Money does not make
amends.
Bedstead made for trend, unsent.
Cap and kettle.
Broom and yardstick.
A paisley color tie.
And mudstained flannel.
Redhead viral magazine page.
Everything squint-eyed.
Like the red and white check
tiles
at the Five Guys Burgers And Fries.
Design arrest.
Pregame foraged implant.
Bent coffeebooks
lean intrepid.
Crooked gray intransigent.
Milk is gonna go through the roof.
Latent.
Blatant.
Late.
And unsaid.
Chainropes make a splatter-drip canvas.
Snot.
And bloated cancer sacs.
Weekend electric.
Fire sauce.
And the mouth inside
peeled raw.
Dancebeat monotone.
And candy colored streetlight.
Ache-dry molar cold and
bloodless.
I think between the pages.
And walk frozen amid blood infused
days
of sleep.
The tamed and sullen songs of dirigibles
roiled, unthreaded.
Cave-chipped fire brick.
Rushing yards.
Silverspattered ash and a bowl of peanut shells,
half-consequential.
I hack and spit
and read unleavened yesterday's nowhere
newspaper.
Terrence Folz works as a standardized test scorer and has been performing poetry and spoken word in various Twin Cities forums for decades.
Sunday, March 31, 2013
Saturday, March 30, 2013
Mary Kasimor
blueberry jungle
through blinds uninvolved SEX WHITE
sheets Buddha WAITS. birdlike knitting
needles TWO drawers of
socks undocumented
ROMANCE. violin Lilacs white FIRE a disabled zone
montana’s ELASTIC FATE blood running out. a
glutinous ass private speech food TAX white BREAD
parts CULTURE free blueberry jungle occuping
theater Free for ALL. grazing BUTTER flies tennis
fears UP Balls beach STAR stale loons parts
of PARTS mouse pieces agonizing thoughts feels
fate. PAT baggage. Casino HELL hallucinations old folks
educating Aristotle AVE. truck KING discovers
midwest SPIES. facebook Speed bumping DUCTS.
precocious river crows tough STONES
disposable IQ delicious CONTRAST poet central
potable MILK weed remote gloom locked. DIGS
absence spacious WIRED furniture blank face
fancy MONKEYs exchange easy car collecting
BABIES welfare. DITCH fusion furniture ex-ray talk
tough fate captures THEATER face.
Mary Kasimor is the March guest editor of Truck.
Friday, March 29, 2013
Being Simply Stupid by Jefferson Hansen
“There is no such thing as
language”
— Mark Wallace
Feints & shivers against
a look in your eyes
that says something nasty
or not about a
game we may or may not
be playing.
Saying, “You’re sweating
against the cold &
this place is fun” meaning
whatever the hell she
didn’t know she
meant, I guess.
Thinking about language
is a diversion from
the action between your teeth.
A tongue clacks its way against red skin and white
Lips pop against every last glistening track of attempt
Our ears can go nowhere but haywire
Sound refracts and clatters through the thickness of air
And you can only write
when sleep dogs
your periphery &
you wish against
the spring-loaded
clicks of the keyboard:
someone is watching
you someone is always
watching
you
I talk the game of my deepest forgettings hidden
somewhere in grottoes never marked beneath
mountains long lost inside ribs that
hurt to heave & still do it
I
I want to tell you something
that trips at my
latest last glistening &
I see you outside
something invisible & thorned
I can only speak the echoes
from my lost caverns—
can they clatter
and curve into what
you I think need to hear
Sound travels better in water
molecules packed so closely
banging into your chest
your eardrums
We end where we begin
in water
puckering and putrid
wailing against the drip incessant
whimpering at the erosion of
skin and scale
life gathers and sickens
but somehow, somewhere
you knew to pass the berries
for my sponge cake &
— Mark Wallace
Feints & shivers against
a look in your eyes
that says something nasty
or not about a
game we may or may not
be playing.
