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ken*again
, the literary magazine  
         
   

ken*again
is a quarterly, nonprofit e-zine presenting a
hearty, eclectic mix of prose, poetry, art and photography:
accessible, obscure, soothing, disturbing.

Wrap your mind around a good read.
 



 



Poetry


Another Fib  Kelley Jean White
ArsPoetica  Kelley Jean White
Forgive me Fidelity 
Kelley Jean White
I dreamed I should carve:   Kelley Jean White
Manners   Joseph Veronneau
Offering  Joseph Veronneau
Hearing the Secret  Joseph Veronneau
Playing With Death  Joseph Veronneau
Neat Puzzle  
Luis Cuauhtemoc Berriozabal
Nothing Made Sense 
Luis Cuauhtemoc Berriozabal
Long Night  Luis Cuauhtemoc Berriozabal
Thirty-three and Counting  Priscilla Barton
Losing My Religion  Priscilla Barton
A Note Left Behind (To a Son)  Iolanda Scripca
Attempting Freedom (My Survival)  
Iolanda Scripca
Subterranean Soul  Diane Andrews
Transformation...At Lust  George Trialonis
The Neighbors to the Left  Yvette A. Schnoeker-Shorb
Desert Tortoise  Yvette A. Schnoeker-Shorb
Rattlesnake Basking  Yvette A. Schnoeker-Shorb
metabolism  Peter Roberts
cold comfort haven  Peter Roberts
We are not interested in what you write
  Scott Malby
Vagabond's Vision #55  
Felino Soriano
Vagabond's Vision #56  Felino Soriano
Star Gazing  Aurora Antonovic
Inheritance  Aurora Antonovic
Boomerang  Aurora Antonovic
The Sun Doesn't Stop  Rob Plath
Walking the Dogs  Justin Arbuckle
The Stammer  Bob Bradshaw
Leaf Blowers  Bob Bradshaw
Aside  Davide Trame
Weather Change  Davide Trame
The Way That You Never Grow Old  Sam Silva
Mist  Joseph Lewis
Rain  Joseph Lewis

Prose      

Not finding you  Saskia van der Linden
Coma
  Diane Andrews
Thinking About The Night Of My Conception  
Rob Plath
From The Window of My Hotel  Iolanda Scripca  
Memory and a Restaurant in San Jose  Louisa Howerow  
Turkish Taksi  Quentin Poulsen
The Jazz Musician  Anne Cammon
Him with His Heart in His Head  T. R. Healy
Officer Dan, The Drug Awareness Man!  Joe Reese

Art

Zfat, Israel  B. A. Van Sise
Cardo, Jerusalem, Israel  B. A. Van Sise
Tabaqat, Jordan  B. A. Van Sise
Shaykh Miskin, Syria  B. A. Van Sise
the human show  Peter Schwartz
hero anonymous  Peter Schwartz
nine  Peter Schwartz
truth and amnesia Peter Schwartz
metabolism 
Peter Schwartz
Old Troll  
Steve Cartwright
Prisoner  Steve Cartwright
Gangster 2  Steve Cartwright
Swimming  Steve Cartwright
Five Untitled Photographs  Larry O. Gay
Patzcuaro Wildflowers I and II  Michael G. McLaughlin
Six Untitled Photographs 
Nathan Combs

And another thing... 

E Mail to Damnaso Lopez   Duane Locke


 

CONTRIBUTORS

 


Diane Andrews
(poetry and prose) was born in Wainuiomata, NZ in 1953.  She's worked in many jobs from laboratory assistant and waitress to theatrical wigmaker (Cats, Phantom of the Opera).  She and her husband Dennis grew up in New Zealand.   They sailed from Sydney to Cairns in a sixteen foot boat.  The log of the trip is available at www.adventureyarns.com.au.  Diane's first sailing experience was on day one of this book.  She now lives in Cairns, is involved in many activities from fossicking to writing, publishing and poetry performances and often sails the tropical waters of the north.  She has recently survived life-threatening cancer, with the most amazing response seen by oncologists by medical treatment supplemented by diet and alternative medicines at www.healthyoptions.co.nz.  She has been featured in many poetry and short story anthologies and been placed in several competitions—Theakers, Peccary, Short and Twisted, Qac Regional Writing.  fritha53@hotmail.com

Aurora Antonovic (poetry) is a Canadian freelance writer and visual artist.  She has had two one-woman shows, and partaken in a number of group shows.  She currently writes on women's issues and politics for Canadian publications, and is the former co-editor and columnist of the now-defunct GT Times.  Her poetry has appeared in Sidewalk's End, Reflections Journal, Poet's Pen, and Poetic Voices, where she was a featured poet.  She is slated to appear in other publications later this year.   aurora_antonovic@yahoo.com

Justin Arbuckle (poetry) is a South African, living and working in London as a solution architect for retail banks.  He runs a sideline in agnatology.  His poetry focuses on the direct impact of being in a corporate world, on how we perceive the (rest of) the world around us.  He has been a journalist, programmer, activist, political speech writer, investment banker, product developer and entrepreneur.  He is working on his first collection.  dromologue@gmail.com

Priscilla Barton (poetry) has appeared in Red Coral, Some Words, Shades of December, The Rose and Thorn, Stirring: A Literary Collection, Falling Star Magazine, Rustlings of the Wind, Lily, Pebble Lake Review, The Hypertexts, Can We Have Our Ball Back? and various other small prints.  She was nominated for a 2006 Pushcart Award.  She resides in New York and works in the mental health field.  She is madly in love with poetry, and sometimes it loves her back. AntaresStarr@aol.com

