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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


The Dead Are Without Friends  Luis Cuauhtemoc Berriozabal
Say What?  Luis Cuauhtemoc Berriozabal
The South China Sea  Patrick Pomeroy
Summer of 1990  Patrick Pomeroy
An Aging North Eastern Bluff On An Island In The Atlantic   Patrick Pomeroy
The Psychiatrist  Rebecca Lu Kiernan
Dog's body  Nicky Marsh
Melancholy  Jeff Foster
Afterlife   Jeff Foster
Water Stain  Jeff Foster
the cairngod  Radu Dima
the idea of north  Radu Dima
through the woods  Radu Dima
Shampooey!  Scott Malby
Short Pieces  Kelley Jean White
Depth Gauging  Kimberly L. Becker
The Girl in Formaldehyde  Kimberly L. Becker
Sixteen  Kimberly L. Becker
Jumbo Plastic Baby Face  Corey Cook
Mud Season  Corey Cook
What I Would Like to Say to My Uncle  Corey Cook
Even in Bliss  
William C. Houze
Translating a Lake  Emma Leavey
In Alonei Abba  Emma Leavey
Grandmother Crone  Emma Leavey
Something Different  Aurora Antonovic
Adding "Blur" To A Snapshot  Maurice Oliver
12 Stanzas In A Taxi  Maurice Oliver
A Bobby Pin & An Electric Socket  Maurice Oliver
"Skip #73" Sonnet  Maurice Oliver
Ignoring The Super-Crazy-Ultra-Wide  Maurice Oliver
V. A. Case 45789AA  Robert L. Harrison
Crossing Over  Robert L. Harrison
Smoke  Joseph Lewis
Clouds  Joseph Lewis
Dust Devil  Pete Lee
Soularoid  Pete Lee
The Unrealist  Pete Lee
Loops  Howard Good
The Roofers  Howard Good
Litany  Howard Good

Prose      

The Last Party  Jack Swenson
The Language of Flowers   Alice Folkart
Some Things My Sister Left Behind  Lockie Hunter
Days Like This  Eric D. Lehman  
Hard Break  Will Orr-Ewing  
Homebrew   Saro Bedian
Hitching to London   Steve Wheeler

Serial 

The Fall of a Hunter  Dipita Kwa 

Art

Faucet  Carolyn Schlam
Sleep Tight  Carolyn Schlam
The Stargazer  Carolyn Schlam
Woman in a Box  Carolyn Schlam
Hidden Value  Amy Chace and Paul Benincasa
Carla the Seer  Amy Chace and Paul Benincasa
A Lost King  Jeremiah Stansbury
Life on Earth  Jeremiah Stansbury
The Jazz Solo  Jeremiah Stansbury
Phonographt  Michael Szewczyk
Bloody Nose  Michael Szewczyk
Watering Hole  K. G. Weiss

And another thing... 

Sting of the Be; beyond the postmodern aesthetic   Scott Malby


 

CONTRIBUTORS

 


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 recently appeared in Sidewalk's End, Reflections Journal, Poet's Pen, and Poetic Voices, where she was the featured poet for the month of May.  She is slated to appear in other publications later this year.   aurora_antonovic@yahoo.com

Kimberly L. Becker 
(poetry) has recent or forthcoming poems in The Baltimore Review, Georgetown Review, The Healing Muse, South Carolina Review, Stone Table Review, storySouth, Westview and Words-Myth, among other journals.  She has also held a state grant (NJ) in fiction and her short fiction has appeared in Parting Gifts.  A native of the American South, she  lives with her family in the Washington, D.C. area.   malinoiskim38@yahoo.com

Saro Bedian (prose) is twenty four years old, has been to college for two years and has spent a few years working.  He has not left his parents house yet.  He lives in Connecticut near the Eugene O' Neil residence in New London, a few towns away.  His family is of pure Armenian descent and he has strong ties to his background.  Mr. Bedian is very interested in going back to see the old country and possibly live there, becoming an all-purpose artist.  He is a musician as well as a writer and enjoys other forms of art.   Bedian@hotmail.com

Paul Benincasa 
(art)
grew up in Queens, New York where his first exposure to art came from copying drawings from comic books.  “ I believe my love of the figure came from the highly stylized drawings of my favorite comic artists.  I got older and became more aware of illustrators working in comics which opened more avenues to fine art.”  In 1989 Paul was accepted to The School Of Visual Arts, where he majored in Illustration.  “I feel that at SVA I had the opportunity to learn from some of the greatest men and women in the field today.  The Instructors were very passionate about teaching and about art.”  The drawing technique that he uses is a direct result from his studies with Jack Endwelt, former chairman of the Illustration and Cartooning department.   “Jack was an amazing teacher;  he definitely pushed me and I have to say that I still hear his voice in my head. “  All his instructors had a lot to do with his development as an artist especially Glen Hansen, James Mcmullen, Garin Baker and Stan Martucci   In 1996 the artist began studying drawing at the Art Students League with Peter Cox.  “Peter’s class offered me a chance to just draw the figure and not worry about how perfect it had to be.”   With this in mind he came back to just studying the figure as almost an abstraction taking pieces of a larger image and concentrating on how light moves on the human body.  He believes that the beauty lies in the contrast between light and dark and he will play up that contrast wherever possible.     paulbenincasaart@hotmail.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.   Cuatemochi@aol.com

Amy Chace (art) is a NYC based freelance photographer.  She learned from the best, Mom and Dad.  She is intrigued by human interaction and mis-interaction.  Her work has been seen in Time Out New York, Girlfriends, GO, JestRockpile and others.   twinreflex@mac.com
 
Corey Cook (poetry) lives in Contoocook, NH with his wife and two cats.  His work is scheduled to appear in Ad Hoc Monadnock Online, Ceremony, Entelechy International, Eskimo Pie, Mobius, Nerve Cowboy, Parnassus Literary Journal and Pegasus.  He works at a not for profit and is
one of the editors of The Orange Room Review.   coreydcook@hotmail.com

Radu Dima (poetry) is from Romania, 19-years-old and a student of philosophy.  He has been writing poetry for a few years, both in English and Romanian, and after reading some of the major online poetry journals has decided to try his luck at being published.  dimaradu@gmail.com

Alice Folkart (prose) has few illusions, is over 60, married, and husband hasn't noticed that she writes.  She has been writing since she could and has lived in Los Angeles most of her life.  She cannot seem to achieve physical escape velocity; however, her mind and soul are still making attempts.  Ms. Folkart's poetry has appeared in Niederngasse—arginalia and will be appearing in the spring issue of Mindfire;  short stories have been published by Long Story Short, and Nights and Weekends

Jeff Foster (poetry) is influenced by Gustav Klimt and Hieronymus Bosch.  He tries to create nebulous pictures of spirituality with his art.  His work is currently in Tar Wolf Review and Steamticket.  Mr. Foster lives in Missouri with his wife Pam and teenager Kassie, where he runs his own cleaning business.  kas@asde.net

Howard Good (poetry) is a j
ournalism professor and the author of a poetry chapbook.  He has poems appearing now or soon in Lily, Armada, Remark, Eclectica, and Right Hand Pointing. howiebarbg@hotmail.com

Robert L. Harrison (poetry) earned a B.A. from Stony Brook University and an advanced study degree from Hofstra University in Instructional Communications.  Robert is a historian, as well as a playwright, poet and photographer.  He has researched and published articles on Long Island's historic past and has presented lectures on forgotten Long Islanders, the Island's baseball history, and presentations on Long Island poets.  Robert's plays "Bloom & O'Hara," "Confessions of a Shakespeare Addict" and "The Long Island Dead Poets Society" have all been presented on Long Island.  He has published over 400 poems in his own poetry books, as well as in magazines and literary journals.  In 1995, one of Robert's poems received a Grammy nomination in the spoken word category and he co-authored the children's book "Goblin Giggles" with Gene Fehler, published by Simon & Schuster.  Robert has served as the poetry judge for the Freeport Council of the Arts Celebration of Poetry contest for Nassau County high school students.  As a photographer, Robert has been written about in Newsday and the New York Times.  His photographs have been shown in more than 100 exhibits across Long Island.   Among his many photographic awards is a 2004 Folio Award from the Long Island Coalition for Fair Broadcasting and an Award of Excellence from the Art League of Long Island.  Robert was recently listed in Marquis Who's Who in America.   harrisonbd@hotmail.com

William C. Houze (poetry) living in Phoenix, is saving his money for life aboard a trawler out of Key West.  whouze54@hotmail.com

Lockie Hunter (poetry) is a long time resident of Appalachia and of San Francisco, and attends Boston's Emerson College where she is pursuing her MFA in creative writing.  Her fiction and essays have been published or are forthcoming in The Morning News, Southern Hum, The Emerson Review, Seattle Writergrrls and Muscadine Lines; a Southern Journal. Lockie_Hunter@emerson.edu

Rebecca Lu Kiernan (poetry) has published in MS Magazine, Asimov's Science Fiction and numerous books and magazines in the U.S. and Australia.  Her first poetry collection, "Sex With Trees..." was published by 2 River PressYgdrasil Press published her second collection, "The Man Who Remembered Too Much."  She was nominated for a Rhysling award for the cautionary tale, "When a Snake Bites You in the Ass."   She lives on the Gulf Coast.  geckogalpoet@hotmail.com