Saying, “You’re sweating
against the cold &
this place is fun” meaning
whatever the hell she
didn’t know she
meant, I guess.
Thinking about language
is a diversion from
the action between your teeth.
A tongue clacks its way against red skin and white
Lips pop against every last glistening track of attempt
Our ears can go nowhere but haywire
Sound refracts and clatters through the thickness of air
And you can only write
when sleep dogs
your periphery &
you wish against
the spring-loaded
clicks of the keyboard:
someone is watching
you someone is always
watching
you
I talk the game of my deepest forgettings hidden
somewhere in grottoes never marked beneath
mountains long lost inside ribs that
hurt to heave & still do it
I
I want to tell you something
that trips at my
latest last glistening &
I see you outside
something invisible & thorned
I can only speak the echoes
from my lost caverns—
can they clatter
and curve into what
you I think need to hear
Sound travels better in water
molecules packed so closely
banging into your chest
your eardrums
We end where we begin
in water
puckering and putrid
wailing against the drip incessant
whimpering at the erosion of
skin and scale
life gathers and sickens
but somehow, somewhere
you knew to pass the berries
for my sponge cake &
we smile as unknowing &
dumb as the toxins we carry
nothing else matters but your
lips, your lipstick, your shy
white teeth &, for now,
I hold out for being simply stupid
dumb as the toxins we carry
nothing else matters but your
lips, your lipstick, your shy
white teeth &, for now,
I hold out for being simply stupid
Jefferson Hansen is the author of the novel …and beefheart saved craig (BlazeVox)
and Jazz Forms (Bluer Lion), a
selected poems. He is the editor of the Internet arts journal AlteredScale.
Thursday, March 28, 2013
Colin Herd
rope
a close-up of the cliff edge.
michael’s gone for ice cool
plum. there’s a sparse little
tuft of grass, and a faint
sliver of lichen.
a hand tentatively grasps
its way into the shot, with
dirty finger nails. orangey
dirt. it helps to lever his
head into view, with matching
helmet and grey-black straps.
he sighs deeply, like gargling.
you see two other people quite
a bit further down, looking up.
one in blue and one in red, letting
out more rope from a pulley.
as the rope goes through the
clip, its whinney out-castratos
the wind.
the top guy clips a carabiner
onto a nut and starts pulling up
the rope. he looks round at the
two below and gives them a
thumbs up. they start to relax.
Colin Herd was born in 1985. His first book 'too okay' was published in 2011, and a chapbook came out the same hear called 'like' (Knives, Forks and Spoons Press). Poems, reviews and articles have been published in a wide range of digital and print publications including Jacket2, Shampoo, HTMLGIANT, 3:AM Magazine, Chroma, Aesthetica and Mirage #4/Period(ical).
Tuesday, March 26, 2013
Jesse Glass
Propositions & Commentary
A. Propositions:
I walk to the other day and I wait
For the Archons to answer. You send me a card
With four seed packets stapled to it. It
Is the hour of u,n,d,e,r,s,t,o,o,d. Still we
Do notice the changes, subtle as they are—yes:
“All the [ ]nges of [ ] pheno [ ] world.”
As you’d once, famously, described it.
Shadows thrown by rain- swollen spokes roll
Through us, are not us. Any miraculous radiance
We could catch in our bones
would linger with us now if it existed (It
doesn’t ). We agree to be more
than those signaling in the street, to transform ourselves, to
translate our cries of defiance into higher
registers. But do not believe what’s written
by this hand: this is a world of ill-defined
interiors, tin-work skies. I [we] pull bare shoulders back
before an age-dappled mirror: & remind myself [ourselves]:
those were your words
written in cursive flames? Your cursive scars? It is only because I [we]
care that I [we] repeat them—rather imagine these
press-on letters. It is only because X because N
because Q that I [we] came from the Aeons to be canted
along the front rooms of an abandoned farm house
(the scene of a continuous murder—note the handprints
bleeding on the wall)
that I [we] might speak
of the original, song-torn mouth and of
the streak of a,n,o,m,a,l,o,u,s,
light on a photograph that was said to have
flummoxed the aging Houdini (It didn’t);
or a tongue with an arched tip: sign of genetic fortune.
