Silk Purse I: An Erasure

from Donald Trump’s Speech to AIPAC 3/21/16

 

By Douglas Wood

 

The bomb clock
doesn’t require a number
but zero,
No matter,
The wiped face
of the earth

What kind of minds write
in twisted missiles
and the swirling terms
imposed by disaster—
disaster repeated
in the hope
it didn’t happen?

But it’s precisely
the opposite population
that will rise
and move the eternal,
knowing the unbreakable
will forever exist

It could be happening now

 


Douglas Wood’s work has been published in Narrative MagazineThe Rattling Wall, Rise Up Review, Coachella and TheEeel (formerly Newer York) among othersHe received his MFA in creative writing from University of California, Riverside/Palm Desert and also workshopped with renowned editor Tom Jenks. As a playwright, lyricist, or composer, he’s had twelve plays produced in Chicago, Los Angeles, New York and elsewhere, including the Expense of Spirit which was selected for presentation in New York for the Gay Games IV. A child of the Midwest, Douglas lives in Los Angeles, and, while he does not miss the change of seasons, he does miss gluten.

Photo credit: The Meat Case via a Creative Commons license.

The Night Journey

By Jonathan May

A found poem from: FBI Guantanamo Bay Inquiry // The Night Journey, Sura 17, The Koran //
Department of Defense Human Resource Exploitation Training Manual – 1983

 

The purpose of all coercive techniques is to induce psychological regression in the subject by bringing a superior outside force to bear on his will to resist.

on several occasions, witness (“W”) saw detainees (“ds”) in interrogation rooms chained hand and foot in fetal position to floor w/no chair/food/water; most urinated or defecated on selves, and were left there 18, 24 hrs or more.

Invite men to the way of the Lord, by wisdom, and mild exhortation; and dispute with them in the most condescending manner: For your Lord knows well him who strays from the path, and He knows well those who are rightly directed.

d was kept in darkened cell in Naval Brig at GTMO, then transferred to Camp Delta where he gave no info. Then taken to Camp X-Ray and put in plywood hut. Interrogators yelled and screamed at him. One interrogator squatted over the Koran.

If you take vengeance on any, take a vengeance proportional to the wrong which has been done you; but if you suffer wrong patiently, this will be better for your soul.

As the subject regresses, his learned personality traits fall away in reverse chronological order. He begins to lose the capacity to carry out the highest creative activities, to deal with complex situations, to cope with stressful interpersonal relationships, or to cope with repeated frustrations.

civilian contractor asked W to come see something. There was an unknown bearded longhaired d gagged w/duct tape that covered much of his head. W asked if he had spit at interrogators, and the contractor laughingly replied that d had been chanting the Koran nonstop. No answer to how they planned to remove the duct tape

Wherefore bear opposition with patience; but your patience shall not be practicable, unless with God’s assistance.

The use of most coercive techniques is improper and violates laws.

W observed sleep deprivation interviews w/strobe lights and loud music. Interrogator said it would take 4 days to break someone doing an interrogation 16 hrs w/lights and music on and 4 hrs off.

And be not aggrieved on account of the unbelievers; neither be troubled for that which they subtly devise;

W heard previously that a female military personnel would wet her hands and touch the d’s face as part of their psych-ops to make them feel unclean and upset them. W heard that in an effort to disrupt ds who were praying during interrogation, female intelligence personnel would do this

for God is with those who fear Him, and are upright. Whosoever chooses this transitory life, We will bestow on him beforehand that which We please; on him, namely, whom We please:

The torture situation is an external conflict, a contest between the subject and his tormentor. The pain which is being inflicted upon him from outside himself may actually intensify his will to resist. On the other hand, pain which he feels he is inflicting upon himself is more likely to sap his resistance.

occasionally ds complained of inappropriate behavior i.e., incident in which d alleged female guard removed her blouse and, while pressing her body against a shackled and restrained d from behind, handled his genitalia and wiped menstrual blood on his head and face as punishment for lack of cooperation

Afterwards We will appoint him Hell for his abode; he shall be thrown in to be scorched, covered with ignominy, and utterly rejected from mercy.

As soon as possible, the “questioner” should provide the subject with the rationalization that he needs for giving in and cooperating. This rationalization is likely to be elementary, an adult version of a childhood excuse such as:

  1. “They made you do it.”
  2. “All the other boys are doing it.”
  3. “You’re really a good boy at heart.”

But whosoever chooses the life to come, and directs his endeavor towards the same, being also a true believer;

loud music and strobe lights

the endeavor of these shall be acceptable unto God.

 


Jonathan May grew up in Zimbabwe as the child of missionaries. He lives and teaches in Memphis, Tennessee, where he recently served as the inaugural Artist in Residence at the Memphis Brooks Museum of Art. In addition, May teaches writing as therapy at a residential facility for women with eating disorders. Read more of Jonathan’s work at his website, memphisjon.wordpress.com.

Abu Ghraib drawing by Katie Gressitt-Diaz.

The poem was previously published at Heavy Feather Review.

Weathered Reports: Trump Surrogate Quotes From the Underground

[fusion_builder_container hundred_percent=”no” equal_height_columns=”no” menu_anchor=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” background_color=”” background_image=”” background_position=”center center” background_repeat=”no-repeat” fade=”no” background_parallax=”none” enable_mobile=”no” parallax_speed=”0.3″ video_mp4=”” video_webm=”” video_ogv=”” video_url=”” video_aspect_ratio=”16:9″ video_loop=”yes” video_mute=”yes” video_preview_image=”” border_size=”” border_color=”” border_style=”solid” margin_top=”” margin_bottom=”” padding_top=”” padding_right=”” padding_bottom=”” padding_left=””][fusion_builder_row][fusion_builder_column type=”1_1″ layout=”1_1″ spacing=”” center_content=”no” hover_type=”none” link=”” min_height=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” background_color=”” background_image=”” background_position=”left top” background_repeat=”no-repeat” border_size=”0″ border_color=”” border_style=”solid” border_position=”all” padding=”” dimension_margin=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=”” last=”no”][fusion_text]

[/fusion_text][fusion_text]

[/fusion_text][fusion_text]

[/fusion_text][fusion_text]

[/fusion_text][/fusion_builder_column][/fusion_builder_row][/fusion_builder_container][fusion_builder_container hundred_percent=”no” equal_height_columns=”no” menu_anchor=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” background_color=”” background_image=”” background_position=”center center” background_repeat=”no-repeat” fade=”no” background_parallax=”none” enable_mobile=”no” parallax_speed=”0.3″ video_mp4=”” video_webm=”” video_ogv=”” video_url=”” video_aspect_ratio=”16:9″ video_loop=”yes” video_mute=”yes” video_preview_image=”” border_size=”” border_color=”” border_style=”solid” margin_top=”” margin_bottom=”” padding_top=”” padding_right=”” padding_bottom=”” padding_left=””][fusion_builder_row][fusion_builder_column type=”1_1″ layout=”1_1″ spacing=”” center_content=”no” hover_type=”none” link=”” min_height=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” background_color=”” background_image=”” background_position=”left top” background_repeat=”no-repeat” border_size=”0″ border_color=”” border_style=”solid” border_position=”all” padding=”” dimension_margin=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=”” last=”no”][fusion_text]

Weathered Reports: Trump Surrogate Quotes From the Underground, a chapbook, is my collaboration with fine arts photographer Amy Bassin. I matched quotes from many of history’s most infamous tyrants to Amy’s funereal sculptural portraits to produce spins by DJ Trump surrogates from Genghis Khan to the Koch Brothers. Each quote (report) echoes a distinctly Trumpian thought, issued forth from the weathered patinas of plein air cemetery sculptures. We consider the Trump administration to be a graveyard where each day we are forced to attend daily burials of American moral conscience and civil liberties.