Luis Cuauhtemoc Berriozabal (poetry) works in the mental health field in Los Angeles, CA.  His first book of poetry, Raw Materials, was published by Pygmy Forest Press.  His poems have appeared in Free Verse, Pemmican, and Zygote In My Coffee and he has work appearing in Ascent Aspirations, Cerebral Catalyst (both online journals), and in Blue Collar Review & Remark Poetry Journal (print journal).    Cuatemochi@aol.com

Bob Bradshaw (poetry) is a programmer living in Redwood City, CA and is a big fan of the Rolling Stones.  Recent work of his can be found at Loch Raven Review, Apple Valley Review, Eclectica, Blue Fifth Review, and Tattoo Highwaybobbybradshw@yahoo.com

Anne Cammon (prose) is a poet and writer who was educated at Barnard College.  She curates a literary radio show for WKCR FM New York,  featuring contemporary works of poetry, fiction, new music and radio drama.  Her work has recently appeared in the Bloom's Day edition of Riverbabble, Nth Position, Big Tex[t] and Blue Print Reviewannecammon@gmail.com

Steve Cartwright (cartoons) has done art for several magazines, newspapers, websites, commercial and governmental clients, books, and tavern napkins.  He also creates art pro bono for several animal rescue groups.  He was awarded the 2004 James Award for his cover art for Champagne Shivers.  He  recently  illustrated  the  Cimarron  Review  cover.  Take a gander (or a goose) at his online gallery:  www.angelfire.com/sc2/cartoonsbycartwright    SCCART@aol.com

Nathan Combs
(photography) of Harrisonburg, Virginia, first got interested in photography in 1994, and thinks of himself more as a photojournalist than as an artist.  He graduated from the Hallmark Institute of Photography in 1997. smoke4@rocketmail.com

Larry O. Gay (photography) is currently employed as a steelmaker in Birmingham, AL. and on days off  is a full time freelance photographer.  His background in nature has enabled him to focus on the intrinsic structures and patterns in the natural world.  Combined with a long-existing interest in photography, particularly natural scenes unimpacted by human activities, he has set forth to capture the natural formations from an aesthetic point of view.  Recently, he has also applied this focus on the urban setting, with emphasis on capturing common images from different perspectives. He is currently photographing nature and architecture in the surrounding area and intends to show his work at galleries and in publications.  Mr. Gay has a double major in Commercial Art and Photography from Bessemer Technical College in Bessemer, AL.   logay@bellsouth.net

T. R. Healy
(prose) was born and raised in the Pacific Northwest.  His stories have appeared in such online publications as 3711 Atlantic, Plum Biscuit, Verbsap, and Wild Violets. 
laurel462001@yahoo.com

Louisa Howerow (prose).  Her prose and poetry have appeared in journals, small press magazines and on the Internet.   Her latest work can be found in Write Side Up, The Hiss Quarterly and The Bent Pin Quarterlylouihowe@gmail.com

Joseph Lewis (poetry) has published poetry in various print and ezines including ken*again, Sunspinner and sometime city.  He lives in Virginia.
ezwriter101@excite.com

Duane Locke (And another thing...), Doctor of Philosophy, English Renaissance literature, Professor Emeritus of the Humanities, was Poet in Residence at the University of Tampa for over 20 years. Has had over 5,000 poems published.  Over 2,000 were published in print magazines, such as American Poetry Review, Nation, and Bitter Oleander. In September 1999, he became a cyber poet, added over 3,000 poems published in E zines.  Is the author of 14 print books of poetry, and in 2002, added 3 E books, The Squids Dark Ink, From a Tiny Room, and The Death of Daphne.  The entire Spring 2004 issue of the magazine Bitter Oleander is devoted to a 92 page interview with Duane Locke and includes sixty of his poems.   In August 2004, e book, 45 poems, Observations, from Poetic Inhalation.  In August 2004, feature poet in Adagio Poetry Quarterly.  In December 2005, a 28 page interview in Penhimalaya, plus many poems.  His work is included among the neglected poets, such as H.D., Amy Lowell, Weldon Kees,  in Dan Schneider’s renowned Cosmoetica.  

He is also a painter, having many exhibitions, such as at the city art museum in Gainesville, Florida.  A recent book, Extraordinary Interpretations by Gary Monroe, published by University of Florida Press, has a discussion of Duane Locke’s paintings.  His work is currently on exhibition at the Polk Museum of Art, and will be added to the permanent collection.  Also, a photographer, now has over 278 photos in e zines.  He does close-ups of trash tossed away in alleys and on sidewalks.  Now, he has completed a series called “mystic vegetation.” and “The Goddess Inanna.”  He is currently doing what he calls Surphotography, and photographing nature, birds, insects, etc.  He is listed in Who’s Who in America, 2006 (Marquis.) 

 His old biographical notes, published many time, are now obsolete.  The notes stated that he lived in an old decaying house in the sunny Tampa slums, populated largely by drug dealers and the homeless.  The house was condemned by the city of Tampa inspectors, what he calls the “Tampa Gestapo," and after his living at this location for fifty years, he was forced to leave within six days.  The forced move was due to the fall of the bungalow in his large back yard.  The bungalow contained a priceless literary scholarly library which is now under debris.  An army of inspectors descended and decided he could no longer live in his home, so Duane Locke left Tampa to relocate in Lakeland, Florida.  He lives by a lake abundant with wild life.  The fall was a “Fortunate Fall,” for he now lives in a more desirable and pleasant location.  The only disadvantage is that he can find no trash to photograph, no broken beer bottles on sidewalk, no litter as it was in Tampa.  For more information on Duane Locke, click on Duane Locke on Google.  There are about a half-million entries under his name.  On MSN, only 60,000 entries.    duanelocke@gmail.com