B. Commentary
heat drags at the outlines
of our bodies as we fall
toward each other. cantering
in slow motion, heads unhelmeted, we
pull at the glowing reins. heat
is another presence in our skins,
causes our pores to weep, then
welter in red seas. & always
the anger latent in these bricked-in
humors, the body’s edifices
quivering like the flesh around a superannuated eye.
this weight I lift is my personal regard
for you. at 10:45 P.M. it begins to rain
on a dying horse, steam
rolling back from its skull like a blanket
of lace.
Jesse Glass has lived and worked for over 20 years in Japan.
A. Propositions:
I walk to the other day and I wait
For the Archons to answer. You send me a card
With four seed packets stapled to it. It
Is the hour of u,n,d,e,r,s,t,o,o,d. Still we
Do notice the changes, subtle as they are—yes:
“All the [ ]nges of [ ] pheno [ ] world.”
As you’d once, famously, described it.
Shadows thrown by rain- swollen spokes roll
Through us, are not us. Any miraculous radiance
We could catch in our bones
would linger with us now if it existed (It
doesn’t ). We agree to be more
than those signaling in the street, to transform ourselves, to
translate our cries of defiance into higher
registers. But do not believe what’s written
by this hand: this is a world of ill-defined
interiors, tin-work skies. I [we] pull bare shoulders back
before an age-dappled mirror: & remind myself [ourselves]:
those were your words
written in cursive flames? Your cursive scars? It is only because I [we]
care that I [we] repeat them—rather imagine these
press-on letters. It is only because X because N
because Q that I [we] came from the Aeons to be canted
along the front rooms of an abandoned farm house
(the scene of a continuous murder—note the handprints
bleeding on the wall)
that I [we] might speak
of the original, song-torn mouth and of
the streak of a,n,o,m,a,l,o,u,s,
light on a photograph that was said to have
flummoxed the aging Houdini (It didn’t);
or a tongue with an arched tip: sign of genetic fortune.
B. Commentary
heat drags at the outlines
of our bodies as we fall
toward each other. cantering
in slow motion, heads unhelmeted, we
pull at the glowing reins. heat
is another presence in our skins,
causes our pores to weep, then
welter in red seas. & always
the anger latent in these bricked-in
humors, the body’s edifices
quivering like the flesh around a superannuated eye.
this weight I lift is my personal regard
for you. at 10:45 P.M. it begins to rain
on a dying horse, steam
rolling back from its skull like a blanket
of lace.
Jesse Glass has lived and worked for over 20 years in Japan.
Monday, March 25, 2013
Michael Farrell
Telephone,
Kettle Affects
The telephone’s writing a play. ‘How do
you do?’ it begins. ‘G’day.’ Absurd, says
the face of the critic, whose been championing
the return of that mode. The telephone
purrs, apparently happiest when working. Its
colour, however, indicates the deepest shame.
The kettle is a metal model, needing fire to
come to life. Plastic models are calmer and
say milder things. This one doesn’t hurry
yet the climax is an event each time. People
come running, as to an awaited phone call.
The first has the face of a doctor: firm but
sympathetic, prescribing herself a hot drink.
The scene is written into the play with a
twist: the kettle lights its own matches.
Michael Farrell lives in Melbourne. He coedited Out of the Box: Contemporary Australian Gay and Lesbian Poets (Puncher and Wattmann) with Jill Jones. His latest publications are open sesame (Giramondo) and enjambment sisters present (Black Rider).