– Mark Blickley

Weathered Reports: Trump Surrogate Quotes From the Underground can be purchased via Lulu, here.

Free PDFs of the book can be downloaded here.

The creators gratefully acknowledge Trump surrogates:

[/fusion_text][/fusion_builder_column][/fusion_builder_row][/fusion_builder_container][fusion_builder_container hundred_percent=”no” equal_height_columns=”no” menu_anchor=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” background_color=”” background_image=”” background_position=”center center” background_repeat=”no-repeat” fade=”no” background_parallax=”none” enable_mobile=”no” parallax_speed=”0.3″ video_mp4=”” video_webm=”” video_ogv=”” video_url=”” video_aspect_ratio=”16:9″ video_loop=”yes” video_mute=”yes” video_preview_image=”” border_size=”” border_color=”” border_style=”solid” margin_top=”” margin_bottom=”” padding_top=”” padding_right=”” padding_bottom=”” padding_left=””][fusion_builder_row][fusion_builder_column type=”1_3″ layout=”1_3″ spacing=”” center_content=”no” hover_type=”none” link=”” min_height=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” background_color=”” background_image=”” background_position=”left top” background_repeat=”no-repeat” border_size=”0″ border_color=”” border_style=”solid” border_position=”all” padding=”” dimension_margin=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=”” last=”no”][fusion_text]

Idi Amin
John Wilkes Booth
Osama Bin Laden
Caligula
Roy Cohn
Jefferson Davis
Muammar Gaddafi

[/fusion_text][/fusion_builder_column][fusion_builder_column type=”1_3″ layout=”1_3″ spacing=”” center_content=”no” hover_type=”none” link=”” min_height=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” background_color=”” background_image=”” background_position=”left top” background_repeat=”no-repeat” border_size=”0″ border_color=”” border_style=”solid” border_position=”all” padding=”” dimension_margin=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=”” last=”no”][fusion_text]

Saddam Hussein
Judas Iscariot
Jezebel
Genghis Khan
Koch Bros.
Charles Manson

[/fusion_text][/fusion_builder_column][fusion_builder_column type=”1_3″ layout=”1_3″ spacing=”” center_content=”no” hover_type=”none” link=”” min_height=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” background_color=”” background_image=”” background_position=”left top” background_repeat=”no-repeat” border_size=”0″ border_color=”” border_style=”solid” border_position=”all” padding=”” dimension_margin=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=”” last=”no”][fusion_text]

Joseph McCarthy
Josef Mengele
Benito Mussolini
Pol Pot
Vladimir Putin
Josef Stalin

[/fusion_text][/fusion_builder_column][/fusion_builder_row][/fusion_builder_container][fusion_builder_container hundred_percent=”no” equal_height_columns=”no” menu_anchor=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” background_color=”” background_image=”” background_position=”center center” background_repeat=”no-repeat” fade=”no” background_parallax=”none” enable_mobile=”no” parallax_speed=”0.3″ video_mp4=”” video_webm=”” video_ogv=”” video_url=”” video_aspect_ratio=”16:9″ video_loop=”yes” video_mute=”yes” video_preview_image=”” border_size=”” border_color=”” border_style=”solid” margin_top=”” margin_bottom=”” padding_top=”” padding_right=”” padding_bottom=”” padding_left=””][fusion_builder_row][fusion_builder_column type=”1_1″ spacing=”” center_content=”no” hover_type=”none” link=”” min_height=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” background_color=”” background_image=”” background_position=”left top” background_repeat=”no-repeat” border_size=”0″ border_color=”” border_style=”solid” border_position=”all” padding=”” dimension_margin=”undefined” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=”” last=”no”][fusion_text]


New York fine arts photographer Amy Bassin and writer Mark Blickley work together on text-based art collaborations and videos. Their series, Dream Streams, was featured as an art installation at the 5th Annual NYC Poetry Festival, and excerpts have been widely published including in Columbia Journal of Literature and Art.  Their video, Speaking In Bootongue, was selected for the London Experimental Film Festival. They recently published a text-based art chapbook, Weathered Reports: Trump Surrogate Quotes From the Underground (Moria Books, Chicago). The publisher has sent their resistance book to the White House. Bassin is co-founder of the international artists cooperative, Urban Dialogues. Blickley is the author of Sacred Misfits (Red Hen Press) and proud member of the Dramatists Guild and PEN American Center.

[/fusion_text][/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

Black Birds

By Jennifer Stein

Black birds the size I dream dinosaurs would be
Cloud-cutting straight flying unflapping arms
Like if you asked a kid to draw a bird
Who never saw a bird, and threw his bulky crayoned visions to the clouds
and here they are in soundless flight.
Black birds, black and ominous as octopus ink made blacker still
By the coral colored brushstroke sky at sundown
This is the way it happens, of course it is, because man’s nature is reactionary
And our worlds are often governed by boys whose diplomacy
is playing chicken on the jungle gym while teachers scream “Timeout, Don”
but they are beyond policing, now.
In the air space above a country I live in are laws
That say no birds but ours can soar here–
should never crowd the sky
But here they are, with the flash they said they’d bring.
No trumpets trump-trump-eting, no angels heralding, no hero’s good-bye
Only mute fury, flash-bang, I didn’t even have a chance
to close my eyes

 


Jennifer Stein is an aspiring writer, which means right now it’s a hobby she’s trying to accelerate into a habit. She’s lived in a major swing state for the past four presidential elections and after this last one, she is happy to add her voice to the resistance.

Photo credit: Jon Bunting via a Creative Commons license.

On a Side Street in Tehran a Woman Watches the Protest of Neda’s Death

By Penny Perry

“Make up should be for your
husband only,” my mother
says in my head. In real life,
she is home in her apartment,
blowing cool air on her second
cup of tea, filling out her grocery list.

