Showing posts with label Featured Writer. Show all posts
Showing posts with label Featured Writer. Show all posts

Thursday, May 9, 2024

GAS Featured Writer: TOMMY CHEIS


Tommy Cheis is a Chiricahua Apache writer, medicine leader, veteran, and Cochise descendant. After traveling extensively through distant lands and meeting interesting people, he now resides in southeastern Arizona with his horses. His short stories appear in The Rumen, Yellow Medicine Review, Carpe Noctem, ZiN Daily, Spirits, Red Paint Review, and other publications. While his first novel, RARE EARTH, is under submission, he is at work on his second.



                                             Dikohe


“White-Painted Woman let Lightning drop Rain in her vagina. After a while Child-of-Water was born.”

Four dikohe, or Horse Holders, seated at the cardinal directions around a mesquite fire, snigger. No doubt old Eddie chuckled too when he learned about our primary cultural hero. This trip, which we run every year to initiate our boys into manhood, has been nhzoo—good. I didn’t know if Eddie could handle the physical rigors of the deep Gila Wilderness, but now, teaching four boys ranging from twelve to fourteen who they are and what’s expected of them, he’s in his element.

'“ One day, when Child-of-Water was your age, he wanted to go out. But it was raining. Lightning crashed. His mother said stay in the wickiup because it was too dangerous.” On this cold night, under a blanket of stars, in a place as it was at the beginning of time, he’ll talk to these boys until sunrise. “But Child-of-Water told his mother, ‘I’m the Son of Lighting! Lemme out, goddamn—god bless me!’ So White-Painted-Woman shouted, ‘Hey Lightning! This here’s your son!’”

Over the last three days across a sweep of Wilderness, Eddie and I, in white linen trousers and breechcloths, trade-cloth shirts, leather vests, moccasins that turn up at the toes, eagle-feathered caps and bandanas, led our apprentices on horseback to sacred sites. We taught them to find water and food. To tolerate hunger and thirst. To make and interpret old hand-signs, speak in battle-code, wrestle, run, use weapons. They learned discipline and followed orders.

"Bull...Baloney!" Eddie says, imitating Lightning, “but tell you what, Lady. I’ll give him a test only my son can pass." So Lightning made Child-of-Water stand to the east and smacked him with a bolt of black lightning. BAM! Nothing happened to Child-of-Water. Same thing from the south with blue lighting. CRASH! Nothing! Same from the west with yellow. POW! Zilch. Then from the north with white lightning, BOOM! Bupkis! Child-of-Water stood there better than before holding bags of cash. I’m kidding. So Lightning admits, ‘OK, well, I guess he is my son since he survived and shit like that.

“So then Child-of-Water wraps himself in deer intestines and goes hunting. This was when giant animals roamed the earth and I was your age. His mother doesn’t want him to go but he’s persistent. Child-of-Water finds this nest of eagles terrorizing the whole fucking neighborhood. Stealing meat, scaring everyone. So he takes this big war club and kills them, then plucks the youngest like a chicken and eats him.”

The dikohe are dozing. Eddie howls like a rabid coyote, jolting the apprentices to attention. They laugh so loudly they’re heard in Albuquerque. “I’ll cut to the chase, sleepyheads,” he says. “Tomorrow’s your big day.”

On the fourth day, dikohe learn the most frightening skill of all—to be alone and self-reliant.

“Child-of-Water is scared but picks up a bow and arrows,” Eddie recounts. “He’s offed Eagle. Next, through trickery and a little help from his friends—lizards, gophers, shit like that—he kills Buffalo, Antelope, Giant. That’s why no monsters are left and his mother’s safe and you can all eat meat in peace. Now you know why after a battle everyone sings and dances. It all happened right under your asses.” 

Eddie waves the apprentices away an hour short of dawn. The boys untie their horses then climb in their sleeping bags, lead ropes in hands, ready to awaken and mount the instant danger comes. Within four minutes, they’re snoring.

Then Eddie and I hold vigil by the dying fire. Nothing ill will befall our dikohe.





This Morning’s Star


On graduation morning, each of the nineteen newly-minted suicide bombers dispersed like a virus sneezed into the world with death his purpose, save one. The boy, Muhammad Jihad, on Abu Zil’s orders, boarded a bus of ISIS fighters. After an unremarkable journey, the driver halted before a shattered brick factory to let him off into a grey paste of chilly wet Euphrates air and choking concrete dust. A scruffy fighter in a sand-colored balaclava and fatigues exited next, confirmed his identity, then pushed him up sandy stairs through a crumbling wall and into a quadrangle.

