick.

“Let them hang! Let them hang!”

As Elijah pulled up under the crane with the first elephant, the crowd erupted. They screamed and jeered, hurling bottles, rocks, signs and garbage.

“Just stay in the cab, Elijah!”

“What?”

“Just stay there!” Nate moved quick to loop the chain around the elephant’s neck. The roar from the crowd shook the entire platform, but the elephant made no move to flee.

He started the winch. The slack slowly disappeared as all lines went taut. One elephantine foot lifted from the bed of the trailer, followed closely by the other.

“Hand her! Hang her!”

All feet soon cleared the truck.

Above the frenzied crowd rose the mournful wail of the suspended elephant. She sobbed deeply, her cries much too human. Nate stopped the winch.

Some in the crowd screamed in horror and covered their ears, shielding them from the sorrowful bawls.

Frozen, Nate left her hanging as she was. She continued to wail, the sound fraying against her chain. She swung in a circle, and the suspended weight proved too great a strain for the old derrick. The wooden frame buckled, and the arm holding the elephant cracked forward, tumbling down, narrowly missing Elijah below.

With her feet back on the ground, the elephant escaped her noose and rushed toward the factory. People fled in all directions, their screams overcome by the pounding of elephants slamming against the factory walls. The sheet metal bowed from the weight pressed against it, collapsing outward. The elephants ran into the streets.

Freed from his cab, Nate moved to help Elijah from the truck.

“So that’s it, then,” Elijah said. “Maybe they can just go be elephants, now.”

Nate watched the remaining herd slip out of sight. “I’d like to think so. But I just don’t believe we’ll let them.”

 


James Butt lives in Nova Scotia, spending his days attempting to reconcile the realities of the News world order within the framework of his past perceptions.

Photo credit: Fraser Mummery via a Creative Commons license.

The Freedom of Mothers Must Come

By Mbizo Chirasha

 

Pain scribbled signatures in these mothers’ buttocks,
War tied ropes of struggle around these mothers’ necks.
Songs of suffering are sung and unheard
in the congregations of townships and mountains
searching for freedoms’ seeds.
The seeds of these mothers’ wombs yearn for a freedom
too far away to be harvested, but not forgotten.

These mothers’ bodies speak of truth.
These mothers’ bodies carry scars.
These mothers’ dimples are resilient,
These mothers’ smiles and laughter offer hope.
These mothers’ thighs are graffitied with bullet bruises,
the valleys of their backs reek
with the blood of their sons,
sons long buried in barrels of violence
their lives stolen in their greenness.

These mothers’ hands trust the red clay soil,
even during cloudless seasons.
These mothers’ wombs give birth to rays of dawn.
These mothers scribble memories on prison walls with rainbows
These mothers’ shoulders carry the weight of journeys
and hope, which rises ripens dies
and rises again with each new day.

Mothers, how many times can you cough up sorrow?
For how many seasons can you sneeze with hunger?
You have eaten enough poverty
and licked the rough hand of a war long unforgotten
for too many dawns.

These mothers unburden propaganda from their shoulders
delete the baggage of political slogans from their breasts
abort the luggage of war from their wombs
These mothers turn to the hope of reaching pastures
where they can reap the fruits of freedom.

 


Mbizo Chirasha is an internationally acclaimed performance poet, writer, creative and literary projects specialist, and an advocate of Girl Child Voices and Literacy Development. He is the founder and projects curator of a multiple community, literary, and grassroots projects, including Girl Child Creativity Project, Girl Child Voices Fiesta, Urban Colleges Writers Prize, and Young Writers Caravan. He is widely published in journals, magazines, and anthologies around the world. He co-edited Silent Voices Tribute to Achebe Poetry Anthology, Nigeria, and the Breaking Silence Poetry anthology, Ghana. His poetry collections include Good Morning President, Diaspora Publishers, 2011; and United Kingdom and Whispering Woes of Ganges and Zambezi, Cyberwit Press, India, 2010. He was the Poet-in-Residence from 2001 to 2004 for the Iranian Embassy/UN Dialogue among Civilizations Project; Focal Poet for the United Nations Information Centre from 2001 to 2008; convener/event consultant for This Africa Poetry Night 2004 to 2006; official performance poet Zimbabwe International Travel Expo in 2007; Poet in Residence of the International Conference of African Culture and Development 2009; and official poet SADC Poetry Festival, Namibia 2009. In 2010, Chirasha was invited as an Official Poet in Residence of ISOLA Conference in Kenya. In 2003, Chirasha was a Special Young Literary Arts Delegate of Zimbabwe International Book Fair to the Goteborg International Book Fair in Sweden. He performed at Sida/African Pavilion, Nordic African Institute and Swedish Writers Union. In 2006, he was invited to be the only Poet /Artist in Residence at Atelier Art School in Alexandra Egypt. In 2009, he was a special participating delegate representing Zebra Publishing House at the UNESCO Photo-Novel Writing Project in Tanzania. Visit his website at mbizotheblackpoet.wordpress.com.

Photo credit: James Jordan via a Creative Commons license.