Dipita Kwa (serial) was born in Tiko, Republic of Cameroon, and raised in the village of Mondoni Native.  He received a B.Sc in Economics and is still dreaming of seeing his collection of eight short stories in print after successful online publications of three in the Crossing Borders Magazine and ken*again.   titann5@yahoo.com

Emma Leavy (poetry) is a Londoner living in Israel, where she teaches English.  Her current obsessions are Greek mythology, garage punk music and trying to be organized.  Emma has had poetry and short fiction published in Megaera, and poetry published in M.A.G, Poetry Super Highway, and The Rose & Thorn.   emmaleavey1@hotmail.com

Pete Lee (poetry) lives with his wife in Ridgecrest, California, a small town in the Mojave Desert midway between Mount Whitney and Death Valley.  His poetry has recently been published online at Armada, Perigee, Quill & Ink, and Right Hand Pointingpete.lee@mchsi.com

Eric D. Lehman (prose) is a Professor of English at the University of Bridgeport in Connecticut and has published travel stories, fiction, essays, and poetry in various journals, such as Hackwriters:  The International Writer’s Magazine, INK, Nature’s Wisdom, Niederngasse, Simply Haiku, Travelmag, Ultraverse, Bluegreenearth,and others.  elehman@bridgeport.edu

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

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

Nicky Marsh (poetry) is a young writer and poet from Bradford, UK.  She was the winner of the first Linghams Short Story Competition, and has had work published in The Cerebral Catalyst.  She appears in the anthology "Just a Kiss," November 2006.   nicky_marsh@hotmail.com

Maurice Oliver (poetry) returned to America in 1990 after spending almost a decade working as a freelance photographer in Europe . Then in 1995 he made a lifelong dream reality by traveling around the world for eight months, recording his experiences in a journal instead of taking pictures.  And so began his desire to be a poet.  His poetry has appeared in The Potomac Journal, Circle Magazine, The MAG, Tryst3 Journal, Eye-Shot, Pebble Lake Review, Megaera, The Surface, Wicked Alice, Word Riot, Taj Mahal Review (India), Stride Magazine (UK), Dandelion Magazine
(Canada), Retort Magazine (Australia), & online at unlikelystories.org, girlswithinsurance.com, subtletea.com, interpoetry.com (UK), kritya.in (India), & blueprintreview.de (Germany) and elsewhere. He lives in Portland, Oregon, where he is a private tutor.
mo97201@yahoo.com


Will Orr-Ewing
(prose) has just graduated from Oxford, and has moved to London in the hope of becoming a writer.  He does some tutoring to pay the bills and has had a few stories published in Oxford student magazines.  He is looking to gain wider notoriety through publication in e-zineswillorrewing@googlemail.com

Patrick Pomeroy (poetry) is 39 and has been writing since he was nine.  He lives in San Rafael, California.   patrick_pomeroy@yahoo.com

Carolyn Schlam (art) is a painter and glassmaker originally from New York and now living and working in Miami, Florida.  She's a graduate of Harpur College and studied art with Norman Raeben in Carnegie Hall and glassmaking at Urban Glass.  She works in oil, mixed media, collage, fused and cast glass and now combines glass with clay and metal.  She has a large body of diverse work and accepts commissions in glass and other media.  Ms. Schlam has a show of her sculpture at the Jacksonville Airport until January 31st.  Visit her website at carolynschlam.com.    carolynschlam@aol.com

Jeremiah Stansbury
(art) graduated with a Bachelor of Arts, Art History cum laude, from The College of Communication and Fine Arts, The University of Memphis,  in 2003.  He spent a semester at The School of Visual Arts in New York City (painting) and a semester at the Memphis College of Art (drawing, design).  His exhibitions in Memphis, TN include:  Art Show at St. Georges Elementary School, March 2002; “New Works on View” Midtown Artists Market, August 2002; “Oil Paintings by Jeremiah Stansbury”, D’Edge Art and Unique Treasures, February 2003; “A Fresh New Look”, Painted Planet Art Space, August 2003, Universal Art Gallery to present.  He won the Jim Blevins Foundation scholarship to study Art History at The University of Memphis:  January 2000-January 2003.  Mr. Stansbury spent time in Florence, Italy in 2003 while conducting a close study of sculpture relating to the human anatomy in an attempt to further develop his ideas concerning abstract painting.   jstansbury@midsouth.rr.com

Jack Swenson (prose) is a native of Minnesota who escaped and fled to sunny California.  His book of short short fiction, Menage a Trois will soon be available at Amazon.com.  His stories have appeared recently in Pindeldyboz and Underground Voices, and another will be in an upcoming issue of Noo Journal..

Michael Szewczyk (art) is a 33 year old visual artist, writer and musician.  He has been published in Say...Why Aren't We Crying (from Fortress of Words), on winamop.com (as THETEXTBEAK) and was almost nominated for a rhysling award for his poetry.  He resides in Ohio and writes weird electronic music.  His latest musical release is "Textbeak— The Thrush EP."  textbeak@yahoo.com

K. G. Weiss (art) is a self-taught Delaware Bay-based artist.  He has had many shows and exhibitions in New York, New Jersey and Pennsylvania.  The K. G. Weiss Gallery of Fine Art is located in Millville, New Jersey.   Rhythmstk@aol.com

Steve Wheeler (prose) is an Ottawa writer.  His stories can be seen on laurahird.com, thievesjargon.com, eclectica.org, dogmatika.com and others.  stevellie@hotmail.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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The Last Party   Jack Swenson
The Language of Flowers  
Alice Folkart
Some Things My Sister Left Behind   Lockie Hunter
Days Like This   Eric D. Lehman

Hard Break   Will Orr-Ewing
Homebrew
  
Saro Bedian
Hitching to London  
Steve Wheeler.

 


 

 

 

 

The Last Party                                               

by Jack Swenson 

                                                      
   
hen they wound their way up the hill through the pine trees and saw the house, Jack told his wife that it reminded him of The Big Chill.  The stately old house, with porches running the entire length of both floors in front, had the look of a southern mansion.  The grounds were extensive.  There was a small structure called the tea house halfway down the hill, a small enclosure with a larger corral for the cows, a chicken house and pen off to one side.  The house itself, though imposing at first glance, was not very large.  There were only two bedrooms.

The greeting given them by their host and hostess was warm but solemn.  They were there for a party, but it was an occasion that was bittersweet, one last party, a fitting sendoff for their dead friend.

Mark died from a heart attack, not by his own hand.  So there was not that additional tragedy to their gathering.  He died of what Hal, a doctor, referred to as a myocardial infarction, the kind of event that is often accompanied by the adjective "massive" when the sad news is given out.  In other words, their friend had died, and they had been invited by other friends, Bill and Janey, to a party in Mark's honor at their retirement home on Gull Lake.  One last party.  For a man who dearly loved to party.  But didn't they all?  And hadn't they done so, year after year, until over time most of them simply ran out of steam?

Janey ushered them into the house and into the living room.  Bev and Skip were sitting on the couch.  Bev got up, wrapped her arms around Jack, and whispered in his ear.  Jack shook hands with Skip, then he introduced his wife Katie to both of them.  "Watch that guy," Jack said to Katie.  "He's a child molester."  Skip grinned his most lascivious grin.

Paul was there, Shorty and Liz, too, and Alice Kirkwood who had hopped on a plane in Boston to be there.  So were the contingent of widows, Inga, Mary Lou, and Lindy.

The wine was in the kitchen, Janey announced.  The beer was in the refrigerator, she said.  Help yourself.  There were soft drinks, too.  Jack got a Coke and brought a glass of red wine back for Katie.  He wandered up to Paul who was looking out the window and grinning his crooked grin.  He hadn't seen his old roommate for forty years.  "Talk to me," Paul said.  They talked.  The forty years melted away.  It was as if they picked up their last conversation where they had left it.  "What are you reading these days?" Paul asked.  Since he had retired, he had become a real couch potato, he said.  All he did was sleep, eat, and read.

After dinner, Jack stood up to deliver a more-or-less impromptu eulogy.  Janey had asked him to get the ball rolling only an hour or so earlier.  They would all chime in later with their favorite Mark stories, she said.  Jack recalled the time that he and Mark got pulled over by a cop after drinking beer for about six hours in a bar waiting for Chet Baker to show up.  The trumpeter finally made it, drunk and stoned, and several hours late.  He and Mark weren't in the best of shape either, when they left the bar, Jack said.  The cop decided that Jack was too drunk to drive, so he told him to change places with Mark.  Mark opened the door on the passenger side and fell out onto the roadway.  He picked himself up, walked around the car, got in, and they drove away.  The cop just stood there shaking his head.

You could get away with stuff like that in the old days, Jack said.

Later they all chimed in.  Someone told about the time that Mark "stole" a car, driving off in a car identical to his, and bringing it back the next day only to discover that his car was on the lawn in the backyard.  Inga remembered the weekend the whole gang had stayed at Lindy's parents' lake cottage, and Bill got mad at Milt and hitch-hiked home, a journey of some two-hundred miles, and was sitting on the front steps of their apartment when Skip got home.  Of course everybody laughed at Shorty remembering how he used to get red-faced drunk and shout at the top of his lungs, "Let's get drunk and BE somebody!"  The stories went on and on.

