TWO POEMS by Traci Brimhall
AFTER WAKING FROM A SEVEN-YEAR DREAM
It comes in my sleep and then it comes up the river,
a tiger shark with its young in its mouth
all singing the same commandment—Thou shalt kiss
thy mistress’ Song of Solomon thighs and belly
and the star tattoo on her left areola. I kiss the pear hanging
between her breasts and every link of the chain
that holds it there. I kiss ghosts in her ears, the ones
who whisper as she enters sleep, that last
wilderness, to escape my wrathful appetites. I tongue
the pillowcase, nibble the headboard, laugh
as I take each pair of panties from her drawer
and treat them to the most abiding pleasures.
I worship the shark until I’m no longer afraid of it,
pull out its teeth, carve my name into confessionals
and bathroom stalls. I kiss the teeth. I kiss my name.
I kiss every woman who accepts my last dream
as payment. We who are about to bind ourselves to trees.
I kiss doorknobs and empty soda bottles, trap
thunder in my mouth and give it to every child
I can catch. We who are about to see God’s wet hair.
I lick cobwebs beneath the saint’s skirt, kiss his legs free
of dust, slander his mortality with my tongue until
I come into the godscape, blind and spitting live flies.
SIBYLLINE TRANSLATION
Emergency, I’ll be your siren. Imagination, I’ll be your figment.
Fiction is one way of knowing. Dreams are another.
Meanwhile, the dead trample the psalmic grass as they line up
to ride bald angels like horses through the graveyard.
Lazarused but not yet rising, their bodies crowd the fence
waiting for news of the hereafter while the undertaker collects
a toll from pallbearers. Blame the congregation tithing
wisdom teeth, or the moon which has been full for weeks.
Lunacy, I’m already yours. I made my truth. Consequence,
I’ll be your whipping girl, your pulled hair and burning nerve.
I will help pry open the oracle’s casket. Out of her
whitening mouth, a bright nothing will aerialize, ascend.
Issue 4 Contents NEXT: The Kiss by Kurt Brown
THE KISS by Kurt Brown
for L.A.
That kiss I failed to give you.
How can you forgive me?
The kiss I would have spent on you is still
there, within me. It will probably die there.
But it will be the last of me to die.
__________
“After Kurt’s passing, I was asked by editors of literary reviews to send poems by him, so that they could publish some of his new work in memoriam. At the same time, Tiger Bark Press asked me for all of Kurt’s poems to start working on a collection entitled: I’ve Come This Far to Say Hello: New and Selected Poems by Kurt Brown. So I very reluctantly went into Kurt’s computer — something I never thought I’d have to do — in search of all those poems. In a file entitled “Almost Poems,” I found about fifty poems in different stages of completion, filed in alphabetical order by title. I read, and read those poems for a long, sad afternoon. Then, under the letter “T”, I found “The Kiss” — written a month and a half before he passed away.” ~ Laure-Anne Bosselaar
Issue 4 Contents NEXT: Could Be Worse by Scott Nadelson
PEOPLE OF NEW YORK by Sally Ball
I know you are dying
as always, even you big ones
from Queens, or from Nyack,
and I’m in the habit
of checking the clock,
midnight again. Again no
phone call, no lungs
expanding and contracting
with some machine
for a brain while the hospital
empties and a family consents
and either in person or over the phone
offers up the life left
in the life that is leaving them.
My father asleep in his bed.
People of New York
New Jersey Connecticut:
I was born there, and he was,
and we lived there and married
and drove to the sea.
They can come from as far
as South Carolina; the doctors
say motorcycle season
is often a good time of year.
Thank you, you bikers.
Be careful, be
careful—
We’re eighteen months into
the eighteen-month window.
They’re dying, I know it,
B+ tall guys
whose lungs vanish
into a furnace, into the ground.
People of New York:
I wish you long lives.
I have no sense of coming
before you, but I know
you are dying as always.
Can you please check the box—
through the DMV,
through the registries?
Have you said, Make me useful,
if the time comes? Dear?