I Promise I’ll Pick Up

By Elisabeth Horan

I’ve been left out

They had a baby shower without me
I’m not pregnant right now but I can still be pretty fun sometimes

They’re constructing a pipeline,
Under rivers of bones and shale
Through the homes of the earthworms

Didn’t ask the worms if that was ok
Didn’t ask me either

They are dissecting my insurance – My taxes My womb, my WIC, my Medicaid, my Safety Net
I am a poor poet you see But I still need some food and my meds
You don’t want to see me without my meds, Senators
And support and maybe even a little respect

I paid taxes, I sure did –
For 20 years as a secretary
First in an otolaryngology clinic, then in an estate planning law firm
They could call me, I would talk

I would tell them:
He’s out at lunch right now, would you like his voice mail?
You can come in to sign your wills at 1:15 Yes Sir, they will be ready

Also: Have a heart
Also: Don’t touch my body

Invite me to be your friend, I promise I can be fun still
Even if I’m not pregnant and happy like you
Even if I’m not in power like you
I’m always here
On my couch
Ready to talk
Waiting for the phone to ring –
I’ll check the caller ID –
But if it’s you,
I promise I’ll pick up.


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.

Photo credit: Sarah Laval via a Creative Commons license.

A Drill Song from the Turkish Resistance

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Translation by Süleyman Soydemir and the Turkish Youth

From an anonymous variant of a military drill song, “Gündoğdu Marşı,” or “The Sunrise Anthem,” was a symbol of the anti-fascist Turkish resistance in the 1960s and 70s.

Today, it serves as a symbol of hope in the face of an increasingly authoritarian regime.

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Gündoğdu Marşı

Gün doğdu, hep uyandık
Siperlere dayandık
Bağımsızlık uğruna da
Al kanlara boyandık

Yolumuz devrim yolu
Gelin kardaşlar gelin
Yurdumuz da faşist dolmuş
Vurun kardaşlar vurun

Yurdumuz da faşist dolmuş
Vurun kardaşlar vurun!

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The Sunrise Anthem

At Sunrise, we all wake up
Trenches bracing our shoulders
For our freedom we stand against
Blood-red shrapnel showers

Our path leads to revolution
March on brothers and sisters
Against this fascist infestation
Strike on brothers and sisters

Against this fascist infestation
Strike on brothers and sisters!

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Listen to the sung form here, since, as Mr. Soydemir wrote, “Let’s face it, poetry is almost always more inspiring when sung aloud.”


Süleyman Soydemir is a believer in the supposedly antiquated chants of Liberty, Equality and Fraternity and a student of Anatolian Folk Traditions and Culture. His current—and perhaps ultimate—purpose in life is to tell the stories of resistance against tyrants, thieves and internet trolls.

Notes on the translation from Süleyman Soydemir:

The translated version is about 1.5 times the length of the original in terms of word count. However, this is largely irrelevant, since Turkish poetry uses syllables rather than words in determining length, and the translation has almost the same metric value as the original. Another reason for the length discrepancy is because of Turkish phonetics, which allows for almost all words to be split wherever you want and for most vowel lengths to be changed as needed. As I wanted to keep the translation more or less sing-able, words such as “trenches” have to be placed strategically. While these might be important considerations to make in metric and/or folk poetry, translators of free-meter poetry tend to value the emotional effectiveness of the end product and its ability to carry over the intended meaning.

I have translated some verses rather liberally, especially concerning the “shrapnel showers” and “fascist infestation.” This is because most of the verbs and some of the nouns used in the original do not carry the same power and colloquial meaning they have in Turkish, prompting me to strengthen the translation using different methods. It is the translator’s job to strike a balance between the two ends and decide on where to draw the lines. Finally, as the word “sibling” is seldom used colloquially in English, the Turkish equivalent, “kardaş,” was translated as “brothers and sisters.”

Photo credit: Marco Verch via a Creative Commons license.

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Midwest Activism: What I Learned from Marshawn McCarrel

By Jaime Gonzalez

 

I remember it in sequential order, in the same way, no matter how or when I think about it.

It was a month into the 2016 winter term at Lawrence University in Appleton, Wisconsin, and we were on a five-minute break from my history class. Consistent with every other break, the first thing I did was look at my phone and scroll down my Facebook newsfeed. It was one of the first posts on my feed, a news link. I read it.

His name was Marshawn McCarrel, an Ohio activist who organized around police brutality and homelessness in his community. He was 23 years old.

The headlines read, “Black Lives Matter activist fatally shoots himself in front of Ohio Statehouse.” At around 3 p.m., Marshawn took his own life after tweeting, “My demons won today. I’m sorry.”

So many emotions and thoughts filled my mind, body and soul, the most evident, a selfish despair. I questioned my own activism and the toll it had taken on me. A couple of months before, near the end of fall term, students of color at Lawrence University submitted a list of demands to the college president. As the lead organizer, it was my job to ensure that students of color were included in the decision-making process, that the university heard their demands.

We received echoes of support, yet these were overpowered by the opposition, which quickly escalated into death threats against students of color. For many of us, what initially felt like a victory—creating positive change on campus—was quickly burned to the ground by blatant racism from in and outside of our campus community. We gathered in the Diversity Center because we felt a sincere attack on our safety, like bombs were going off all around us and we were left to defend ourselves. We—students and a handful of staff and faculty—felt betrayed. It took all we had to finish finals, grasping for winter break only days away. Then we’d be free.

This entire experience is one I have yet to fully reconcile. It was a violent time that broke me down physically, mentally, and spiritually. Everything happened so quickly, so unexpectedly. As the hate poured in, I felt love, empathy, and humanity leave my body and take my internal flame with it. I went home for that winter break with little sense of hope and with a fear of never regaining what was taken from me. It felt as if my demons were going to win, and I had no agency over my body.