“You don’t need a clock,
you can tell time by the tasks
she performs,” my father always half-
grumbles, half praises.

From the secret pocket of my hooded
black coat, I pluck
a small tube, too big for a bullet,
too small for a gun. I daub color
on dry lips.
Half a block away, a few women,
some young, some my age, shout slogans,
wave posters of Neda.

I promised my mother I wouldn’t
come anywhere near here. I tell myself
I will stay on this street. Spoiled olives
drop like bruises from the tree
on the sidewalk.

In this ten o’clock Saturday sun
the lipstick is the tentative pink
of a small smudge in a white
apple blossom.
Before Western books were banned
I bought Brontes and Austen from the book
store with the faded awning.

Those days, I walked to work
in heels, tilted my painted face
like a flower to the sun.

No policeman here to copy
my license plate, shatter
my windshield. I could climb
back in my car, drive by
the protestors, honk my horn,
wave two fingers in a victory V,

and speed home to my husband
and son. I pocket my lipstick, walk
toward the women,
one of them in a tight coat,
nervous streaks of eyeliner
like winding streets on her lids.

Two Basijis so young,
and not wearing their helmets,
stroll around the corner.
They are laughing, sipping sherbet.
Their truncheons loose in their hands.
They are like my cousin Isar
who believes women deserve
cut faces, split bones.

I should turn back. On this warm
day my head is hot under the hood
of my coat. I think of the night
my son was born, my prayer
of thanks that he was not a girl.

One of the men tosses the last
of his sherbet on a poster of Neda
abandoned on the sidewalk. I slide
behind a tree. I hope the Basijis
will rush past.

In my secret pocket, my phone rings.
Rubinstein’s sweet piano playing Chopin.
My mother’s Saturday call.
It is eleven o’clock.

 

Author’s note: When I was working on the poem I wasn’t thinking of myself as a white woman writing about an event from an Iranian woman’s first person point of view. I was caught up in Neda’s bravery and the bravery of the women protesting Neda’s death. Only now, looking back at the poem, I see there is a question in the poem that is personal to me. How brave would I, an American, middle-class white woman, be if protesting and marching meant not just the threat of arrest, but the possibility of dying and leaving a child motherless. That’s a question that I haven’t had to face and maybe that is one of the reasons I admire the Iranian women protestors so much.


Penny Perry is a six-time Pushcart Prize nominee in poetry and fiction. Her work has appeared in California Quarterly, Lilith, Redbook, Earth’s Daughter, the Paterson Literary Review and the San Diego Poetry Annual. Her first collection of poems, Santa Monica Disposal & Salvage (Garden Oak Press, 2012) earned praise from Marge Piercy, Steve Kowit, Diane Wakoski and Maria Mazziotti Gillan. She writes under two names, Penny Perry and Kate Harding.

Photo credit: Anonymous.

Paul Ryan in Effigy

By Gigi Wagg

You, Paul Ryan, who imagine yourself an emerging monarch,
are really a moth—bat food, with the base, serviceable body
of a military cargo plane: dusty, dull and fueled by heavy diesel.
You circle the towers of Trump power, crashing your dumb head
into pane after pane of trash-TV limelight, dutifully peddling
disaster for poor countrymen you disdain as crawling ants.

This paean is not about sticking pins, Voodoo-like, into a doll,
but it serves up the sheer joy of swatting you in moth-body effigy,
giving metaphorical relief to the opposition. How will it go for you,
Mr. Fake-Christian Politician? Swat after swat, your frenzied orbit
will be turned into breeze-buffeted free-fall, those terrible dark wings
tilted and torn, finally unable to raise the useless weight of your torso
and guts to anything but erratic grasshopper leaps, you, too earthbound
to escape the final swat. Then, “Whap!” will go the pink plastic tool and
“Squish!” the picnic napkin on what remains of you, ugly lepidopteran!

Alternatively, you could be left hanging on the glass, your greasy guts
spilled, a sticky residue just enough to hold the shell of carcass
and denuded wings in full view of both power-crazed luminescence
and climbing, scourging ants—a suitable effigy, in nomine Domine

Better yet, your maimed and flailing body could be left, still pulsed
by your beating heart, as steak tartar for the ants (bats would be too
quick)—and yes, you’ll be on your back. Go ahead and flip your frantic
Altar Boy wings (or Dumbo ears) all you can, but you will only prolong
the pain. This is mete (so meat!) and justice for the pain you inflict upon
the least among us, Herr Bat!

May you feel the myriad bites of your crooked social justice
and various hypocrisies as the ants dismantle you, limb by limb
and clot by clot of slowly drying blood. No anesthetic, no mercy,
no P.A.S., just the excruciating chomp-chomping of ant masses and
the belching of curses from survivors of your death-care plan.

Sparing cemeteries the dump of your greasy guts, let Formicidae
clean up crews feast until there is no gore left, then carry off
your Dumbo wings, cleaned to their skeletal lightness. They’ll glide
as if on a parade float, with now and then a triumphal dip, a pause to
proclaim, “Ha-ha! We have won full bellies and a fan for the den!”

Imagine this scene as the hunters carrying home the dead wolf, to a
familiar sound track by Prokofiev … only the creature’s hide is so small
this time that nobody remembers why the beast seemed frightening, once.

 


Gigi Wagg is a pen name of an adjunct faculty writer and activist who claims, in solidarity with the California Part-Time Faculty Association founders’ jingle, “I’ve taught everywhere!” The 2016 election cycle derailed Gigi’s other writing projects in the interest of resistance to the neocon agenda and ultimately, the neocon-cum-fascist con of the Donald Trump Presidency. The submitted poem compares Paul Ryan, the Conservative antagonist of human rights and healthcare for all Americans, to a moth, a greasy, ugly, pest that is infesting the body politic—and, yes, Gigi swatted hundreds of moths in a real infestation.

Photo credit: Ervins Strauhmanis via a Creative Commons license.

Protest personalities

By Ruth McCole

Women’s March, Boston, Massachusetts.
Grim determination turns to gladness turns to awe
We leave too early
Afterward bells ring.

Muslim Ban One, Boston, Massachusetts.
A roiling, boiling storm-crowd
Makes waves.
A man shouts “You’re all going to hell”
A sign reads “Jesus was a refugee.”

Muslim Ban Two, Cambridge, Massachusetts.
Nighttime scholar’s vigil
“Not because we are good
But because we are people”
Tears spill.

Tax March, Cambridge, Massachusetts.
Village fete, bright and white
“I’m a raisin in a bowl of oatmeal”
“Too many laws killed Freddie.”

March For Science, Washington, D.C.
Rain lashes curious queues
She admires my waterproof placard
I shock her with the PhD Posters price tag
My privilege shows.

Climate March, Boston, Massachusetts.
Rainbows and windmills
My allergies soar
The happiest protest.

