April 2013 | back-issues, poetry
At the Southern Museum of Archaeology, I find
Homo heidelbergensis, the last common ancestor
of man and Neanderthals.
A skull with a sloping forehead, pronounced brow ridges
and no jawbone, a skull that, coupled with a heart,
once contained techniques of ecstasy,
esoteric knowledge of joy, gained,
perhaps, near a gentle soughing stream or
at dawn, sunset, night under the stars or
after a successful hunt or
at his joining with his woman or
at the birth of his children or
at the death of an enemy—
I am much more simple, now.
Tonight, the android Gypsy woman in the glass booth
will awkwardly lay out my cards and discern my future through plastic eyes
and with a resolute smile egest a slip of printed paper
telling me generic-happy-specifics.
I really cannot ever make myself believe
a common augury. Chinese fortune cookies
do not change my life though I have tried.
Benny, a homeless street prophet at 5 Points, tells me
every time he sees me “You are bound for greater things.”
Elijah, my fundamental Christian neighbor, constantly warns me about
a hell that “invades the land of the living and takes prisoners.”
The cards will yield no ready clues.
They must be interpreted by an adept,
a possessor of occult knowledge
concerning past and future.
Heidelbergensis is the first species of the Homo genus
to bury its dead.
I am a middle way Catholic.
I like historical criticism too much, or
I want to like it. In the Church galaxy, hell is a “mystery”
beyond my ability to understand, to understand
the rightness of it, the justness of it
and how God can yet be love.
I believe in geologic time, carbon dating, archaeology.
Homo heidelbergensis could probably ferment a beverage.
He knew about certain mood-altering roots and herbs and flowers.
Did his people suffer from addiction? They had no package stores, no bars,
no coffee shops, no rave clubs.
In Nazi Germany, alcoholics and addicts
were deemed to be “life unworthy of life.”
They were sterilized during America’s early 20th Century eugenics purge.
Now the health insurance companies and hospitals say
it is a disease, a heritable disease
expressing itself on the level of genes.
Chemical dependency is a malady, an unfortunate state
which comes upon us. Like diabetes.
Recovery nets billions of dollars per year in America.
The illegal drug business nets 350 billion dollars per year,
worldwide. And so on. (Alestair Crowley called himself “the Beast 666.”
He died a heroin addict. Did he also require heroin in the afterlife?
Did he need to detox there?)
The next right thing.
I would readily see the lesser secrets.
I would readily see the greater secrets.
I still need help to do this,
to look for the defining arcana
in a random array of circumstances. And
I will learn to interpret the circumstances.
by Bryan Merck
Bryan Merck has published in America, Blast Furnace, Camel Saloon, Conclave, Emerge Literary Journal, Hiram Poetry Review, Literary Juice, The Rusty Nail, Stoneboat and others. He is a past winner of the Southern Literary Festival Poetry Prize and the Barkesdale-Maynard Poetry Prize. He lives in Moultrie, Georgia with his wife Janice.
April 2013 | back-issues, poetry
You were there from birth,
passed down from father to son,
waltzing through my veins. My muse.
We embraced, perfectly on pitch,
a song, and then I found
another
and I left you.
I see you
tattooed on my wrists. Thick
black lines, a G
and an F.
My former muse, permanent
over my veins,
under my skin,
a perpetual reminder.
I stare at you, remembering.
Wanting still
to create with you. After all,
you are in still in my blood,
but you’ve left my heart.
Empty capillaries flail
like strings waiting to be plucked,
longing to resonate,
but I’ve forgotten the tune.
by Justin W. Price
Justin W. Price is the managing editor at efiction Horror and for The Bridge online newspaper. His first book of poetry, Digging to China, is available for Amazon Kindle. He has been published in the Hellroaring Review, The Bellwether Review, The Rusty Nail, the Crisis Chronicles, eFiction Humor and eFiction Magazine. He maintains a blog (http://pdxjpricefirstblog.blogspot.com) and is an active writer on Hub Pages (http://pdxkaraokeguy.hubpages.com)
April 2013 | back-issues, poetry
It’s cigarettes and coffee
between worries and words.
I could be talking to you
instead of myself,
but you’re allergic to smoke
and I can’t step outside
every 10 minutes.
It’s winter in New York City.
I won’t make any sacrifices.
I’ve come far enough in life
to know when to give in
and I won’t give in to you.
I don’t have to.
The thing inside of me
that can radiate for miles
will bestow its warmth
only on the hands of those
who know how to touch it.
And it shifts.
It twists and turns and
sits angrily deep within me.
It rages against the lampshade
I’ve been living under
since I came back home.
It curses the shade’s weight
and girth, and then
it shakes.
