Bedtime Stories from Donald Trump

By Deanne Stillman

 

“Who has read The Art of the Deal in this room?” Donald Trump last year at a Liberty University rally. “Everybody. I always say, a deep, deep second to The Bible.”

Long before Trump requested a show of hands, there was someone who proclaimed her admiration for the book in an online forum. This was Laurel Harper, the mother of the Oregon school shooter, the man who shot and killed nine people last October at Umpqua Community College. She had read it to her son, she said, before he was born, as the New York Times reported shortly after the incident last year. “Now my son invests in the stock market along with me,” she said. “[He] turns a profit and is working on a degree in finance. His language and reading skills are phenomenal. I tell you this because it’s not too late for you to start helping your daughter.”

A nurse by profession, Laurel Harper was responding to a parent who had asked for advice about her autistic child. Her own son, Christopher Harper-Mercer, had Asperger’s syndrome and was apparently autistic as well, although Ms. Harper couldn’t have known that while he was in utero; she was talking about the importance of what one reads to unborn children and how that can help them later, as she came to realize, even if they have certain conditions. She didn’t mention other books that she had read aloud at the time; obviously it was something she wanted to pass on in a public conversation board.

For a number of days after the shooting, I couldn’t shake what I had read in the Times. I had heard much about The Art of the Deal from people I’ve written about over the years, many down on their luck, or just plain down for the count—just like their mothers and fathers before them, and the ancient ones who preceded their mothers and fathers on their particular circuit. They were looking for a way in, hoping to hit the jackpot, having been locked out of the American dream long ago. They figured that buying and selling real estate could give them a toehold, and they would say so as they sucked long and hard on their Marlboros, and once that was in motion, it wouldn’t be long before they were making deals with the big guys and even drinking the good stuff, instead of the Jack-and-Cokes they scraped up the coin to pay for during happy hour at the Cactus Lounge. “And then you can come and visit me,” they would say, “but you’ll have to be buzzed in at the gates!” You see, they wanted to live where they weren’t wanted, and they would laugh hard at the statement, knowing that behind it, such a fate was not in their cards, and really, the joke was on them.

Recently, I borrowed The Art of the Deal from the library. I wanted to take another look at the book that some now cite as the blueprint for Donald Trump’s campaign—and which, as was just revealed, has caused remorse for the ghost writer, who came up with the title and much of the framing of Trump’s life. What was in the bestseller, I wondered, that an expectant mother might want to pass on to the next generation? In the book’s own language, Laurel Harper was urging her son to dream a banal world of winners and losers, of striving and acquiring things, of air rights, valuable holdings, and letters of intent. Yet behind that language, she was urging him to make something of himself, hoping, as in a fairy tale—for this is indeed a modern one, stripped of gentility and beauty—that some day, he become a king. As I explored the book, I noted certain passages which might be inspirational for a future investor, and I also started to wonder about the conditions in which Ms. Harper might have read aloud. Was she sitting in a comfortable and favorite armchair, under an oft-used reading light? Did she read to him or actually to herself out loud and therefore her son at the same time, in bed as she drifted off to sleep? Did she read to him on breaks at work, or perhaps during a walk in the park? Here is the scenario I imagined. …

“In college,” she begins, quoting the fellow who flips hotels and once owned a beauty pageant, “while my friends were reading the comics and the sports pages of newspapers, I was reading the listings of FHA foreclosures. … I don’t do it for the money. I’ve got enough, much more than I’ll ever need. I do it to do it. Deals are my art form,” she continues as she pages through the book, perhaps giving this a flourish. “Other people paint beautifully on canvas or write wonderful poetry. I like making deals, preferably big deals. That’s how I get my kicks. … No matter whom you’ve met over the years,” she adds, whispering possibly or invoking a soothing voice as the unborn boy floated in the primordial tides, “there is something incredible about sitting down to dinner with the cardinal and a half dozen of his top bishops and priests in a private dining room at St. Patrick’s Cathedral. … [The cardinal] is not only a man of great warmth, he’s also a businessman with great political instincts. … Even in elementary school, I was a very assertive, aggressive kid. In the second grade I actually gave a teacher a black eye—I punched my music teacher because I didn’t think he knew anything about music and I almost got expelled. I’m not proud of that, but it’s clear evidence that even early on I had a tendency to stand up and make my opinions known in a very forceful way. The difference now is that I like to use my brain instead of my fists.” Perhaps she pauses here or stops for the evening, and then picks it up another time, in another place: “I finally found a plane,” she says, maybe with a bit of drama, for indeed, it seems to have been a big moment in Trump’s life. “I happened to be reading an article in Business Week, in the spring of 1987, about a troubled, Texas-based company name Diamond Shamrock. The article described how top Shamrock executives were enjoying incredible perks, actually living like kings. Among the examples cited was a lavishly equipped company-owned 727, which executives flew around in at will.” Flew around in at will, my little one, wouldn’t you like to do that? “There are people—I categorize them as life’s losers—who get their sense of accomplishment and achievement from trying to stop others. As far as I’m concerned, if they had any real ability they wouldn’t be fighting me, they’d be doing something constructive themselves.” Now here comes a really good part, I hope you’re paying attention! “I’m not looking to be a bad guy when it isn’t absolutely necessary. … It just goes to show that it pays to move quickly and decisively when the time is right. …” And here’s the best line of all, if you get anything out of this book, young man, I hope this is it. “I’m keeping my options open,” she reads and then she might have said goodnight and sweet dreams to her unborn son, for that is the way of mothers, and then possibly she blew out a candle.

•     •     •

The primordial stew furnishes us with the building blocks of life. This includes not just vitamins and minerals, but, as research shows, things of a more esoteric nature, such as music and art and literature—sounds and vibrations and words that are imprinted onto a seed and from which that seed goes forth and grows and tries to find his or her way in a world filled with obstacles that are seen or felt in the bones. When I first learned about Laurel Harper reading Donald Trump to her son before he was born, I asked some friends about the books or music that they conveyed to their children while in the womb. Several mentioned nursery rhymes, including those that were cautionary tales; writer Samantha Dunn and musician Jimmy Camp spoke of Bob Marley and the song “Three Little Birds,” which their son, now seven, still loves; John Densmore—the drummer in the Doors—sang “When Irish Eyes Are Smiling” to his unborn child, and others played Beatles songs (“My son is now studying music in Liverpool,” photographer Elissa Kline told me).

I know all about the false hope that The Art of the Deal has conveyed to those who have nothing to lose so why not get into real estate? I’ve seen them take one last gamble on some land-buying scam and I’ve seen what happens when it falls apart and they are back at the Cactus Lounge during so-called happy hour. Mostly, they are destroying themselves, perhaps still harboring fantasies of living behind a gate, in a house that they own, free and clear, but knowing in their heart of hearts that such a thing is beyond their reach and the game is over. So they light up another Marlboro and order another Jack-and-Coke; as the old saying goes, the rich get richer and the poor get drunk.

What happens to someone when he soaks up the idea that the world is comprised of winners and losers before he is even born? That losers are people who stand in his way? What happens when this imprinting is later loaded with guns (trips to the shooting range with his mother) and the prospect of fame (numerous shooters who preceded him) along with Asperger’s syndrome, a parade of personal failures and myriad misread cues? After he was born, Christopher Harper-Mercer did indeed follow the urgings of his mother, for she boasted of her son making hay with investments—behold! a king!—and then, somehow, over time it seems, this path could no longer keep him and nor could the many forks he traveled and one day, he went to school and decided to cash in his chips. “I’m a good boy,” he may have thought. “I am moving quickly and decisively when the time is right. I have kept my options open.”