Listen to Sally Ball’s reading of “People of New York” below…
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LETTER TO PHIL FROM MANITOU SPRINGS by George Kalamaras
for Philip Appleman
Did Darwin name the world, or did you, Phil, in creating him for us? I swear a Galápagos tortoise inhabits my sleep. A dream broth. A cup of Genmaicha tea containing roasted grains of brown rice. It lays its eggs across the coral reef of my brain. Blonde. Blind. Without fish-mouth or salt. The three readings for the day from the Church of Francis Ponge would most certainly be “The Oyster,” “The Mollusk,” and “Abode of the Gray Shrimp.” What am I looking for here in Manitou? Surely not a man. Or two. More like the primordial pulse of the manta ray let loose through the fossils of an ancient mountain pass. Imagine the ragged shore of the Baltic Sea and a big black wolf in 1835 that we believed was the other side of the world. Imagine Apollo, patron of shepherds, associated with wolves—though only out of fear of certain parts of ourselves that might never die. We kill hundreds of thousands of breaths, regularly, when we breathe mindlessly, without focus. A shaman in Siberia shakes his maraca, reaching into me, and holds my liver right there in a basket before me, telling how to track my past. How my mouth might finally be the beautiful, brutal slaughter of 4,000 geese in the spring hunt off Cape Krestovskaya. Your poems are more beautiful than the Crimean dead, than the Japanese glaze of a soap dish waiting to cleanse my mouth in the Manitou Crafts Co-op. I still remember your class. 1978. How Jennifer and I noticed the sweet peculiarity of your blue suede shoes. Did they evolve from the bellowing blast of yak leather? From the low vocabulary in the underbelly of an ox? How many people know that the musk ox is more closely related to the North American mountain goat than to the bison? How much chocolate can one possibly eat in this tranquil tourist town of Manitou without vomiting a goldfish, forcibly, all the way down from the watery restlessness of the brain? I keep returning to Stevens because I don’t understand, though I love the sound of his verbs. Come. Go. Stay. Be well, he seems to say. Even when sounding like the rarely glimpsed freshwater mountain shrimp of Borneo. Once, when writing about Vallejo, I quoted Stevens by mistake, saying, the ordinary of his commonplace. Once, writing you, I asked if you were a mirror of the purest milk, my most moist lice, or just my mouth, thirty years older than the rest of me.
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LIE DOWN WHERE THEIR FACES ARE by James Allen Hall
The woman across the street
on her knees again, shut out in the snow
by her husband. Every week, this ritual:
a man, a crying woman, the blue cold
earth that marries them. When he lets
her in, she lays in bed next to him.
He cries in her armpit. Even their
dog lays down, tree-chained heir,
his head between his paws. In the morning,
the woman is a satin worksong
torn by passing cars as it limps its hope
across the road to my ear. I want to stop
before I can be infected, I am humming
and counting out the pills I think of
as last. She sings to make her dress less
permeable to the snow. I want to know
the way to leave without leaving
soiled clothes behind. The song says
love will change the world, but spring is
a field of goldenrod, framed by thwarted
engines, rusting red in their back
yard, each empty socket eyeing its season
of repair. I can almost taste the weeds,
their waxy stems thick among the dented
fenders. So much land, every curse and love
too could be buried here. One night, late
March, the dog escapes into the forest.
Black fur a mangy blur against the trees.
They call for him all the next day.
The chain waits for him, its rusted collar
tight around my throat. If he returns,
he won’t be seen alive again. Fled,
he will live forever.
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PERSONAL AD #1 (Pairs Only Matter In Poker) by Michael Schmeltzer
After C.D. Wright
I wear garish makeup and make faces in the mirror.
Which reminds me…do you want to hear
my favorite joke?
Two clowns walk into a bar:
one with a sad face, the makeup frown
thick and chalky as a hotdog bun; the other
no face whatsoever.
There never was a happy face.
Let me start over.
There are two expressions we carry like dumbbells
to balance ourselves in public.
People are often
two-faced and falling flat
on both of them. If you look carefully
I always lean to the left.
I love honesty
the way a lazy-eyed child loves playing pirate.
How far sunk do you think
a treasure must be
before we call it buried?
What about desires?
For reasons unknown I often find trouble.
My ex-lover phoned me
after an absence of six weeks, drunk and high on meth.
He always called it “Tina” or “Crystal”
as if a drug could wear jewels
or flaunt a slinky dress.
He added lime to his beer and dubbed it a cocktail.
Ever hear of heterochromia?
For a sucker like me it means exotic.
Plus, he was handsome. He had one
hazel and one blue eye.
They were both beautiful
but I never knew which color to trust.
My problem is whatsoever my right eye sees
my left ignores
so he got away with a lot.
His eyes glittered like Vegas
when all I needed was Branson.
By the end there was nothing left to gamble.
All I wanted then
was to slip a penny over each eye
and watch the world bury him.
Listen to Michael Schmeltzer’s reading below…
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THE CITY by Helwig Brunner, translated by Monika Zobel
Die Stadt zu Linien vereinfacht,
abgeschminkt das eigene Gesicht.
Häuser, Schritte und Gedanken
sind aus demselben Material,
Grafitstaub und Diamanten.
Die Zeit steht, senkt deine Lider,
um einmal jetzt zu sein, inmitten
der schlafenden Welt, hellsichtig
zugewandt den tappenden Fragen
der Somnambulen.
Helwig Brunner‘s work has been published in numerous literary magazines and anthologies in Europe and elsewhere, including New European Poets (Graywolf Press, 2008). Brunner has published eight books of poetry, most recently Vorläufige Tage (Leykam Verlag, 2011) and Die Sicht der Dinge: Rätselgedichte (edition keiper, 2012), as well as some novels, short stories, and essays. He has been the recipient of several literary prizes in Austria and Germany.
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The city simplified to lines,
makeup removed from your face.
Houses, footsteps, and thoughts
are made of the same material,
graphite dust and diamonds.
Time stalls, lowers your lids,
to be now for once in the midst of
a sleeping world, clear-sighted
turned toward the groping questions
of the somnambulists.