Fight Supremacy, Boston, Massachusetts.
A coalition crowd self segregates
Angry men, bandanas, moms
Cameras and screamers dart and shoal
After swaggering flags
Gazebo Nazis through the trees
Unseen, unheard.

 


Ruth McCole is a scientist from Brookline, Massachusetts. She studies the way genomes evolve to be as they are today. She is resisting and persisting in the new America and tweets about this @Ruth_persists. This is her first poem as an adult.

Photo credit: Haris Krikelis via a Creative Commons license.

Say It Aloud

By Jamie Davenport

 

Something entirely disturbing happened last night on my commute to rehearsal. Bear with me. It is a long tale. But one that is necessary to read and digest.

I was sitting in the corner of the Red Line T, closest to the conductor, when a group of about eight black kids from the ages of 12 to 16 entered.

I automatically noticed their presence because of how loud and rowdy they were being.

Smiling to myself, because of how crazy they were all acting, I turned up the music in my headphones and bounced along with the train.

I noticed the boy sitting across from me. He’d entered the train with the other kids, and although also black and about their age, he clearly did not know them. From his body language it was obvious he desperately wished he had sat in another section.

At around the South Station stop, the conductor’s door swung open and through my oversized headphones I could tell she told the kids to quiet down. The kids mouthed off to her and she called the MBTA security.

At this point my headphones are off and I am listening with full intent. The MBTA guard, a white man, walks on and within ten seconds announces that he is calling the police and that the train will not move until they come. He is greeted with a resounding, “Are you kidding me?” from just about everyone on the train.

I automatically zone out and think about what I was doing from 12-16.

I think about breaking into my old elementary school and stealing ice cream.

I think about joyriding my boyfriend’s lifted, bright green, Chevy blazer without a permit or a license.

I think about getting caught drinking in a friend’s backyard.

I think about trespassing on private property and swimming.

I think about getting pulled over twice in the same month, on the same road, in the same place, by the same officer, in the same car, for the same reason, and waltzing away from the scene with nothing. And I mean nothing, but “a get home safe.”

I think about every single actually illegal thing I have ever done and realized one harrowing fact:

I have never been touched by a police officer.

I have never been handcuffed.

I have never been to jail.

I have never even gotten a ticket.

I have never left an interaction with the cops with anything other than a “have a nice night.”

I wake up from my reverie and we are still parked at South Station. I tune into the conversation around me and hear the kids. Let me emphasize kids. Kids making a game plan for what they will do if the police start to shoot them.

I glance up at the boy across from me. He is squirming. He wants off. He is texting fiercely. I’m assuming he’s telling someone what we are both observing.

The girl next to me notices my presence and says,

“Sorry for messing up your ride.”

I say, “Don’t worry about it.”

My voice catches on the last word. My throat starts to sear.

She asks, “Are you upset?”

I respond, “Yeah, I guess I am. I just don’t understand why they are calling the cops.”

She says, “Because we are black.”

The 12-year-old turns to the group and quietly says, “Black lives matter.”

They all murmur in agreement.

The police arrive and everyone remains very calm. Eerily calm. Everyone is walking on eggshells. The cops step on the train and tell the kids if they get off quietly they can get on the next one and go home. The kids accept the offer and begin to clamor off. At long last the boy across from me and I are left alone.

As I begin to put my headphones back on the police reenter the car. They look at the boy and say, “We said everyone in the group has to get off.”

The boy says, “I don’t know them.”

The cops say, “It’s an order. Everyone in the group has to get off.”

I jerk a little, as if to collect my bags.

The police look at me and one says, “Not you. You’re not in the group.”

The policeman places his hand on the boys shoulder and guides him toward the door. In a moment of temporary rage blindness I stand up and scream, “He doesn’t know those kids.”

The cop looks at me and says, “Is that true?”

To which I say, “Yes, and it was true when he said it, too.”

The police release the boy and he sits down across from me again. We share a moment of blankness and then tears well in my eyes.

He waves me over to the seat next to him. He says, “That was because I am black, wasn’t it?”

I nod. He looks down sheepishly at his shirt and says quietly, “I’m just happy they didn’t hurt me. That would kill my mom. And she is not someone you want to mess with.”

I say the only thing I can think of. “I’m so sorry.”

He says, “With all that’s going on in the world, I am so scared all the time.”

We sit in silence for a moment and I decide to change the subject. I ask him about himself. He tells me he is entering his junior year of high school and spending the summer working for an organization that aims to help people learn how to have healthy relationships. He says he wants to help stop domestic abuse. He tells me he is passionate about gender equality. He asks me if I know there is a difference between sex and gender. He says he wants to educate the public on that topic.

The train rattles into my station, and I shake his hand. He says, “Thanks.”

I mumble, “Don’t mention it.”

I exit the train and watch it pull away. And then I weep. I weep in a way I never have before. My breath shortens and I begin to crumble.

I weep for Trayvon Martin.

I weep for Mike Brown.

I weep for Sandra Bland.

I weep for Alton Sterling.

I weep for Eric Garner.

I weep for all of the names I do not know but should.

I weep for their families.

I weep for their friends.

I weep for the innocent blood shed all over this country.

I weep for that boy.

I weep that I cannot remember his name because it is not as familiar to me as James or Tim or Dave.

I weep for those kids.

I weep for all of those kids.

I spend the night replaying the whole scenario over and over again in my head, and realize that three words keep running through my mind. Three words that, until I heard a 12-year-old black girl say them aloud to her friends as they awaited the police, I did not understand. Three words that are so little, but mean so much.

Black Lives Matter.

I stop crying. I become resolute. I make a pact with myself to help the world become better for those kids.

I make a pact with myself to spread this story like wildfire.

I make a pact with myself to be an ally to that beautiful boy.

It starts here.

Before you read on make a pact with yourself to join me.

Before you read on commit yourself to this cause.

Before you read on openly admit that racism is alive and thriving in this country.

Before you read on promise yourself you will say the following three words.

ALOUD:

Black Lives Matter.

Didn’t do it? Here’s another chance:

Black Lives Matter.

Still can’t say it? Ask yourself why?

Black Lives Matter

Here’s another chance:

Black Lives Matter.

Here’s another chance:

Black Lives Matter.

Black Lives Matter.

Black Lives Matter.

BLACK. LIVES. MATTER.

 


Jamie Davenport is a Boston-based writer, poet and playwright. She graduated in December 2015 from Emerson College. Her work has been published in The Independent and performed at Arena Stage in D.C. She runs a poetry Instagram account called @davenpoems.

This essay was first published by The Independent in 2016.

Terabytes of Bullshit

By Jon Wesick

There’s a poetry reading in Victorville
so I drive to the land of football and gang tattoos.
The hotel room TV is wall to wall commercials.
I realize my life has been one long scream into a firehose,
a protest against terabytes of televangelists
fad diets, get-rich-quick schemes, and kitchen gadgets
in a nation of bad ideas
with its new, infomercial president.