Scott Malby (poetry) digs deep for bones along the Pacific Coast in Coos Bay, Oregon.  He'll promise you anything if you scratch him in the right place.   beowolf2@harborside.com

Michael G. McLaughlin (art) lives in Mexico the year round.  michaelmcmex@yahoo.com

Rob Plath (poetry and prose) is 37 years old.  He's from Ronkonkoma, New York.  He has one book of published poems called Ashtrays and Bulls which won 1st place in the 2003 Nerve Cowboy chapbook contest.  In 2002, he was part of a spoken word/music CD Northport Celebrates Jack (a Kerouac tribute) featuring world famous musician David Amram.  He was also a student of Allen Ginsberg's from '95-97.  His poetry and stories have appeared in many journals and magazines: Barfing Dog Press, Big City Lit Blowback, Cerebral Catalyst, Chiron Review, Devil Blossoms, Gnome, Long Island Quarterly, Lunatic Chameleon, Mad Swirl, Mannequin Envy, Nerve Cowboy, Pearl, Poetrybay, Polarity, Showcase Press Poetry Journal, Soul Fountain, Stickman Review, Strange Road, Zygote in my Coffee.  He has poems and stories forthcoming in decomP, Mastodon Dentist, Laurahird's Showcase, Dying Writers, ragged Edge, Nerve Cowboy, Torkstar, Underground Voices, Winamop, and Zygote.   R s plath@aol.com

Quentin Poulsen (prose) is a former New Zealand journalist teaching in Spain, currently on extended vacation in Turkey.  He attended Doane College in Nebraska in 1992-1993 and won a share of the university's literary award in the latter year.  quentinpoulsen@yahoo.com.au

Joe Reese (prose) is a novelist/storyteller/adjunct English teacher, based in Athens, Ohio, but originally a southerner (born and raised in Texas, long a resident of Atlanta).  He has two novels: Katie Dee and Katie Haw:  Letters from a Texas Farm Girl and Dear Katie Dee:  More Letters
from a Texas Farm
(website: www.katiedee.com).  He’s just finished a novel called TAAS:  A Novel of the Standardized Examination, which deals with one day in the life of a Texas high school driven insane by the desire to be EXEMPLORY rather than just excellent.  He’s also written plays, short stories, articles, etc, and put in thirty-six years of English teaching, during which time he’s been fired by almost every institution of higher learning in the country.  In spite of this his wife Pam still says she loves him, as do his kids, Kate, Matthew, and Sam.   katiedee@columbus.rr.com

Peter Roberts (poetry) grew up near Pittsburgh, Pennsylvania and earned a BS at the University of Pittsburgh.  He currently works as a writer, computer consultant, and full-time father in central Ohio.  Over the past twenty-five years or so, he has had poems and stories published in various literary magazines including Ship of Fools, Lullaby Hearse, The Wisconsin Review, Lullwater Review, Skylark, frisson: disconcerting verse, Bitter Oleander, Nebo, Star*Line, The William and Mary Review, Small Pond, Abbey, New York Quarterly, and Confrontation.   proberts3@neo.rr.com

Yvette A. Schnoeker-Shorb (poetry) has appeared in Antithesis Common, Pinyon, Midwest Quarterly, LanguageandCulture.net, The Pedestal Magazine, Red River Review, Terrain.org: A Journal of the Built and Natural Environments, Wild Violet, Broken Bridge Review, Hawai'i Pacific Review, Foliate Oak, Karamu, Entelechy: Mind & Culture, and many other print and online journals.  She is co-editor of the Sustainable Ways Newsletter for Prescott College, co-founder of Native West Press, and holds an interdisciplinary MA.  nativewestpres@cableone.net

Peter Schwartz (art) has hundreds of publishing's in the mediums of art, poetry and fiction.  He considers himself a painter first and foremost though and devotes most of his time to the visual arts.  He is the associate art editor of Mad Hatters' Review and is currently preparing paintings for an exhibit at the Amsterdam Whitney Gallery in Chelsea NYC.  pupil@watchtheeye.com

Iolanda Scripca
(poetry and prose) lived in Eastern Europe for the first 20 years of her life, in a loving family.  Her mom was a teacher and high school principal and her dad a published writer, poet and TV producer.  She is a graduate of Foreign Languages and Literatures from the University of Bucharest.  Nowadays she enjoys Southern California and possesses a CA Teaching Credential.  Ms. Scripca publishes in several Romanian-American Newspapers both in Romanian and English.  She is  married to Ron;  they own a business and enjoy traveling to exotic places.  Scripca@aol.com

Sam Silva
(poetry) has had numerous poems and short stories published both online and in print, including Blue Magazine, Ink Blots, Neiderngarse, Adirondak, Poetry Down Under, Poetry Super Highway and Hippie Land Mag.   samsilva54@nc.rr.com

Felino Soriano  (poetry) lives in California where he is employed as a behavioral assistant; he is also currently studying philosophy.  Through his occupation, he is able to counsel, care for and learn from developmentally disabled adults.  Classic and avant-garde jazz are muses.  His poetry has appeared or is forthcoming in several online journals including Blaze VOX, Ygdrasil, Bergen Street Review, Houston Literary Review, Persistent Mirage, among others.  felinosoriano@gmail.com

Davide Traime
(poetry) is an Italian teacher of English, born and living in Venice, Italy; writing poems exclusively in English since 1993, they have been published in around two hundred literary magazines since 1999, in U.K, U.S. and elsewhere.  His poetry collection, “Re-Emerging”, was published as an on-line book by www.gattopublishing.com in 2006.

