martes, agosto 22, 2006

New Poetry from Jordan Somers

Neologism


Or·bit·ual: (orbit + ritual)

1.
a. The tangible nature of residential
return as seen through loopholes:
Constructed and Depleting.
b. Knowing the games that you love:
Matching the color of lipstick
with socks.

2.
a. Informing you that A Streetcar Named Desire
is simply a mediocre retelling of Genesis:
“you, Me and Kowalski
move together on parallel lines,
orbitually”
b. Seeing nothing with your glasses off.
c. Refusing to clear a dinner table
with forearm.

3. The world continues to move in an orbitual
fashion, orbitually.

4. Quickly, while all is not obviously lost.


Di·min·sti·cate (diminish + domesticate)

1. I, diminsticate the ideology
of loafer gentry.
The soft shoe aggregator
is but a fabrication:

2. Diminsticating atop
the factory of poorly stitched senses.
“A myriad of diminsticatory
brown.”

3. Sanitized frills of a taut high school verse
that preaches Tuesday –
when we knew it was Wednesday
morning
all along.


Lo·se·qu·ious (loquacious + obsequious)

1.
a. Speak to my of plots
and I will love you losequiously:
Tactile, irrational.
b. “The poet laureate of losequiousness
demands a harsher shadow upon
the leftness of your face
with penalties
for the dismissive sun.”

2. Sex is a losequious pretext
(example):
Illuminating bed skirts
but ultimately denoting
very little
of meaning.


Tel·u·cial (telegram + fiducial)

1. (démodé)

2. The Telucial white flowers die soonest stop
Die into that
telucial chasm bride-bed of a telucious moon stop
I hear the owls stop
While the world is ruled by precedent stop
Here our telucial crimes of history join
the fairy tales stop
It is often safer to be in chains
telucial, bound by the lies
of our ancestors stop


Per·fund·ulate (perfunctory + undulate)

1.
a. The desire to connect
irrevocable schisms.
b. A utensil to sweep chimneys.

2. Perfundulating fear:
Today,
I eat my usual diet
of perfundulating shadows.


Wand·ir·ic (wanderlust+ oneiric)

1.
a. How else to feel
other than I do –
wandiric as such:
b. Combusting in rust:
“wandiric demeanor”

2. Like a wedge pressed between teeth.

3. Other, more legitimate misinterpretations:
Shortness of hair,

4. Grocery lists denoting pain –
dental floss,
wandiric bread,
diet cola.


Ner·bose (nevus + verbose)

1.
a.There is fitness in spades -
b. So nerbose that empty
chairs denote
nothing at any particular
moment upon any
particular night.
c. Not even now.

Jordan Somers lives in Toronto, Canada and unless he is saved by his fans, his women and his heroin, that is where he will probably die - alone in some type of igloo dwelling surrounded by photographs of antique toasters minus their delicious and warm bread slices. He also is responsible for the E-Zines Ninjoetry and The Collected Poems of Valentino the Robot.

lunes, agosto 14, 2006

New Poetry from MK Ajay

FACSIMILE OF BELIEFS

I

Fog of forgetfulness; hills lost
in the clouds lost in the hot breath
of the city. We watch our daughter
build a monster with legos; outside,
the sky has circled a crimson sun.
We move through roads familiar
with the itinerary of our imaginings
and stop at crossroads no one used
for centuries. The hill is distant,
and we can’t aspire to reach out
to its green loneliness; the hill
is distant, a night’s journey away
from the crossroad where our car
has broken down, puffing smoke.

II

Odd! It is the same white lotus
we saw in summer, on our way
to the stony Buddha at Ajanta.
We have seen the difference
between its whiteness here
and the navel of life there,
while the water gathers clouds
on its blue, cool reflections.
Imitating the local palms,
it sways in the rain-drenched breeze.
You teach me the myth of creation
enacted on the lotus, when the gods
danced and let the cosmos gossip.
You stare at the bee-cup on the lotus.

III

And looking at my face, the squirrel
charges into the night’s campfire crackle.
The dew has unsettled the history
of unending warmth on these slopes.
I miss myself in these woods;
it is so much more intense now
as I watch you snuggle into the wool
blanket on our tent’s breach.
A toppled paper-cup on the grass,
cries of the rain forest, an orang-utan
marking his territory somewhere,
sallow moon’s trail of surprises…..

IV

We walk on mud not in our dreams,
an alien mud, fragrant with the gentle
bloom of hibiscus and orchids.
The hill we climbed is a spirit
we encountered at the airport terminal.
I know, you believe the moon has cast
a spell on me, you believe the river’s
gurgling is only water flowing.
If only you had seen the squirrel’s eyes
and the moon’s hideous wink.