By ten o'clock, however, the first defectors began to leave.  Alice was staying in the spare bedroom; the rest had rooms in local motels.  Jack and Katie were staying in Nisswa, a few miles away.  The next day some more socializing was planned and a dinner in a local restaurant for those who could stay.  Jack said they had to get back to Minneapolis early because his son and his wife and daughter were flying in from Singapore that evening.

Bill was drunk, of course, but he was the only one.  Even Alice, whom Jack had suspected was a full-blown alcoholic, was sober.  She had nursed one glass of wine all evening.

How the mighty have fallen, thought Jack, and he and the other old codgers got into their cars and were spirited into the night.

Katie drove back to their motel.  She had fun, she said.  They minded their p's and q's picking their way back to the highway by reading Janey's directions backward.  When they were safely on their way, Katie asked Jack what Bev had whispered in his ear when they first arrived.  "Oh, she kidded me for robbing the cradle again," he said.  But that wasn't what she had actually said.  What she said was, "I'll never forget that night."  Jack hadn't forgotten it, either, but he wished he could.  It was a dumb thing to do.  Even if her husband didn't care.

 

 

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The Language of Flowers                              

by Alice Folkart 



was seventeen.  He was thirty, a poet who owned a very hip coffee house.  He'd hired me to wait tables, this was my second night, and now, at two a.m., after we'd locked up, he said, "Alice, you're so tense, you've got to relax.  Let me help you baby."

He led me to the back of the coffeehouse.

After his wife had thrown him out of their house, he'd moved into the store, curtained off a space, wedged in a narrow cot, painted the walls dark red, and hung mirrors and set candles everywhere.

"Lie down there, Alice," he whispered conspiratorially.  "You know, to make this therapy work, you should be naked, free of fetters."

I must have shown my surprise, because he added, "This is strictly clinical, honey.  I just want to help you.  Consider me as your therapist."

I'd never been to a therapist, nor to a doctor where I had to take off my clothes, but I was afraid he'd think me bourgeois and uptight, so I pretended nonchalance and stripped off my dress.  I lay down in my bra and panties.

"Ah, Alice," he sighed.  "You might as well stay dressed.  I can't help you like that."

I shivered, and took them off too, feeling skinned.  No one had seen me naked since I was three.  He smiled.

The deflowering was gentle and poetic.  I felt loved.  No one had ever loved me.  I wasn't alone anymore.  I left at dawn deliriously happy.  Vahan and me!  A man!  Who would have thought!

I stayed late the next two nights, and lay with him, imagining us married as soon as he got his divorce, running the coffee house, he writing poetry, becoming famous, me helping him, maybe writing too, la, la, la, la.

Saturday night, the biggest night of the week, the place was full.  Tips were generous.  We were busy.  Then, the twins came in, dark, willowy, self-assured, looking like a double vision of Audrey Hepburn.  I knew I was finished.  Vahan served them, gave them free éclairs, made himself a Viennese coffee, sat down with them.  I raced from table to table, burned myself with steam from the espresso machine, washed cups, and took orders while they sat and giggled.  The crowd dwindled, and Vahan came over to me.  "These girls need a lift home.  You close.  Go on home.  Don't wait for me."

I did anyway.  I sat and cried on the edge of 'our' bed until four a.m.  Then, I got the long, serrated, tomato-slicing knife from the kitchen and slit his sheets from top to bottom.  It didn't make me feel better. I walked home into the dawn.

He must have felt guilty.  Came all the way across town to my tiny apartment.  He knocked and knocked.  I didn't answer.  Hours later, when I opened the door, a long-stemmed red rose fell from the doorknob.

Didn't he know that you can't give the flower back?

 

 



                                                                                                        
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Some Things My Sister Left Behind                

by Lockie Hunter 

                                                                         

ne doll with a painted white face and a delicate purple fan that our father brought back from Chinatown (Exxon station bathroom, just outside of Memphis)

One yellow plaid hair ribbon with her name, Aimee, embroidered in purple script (Samuel Jackson playground, Memphis)

Two tonsils (Doctor Simmons office, Memphis)

Three Judy Bloom books (under bunk number seven, cheerleading camp, Nashville)

One retainer (boyfriend’s house, Memphis)

One trophy, “Best Poetry 1976: Samuel Jackson Junior High” (bedside table, bedroom, Boston)

One 1980 Toyota Corolla, white with beige interior: totaled (Peabody Service and Towing, Memphis)

One letter from dad encouraging her to “excel in her studies and drive carefully dammit now that she is up there in Yankeeland” signed “I love you so much baby” (shoebox under bed, Boston)

Twenty five assorted love letters from seven different boys dated 1982-2006 (shoebox under bed, Boston)

Five little black dresses (hanging in closet, bedroom, Boston)

Three unpaid speeding tickets (sitting on desk under three day old Starbucks mocha latte, home office, Boston)

Two “respectable” business suits, both heather gray (hanging in closet, bedroom, Boston)

Two unfed cats sitting on the windowsill, waiting (kitchen, Boston)

Three pairs of blue jeans: two faded Levi boot cut size 7M with butt and knees missing, one Guess slim fit size four never worn (bureau, bedroom, Boston)

One unfinished memoir titled “My Life in Words” (C:drive, home office, Boston)

Four pints of blood (Massachusetts Turnpike between Boston and Cambridge)

One recipe for asparagus with pecan brown butter (recipe box, kitchen, Boston)

One 1987 VW bug, sunflower yellow with cloud white interior; totaled (Commonwealth Service and Towing, just off the Massachusetts Turnpike between Cambridge and Boston)

Nineteen detailed photo albums recording her unfinished life (knotty pine bookshelf, living room, Boston)

One antique wedding gown, circa 1948, found at garage sale (HOPE chest, foot of bed, Boston)

One sister, twenty two years old, on computer, writing, (Memphis)

One detailed “incident resulting in loss of life” form 192B filed in triplicate (Cambridge Police station, District Six Station, Cambridge)

One mother, forty nine years old, deciding between five little black dresses and two “respectable” suits to bring to funeral parlor (bedroom closet, Boston)

 

 



                                                                                                        
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 Days Like This                                                       

by Eric D. Lehman 



  can smell the autumn coming, I think, as I walk across campus to my morning class.  The brisk wind grants a snap to the air that wasn’t noticeable before.  Every year it seems to start earlier.  I greet a student in high heels and sweatpants who moans that she had stomach flu.  “I’m going to the health center.”  I shrug, not caring if she comes to class, but knowing I should show some concern.  “Get well soon.” I say, and creak long legs up the stairs to my two-hundred-fiftieth class in ten years.

In the dirty classroom, complete with water stains and broken chairs, I divide my students into groups.  Only one student has done the reading and I know I should give a quiz to fail them all, but instead tell each group to read the story, looking for purpose and strategy.  “The faster you guys do this, the faster we get out of here,” I tell them, looking out the window at the yellowing trees, at life moving by on the brick walkways below.  But they waste time, laughing and recounting weekend parties, arguing about sports teams, and showing off new hairdos.  I wander around the room, joking, prodding them into action, trying to help them learn.  They ignore me, sending text messages to each other, knowing for certain that they have all the time in the world.

Maybe the stomach flu girl will die, I think cheerily, it would be the only thing that would wake them up.  Four students died in a car crash last year and it briefly energized the campus, snapping the others into a kind of attention that lasted a month or two.  Why is death the only thing that seems to make us care when we are young?  The story is “Once More to the Lake” by E.B. White, about a father taking his son to a lake that his own father had introduced him to.  Throughout the story, the father identifies with his son, but at the end realizes that he is no longer young, and will die.  No one in the room reached this conclusion, and when I tell them, they don’t seem to be fazed, packing their bookbags and flipping on their cell phones.  “Test on Wednesday!” I call out to them, but no one turns around.

I slouch back to my office, gritting my teeth, and decide to become harder and less tolerant, to abolish leniency, to make myself into the teacher I always hated.  I think of the vast reserves I have poured into others’ lives over the past ten years.  What was it for?  For that one student that I do reach, I usually answered, but not today.  Today, I feel quite certain that autumn is already here.

 

 


                                                                                                         
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Hard Break                                                   

by Will Orr-Ewing   

                                                                      
 
imon enjoyed his own company:  he found it much more interesting than other people’s.  He spent most of his time either out at the cinema or in with his computer games.  It wasn’t that he was shy; he just didn’t care much for conversation.  His sounded so plodding compared with the ones he heard at the cinema.  His voice was too toneless, too English.  So he spoke only when absolutely necessary.

One of his pet hates was a trip to the hairdresser, and the chirpy interrogation he was subjected to there.  He had learnt to seek out the immigrants:  the Armenians, the Turks, the Greeks.  Quiet artisans, he liked to think— professional, hard-working, and mute.  But over the years even these had become chatty or campy, asking in their broken English where he was at school or whether he had a girlfriend.

With his adulthood came an even worse affliction:  the driving lesson.  Here there were no distractions and no escape.  Simon had tried three different teachers in as many weeks, and each one had offered him a smorgasbord of intimate revelations, crushing local history and—he was certain—unabashed flirtation.