Michael Farrell lives in Melbourne. He coedited Out of the Box: Contemporary Australian Gay and Lesbian Poets (Puncher and Wattmann) with Jill Jones. His latest publications are open sesame (Giramondo) and enjambment sisters present (Black Rider).
George J. Farrah
Redaction
the fluid which is light which is liquid which is
glass which is heavy with cuts and danger
to move it in sheets which fit in dust
which move through printing
and paint or they are moving behind it
safe and in continual danger to watch
their weight go away separate
come back as a color a smudge on our side or their side
the light is on their side or our side but cuts in between if they
move or drive or stop and
recover the lid the direction
and remember the turns or the lights when
they were talking weren't talking
it remembered for them a smudge
of color on the walls on the doors
an opening in the spoon in the
telephone in the rain
to sell it not immediate not money not sold
not numb like the lake rim opening on it pleasure
or pressure in the toes on the air in it or around
swans or ducks that anger not selling pressure or
pleasure that die opening to follow them
not sold yet a flew an ached to swallow pressure
a whole a break clearing in the grain in a race
not looking not on a door not a lime or a stack
through
George J. Farrah received an MFA from Bard College, NY.
Book forthcoming from Ravenna Press, The Low Pouring Stars
His work has appeared in The Washington Review, Open 24 Hrs., Ribot, BUGHOUSE, Fourteen Hills, Disturbed Guillotine, Tight, Aileron, Fish Drum, The Columbia Poetry Review; Caldron And Net, Moria , CROWD, Xstream, MORIA, Ampersand, Elimae, Blaze VOX, BHOuse vol.2, Blue and Yellow Dog, Experiential-Experimental Literature, Los Magazine, Anemone Sidecar and others.
Sunday, March 24, 2013
Jesse Glass
Monkey Mother
Forgive us Monkey Mother
As we drive our chisels
into monumental clefts
To hew a non-falsifiable surety
Soon scoured away by typhoon & meteorite,
Pulverized by a desert breath. Forgive us
As we raze wooden idols raised in your honor
To lift phalluses of steel against your eternal day
& power our garbage scows out beyond break-waters
To drop tokens of our disdain into your terrible unknown
While others cooly pull apart the products of your fecundity
In laboratories, hospitals, butcher shops
& tap their ashes into wounds that yet feel
& sever viscera that yet distends to accommodate breath.
O we have risen up against you. Our brainpans
Forced your thighs apart & we laid screaming in your shadow.
You bent the grids of your face above us & we softened
You called us angel: we relaxed our sphincters
& shat plutonium upon the earth.
Now all things reek of our madness. We grope ourselves
At the terminus of the city, polish that monument
To pain with sacks of pulverized teeth.
You wag your finger in our faces
Yet we twist the screw through the metal plate just the same.
The moon bears witness to business-faced minions
Leveling mountains by atomic bomb
So yet another city can be fashioned
On rotting pylons driven into gravel, bones, and cesium
As you stand dispassionately on my window sill,
Fresh water & milk in plastic cups before you
One ceramic hand lifted in benediction
Thumb & forefinger fused in a pallid ring. Propped
Beside you a yellowing photograph of your long-
Forgotten manifestation: an old woman
Holding an infant in summer: My earliest self sad-eyed there,
Breathing the scent of my grandmother.
Monkey mothers gather their delicate, bisque-headed charges
& drag them near though they foul themselves in fear
Gather their cries to leather teat-ends
Broken by flea-bites beneath dull fur
& give suck though it pains them.
Lift their charges close to scabbed nostrils
& run a languid paw along their spines,
Exploring the nervous ribs, scratching the tiny bellies.
Their infants stop shrieking & soon
Assume the sleep of planetary dust as Monkey Mother
Looks up at the clouds & cracks a flea
Delicately between her teeth. She will balance this way
Beside the trembler for hours. She will lift the wizened little creature
Onto her back & climb into the highest branches of the trees
& resume her vigil, biting her knuckles, pulling her swollen
Dugs. She will stare into the night for danger as her baby
Tumbles thru darkness of animal dreams, tumbles
Through Bardos, watching the Forms shift astonishing fire
Before its uncomprehending gaze.