 

Originally published by LitHub as “The Art of Dividing the World into Winners and Losers.”


Deanne Stillman is a widely published, critically acclaimed writer, and her plays have won prizes in various festivals.  Her books include Desert Reckoning, based on a Rolling Stone piece, winner of the Spur and LA Press Club Awards, an amazon editors’ pick, recipient of rave reviews in Newsweek, the Denver Post, LA Review of Books and elsewhere; Twentynine Palms, an LA Times “best book of the year” that Hunter Thompson called “A strange and brilliant story by an important American writer”; and Mustang, an LA Times “best book of the year,” praised from The Atlantic to The Economist, and recently released in an audio edition with Anjelica Huston, Frances Fisher, Wendie Malick, John Densmore (the drummer in the Doors), and Richard Portnow. In addition, Deanne’s work has appeared in Angels Flight Literary West, Rumpus, Salon, the New York Times, LA Times, Tin House, Orion, Slate and other publications. She also writes the “Letter from the West” column for the Los Angeles Review of Books. She’s a member of the core faculty at the UC Riverside-Low Residency MFA Creative Writing Program and a winner of an Amtrak Writers Residency. For more information, visit her website.

Reading recommendation: Trump: The Art of the Deal by Donald J. Trump and Tony Schwartz.

Or the horror and read Deanne’s books, instead.

Desert Reckoning

Mustang

 

 

 

 

 

 

 

Digital Dust

By Pattie Palmer-Baker

The agent sifts digital dust,
not like stardust sprinkled
on profound black,
instead gray-brown specks
leaking out of ATM machines,
trickling from laptops,
dribbling out of phones.

He shapes the particles
into a digital fingerprint,
blots out truth messy with color,
paints the grooves black and white.

When the wind blows
through a Sitka Spruce,
he hears the whisper As-salam alaykum.
He whips the gun
from the back of his waistband
and shoots the words.
He doesn’t know they mean
peace be upon you.


Pattie Palmer-Baker is a Portland, Oregon artist and poet. Over the years of exhibiting her artwork—a combination of paste paper collages with her poems in calligraphic form—she discovered that most people, despite what they may believe, do like poetry; in fact many liked the poems better than the visual art. She now concentrates on writing, both poetry and personal essays. Visit her website.

Reading recommendation: Kohl & Chalk: poems by Shadab Zeest Hashmi

INDIVISIBLE: A Practical Guide for Resisting the Trump Agenda

A note from Writers Resist about The Indivisible Guide:

Donald Trump’s election has motivated a lot of people in a lot of ways, revealing their smarts, their generosity and their passion for making the United States a safe and nurturing home for all people. One of the more pragmatic responses is Indivisible: A Practical Guide for Resisting the Trump Agenda. The guide is cool, not only because it’s free and fabulous, but because the Indivisible team that put it together is a group of seasoned former congressional staffers who know exactly how to get our representatives’ attention. They tell you, in simple terms, the tricks of the advocacy trade.

They’ve also started an online directory of grassroots groups that are using the guide, the Indivisible Local Group Directory. According the the Indivisible team, “[y]ou can now search our directory and find people who are committed to standing with you in this fight. If you don’t find a group in your area, start one yourself! People will join you—there are Indivisible readers in every congressional district in the country.”

We strongly recommend the guide for people ready to conduct advocacy at the local level. If you’re one of them, read on—you’ll be able to download the guide below, thanks to the team’s generosity.

A Note from the Indivisible Team

Since this guide went live as a Google Doc, we’ve received an overwhelming flood of messages from people all over the country working to resist the Trump agenda. We’re thrilled and humbled by the energy and passion of this growing movement. We’ll be updating the guide based on your feedback and making it interactive ASAP. You can sign up for updates at www.IndivisibleGuide.com.

Every single person who worked on this guide and website is a volunteer. We’re doing this in our free time without coordination or support from our employers. Our only goal is to help the real leaders on the ground who are resisting Trump’s agenda on their home turf. We hope you will take this document and use it however you see fit.

We want to hear your stories, questions, comments, edits, etc., so please feel free to ping some of us on Twitter: @IndivisibleTeam@ezralevin, @angelrafpadilla, @texpat, @Leahgreenb. Or email IndivisibleAgainstTrump@gmail.com.

And please, please, please spread the word! Only folks who know this exists will use it.

Good luck—we will win.

Download the Indivisible Guide in PDF here or visit the Indivisible website for other options.

 

Kindred, a poem by Dave Parsons

Blindness will only make him see better. Broken bones will sharpen his wit.

–Karl Shapiro

On 9-11, we were 1st stunned into numb dazes—I remember the same—in the early sixties and there are the many other days … personal to each of us … that stick like bad cooking to our dead-pan minds, they are the memories that scurry about like ants kicked from the order of their hilly homes. I remember the day that Larry Williams’s photo appeared in the Austin Statesman obituaries with the same confident expression I had seen countless times caged under a baseball Catcher’s mask. There he was—set jaw—Green Beret announcing to his known world that he was finished with games, with this life and his name would become the source of rubbings on a long black wall in Washington. Larry had witnessed the same numbness in the dazed moiré moon faces of a kindred people trapped in their country’s anguish while an Army clerk in Saigon and at his homecoming party, he said to me in a whisper, like a prayer, he had to go back, and this time, he had to be in the thick of it … he must be part of an answer, action, not awe—Whitman’s body electric, to Hell with the angst, the numbness … embrace the pain … fire the spirit—eyes wide open to it all—the same wide and kindred eyes that sent Alison, William, Sandra, Jeffery with a throng of students to the Kent State quad in 1970—demonstrating their outrage over their country, the very home that had seeded them with knowledge and the pride of being raised in a land of gallant freedom fighters, a peopled history of grand idealism that somehow had mutated: it was as if there had been a stock take over—war became a corporate boardroom game; where, moves to erase thousands players was taken in the cool air conditioned minds of executives and politicians thousands of miles from the heat and stench of the jungle factory, changing from a war of rescue to a daily body count. So the students did what they could and the pointing of their single fingers were no match for the rifles; but here’s another legacy for us, the pointed single finger even in its fall, still fired the flame that is the inherent instinct burning like a star in the craw of this nation, where ever we single souls abide, we are steeped in the parables found in our many sacred stories; our monumental buildings may fall to the warped logic of our enemies; and this cornucopia of a planet we so treasure, may turn on us, like some old jaded lover, bringing on us all matter of apocalyptic weathering pain rivaling Old Testament curses —We the People—do not sit long sanguine on the comfort of our couches before the gnashing media poor-sayers or dig head-holes of rationale to bury our worst fears in—We the People—are on the march, on the move from our every beach, plain, forest, hill, or cove, on the phone with our support, in the mail with our personal treasures, we are on the many roads and byways with our pyrotechnic presences, in the hot stink of it with our time and boundless talents—brilliant spirits burning white hot— igniting truth deep in our brethren’s breast—We the People—are truly omnipotent—

 


Dave Parsons, 2011 Texas State Poet Laureate, is a recipient of an NEH Dante Fellowship to SUNY, the French-American Legation Poetry Prize, the Baskerville Publisher’s Prize (TCU). He was inducted into The Texas Institute of Letters in 2009. Parsons has published seven poetry collections. His latest are Reaching For Longer Water (2015) and Far Out Poems of the ’60s (2016), co-edited with Wendy Barker. He has taught Creative Writing at Lone Star College since 1992. Parsons has four grown children and lives with wife Nancy, an award winning artist and graphic designer in Conroe, Texas. The title and many lines of this poem were taken from a poem that first appeared in his collection, Color of Mourning (Texas Review Press/Texas A&M University Press Consortium, 2007), edited for the Writers Resist movement.