V

Daybreak. All too familiar?
You would sweat too, if you
saw your face, looking hundred years old,
when you peer into mirror’s darkness.
Where is the vein that fed the flesh
last night? And the post-it note
you pasted on my forehead?
In the blue voids clouds forgot
to fill up, I see the sky create
tunnels into the riddles of universe.

VI

The Brahminy-kites have flown out
of our eyes. The tigers have deserted
our inspiration and we have nothing
left to say, thankful we haven’t lost
the memories we carried along. You
hum songs in our mother-tongue. I touch
their strange melancholy coolness,
like a cat’s coat in monsoon.

VII

Finally, the rains. Clear as glass.
Mirror of sights around the hill,
refracted through my dreams.
I touch its faded imprint on the soil.
And discern its coded music like drumbeats.
I don’t feel the pain, till I see
the rains pass by, without words
to kiss their drops and sense the
wet earth’s anguish. Finally,
the subdued trance awaits me.
I welcome the facsimile of my beliefs -
my poem.


MK Ajay’s works have appeared in Orbis (UK), Indian Literature, Blue Fifth Review, The Little Magazine, Cerebration, Niederngasse, Ygdrasil, Crimson Feet, Chandrabhaga, Brown Critique, Montreal Serai, Poetry Chain, Muse India, Kritya and In our Words: A generation defining itself, among others. He has published a book of poems and a collection of short stories. Ajay was born and brought up in Kozhikode, India, and currently lives in peninsular Malaysia.

sábado, agosto 12, 2006

Three Poems from Louie Crew

Found in the 1988 Register

Susan B. Atwood


cook, chauffeur, housekeeper, and mother

cordially invites you

to attend her divorce

from Henry James Atwood

attorney, financier, and trustee,

at the Cook County Court Number One

on the 29th, at high noon, high time.


Reception afterwards at the Battered Women Center

on Halstead


Presumption

If I had said that you,
--eyes bright, like those your
little boy returns,
shoulders soft, like
your red velvet trousers--
are far too lovely to suffer such sadness,

I would have presumed.

It is better to tell a stranger
in a poem, make him know
how meaningless is one's first spoken word,
how mild the shock of one's first breath.


Chocolate Fishing

Quean Paul takes willing country boys
fishing with a Vaseline tin rolled
in the blanket and a shotgun to fend off
any uninvited crackers who stray
upon their rubbings by the creek.
She can hear strangers a mile off,
and one blast suffices.

She likes only the sweet ones, not the toughs.

Leaving her job at the flour mill, her Afro
still pressed under a dusty stocking,
she can spot the girl in a lad a block away.
She has nurtured a score of orphans
and the fatherless into raising guineas
and smooching at the drive-in.

She spurns more conspicuous queans,
except in the dark, and never is suspected
by any but the boys she woos as Dad.


Louie Crew has edited special issues of College English and Margins. He has published four poetry volumes: Sunspots (Lotus Press, Detroit, 1976) Midnight Lessons (Samisdat, 1987), Lutibelle's Pew (Dragon Disks, 1990), and Queers! for Christ's Sake! (Dragon Disks, 2003). The University of Michigan collects his papers. More information can be found on his website.

domingo, julio 30, 2006

A New Poem by Sandy Hiss

Hidden in the Cracks

Rummaging through your face
blue ocean eyes
the one i remember
an old file
dusty
think unopened bottles
crown royal
coke
stored away
where i could not imagine you

today
i wrote a lost memo
some new clutter

questions
hidden in the cracks
spiders spinning tales
a gold hoop tangled
in denial
returned to sender
you came without a tie
apricot soap
a white angel
greeting me
hand signed
always
a long ago
when my fingertips
tasted your goodbye


Sandy Hiss' poetry and fiction have appeared in Cabaret New Angeles, Autographs, Eskimopie.net, Scorched Earth Publications (Editor's Choice Feb/Mar issue), Autumn Leaves, The Cat's Meow, Poet's Haven, True Poet, The Green Silk Journal, Ken*Again, Thick With Conviction, and Fresh! Magazine. Her work is forthcoming in CC&D, Falling Star, & Bolts of Silk. Sandy resides in Wyoming with her two children and husband. She is also the editor of Flutter, an online poetry Magazine.

martes, julio 18, 2006

A New Poem by Andrew Haley

Moscow Stations

for Peter Golub

I
night tavarish in the Central commode
bubbling in chasms of alabaster
sheltered from endless twilight
the color of putrefaction and dew