Rebar tentacles snaked out of collapsed buildings like larvae of steel octopi. A cage of metal bars and a diesel backhoe surrounded by rubble brooded in the center. Ready and waiting were three video cameras mounted atop tripods and one atop a surviving pillar. Nineteen armed ISIS fighters secured the perimeter fence and the scrubby desert beyond the parched river. Scruffy Fighter steered the boy through two mute guards and into a bomb-damaged office in the sole surviving structure.

A handcuffed prisoner in an orange jumpsuit sat in a chair at a folding table. His dimpled chin and wide ears were enough to have sparked grade-school teasing. Beside him, an ISIS fighter in a fat-strained uniform smoked desultorily. The space stunk like a revolting patch of August cement as fat raindrops fall and petrichor peaks only for a careless shawarma vendor to fumble onions and raw lamb onto the street.

Fat Fighter greeted Muhammad Jihad. “Asalaamu alaykum. Thank God we found you in time. He would have been angry. I hope you like films, as you’re going to be in one. Our friend,” Fat Fighter slapped the prisoner’s face, “is this morning’s star.”

The prisoner smiled feebly, then went back to reading a book entitled, The Last Confession. The boy catalogued facial cuts, florid bruises, bloodshot grey eyes a Crusader inserted into the gene pool, and a fractured jaw. “Muhammad Jihad,” said Fat Fighter, “meet Lieutenant Umar al-Talib, Royal Jordanian Air Force.”

Do I shake his hand or punch him? “Did he defect to The Cause?” Gales of laughter stung the boy to the quick until thoughts of Abu Zilquashed his defeatist thoughts.

“Umar’s had a rough week,” Fat Fighter explained. “We’ve shot all his scenes but the big finale.” He hugged Muhammad Jihad jihadi-style, all ripe with sour nicotine-sweat, then headed out into the courtyard. “Fix him up, Abu Habiby,” he shouted to his comrade.

Abu Habiby, shouldering a wooden broom handle wire-lashed to a bundle of diesel-soaked rags, kicked the door shut. In the thumb-web of one hand, dangling by his thigh, he held a hypodermic syringe. He dropped the torch on the table then dragged Muhammad Jihad into the corner. The boy’s head smacked brick. Angry ice-blue eyes bored from his balaclava’s oval. “You, a mere Cub, get to pronounce and execute sentence! Why not me? Min ayna anta?”

“Gaza City.”

“Ah. It is right that a Palestinian will kill this crusader pilot,” he agreed. “It is written.”

The pilot ignored them and read quietly.

Habiby handed the boy an index card upon which instructions were neatly written. “You’ll read, then the brothers will guide you.” He handed over the syringe. “Inject him with the scopolamine. It will erase his mind and destroy all resistance. When you bring him out he’ll be coherent but with the free will of a stone pigeon. If you say, ‘Lay down on the train tracks,’ he won’t flinch when the locomotive saws him in half. He who takes scopolamine enslaved to him who gives it.” He hawked a glob of chalky mucus on the pilot’s face then strutted out.

Nineteen minutes later, after a quiet-on-set announcement, Muhammad Jihad faced the drugged Lieutenant Umar al-Talib, a man twice his age, and pronounced death by fire for the crime of apostasy. Then he nudged the condemned in the back with the torch to goad him into a gauntlet of ISIS fighters forming a chute to the cage.

The pilot shuffled in socks and sandals and punished each fighter he passed with a glance. “I killed no innocents,” he insisted. “Each of my bombs hit a military target.”

The boy, wondering if he’d been drugged instead, focused on torch-stench and an imaginary line connecting the tangerine prison suit with the brutal steel cage.

“I’m ashamed. I wish I’d drowned,” said the pilot, who’d been shot down then fished from the Euphrates ten days ago and two city blocks away, “before I falsely claimed my country is responsible for Palestine’s occupation.”

Muhammad Jihad searched in vain for Abu Zil in the hooded crowd.

“I was tortured,” the pilot explained, “but still.”

The cage, framed by fighters, sand and dust spun into a dun cake-frosting, and sky like dull-grey pipe, grew with each step. The boy poked the pilot’s back with the torch. Soaked rags left a dark transfer stain.

“I hope you get your country back. Drones,” the pilot pointed heavenward, “will make you famous or worse. I wanted to be a doctor. It’s not too late for your soul. Run from these people.”