Visit his website at www.daveparsonspoetry.com.

Reading recommendation: Color of Mourning by Dave Parsons

The Inauguration Day that Wasn’t with Mr. First Lady

By Pepper Hume

Inauguration Day fashions

Inauguration Day fashions

 

Pepper Hume is a refugee from professional theatre design in scenery and costumes. After working all over the country, including years in both Chicago and New York, she retired to her hometown of Bartlesville, Oklahoma. She has a novel and several short stories under her belt—some published—and is working on a reference book on 20th century clothing for writers. In addition to writing, she makes one-of-a-kind art dolls and has designed several published book covers.

Resiste / Resist, a poem and translation by Mariana Llanos

[fusion_builder_container hundred_percent=”no” equal_height_columns=”no” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” background_position=”center center” background_repeat=”no-repeat” fade=”no” background_parallax=”none” enable_mobile=”no” parallax_speed=”0.3″ video_aspect_ratio=”16:9″ video_loop=”yes” video_mute=”yes” overlay_opacity=”0.5″ border_style=”solid” padding_top=”20px” padding_bottom=”20px” admin_toggled=”no”][fusion_builder_row][fusion_builder_column type=”1_2″ layout=”1_2″ 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_title hide_on_mobile=”small-visibility,medium-visibility,large-visibility” size=”1″ content_align=”left” style_type=”default”]

Resiste

[/fusion_title][fusion_text]

Resiste, hermana, resiste.
Levanta el puño y resiste.
Resiste, hermana, resiste.
Sube la voz y resiste.
Resiste, hermana, resiste.
Eleva la frente y resiste.
Resiste, hermana, resiste.
Hincha el pecho y resiste.
Resiste, hermana, resiste.
Planta los pies y resiste.
Resiste hermana, resiste.
Entrelaza los brazos y resiste.
Resiste, hermana, resiste
Avanza tu cuerpo y resiste.
Resiste, hermana, resiste.
Con puño, con voz, con frente, con pecho,
Con brazos, con pies, con todo tu cuerpo,
resiste.
Resiste hermana, resiste,
Aunque corra tu sangre
Aunque tiemblen tus huesos
Aunque sangre tu alma.
¡Resiste!
Hasta tu último aliento
Hasta tu último paso
Hasta tu último beso.
Hasta que tu sudor se mezcle en el agua.
Hasta que tu puño brille en el cielo.
Hasta que tu grito se oiga en el viento.
Resiste, hermana, ¡resiste!

[/fusion_text][/fusion_builder_column][fusion_builder_column type=”1_2″ layout=”1_2″ 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_title hide_on_mobile=”small-visibility,medium-visibility,large-visibility” size=”1″ content_align=”left” style_type=”default”]

Resist

[/fusion_title][fusion_text]

Resist, sister, resist.
Thrust your fist in the air and resist.
Resist, sister, resist.
Raise your voice and resist.
Resist, sister, resist.
Lift your forehead and resist.
Resist, sister, resist.
Bloat your chest and resist.
Resist, sister, resist.
Stomp your feet and resist.
Resist, sister, resist.
Intertwine your arms and resist.
Resist, sister, resist.
Push forward your body and resist.
Resist, sister, resist
With fist, with voice, with forehead, with chest,
with feet, with arms, with all your body,
resist.
Resist, sister, resist.
Even if your blood runs,
Even if your bones tremble,
Even if your soul bleeds.
¡Resist!
Till your last breath,
Till your last step,
Till your last kiss.
Until your sweat blends with the water,
Until your fist shines in the sky,
Until your scream is heard in the wind.
Resist, sister, ¡Resist!

[/fusion_text][/fusion_builder_column][/fusion_builder_row][/fusion_builder_container][fusion_builder_container hundred_percent=”no” equal_height_columns=”no” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” background_position=”center center” background_repeat=”no-repeat” fade=”no” background_parallax=”none” enable_mobile=”no” parallax_speed=”0.3″ video_aspect_ratio=”16:9″ video_loop=”yes” video_mute=”yes” overlay_opacity=”0.5″ border_style=”solid” padding_top=”20px” padding_bottom=”20px”][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]


Mariana Llanos is a Peruvian writer, author of seven award-winning children’s books in English and in Spanish. Her first book, Tristan Wolf, was published in 2013. Her newest book, Poesía Alada (poetry in Spanish for young people) will be available in April 2017. She studied Drama in her native Lima. After moving to Oklahoma, she worked as a preschool teacher, standing out for her creativity and passion for arts education. Mariana visits schools around the world through virtual technology to encourage students to read and to spark their love for writing, while building bridges of understanding. Visit her website at www.marianallanos.com.

Reading recommendation: Como Cambiar el Mundo Sin Perdernos /How to Change the World Without Losing Ourselves by Virginia Vargas (1992).

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

Rae Rose Cancels an Appointment

By Rae Rose


Artist’s statement

I am as inconsistent as my sleep.

For people with bipolar disorder, sleep is often an ongoing battle, a ludicrous arrangement, a total crapshoot, and sometimes, ridiculous. More often, I’m crying. More often, I’m ashamed. Some days, I’m a total badass. Some days, I fee like I can’t show up to life.

Simple things become impossible. A lack of sleep affects our ability to work, which affects our ability to obtain health care, which affects our sleep …

Those living with disabilities, as well as friends of disabled people, neighbors/one night stands/Facebook pals/partiers/grocery clerks/loved ones/etc., should be wary of the changing of the guards.

We have to show up for each other.


Rae Rose’s most recent work appears in Jennifer Bartlett’s Hineni Magazine. She is Writers Resist’s poetry editor. You can visit her website at Yours Truly, Rae Rose.

Music is by Eliza Rickman.

On the Front Lines

Fiction by Kit-Bacon Gressitt

You look in the bedroom mirror, small enough to deny self-adoration, and pull your brownish hair into a ponytail. Tight, like Mother used to do it. You turn to the bed. Your clothes are laid out on sheets held in place by perfect hospital corners. You dress in practical layers, to accommodate the variable temperatures of the daylong vigil you perform every Thursday. First, your underthings, then flesh-tone tights and a plain white t-shirt. Next, the pleated blouse Mother used to wear, when you held the vigils together, and ski pants, a modest one size too large. Finally, a nice worsted wool skirt you found at Goodwill for a dollar. It’s a bit matronly, but you top it off with your 12-week ultrasound hoodie.

You strap on your choose-life fanny pack, loaded with crisis pregnancy tracts and embryo dolls; take the bigger-than-life-size fetus parts poster in one hand and your calico-covered Bible in the other; and you march to the local abortion mill. Battle ready. Here profit motive thrives under Satan’s leering eyes and abortions are marketed to the vulnerable—to provide lucrative embryos for ungodly research. You believe this with all your heart because that’s what the tracts tell you.

You bungee-cord the poster to a tree and take your position between the clinic entrance and the parking lot. You’re armed with the assurance that you’re doing God’s righteous work, as Mother taught you, witnessing for life, sidewalk counseling would-be abortion victims, guiding them away from mortal sin, toward salvation. You adjust the bunched-up layers around your waist while you await the poor misguided mothers, bearing their precious preborns to slaughter. You know they will come, as they do every week, in numbers that torment your heart with the horrid image of God’s beloved innocents torn asunder by evil and torturous tools in the hands of Death’s doctors. But you are stalwart, determined to rescue a life from the great abyss of immoral destruction.