Mother—your blacked eyes swollen lip
Thrown out by Monkey Father in the snow
Dressed in pink nightgown that you’d bought to please him,
Pleading from window to window
To be let back in. We could not help you. We lay
Gobbing back tears in the dark as we heard your voice rise
Above the January wind. We tried to imitate stone & bone
As we curled on our sides & sucked our thumbs & held our eyes shut tight.
Forgive us your freezing fingers, thickened chest & nipples,
Your insteps stung by viper head cold.
& When you were let back in by Monkey Father,
Forgive men for the rest of that night.
Forgive us all.
Jesse Glass has lived and worked for over 20 years in Japan.
Forgive us Monkey Mother
As we drive our chisels
into monumental clefts
To hew a non-falsifiable surety
Soon scoured away by typhoon & meteorite,
Pulverized by a desert breath. Forgive us
As we raze wooden idols raised in your honor
To lift phalluses of steel against your eternal day
& power our garbage scows out beyond break-waters
To drop tokens of our disdain into your terrible unknown
While others cooly pull apart the products of your fecundity
In laboratories, hospitals, butcher shops
& tap their ashes into wounds that yet feel
& sever viscera that yet distends to accommodate breath.
O we have risen up against you. Our brainpans
Forced your thighs apart & we laid screaming in your shadow.
You bent the grids of your face above us & we softened
You called us angel: we relaxed our sphincters
& shat plutonium upon the earth.
Now all things reek of our madness. We grope ourselves
At the terminus of the city, polish that monument
To pain with sacks of pulverized teeth.
You wag your finger in our faces
Yet we twist the screw through the metal plate just the same.
The moon bears witness to business-faced minions
Leveling mountains by atomic bomb
So yet another city can be fashioned
On rotting pylons driven into gravel, bones, and cesium
As you stand dispassionately on my window sill,
Fresh water & milk in plastic cups before you
One ceramic hand lifted in benediction
Thumb & forefinger fused in a pallid ring. Propped
Beside you a yellowing photograph of your long-
Forgotten manifestation: an old woman
Holding an infant in summer: My earliest self sad-eyed there,
Breathing the scent of my grandmother.
Monkey mothers gather their delicate, bisque-headed charges
& drag them near though they foul themselves in fear
Gather their cries to leather teat-ends
Broken by flea-bites beneath dull fur
& give suck though it pains them.
Lift their charges close to scabbed nostrils
& run a languid paw along their spines,
Exploring the nervous ribs, scratching the tiny bellies.
Their infants stop shrieking & soon
Assume the sleep of planetary dust as Monkey Mother
Looks up at the clouds & cracks a flea
Delicately between her teeth. She will balance this way
Beside the trembler for hours. She will lift the wizened little creature
Onto her back & climb into the highest branches of the trees
& resume her vigil, biting her knuckles, pulling her swollen
Dugs. She will stare into the night for danger as her baby
Tumbles thru darkness of animal dreams, tumbles
Through Bardos, watching the Forms shift astonishing fire
Before its uncomprehending gaze.
Mother—your blacked eyes swollen lip
Thrown out by Monkey Father in the snow
Dressed in pink nightgown that you’d bought to please him,
Pleading from window to window
To be let back in. We could not help you. We lay
Gobbing back tears in the dark as we heard your voice rise
Above the January wind. We tried to imitate stone & bone
As we curled on our sides & sucked our thumbs & held our eyes shut tight.
Forgive us your freezing fingers, thickened chest & nipples,
Your insteps stung by viper head cold.
& When you were let back in by Monkey Father,
Forgive men for the rest of that night.
Forgive us all.
Jesse Glass has lived and worked for over 20 years in Japan.