Jarred, the boy scanned the sea of camouflage and dead eyes. Zil was nowhere.

“Keep your promise, Muhammad Jihad. Anwaar, in Ayy, in Al-Karak.”

Then two fighters seized the condemned, muscled him into the cage, and slammed the bars.

The gauntlet dissolved. Along the courtyard perimeter, fighters pointed rifles at the caged pilot as if he were a superhuman who could bend steel bars, escape, and devour them. Two collected Muhammad Jihad and led him a stone’s throw to a rubble pile, positioning him just so for the cameras. “I’ll light the torch,” said Hani, a short Egyptian. “Ramzi will signal you.”

“Once Hani lights it,” said Ramzi, a Saudi, “you’ll hold the torch aloft. When I nudge you, lay it here.” He pointed to a shallow trench in the sand running into the cage. It was dark and oily and lined with charcoal-colored powder. “Wait until it ignites. Understood?”

A fighter with a steel can wanded diesel onto the pilot, who sneered through the deluge. With each pass, his tunic and pants variegated into orange and black stripes until the pilot was a captive tiger awaiting the moment his keeper would make a fatal error and scores could be settled. Finally he faced Mecca, knelt, and prayed. Defiance did not affect his repose. He might have been in his village mosque in Ayy.

A hush fell. The boy’s body was torpid with terror and his torch waved like an orchestral conductor’s baton. “Ready.” Hani flicked a silver lighter open, spun the wheel, and lit the rags.

Before the boy could run, the vapor cloud ignited, then the ball of cotton scraps. Frozen, he held the roaring torch aloft until terrifying heat and a longing to please Abu Zil overcame his will and made him do as ordered. The wicked gunpowder and diesel admixture spawned a row of sparkling dancers and sent them skipping down the trench.

On reaching the cage they split and raced around the perimeter to encircle the pilot. While they reconnoitered and schemed, Umar al-Talib steadfastly professed belief in the oneness of God and covered his face. When they attacked, the boy dropped the torch and vomited.

The pilot prayed longer than was possible. When fattening flames jerked him to his feet his martyrdom, by force of will, was not the shrieking agony of a domestic cat, fur set ablaze by a neophyte-psychopath and left to comet down the street. It was a five-act danse macabre.

First, flamenco. He hopped and clapped to embellish the rhythms of unseen guitars and castanets. Palmas, pitos, y jaleos from onlookers instantiated the communal nature of his dance.

Ballet en flambé followed. With a fire-tornado-partner whooshing hair and flesh through the salon, the pilot executed a demi detourne and gave his back to the enchanted throng. Despite the ramifications of organizational apostasy, Muhammad Jihad, sob-wracked, screamed at God.

Belly-dance next. The incandescent pilot shimmied and swayed behind a veil of boiling cloud. The inferno dragged chalky air into the pyre. Witnessing Umar al-Talib’s agony, the audience moaned with desire.

Then came a faena. A cinder-matador sank to his knees for a last series of passes, drawing the beast to his sword. Having delivered the thrust, he slumped, victorious, head between bars, face melting into a sand-puddle.

Finally, a Passion. Sinews, contracting, broke bones, but he rose to his haunches and arched. Supine, charred hands clasped in prayer, he watched his soul taunt smoke-horns stabbing impotently at the best of him climbing a sky-ladder to Paradise.

Enraged, the mechanical dinosaur dumped a ton of rubble and sand, snuffing cage and contents. The ISIS media director shouted, “Cut!”

Like magic, Abu Zil’s voice rumbled in Muhammad Jihad’s ear. “I’m so proud of you.”

Before the crying boy could bask in his master’s praise, a frenzied mob swept him into its number. 




Thursday, July 27, 2023

GAS Featured Writer: Dan Brook

 


Dan Brook is Senior Lecturer Emeritus in the Department of 

Sociology and Interdisciplinary Social Sciences at San Jose State 

University, from where he organizes the Hands on Thailand program. 

His most recent books are

Harboring Happiness: 101 Ways To Be HappySweet Nothings, about 

the nature of haiku and the concept of nothing, and Eating the Earth

The Truth About What We Eat



Serendipity and Synchronicity in Seoul



Sakura had never expected to fall in love again. Especially with another woman, let alone at this stage in her life. Why would she? She had been with three men before, including her ex-husband, and never imagined an alternative to men besides being alone. There was something about Su-yeon, though, that she just couldn’t resist. Maybe it was Su-yeon’s confidence, or her sharp wit and way with words, or simply the way she laughed at all the right moments. Actually, it wasn’t quite any of those, as adorable as they were. Whatever it was about Su-yeon, it had captured Sakura’s heart. 