Returning for winter term was difficult. I had to be both a full-time student and the intermediary between the students and the University. It was a position I had gladly taken on—without being fully aware of the associated risks. This was my senior year of college and I was the Chair of the Committee on Diversity Affairs, a sub-committee of our student body government. I was also serving full-time through an AmeriCorps term of service, providing programming assistance at a local nonprofit for ten hours a week, and babysitting on the side. The last thing on my mind was, ironically, classes. And now I had to see the faces of all the people on campus who had opposed us and pretend as though everything was okay.

I asked myself one question: Is it worth it?

When my history class was over, I went straight to my counselor to talk through what I had just read about Marshawn. Although I am not black and will never be able to fully understand his experience in this world, I found many connections between Marshawn and myself. We were both young men of color, in college, and had been organizing in the Midwest around issues we were passionate about. We understood we had a responsibility and a need to spread love to those around us.

I spent some time reading more about Marshawn, changing my cover photo in his honor, and praying the ancestors would care for him in the next life. I didn’t know Marshawn, but I took his story as a sign to reconsider my activism, the energy I was channeling, and the time I was devoting to the movement. I was ready to disconnect and dedicate myself to my studies so I could graduate and move on to bigger and better things.

It took me two weeks to find an answer to my question. I was grateful I had a community of support from other people of color on campus, a counselor checking in with me weekly, and fraternity brothers who offered their support. If it weren’t for them I’m not sure I would have made the decision to continue working with the President’s Committee on Diversity Affairs to create viable solutions to the concerns of students of color.

As odd as it sounds, it was Marshawn’s second tweet that put everything into perspective for me: “Let the record show that I pissed on the state house before I left.”

That statement—the last declaration of resistance, the refusal to submit to injustice—lit the match and rekindled my internal flame. Marshawn reminded me of something so easily forgotten: We are only human. As people of color, especially, our lives are constantly centered around violence and pain, but we should remind ourselves of how we actively resist, invent, and transform all of that into something more.

The poet Rupi Kaur said it best:

the world
gives you
so much pain
and here you are
making gold out of it

– there is nothing purer than that.

It was Marshawn’s story that allowed me to make gold, to reconnect with the essence of my activism, grounded in love, joy and resilience. He provided me with hope when I had none, strength when I had lost it, and love when I needed it most.

Author’s note: As of today, Lawrence University has progressed in the realm of diversity and inclusion by offering diversity trainings to faculty and staff, hiring a Diversity and Inclusion Coordinator, renovating a new space for the Diversity Center, hiring various faculty and staff of color, and implementing a bias incident reporting system.

 


Jaime F. Gonzalez, Jr. is an independent Chicano scholar-activist whose work centers around queer people of color and the ways in which they transform the world around them. He is currently the Assistant Director of the Cassandra Voss Center in De Pere, WI, an innovative gender and identity center whose mission is to foster transformative thinking for a just world. He has also presented at local and regional conferences, including the 2017 Midwest Bisexual, Lesbian, Gay, Transgender and Ally College Conference (MBLGTACC).

Hitler Speaks

Charlottesville, Virginia, August 12, 2017

By Kathi Wolfe

You said
I was a has-been —
my day was done.
You wish!
I’ve been undercover,
before your unseeing
eyes.

I shaved my
moustache, changed
my accent, Tweeted — ordered
lattes at Starbucks. In khakis
and polo shirts, I was the boy
next door. My torches
were kept in the closet,
I only drew swastikas in the dark.

Now I can stop living
a double life. I’ll goose step
in the Easter Parade. Swastikas
will be the new Boy Scout badges —
I’ll model my torch on the next Vogue cover.
Welcome to my comeback tour!

 


Kathi Wolfe is a poet and writer. Her most recent collection, The Uppity Blind Girl Poems, was published in 2015 by BrickHouse Books and won the 2014 Stonewall Chapbook Competition. She is a contributor to the anthologies QDA: A Queer Disability Anthology and Beauty Is a Verb: The New Poetry of Disability. Wolfe was a 2008 Lambda Literary Foundation Emerging Writer Fellow. She is a contributor to The Washington Blade, the acclaimed LGBTQ paper.

Photo credit: Dmitry Dzhus via a Creative Commons license.

 

#MeToo

By R.R. Marsh

 

#MeToo.

It took me several moments to post the words on my Facebook account. I had to think through my past—a place I generally prefer to avoid—and consider events I had ignored for quite some time. Had I been a victim of sexual assault? Or was I fashioning mere slips of male behavior into real offenses?

Sure, I’m a feminist, but I also live in the South. Around here, if you really want to insult a woman, you call her “reactionary.”

I was in tenth grade, on the newspaper staff, and walking around the school selling our latest edition. When I reached the vocational wing, where mostly boys learned automobile repair and woodworking, I timidly knocked on the classroom door and asked if anyone wanted to buy a paper.

One of the boys, I’m not sure who—only that he was big with a deep redneck accent—shouted, “no, but we’d sure like to buy you.”

Now at 5’7” and 85 pounds, I made beanpoles envious, but there I was on display before a dozen boys, all laughing at me—assessing me—thinking of what they might do if they bought me. The teacher, the only other female in the room, ignored the comment but commanded the class to shush. “Boys, boys,” she said. “Quiet down.” Once she regained their attention, I slipped out the door, shaking.