I love the drafty theater
but the chairs are empty as interstellar space
with light years between audience members.
The national anthem plays and we stand
for a country that no longer exists.
On stage, my words murder platitudes.
Metaphors blast dogma with double-aught buckshot.
Images take chainsaws to propaganda.
Stone faces     stone silence
Books sleep on the table
unsold

 


Jon Wesick is a regional editor of the San Diego Poetry Annual. He’s published hundreds of poems and stories in journals such as the Atlanta Review, Berkeley Fiction Review, Metal Scratches, Pearl, Slipstream, Space and Time, Tales of the Talisman, and Zahir. The editors of Knot Magazine nominated his story “The Visitor” for a Pushcart Prize. His poem “Meditation Instruction” won the Editor’s Choice Award in the 2016 Spirit First Contest. Another poem “Bread and Circuses” won second place in the 2007 African American Writers and Artists Contest. “Richard Feynman’s Commute” shared third place in the 2017 Rhysling Award’s short poem category. Jon is the author of the poetry collection Words of Power, Dances of Freedom as well as several novels. Visit his website at jonwesick.com.

Photo credit: Sarah Ackerman via a Creative Commons license.

After Charlottesville

By Nancy Dunlop

And may one be
happy in the face of bad things?
And may one make
art or knit or bake a bundt cake in the face of bad things?
And may one have a hopeful
meditative life, a restful prayer life, an active inner life in the face of bad things?
And may one laugh, make jokes in the face of bad things?
Is one allowed to have a sense of humor,
keep her charming, darling self alive and thriving,
in the face of bad things?
And may one take a walk, looking at the princely tops of
the white pines, remembering
the bald eagles over the lake, bulleting across the sky,
instead of reading another
article, another perspective, another call
to action, in the face of bad things? Is one
allowed to delete the emails screaming
“URGENT! We need YOU more than ever!
We haven’t heard from you, in a while. LOOK
at what just happened, NOW.”
May one skip the upcoming March Against Whatever-It-Is-Today because
she is tired, just
tired. And distressed by all the distress. Just for today,
may one keep her
dental appointment, go about her business, hold on to that
deep and abiding
crush on George Harrison in the face of bad things?
May one let down her guard in the face of bad things and feel safe doing so?
Or how about this:
Can one be outraged, scream, hurl
curses like fire balls from her mouth, be a dragon and a good person all at once?
And while we’re at it, can one feel
simple, straightforward outrage, all the while knowing she has privileges others do not?
Is one allowed to own her fury, even with her blind spots?
Or how about this, and this sounds dangerous: May one just let things
be, in the face of bad things?
May one seek silence for a little while, without
feeling complicit in enabling bad things?
May one feel love for some very specific reason or person or animal or love
for no reason at all, in the face of bad things?
May one maintain a sense of wonder in the face of bad things, a sense of yearning, of
eros, of beauty too large to encompass, in the face of bad things?
Can one hear past the static of bad things? See past the constant
interruptions of bad things?
May one write poems
about, say, one’s mother, or that young grackle at the feeder, which have
nothing to do with some kind of bearing witness to bad things?
Is one willing to be censured
but speak up anyway in the face of bad things?
Is one willing to make a fuss at a quiet dinner party
in the face of bad things?
May the poet claim oracular sanity in the face of bad things? 
May she say, “I see you,
more than you see yourself”?
May she see what she sees and say, “This is my truth and it is valid”?
Is one willing to be yelled down
by a cop in the face of bad things? Is one willing to be shoved
to the pavement? To be imprisoned for pushing back in the face of bad things?
Is one brave enough to put the sign back up
at the end of the driveway
in the face of bad things?
May one not smile back, although she was groomed to do so,
in the face of bad things?
Is one allowed to dance for two hours a day
in the face of bad things? Or pet the cat, losing all track
of time?
Can one maintain her mental fortitude, her faculties, her intellect, her sense of purpose, of moral compass, her connection to Source
in the face of bad things?
Does one need to forgive one who does bad things
because she senses he hates himself?
May one just avoid the one who does bad things?
May one simply trust that there is a very large God, a larger reckoning, which will take care of the one who does bad things?
May the poet do her job, surveying the Universe, swooping into galactic wormholes, caves of newly formed words, like spores, waiting to be plucked at their most pure?
May one just. Just just just watch
the new family of grackles whooshing
by the kitchen window, and, not even thinking about bad things,
consider how different she is from them, and how
much the same? How it’s all about
wing power?
Can one say to herself, I am an Artist, capital “A,”
and that matters most right now, and mean it? Really
mean it? Believe it?
Believe that is enough? Believe
that Art is what is needed more than
anything in the face of bad things?
May one hold a pen in one hand, a sword in the other and still
recognize herself?
Or is one given the wisdom to know
what to hold, when to hold it, when
to hold on, when to loosen
her grip and stop
just stop
thinking
that she must embrace
all the suffering in this bruised world, just stop
assuming that is, somehow, her job,
a joyless one, a dark and lethal one.

Is there joy seeping out, seeping out, seeping not weeping? Is joy
still there, waving to us, in full sight?

Can one feel joy despite
Joy despite
Joy despite
Joy despite

 


Nancy Dunlop is a poet and essayist who resides in Upstate New York, where she has taught at the University at Albany. A finalist in the AWP Intro Journal Awards, she has been published in print journals, including The Little Magazine, Writing on the Edge, 13th Moon: A Feminist Literary Magazine, Works and Days, and Nadir, as well as online publications such as Swank Writing, RI\FT, alterra, Miss Stein’s Drawing Room, Truck, and Writers Resist. She has forthcoming work in Free State Review and the anthology, Emergence, published by Kind of a Hurricane Press. Her work has also been heard on NPR.

Photo credit: Meal Makeover Moms via a Creative Commons license.

Patriarchal Palaver and Politics

By Chinyere Onyekwere

 

Kpotuba sweated profusely as she climbed the ten dilapidated steps to Nigeria’s Independent National Electoral Commission notice board. She looked for her name on the sample ballot, and its absence shocked her, rendered her huge undulating body immobile. She fought back tears of humiliation when a group of certified male contenders snickered as they walked by. Staggering away heartbroken, she flagged down a taxi, wondered what her next line of action could be.

In her bid to vie for political office in her country Nigeria, the chairmanship post of Achara Local Government Area to be exact, she had unleashed the “Beast,” a deceptive, subtle cankerworm that had been allowed to fester and overrun the district. It marginalized her gender in politics, in virtually all spheres of women’s lives. Landmine navigation seemed like child’s play compared with her candidacy validation efforts with the electoral commission. The omission of her name from the ballot attested to the well-oiled machinations of the Beast; a calculated attempt to disenfranchise her from the chairmanship race because some of her country’s menfolk considered politics their exclusive birthright and domain.