The clinic opens, the women and girls—not so much younger than you—begin to arrive, and you gird your supplies—they are comforting. Mother was so much better at this.

You take a breath. “Excuse me,” you say as you step before the nearest sinner heading for the door. The young woman looks sad. She wears immodest jeans from which she’ll soon burst forth in the full flower of maternal fertility—if you can lead her to Jesus.

“How many weeks are you?” you say.

“Huh?” the girl says, wires dangling from her ears to a front pocket.

“How many weeks pregnant are you?” You give her your kindest, most eager smile.

“Hmm?” The girl frowns, pulls a phone from her pocket and, without looking up, says, “What?”

“Do not renounce God’s miracle growing within you,” you say. “Already it feels. Already it knows life. Already it loves you.”

She stares at you, says nothing. She needs you.

“I know you’re scared and confused, but don’t succumb to the fear of your situation, to the temptation of an easy solution. In truth, it is not easy. There are better ways. God has sent you his love and support—through me. Choose life for your preborn child.”

The girl pulls the wires from her ears. “What did you say?”

“Choose life,” you repeat. You put down your Bible and pull a tiny plastic embryo from your fanny pack. “Look, this one, this one here is probably the size of yours. Choose life for the blameless gift God has given you, and you will receive his endless blessings. Choose life for your baby and heavenly eternity for yourself.”

“You don’t know what you’re talking about,” the girl says and steps around you.

“Please wait!” Mother taught you how to deal with denial. You must use extreme counseling technique. You grab the girl’s hand and drop to your knees. “You needn’t be afraid. Turn your heart away from the evil of abortion. God’s innocent fruit grows in the garden of your womb. Don’t let them suck it out to rot in the bowels of evil!”

“Gross.” The girl pulls away from you.

You hold on tighter. “Don’t do this,” you say. “We’ll help you through your pregnancy and then—”

“Yeah?” the girl says, “and then what?”

“Then the lord will provide.”

“Yeah, right.” The girl snickers and pulls harder. “Let go of me.”

“No, please.” You try not to, but you cry. “Listen to me.” The girl hesitates. Your nose drips. You look up at her and think of Mother. “Before God formed the sinless one in your womb, he knew her. His hands shaped and made her. Would you now turn from the wonder of his love?” You wipe your nose on the sleeve of the ultrasound hoodie and wrap yourself around the girl’s calves.

“You’re nuts.” The girl struggles against your embrace. “Let go—let go!”

“I can’t. Jesus wants me to save you. Please don’t murder your baby! Give your preborn the gift of life!”

The girl yanks one leg free, puts her foot against your chest and pushes you backward. “Cool your shit,” she says. “I’ve got a killer UTI—stay the fuck out of my way.”

You gather yourself and get up from the sidewalk, brushing dirt and leaves from the nice Goodwill skirt, tidying your ponytail, and you wonder if the clinic switched the weekday it murders unborns. Nausea quivers through your belly at the thought of having to change your routine. The routine you and Mother performed together every week. Mother, who didn’t abort you.

“Have a blessed day,” you call after the girl.

She’s already inside.


January 22 is the anniversary of the Roe v Wade Supreme Court decision guaranteeing women the freedom to make their own private reproductive decisions. It’s also Kit-Bacon Gressitt’s birthday, which has long seemed significant to her. Spawned by a Baptist creationist and a liberal social worker, K-B inherited the requisite sense of humor to survive family dinner-table debates and the imagination to avoid them. As a result, she’s a feminist writer, she supports unrestricted access to affordable abortion and other reproductive health services, and she’s an LGBTQ rights advocate. She also birthed a child of color, who’s taught her a lot about white privilege and intersectionality. An erstwhile political columnist with an MFA in Creative Writing, K-B is now an occasional Women’s Studies lecturer. Visit her website, Excuse me, I’m writing.

Because it’s unlikely the nation will see anything from the new administration akin to President Obama’s 2016 commemoration of the Roe v Wade decision, it is reprinted here:

The White House
January 22, 2016

Statement by the President on the 43rd Anniversary of Roe v. Wade

Today, we mark the 43rd anniversary of the Supreme Court ruling in Roe v. Wade, which affirmed a woman’s freedom to make her own choices about her body and her health. The decision supports the broader principle that the government should not intrude on private decisions made between a woman and her doctor. As we commemorate this day, we also redouble our commitment to protecting these constitutional rights, including protecting a woman’s access to safe, affordable health care and her right to reproductive freedom from efforts to undermine or overturn them. In America, every single one of us deserves the rights, freedoms, and opportunities to fulfill our dreams.

Reading recommendation: The Cider House Rules by John Irving.

Embryo doll photo credit: Anthony Easton via a Creative Commons License.

No Time to Lose

By Sergio A. Ortiz

It’s cold here.
Its color, a ninja turtle orange,
and only 1 day left
for el Presidente Electo
to inaugurate his burned hair,
his head de mal parío,
his enano politician tweets.
People say it’s worth the trip
to his Swearing In,
that this kind of shit makes you grow.
The thing is my body
cannot stand another Jetblue seat,
another Greyhound cafe.
Besides, winter hurts.
Its whiteness rusts the snow.
Its racism confuses me,
makes me feel small,
like a very distant echo.
Fuck it, if I go back to D.C.
It’ll be because I want to visit
the Smithsonian’s
African American Collection.
Where merchant ships loaded
with slaves are still shipwrecked
in my memory.

 


Sergio A. Ortiz is a gay Puerto Rican poet and the founding editor of Undertow Tanka Review. He is a two-time Pushcart nominee, a four time Best of the Web nominee, and a 2016 Best of the Net nominee. He is currently working on his first full length collection of poems, Elephant Graveyard.

Reading recommendation: The Slave Ship: A Human History by Marcus Rediker.

 

Dear Daughter by Lia Langworthy

Dear daughter,

Your body shook with tears as CNN declared him the winner. Numb and stoic, I held you, the circuits of my mind overloaded, broken, unable to process what I was hearing and seeing. I imploded with treacherous emotions. Comforting words eluded me.

I called your father, for him to deal with your fears and questions as I rubbed your back. I desperately wished I could cry with you but instead I waited for my body to catch up with my runaway emotions.

As you spoke with your father, I watched the television and heard my narcissistic black father in Donald Trump’s rhetoric. I saw my mother’s white privilege in the millions of white women who voted for him. I saw a sexual predator who went unpunished. I saw the ugliness of hate in the millions of racists that call this country home. I saw a system of white supremacy openly reclaiming the seat at the head of the table. I saw but was too frightened to feel. It was not safe, despite sitting safely on the couch beside you. The election results had rocketed my mind and my body to two different planets. When would they land and reunite?

I woke the next day, still having not shed a tear. Pain clenched my stomach and worked its way toward my heart. I was thankful for your Episcopal school, where you had chapel on Wednesdays and your brilliant female headmaster would try her best to make sense of the election outcome in a way I wasn’t yet able. We drove to school in silence. I couldn’t bring myself to turn on the radio. I pushed the hellish nightmare aside and focused on the space in our car and the matter at hand—getting you to school safely. I broke the silence only to remind you to gather your PE clothes. As we pulled up, relief crept into my lungs. You exited the car, and I exhaled deeply for the first time.