Saturday, March 23, 2013
Dan Ryan
Design Topic
In the Grand Design
of things
There was in fact
no designer.
All the elements
of existence
Formed
a single body.
Friday, March 22, 2013
Paul Nelson/Bio
Paul Nelson is founder of SPLAB in Seattle and the Cascadia Poetry Festival. He wrote a collection of essays, Organic Poetry and a serial poem re-enacting the history of Auburn, WA, A Time Before Slaughter (shortlisted
for a 2010 Genius Award by The Stranger.) One of his main writing
projects currently is the next chapter of the history-in-verse mode of
the Slaughter poem entitled Pig War & Other Songs of Cascadia.
He interviewed Allen Ginsberg, Michael McClure, Wanda Coleman, Anne
Waldman, Sam Hamill, Robin Blaser, Nate Mackey, Eileen Myles, George
Bowering, Diane di Prima, Joanne Kyger, George Stanley, Brenda Hillman,
Emily Kendal Frey & many Cascadia poets.
He
has presented his poetry and poetics in London, Brussels, Vancouver,
Qinghai, and Beijing, China, Victoria, Nanaimo, Lake Forest, Illinois
and other places & writes an American Sentence every day.
Thursday, March 21, 2013
Ann Neuser Lederer
Ornate Molds
Disguised by ornate molds, sewn to their footpads, little
fringes.
Dog troupes in tutus whistled to bears in their polished
paws.
Blaze orange and phosphorescent, dottings
of dark and palpable spongy spores continue to cling to
crevices:
throats, and their ilk.
Lichens adhesions crusts corrosions: the plaques of
goodwill.
Outside, the sadness of trees in a row.
Animals appeared where they should not be:
a possum fell out of the ceiling.
Raccoon meandered where rabbit would have flit.
Out in the yard, dogwood budded too early,
reburied tulips fooled by a thaw.
Artifacts of teatimes: market spice, saltines and soft,
sourdough cookies.
A slinging of tambourines.Heed me they plead in hints, feathery films where they should not grow.
Stubborn, audacious yeasts still flutter,
gnats on the rims of syrup bottles
Ann Neuser Lederer was born in Ohio and has also lived and
worked in Pennsylvania, Michigan, and Kentucky as a Registered Nurse. Prior to
nursing she studied art and earned degrees in Anthropology. Her nonfiction and
poetry appear in online and print journals; anthologies such as Bedside Guide,
A Call To Nursing, The Country Doctor
Revisited, and Best of the Net; and in her chapbooks Approaching Freeze, The
Undifferentiated, and Weaning the Babies.
Wednesday, March 20, 2013
Jasper Brinton
composite
Tell us not pink
at issue after the flesh—
Clouds started off late
vehicles edited the boundaries
engines took expression.
Delayed—we washed the presence
mourned the negative drift
told ourselves well done
travelled with fissionable material
sparked with displayed ecstasy.
The plan auto-assembledsimilar circuit and resistances
so prolific morningless
we were awed by a rush to physics
our cursive slumber pixelated.
The once adjusted burdened
a quoted eternity—narrativized
lines of oblivious structure
strewn messages behind wire.
Then the mountain fell to waves
slipped leeward became emulous
antithetical almost mesostic
such was our hard passion
wreckage on people’s lips
why the room given rightfulness
disturbed even industrious
childhood.
The letter P
translucent—mosaic
pivoted with the everyday panic
—I spell the savior it warned
so we wanted to say go gold
stone isn’t christ-bearing as life
self-fashioned beyond wilderness
the wilderness of a mass place
a thickness for corroded death.
Jasper Brinton born in
Alexandria Egypt, was educated in the Middle East, Scotland and the United
States. Over the years he has worked in publishing, printing, architecture,
ceramics and wood. He lives near Kimberton, Pennsylvania in a restored
schoolhouse and sails the Chesapeake in an old but seaworthy sloop. His poetry
has appeared in Eccolinguistics and On Barcelona.