II
night in the reaches of television towers
alien baubles of Hasdrubal grey against sky
one-sided barbells fastened to earth
iron-steepled
under-reaches slight-arched
graceful as nenuphar

III
night in dandelion glades sewn with garbage and cars
planted trackless in wild grass under the plantation of masts
reaching for Heaven

IV
night under lamps in wallpaper and cherries
kissing the words Ejaculation and Hemorrhoid
in ash spilled among papers that slip from the upholstered divan

V
night sprawled in talk in quiet in kissing in ashes
in the night at the foot of the door
balcony to the weird sky
flat as the world of tramways and bridges
Iofan ziggurats
rivers wending among fractals

VI
night in the zoo
of thighs smooth under blankets
drowsy in innocent wishes and smells
stunned tired to mind’s quiet
ceiling a wild quiet
fit for thoughts
lost in Dream

VII
night tavarish on the alien actual globe among stars
brevity of cars hushing through actual air
ichor and surprises of desire’s plantations
with the lights out the lights out there

VIII
night automatic in Heaven’s bough
greased with the unending sun

IX
night in bed’s pollen tamped out with ashes
on the patina
crossed
on skis fixed to the tarantass

X
night in the crook of an arm
waking to breath
and the lamp shining on plastic and alphabets

XI
night’s coffer
plain with wires–
black gauges
among fruit

XII
night tavarish in the web of stations nearer to home

Andrew Haley's Poem to Get Started appeared in the Spring 2006 issue of Western Humanities Review. It was awarded an Honorable Mention in the 2006 Utah Writer's Contest by Billy Collins. New poetry is forthcoming in Quarterly West. He is the author of three novels, most recently Transference, and lives in Buenos Aires.

viernes, julio 14, 2006

New Poetry from Peter Golub

Brodsky Walrus Waltz

(1) Non-circularity
Brodsky is not a kind, because the feature that distinguishes members of the set is just that something be a member of the given set. Yet the items in the things might also be described as things.

(2) Mind-independence

Trotsky is not a kind, because the fact that the members figure in an example is just the result of his deciding that they should.

yesterday we drank pepper vodka and talked about the different varieties of incest
the day before that we locked our selves into a small bathroom and blew smoke into
each others faces
the day before that i woke up to find naked boys in the kitchen
before that a friend of a friend gave birth-- the day was warm, there was a light drizzle
and then there was a kiss somewhere near the train station and then a light farewell kiss
at the station
there was the room with the green forest wallpaper
photos and cognac
walking walking and walking
paying-- cops armless men women girls women girls people in the metro
there are many more
they all take something out of my bag or my jacket or my wallet (when i still had the
wallet)
the camera the phone something about poetry and byron and translation and rhyme and brodsky and trotsky and jumping off bridges and climbing climbing climbing
reading reading reading
putting it together
picking and pickling
it art it aren't they
brodsky a walrus
you kiss too much
she waits somewhere near the edge of the bath
like a small child
naked and wrinkly lost in the water
there are things to be picked up
don't i have to give something away
are there not people who would rather be with me
but here i am


Peter Golub is in Moscow, where he is translating and compiling contemporary Russian poetry. His adventures in Moscow and St. Petersburg can be followed at Chekov's Solarium.

Stay tuned for la Nueva Poesia Russkaya...

martes, julio 11, 2006

A New Poem by Jack Helbig

7 Erotic Scenes

-1-

Cowrie shells, curling like toes,
your fingers, my fingers,
the color of conch,
meet in a white porcelain bowl.

-2-

A light breeze inflates the curtains,
ruffles my cotton dress,
moves the hairs on my arm.

-3-

Crossed legged,
book open on my thigh.
You face me:
young brown eyes, soft lips, smile.

-4-

The shells tick:
disks on an abacus,
pebbles in a pool.

-5-

A handful of shells.
Your fist unfolds.
Petals opening to the sun.

-6-

In your palm a dozen
wrinkled eyelids
wincing at the light.

-7-

You smile and I read aloud
this seashell prophecy:
“No one knows what lies
at the bottom of the ocean.”