Still, I was a reporter, goddammit, and I couldn’t keep that story secret. By the next issue, I had detailed my experience and spoken out against the sexual harassment occurring in our school. My column fostered a discussion amongst the staff and faculty, who passed new rules for the following year—a tiny feather for my cap.

There’s one thing I didn’t include in that article. You see, when I returned to the newspaper office and, in a fury, recounted what had just happened to me, my editor—a senior, one of the most popular boys in school, privileged, desired and, at the time, dating one of my peers—well, he just chuckled. I would have to get used to it, he said. That was the way of the world.

I knew lots of girls in school who called themselves feminists, who read their Virginia Woolf and would have gladly marched for reproductive rights. But even in their eyes, my editor was a shooting star. It was one thing to talk about those other boys—you know, the kids who come from the wrong side of the tracks (or, in this case, the wrong side of the cow pasture). But speak out against him? Even if I dared, who would listen? And besides, I didn’t want to be that nerdy girl crashing everyone else’s party. My social standing always did fall short.

So, I chose to uncover an ugly truth while hiding an equally ugly secret, congratulating myself on affecting some measure of change, at least on the books. I was convinced those five minutes in the classroom followed by those five minutes with my editor had been worth the fear. The humiliation. The intimidation. The vulnerability. The powerlessness. The loss of a piece of myself.

Unfortunately, instigating a new rule against sexual harassment couldn’t erase the scar on my soul. Those ten minutes taught me to fear men, not just the few random individuals, but the world of men buoyed by its structures and supporters. Sure, I had manipulated my pain into some form of positive action (compromised as it was), but I never took the time to grieve the pain. Instead, I buried each and every one of my feelings, telling myself I was empowered. People (including me) appreciated the champion but didn’t care much for the girl. I don’t remember anyone asking if I was okay. I know I never posed the question.

Those same, dark emotions would come to haunt me in later years, when I stayed much too long in a psychologically abusive relationship and worked under multiple, controlling male bosses. In each episode, I reverted back to that scrawny 10th grader, only in greater degrees of anxiety and inward rot. My mother, and later my husband, would find me on the floor, curled up in agony, panicked as if I was under attack. Neither them nor I understood why the situation at hand was affecting me so. I had always seemed so strong, so able to tackle the hard times. I could turn lemons into lemonade.

Yet deep inside, I kept reliving the same horror, one tragedy building upon another. I was back in that classroom, isolated, without an advocate of my own. My editor kept patronizing me, and I had to keep pretending to like him. Only now, the stakes were higher, and I didn’t have a journalism teacher to ensure my voice made it onto the page.

Sexual assault isn’t about sex. It’s about power. Those boys in that classroom? They had the numbers, not to mention a teacher steeped in a “boys will be boys” philosophy. How did that editor keep himself out of my article? The reverence of his peers, who scapegoated the undesirables while maintaining their own place on the social hierarchy. What about that bad boyfriend, whose family gave him porn as a Christmas gift (right in front of me)? Hey, any red-blooded American male’s whipped if he sticks to only one woman. I was irrational to think otherwise. And those insecure bosses who wanted a “yes woman”—who belittled and threatened and undermined in a “I’m the boss, you’re a … bug” kind of way? Well, they had long-established organizations backing them, not to mention my job in their hands.

Besides, I was only being reactionary.

Sex—or any hint of it—didn’t have to exist. The helplessness feels the same. Today, I look back at that 10th grader and wish someone had validated her experience as life shaping, not merely a blip she should power through. I have to wonder, had that girl gone through all the steps—the denial, anger, bargaining, depression, and acceptance—maybe she would have seen the warning signs, stayed clear of that destructive relationship, chosen different jobs or at least quit before requiring years of therapy and recovery. Did ten minutes set her up for decades of heartache?

Americans love a superhero. Someone who can swoop in and save the day. Change the law. Elect the right president. Make things happen. This really isn’t much different from the “pull oneself up by your bootstraps” ideal. A woman is assaulted. She should talk. She should make a difference. As if the burden of changing the system rests upon her shoulders.

But this push—this pressure—negates her need to grieve. Our need to grieve. As I’m reading all the names of the women (and men) who are posting, #MeToo, I am thinking of their stories. Not just coverage of “the event,” but all the subsequent chapters flavored by trauma that, in the majority of cases, remains unspoken and never processed. Those boys, that editor—they never even touched me, yet I see and feel their paws all over my life, and I am still working toward my freedom. Imagine carrying the memory of rape.

Sad to say, I have other stories—some more terrifying, others I would only ever reveal to my closest confidants—but this tale, this tiny moment in a small town at some insignificant high school during the 1990s, encapsulates so much of what I’m observing today.

Each #MeToo—each person crying out against the Weinsteins and Trumps of the world—these are people in pain, which neither a firing nor an impeachment can assuage. Don’t get me wrong. We should fight for justice. We must demand integrity, especially of those in power. But the #MeToo confessors need something more. Listening ears. Permission to feel. Time to pick up all the pieces and heal.

 


R.R. Marsh is a writer and a mother currently living in Atlanta, Georgia.

Photo credit: Amparo Torres O. via a Creative Commons license.