Tuesday, March 19, 2013
Dan Ryan
Minions and Onions...January 2013
We…
Me and my girl Mary…the Muffin Queen herself
blastin westward on I-70 across the crazy American Heartland
of our dreams
far gone into conclusion we’d reach Old Santa Fe tomorrow
auricularly grooving on Reverend Raunch and the Dope Smokin
Alter Boys
current devas of the Bible Beltway
They…
the minions of the mid west... from the prairie of the Great Plains …
veins flowing with the dust of that sacred and holy
geography…
(Mary’s geography, actually, herself bein of the prairie)
“ Let us meet amongst the minions on the field of onions" I suggest
“ How delicious! “ says she…” Minions and onions…I’ll make
soup"
the minions being salt of the earth, poisoning the soil
(and onions)
of the mid - American continent…Ohio to Kansas
OH, HOLY KANSAS …
from which Dorothy and Toto are on permanent vacation from…
where mad Americans drunk on the fear of living
beg the great questions of death…
”If you die today where will you spend ETERNITY?”
(when you die you’re
just dead…that’s it)
reptilian visionaries…what a weary bunch…
willingly waiting in line for misery at the fundamentally
evangelical
Church of the Rude Awakening
(House of the Un-risen Son to unbelieving unbelievers like
me)
congregated by a woebegone pitiful congregation
heads bent in worship of the existently non-existent
talking in low, whining voices
repeating over and over again “ yes…yes…yes. “
and so forth…
(I sensed the madness it put in them)
with expectant expectation for a Kansas resurrection crucifiction
(it was such fun the first time, why not again – a jucy
crucy?)
violence bein a Christian - American tradition…
mad crazy Americans are addicted to it…
speakintongues holyrollin Christian soldiers
mouthfrothin ready to kill for Christ, mom and her apple
pies
no thought given to indecisive indecision
mindfully gripping an ephemeral sense of a real unreality
it’s what happens when you start losing your mind…
individually and collectively
We (again)…
Me and my girl Mary…the Muffin Queen herself
in a furiously flurry of agreed upon decisions
whereby deciding Holy Kansas to be Creep City
roar off at maximum boplicity across the remaining portions
of
the Sunflower
State
(leavin slack-jawed gaping faces in our absence)
out-pulling the gravity of fear inherent in the inheritance
of the
generally mad to be saved populous
onward and outward bein my motivational motto
out, out and away from that holysacredcow con game
no desire to travel that heavengoing highway to hell with
a busload of wingnuts
I also apparently suffering no unwillingness to sit
in soundly closed-minded judgement - without guilt or
reservation…
the Muffin Queen keeping mum on the subject as we roll on
into Colorado
After spending an
extensive number of years attempting to save the world from itself while living
in Olympia, Washington, Dan Ryan followed his sweetie to Minnie's Apple Crisp,
Missinota in July, 2012. Determined to approach life from a more obtuse angle,
he is now a thoroughly committed Zen slacker, practicing guilt-free attachment
to hanging out in coffee shops, reading all the wrong books, writing poetry,
and enjoying other sensual pleasures. No longer in search of truth, he is
instead looking for a good fantasy.
Monday, March 18, 2013
Eric Elshtain
“Wooing the Mazoo” (“We must obey the time,” Othello I.iii)
Put money in thy purse
follow thou the wars
offices’ most solvent pockets
lambent circles off officers’
helmets like coins keep
hooplas blooming, candying
over eyes sequins paraded
under-dressed as our girls
and all the pettifogs agree:
in the coarse events
selectmen choose in smoke
as we gestured empty
behind our curtainties
arranged before our being,
dream realms ghosted embrasures
sickened Quakers dropped
arrows from as mad captains
hammer doubloons to masts
follow thou the quavering
cables to mermaid’s purses—
put your money on.
Make faces hatcheries
for our kind of fresh hell.