*     *     *

I drove my route home, up Wilcox to Franklin to Highland, onto the 101 toward Studio City. Nothing was normal, but everything appeared normal. People chatted on their phones, pumped gas, drank coffee. How could this be? Didn’t they know the world had just turned on its axis and we would all fall off into space? The last time I had this sensation was when my mother died.

*     *     *

She wanted to die at home. After weeks in the hospital, the social workers, doctors and nurses said the end was imminent, so an ambulance took her skeleton of a body back to her mobile home. She lay on the bed in her tiny living room, mouth agape, emitting horrid noises as she struggled to breathe. She held on. While I fed her ice chips, her two cats, Eartha and Kit, curled up and slept next to her head. Dozens sat in my mother’s tiny living room, all eyes on her, waiting for her spirit to leave her body.

I couldn’t stomach the sound of her labored breathing any longer and jumped on my bike for a ride. I rode long and hard. I cried even harder, finally releasing a small portion of my grief.

When I returned, my mother had gone and everything changed. I breathed air, but the air felt different. I ate and drank, but nothing tasted the same. I would never hold her, touch her, talk to her again. A huge monumental shift had happened in my life, but not in anyone else’s.

*     *     *

Driving home that day after the election, I felt the same exaggerated delineation in time, in space, irrevocable and unchangeable. Death had returned in the form of Trump’s victory.

*     *     *

Daughter, without you, alone for the first time since the election results, I felt safe enough to return to my body. As when my mother died, my body desperately needed to release my pent up fear, fury and grief. The release came as a scream. My screams shocked me as much as the passing drivers, who craned their necks to witness the crazy woman in her car. I didn’t care. The screams finally released tears, too frightened to appear before. My stomach hurt so badly I contemplated pulling over my car and taking a shit right there on the 101. Why not? Who would’ve stopped me? Fuck it. Grief fought with fear, but ultimately disgust won.

*     *     *

I drove toward home, crying and wondering how (and why) a highly educated, privileged, experienced white woman couldn’t win the highest office in our country, but a sexist, racist, sexual predator without any experience could. Oh, I knew how and why, but I wasn’t ready to accept the bitter truth.

*     *     *

After the election, I finally fell asleep around 4 a.m. I dreamt of my uncle, my white, racist, alcoholic Uncle Russ. In my dream I was helping him paint a room army green. He stood high on a ladder, where the wall meets the ceiling, and I stood below him, holding his wares. I loved my Uncle Russ, despite his constant racist jokes and insensitive name-calling. His pet name for me, his favorite niece, was his Little Niglett (nigger + piglet). He had a deep need to denigrate me, and my white mother allowed him to do so.

As a child, I always wished my mother would scream obscenities at my uncle or threaten to never speak to him again if he continued to insult me. Instead, she instructed me to ignore him, to take the high road. She claimed powerlessness and accepted my uncle’s sad excuse of “I mean no harm.” But harm me he did. His powerful and hurtful words, demeaning of my humanity, went unchecked. He took no responsibility for his actions and my mother was complicit. She chose to protect his power, to ensure her access to his privilege, however unequally it was shared. She couldn’t dare risk exposing my uncle for the racist, sexist pig he was. White women are collaborators of white male privilege, benefiting in part from their dominance, even if it’s not in their best interest.

*     *     *

As I drove home, thinking of my mother and her choice of white privilege over me, I grew enraged. The fact that millions of white women, like my mother, stood with Trump, not against him, enraged me further. I wanted to scream again, but instead cried as I exited the freeway onto Vineland.

*    *     *

Daughter, white privilege is real, even for an underprivileged, poor and uneducated white woman, like my mother. Raised by others as an unwanted orphan, my mother grew into a woman who demanded little. She accepted harassment as love. I knew my mother loved me, more than herself, but she was unable to stand up for me or herself. However, despite my mother’s difficult childhood, she nonetheless “belonged” as a white woman. When she bought nude nylons, they matched the color of her skin. When she turned on the TV, she saw her face reflected back at her. Being “underprivileged” did not negate all the subtle and unearned privileges her whiteness granted her.

My mother refused to accept she held any such privilege, and I accepted her ignorance, for she had been conditioned to believe such privileges didn’t exist. Yet history has shown, time and time again, white women choose their attachments to white men, the most powerful group in America, over themselves. They did so on Election Day. They chose to vote for a sexual predator ensuring the continuation of abusive white male dominance in this country.

Daughter, as a woman of color you will have many white women claim to be your allies. Be wary. I do not say this to inflict fear, hate or mistrust, but instead to share the truth, rooted in past betrayals. White women want women of color to join their feminist fight while failing to acknowledge their white privilege. Like my mother, many are completely unable to reconcile their powerlessness with their privilege.

During the suffrage movement of the early twentieth century, white women sought the right to vote yet fought blacks who demanded the same right, angrily claiming their inherent superiority over blacks. Historically, white women have abandoned their black sisters when their white privilege is threatened. White women who ignore their race-privilege and focus solely on sexism are blind to their status, power and authority.

Yet we women of color, with less status, power and authority, voted overwhelming for Hillary Clinton. Why could we see what white women could not? We don’t share their privilege. We women of color are of a different ilk. Our oppression is birthed from a different strain of contempt; one much deeper than most white women will ever know.

*     *     *

As I drove home, my frustration with the white women who decisively handed Trump the presidency became eclipsed by my rage for the narcissist himself.

*     *     *

Honey, take note, narcissists are pure evil unmasked, especially malignant ones. Pathological liars, master manipulators, out-right abusers: they believe they are above the law, above others, and don’t have to play by anyone’s rules. They crush all in their path without remorse. They negate others’ feelings yet demand honor, respect and reverence for their own. They refuse to see the error of their ways and instead deny, deflect or blame the innocent. They hate to apologize and admit defeat. They are easily enraged and hostile to anyone who challenges them. They spin lies into truth and truth into lies. Their intense sense of entitlement stems from a delusional belief they have an absolute right to fulfill their every want and lust. They are parasitical predators. They are moral and spiritual thieves, always on the hunt for that which is not theirs to take. I know because I had a narcissistic father.

My father usually got his way. He charmed, cajoled or bribed—whatever it took to ensure victory. Once he took me to a jazz bar and, when the bartender refused to give me a glass of wine, my father tried every trick in his book, but the bartender refused. I was your age—thirteen. He stormed out of the club and smoked all the way home.

My father was also defeated by a Beverly Hills plastic surgeon. My black father hated my nose, and when I was a teenager he took me to a surgeon to remedy the situation, never mind I had no issue with my nose and still don’t. (Ironically my nose looks just like my white mother’s nose, but it was too black for my black father.) He claimed he knew what was best for me and I would thank him for my new and improved nose. He and the doctor talked like long lost frat brothers, ignoring my presence, hatching plans for my new nose. However, the surgeon grew silent after my father suggested the doctor falsely claim I had broken my nose in a swimming accident so insurance would cover the surgery. The surgeon shot me an “Is he for real?” look and requested I leave the room. I wish I could have stayed and witnessed the confrontation that followed. I heard only pieces of an angry conversation. I couldn’t help but smile when my dad busted through the door angry and upset. I knew the doctor had refused his request. I knew because my father was livid and speechless the entire ride home.

It didn’t matter to my father that he was asking the doctor to act illegally and unethically. It didn’t matter I didn’t want a nose job. It didn’t matter I was thirteen and not legally able to drink a glass of wine. All that mattered was my father’s needs.