A Prayer

By Jackleen Holton Hookway

This world is just a little place, just the red in the sky, before the sun rises, so let us keep fast hold of hands, that when the birds begin, none of us be missing. –Emily Dickinson

A sapling shakes, and a gust
of new red-crested finches are launched
into a sky already thick with song. Since sun-up,
the ruby-throated hummingbirds
at the neighbor’s feeder have been at it;
the thrum of their wings, their tiny
voices rapt in happy bird-gossip.

Yes, the glaciers are melting, irreversibly now.
And the other day, my friend, walking
in his neighborhood of rainbow flags
and prayer flags, saw three swastikas blackly
shadowing the wall of the community theatre.
But the birds don’t know any of this—or if they do,
they’ve known it all along.

So let us now keep a vigilant eye
on the horizon, always seeking out the red
in the sky, its teacup of sun rising above
the morning fog. Let us look in on our neighbor
from time to time. And let us be kind to each other,
kinder now than we have ever been.
Amen.

 


Jackleen Holton Hookway’s poems have appeared in American Literary Review, Bellingham Review, Mobius: The Journal of Social Change, North American Review, Poet Lore, Rattle, Rise Up Review, and are forthcoming in the anthology Not My President (Thoughtcrime Press).

Photo credit: Kate Ter Haar via a Creative Commons license.

For Kepler 138b (the beautiful)

By mica woods

if you took a telescope to the sky
200 lightyears away

happened to point it down on
this country, would you see the slaughter

and the selling by those men
we carry memories of in our pockets

or would you not notice the labor
in the fields as different from

the digging crews of the Eerie Canal
can you measure the mass

of suffering from your red dwarf
by detecting the wobble

in Mars as we pass nearby
or the light we block from the sun

could you see what freedom
has meant in its scabbed-over cloth

how we could set a scale and weigh
a heart / or body / i’m sorry

you had to see us on our birthday
with sweat and lashes and mounds

of scars, burning villages / massacres
200 years ago but if you could

see us now—no cover-up no / blush
would you say we look

like an old lover
and we haven’t aged a day

 


mica woods used to live with a family of raccoons in Missouri, but currently they edit the Columbia Poetry Review and teach at Columbia College Chicago as an MFA candidate. In 2015, they received the Merrill Moore Prize for Poetry from Vanderbilt University. Other recent poems can be found in Pretty Owl PoetryThe New Territory, Hollow Literary Journal, and Heavy Feather Review.

Image credit: Danielle Futselaar via a Creative Commons license.

Let’s End Ageism

By Ashton Applewhite

Ageism is discrimination and stereotyping on the basis of age. We experience it anytime someone assumes we’re too old for something, instead of finding out who we are and what we’re capable of, or too young. Ageism cuts both ways. All -isms are socially constructed ideas—racism, sexism, homophobia—and that means we make them up, and they can change over time.

We are all worried about some aspect of getting older—running out of money, getting sick, ending up alone—and those fears are legitimate and real. But what never dawns on most of us is that the experience of reaching old age can be better or worse depending on the culture in which it takes place. It is not having a vagina that makes life harder for women. It’s sexism. It’s not loving a man that makes life harder for gay guys. It’s homophobia. And it is not the passage of time that makes getting older so much harder than it has to be. It is ageism. …

 


Ashton Applewhite is the author of This Chair Rocks: A Manifesto Against Ageism and is the voice of the Yo, Is This Ageist? blog. She is also the author of Cutting Loose: Why Women Who End Their Marriages Do So Well and was a clue on Jeopardy! as the author of the mega bestseller series, Truly Tasteless Jokes. (Who is Blanche Knott?)

Photo credit: Ethan Prater via a Creative Commons license.

Jump

By Yazmin Navarro

There was always an ache.
A pain that filled the inside of my belly.
A pain that engulfed me.
Of missing something.
Of missing someone.
Of missing my mother.

It was the times.
It was the need.
It was seeing the hunger in her children’s eyes.
It was the fear of watching her children die.
She pried my hand from hers.
She looked away.
She feared my wounded face.
She didn’t look back.
She feared my face more than she feared the abyss.

She didn’t know how.
She didn’t know when.
She didn’t know where.
But she knew the answers lay ahead.
In a foreign land.
With a foreign tongue.
She could feed her children from there.
She could sustain her children from there.

She lost her children.
And I lost my mother.
Fuck you fence.
Jump.
No one wins.

 


Yazmin Navarro holds a BA in English and a Masters in Public Administration. She was born in Northern Mexico and immigrated to the United States as a 7-year-old. In her spare time, she writes about growing up as an undocumented immigrant—the hardships faced as a child brought to a country she didn’t know and her difficult path to authorized status—and she’s currently working on a children’s book. Yazmin has been a Marine Corps spouse for the past twelve years, has a daughter and two dogs, and resides in Southern California.

Photo credit: Jonathan McIntosh via a Creative Commons license.

 

The Salt March

By Howard Richard Debs

“We are entering upon a life and death struggle” —Mahatma Gandhi

 

The oldest, Gandhi himself, then 61
the youngest among those at
the start, 18. There were but 80 in all
to begin. It took 24 days, 240 miles
on foot to reach the coast.

2500 would next march on the Dharasana saltworks,
60,000 were in jail by year’s end.
Salt is basic to life they implored, do not keep us
from our needs. The salt laws are not just.