George Trialonis
(poetry) is a translator / interpreter who lives and works on the island of Crete, Greece.  A short story and a poem by the same appeared in ken*again during 2006.  Other short stories and poems appeared in “toowrite.com” competition (shortlisted) and in “Thanal Online”, respectively.   gtrialonis@gmail.com    lbo@otenet.gr

Saskia van der Linden
(prose) was born (and bored) in 1969 in Delft, The Netherlands.  She has an MA in Dutch Language and Literature from the University of Leiden.  In 1997 she moved to England, where she worked as an Administrator for a well-known charity.  She has moved back to The Netherlands and is now residing in DELFT.  Other publications include "No. 3840251"' (BBC Nottingham, website 2001), "Groupie" (The Affectionate Punch 2002) and "Footsteps" (Alien Skin Magazine 2003).   She is the author of the novel, Stockholm Syndromesrvdl@hotmail.com

B. A. Van Sise (photography), in the search for good images, has trekked across four continents, gone under the sea, flown in hundred year old biplanes (with wings barely attached,) and lived in the rainforest.

Originally a photojournalist, his work has been published in New York Newsday, The London Daily Mirror, the New York Times, the Philadelphia Enquirer, and about a bajillion protestors' t-shirts without his permission.  As an accomplished restaurant and food photographer, he has done more than a thousand restaurant assignments for AOL CityGuide, as well as frequent freelance contributions to Sherpa City GuideOn The Inside, and TheNibble.com .

His editorial shooting has included work for the Alvin Ailey American Dance Theater, Suicide Girls, The Daimler Chrysler Corporation, Fifth Column LLC,  Table 34 Productions and more bands' album covers than he cares to recall, largely for the New York City-based labels.

His work has been featured in the 2004 Whitney Biennial in New York, as well as the Wattis Museum for Contemporary Art in San Francisco and galleries in Vancouver and Palm Springs.

He is a graduate of the Eddie Adams Workshop, where editors from Sports Illustrated, the Washington Post, National Geographic and others selected him as one of the nation's top 100 young photojournalists,  and is a past University of Missouri/National Press Photographer's Association College Photographer of the Year Silver Award Winner. 
brian@vansisephoto.com

Joseph Veronneau (poetry) has had poems appear or forthcoming in the following publications:  Chiron ReviewLily, Chantarelle's Notebook, and many others.  He also runs Scintillating Publications, a chapbook publishing press.
Mustiis@aol.com

Kelley Jean White 
(poetry) was born and raised in New Hampshire, has degrees from Dartmouth College and Harvard Medical School, and has been a pediatrician in inner-city Philadelphia for the past twenty years.  She has nearly 2,000 poems accepted or published by more than 350 journals including American Writing, The Café Review, Chiron Review, Feminist Studies, The Larcom Review, Minnesota Review, Nimrod, Poet Lore, Rattle, and Whiskey Island Magazine, as well as several chapbooks and full-length collections of poetry:  The Patient Presents I am going to walk toward the sanctuary (Via Dolorosa Press), At the Monkey-Feast Table (Zebook Company),  Late (The People's Press) and Against Medical Advice (Puddinghouse Publications.)  Ms. White received a Pushcart nomination for an experimental piece (from Gravity Presses) in 2000, her first year of submission,  and again in 2002.  She has read her work throughout the Philadelphia area and in Delaware, New Hampshire, New Jersey and New York and is a featured reader during the 2004-2005 Free Library of Philadelphia reading series.  She has been identified as a "Peace Poet," reflecting her active membership in the Religious Society of Friends (Quakers) and for involvement with Poets for Peace locally, nationally, and internationally.  Her book, A Gilford Offering, was published in October 2004.   kelleywhitemd@yahoo.com 

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Not finding you   Saskia van der Linden
Coma
  
Diane Andrews
Thinking About The Night of My Conception
  
Rob Plath
From The Window of My Hotel   Iolanda Scripca
Memory and a Restaurant in San José  Louisa Howerow

Turkish Taksi  Quentin Poulsen
The Jazz Musician
 
Anne Cammon
Him with His Heart in His Head 
T. R. Healy
Officer Dan, The Drug Awareness Man!
 
Joe Reese

 

 

 

 

Not finding you                                                                                        

by Saskia van der Linden

                                                      

ad this been a film, I’d have seen you at once.  Extreme close-up:  my finger on the green button that opens the door to the park.  Long shot:  my leaving my bike at the entrance.  Slow shot:  my walking down the narrow stone path.

Depending on the kind of film, the camera’d now zoom in on my skirt and boots, on the rose in my hand or on the look on my face.

I don’t find you there.  This is not a film.  This is the lowest kind of reality, in which I have to knock on a wooden door to speak to the porter.  In his small office he looks you up in the database.  He gets me a number that he writes down on a yellow post-it note:  11691.

I walk back, I walk on, I walk backwards and forwards, but I can’t trace the number back to you.

Once I think I spot you in an especially festive corner, full of colourful decorations.  That would have been your kind of place.  But it’s full of children instead.

Again I knock on the wooden door.  The porter, annoyed now, takes big steps to show me the way.  I can hardly keep up on these heels.

11800 is the lowest number he can find.  He’s no longer annoyed with me, he now mutters, "I’m so sorry..."

I’d read about other people who didn’t make it in time to see another person alive.  But I was never prepared to be too late for a grave visit.

With those big steps of his he’s worked out where your stone used to be.  "The bones are still down there, but the stones have been removed and destroyed ages ago."