Jack Helbig' articles on theater and the arts have appeared in the Chicago Reader, The Chicago Tribune, and the Daily Herald. He has had short stories and poetry published in Vice Versa, The Chicago Literary Review, the Grey City Journal, Rhapsoidia Literary Magazine, and Another Poetry Magazine w/Art. He has written two plays, THINKING OF HER MADE HIM THINK OF HER, first produced by the Talisman Theatre in Elgin, Illinois and KITTEN WITH A WHIP, produced at the Café Voltaire, Chicago. His new translation of Franz Lehar’s THE MERRY WIDOW premiered in August, 2005, at Light Opera Works, in Evanston, Illinois. Mr. Helbig lives in Oak Park, Illinois, with his wife and spunky daughter.

jueves, junio 29, 2006

Two Poems by Maw Shein Win

She

sits
on the ledge of the sofa
ankles
crossed
arms extended as if she were holding a long french-tipped cigarette
back
stiff
this self
on alert

she
is
engaged
she
is
listening
to
every
word
the
person across from her is saying
she
responds
to
the words spoken by this person

the
other self
sits
back
legs casually flung to the sides like two shuttered gates blown open by the wind

she
is
not
engaged
she
is
not
listening
to
the well-dressed woman sitting in the beige armchair across from her
holding a yellow notepad and a fine-tipped pen

the
third
voice
in
the
hallway
is
loud
when it falls it is like a bookcase solid with books pushed over by a
small child with black hair wearing a pink dress with a heart-shaped collar

the
second
voice
is
resigned
the
words
fall to the hardwood floor the woman drops a book one at a time
her shoes are covered with mint-green paper for the operating room

the
first
self
is
listening
to
every
word
she
is
engaged

the
other
self
leans
back
on
the
sofa
she is listening to the first and second voices in the
two-bedroom suburban house with the broken porch light



Art in America, July 1999

a smear of color and then as a girl in motion

the discomfort induced by this cross-wired
carnal narcissism suggests a sort of discourse on
the increasing denaturalization of nature and
the mechanization of creativity which mines the
organic geometry of genetic and cellular forms
to create compositions

that attempt to fit the details of her own life
into economically derived systems

obscured by a thick dollop of lustrous,
pale-pink oil paint
cryptic narratives map
out the descent
from rural grace into suburban angst

an obsessive quest for order

notice the vicissitudes of personal existence
travel endlessly in search of the sublime
realize the artifice of your constructions

an island of trees in a haunted valley glows red


Maw Shein Win has been published in Watchword, Shampoo, Instant City, and Hyphen and has recent work in Progress Chrome, Boston Literary Review, and Red Hills Review. Her new chapbook is entitled The Farm Without Name. She is the editor of Comet and was recently awarded a summer residency at Marin Headlands Center for the Arts for 2006. She lives in Berkeley, California.

martes, junio 27, 2006

Short Fiction by Christopher Woods

Moon and Bones and Birds


On their seventh day along that road, the sky darkened earlier than usual. At first they made no mention of a bloody sun lowering itself down the sky of a cloudless afternoon. However, they did notice how their shadows lengthened. Remy was the first to mention this. He was studying the way his rotund shadow seemed to bump against that of his colleague, Octavo. Their shadows seemed to spar.


“Day is done,” Remy said. “And, without due satisfaction.”


Octavo listened silently and then spat dust from his mouth. He lifted his own arms and let them drop. He noticed how his own shadow seemed to want for flight. But he was too heavy. He flapped, to no avail. Remy began flapping his own arms. They continued like this until it was dark along the road. They stopped and made a fire. Later, they slept, dreaming of lizards, the carnivorous kind.


By the next afternoon, the air became very humid. Both men sweated profusely. On either side of the road, so overgrown that at times the road was little more than a hunch, grew enormous ferns that spread out across the damp earth. Sunlight seemed pressed out by the looming foliage.


“Maybe we should start dropping bread crumbs,” Remy said, a low rumble of a laugh coming from inside him.


“You would do me the injustice to speak of food,” Octavo whined. “I’m starving.”


Octavo had been thinking of, and counting on his chubby fingers, the number of meals they had missed so far on the mission. One of goodwill, it was called, to take a census. They were to spend three weeks traipsing through a rain forest and a desert, then return home with their tally. How many villages, how many people. That done, the relief, food and blankets, would be delivered. On paper, the mission was simple.


But so were previous missions, seven total, all lost. Disappeared. No census had ever been delivered to the Agency. No food or blankets had gone trekking.


“Food and blankets, that’s what we’re about,” Remy said.


“In this heat, I’d welcome death before a blanket,” Octavo said.


Swamp gloom gathered around them now, and they began to notice how the ground beneath them seemed to disappear. In its place were thick, curling roots, the shade of albino. They took care not to trip. Watching his steps, Octavo imagined himself crossing a wide platter of linguine. He did not share this fantasy with Remy, who would only have taunted him. Like your Rossini, he would say, wanting nothing more than to feed your big belly.