*     *     *

As I drove home, I looked at my nose in the rearview mirror, glad my mother’s nose was intact, not some doctor’s re-creation. Honestly, I would have happily gone under the knife, if it meant the sexual abuse would stop.

*     *     *

My body was my father’s plaything, existing only for his sick amusement. The closest he came to physical abuse was once during dinner. I was eating spaghetti at the kitchen table when he suddenly appeared behind me and slid his hand down my top. I pulled away, and he threw my plate across the table, splattering spaghetti across the floor and walls. He screamed, “Look at what you’ve done. Look at what you made me do.” He forced me to clean up the mess and, after, made me sit topless at the kitchen table as he sucked on my breasts. I refused to show any emotion. I was stoic. I was not present. I stared at the wood grain tabletop. My refusal was my tiny victory.

Greater victory was mine when my father finally died, but he wouldn’t die easily. His cancer took a toll on me and my stepmom, but we played our roles in his tragic play to perfection. I watched him evaporate into a skeleton, one I couldn’t lift when he collapsed on his bedroom floor on the way to the bathroom. I watched with sick glee as he crawled to the bathroom on all fours, shit rolling down his legs. Beyond vain, my father couldn’t stomach such embarrassment and demanded to end his own life. His doctor gave into his demand.

My stepmother and I gave my father enough morphine to kill two elephants. We said our goodbyes. We cried. It was curtain call.

I went downstairs, believing my father was leaving the earth for good, and fell asleep in his brown Eames chair only to be woken by his skeleton hovering above me. Our goodbyes had been in vain. He stood in front of me, hungry. Minutes later, we ate scrambled eggs at the spaghetti table, in silence, my disappointment tasting bitter. The day my father finally succumbed to death, I was awash with relief.

*     *     *

I could taste that relief as I drove home, and I desperately clung to the euphoric fantasy. I yearned for the same release from this nightmare. I pleaded with the gods to let Trump join my father.

*     *     *

Escape fantasies were a normal part of my childhood, but I am no longer a child. I am your mother and it’s my job to protect and prepare you for the years ahead. My white mother was unable to educate me about the insidious ways of systemic racism. My mother was unwilling to call out my uncle’s racist bullshit or defend my mixed identity or humanity. I overlooked her limitations and inability to own her privilege because I needed to love her more than hate her, to excuse her blindness to my plight, but I will not follow her naïve and misguided advice to ignore racism, misogyny or oppression.

Instead, I will give you what I should have demanded from my mother. I will sit and share your discomfort. I will stand up against ugliness on your behalf. I will do what’s right even when my knees shake. I will not allow Trump’s ugly beliefs, policies or positions to infiltrate our home or your goodness.

I will channel my empathy toward all of those who received a painful and disempowering message when our country codified racism, misogyny, and bigotry. I will value the inherent human dignity of every person no matter what race, religion, age, identity or creed. I will invite Blacks, Muslims, dreamers, immigrants, and refugees to join our family. I will welcome LGBTQ friends and strangers alike to soldier on for love. I will celebrate women and our bodies, which belong to us and only us.

When I finally returned home, I crawled into bed and dreamt of my Uncle Russ. I screamed obscenities in his face, on my behalf and yours.

 


Lia Langworthy is a mom, writer, feminist, and native of Los Angeles. A published poet and TV writer (The Shield and Soul Food) and winner of the ABC Daytime Diversity Fellowship, FOX Diversity Writers Program and Writers Bootcamp Fellowship, Lia is currently writing a memoir. She holds a B.A. from UC Berkeley and is currently working on her MFA at UC Riverside Low-Residency Writing for the Performing Arts program.

Reading recommendation: Bastard out of Carolina by Dorothy Allison.

 

Sad Homage to Whitman

By Mark J. Mitchell

Fatigued and down-hearted I read the result of the vote.
Wind has been stolen from my sails.
Fellow travelers jump, one by one, off the plank.
over the low gunwale of the ship of state.

Allons!

November 9, 2016


Mark J. Mitchell studied writing at UC Santa Cruz under Raymond Carver and George Hitchcock. His work has appeared in various periodicals over the last thirty-five years, as well as the anthologies Good Poems, American Places, Hunger Enough, Retail Woes and Line Drives. His poems have also been nominated for both Pushcart Prizes and The Best of the Net. Three of his collections and chapbooks—Three Visitors, Lent 1999, and Artifacts and Relics—and a novel, Knight Prisoner, are available through Amazon and Barnes and Noble. He resides in San Francisco with his wife, the documentarian and filmmaker Joan Juster. Visit his Facebook page.

Reading Recommendation: Artifacts & Relics by Mark J. Mitchell.

War Dogs #2 by Patrick Brown

A profile of the artist

 

Patrick Brown artist
Girl in Blue

Artist Patrick Brown is a fairly quiet man—perhaps a bit shy—with a cute laugh, a slight Southern accent, and a gentle sadness that sometimes shades his eyes. It’s a companionable sorrow, though. It reaches into his paintings and says, “It might hurt, but it’s OK to look; you know me.” And while there’s no recognized treatment for his particular sorrow, it is treatment of another sort that brought Patrick to California almost four years ago, from Nashville, Tennessee.

Before he left, he had been seriously ill, Patrick explains over a late breakfast at Swami’s in Escondido. He’d had to sell his home to pay medical bills, and the prospect of Obamacare had forecast relief. But, like many red states, Tennessee rejected the expansion of Medicaid, abandoning Patrick to the middle of the legendary—and life-threatening—healthcare doughnut hole.

“My doctor said that either I had to come up with $2,000 per month or find a place that provided care to people with AIDS.”

So it was, with brushes and canvas and AIDS diagnosis in hand, that Patrick left behind friends and family—including two estranged sons—to obtain healthcare in California, to start a new life, to recover.

A Few Good Men

He found a place to live in Escondido, set up a new studio, and showed his art in regional galleries. He was accepted into juried shows, sold a bit of work, and launched a new series of paintings, Sins of the Father—to process his fractured relationships? It was confusing: He’d come out to his sons well before before his diagnosis; it was only after learning he had AIDS that they rejected him.

“They won’t even tell me why they don’t want me to be a part of their lives,” he says, looks down at his blueberry pancakes, pauses for the moment to pass. “It’s better here, but there’s still so much stigma attached to HIV and AIDS.”

And now, since the presidential election, there’s so much uncertainty and concern, enough to draw even the most introspective artist outward.

Memphis 1968

“Sins of the Father started out as a small personal series directly related to the conflict between my sons and me. It turned into a much larger one, to express other people’s family tensions, and then it evolved into what was happening politically—dark subject matter. The first of the newer ones, when the protests with the Black Lives Matter were more prominent in the news media, were ‘Memphis 1968’ and another one titled ‘Protest.’ And then this whole thing with Trump—that he actually won—and the controversies with the manipulation by Russia and the nuclear thing; that brought on my dead-on political paintings.”

It also brought on the more radical activist, harbored since Patrick’s youth, and a new series of paintings, War Dogs.

“It’s inspired by all of the turmoil against the LGBT community, the Hispanic community, women, what’s happening with youth, with bullying and suicide, with religious differences. And who knows what we’re in for the next four years. There are so many people in the world right now living in fear because of the election, the talk of war. We’ve unleashed a man that is giving people permission to discriminate and bully. It’s sad.”

But is there hope? Beyond the sorrow and fear, is there something better to come?

