All posts tagged: Issue 14

Some Do

By MATT SALYER

Check me on fleek like the night
kitchen mothers, pucker and hum some; come,
I like to liquor louche; let’s watch the flock
of spring-heeled bound as borough cabs
exhaust their carbon phantoms like a gauche
of fuck. Do you unzoo, unrouge
to rat as white, what roughshod? Do.
I want the carnal as straight metacognition,

Some Do
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Series of Thought

By BETSEY GARAND

Images by Michael Mazur and Betsey Garand

Three weeks ago, I had an intimate and frenzied encounter with a wild bobcat as it was chasing my chickens. We locked eyes for a moment, and I quickly glanced down at its large, impressive paws. Tawny, speckled fur contrasted starkly with razor-sharp black claws. It ran off to the edge of the woods, first stopping to glance back at me before disappearing into the thicket. I began to think of a series of intaglio prints that would capture the essence of this feral fury.

Series of Thought
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Into Air

By KENAN ORHAN

In Ivan’s bedroom are forty-seven photographs of beaches, rectangles of sand and sun. I count them every time I visit my friend, and he kisses them like beautiful women each night. He passes me a bottle of vodka and opens his own, and I follow him out into the hallway, and we ride the elevator to his roof with a view of Siberia. We step out into the night so full of sun.

Into Air
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Mons of Luke al Dente

by COLIN CHANNER

Basil from a pot on the veranda,
over-priced pinoli and pimientos
pressured into dust,
brassy olio from TJ’s rumored virgin,
Greek alleged,
Israeli sea salt from Whole Foods
and Parmigiano-Reggiano
from that shoppe in Wayland Square
where la señora with the Spanish speaking helper
and the bum preserved by lunges
reaches from her core
for briny lemons brie and sausage
taut ficelle flown in from Orly and loose tea.

Mons of Luke al Dente
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Graffito Beholds a Sculpted Dionysus Head

By STEVE BARBARO

                                                                                    Archeological Museum, Napoli

     Beard-barnacled, chokingly-fixed, almost somehow stupid, yes,
almost like will itself pushed to the extreme of its own
absence, almost like presence perpetuated so as to obliterate

personhood’s merest increments—ah, but don’t
listen to even the soundest advice you are given, never, never, no,
Graffito is sure he hears the inert face telling him, yeah,

              forget pondering your person in light of pure practicalities,
and fuck letting any of the standard measures of modern
existence—money or fame, say, or so-called community, or (gasp 

         gasp) success—clutter the local, the cosmic
clatter of the single soul clanging the skin and organs

Graffito Beholds a Sculpted Dionysus Head
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The Town with the Golden Future

By WILL PRESTON

Bradian Will Preston photo

After the mine fell quiet, the town slowly went to sleep. The barber changed his hours to Thursday and Friday, by request only. The bank hung a handwritten note to transfer accounts and securities by the end of the month. The last passenger bus pulled up to the curb and drove away.

The streets lie empty now, so quiet you can hear the leaves breaking from their branches. Ghosts on the baseball diamond, in the bowling alley, in the gymnasium. Long shadows across overgrown grass. The afternoon sun sinks early into the mountains.

The Town with the Golden Future
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You’re the Sweetest One

By LASHONDA KATRICE BARNETT

May 1958

A white woman, softly sobbing, was hoisted into the back of an ambulance. On direction from the state troopers, Harvell stood idly by. For the second time since he’d arrived, the woman said the girl’s parents were Claudine and Cordezar Brown of Greenwood, Indiana. By “the girl,” the white woman meant the body lying in the ditch, covered by a sheet. Harvell looked at the bus tracks; the skid marks a few yards away, left by the fugitive car; a pair of yellow shoes about a foot apart on the side of the road.

You’re the Sweetest One
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