It’s not for you but for these words that tears start streaming down my face.  Ten years at the most, and then they dig you up to make place for others; but maybe if I mark this piece of soil with my rose, they’ll leave you alone just a little bit longer.

 


                                                                                                        
                                                                                                         
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Coma                                                                                  

by Diane Andrews


May 14, 2006 9:30 A.M.

hen Douglas Craig took a breath it sounded like a bagpipe bellows being filled..  The inspiration and expiration was monitored by a 240 volt current, myriad confusing dials and switches.  A thin line blipped from left to right on a screen above his head like the machine at the seismic institute—each labored breath a small earthquake.

Beside the bed a figure looking a bit like Gollum in a black dress but with a little more hair pleaded with Douglas Craig’s body to make a sign of life.  Her arms played a game of charades—a rosarian attitude, fingers the stones.  She nibbled till they bled.

A string of words lengthening into a sentence—a life sentence—bored into Douglas Craig’s head like a shot.  His wife raised her eyes but nothing registered.  If anything the idea that nestled in her mind, formed from some vague sounds emitting from a doctor's mouth, gave her slight respite.  The bed was abeam of the nurse’s station, in earshot of the conversation.

“Nurse Reilly, the plug must be pulled.  It is time to end it.  There is no hope.  We need the bed.  After she leaves…we’ll do the deed.”

“Should I get a priest?  I know he can’t speak but his rites can be read,” to which the doctor said yes.

Douglas Craig’s wife stood up and turned to leave.  Color returned to her face.  It was as if she knew life was about to start, for her.  She would be put out of her misery just as her husband would be.  At that moment Douglas Craig sat up.  His eyes opened with the sound of a bat in the night.  He looked at his wife.  She screamed and cried.  The nurse came running, hoping the deed had been perpetrated by itself.

“My god!  My darling!  You’re awake.  I never thought… Six months ago… An accident at work … The scaffold… Oh my god?”

“No!  It was a few seconds ago.”  The living corpse spoke, “…in Lake Street.  I was on my way to my wife—just nipped out from the Tower and across the street.”

She was about to protest.  The nurse suppressed her words with a hand on her shoulder.  He worked at the slipway, on boats, had slipped off a scaffold and nearly died.  He hadn’t breathed by himself in six months.

***

May 14th 2006 9.35am

Craig Douglas woke beside his new bride.  His hard lips tasted the sweet skin of her cheeks.  They moved down her long neck.  Tingles brushed on the gentle hills and valleys of her naked form, which made her squeal.  He knew he had to get up, a few things to do at the office and then it was off to Greece for their honeymoon.  He pressed his wife's stomach, imaging a child might already be nestling in its warm folds.

He ran from the apartment on Abbott St—decided not to take the car.  He was, after all only going around the corner to the Tower on Lake.

It took him a few minutes to leave a note for his secretary.  It was something he'd stupidly forgotten to do before the wedding.  He stepped out of the lift.  In front of him he saw only his tall beautiful wife.  He sprinted with joy onto the pavement.

Dark blue surrounded him.  Something swooped along the street on his left and lunged at him.  He leapt away but the monster struck out.  An onlooker later told the police it made a sound like a sonic boon she'd once heard at an air show.  A man in the next street thought it was the windows in the Tower shattering.  Craig Douglas' new bride found out it was her husband's head cracking.  She passed a lady in the hallway as she went to see him in the hospital.

She had a big grin on her face, “I've had wonderful news,” she muttered under her breath, then she stopped as she saw the tall girl crying, looking like Gollum, trudging towards the ward she'd just left. “Oh, what is it?”

“A coma... my husband...” the girl whispered as she brushed past, not hearing the words of comfort, that it could be overcome.


                                                                                                         

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Thinking About The Night Of My Conception                           

by Rob Plath

                                                                         

t would have had to have been in late May, 1969, springtime in Brooklyn.  Maybe my father had just dropped off my grandmother (his mother) on Cornelia St. after she babysat the children while my mother and father were at Hong Fat’s in Chinatown.  My father devouring several appetizers half drunk on wine, and my mother tipsy after one mixed drink stirring it with her finger, giggling.

Them arriving back home at 11:30, and my two brothers and sister asleep in the old railroad apartment.  My grandmother’s cloud of cigarette smoke still hanging in the living room while the television is still playing the news a report on Vietnam.  My father pinches my mother while she fills the percolator’s metal basket.  They’re a long way from any war.

Maybe Bobby Darin’s Beyond the Sea is on the small radio in the kitchen.  My father is smoking a cigarette.  He is happy even though he had to walk five blocks after he parked the car on Woodbine.  His heart is strong, his lungs powerful

He is thirty two, a father of three, soon to be four .  He is husband and the boss of my mother.  My mother’s father dead 7 years.  Beautiful thirty-two year-old half-orphan who used to dream as a little girl of being a nun, now a wife, mother of three.  She looks like a young Elizabeth Taylor with her dark eye liner and little black dress.

My parents, two half-orphans,  talk small talk in the little kitchen, maybe about renting a cabin in the Catskills in July, their personal tragedies locked in their young bodies, pushed far down by a springtime lightness, a long life ahead.  In three years they’ll buy a house in the suburbs, but for now though, it’s Brooklyn.  This is where they were born, where their grandparents grew up, raised children, worked jobs.  But now the power base is slowly shifting to them , they are ones who run the holidays, raise the children, bury the old.