Monika Zobel‘s poems and translations have been published in Redivider, The Cincinnati Review, Beloit Poetry Journal, Cream City Review, Mid-American Review, The Adirondack Review, Guernica Magazine, West Branch, Best New Poets 2010, and elsewhere. A senior editor at The California Journal of Poetics and recipient of a Fulbright Scholarship, she currently lives in Vienna, Austria.
- Published in Issue 3, Poetry, Translation
ECHOLOCATION: AERIAL SCRIPT by Helwig Brunner, translated by Monika Zobel
Echolot. Luftlinienschrift
Die Fledermäuse, an ihre Laute gedacht,
unhörbar, das Horchen also hinein in eine
Stille, die keine ist; sie ziehn den Blick
in den Dämmerhimmel, das Zickzack ihres
Flatterfluges, samtpelzige Beinahvögel,
die mit den Ohren schaun: Bilder hören.
Wenig später sind sie entzogen, entflogen
hinter die schwarze Jalousie der Nacht,
gesättigt an den Blindstellen des Echos
und ich denke sehr banal, wie wenig ich
auslote mit Worten.
Helwig Brunner‘s work has been published in numerous literary magazines and anthologies in Europe and elsewhere, including New European Poets (Graywolf Press, 2008). Brunner has published eight books of poetry, most recently Vorläufige Tage (Leykam Verlag, 2011) and Die Sicht der Dinge: Rätselgedichte (edition keiper, 2012), as well as some novels, short stories, and essays. He has been the recipient of several literary prizes in Austria and Germany.
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Echolocation: Aerial Script
The bats, reflecting on their sounds,
inaudible, thus eavesdropping on a
silence, which is none; they drag the gaze
through the twilight sky, the zigzag of their
flutter flight, satin-fur nearly birds
that see with their ears: listen to images.
A little later they diminish, vanish
behind the black blinds of night,
satiated by the blind spots of the echo
and I think how little I sound out
with trite words.
Monika Zobel‘s poems and translations have been published in Redivider, The Cincinnati Review, Beloit Poetry Journal, Cream City Review, Mid-American Review, The Adirondack Review, Guernica Magazine, West Branch, Best New Poets 2010, and elsewhere. A senior editor at The California Journal of Poetics and recipient of a Fulbright Scholarship, she currently lives in Vienna, Austria.
- Published in Issue 3, Poetry, Translation
THE SUPERINTENDENT by Justin Bigos
The air as still as bathwater, no breeze
from Sheepshead, we carry clear plastic bags
of empty bottles and cans, blue plastic bags
of plastic bottles and milk jugs, we squeeze
flattened boxes into open boxes, then tie
it all in twine – but do we cover it
in tarp in case it rains? He says, Forget-
about-it, just like on TV. (I’d died
a little when he asked me for my help
after mumbling something about the blacks
and Jews, this man who once refused to attack
his neighbors in Croatia, then fled that hell
– I’ve heard it said – with three-thousand cash
inside his socks.) And next we do the trash.
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DEVIL DANCER’S DAUGHTER by Laura Sheahen
What does your father do
Dance
Where in the jungle
The jungle
When
In the night
With feathers sharp feathers
To what sound
The beat from the heart of my mother
extracted
Where are the flames from
The devil
Where is the dance from
The devil
And the red mask from
The devil I hate the devil
And the knife moon from
The devil
Why is he dancing
To cure me
Listen to Laura Sheahen’s reading of “Devil Dancer’s Daughter” below…
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Gate Mudaliyar A.C.G.S. Amarasekara, The Devil Dancer’s Daughter. (Oil on canvas)
Laura Sheahen composed this poem in response to The Devil Dancer’s Daughter, a painting by the Sri Lankan artist Gate Mudaliyar A.C.G.S. Amarasekara (b. 1883 – d. 1983). The painting is housed in the National Art Gallery of Sri Lanka and is reproduced here with permission.
AFTER SAMSON BURNS HER FAMILY’S HOUSE AND GRAIN-FIELDS by William Kelley Woolfitt
Two ruined bodies, galena-black, tar-black,
charred flakes of cloth, countenances gone.
No ears, or eyes, or lips. Father, sister, offered
to a god, fat and gorged, that I deplore;
hands folded at the breastbone, as if fire
was a balm that soothed, gave them repose;
no hair to dress, no skin to wash and stroke.
Old moon when I sleep, when I rise, no cave
where it can roost, vacant haze, thread of shine,
me in the starless night,
interlunar, the night through all my joints
and bones diffused, the scorched kernels I gnaw
from the stalk, burrows where I hide, water
seeping from stone, the fox that licks my hand.
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Susan Worsham, “Drowned Persimmons.” (Photograph)
William Kelley Woolfitt chose Susan Worsham’s original photograph to accompany his poem. The poet explains: “‘After Samson Burns…’ reflects my interest in the stories of unnamed figures in historical and sacred texts, such as the sister of Samson’s wife who was offered to him as a consolation prize in the Book of Judges. I see in Worsham’s photograph several echoes of elements in my poem, including fruit(fulness) spoiled, the color black, and water seeping from stone.”