So it seemed an auspicious day when Simon first met Carl.  Carl drove a mobile barbershop from town to town.  Simon had entered more out of curiosity than anything else; he remembered seeing one in an old Ealing comedy.  And Carl himself had an ‘Ealing’ air about him too.  He was probably just over sixty; his hair was an immaculate white and combed through with Brylcreem.  He had caring blue eyes that looked out from a heavily-wrinkled face.

On that first meeting Carl insisted on washing the hair beforehand, and his big calloused hands tickled the back of Simon’s ears.  He snipped slowly and silently.  A radio tuned to Capital Gold provided the only noise in the background.  It all gave Simon that dreamy, stomachless sensation you get driving over a bump in the road.  He closed his eyes and luxuriated in it.

On his way out, still tingling, he noticed an old advertisement in the window.  It was a hand-written note offering driving lessons at a good price.  Inquire within, it said.

“Um, excuse me Mr. Carl, do you still…” Simon inquired, pointing to the sheet.

“Oh yes,” Carl said, “haven’t for a while mind.”

Simon booked ten lessons—one every Wednesday—and a test at the end.  Just as he had hoped, Carl brought the same mellifluous feeling to his driving-lessons as he did to his hairdressing.  They were hushed affairs, broken with Carl’s occasional, softly-spoken instructions:  “Third, if you fancy…”  Other than that, they maintained a companionable silence.

They stuck to the suburbs to begin with: quiet, residential areas with barely a car on them.  Simon found it hard to tell the neighbourhoods apart:  the odd patch of grass here or there, but mostly row after row of identical houses.

The mobile barbershop that stood guard in front of one house demarcated which neighbourhood was Carl’s.  Carl seemed to engineer it so that they passed through it at exactly the same time every week.  His house was much the same as every other in the neighbourhood but his garden was incomparable.  Simon took in a new bit of it each week.  In the middle was a golf-green of a lawn with grass like rich velvet.  An artificial slope rose from one side of it, up to their neighbour’s wall.  A rock garden interspersed with colourful shrubs cascaded down it.  On the other side was a bed of vibrantly coloured plants:  greens, purples and yellows stayed in the mind.  Flanked by the frazzled brown soil of his neighbours, Carl’s garden looked magical—even a bit ridiculous.

Every time they passed, Simon noted a woman—often on all fours—working in the garden.  She wore flowery summer dresses that showed off an athletic figure, and she exerted herself with wanton energy.  There was something voluptuous in the way she plunged her spade or pulled up a root.  As they passed, Carl would look at her intently, and proudly.  Sometimes she looked up and nodded, but often they drove by unnoticed.

Simon looked forward to his lessons with increasing zeal.  That sense of peaceful security seemed somehow inaccessible without Carl, and he felt their separation keenly during the week.  So it was a great thrill to him when, on the way home from the cinema one day, he spotted Carl’s reticent grin and the woman from the garden on the headline of the local paper.

CHILBOLTON GARDEN SHOW

FIRST PRIZE:  CARL AND MARY BARROW

He bought the paper and read it on his bed at home.  The Barrows had won two categories:  a prize for the biggest aubergine, and one for presentation.  Simon wasn’t sure why but the result over-joyed him.  At his next lesson, he cautiously asked Carl about it.

“Oh yes,” Carl said, “the wife and I love to garden.”

“And you won the garden show…”  Simon’s words faltered out.

“Well, didn’t exactly win it…only presentation for my lot.  Few problems with th’ artichokes this year.  But Mrs. Barrow’s aubergine was the biggest they ever seen almost,” he laughed.  The conversation was effortless; Simon liked his voice with Carl.  But Carl’s words had made him realise something:  he had never even heard of an aubergine or an artichoke before.  The words sounded so sumptuous on Carl’s lips.

After the lesson, he sought out the local library and borrowed a book on gardening.  All that week he lay on his bed reading; it was one of the first books he had read in years.  He read meticulously—beginning with soil type, moving on to garden layout, then seasons, then about the plants and vegetables themselves.  Aubergines were quite exotic, he read, and ideally required a greenhouse; they could be ready in as little as three or four months.  The Jerusalem artichoke, on the other hand, planted in late spring, required more patience; it took almost a year to flower.  Typical Carl, he thought.

When he wasn’t reading, he slinked to the supermarket and sidled along the ‘fruit and veg’ counter stealing tastes of all the new things he’d learnt about.  (He was well practiced after doing the same to the ‘pick n mix’ at the cinema.)  It was an almost transcendental awakening:  that first beetroot—its hard texture melting to soft mush in his mouth, the pop of a blueberry as he bit into it.  He often left with a rainbow of colours around the corners of his mouth.  He made a few mistakes:  on one occasion early on, he bit into an avocado with a crunch and worried that his yelp might attract the security guard.  But as he read more, and tasted more, he learnt which products—an aubergine, a parsnip—needed slipping into his pocket and cooking at home.

In his next lesson with Carl, Simon bubbled with conversation:  “When’s the right time to plant apples?”  “Can you still buy raspberries in the winter?”  “Is it true that the Romans used to grow wine in Scotland?”  At the end of the lesson—just as dusk was flirting with the remains of the day—Carl turned to Simon.

“I tell you what,” he said “would you be wanting to see the allotment?”

“What’s that?” Simon asked.

“What’s that!” Carl chortled.

They had to cross a railway line to get to the allotments; on the other side they spread out in a rampaging wildness.  He saw a trail of smoke rise up in the distance; tangles of vines spiralled through the air.  Simon followed Carl to his allotment and stood speechless.  His was entered through a small gate with a wooden arch crawling with roses.  It had a heart etched in the apex, through which was inscribed ‘The Barrows’, along with a picture of a wheelbarrow.  A fence ran round the outside of the allotment—marking off his territory.

“The grass is always greener,” Carl said, with his hand on the fence, “people always want what’s rightfully yours.  They say green’s the colour of envy, Simon.  And no wonder,” he chuckled.

Carl led Simon from border to border.  The allotment was divided in two:  one half for Carl, one for his wife.  Carl skipped quickly over his.  It was neat and restrained—Simon could see why it had won the award for presentation.  His wife’s half was much more dramatic, flamboyant even.  There were fruits in hers that Simon hadn’t even read about:  yellow raspberries, apricots all furry against his cheek.  He tasted a plum, and its juices oozed out into every corner of his mouth.

“It’s amazing,” Simon said.

“Aye she is,” Carl replied, “Mrs Barrow is a wonderful gardener.”  The tour culminated with her aubergine:  “She is especially good at her aubergines.”

When the tour was over, they sat under a canopy in the allotment.

“Um, will I get to meet Mrs. Barrow, Carl?”

“Oh, not here.  No, Wednesdays she works in the garden.  She’s up here Mondays and Thursdays.”  He paused in the still, summer evening.  “Such a loyal woman, Mrs. Barrow.  Only happy when she’s with her plants.”

Simon smiled.

“But…”  here Carl paused, and looked rather wistfully into the bushes, “sometimes I think Mrs. Barrow deserves a proper garden of her own.  A big place.  In the country someplace.”  He shook himself from this and together they picked some fruit for Simon to take home.  Then they strolled back to the car as night descended.

Carl was so effective a teacher that Simon couldn’t help but improve.  It was with a sinking heart that he climbed into Carl’s car for the last lesson before his test.  And Simon thought—or hoped—that he detected a similar sadness in Carl’s voice when he greeted him:

“Let’s hope this is the last lesson eh Simon…”  he said with a weak smile.

They started to follow their well-worn route:  up the duel carriageway to start with, on into the garden centre for some parking practice, ending—always at the same time—near Carl’s house where they fine-tuned some manoeuvres.  Except this time was different.  For the first time, there was heavy traffic on the duel carriageway—Simon sat silently drubbing his fingers on the steering-wheel.

“How’s Mrs. Barrow?” Simon asked

“She’ll be in the garden Wednesdays.  Only happy when she’s with her plants, Mrs. Barrow,” he said.  When there was no more movement from the traffic, he added:  “I expect we’ll see her in a minute or two.”

They squirmed out of the jam a little while later but as the mobile barbershop came into view, it was obvious that no one was home.  The lights were off, the garden deserted.  Carl had a bemused look on his face.

“Bit crowded around here for manoeuvres,” Carl said, “tell you what—let’s try the garden centre again.  Plenty of parking bays there.”

So they drove back to the garden centre and for the first time Carl seemed a bit on edge.  Maybe he was sad that the lessons were ending, Simon thought.

“Third, if you fancy,” he trilled, “now forth.  Forth, Simon.  Come on.”

There was barely a car at the garden centre.

“Left or right?” Simon asked.

“Tell you what,” Carl said, “I’m just going to…” he trailed off and got out of the car.  “Just practice some parallel parking in those bays.  Won’t be long...”

He moved to the entrance in a light jog but returned panting about five minutes later.  Now he started directing Simon with jerky, jolty instructions, almost barking them.

“Left,” he said, “Good.  Left again.  Now right.”

Soon they were at the allotment.  From the car, they had a good view of Carl’s:  but it was empty too.  Again, a distant line of smoke lifted in the distance to the sky.

Simon looked over at Carl for directions.  Carl puffed out his cheeks.