Gandhi claimed
the salt of the sea on
the shore of Dandi. He said “With this
I am shaking the foundations …”

 


Author’s note: When I saw video and photos of protesters in wheel chairs being dragged from the halls of the U.S. Congress I was at first enraged. Then I read Alan Catlin’s poem, “Mixed Message: A History Lesson 2017.” I felt the need to provide a complementing piece, “The Salt March” is my contribution to the colloquy. You can read Catlin’s poem here.

Howard Richard Debs is a recipient of a finalist award in the 28th Annual 2015 Anna Davidson Rosenberg Poetry Awards. His work appears internationally in numerous publications such as Yellow Chair Review, Silver Birch Press, The Galway Review, New Verse News, Cleaver Magazine, and his essay, “The Poetry of Bearing Witness,” is published by On Being. His photography can be found in select publications, including in Rattle online as “Ekphrastic Challenge” artist and guest editor. His full length work, Gallery: A Collection of Pictures and Words (Scarlet Leaf Publishing), is forthcoming in latter-2017. Read more about him in the Directory of American Poets & Writers.

Photo credit: Will Power via a Creative Commons license.

Season of American Lupine

By Lucille Ausman

 

he is out extinguishing wild fires
lost in the smoke
digging lines in the ground trying to trap her behind the wall before she can reach him
suffocating in her fury
he’s strong and brave and all American
I guess
but she doesn’t want protecting
she doesn’t want to cool down and calm down
the report reads
0% containment
try to break out the fire hoses and hold her back
but you can’t
her power and heat cover the landscape
filling it with blackness
and everything changes
life as it was
is destroyed

only weeks later
the color purple
emerges
once again
beautiful delicate and full of new life
out of the flames
grow the roots of hope.

 


Lucille Ausman recently graduated from Smith College where she studied Anthropology and Government and where her interest in activism and social justice took root. She has spent the summer living in the Gifford Pinchot National Forest in the Pacific Northwest and working with the Forest Service during one of the most dangerous fire seasons on record, in part due to climate change. She dedicates this poem to the activists whose own flames cannot be contained by our current political climate.

Photo credit: Alan Levine via a Creative Commons license.

 

Breaking News: He Fakes His Orgasms

Psychologists detect pre-existing conditions. A spokesman for the silent majority replies.

By Andy Blumenthal

 

Bunk. What crap. Another pathetic dig at our elected president. At least make it credible, the way normal fake news spins around real events like a murder or WMDs. Though he could probably easily fabricate ecstasy, it’s a bizarre slur that diverts his attention. Blow it off, life’s tough enough, why chew on more baloney?

Suppose the orgasms are faked. It’d be a boost for us, whirlwinded by his flogging insults and surefire promises, only to have soured some, suffering a little buyer’s remorse, dismayed as he dismantles the checks and balances that promote mans evolution. Faking orgasms rouses the rally cry of “The rascal can really stick it to ’em”.

Make-believe orgasms won’t help those already stunned in slackjawed horror, who fear civilization rests on his success at feigning euphoria. What if, in the middle, his voice cracks and, deranged, he attacks Utah?

This ‘Fakes His Orgasms’ story spread like eczema across social media, the brunt of talk show hosts, landing 22 seconds on prime time networks. He scoffed, tired of being called “an aberrant blowhard crackpot,” tweeting “Not saying I fake them, but if I did they’d be better than anyone’s.”

There’s talk of an audiotape with explicit male LUFFing (slang: Loud Unusual Fauxgasm Flouting). Rumor is he’s not praising her sexuality, but bellowing for his benefit. Huh? Traditionally it’s a male ego lift from the female partner. Apparently the wailing, moaning and heaving is he glorifying his illustriousness.

Orgasmic Fraudulence is the specialty of world-renowned sexologist Dr. Oral Flitzerkacke, called to put down this cockamamie falderal. Rarely is there concrete evidence, so his clinic relies on circumstantial proof brought by insecure husbands. Melania was invited to testify. She declined.

Dr. Flitzerkacke published his findings in Big O Quarterly. Possessing an orgasmically trained eye, he saw the first indicator—Insufficient Weaning.

Note his pucker shaped mouth; his penchant for grabbing birth canals; he was a thumbsucker ’til age 12. These symptoms, seared in infancy, reveal a love/hate psychosis—he wants to, and refuses to, nurse. Anger and joy blend as hostile entitlement. Hence, the symbiotic reveling with belligerent dictators Putin, Sisi, Erdogan and Duterte; the violence-laced speeches akin to Brown Shirt bash fests; wanting a big-bombs parade at his inauguration and Leni Riefenstahl to film it; men who reach for congratulatory hugs are repelled with a don’t-touch glare while women are eye-groped; extoling walls for their racial/ethnic internment camp security; the comb-over hairstyle with a full head of hair.

So he’s wired funny. Who isn’t? End of story.

Unfortunately, if he’s oblivious to his rush/roar ejaculates, we must conclude he suffers the overarching psychopathy, PSSS—Premature Slurp Separation Syndrome.

What?

Yes. He’s attempting to override the spoor of his upbringing. The cascade of bellicose accusations and self-inflating lies serve to breach the void of intimate contact. Drinking from full mammaries promotes humane emotions, what the other children absorbed, like a reverence for discovery, being silly, humility to admit mistakes, compassion for suffering.

Interesting. So faking orgasms papers over lost values like honesty, as alien to him as self-loathing?