Kpotuba heaved a sigh of exasperation and mulled over her first-time candidature woes as the taxi sped toward her abode. A born leader, Kpotuba burned with passion to make a difference within the squalid environs in which she resided. She organized women groups in her neighborhood, empowered long suffering families to alleviate their poverty-stricken state, a calamitous fallout from economic malfeasance by Nigeria’s political class. When the women spurred her to greater heights with a unanimous endorsement for her candidacy, the Beast reared its ugly head.

Unlike her politically savvy male counterparts, she was an unknown quantity, unversed in the art of campaign gamesmanship. When her candidacy was made public, the Beast bared its venomous fangs and sharp talons to bury her long-nurtured garden patch in tons of garbage. Before the effrontery of the assault could be digested, resounding gun blasts erupted in the vicinity of her home—warning shots to scare her out of the race.

They were messing with the wrong woman. The vicious acts had only strengthened Kpotuba’s resolve to defy the bunch of desperate, uncouth, rabble-rousing despots determined to derail her political ambitions. Patriarchal marginalization of the female gender in politics was an age-old, inherent culture passed down from generations of menfolk to keep women in their place. The Beast held sway in Achara district; women who kicked against it literally battled for their lives.

Even her husband’s support was lukewarm. Infuriated, she had rebuffed his salient but ominous “be careful” with her silence. Their once amicable relationship deteriorated to an exchange of monosyllables. Her grown children were indifferent, believing they were ignored by a country of failed promises and dubious future, so what did they care? Her political party contradicted its professed motto of equity, justice and peace to treat her with disguised incivility.

Her opponent, Anene Ibezim, the corrupt incumbent chairman of Achara Local Government Area, belonged to the ruling party. The perks of office lured him to perpetuate himself in power. He ran his campaign by resorting to vitriolic pronouncements with smug certainty of returning to office.

Months earlier, when Kpotuba and Ibezim crossed paths on the campaign trail, he stalked and sized up his adversary with a vow to banish any notions of political exploits harbored by the obese upstart of a woman.

“You’ll lose, fat cow,” he muttered under his breath.

“What did I hear you say?” asked Kpotuba, stopped her in her tracks by his barrage of words.

“What part of my sentence didn’t you understand. Lose or cow?” he asked.

“You belong in the kitchen!” yelled his ragtag entourage before they disappeared into the crowd.

She made an ignominious retreat, but with absolute conviction of his inevitable comeuppance.

When the taxi screeched to a halt, she was jolted back to the present.

The driver demanded his fare, double the standard price. “Why?” she asked, incensed at his belligerent tone. “Because you’re double the standard size,” he replied, eager to take off.

She alighted from the cab, closed the door with calm exactitude, and paused. A lifetime of imagined and real indignities coalesced into something sinister. She saw a blaze of hot fiery red and lost her head.

Her scuffle with the cab driver engendered comic relief for Nigeria’s pent-up populace; a welcome diversion from disillusion and despair. The fracas drew throngs of people, mostly women who cheered her on. The man, thoroughly terrified of being trounced by a woman, extricated himself from her grasp and fled. She let him escape, had no intention of crossing the thin line between mediocrity and madness to ruin her hard-earned political career.

She dusted herself off with an imperious stance and surveyed the crowd of women whose cries of adulation rent the air when they recognized her from posters advantageously positioned throughout the town. Kpotuba, struck by what could only be deemed divine inspiration, seized the moment with righteous anger to expound on the despicable acts of injustice, meted out to her by the electoral commission.

Her eloquent speech roused the bloodthirsty mob to a fever pitch. Her plight with the Beast became their collective outrage. Like a conjurer’s trick, the swelling masses metamorphosed into a full-blown protest march to do battle with the electoral commission’s perfidious lot.

Two weeks into the general elections, a political gladiator chose to bedevil Ibezim with a human trafficking scandal that rocked the nation.

Kpotuba won the election—with a landslide—to become the first woman in history to occupy the chairman seat of Achara Local Government Area of Nigeria.

*

A month later, hounded by the Crimes Inquiry Tribunal, Ibezim frantically packed up his personal items from the office. Startled by loud laughter, he reeled around to the menacing sight of a huge body blocking the doorway.

“Goodbye loser,” Kpotuba said.

 


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

Photo credit: Courtesy of Bella Naija.

Then There I Was

By Harry Youtt

Then there I was, cold again,
flipping tossed blankets and a moist sheet
back over, and wishing for another,

knowing this time it must be
the fever leaving;
this time it might be finally over,

hearing at last
the caw of the morning crow
that’s made the night worth listening through

in spite of chaos
and Donnie Trump
and now all the ravens in the yard at sunrise

talking, talking,
telling me
today might be the day.

 


Harry Youtt is a long-time creative writing instructor in the UCLA Extension Writers’ Program, where he teaches classes and workshops in memoir writing, narrative nonfiction, fiction, and poetry. He has authored numerous poetry collections, including, most recently, Getting Through, Outbound for Elsewhere, and Elderverses. All of them are available via Amazon.com. The sentiment behind his title: Getting Through refers directly to our current ongoing predicament. He assembled the poems there as his effort to assist us to shelter in place and gather back our wits for the conflicts that are to come. Harry coordinated the Los Angeles Poets Against the War event back in 2003, which, to him, seems like more than a hundred years ago.

Photo credit: Haley Finn via a Creative Commons license.

 

Introducing our newest poetry editor, Laura Orem

Writers Resist is delighted—again—to introduce a new poetry editor: Laura Orem is joining Ruth Nolan in our pursuit of resistance poetry.

Laura is a poet, essayist and visual artist. She’s the author of Resurrection Biology (Finishing Line Press 2017) and the chapbook Castrata: a Conversation (Finishing Line Press 2014). Laura received an MFA in Writing and Literature from Bennington College and taught writing for many years at Goucher College in Baltimore.

A featured writer at the Best American Poetry blog, Laura’s poetry, essays and art have appeared in many journals, including Nimrod, Zocalo Public Square, DMQ, Everlasting Verses, Blueline, Atticus Review, Barefoot Review, OCHO, and Mipoesias. She lives on a small farm in Red Lion, Pennsylvania with her husband, three dogs, and so many cats she’s afraid to say.

Laura’s gift for our readers:

New Year’s Poem for the American Government

Well, things are changing, no
question there, so as a patriot
in the land of the free
I thought it would be nice
to help you when the new admin
istration sends you forth
to save the world from democracy

I’m on the phone a lot
with my poet friends
and you might be confused
by the jargon you hear.
Prosody has its own code,
but not the kind
you’re thinking of.

An anapest is not a gun
A dactyl not a religious war
Synecdoche is not an ancient rite
of setting fire to government buildings
Prose is not the professional cadre
of trained assassins of poetry.