They met in Seoul, where they had each been on a business trip. They struck up a conversation in a tea shop and hit it off immediately. Sakura and Su-yeon spent the next few days exploring the city together, trying new foods, going to cafes, visiting historic sites, chatting about all sorts of things. And laughing a lot. 

Sakura felt comfortable in Seoul, having grown up in Tokyo and visited Seoul several times. She enjoyed traveling, loved big cities, and was good at her job. Su-yeon was raised and lived on Jeju Island and every time she came to Seoul, she was shocked by its huge size, giant crowds, quick pace, and modern dynamism. 

It wasn’t until their last night together that things changed. They were walking back to their hotel after dinner, their arms innocently linked, when Su-yeon had stopped Sakura in the middle of the sidewalk. 

“I have something to tell you,” Su-yeon had said, her voice low and serious. 

“What is it?,” Sakura asked, her heart pounding in her chest and her head feeling light. Sakura had a slight limp from a childhood car accident that she was sometimes more and sometimes less self-conscious of. 

“I really like you,” Su-yeon blurted out with determination and desire, her dark almond eyes searching Sakura’s glimmering portals. “I don’t know if you feel the same way, but I just had to tell you how I feel. I hope you understand,” she continued. 

Sakura was stunned. She liked to dress sexy, in a stylish and mature sort of way, and often admired how other women dressed and looked, yet she never considered herself attracted nor attractive to women, at least not that way. But the idea of being with Su-yeon was suddenly very appealing. She felt a current of electricity coursing through her entire body and was a bit dizzy. She couldn’t believe what was happening, how she felt, and she was delirious. 

“I feel the same way,” Sakura finally whispered, partially choking on her words, her eyes locked with Su-yeon’s in mutual relief and adoration. It felt as if the rest of megacity Seoul had completely disappeared, or at least collapsed into a little world that only included the two of them. 

That was how their relationship began. They spent the rest of the night in Su-yeon’s hotel room, exploring each other’s lithe bodies and learning each other’s pleasures. It had been like nothing they had ever experienced before – so passionate, intense, and orgasmic, yet respectful and gentle. 

After that magical September night, Su-yeon and Sakura continued to see each other whenever they could: in Seoul again, and also Tokyo, Shanghai, Taipei, Hong Kong, Hanoi, Singapore, Jakarta, Kuala Lumpur, and Bangkok. They enjoyed their precious time, sneaking away from their daily lives to be with each other. They talked about what they wanted for themselves and what they were willing to risk to be together. Their time together in San Francisco was especially thrilling, partly because it remains the only time they have kissed and shown affection in public. 

It wasn’t easy. They were both in their forties, successful women with families and careers. Coming out as lesbians would be difficult, and could even be dangerous in their conservative society. Sakura still wasn’t sure she was lesbian, or even bisexual. She only knew who and what she loved, while Su-yeon was comfortable with the label, yet she remained in the closet to most people. In any event, they couldn’t and didn’t deny their strong feelings for each other. 

Sakura and Su-yeon continued their relationship, finding many moments of happiness and passion whenever they could. They knew it wasn’t perfect, but it was real, meaningful, and deep, more so than anything else that either of them had ever experienced. And that was all that mattered to them. 

 


Thursday, April 20, 2023

GAS Featured Writer: Kevin Zepper

 

Kevin Zepper is an instructor at a Minnesota State University Moorhead university. His most recent chapbook, The Shaman Said, was published February 2023. This is his fifth chapbook. He also has a book-length collection, Moonman. Zepper is part of the North Dakota and Minnesota chapters of Poetry Out Loud. When he’s not writing, he snaps photos, makes music, and acts.



Rorschach

 On rare occasions, I roll back my t-shirt sleeve, revealing my only tattoo on my upper left arm.  Old ink in the light of a new summer. When I bought it a lifetime ago, I wanted something permanent, a piece of art, an open red rose and a blue feather. Something…romantic. Someone inevitably asks what is it? What do you think it is, I ask back. An old college buddy believes it’s a bundle of marijuana, leaves dripping with THC. The goth kid with the jet hair and blue lipstick is convinced it’s a silhouette of the devil. A former teacher tells me it’s obviously a poinsettia with a blue spruce swag on one side. Obviously Christmas-y. A child with a temporary tattoo of a smiling sun on his forehead says that my tattoo is the crab nebula That’s what they learned about last week in science class. What remains is an ambiguous, bluish stamp, a hieroglyphic in permanent ink, a prompt to invite comment. Yet, I still see a hint of where the red used to be, recalling the sting of the needle.