“Right,” he said, slowly, “let’s pull out here…”

 He aimlessly let Simon drive back into town—back past the garden centre, back towards his neighbourhood.

“Right, let’s do a three-point-turn in the road,” Carl said rather lackadaisically when they were back in the suburbs.  Simon started the procedure:  wheel as far as possible to the right, foot very gently off the clutch, glide round, break, apply hand-break, wing-mirror, rear-mirror, blind spot…and that’s when he glimpsed her.  Mrs. Barrow slinked out of a front-door, then turned to put her hand back through the crack, was pulled inside once more—her head leaned forward into the darkness —then she was out again, smoothing her dress down with her palms.  A small ‘smart car’ was parked outside:  ‘Benjamin and Benjamin:  Retail Development’, it said in trendy multi-coloured lettering on the side.  She had turned the other way from Simon and Carl, back towards home, and strolled off purposefully with her mousy hair bobbing as she went.

Simon completed the procedure then looked at Carl.  He had his whole body turned, looking searchingly out of the rear window.  When he turned to face the front again, he kept his face still as if any movement would be too much.  He had his lips pursed but other than that looked his usual serene self.

“Right, and pull away,” he mumbled.

They continued along the road in silence.

“Right or left?” Simon asked.  There was no response.  “Right or left?” he asked again, more pertinently.  They were nearing a junction.  “Carl!” Simon stressed, “right or left Carl?”

Carl slammed his foot on the instructor’s break and the car bounced to a halt.  They mimed each other, shunting their bodies forward then backwards sharply into the seat.  Simon panted heavily and looked at Carl.

“Left,” Carl said, “let’s go left.”

They went along in silence for awhile before Carl spoke, softly:  “I apologise for my hard breaking.”  The phrase seemed odd, to both of them.  Carl repeated it, even softer, to himself, and it got caught in his mouth:  “I apologise for my hard breaking.”  Then he just repeated the last two words in a whisper.  It was as if, by saying those words, the reality of the situation was confirmed.  He hadn’t known what he was feeling until then; now his emotions were categorised.  His body slumped visibly, as if something had passed out of him.

Simon passed his test comfortably, of course.  The following Wednesday felt strange and aimless without the driving lesson.  He went to the cinema; he tried his DVD collection, but neither lifted his spirits.  His hair was still short enough from his haircut just ten weeks before but he went to where Carl’s van had been parked—hoping for another.  The lot stood empty.

Dedicated to Julia

 

 

 



                                                                                                        
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Homebrew                                                  

by Saro Bedian


  boy in his mid teens named John lives alone with his mother.  His father is far away, has been far away for a long time, and John does not expect to see him again.  He is a quiet boy, who has many hobbies, but often does things alone.  One day, friends from school rag on him for having a model plane collection and he shoots the roof.  Finally, storming off after yelling for five minutes, he calms down enough to really hate them.  That was exactly what they wanted.  John does not know this, though.  He thinks they were just being mean and stupid, so he goes home and decides to start a new hobby.

Coming into the house John looks at his mother sitting and reading the classified section of the newspaper.  She always does this, looking for bargains and hoping to find a better job at the same time.  She takes one look at her son then glances back at the paper.

"Tough day at school, honey?" She remarks off-handedly.

John just glowers at her for a second, opens his mouth as if to say something, then goes to the fridge and stands with the door open, shaking.  His eyes are looking for something that he can't see, he can't have, because his mother does not allow it in the house.  He waits to gain his composure and slowly closes the door.  Now his face is set, and turning around, he sees his mother peering at him again over the newspaper.

"Everything ok, dear?" She asks.

"Yeah," he responds with a set jaw.  "I'm going to my room for awhile."

John's mother, Jane, takes a look into her son's eyes and feels a little shiver go up her spine.  But seeing him standing there she doesn't think anything is wrong, so she turns back to her paper.

"Make sure to wash up for dinner."

He goes by her without a word and heads straight to his target.

The Dell Dimension 360 is waiting for him with the screen on, the wireless keyboard out on his favorite placemat, saying, "Push my buttons, c'mon."

So he sits and gets down to business.

Time goes by and dad is still far away.

After 20 minutes, John has got all the information he needs and he starts working right away.  Two one-gallon jugs, 10 pounds of sugar, half a cup of yeast, some flavoring, and a large metal container is set up in his closet within minutes.  As he starts measuring out everything he needs, he thinks dark thoughts about the people who laughed at his model airplane hobby and imagines their faces when he shows them his new interest.

"I'm going to laugh so hard when Bobby staggers down the street and falls on his face," he thinks with unholy glee.  "I bet I could make Lisa do anything I wanted to with this stuff," and other thoughts like these cross his mind as he finishes mixing everything.

As John wipes his hands and looks at his work with satisfaction he can hear his mother calling him from downstairs.

"Dinner time!"  She yells up, and he rushes to the bathroom to wash up.

"Coming!" he calls back, then hurriedly washes the stuff off his hands and goes downstairs.

They sit down and have a nice, quiet dinner.

One week goes by.

John comes home again from school, very tired out but emotionally ok.  His mom, as usual, is reading the classifieds in the paper.  His dad is, of course, far away.  However, today is going to be an interesting day for John.   He's been waiting for this day for a long time, it feels like, and now his anticipation is at its peak.  He walks over to his mother and gives her a kiss on the cheek.

"Hey mom, how was your day?" he asks with unusual cheer.  She gives him a funny look, squints, then says slowly, "It was ok, honey.  You look happy," She says this almost as a question.  He smiles and pulls out a test from his backpack.  There's a big A+ on the front.  He beams at her as she examines it.

"See mom, I told you I was on top of that history homework," he says cheerily, feeling like his teeth are growing sharp points.  Jane examines the paper her head, smiles, and says, "I knew you could do it."  There is a moment where everything stops and seems like it might never change, then his mother turns back to her paper and says, "Dinner will be ready at five.  Make sure you wash up."

John is still smiling, but only up to his nose.

"Alright," he says, and heads up to his room.

Finally alone in his room, he looks around to make sure everything is still where it was the night before.  Seeing that all his equipment is right where he left it, John opens a jug, brings it up to eye level, and examines the contents.  There appears to be a floating, satiny material in the liquid.  He is transfixed by its movement for a moment, then he puts the jug down and thinks.

He thinks long and hard about his friends, and about how he overreacts to others feelings.

He thinks about how he just wants to be alone with someone who comforts him, and makes him feel alright.

He thinks that to do what he was originally planning would be crazy.

He decides to keep his secret to himself.

Opening up a drawer in his desk, John finds a pen and a notepad.  He writes something down, and carefully tucks the paper into his pocket.  Running downstairs, he glances at his mother, who is immersed in her own form of self-comforting, and thinks a guilty little thought. If dad was here this would never happen.  Steeling himself against such thinking, he grabs a glass from the shelf in the kitchen and runs back upstairs.

Filling it up with the substance in the jugs, he thinks about his life.  How he ended up here, doing what he was doing, and how his parents used to fight until his father went far away.  How he is getting to the age where he has to go away himself.  He thinks of these things as he slowly fills the glass to the brim, then walks downstairs with it.

Sitting across from his mother, who doesn't say a word, he sips on his drink until it's finished.  He then returns to his room, and proceeds to empty the jug into his gullet.

Needless to say, John gets hammered and falls asleep.

He has found a new hobby, and one that his friends will never make fun of him for.

He always does this alone, and never tells anyone.

He does not want to threaten the peace of mind he reaches.

He makes a fresh batch every week, and every week drinks the first cup in front of his mom.

One day, many moons later, John comes home like he always does.  His mother glances up at him, and notices for what seems like the umpteenth time that her son isn't looking too good.  He's been gaining weight and he has heavy bags under his eyes.  She looks back at her paper, not wanting to disturb her own little piece of heaven, but cannot help but eye him as he walks past her. He doesn't even talk to me anymore she thinks, but soon her eye is caught on a job offering and she loses her train of thought.

John walks to his room, opens a fresh jug, and pours a fresh glass.  He goes downstairs, sits in front of his oblivious mother, and begins drinking.  This time, however, he does not finish the glass before falling over and vomiting on himself.  John's legs shake out from his body and he vomits again.  As his mother gets up and screams, his left arm goes up in the air, twitching and holding onto a piece of paper.  She screams again, and seeing the writing on the paper, instinctively grabs for it.  It says in large letters.  ALCOHOL POISONING.  CALL 911.  LOVE JOHN.

 

 


                                                                                                      
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Hitching to London                           

 by Steve Wheeler


was leaving Matala with Anne and Thomas, the dedicated communist German from Ulm, who owned the French Peugot which elevated and lowered its suspension at the flick of a switch.  He and I had argued about communism and democracy for a week every night in the taverna.  My strongest argument, the one which he couldn’t answer, was to ask him where all the communist travelers were?  Why was he the only one from a communist country who was free to travel where he liked, do what he wanted?

Thomas’ idealism was admirable.  We agreed, at least, that the rich, communist or capitalist, were still screwing the poor.  He owned a car and offered me a free ride to Iraklion when he learned I was leaving.

Anne was leaving Greece, too.  She was from England, I was heading for London.  She had seen me around Matala, decided to accompany me.