And the only thing I can do to still it
is find a worthy pair of hands,
or bathe in the sun.
But it’s fucking winter in New York City.
So it’s cigarettes and coffee, then,
and conversations with myself.
by Tonianne Druckman
April 2013 | back-issues, poetry
0
Geometry of motion: the pinpricks of stars behind
moving clouds reforming into instants of fungus.
World’s tallest building in the revolving foreground.
1.
Player piano script unrolled on the green park bench
near boulevard Magenta. Strawberries for sale in the market,
three coins a pound. The butcher is disassembling a leg of lamb:
his left hand is a hook. Still lifes of meat in the window.
2.
“. . . in the grotto of Our Lady of the Cripples, a girl
placed a plastic rosary around a statue’s wrist
that melted in the hot light of the votives. Her prayers–
balls of burnt wax at the figures’ unclothed feet.”
3.
Maps to everywhere lead to nowhere where there’s
the always of never, never again. Cave housed
with bats unfolding like tricky scissors, or airs of night time.
4.
Stamps on a letter canceled by mascara.
5.
Black and white of a photograph of the canal
and the train station behind. The engine house switching
round like the handless arms on a watch.
6.
On the inside cover of a matchbook there’s
an advertisement for a new set of teeth;
dentures sent through the mail, echo of Van Gogh.
7.
Woman at a loom weaving a canvass of henbane. The spool
turns and flax is taken up onto wooden beams. The thread
passes between her lips– dragon flies land ringleting the pond.
7.1/2
Stitchwork of concentric circles left by the skipping stone . . .
by Philip Kobylarz
Philip’s recent work appears or will appear in Connecticut Review, Basalt, Santa Fe Literary Review, New American Writing, Poetry Salzburg Review and has appeared in Best American Poetry. His book, Rues, was recently published by Blue Light Press of San Francisco.
April 2013 | back-issues, poetry
Old trees in the winter are like wizards
clean shaven or white beards hanging,
you can see the 60s and 70s in them,
not far off at all, right there even,
if you look closely. You could even see
other decades that you wish you lived in,
like the, 40s? I don’t know, I don’t look for
the 40s when I look, but
these trees are the ones, with that grainy gray
winter film on them: where the sticks come from
that crack under our feet when we walk together
through the woods towards the giant wind turbines
we’ve always wanted to stand at the base of,
just to see. Walking towards a brand new thing
like you and I, through the Scots pines, Silver maples,
Old things, trees
at home in yards: the ones creaky old rocking chairs
are made from, newly made even, I could make one
right now, lubed up and stained fresh,
but if I used that old thing out there, like a giant’s tibia
preserved from some other decade,
it would creak, crack, cold and crisp with gray
outside like this portion of the world’s schedule
the sun just couldn’t buy its way into:
“Sorry Mr. Sun, sir. The sky is booked. It’s not that
the rain will be using it, it’s just that you can’t.”
That kind of gray, more refreshing to wake up to
than orange juice, gray dancing in a line around
November through February and the trees—
branches dead enough to let me climb them
to their tip top, but snap anytime I try sitting
up there awhile and watch me fall, all the way
back onto the grass, back on the grass,
breathing in the smoke smell from a bon-fire
two houses down, burning old creaky things,
old creaky things burning.
by Andy McIntyre
Andy’s poetry and fiction have been published in Hard Freight, a Penn State literary journal, and two of my original plays were also there produced during my time there as a student.
January 2013 | back-issues, poetry
It began as easily
as the opening of a flower.
A parfait of feelings,
sticky confections
enjoyed together;
an ache in the marrow
when they were apart.
They went to dinner and films.
They danced at clubs and balls
dressed up in the costumes
of fairy tales.
Then came the camping trips,
and visits to theme parks.
And they got an apartment,
dividing rent, utilities,
groceries and chores.
Soon, they met the parents
with mock chastity,
sleeping in separate bedrooms.
It was a predictable dance.
Tacit understandings.
Compromises.
Accommodations.
Expectations.
A diamond ring
to close the deal.
They sat together on the couch
in their bathrobes by the flatscreen TV.
Between them was a bowl of buttered popcorn
to share on movie night.
As he listens to Andy Dufresne and Red
talk about escaping from
Shawshank State Prison,
all he can think about
is how to say goodbye.
by William Ogden Haynes
William Ogden Haynes is a poet and author of short fiction from Alabama who was born in Michigan and grew up a military brat. His book of poetry entitled Points of Interest appeared in 2012 and is available on Amazon. He has published nearly forty poems and short stories in literary journals and his work has been anthologized multiple times. In a prior life he taught speech-language pathology at Auburn University and authored six major professional textbooks.