Indeed. The burst of brouhaha propels him to the far side of his psyche ravine, to the rescue salve of winning. Leaping emotional building blocks lets him celebrate feeling whole. Faking orgasms is his bridge to normalcy.

Well better, right? Better to extol victories than flounder in the chasm of doubt. No wonder he’s calmer after a methadone dose of inciting-to-riot rallies.

Weighing in, Dr. Keister Rasch from ASS—Anchorage Sexaholics Society.

Careful. The malady demands insulating. Without an ethical net foundation, his abyss of distrust fosters paranoid hallucinations. He must beat back telltale flaws and anyone who paints him as “a warped catastrophe.” Ergo, the prejudiced Mexican judge because he’s Mexican; the woman he couldn’t have groped because “just look at her” (body shaming versus moral grounds); declaring McCain isn’t a war hero after standing up to torture; spotty attendance to his dirge-like inauguration leaves out those watching on TV; he won the popular vote when you subtract the 3 million fraudulent ones; the staged 77-minute press conference meant to browbeat reporters for having outed his ineptitude; labeling the free press as the enemy.

Hmm. Maybe this PSSS explains his occasional mislandings, like twice suggesting Hillary should be shot; or the famous spasmodic body-shaking mock of a disabled reporter (an action so humiliating and lewd that even Jared looked away); resorting to a child’s tactic of misdirecting blame by lobbing pre-emptive denouncements (the concocted wiretap accusation to deflect Russiagate; the finger pointing of McCarthyism to avert his own resemblance; the attempt to taint the election as rigged, unless he wins).

Dr. Flitzerkacke adds:

Wealth is the traditional ruse. Money and property are vault-over veneers that validate—a Lear Jet or a Mar-a-Lago says “Made it.” as opposed to “Made of.” He outshines the dearth of love with material con job propellants. Therefore his single behavioral drive is to score profits, no matter what end. Like selling warplanes to Nigeria, known for human rights abuses, on the guise they’ll fight the Boko Haram; releasing the sale of cancer-causing pesticides; opening up California’s coast to drilling; repealing Dodd-Frank after mankind’s worst global financial meltdown; cashing in presidential graft by getting China to grant his company 38 lucrative business trademarks in a day, what takes years.

Really.

FLASH! Associated Press has the audiotape, delivered by a KGB officer dying of plutonium poisoning. Experts authenticated the bed squeaks found in the tower suite. Transcript: Argh. Ooooyah. Gruglurrrg. Nayeheydoy. OOOuu. RawblinBWAH. HIGHmenhem. FLAdinding. WAYYY. HAYYYYYY. MEEEEEEEYEAH! Phew.

Fine. He fakes his orgasms. Treatment: S & M For Dummies suggests Primal Scream Therapy while watching Barney & Friends.

Gee. Impersonating orgasms almost flips actuality into question, except for when he looks vacuous reading from a prompter, or shoving the prime minister of Montenegro at a photo op, cheering the vainglory success of a tax payoff disguised as healthcare reform. I should have figured when he was unwilling to consider Earth’s atmosphere that’s thinning. Perhaps it’s amoral to discount another country’s meddling in our democracy (aimed at, and resulting in, dividing us against ourselves). Gosh, if PSSS is treatable then let’s treat us for falling lockstep to the confidence of pomposity. Guess we have to be vigilant, break the cycle of hopeful and dependent, listen closer for the Mussolinic ring of “Me, I, great.” Hurry, because last week he authorized rolling back nutrition standards for elementary school children. It stifles profits of high-salt, high-fat food manufacturers.

LIVE BULLETIN: Dateline Bulgaria. PhD Heinie Schlongdor of the Mind To Groin Institute has discovered an ancillary marker. Bed-wetting.

The bladder is pressured by his mounting gall, thus the name of the organ on top of the bladder, the “gallbladder,” creating the need to urinate.

Included were photos, gained from the White House housekeeping staff of the first 100 days’ bed sheets. All stained.

 


Andy Blumenthal writes short stories, essays and screenplays. He likes Phil Ochs, Federico Fellini and Stan Laurel.

Photo credit: limmurf via a Creative Commons license.

 

Washing Instructions

By Brenda Birenbaum

 

You raise your hands to hush the crowd, you raise your hands america america, you raise your hands palms out to hush the crowd to give it voice, translate primordial hoots and jeers and lewd youtubes—flip off the camera, yeah, thrust that pelvis forward, yeah—the gun swells in your pants and you kick out ’em riffraff that ain’t starched n’ proper ironed, that air the laundry in public and trespass on us united bleachables coast to coast and I forget …….. like totally being mute being wrung out in the spin cycle being all ears in dark alleys as I raise your garbage (can after reeking can) above my tired shoulders, shaking the thang, cajoling the ejaculate, over the side of the dumpster. I don’t peer in when I bring it back down to check for leftover crap—my eyes are shot no kidding all I see are plastic shadows and streetlight glare splintering off patches of greasy film on the asphalt. I raise my hands america america always the man, palms out, gold face slathered in foundation, raise ’em hands, fake face, pink smile, maw full of porcelain no kidding full of chowed-down kill, fake longing to rewind to the spot embracing the same kinda shit as empty words (swallowtails had left their cocoons) ready set hit play