I collected the drachma which were saved for me by my boss, Costa, the young, local godfather in Matala.  He gave me an allowance each week, kept back a portion of my pay.  I worked on various construction jobs he had, was hardened, tanned and strong when he paid me off.

He held back a bit for himself, just to make sure everyone knew who was the boss.  If he hadn’t saved some of my pay for me, we both knew I would have blown it all.

The ferry from Iraklion to Piraeus was boring and uneventful.  Just as well.  After living for six months in Matala, on the southern coast of Crete, never leaving, it was a slow emergence into the outside world.

One of the most embarrassing occasions in my life occurred just then.  I had the crabs.  I got them in Matala and was at the stage of exterminating them which required sexual abstinence.  There was to be no carnal contact, not even snuggling, in case of infection of another and a rebirth of the cursed bugs.  But I was ashamed.  I was too embarrassed to tell Anne.

God knows what she thought.

Anne had lived in Matala long enough to know that I wasn’t gay.  She was attractive enough, the ex-girlfriend of a guy who was the grandson of Robert Graves, the poet.

But I passed up perfect opportunities and situations which thrust us together.  You don’t get much closer together than when you hitchhike together.  I had recently been through hell, living in my makeshift tent in the campground, scratching at myself.  I wouldn’t have wished it on anyone.  But I couldn’t bring myself to tell her.

It was bad enough telling Costas and the boys in Matala.  They all took a step away from me.

Costas wrinkled his nose when he asked why I didn’t tell him sooner.  Later, he admitted that when he got them, he separated himself from his family home and friends until he got rid of them.

After a few smog filled days in Athens during which we were treated as fair game, ripped off everywhere we turned, we concluded that the air fare to Britain was too costly.  There was an election on in Greece, something catastrophic was happening in Northern Europe, living in Athens, even on our skimpy budget, was too expensive.  Reaching London could be done, cheaper, by hitching most of the way.

Anne was fighting with her parents, proving her independence.  She could easily get the required air fare home but refused to make the call, thereby signaling to her family that she was dependent upon them.

I thought she was crazy.

A guy seemed to meet us in Brindisi, when we landed in Italy.  He appeared, smiling like a long lost brother, gave us pizza and a room for the night, ostensibly, for free.  He finally demanded payment in sexual favours, from Anne, but too late.  By the time he sneaked away from his wife, it was morning and we fled.

On the motorway, heading north, it was easy to see why veteran travelers advised always to hitch with a woman in Europe.  Even eighteen wheelers with full loads stopped for women.

The first big rig which came by, skidded to a fishtailing halt, up the highway.  The driver didn’t care about the truck, the load or the other high speed traffic.

We had traveled most of the day when he caught me dozing, told me to climb into the bed behind us.  Everything looked fine.  I gratefully passed out in the bunk after Anne and I oohed and ahhed over the pictures of the driver’s family.

I wasn’t expecting to be awoken by Anne’s kicks as she scrunched herself up against the passenger door and yelled at the driver.  We were shocked that the friendly family man was so intent on groping Anne that he nearly ran the big Volvo off the road.

We got him to pull over and let us out.

The next driver who picked us up in a big rig on the freeway which runs up the spine of Italy, showed us his automatic revolver which he pulled from under his seat.

We were thinking furiously, Anne prodding me in the side, our eyes glued to the weapon as he casually handled the pistol while driving.  He explained, near the turnoff to Milan, that every truck driver who stopped in Milan carried a weapon to defend against hijackers.

He smiled, checked out Anne’s body openly, when he let us off at a truck stop.  We clambered down from the cab, grateful for the lift, glad to be getting away from his aura of danger.

Anne and I finally separated in a train station in Switzerland.  By this time we were barely speaking.  I was irritated at her stubbornness.  She was frustrated at our slow progress.

I didn’t have anything to prove to anyone so she seemed, to me, to be involved in a frivolous game.  I had given up hope that she’d call home for money enough for two flights back to England.  The Greek bread had hardened in our packs.  We could barely afford coffee and chocolate bars.

The tension between us grew every hour.

We stopped, at night, in the little station where we got some sleep on benches, warm and dry.  When we awoke, we were greeted by backpackers with English accents who got along famously with Anne and onto whom she latched.  She went their way and I went mine.  We were glad to part.

I headed for Shaffhausen, on the German border.  In Matala, some of the German visitors had given me addresses and phone numbers for places to stay and jobs.  If I could get into Germany, it seemed worth checking out.  My resolve to reach London didn’t waver, but I took a detour.  It seemed logical that I should see a little of Germany while I was so close.  Some of the jobs were even on Canadian bases.

The Alps were truly breathtaking.  Some of the rides were with young, Swiss natives who pointed out that many of the idyllic scenes in the postcard mountains contained, in reality, many poor people struggling to get by.  The underside of Switzerland was obvious to them, never explained to the tourists.

When I arrived, I called the number I had in Shaffhausen, knocked on the door of the address I was given, but there was no response.  I stayed around for two more days but never found anyone.

I couldn’t find a youth hostel in Shaffhausen and I couldn’t afford a room so I used the only shelter I could find, a public toilet, in a park.  The place was clean.  If I laid in a certain position I could manage a few hours of sleep in the glare of the all night lights.

I waited, for two days and nights, walking around, looking at windows full of displays of Swiss chocolate for the tourists, living in the public restroom, eating my loaf of bread with the last of the jam I had carried from Greece.

Finally, I couldn’t wait any longer.  I approached the border crossing between Switzerland and Germany.  The early morning traffic was traveling slowly, I got a lift with a young businessman who lived in Shaffhausen, crossed the border, every day, for work, in Germany.

The German border guards ordered me out of the car, searched my pack, studied my passport, ordered me to take off my cowboy boots.  They studiously examined the Greek sand which fell out, presumably for drugs, counted my little wad of American bills, rejected me.

I had to shoulder my pack and walk back across the border beside the line of cars going to Germany.  The Swiss guards shrugged and laughed when they saw.

"Germans" they said with a gesture that was meant to explain that they were as baffled as I.

I consulted a map, took the rest of the day to hitch to Basel.

On the side of the highway, at an intersection, I talked to a hippie looking couple who were hitching in another direction.  They said they had slept in a park last night, had awoken to find food and coffee in the grass, beside their sleeping bags.

Through Basel I would get to France, then England.  If I had stuck to my original plan, with good luck, I’d probably be there by now.

The day was ending, darkness approaching, the sky spit rain.  I stood on the side of the freeway outside of Basel, watched the lights of the comfortable houses, wondered how many cities I’d stood outside of, how many hours I’d spent waiting for lifts on freeways..

Then Bernt stopped.

At first, I thought he was gay, picking up a hitchhiker in the dark.  But his simple reason for helping me out was that once, on a motorcycle trip around Germany, someone had helped him out.  He asked only that I do the same for some other stranger when the opportunity presented itself.

Bernt took me home to his comfortable, modern apartment, let me use his shower and phone.  I called Canada to borrow a little money.  It was sent by American Express.  It meant nothing in Canada, the world to me.

Bernt and a friend wined and dined me.  We ate and drank in the tavern which Hermann Hesse frequented while he wrote Steppenwolf.  We ate Swiss rosti, drank wine, tried to remember which parts of the tavern Hesse described in his book.  Perhaps from outside the window.

They took off for a weekend, left me with the house after Bernt showed me his copious wine cellar.

I used the Basel trams to get my money from the American express office, left Bernt a thank you note, hitched to France.

From Basel I was lucky to get a lift all the way to Strasbourg where I stood on the freeway with my thumb out until a funky looking, old, walk-in van pulled over and picked me up.

The driver was French, returning from Poland where he worked with Solidarity to press for democracy.  The paintings and slogans which decorated the van were encouragement to Solidarity and its cause.  He had installed a finely tuned, powerful engine in the old van.  He laughed at the system the Poles were overthrowing as we sped toward Paris.

When he let me off at the suburban metro station, I consulted my address book, called Frank.

He had given me his number when he visited Matala, insisted that I call him if I ever got to Paris.

I spent the next few days in Frank’s family’s expensive apartment.

Frank, a handsome blond Frenchman, was an expert in judo.  He had trained for most of his life, had awards, could truthfully say that it saved him once when he was attacked by a gang in a metro station.  He was about to join the French army.  Frank had lots of girlfriends.

We sped around Paris in someone’s car, visited expensive restaurants and cafes.  Of course, I started out nearly broke and that finished it.  I thanked Frank and hitched to Calais.

One way of avoiding the fare from Calais to Dover and London was to get a lift with a trucker.  I canvassed the truckers I saw waiting for the ferry.  There were dozens of big rigs heading to London.  Most of the drivers wouldn’t risk picking up a hitchhiker because of the traveling insurance inspectors.  I was looking as desperate as I felt.

Finally, a driver with an English accent told me to wait by the dock, then to get into his truck, quick, while he was loading.  That way, he passed the custom inspections before picking me up.

Once we rolled onto the motorway, he checked the mirrors, installed me in the cab so that I couldn’t be seen from outside.  He told me of his life driving regularly all over Europe.  He worked shifts which allowed him some time with his young family in the north of England.  He let me off with a cheery "Good luck" at the southernmost tube station in London.