That night, as they slept, Remy dreamed about blind, albino snakes, ball after ball of them. He had to step gingerly as the balls rolled toward him on the road. Octavo dreamed he was being smothered by a hundred blankets, each of them on fire.


In his dream, Octavo burned to death, but his mind, as it will, kept on. Kept on. Not long after he died, he came across Remy’s corpse. His friend’s body was covered with snakebites. As Octavo bent over the cadaver, Remy opened his eyes. They were milky from the venom that filled his body. But Octavo could see something else in those yellowed eyes. The tarnished ivory color reminded him of a particular moon he knew.


“Is that you, Octavo?”


Now, with Remy speaking in a voice hoarse from screaming, Octavo decided to keep the knowledge of that moon to himself.


“It’s me, friend,” he replied.


“I can’t rest until I know something for certain,” Remy said. “When the birds come, will they peck out our eyes?”


Octavo nodded gravely. He knew that the eyes were the first to go. Eyes were like buttons. Birds began with them, undressing the body down to the soul. But never finding a soul, the birds pecked until there was nothing left but bones. Then they moved on, maybe discouraged, to look for another pair of eyes.


“Don’t worry, Remy. By the time the birds come, we’ll be asleep. The dead are always asleep.”


“Thank you, Octavo, my friend.”


“Rest now.”


They had not seen another person in a long time. In the village of Huzuni, they had counted nothing by empty huts. Then, after leaving Huzuni, the bone business began. Smelling rank and covered with ants, the bones came in piles and batches every few steps. It appeared that many had died while trying to flee.


Initially they pretended that they were stepping over the bones of animals. After a few miles, this wore thin. Remy suggested that some odd kind of slaughter had taken place.


“Oh, don’t you think most slaughters are odd?” Octavo asked.


“I strive to be impartial,” Remy said. “I am a census taker. I have no traffic with politics.”


Politics or not, Remy concluded that something was terribly the matter in this place. It bothered him greatly. Living or dead, people needed to be counted. Yet the Agency had no guidelines for the counting of bones, no matter how great their number. Octavo and Remy sat down to rest beside piles of bones to consider the failed census.


“Remy?”


“Yes, Octavo?”


“I count you as a friend.”


“No less than I count you, Octavo.”


“Good, then. But I must tell you that something is bothering me. It has to do with where we go from here. Once we leave the jungle.”


“The desert. Isn’t that what you mean?”


“Yes.”


“That’s the end of our trek, friend. Once we pass through the desert, we cross the border. We’ll be on our way home. Are you unsure about it? Here, look at this map.”


“I know the map, Remy. But, this road. What about this road?”


“What about it?”



“Let me be frank. Will they send another census team? To look for us?”


“If something should happen to us?”


“Yes.”


“They sent us, didn’t they? Hasn’t the Agency always been good about sending teams?”


“Losing them is more like it. Isn’t the point that we are the last team? That they’re won’t be anymore?”


“That’s so, yes. Let’s not dwell on it. Why, someday, Octavo, a school or a library might be named after you. Or a fountain. Imagine, Octavo, coins being thrown in a fountain with your name on the rim. And each coin a wish.”


“Well, when you put it that way.”


“That’s better, isn’t it? For now, the desert is waiting.”


By the next evening they were done with the bones, and with the curling, white roots. Happy to have all that behind them, they stopped to make a fire. Another five days, Remy said, of spinning sand cartwheels in their wake, would see them across the border. Octavo said he would be thankful for that, and for all the good food that awaited them.


They became quiet and watched the thin column of smoke rising from the fire. It rose into the sky, where their next problem waited.


“Tell me, Remy. Do you know a moon like that?” Octavo asked.


“Not a pretty sight, is it? Where I come from, we call it a ghost moon. The ghost of a one eyed God. Staring.”


“Yes, I’ve heard that before.”


“But my father tells me that a moon like that is really a sore. A bedsore, Octavo, on the body of God, pressing through.”


“I thought your father died. While taking this same census.”


“He did. But he still talks to me in my dreams. He says he’s hungry. And very cold. He comes in my sleep, begging for a blanket.”


“I see. Tell me, Remy, have you noticed how cold it’s gotten?”


“I have, Octavo. I have.”


“Yes. So cold. So very, very cold.”



Christopher Woods is the author of a prose collection, Under a Riverbed Sky. His play, Moonbirds, about doomed census takers at work in an uninhabited desert country, was produced in New York City by Personal Space Theatrics. He lives in Houston and in Chappell Hill, Texas.