It’s love, I think, picking off tears of joy from the stubble above my neck tats, blowing murky soap bubbles into the rowdy dusk. Laundry instructions say not to mix the colors with whites, throw ’em black brown n’ yellow in the wash (red, too), get ’em all proper hot n’ agitated, and fuck it like it is, they still mud after rinse and repeat, not a jury of my peers no kidding no joe sixpack, the one that obeys, that cashes his pathetic paycheck at the end of the week to help with the economy to help drown his sorrow in suds, fess up to the barman how he ain’t got insurance to fix his kid, worse, dough for his clunker, which means he’s gonna lose his job as my fingers twirl ever so lightly over the handgun laying next to his brew to soak up the warmth and the glory, ain’t that just swell, chin tilted up bloodshot eyes reflecting the cool from the wall-mounted TV that gives its all in red white and blue, amerika amerika, and I just love ya for telling it like it—it like it—it like it—is, I could lick the podium under your feet wrap my arms around your legs tickle your nipples gobble your golden dick as you suck the loaded mic, all together now, take it all in take your balls into my hands follow your lead a rampage of rape ’em all bitches and the earth the west coast is burning (they had it coming those godless faggots) and I forget …… like totally the heat rising from the inferno, fire n’ brimstone, skyhigh flames leaping across ridges on the tube, place’s going down the tube, you gotta show those dipshit bleeding hearts that love ’em brown migrants and green trees more than me, ’em that say we can’t stay unextinct without water and bees, you tell ’em, yeah, you tell ’em, my gun is bigger than yours, my territory spans the words over and believe me, I’m telling it like it is, I’ll make your cock great again and it ain’t gonna be internet spam

Hold on to the railing as you stumble down the dark stairwell, the elevator is down (what’s going on, ask clueless neighbors evacuating their east coast cocoons), uniformed technicians stringing detonation wires across the sleepy neighborhood, trucks waiting out on the street to take us away no kidding it’s not men with guns, just police to serve and protect black lives matter like road kill as-seen-on-cop-shows-on-TV, surely that ain’t us. Don’t listen to that nonsense kiddo, no way they had internment camps in america, nah, genocide never happened in america, nah, and water boarding I believe is a laundering technique from a bygone era when women with big behinds in heavy canvas garments were folded over a stream banging the bedding in pristine water free and clear of pharmaceuticals neonicotinoids PCBs fluoride nuclear waste before my tastebuds turned metallic. I’m all thin and diluted and depleted and I really please would like to keep my in-unit washer and drier and I forget …….. like totally that I got the 3 strikes, I’m the bitch I’m the queer and the nigga jew like whoa obsolete stuff that didn’t receive the upgrade to muslim and mexican and hate two-point-o, and in the rising heat I’m the vanished butterfly and the hollow tree, my eyes dim out, I’m like one of ’em pathetic souls that can’t read the fine print in the manual, I apologize in advance on my knees on the wind swept asphalt, random trash slapping my face as it blows past, and I’m pleading and sobbing america america I’m sorry, I’m sorry, I’m really really sorry, I’m with y’all in the hot arena, cheering and shrieking proper until the huge screens shatter and the blood that was up to my ankles a minute ago is lapping at my face and keeps rising steady in the dark, washing in red the great unwashed—that kinda stain never comes out—until it bursts the walls, dumping a mangled sopping mess of guns and banners and body parts and bits of screens and platforms and POVs in the pitch-black street where the lights are photoshopped out and I no longer see shit

 


Brenda Birenbaum’s short fiction has appeared or is forthcoming in The Vignette Review, Random Sample Review, Low Light Magazine, and elsewhere. She is an editor for Unbroken Journal and can be followed on Twitter at @brbirenbaum.

Photo credit: Rod Brazier via a Creative Commons license.

Our Lady of the Hurricane

By Jackleen Holton Hookway

 

wears knifepoint stilettos

that she fashioned

from the skin of water

moccasins that slide

underneath the dark slip

of brackish floodwater

when she takes them off

and wades in up to her neck

as the twin snakes slither ahead

guiding her through

a maze of underwater suburbs

where she shatters windows

frees entire families

from waterlogged houses

gathers dogs and cats

in a Hermès alligator bag

slung over one sculpted arm

as the reptiles slide onto her feet again

and she springs to the surface

a crowd gathering to bear witness

she steps ashore

the floodplain her runway

a mother and baby in tow

yes she’s come to float us

out of this misery

of biblical proportions

to deliver us to a new riverbank

the arms of our grateful children

our saved neighbors

encircling us

 


Jackleen Holton Hookway’s poems have appeared in American Literary Review, Bellingham Review, Mobius: The Journal of Social Change, North American Review, Poet Lore, Rattle, Rise Up Review, and are forthcoming in the anthology Not My President: The Anthology of Dissent (Thoughtcrime Press).

Photo credit: NASA Goddard Space Flight Center via a Creative Commons license.

 

Costumes

By Stephanie Williams

 

I didn’t shave all month
Quiet, itchy rebellion.

A silent wind-chime
Should at least look the part.

They marched
I had prior commitments.

I connected my daughter’s brows
Put flowers in her hair.

I posted pictures
They asked if we’re Mexican.

This year she’ll be a princess
$40 on a pink tulle dress.

 


Stephanie Williams writes from Harrisburg, Pennsylvania where she lives with her husband and daughter.

Photo credit: Nina A. J. G. vis a Creative Commons license.