By the time I reached Rob’s co-op flat in Finsbury Park, I was exhausted. I had been thoroughly shaken out of the dream I had lived beneath the Matala moon.

We sat around his kitchen, drinking tea, reading newspapers, one drizzly morning.  That was when I found the article on the shortage of rig workers in Scotland.

 

 

 


                                                                                                        
 
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The Fall of a Hunter                               

by Dipita Kwa
 

                                                                       
                                                                                                                                                                          

wo more hawks joined the four already hovering over the heavy cloud of smoke rising high from the forest on fire.  Every now and then, one hawk would slant and cock its head to examine the burning surface for any signs of roasted snails or millipedes.

Suddenly, with a swift swooping movement, one of them headed down, straight for what appeared to be a lizard fighting desperately with death.  But before the hawk could reach its target, a crooked stone went racing towards it.  The bird hastily dropped its hunt and flew off for its life, sounding a warning shrill to its friends.

Jembe cursed, banged a fist of disappointment against his thigh as he watched all the birds soar to safety.

“Thank your old mother for this lucky day!” he hissed and turned his attention to the fire that was voraciously devouring the dense greenery of climbers and shrubs and trees.

Sweat streamed from his face and ran down his naked back and arms.  His palms were very wet.  He had to keep wiping them on his khaki trousers in order to maintain a steady grip on his spear and machete while waiting for any animal hiding in the bush, towards which the fire was ravenously approaching, to rush out.

When hunting was poor, Jembe became furious.  His bushy eyebrows twitched as he glared around him, searching for an object on which to vent his anger.  During such moments, his dog Kuli kept his distance and remained as quiet as he could.

Now, with only one mole in his hunting thong, it was clear that they had to wait until nightfall.

“Ah, Sango Jembe the great hunter!”

Jembe looked up.  His face was criss-crossed like a buttered clay pot, with distinct lines of rage when he saw who it was.  Tanga was carrying a large bundle of firewood over which was strapped a bunch of plantains and a bundle of huckleberry.  He was bent double under the weight of the load.  Yet he managed to put on a glowing smile—a smile Jembe hated with his soul; it was the unmistakable plea for a squirrel’s leg with which to accompany the plantains he always carried home to his wife and children.

“So how is work, neighbour?” Tanga asked, eying Jembe’s hunting thong that was hanging on a tree branch.

“Carry your ill luck away from here, idiot!” Jembe barked, snatching his bag and flinging the stripe over his neck so that the bag rested safely on his side.

“Ah, ah, Sango Jembe!  I was only greeting.  Is it a crime to inquire how hunting is faring?”

“I’m warning you for the last time to mind your business.  Take your concern away from here before I lose my temper,” Jembe roared, dangerously waving his broad crocodile machete.

“Now what have I done wrong?  Jembe, tell me.  One greets you and only receives the sting of the wasp.  Why?”

“Don’t you know why?” Jembe growled.

“Yes, I don’t know.  Tell me.  Whenever I come close to you like a neighbour you behave as though I am a rotten thing.”

“Yes, you are a rotten piece of meat.  Now leave!  I have had enough of your ill-luck and endless begging.  Today you are begging for a piece of meat, tomorrow you want salt, the next day you want fire….when will you ever grow to be a real man?”

“I am not ashamed to beg.  It is better to beg than to steal.  I hope you kill enough animals to feed your poor dog and to compensate for people’s crops your fire is now eating up”  Tanga snapped and started away.

Jembe searched around him for a weapon, and ended up with a burning twig which he hurled at the escaping man.  But the projectile soon lost its energy and fell short on its way.

“Pay for your mother’s crops!  Foolish sheep who eats grass like Ngomba’s goat.  Look at your neck like that of a dead tortoise,” he shouted.

Tanga silently hastened away, took a bend on his left and was soon out of sight, covered by tall trees and elephant grass that flanked the path on either side.

On turning around Jembe, not watching, stepped on the stub of Kuli’s tail; Jembe had cut off a portion of the dog’s tail alleging that Kuli could only hunt effectively, and saved from the hands of a chimpanzee, if he had a short tail.  Kuli whined in pain, struggling to free his tail from under Jembe’s rough, tough foot.

Jembe dug a kick on the dog’s ribs.

“It’s because of your ill luck that the animals have all disappeared.  You and that scallywag, Tanga, have infested this place with misfortune,” he said seriously.

He presently brought out the mole from his bag.  Holding the carcass by the tail and waving it about like a useless piece of cloth, he bemoaned:

“Only one mole!  What will I do with it?  Not even big enough for a mouthful.”

Still holding the dead mole by the tail, he examined it hungrily, licked his lips as he imagined how the animal would taste after a careful, ceremonious cooking.  He would put no garlic.  Just plenty of pepper, curry powder, onion and little water; this would ensure that the meat absorbed the ingredients deeply to the bones.  Oh, how he would crush the skull and hipbones!

Jembe could no longer wait to start realizing this wonderful art—cooking a lone mole after a hard day’s work with hunger.

“Let’s go home,” he said to his dog, replacing the mole in his bag.

It was already getting dark.  The partridges’ songs could be heard from across the swamps long after hawks had retired to their nests on the top of tall baobab trees.

* * *

Being a gifted hunter and a good cook, Jembe always made a critical choice of the best parts of meat for his pot.  This Sunday morning he realized that the mole he had cooked the day before was now extraordinarily appetizing.

He was just from relieving himself in the low bush behind his house.  He always did this to bolster his appetite and to create space before a heavy meal.  Now he was whistling as he removed his singlet and hung it on the rail that ran above the hearth over which he smoked his meat.  He cooked, dined, and slept in this tiny square room having a half-drum for a chair and an old bamboo bed.

He flexed his arms and legs and frighteningly became conscious that something was wrong.  The upturned wooden bowl on the floor jolted him.  No, this could not be his bowl of food!  His heart beat fast as he kicked it over.

“I will kill this dog today,” he cried, feeling a sudden burst of bitterness, and grabbed a whip stuck between the rotten planks and hurried outside.

Kuli was coiled beside the house, licking his mouth.  Before the dog could move, three gapping lines stood on his back where the quick strokes had fallen.

Kuli whined and ran away to Tanga’s compound.

“I will kill you before I can rest in this house.”  Jembe was panting as he gave chase.

Tanga’s, wife, Ndome, was from fetching water.

“What has Kuli done again?” she cried as the dog ran past her.

Jembe stopped and regarded Ndome with a scornful look on his face.

“Parrot, can you shut up your mouth and take your concern to your house?”

“My concern is here and now, Mr. Jembe, to see that an animal is properly treated.  I don’t like the way you treat Kuli.”

“You must not like the way I manage my house,” Jembe snapped.

“Your house!” Ndome sneered, supporting her bucket of water with one hand while the other hand rested on her waist.  “That tattered thing you inherited from your father who inherited from his father is what you call a house?  You have no wife, no children, yet even this poor dog left behind by your father, you keep beating as though he was a church drum.”

Jembe’s mouth was now greased with sputum.  He was trembling with fury.  No woman dared talked to him like this.

“You sharp-mouthed parrot!” he roared, pushing her away.  Ndome toppled over and the bucket missed her leg by an inch.

“It is only God who will repay you,” she stammered, sobbing.  “You are above Mukunda but God will take care of your wickedness.  You will regret all these one day—even on your dying bed.”

“Are you the one to kill me?” Jembe asked, pointing a thick finger at her.  “A useless dog eats my food and when I want to punish the thing, you come along opening your dirty mouth to oppose.”

Ndome’s son who had been watching from the spaces between the hedges that separated the two compounds said, “Mami, Kuli did not eat anything.  It is Pa Ngomba’s goat.  This is it right here.”

Jembe immediately turned his attention to the boy.

“What did you say?  That Ngomba’s goat ate my food?”

But the boy had withdrawn home.

“God will repay you,” Ndome said, picked up her empty bucket and headed to her house with water dripping from her wrapper.

Jembe too turned around and went back to his house.

“Lucky enough that I hid the pot in the barn otherwise that wizard’s goat would have made me go hungry today.  And that useless dog couldn’t chase the goat away—even bite its leg off.”  He climbed on the bed and brought down the hidden pot of the remaining food.

A juicy leg of the mole was now in his mouth as he pulled the rusty, half-drum and tossed it at the back of the door in a position that assured him that no one passing outside saw him while he saw everyone passing.  He nestled the black pot of food on his thighs.

Kuli sat patiently, waiting.  His eyes followed Jembe’s hand from the pot to his mouth and back to the pot.

Jembe spared no bone because he had a long-established and mastered way of crushing them.  After completely crushing the last bone, he licked all the fingers of his right hand, drank a big calabash of water, belched loudly, and wiped his hands on his hair.

Looking now at the rotten planks covered with cobweb and up at the roof smeared with soot from his fire place, Jembe settled backward in his seat, leisurely threw his head sideways, leaned his broad back against the wall, and smiled.

