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.

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

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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:

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

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

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

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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.

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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.