They fall down kissing on top of the covers on their queen sized bed, my father smelling of wine and cigarettes, unzipping his chinos with one hand and my mother with her skirt fallen back above her lean thighs.  They grew up a block away from each other, met at 15.  My father enters my mother.  This is the year we put men on the moon.  He lasts ten minutes, a few quick spasms and then he exhales only once in a manly way, slightly distant and semi-low.  My mother moans and says her husband’s name, his sperm are warring down paths to the egg, the last child set in motion.  This will be one of the last times they make love so openly and defenselessly.

 

 



                                                                                                        
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 From The Window of My Hotel          

by Iolanda Scripca 



heavy darkness opened my eyes.  I didn’t know where I was but for sure I was not at home.  My mouth and my soul were dry and the fear of the recent flight gave me waves of chills continuously.

I stood up touching the coolness and the warmth:  the floor tile and my husband’s chest.

I felt secure and decided to head towards … the window of my hotel.

Seconds seemed an eternity…voices from the past were sending me back to bed to lay down, quietly, with my hands on my chest.  Life’s curiosity was pushing me forward, giggling playfully as the corners of my mouth had the tendency of forming upright arches.

“Dusa, what time is it?”

…and I opened the curtains of the window of my hotel:  The Caribbean Sea!

The turquoise of the water flooded my lungs, the sky of a pale violet played tricks on my imagination while the white of the sand rinsed my retina.

So that’s what Heaven On Earth looks like!

Infinity messed up my hair while hot kisses overwhelmed me with the evaporated humidity of the sea lips.  For sure my Dad and Mom were there, with me, embodied in those superb forms of Nature.

The Caribbean Sea was holding me in its palms, like a spoiled little kid, protected from all the Evil in the world.

“Let’s go snorkeling, Dusa!”

We left together—my husband and I—to become one with the innocence of the sea waves, to say “Hello” to the rainbows of fishes and, for the very first time, to have the illusion of breathing through my own gills.  Today, yesterday and tomorrow ceased to exist, eardrums became grandfather clocks of the underwater eternity while the violet clouds were bullfighting with swords of fire above The Heaven on Earth.

“ Please take off your shoes!  Excuse me!?!  Take off your shoes!”

I took off my shoes and gave them to be checked for hazardous materials in the airport.

“ You know, Madam, we need to do that.  It’s a safety issue…after 9/11”

I grabbed my sandals off the conveyor belt of the X-Ray machine but it was too late…I already had fins…

I put the white sand back in the pocket of my soul, I placed the shells of the past echoes safely, among my clothes so they wouldn’t break and, I admit, stole a little turquoise from the Caribbean Sea so I can flood my memory with a little Eternity.

“ Hurry, it’s time to get in!”

I closed my luggage sighing deeply and proceeded through the tunnel back to Reality.

 

 



                                                                                                        
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Memory and a Restaurant in San Jose                           


by Louisa Howerow



his is what I remember:

We were celebrating our last night in San Jose.  The restaurant, located down the street from a Japanese car dealership, had an extensive wine list and an imaginative menu.  The waiters, dressed in black and white, were efficient and courteous.  We chose a fine red Rioja and a first course vegetarian dish, a bread dough basket filled with colourful and varied vegetables.  We drank and ate well—not better than we had in the last three weeks, but certainly more expensively.


This is what I do not wish to remember:

Except for the couple who entered after we were seated, we had the restaurant to ourselves.  The man was compact, with a small moustache.  He moved with assurance, found his own table, greeted the head waiter by name and ordered without looking at the menu.  The woman was much younger.  She was tall, very thin and black.  The waiter brought her a salad which she proceeded to quietly push around the plate with her fork.

All this time the man had not addressed the woman and she had not spoken to him.  His cell phone rang and he proceeded to answer it.  My Spanish is rudimentary, but even I could guess that the phone call was of an intimate nature and not a business call.  He talked for what seemed to be a long time, never hurrying the conversation.  When it was over and my second course arrived, he motioned to his companion and she placed her fork on the greens, got up and followed him out the door.


This is what I remember and what my husband has chosen to forget:

I asked my husband what he thought about the two, if anything.  He told me the man was lucky.  When I presented my position that perhaps this was a case of exploitation, he told me I shouldn't assume.  How would you label this relationship, I persisted.  I wouldn't, he said.  He looks like a lucky man.

He had his own thoughts on the subject and that they were decidedly different from mine.


This is what my friends wish I would remember:

I have tried telling my friends this story.  They want to know the name of the restaurant and whether I would recommend it.  The address, too, is important.  They plan on passing this information to their colleagues at work.

I carry the girl, the man and my husband in my story.  My friends are not interested in shouldering any of it.  Who's to say what exploitation is or isn't, they say.  Our lives are hard enough.  Who's to say they are wrong?

 

 


                                                                                                      
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Turkish Taksi                                                                                                   

 by Quentin Poulsen



slid gratefully into the warm interior of the taxi and pulled the door closed with a muffled clump.  It had taken ten minutes to flag one down.  Normally they came in swarms, cutting each other off to get to you first.  But on rainy days the tables were turned, and when it rained during Ramadan, you might be lucky to get one at all.

"Merhaba," I greeted the driver.  "Taksim, lutfen.  Karmashik Sokak."

The driver nodded in assent.  He seemed a respectable sort, middle-aged with streaks of silver in his hair and crows-feet forming at his eyes.  He was attired in a chequered sports jacket and dark green polo-neck.  I relaxed a little in my seat.  You never knew what you were going to get with these taxis.  I had been fortunate with the vehicle too, a late-model Renault with smooth suspension and a barely audible engine.  Hot air swirled around my damp legs as we waited at the traffic lights.

"So, my friend," the driver smiled at me, "Where are you from?"

"Denmark," I told him.  "But it's okay.  I can speak English."