Strum up some becomings
within the next stun-
gunned chest: freak crisp
chiefs—whatever spends—
for stuffs she chuckled,
air forced diaphragm deep
it ain’t over it ain’t over
lover—my cause is hearted—
put it to your pursed lips
sweet; sweat foreclosures
and get stinko’d as we fiddle.
The news fills us up in gold
as the rest crawl for crumbs.
Eric Elshtain is a homemaker and also the poet-in-residence at John H. Stroger, Jr. Hospital and UIC Hospital where he conducts poetry and art workshops with patients through Snow City Arts. He also teaches literature at the Better Boys Foundation in Chicago. Elshtain's poetry, reviews, and interviews can be found in McSweeney's, Skanky Possum, Notre Dame Review, Ploughshares, American Letters & Commentary, Interim, Salt Hill, GutCult, Denver Quarterly, Chicago Review, Fact-Simile, Kennesaw Review, and other print and on-line journals. He has a book forthcoming from Verge Books and has been the editor of Jon Trowbridge's on-line Beard of Bees Press since 2001.
Sunday, March 17, 2013
Martha Deed
Morris Island
Mockingbird
The Mockingbird on the road to Morris Island
does not sit on a fence, but rather on a metal
lobster trap though if there are lobsters off Cape Cod
I am unaware
does not sit on a fence, but rather on a metal
lobster trap though if there are lobsters off Cape Cod
I am unaware
Unaware of this bird’s ancestry
socioecomic status
party affiliation
or its reason for perching near this road
on the way to a military installation
or whether it is on Homeland Security’s
No Fly list
socioecomic status
party affiliation
or its reason for perching near this road
on the way to a military installation
or whether it is on Homeland Security’s
No Fly list
It does not fly when I approach
document its presence on top of the lobster trap
which in turn sits on a pile of gravel
the provenance of the gravel
also unknow
document its presence on top of the lobster trap
which in turn sits on a pile of gravel
the provenance of the gravel
also unknow
But the mystery of its age
clears with the wind
that ruffles its feathers
exposing the down underneath
clears with the wind
that ruffles its feathers
exposing the down underneath
too young to carry a gun
but perhaps old enough to mimic
the auto alarm sirens on Clinton Avenue
as sung by its long-dead relatives
in South Nyack, New York
but perhaps old enough to mimic
the auto alarm sirens on Clinton Avenue
as sung by its long-dead relatives
in South Nyack, New York
Mimus polyglottos,
10 in (25 cm)
Martha Deed
recently completed a mixed-genre book of poetry and primary documents to
reconstruct her daughter, Millie Niss's death in a community hospital, The Last Collaboration (Furtherfield,
2012) and editing Millie's poetry collection, City Bird (Blazevox, 2010).
She has five previous chapbooks: The
Lost Shoe, The November 2010 Project,
and This is Visual Poetry all from
Dan Waber's imprints, 65 x 65 (small
chapbook project), and #9 (Furniture
Press). Her poems have been published in
Shampoo, Moria, Edifice Wrecked, CLWN WR, Big Bridge, On Barcelona, and many
others. Her website: www.sporkworld.org/Deed
Saturday, March 16, 2013
Jasper Brinton
moue
Outside
appearances are outages
invisible pigmentation
consider writing time split
cracking shells split nuts
exclaim today’s catalogue
dear reader—inks are heavenly
someone’s arbitrary constancy
before the poor terrapin
tergiversates the landline
and if hereabouts the list dulls
try a new pinch of dry herb
effacement builds the kernel
the log for surrogate paper
Jasper Brinton born
in Alexandria Egypt, was educated in the Middle East, Scotland and the United
States. Over the years he has worked in publishing, printing, architecture,
ceramics and wood. He lives near Kimberton, Pennsylvania in a restored
schoolhouse and sails the Chesapeake in an old but seaworthy sloop. His poetry
has appeared in Eccolinguistics and On Barcelona.