July 2014 | back-issues, poetry
It’s Strange
It’s strange,
What we can turn ourselves into:
Put yourself on a bender, become an alcoholic—
three days, maybe four.
It’s easy— just a little effort, that’s all it will take.
I’m lucky, I suppose, that it’s just booze:
Imagine what I could do to myself if I really got adventurous?
There’s so much out there to get twisted up in—
Drugs, guns, girls, gangs;
Revolutions, continental drift,
Exotic animal testing and tasting;
The Ice ages, war reenactments, bartending classes;
Time travel, the Butterfly Net Racket, MIA rescue, aquarium diving;
Making movies, the Halloween mask syndicate, the Asian market toilet dash—
The Air Turbulence Temperance League?
So many dangerous occupations—
And all the hazards of just waking up and breathing in.
So, what’s so bad about just sitting in this comfortable chair,
Counting the drinks I’ve had,
Making comets of the songs I sing,
ghost stories of my own history?
It’s a Wonder
It’s a wonder,
how I lived so long without
the sound
of a harmonica and scratching strings
on a slightly out of tune guitar.
It’s a wonder
that it took me so long
to hear the words
buried under the noise of that song
that I always said I hated.
It’s a wonder
how I haven’t started yet
and that I am still here,
drawing circles in a notebook
and tapping my rhythmless fingers
onetwo, onetwo, onetwo—
The tiniest, hollow thud
on a tabletop
could fire off earthquakes
in a silent room,
in a silent house,
that knows nothing at all
about the rhythms of regret.
Andrew LaRaia
Andy LaRaia is a Literature and Writing Teacher in Istanbul, Turkey. He has an MFA in Creative Writing from George Mason University, where he studied with Richard Bausch and Alan Cheuse.
July 2014 | back-issues, poetry
webbed, goose-white
nut-broadened bird.
He could green-water
scum-break and wet-
feather-waddle from the shallows.
He stumbled through lives, wives,
fragrance and faux pas,
yet by boat or bank, under bridge,
elegant he was, easy
legged, otter-elan,
loafing, lollygagging
log-light, drifting
towards senility
with a watery grace.
Once he challenged the current
near Dubuque and came across
a quarter-mile downstream,
and once he pushed it north
against the choppy grind,
kissed the lock’s locked door
and felt the wild whiskers
of a big-bellied cat
checking his calves for lunch
and with dawdle-not
fear kicking his feet
like a steamboat’s paddle
went south and never returned.
Jeff Burt
Jeff Burt works in manufacturing. He has work in Rhino, Nature Writing, Windfall, and Thrice Fiction, and forthcoming in Mobius and Storm Cellar.
July 2014 | back-issues, poetry
Here’s to staying up late
and watching Pulp Fiction
instead of staying up late
because your mind is cycling with stress.
Here’s to eating the best
oven pizza you’ve ever had
after days of not being able
to keep food down.
Here’s to harsh cigarettes
and a longneck lighter
on a metal table
while winds howl at the moon.
It’s talking about it
so you don’t need to drink about it.
Knowing and being known is
saying “fuck” instead of pretend smiling.
It’s being touched without jumping,
and unbraiding and fading
with heavy eyelids
that can safely close.
It’s not about waking up,
it’s about falling back asleep
after a glance to ensure
not everyone disappears.
Hearing one person say,
“You aren’t as dark as I thought.”
Hearing another person say
that they pray for you
and hearing yourself say;
“I’m not a whore.”
Here’s to all that.
That’s what today is.
Amanda Ramirez
July 2014 | back-issues, poetry
GHOST PLANE
FOR HELIOS AIRWAYS FLIGHT 522
Logic unhinges. Hallucinations
shuffle down the isles. A stray laugh
rises. Oxygen masks are little more
than decoys; we keep them strapped
to our cheeks, but can’t recall why.
Children hush, turn a dull blue.
Pilots slump across the controls
like scarecrows. The first nervous
dozen are luckiest, but after hours
of circling, we all quiet. Some swoon,
mutter as if gripped by nightmares.
A flight attendant breaches the cockpit
just as the engine is choked by flames.
Does he pant his last breath into a bank
of blinking lights, or meet the mountain’s
grey gaze? Do wildflowers flow down
the slope like a braid over a bare
shoulder? And does he reach out
to touch it, run it through
shaking, mortal fingers?
MASTER BIRDMAN
An aeroplane in the hands of Lincoln Beachey is poetry.
– Orville Wright
Stockings roll down; hair is unpinned.
Slim digits slip into my flying gloves,
cradle a helmet perfumed by hair tonic.
I draw gasps but slink out at daybreak.