The driver was visibly put out, having no doubt anticipated 'America' or 'Britain' as the response, and having some oft-used follow-up at the ready.

I stared out the window at the blurred forms of the office blocks.  Suit-clad figures hurried back and forth.  A cream Mercedes with tinted windows moved up beside us, tires swishing over the wet tar-seal. 

"Earopean Onion, yes?" he enquired gruffly, finding his feet again.  "And what do you think about Turkey entering to EU?"

"Why not?" I replied diplomatically.

He leaned toward me, smiling with his wizened eyes.  "Turkish people very friendly, yes?"

Before I had chance to answer, the lights changed and, amid an orchestra of blaring horns, the Renault surged forth, dodging through the lanes, cutting off rivals and sending tardy pedestrians scrambling for cover.  Eventually we emerged from the pack and raced along at breakneck speed.  I glanced anxiously at the driver and tightened my seat-belt.

"Very friendly, yes?" he picked up where he had left off a few minutes before.  "It is our culture.  Hospitality—very important."

He lit a cigarette as we swerved around a bend.  Even at this velocity we were overtaken by a dolmush, the big yellow taxi-van rounding the curve like a Ferrari.  Another intersection and the lights changed from amber to red as we sped through it.  The driver flashed his headlights at the encroaching cross-traffic, and they duly made way for him.  That was something, I thought.  Most places I knew they would have blasted their horns in anger.  Here at least they all seemed to work together.

"You like cigarette?"

I declined the pack he thrust beneath my nose.  The cab was already full enough of smoke, and I would have preferred him to concentrate on the driving.  Even as he tucked the cigarettes back inside his chequered jacket he was forced to brake for an old woman in a shawl and headscarf.  She was halfway across the road, a veritable mound of cloth with a cane, and showed no sign of hurrying to get out of his way.

Approaching Taksim the traffic got heavier and the rain fell harder.  The driver worked his horn like it were a part of the machinery that made his vehicle run.

"Baaah! Taksim!" he exclaimed, throwing his arms up in the air.  "Every time problem!"

I gazed ahead in silence as his ranting grew more vehement.  A bus had got caught in the intersection and was impeding our progress, though the lights were green.  The driver switched back to Turkish, possibly to avoid offending me, though more likely because he lacked a sufficient repertoire of English swear words for the purpose.  Either way, his entire manner had become decidedly intimidating.

He threw himself about in his seat, peering out each of the windows in turn, a trapped animal in search of an escape route.  Then abruptly he began to back the Renault up, and before I had time to protest we were hurtling down some narrow, bumpy side-street, forcing startled pedestrians to leap onto the sidewalk.

"No, no, no..."  I muttered under my breath.

A Turkish taxi driver's detour invariably takes twice as long as the orthodox route, even allowing for the traffic.  But it keeps the meter ticking over at a rate more to his liking, and my fare was about to be doubled.

On this occasion, however, we were in for further difficulty.  The alternative road the driver had sought was cordoned off for reconstruction.  A little beyond the orange cones was the bizarre spectacle of a beefy police officer screaming at the top of his lungs into the open window of another taxi which had evidently progressed too far, knocking one of the cones over.  So fearsome was the cop's demeanour I half-expected the taxi driver to get out and rumble with him, knowing how ill-tempered some of these drivers were themselves.  But the cop had a gun in his holster and the law on his side, and the driver did not emerge from his cab as the tongue-lashing continued.

My driver, meanwhile, backed up again and resumed ranting.  "Taksim! Taksim!  Her kes Taksim'e gidiyor!" 

I understood enough to know he was angry with me for wanting to go to Taksim.  Ludicrous as that was, I kept quiet.  Arguing the point would have antagonised him more.

We drove around the side-streets for a while, the driver pausing from his tirade only to light another cigarette.  He reached a crescendo when we turned a corner and found ourselves behind a hand-drawn junk-cart.  It was several minutes before he was able to negotiate his way past it.

When finally we emerged back onto the main road we had been on earlier, we were a mere two blocks on, but with an extra three-and-a-half lira on the meter.  A crowded bus which had been behind us was now waiting at an intersection a hundred metres or so ahead.  Once through that, I observed, it would be into free-flowing traffic.  I shook my head in disbelief.

But worse was to come.  The driver now decided this predicament was not to his liking either and began to back up again.

"No!  Hayir!"  I shouted.  "Just stay on this road."

"Allahallah!" he growled, and continued reversing.  "Taksim! Taksim! Her zaman chok trafik!"

"Hayir!  Stay on this road or let me out now."  I gripped the door handle to ensure he understood my intentions.

At this he slammed on the brakes and thrust out his hand.  "Eight lira!" he demanded, though the meter showed 7:10.

"I'm not paying.  You haven't taken me where I want to go."

His dark eyes bulged menacingly. "Polis!"

It was almost comical.  Having broken at least half a dozen traffic rules on the journey thus far, he was now threatening ME with the law.

"Oh, Polis?" I scoffed.

He glowered back at me with the self-righteous indignation of a head-mistress.  "Polis!" he thundered, as though expecting the word to reduce me to a quivering mound of jelly.

"Yes!  Police!"  I nodded animatedly.  "Chok iyi.  Take me to polis."

Seeing that he had no intention of doing so, I opened the door to get out.  In the process I was dealt a heavy blow to the back, right between the shoulder blades.  I spun around and swore at him in Danish.  Though even in my anger I felt a twinge of apprehension as his own door clicked open.  He was a burly fellow and evidently volatile.  I had no intention of backing down, when I was in the right, but neither did I fancy the prospect of it coming to blows.  It was to my relief, therefore, that he appeared to think better of it, slammed his door closed again, and roared off down the side-street.