(to be concluded)

 


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Carolyn Schlam
Amy Chace and Paul Benincasa
Jeremiah Stansbury

Michael Szewczyk
K. Weiss



 

 

 


Faucet

Carolyn Schlam

 

 


Sleep Tight

Carolyn Schlam

 

 

 

The Stargazer

Carolyn Schlam

 

 

 

Woman in a Box

Carolyn Schlam

 

 

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Hidden Value

Amy Chace and Paul Benincasa

 

 

 

Carla the Seer

Amy Chace and Paul Benincasa

 

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A Lost King

Jeremiah Stansbury

 

 

 

Life on Earth

Jeremiah Stansbury

 

 

 

The Jazz Solo

Jeremiah Stansbury

 

 

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Phonographt

Michael Szewczyk

 

 

 

Bloody Nose

Michael Szewczyk

 

 

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Watering Hole

K.G. Weiss

 

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Sting of the Be; beyond the postmodern aesthetic   

by Scott Malby


nswers are often an anticlimax.  It's the questioning, the Inner Dialog that counts.*  Paolo Honorificas

1.

Significant Art begins and ends in the form of an Inner Dialog.  If Significant Art were a color it would be found hibernating in the depths of an unnamed translucent pigment; fantastical, mythic and heathen.

2.

Significant Art is a conversation carried on when the ghost of yourself witnesses itself caught in the act of attempting to give directions to a destination that can't be reached.  And what of significance?

3.

Significance is an elusive bitch balancing her front paws on your chest while baring her fangs in your face.  An iridescent wolf panting in your ear.  Tumbling after bones of light.  She knocks the air out of you.  After an encounter with her you itch for days.

4.

Reaching for Artistic Significance is not an intellectual act.  It is not an emotional act.  It is not a physical act.  It's all of these combined and much more.  It has social as well as individual dimensions.  It involves the creative, positive side of ourselves.  It is both conservative and liberal.  The killer curse of our negative abilities is a well known cosmic joke.  What most restricts us are the destructive qualities rising out of unchallenged authority.

5.

We compartmentalize.  We define.  We separate from the whole.  We bake the dough of restrictive definitions and techniques like a pizza in the oven of our minds then throw that postmodern soufflé like a Frisbee into the mouth of the universe, expecting it to return to us carried by a host of fawning, subservient angels.  The reality is that life is part Goya.  It could care less.  It eats people alive.

6.

The Inner Dialog is that conversation that mediates.  It whispers to you that what you're doing or experiencing is worthwhile.

7.

It mediates between the simulacrums of a disheveled Humanitas trapped in a crosswalk staring up at an eighteen wheeler plastered with signs on global warming, extinction, environmental degradation and genocide.  That cosmic leviathan of retribution is careening toward us.  It's of our own making.  There is little room to escape.

8.

That jet stream that is the Inner Dialog is all about alternatives.  Great gulps of air.  It was not discovered by Homo sapiens.  It helped to make Homo sapiens up.  It allows for altering the focus of awareness.

9.

The Inner Dialog flies at the speed of thought.  It offers us a ringside seat.  In it is a hallway leading back to the womb where cells communicate with other cells and when we finally erupt into birth, our Inner Dialog continues to fly through turbulence.  Every child is born with wings but too often its genius is surgically removed.

10.

As we grow the Inner Dialog gains altitude.  As we master new skills it provides mental accommodations in which to practice those skills.  We are imperfect and finite, flying by the seat of our pants, caught up in the process of processing itself, seeking a balance and equilibrium that doesn't exist.  Often, the Inner Dialog can seem like a dynamic of burps, of fits and starts.

11.

The Inner Dialog is a constant physical, emotional and intellectual dance through the air of all poetic possibilities, like gliding through an auditorium whose shape is constantly changing as if responding to the rhythm of the dance itself.

12.

The Inner Dialog is both intuitive and symbolic.  It can be perceived as influenced by and generating useable symbols such as color, meaning, form, sound and language.  The propensity toward the symbolic as a form of interaction is innate.  It exists prior to acculturation.  Humanities predisposition toward symbolic language is genetic.  Art is that act of transformation transforming space, creating symbolic juxtapositions through the medium of the Inner Dialog.  There, even Capitalism is welcomed as it continually transforms itself into something else.

13.

The Inner Dialog is universal.  It is found in individuals from every culture and economic levels.  We need never fear regarding the value and continued importance of poetry and art in the life of a society.  As it relates to art, the difficulty comes in attempting to describe artistic significance sufficient to define its culturally transcendent characteristics without crashing or burning up in the flames we ignite.

14.

What differentiates a successful work of art from an unsuccessful one?  Is Shakespeare untranslatable?  Are critics valuable?  Are Neruda and Eliot mutually contradictory and exclusive?  Are their techniques and approaches contradictory or are their visions already imbedded in each of us before birth?  And what of Picasso?  What was his first language of choice?

15.

On the social and political level, have we succeeded in messing everything up so irretrievably that no remedy is available?

16.

Observe an untrained person involved in an Inner Dialog.  They talk to themselves.  There, the language of the mind and the language of the body reflect many of the important characteristics of creative art.  You will find rhythm, concrete particularizations, pace, meaning, emotion, emphasis, reasoning and often, forms of rhyme.  In every doodle there is a poem suggesting the possibility of a deeper other.  In every poem there is an oil painting attempting to redefine space.  In every corporate clone of a clown there is an authentic person struggling to come out of their parisitical Globalist shell.

17.

The artist is in each of us.  We use the language of symbols to transliterate.  We represent or paint in the characters of an archetypal alphabet of signification.  More than technique is involved.  Each worthwhile vision, painting or poem is a seeing, an experiencing, a communicating out of and back into the ears and eyes of of a morphing presence, a shadow known as the Inner Dialog.

18.

Significant Art emerges from an unexpected crises of faith.  A particular, inarticulate need for expression anchors itself in the incoherence of the random seeking structure and order.  It changes our experience and when it enters our consciousness it is no longer dependent on its vehicle.  It becomes part of us.  We view it as a fresh and satisfying symbol of the universal condition pertaining to us in some particular and immediate way.  It satisfies or terrifies us.  It transliterates truth.  It becomes part of and joins in the conversation pertaining to our own individual Inner Dialog.

19.

Is it possible to have the skill and not the vision?  To have a destination in mind but no flight plan?  Is exceptional art always a failure in one way or another?  Is great art a lucky accident?  A freak?  Abnormal and unique?  How do we differentiate between the average and the superlative?

20.

Through contact with and an understanding of the Inner Dialog these questions can be resolved on an individual level.  Alexander Pope, William Blake, Dante, Monet and Einstein represent a poetic dichotomy and yet each were superlative artists of vision no temperamental vagaries of historical fashion can obscure.  One can train oneself to Inner Dialog in such a way that a meaningful vision regarding artistic excellence can arise.  Being in harmony with the Inner Dialog itself does not guarantee the creation of significant art.  It's how you enter the dialog with it and what it does to you that counts.  It's like training for a marathon that never ends.

21.

The academic institutionalization of art through degrees guarantees an overabundance of competent instructors but in no way insures an increase in the excellence of the product produced.  Nor does it facilitate the Inner Dialog experience.  Why?

Consider Fats Waller's perceptive retort, *Man, if you got to ask you'll never know.*

22.

The Inner Dialog is not about averages.  It's not even primarily intellectual.  It doesn't make a distinction between painter, inventor, director.  It doesn't measure the azimuth of artistic accomplishment by degrees.  It is singular and unique and though it may lead to self-destructiveness or numerous dead ends, it ultimately represents an affirmation of life as a singular encountering entity rather than the institutionalization of any particular propaganda, theory or school.

23.

All exceptional artists monitor the Inner Dialog.  It has little to do with money or fame.  The Inner Dialog and its paradoxes make way for the New.  The Inner Dialog is not a thing in itself nor merely a necessary conduit allowing personal and artistic achievement to flow.  Is there a phone number to call it up?  Can we buy some?  Is it available at a local health food store?  No.  It comes to us when certain conditions are met.

24.

It is necessary to recognize it exists.  It is necessary to have faith.  There is no rigid formula.

25.

It is necessary to free ourselves and it of extraneous encumbrances.

26.

It is a timeless space but occupies no space at all.  It is the fourth dimension.  We must give to it the benefit of our doubts.

27.

It flows in and out of consciousness.  It must destroy before it can build.

28.

Recognize in it the portal of creative focus.  It is that entity that provides the link to everything else.  It is the way out of the maze of our own errors.

29.

It absorbs us into itself so that we become a work of art ourselves.  It offers us the chance to generate thinking different from everyone else.

30.

It is the cusp of creativity and can only be described by analogy.  Chagall knew what was necessary, *You must feel the microbes of the universe in your belly....It can be manure or urine, no matter what, but you must feel it in your belly.*

31.

You know when you are joined.  You sink into it even as you rise up from it.  It is growth enhancing.  It reintegrates all concepts of time into an agenda of timelessness.

32.

It is not a level though there are levels involved.  It is not concentration, consciousness or interior reasoning but provides for them all.

33.

When it comes to the creation of Significant Art, the Inner Dialog is a to be continued sign on the door of our psyche.  And, to be sure, it is wise, deferring its meaning to the end.  As Keats quipped in a letter, *The excellence of every art is in its intensity, capable of making all disagreeables evaporate, from their being in close relationship with Beauty and Truth.*

34.

Hey!  The questions of Beauty and Truth are back folks!  The fact is they never left.  We trashed them in favor of the angst of the postmodernist carnival of frenzy.

 

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