Air’s the absolute, bears both gulls
and my crude craft, “a beat-up orange
crate.” Air wordlessly waits, its vastness
a dare, a glove swatted at my cheek.
So I must glide updrafts, plummet
to graze the ground with one fingertip.
The body submits, but it’s bloody, bones
heavier than hollow. So, it must breach
like a birth, sputter into a final spiral.
They’ll say I drowned, that it took hours
to fish me out by the suit I always wore
to fly. But they’ll do worse, grasping
the bars of a hospital bed, gulping
pudding from a plastic spoon. Better
to perform an aerial spin, misjudge
and get what they always expected—
swallow jellyfish and krill, midwifed
into blackness by silent, damp beasts.
WEIGHT OF THE WORLD
IN THE VOICE OF A MINOR DIETY
Feet wrapped in grave-gauze, I hunch to suck ink
off newspaper corners. So, tell me—war is spreading;
the latest madman pumped the morning full of bullets;
the ocean laps the toes of the Rockies. I used to float,
barely break a blade when I crossed the lawn, the choir’s
harmonies like bellows, a child’s sleeping chest. Then
I shrunk to a shadow, words an untidy clump of yarn
in my mouth. Pass the latest screen and light me from
below like a ghost story; give me the artless and brief,
no epics to draw up earthworms like a thunderstorm.
You’ve stuck too many grubby, doubting digits in my
direction. I’ll enter with the beggars, virgin-hungry
as a volcano; but I’d stop all this ill wishing, scanning
the horizon for quaking, if you’d just dig a coin from
your pocket, flick it, tenderly, down the storm drain.
by Luiza Flynn-Goodlett
Luiza Flynn-Goodlett migrated to the Bay Area, after completion of her MFA at The New School. She was awarded the Andrea Klein Willison Prize for Poetry upon graduation from Sarah Lawrence College. Her work has appeared in numerous literary journals, including Oberon Poetry, Meridian, Lumina, CALYX Journal, and Prism Review. She recently completed her first book, Congress of Mud.
July 2014 | back-issues, poetry
I am reading secrets of yellow
tomato plants, studying life-lines
on their leaf-shaped palms.
Home from school the neighbor boy leans
over the fence. Asks about my day.
I’d tell him I found a lump
under my skin. I think it will end me.
Like a fly on meat
it’s hatched its eggs.
I’d tell him how my husband knew
a year ago, my mother three
decades before that.
I’d tell him but we’re done
talking. He hangs a thick arm
over the chain-linked fence.
Last week we admired our shadows
over cardboard guns held together
with rubber bands and silver
tape. He told me he’s an artist—
that sometimes he watches me
from his kitchen window.
I want to say that I’m an artist too
but the arrangement has turned
somehow, fast like a fire, or slow
like a leaf.
Tamra Carraher
Tamra Carraher has published two books of poems and illustrations for children titled PICTURE/BOOK and Bluefish Haiku and is currently exhibiting line drawings of poems at Bahdeebahdu in Philadelphia. Her poetry has been featured in the online literary journal Toe Good Poetry. She received an MFA from New England College in January 2014 and has worked as an Associate Editor for the Naugatuck River Review.
July 2014 | back-issues, poetry
I: Ascription
i ascribe meaning to moments
you: to dice and bones and chance
what did the tea leaves say this morning?
lies are coincident to actuality—
the bees are disappearing
do you take yours
with cream or sugar?
one scoop
or two?
II: i prayed a Novena
i prayed a Novena
you don’t come around much
anymore
squirrels are the least interesting
creatures in the yard.
i spend so much time waiting
water boils
the phone rings
the postman comes and goes
everything happens eventually,
says the praying mantis,
hungrily
III: Jicama stick salads
winter beaches
frozen sunset
ice chimes
tea, watered down more than it is already
cancer-survivor relatives
seekers of good fortune (read: lost change)
cinnamon jicama stick salads with maple syrup
and rye whiskey; French pressed coffee
cereal for dinner
midnight; spring-time shower trysts
walking. home—not a place, but
fingers grasping fingers
IV: on poems written in the middle of the night
he said, don’t
read too much
into all this
i’ll tell you
when you
need to know
most times,
i just like the way
the words sound together
C. L. Carol
C.L. Carol tries to be a good human. But, humans being humans, he’s known to fall short, stumble into a local haunt and spend time ruminating. Sometimes he writes. More often, he thinks. Diane Wakoski once likened one of his poems to Yeats, but the poem is lost and the story has now been relegated to fable. He lives in Northern Michigan with his wife, Emily, and their daughter, Berkleigh. Companion to cats. Friendly gentleman. Terrible golfer.