I stood there on the crowded sidewalk shaking, and not just from the cold.  The rain poured down with increased intensity.  The noise of the traffic was a river swishing slowly by.  The rancid exhaust fumes formed visible clouds in the frigid air.  There was not a vacant taxi in sight.

Then it seemed I was in luck.  An occupied taxi had stopped up ahead to unload its passengers.  I hurried over and waited beside it while they paid the driver and got out.

"Taksim," I said, clambering into the back seat.  "Karmashik Sokak, lutfen."

The driver's eyes fixed me in the rear vision mirror.  "Hayir, Taksim'e deyil," he said, shaking his head gravely.  "Chok trafik.  Prob-lem."
 
My heart sank as I observed the finality in his tone.  Was I going to get to Taksim at all?  I climbed back out and blinked disconsolately around in the rain.  What to do?  Take a bus?  That would only get me to Taksim Square, half the remaining distance.  But it would get me through the worst of the traffic, and I ought then to be able to complete the journey by taxi.

The first bus that came along was so packed I thought I'd have no chance of getting on.  But I was able to gain the boarding steps, and there I remained when the door hissed closed behind me.  Twenty minutes later I stepped gingerly out at Taksim Square.  Even in this weather the place was a hive of activity; crowds swarming in and out of the metro in their raincoats and shapkas, a veritable sea of umbrellas progressing up and down Istiklal, blue-uniformed policemen milling about their armoured trucks and patrol cars, shoe-shiners huddling beneath the overhanging roofs of the flower stalls.  And amid the teeming traffic it was not difficult to locate a vacant taxi, albeit an old Toyota with various dings and scrapes on its panels.

I got in beside the driver, a bent old man with white whiskers and a crescent of white hair around his bald pate.  He looked too frail to be working these chaotic streets, and should have been enjoying his retirement somewhere on the Mediterranean coast, I thought.  Only the tips of his nicotine-stained fingers protruded from the sleeves of the tattered coat he wore.  Drowsy Turkish folk music crackled out of the radio.

"Iyi gunlar.  Karmashik Sokak, lutfen."

He squinted at me with watery brown eyes in that expression of acquiescence peculiar to the Turks.  Then, with startling alacrity, he swerved out into the traffic and put his foot to the floor.  It was at this point I discovered my seat-belt did not work.

"No prob-lem.  No prob-lem," he assured me with a toothless smile.

I stared back at him in horror.  "Yes problem!  Istanbul traffic crazy.  Seat-belt very important."

He waved his hand dismissively.  "Amerikalimisiniz?"

"Hayir. Danimarkaliyim."

"Danimarkali?"  He raised his eyebrows in interest, then proceeded to ask me in Turkish the same questions his predecessor had asked me in English.  Did I think Turkey would join the EU?  Did I agree that Turkish people were very friendly?

The motor droned, the chassis shook and vibrated ceaselessly.  Every bump seemed like a speed bar, every pothole a crater.  The old driver refused to put the wipers on automatic, preferring instead to flick the switch himself every now and then, so that we spent more time peering through a rain-blurred windscreen than we did through a clear one.

Before I realised it we had passed my turn-off.  I explained this to the driver with some irritation, and demanded he turn around at the next opportunity.  But that did not occur for another half-a-kilometre or so.

Rather than driving back along the main road, however, the driver took us directly into the myriad of side-streets.  He seemed to know what he was doing, so I left him to it as we bumped and rattled along the little alleyways.  Then the driver stopped the car and stared wildly at me.

"Nerede?"

"You're asking ME where?  You're the taxi driver!  Don't you have a map?"

He gave an exaggerated shrug to show he did not understand me, and my best efforts to communicate with him in Turkish were greeted by the same gesture.

Another car swung into the alley and the old man was forced to back up to let it pass.  Before it did so, he wound down his window and engaged its driver in discussion.

"Karmashik, Karmashik," he repeated several times while they spoke.

The middle-aged, mustachioed occupant of the other vehicle scratched his chin thoughtfully and babbled in a tone which was not entirely reassuring.  The upshot was that we continued down the alley we were on, then turned left into a street literally swarming with cats.  One of the ground-floor apartments was evidently the back of a fish market, for two middle-aged men were gutting fish in the doorway and tossing the scraps to the mangy felines.

Another block on and the driver turned right, at which point we found ourselves on the edge of a busy market place, and no amount of animated horn-blasting on the part of the driver would open a path through the throng.  But two things served to cheer me; firstly, the rain had eased considerably, and secondly, one of the minarets of the Green Mosque was visible beyond the buildings up ahead.  I had my bearings and could walk it from here in ten minutes.  When I told the driver my intentions he demanded the fare.

"I'm not paying.  You haven't taken me where I wanted to go."

"Four lira and eighty-five," he repeated, this time in English.  The frightened rabbit look in his watery eyes had given way to dogged resolution.  Next thing he was shouting at me and thumping his dashboard.  But I figured I was safe this time and would not be assaulted as I made my escape from the taxi.

No sooner had I got out than I was confronted by a broad-shouldered youth in a heavy black overcoat.  "Hey, Yabanci," he said, stepping into my path.  "Why don't you pay my friend here?"

It irked to be addressed as a foreigner by this stranger and I told him to mind his own business.

He calmly reached inside his overcoat and, with a vague smile, produced a 'Polis' badge.  "Pay!" he barked into my face, and pointed to the driver.

It tested the limits of my self-control to refrain from arguing with this fresh-faced cop, perhaps half my age.  But, of course, I did as he ordered.

"Here," I snapped at the driver, handing him a twenty lira bill.

He