War Dogs #2

“There may be some hope, but it’s going to take a really big commitment from a lot of people. I don’t know if they have it in them right now. There are some, but you’ve got to mobilize people to take this thing on. That’s what brought on all the stuff with the Vietnam War and Martin Luther King and Black Lives Matter. People were arrested and got back out there. Right now, so many people have been empowered on the negative side, it’s going to take a lot of effort to counter that.”

He pauses again, takes a breath, comes to a conclusion.

“So, yes, my paintings are definitely addressing political things now. Art is a vehicle to make my statement known, my protest. Art’s been a medium of protest for so many for so long—Goya, Picasso, Diego Rivera—it’s a tool. It may not be the best thing to create sales, but it’s important to me to get the message out. It’s not all pretty pictures. I’m going for something that’s making a statement in the best way that I know how. I can’t worry about what other people are going to think about my paintings. One of the greatest things an artist can do is give up painting what they think everyone will like and start painting from the heart. It’s a choice and a responsibility for me.”

 

Patrick Brown is one of four featured artists in the 4•Up Exhibit at The Studio Door in North Park.

Exhibition dates: January 20 to 29, 2017
Opening reception: Saturday, January 21, from 6 to 8 p.m.
Address: 3050 30th Street, San Diego, California


Patrick Brown
was born in East Saint Louis, Illinois in 1953. His education focused on painting at the University of Memphis, Hendrix College and Jefferson College.

Patrick’s successes include an ongoing relationship with the ABC Television Network, where his paintings are used on the sets. He was included in the 2016 juried exhibit and international publication 50 To Watch, featuring Southern California’s top artists. Among his earlier career achievements were mural work and portraits for the interiors of B. B. King’s Blues Clubs in Hollywood, Nashville and Memphis. His work was also included in Southern California’s Summation Exhibit and book publication the last three years, as well as the 2016 national Edgar Allen Poe exhibit in San Diego, California. He is a member of Visual AIDS, The Frank Moore Archives Project and the Escondido Arts Partnership Municipal Gallery.

Patrick currently lives and works in Escondido, California. Visit his website at www.PatrickNBrown.net.

Originally published by  by Excuse Me, I’m Writing.

 

Reasons to post a photo of a dead child from Aleppo

By Sergio A. Ortiz

Omran was a Syrian boy: Our son defeated in front of the sea after chasing the dawn, our little brother cleft by the blows of the crab that was death, nothingness, emptiness, a thick river of icy water. Our child like all other innocent children whom they bombed in Aleppo and are no longer: I want nothing more from this world. Everything I dreamed of disappeared. I need to bury my children and sit next to them until I die. Omran survived hunger, thirst and despair, but not the Syrian government, not the world who did not know, or care, how to save him.


Sergio A. Ortiz is a gay Puerto Rican poet and the founding editor of Undertow Tanka Review. He is a two-time Pushcart nominee, a four time Best of the Web nominee, and a 2016 Best of the Net nominee. He is currently working on his first full length collection of poems, Elephant Graveyard.

Reading recommendation: Elle va nue la liberté (Freedom, She Comes Naked) by Syrian poet Maram Al-Masri.

A Century of Chipping at the Ceiling

By Robbie Gamble

When I was seven years old, my parents escorted me into a room in a retirement home in Carmel, CA, to meet an old friend of the family. She was a slight, elderly woman with a friendly face and a clear strong voice, and she knew how to set a fidgety, slightly precocious boy at ease. We talked for a few minutes about what I was doing in school and the books I liked to read. She shook my hand, and we moved on. There was something about her that was memorable; I couldn’t forget her. Her name was Jeannette Rankin.

Years later I learned that she was the first woman ever elected to Congress, in 1916, from the state of Montana, four years before passage of the Nineteenth Amendment, which enshrined universal voting rights for women (Montana was an early state to adopt suffrage). An ardent feminist and pacifist, she voted with a small bloc of representatives against entry into World War I, and subsequently lost her seat. Re-elected to the House in 1940, she was the sole legislator to vote against entry into World War II. In and out of office, she fought for gender equality and civil rights for six decades. She said her proudest achievement was being on the floor of Congress to cast an affirmative vote on the original House resolution for the Nineteenth Amendment as “the only woman who ever voted to give women the right to vote.”

I’m fifty-six now, and it boggles my mind that I had the opportunity, within my short lifespan, to shake hands with the first woman who ever stepped onto the floor of Congress as a legislator, exactly one hundred years ago. I’ve thought a lot about Jeannette Rankin during this recent brutish election cycle, the prejudice and intimidation she must have endured as the first woman in an all-male bastion, the patience and endurance she needed to persevere in the struggle for universal suffrage, for civil rights, for peace. I look at Hillary Clinton’s tortuous campaign, the obstacles and the misogyny that she had to endure, and it seems like this nation, which appeared to be on the verge of electing our first woman to the Presidency, has come a long ways in the last hundred years, and yet hardly any distance at all. I’m proud and sad and disgusted all at once.

When I stepped into the booth on November 8th to mark my ballot, I was thinking about Jeannette Rankin, and all of us, women and men alike, who got to stand on her courageous shoulders, trying to break up that damn glass ceiling. The ceiling is still intact, but the fissures run deep, and I draw inspiration from her example of chipping away and speaking out over the long haul, not losing hope despite the setbacks of two world wars and countless other abominations, believing that justice and peace and equality will prevail if we continue to work for them.

She once said, “If I had to live my life over, I’d do it all again, but this time I’d be nastier.” Let’s keep going, nastily if need be, and with determination.


Robbie Gamble is currently completing an MFA in poetry at Lesley University. He works as a nurse practitioner caring for homeless people in Boston, MA.

Learn more about Jeannette Rankin.

Reading recommendation: The Reader’s Companion to U.S. Women’s History, edited by Wilma Mankiller, Gwendolyn Mink, Marysa Navarro, Barbara Smith, and Gloria Steinem.

3 a.m. November 11, 2016 Turtle Cove Cottage Po’ipu, Kaua’i

By Chris Cummings and David Cummings

 

*    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *
D:
Drain the swamp     he brays   the president-elect     from his gold leaf
bedroom     in his gold leaf tower    Drain it he inveighs

*    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *
C:
Horror-clown they called him     that German newspaper     the Germans
who know from horror-clowns alright

*    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *
D:
They’ll come first for Dems    border-crossers next     then lives that matter
and those who pray five times a day     then neighbors     then you    then me
C:
They’ll unbury and burn all the oil   behead the Appalachians for coal
eeeeeeeeeeeeeee tunnel the earth    frack out the natural gas
All that and us    pyred and lit    rapacious fire    The black air we’ll breathe
D:
                              A fear governs them, unappeasable
I mean the ones he owns    his bottom-dwellers     murk-blind   uprooting
eeeeeeeeeeeeeee cypress     black gum     red maple              decay miasmal
eeeeeeeee That’s a swamp must smell sweet to him

*    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *
C:
But a swamp, my love, is an ecosystem: life-giving, life-sustaining, densely
fecund        A place where dinner swims by and all you have to do is make a net
to catch it     Or if you haven’t got a net your strong bare hands will do

*    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *
D:
Saddam Hussein finished off the Mesopotamian swamps in the mid-nineties
draining them    and thereby killed the livelihood and culture of an ancient
people     and killed the ancient wetland     A long misery
C:
humans     animals     plants     birds of many kinds, all lost     flamingos
pelicans     herons  sacred ibis     Basra reed-warbler     African darter
Mesopotamian crow… Those murders    his atrocity   It must be spoken of

A vulture perches on my heart this night and tears off pieces   Does that
mean I am dying     already dead   or am I hoping for death   now?