A masculine endstop is not a boy
who slits the throat of the enemy
A villanelle is not
a female suicide bomber
A quatrain isn’t a terrorist cell
A rhyme scheme isn’t jihad

Sestinas and sonnets,
neither are headscarves
Taha Mohammed Ali
was not an imam
Rumi was never a soldier.
A ghazal is not an RPG
A madih is not a mortar.

Scansion is metrics
which is counting
which is not
a sect dedicated
to executing a coup
on the boss.

Take off your earphones.
What he’s told you is lies.
Dear listeners dear spies
remember that, please.

 


Photo credit: “Private Poetry” by John Jones via a Creative Commons license.

Confederate Monument

By Luke A. Powers

High above
Courthouse square

Atop an impossibly
Tall pillar

He has stood
Sentinel now

A hundred years
Summers, winters,

Facing a South
Always farther away

Waiting for word
Signal, reinforcement

Until he’s gone
Blind in alabaster

In cap and gloves
His buttons smooth

Leaning on a rifle
That like his face

Is losing definition
The vestige of history

He wants to come down
He can’t remember

The high deeds
The sacred cause

The ideas that make
Blood turn to stone

The sky is swept
Clean of martyrs

Clouds fray in bliss
In sweet nothingness

He wants to come down
Laid in cool earth

Like a dark seed that
Will never grow anything

But a deep forgetfulness
Past echoes of rumor

Where none of this
Ever happened

None of this, not
A single minie ball,

Ever was—

But still he stands
At his post

Sun and moon
Unmourned, undead

Waiting only for
This past to be done.

 

 


Luke A. Powers teaches English at Tennessee State University, an historically black university in Nashville. He is a singer-songwriter who has worked with Garth Hudson (of The Band) and Sneaky Pete Kleinow (of The Flying Burrito Brothers). He’s also a member of The Spicewood Seven, who have released two protest albums: Kakistocracy (2006) and Still Mad (2016), both of which are musical acts of resistance of the dumbed-down, low-information culture that elected George W. Bush and Donald Trump.

Image credit: Yelp.

Empty Plinths

By Robbie Gamble

That history was cast, it had its time
to patina publically, those grandiose bits:

goatees, greatcoats and spurs all sober
and saddle-erect, hauled down amid

conflicted outcries of righteous mobs, or
unbolted and forklifted away into the night.

Let the sullen air settle. In municipal
plazas, the plinths remain stolid,

their bare cornices uplifting
nothing, explaining away nothing.

Let their marble shoulders relax.
Give some time for the charged space

above them to reassemble, and not
in the chaos of clubs and torches,

cars-as-projectiles. History is messy
enough. Meanwhile, catalogue

the bronze artifacts, arrange for them
a suitable warehouse. Honor instead

the stories of the statueless, the diasporaed,
the not-as-yet-emancipated. Let these

coalesce and flow into awareness beyond
plinths, beyond rancor, beyond dispute.

 

 


Robbie Gamble lives in Brookline, Massachusetts, and works as a nurse practitioner caring for homeless people in Boston. He recently completed an MFA in poetry at Lesley University.

Image credit:Copyright Philip Halling and licensed for reuse under this Creative Commons Licence.

Trooper

By Emmett Forrest

 

Was told I was a trooper
from the time
I was a little girl

Shoulders square
chin raised high
I said
goodbye
my father
stepped onto a plane
and I couldn’t
bear to watch
my eyes downcast
from the window frame

it takes
a strength
to become
a purple heart
to hide horrors under
your pillows
to say goodbyes
that clog in your throat

I lived in
an era of
don’t ask
don’t tells
if there
are no questions
why should you mention

I never stood
about face
but inside
I lost face

broken
rules
were repealed
and shoulders relaxed

at ease soldier

but we marched
one step forward
and two steps back
you weren’t making enough
progress
walling out immigrants
so you took
your fire to the frontlines

and now I hide
behind
masked
masculinities

It was an honor, sir
to be
your honorable sir

 

 


Emmett Forrest: I am a student at MIT studying Mechanical Engineering as well as minoring in Writing.  I enjoy walking along rivers and working with machines three times my size.

Women in Parking Lots

By Sara Marchant

 

My hands were full in the post office parking lot. I held out-going bills, my car and postal box keys, my purse, and a heavy manila envelope containing a manuscript destined for greatness (one can always hope, right?). When I heard a loud car horn and a male voice yelling “Votes for Trump!” it was awkward to turn and look over my shoulder.

But we live in times when a male voice yelling and a horn honking in a government building’s parking lot signify danger. This might be Southern California, blue state, home of Kamala Harris and Jerry Brown, but my town is rural, poor, and red with baseball caps and Trump bumper stickers—and my mother always preached situational awareness to her daughters and sons. So, being a Jewish woman of color, I stopped walking and turned to locate the danger.

What I saw was an old, fat, cotton-headed white man hanging out of his truck’s window and gesticulating with one hand as he worked the horn with the other. He was parked illegally, across three spaces, and he continued to lean on the horn as he yelled out the window. “Votes for Trump! Votes for Trump!” Honk, honk, HONK. He seemed pleased that everyone stopped, turned, and stared. He yelled louder.

One woman did not stop. A small woman, not as old as the yelling fat man, but at least twenty years my senior, she was still moving across the hot asphalt. She wore a turquoise blue, Mexican-embroidered shift and sandals. I’d have admired her dress but I was already admiring her stamina. For she kept walking, even as the man continued his harassment, and it was obvious that she was his primary target. The rest of us in the parking lot were standing and staring, but she kept her back to him. She just kept walking.

She was halfway to where I had stopped on the sidewalk when her hand rose over her head. The honking paused for a moment as her fist unclenched. When her fingers folded down and the middle finger shot up, up, and up, the yelling renewed and intensified. Laughing, I headed down the sidewalk to join her, and walked with her to the post office door. I held the door open for her. She nodded thank you regally, turned and entered the building, her hand descending to her side.

“What was that?” I asked.

“My friend’s husband likes to tease me,” she said. “At least, he calls it teasing. I call it something else.”

An older woman was sorting her mail at the counter. Her long gray hair was unkempt, she wore a shabby t-shirt over hot pink spandex pants. The stack of mail at her elbow threatened to slide to the floor. My new heroine in the turquoise dress addressed this bedraggled lady.

“Your husband is harassing me again. This nice lady stopped because she was worried about me,” Turquoise Dress Lady said.

Pink Spandex Lady turned wearily from her task, and peered around her friend’s shoulder to speak directly to me.

“I’d like to put a bag over his head and beat him to death.”

She wasn’t joking. She wasn’t smiling. She wasn’t making light of her friend’s harassment at the hands—and horn—of her husband. She was obviously tired, hot and too fed up to prevaricate.