*    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *
C:
Now I sit alone at a table on the lanai of this cottage in the 3 a.m. darkness
ceiling fan turning slowly    almost noiseless     The fan light is dim but
there’s light enough for writing     and I can hear the ocean a block away
The waves    how they break    a ceaseless sound   bound to the moon
But the moon too is leaving us     inches each year     moving forever     away

*    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *
D:
And she will be so far from us    waves no longer rise and crash     and seas
are drained of vigor     the world’s ocean beaches tame as inland shores
C:

no tides
no tide pools
no clams
no clambakes

just a quiet almost lifeless lapping at our feet

*    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *
C:
I mourn for you tonight my mother-father earth        But I think in the end
you will survive us     if the miniature suns we’ve so meticulously    construed
so faithfully sheltered    in buried silos like precious grain     if they’re never
lit          their poisons I think would be more   than even you    could repair

*    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *
D:
But our own species?   Maybe this descent to madness is       you      thinning
our herd      returning us    to the ancient cave     damp and sooty and full
of shadows     Then you could start over   the Wild drained of us     build a
new offspring      if that’s your longing    more merciful than our kind
C:
One able to feel for the souls of all your children       the furred     the
feathered     the scaly ones too              Who will look out again on the stars
reflect on their mystery and be reflected    if     if I could believe     but the
night vulture has not lifted from my breast       has not yet had its fill

 


Christine and David Cummings live and write together in Menlo Park, California. They’ve both had some poems published here and there, and David’s collection, Tancho, was published by Ashland Poetry Press in 2014. “3 a.m. November 11, 2016” came from a journal entry Chris wrote right after the election, while they were in Hawaii celebrating their 10th anniversary, feeling the opposite of celebratory. They keep working on the poem; this is the most recent version, edited for length. A slightly longer version lives on their blog, which you can read here.

Reading recommendationTancho by David Cummings.

When the New Cabinet Exercises

By Tricia Knoll

 

They will be back where the snow falls
on camp tents, cookfires and legends
of stars so cold you know they froze
in the middle of a myth of creation
where someone blue lifted up the egg
and old women sang the birth song.

They will be back when snow is so deep
painted horses frost over, their eyelids closed
on the shoulder of a neighbor. When wan sun
cresting over the hill turns pony hoof prints
into iced omegas and they move so slow, nosing
winter grass, that you might not see them move.

They will be back saying the freezing
blizzard is why they hack open the belly
of the earth, mow down mountain ridges,
loose the black snake on the iced river,
and that valley fog that smells of smoke?
It warms the babies, they say when really,
it’s the masks they must wear.

They will be back to promote a white-out
of words that deletes drought, wild land fires,
and whirlwinds clogging the record books,
pages they throw like coal on a bonfire
of lies, ashy remains of picture books
they read to their grandchildren,
that illustrated scorched earth series.

 


Tricia Knoll is an Oregon poet who has done a great deal of resisting over a long period of time. She is deeply concerned about what will happen soon to the people protecting the water at the DAPL pipeline site. Visit her website.

Reading recommendation: The Manchurian Candidate by Richard Condon, 1959.

Divided We Stand

Divided we stand

 

By Janice Grinsell

Pastel drawing on paper/ iphoneography composite.

Artist’s statement

“Divided We Stand” was born on election night when the sea of red pushed into a nauseous realization that Trump would be …


Janice Grinsell is a multidisciplinary artist fascinated with the exploration and combination of media. She has a vast portfolio that includes iphoneography, painting, installation, and performance art, focused on the thematic internal journey of the artist and the viewer. She is an artisan with a omni-dimensional perceptual stronghold.

The central theme of her work is a cartographical exploration of her life as it is played out day by day, dream by dream, both conscious and unconscious. Her work reveals vulnerability blurring the distinction between one’s public persona and intimate emotions that reflects fragmented pieces of her emotional status and perceptions, often dark; they are fueled by a deep and intensely introspective nature. Powerful and intense, Janice’s work captures her audience with raw and instinctual iconography, unafraid of portraying the art of being human. Seeking pleasure in cryptic narratives, she invites the viewer to engage with her work, creating a portal to the subconscious.

Visit the artist’s website.

 

A Prose Poem by Alina Stefanescu

When You Send an Email Asking for Money to Support That Mission Bringing Jesus to Romania

I was born in a land wiped clean from the maps, a place you associate with AIDS-stricken orphans, tucked into Balkans, needing your bibles. Idiots needing salvation. Peasants needing administrations of missionary impulse. Come clear-cut this culture. Plant a flag. Mail a postcard. How you would have loved Ceausescu, his staunch anti-abortion policies. The workplace vaginal exams required by law. To check women for babies. To save baby lives while denying a mother’s. Illegal abortions, automated jail time. Birth control punished as contraband traffick, a violation of the national body. Borders decided the line between import and crime. Only Party members were permitted the honor of empty wombs. Only the Party ensured flesh against fetus. Pro-life is this boot on the neck of a lesser human, a blade you sanctify with statecraft.

I was born in a place where parents listened to shadows inching over concrete. Shadows don’t speak unless you count subtraction—the sound sucked away from nearby objects. A woman’s body is a mine, a natural resource. What’s natural is owned by men. You with bonafide smiles and big ole blessings. You with holy-roller heads & empty hearts. You hear nothing. Count the silence articulated in the portrait’s airbrush to taste the melody of what is missing. A math you cannot imagine. You who are blind. You who don’t see foreshortened folk ambling sidewalks. Take refuge beneath a roof slant. Seek the refuge you won’t grant refugees. You are busy bearing bibles. You are bringing the bible to the people of Romania. You are coming, eager to selfie. Tell the world what you’ve done for Romania. Tell what you’ve done.

I was born in a land that stopped naming its children Nicolae. The dictator’s name curses any child it touches. I am in love with the vacant wist of the local executioner, his grizzled voice, mourning the retirement of Alabama’s Yellow Mama. A mother who kills is a native Kali. An electric chair is the proper American matriarch, penultimate sizzle. Baptists forge petitions to bring Yellow Mama back. My mongrel womb won’t bear your life. I sew lips shut, vagina muzzled, verbs safe inside. My body is forbidden samizdat. Paul Celan is my answer. Please keep your American Jesus at home. Muffle his face with flags. Stars and bars you brand across his back.


From Alina

“[I] wrote it last week after re-reading Svetlana Alexievich and thinking how much the Russian desire for the “strong man” resembles America’s. And how sad.”

Alina Stefanescu was born in Romania, raised in Alabama, and reared by various friendly ghosts. She won the 2015 Ryan R. Gibbs Flash Fiction Award and was a finalist for the 2015 Robert Dana Poetry Award. Her poetry and prose can be found in PoemMemoirStory, Shadowgraph Quarterly, Parcel, Noble Gas Quarterly, Minola Review, and others. Objects In Vases, a poetry chapbook, was published by Anchor & Plume in March 2016. A poem from this chapbook, “Oscar Dees, No Apologetics Please,” has been nominated for a 2016 Pushcart Prize. Alina currently lives in Tuscaloosa with her partner and four friendly mammals. More online at www.alinastefanescu.com or @aliner.

From Alina: “Wrote it last week after re-reading Svetlana Alexievich and thinking how much the Russian desire for the “strong man” resembles America’s. And how sad.”

Reading Recommendation: Objects In Vases by Alina Stefanescu.