We were all women in the post office lobby that afternoon. We were alone with no one to censor us, and she paid us the compliment of speaking her honest truth. She wanted to put a bag over her husband’s head and beat him to death. I paid her the return compliment of accepting what she desired in silence. I bowed my head, nodded, and walked away as the two friends huddled in conversation. Before I left the building, however, Turquoise Dress Lady shook my hand in thanks, and we wished each other luck.

That night, when my husband and I recounted our day as married couples do, I told him about the man in the parking lot harassing Turquoise Dress Lady. I told him about her silent middle finger response. I told him about joining the lady in her walk for safety and solidarity. I told him about the wife who wanted to put a bag over her husband’s head and beat him to death, and then I started to cry.

I had to explain why I was crying over a stranger I’d met in a post office and a type of situational awareness that I couldn’t even imagine. I couldn’t imagine sleeping every night next to a man I wanted to beat to death. I couldn’t imagine being that woman.

I couldn’t have imagined any of what took place in that parking lot, that post office lobby. But it happened. It happened because these are the times we live in.

 


Sara Marchant received her Masters of Fine Arts in Creative Writing and Writing for the Performing Arts from the University of California, Riverside / Palm Desert. Her work has been published by The Manifest StationEvery Writer’s ResourceFull Grown People, Brilliant Flash FictionThe Coachella ReviewEast Jasmine Reviewand ROAR. Her nonfiction work is forthcoming in the anthology All the Women in My Family Sing. Her fiction is forthcoming in the anthology Running Wild. She is the prose editor for the literary magazine Writers Resist. She lives in the high desert of Southern California with her husband, two dogs, a goat and five chickens.

 

This essay was originally published by Roar: Literature and Revolution by Feminist People.

Asphalt

By Suzanne O’Connell

Your arms waved for help.
The policeman bent down, hand on gun.
“No!” you shouted.
He fired.
The sound, an exploding beehive.
I looked at your fragile skull, resting
on the sharp leaves of fall.
Your eyelids blinked.

Helicopters circled, sirens came.
Your blood kept pooling.
It was the color of mine.
I saw the snow catch in your curly hair.

You had something in your hand,
a Black Cow caramel bar.
“It Lasts All Day,” the wrapper said.

 


Suzanne O’Connell is a poet and clinical social worker living in Los Angeles. Her recently published work can be found in Poet Lore, American Chordata, Alembic, Forge, Juked, Existere, and Crack the Spine. O’Connell was nominated twice for the Pushcart Prize. Her first poetry collection, A Prayer for Torn Stockings, was published by Garden Oak Press in 2016. Visit Suzanne’s website.

Photo credit: Mycatkins via a Creative Commons license.

Prayer

By I.E. Sommsin

God, will you forgive the sins of our times,
this sad era, its soft habits of thought
and the glib assumptions easily taught
that breed the lying slogans worse than crimes?
We cannot help how the words work to cloud
and clog and flood the forums of the mind.
They build the thick high walls that keep us blind
and kill the calm silence with all that’s loud.
Myth, wild tales, and the clever fools come cheap,
and the boldly stupid prompt great cheering,
while the magical, repeated, jeering
accusation makes the shallow look deep.
You in the future will know what I feel
when your nation’s caught on history’s wheel.

 


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

Photo credit: donaldjtrump.com

Of Gas and Guilt

By Alexander Schuhr

 

My grandfather farted a lot. Sometimes it took as little as rising from a chair or a slight adjustment of his position and he’d let one fly. In my preadolescent years, I used to burst into laughter. And why not? Among my classmates, a thunderous salute called for proper acknowledgement. Embarrassment was so completely absent that we would occasionally force one out, just to obtain the cheers of adoring fans. But this response to my grandfather’s flatulence was not appreciated. Hushing, hissing, and poisonous gazes would hit me and abruptly end my delight. My grandfather’s farts were no laughing matter.

Much later, after my grandfather had died, I learned that leg prostheses often produce flatulence sounds. Air is trapped between stumps and prosthetic liners, and its release may sound like a fart. My grandfather had lost a leg above the knee. And while I can certainly not exclude that some of the sounds he produced were the real thing, I was shamed by the insight that I had often ridiculed a humiliating side effect of his handicap.

But neither my grandfather nor any other adult ever bothered clarifying this simple misunderstanding. The reason, I believe, wasn’t the poor taste of my reaction. The whole subject of my grandfather’s lost leg was off limits. Only at his funeral did my grandmother, no longer in possession of her full mental faculties, reveal the details.

The end of the Second World War was approaching, and allied troops had landed on the beaches of Normandy.

My grandfather sought shelter in in a trench when he spotted a hostile soldier, a few hundred feet away. “I got him,” he announced, and crawled out of the trench to take aim. Then came the explosion and the shrapnel that hit him. “My leg is gone,” he screamed, as he was dragged back into the trench. “Calm down, it’s still there,” was the response. But my grandfather was right. The impact had severed the bone.

Veterans were wounded, lost limbs, and were mentally scarred by the things they’d seen. But many took comfort in the fact that they’d fought for a good cause: for freedom, for democracy, against tyranny.

There was no such consolation for my grandfather. He had fought for Hitler.

He was only twelve when Hitler came to power. When the Nazis ignited the war, he was old enough to be drafted. Half a century later, I would see his reaction to images on TV, images of the war, images of the genocide committed in the name of German superiority. “We didn’t know that,” he would mumble, and then change the channel or take another sip from the beer bottle.

It wasn’t in him, the extraordinary heroism of resistance that some displayed, often paying the ultimate price. Perhaps he wasn’t aware of the extent of the war crimes and atrocities. Maybe he didn’t fully understand the meaning of war, what it led to, and how it would eventually ravage his own life. He had been deceived, he would claim.

But there was no deception in the politics that made it all possible. There was no deception in the public display of resentment and chauvinism. The incitement of hatred, the scapegoating of the marginalized, the terrorizing of easy victims—they all had happened out in the open, for many years before the killing began. Many Germans of my grandfather’s generation embraced these developments, or, at least, accepted them. And therein lies their guilt.

It was this guilt my grandfather tried to bury, although the guilt stayed, stalking him to his deathbed. It was this guilt that prevented him from mourning, from healing, from finding any meaning in his personal suffering.

Today resentful politics is on the rise again, and many give in to its cathartic temptations. But the price may be awful, and nothing may ever be innocent again. Not even the silly giggling of an immature boy at the supposed passing of gas.

 


Alexander Schuhr is an author, essayist, and scholar. He was born and raised in Munich (Germany). Before coming to the United States, he lived in various countries in Europe and Sub-Saharan Africa. He holds an M.A. in political science and a Ph.D. in economics. He writes fiction and creative nonfiction. He has a wife and a three-year-old daughter.

Photo credit: Ninara via a Creative Commons license.