Thursday, January 12, 2023

GAS Featured Writer: Ken Poyner

 


Ken Poyner has ten books behind him; eight still in print that can be found at Amazon, Barnes and Noble, Sundial Books, and just about everywhere else.  He is married to a world class female powerlifter, and lives additionally with rescue cats and betta fish.  He retired as soon as he could from his government job, and now enjoys the thrill of getting lost during short travel trips.  Individual works have appeared in Analog, Furious Gazelle, Rune Bear, and many other venues.  Visit www.kpoyner.com.


AGGRESSION


He is going to find the owner of the cigar.  He has been smelling it ever since being abandoned on this bench.  The moment he was alone, the odor of it pierced him.  He can see no source:  left, right or in front.  Behind is a garden fence.  Thick stone, with concrete leveler.  He can only see over it if he stands on the bench.  Positioned, eyes barely past the fence top, he sees standing by an outgrowth of wild flowers the friend who had just left, smoking a cigar. He leaps from the bench, seeking a suitable throwing rock.

-------------------------------------------

EDUCATION
  

She asks again that the department store not dress the front window mannequins so scantily.  Full dresses, winter coats.  Nothing sleeveless.  Keep the neckline up, the hemline down. For heaven’s sake, no lingerie.  Our boys get ideas.  We have to drag them gawking sideways by those windows.  Leave them alone, and they stand at attention, imagining variations on this storefront classroom.  This department store leaves her so much to undo.  Don’t get her started about her husband and the silly nothings he brings home for her to wear.  It is not something she ever wants to explain to her daughter.

-----------------------------------------

ESTABLISHED


He wonders why a cricket outdoors is soothing, but one in the house annoying.  They are the same insect, they make the same sound.  Early evenings outdoors they are a joy, particularly in multitude.  Quibble looks forward to sitting on his porch, drawing strength from their sound.  Even by an open window, their voices leaking in pleasantly paper the heart.  Close the window, shut the door, and even one cricket stitching in domestic air is a challenge.  Half the night Quibble will chase the sound, rolled up newspaper in hand.  This is his house.  There will be no crackling defiance.

-----------------------------------------

LINEAGE


He can’t remember when his grandson became his charge.  One day the boy was here and that day no one came to pick him up.  Family what it is, Quibble took on the responsibility of raising him.  He converted the spare room, began collecting boy furniture and clothes and toys.  His wife was at first not pleased and required a terror of convincing. But she adored how Quibble doted on the boy, slid comfortably into the role of a grandfather.  Tasting his delight, she imagined he would have been a good father, had they not decided to have no children.

--------------------------------------

PARANOIA


Quibble loves to watch clouds.  Long hours he lies on his back in his close-cropped yard and stares at them dancing with what he believes is purpose.  At times, he can be in the town square settled in one of the four uncomfortable public benches, fixed on whatever clouds, no matter how few, warble angrily above him. Most citizens think that, like everyone, he sees faces and animals, shoreline and suggestive whisps.  No.  Quibble worries the clouds mean him harm, make him part of their rain-dreary schemes.  At night, the clouds creep closer, they stitch themselves with moonbeams into malice.


Thursday, December 8, 2022

GAS Featured Writer: Benito Vila's Homage to Wavy Gravy

 


Benito Vila lives in a remote fishing village on Mexico’s Pacific coast. He first had his poetry published in 2020 in Love Love, an underground magazine based in Paris. His other published work includes the editing Of Myth & Men, a narrative cut-up of poet Charles Plymell’s email correspondence (for Bottle of Smoke Press), and creating profiles of "counterculture” instigators for pleasekillme.com and legsville.com



Wavy Gravy


Who is Wavy Gravy and why does he keep following me around? I’ve only met him once but he keeps popping into my life from time to time, as a wise character in friends’ stories, as someone who knows what’s really important. When I discovered he’d said, “Kissing builds up your mouth”, I wrote it down on a page that had the beginnings of this poem. When the poem began to take shape, I found his line was the perfect lead, the perfect title. In dedicating this poem to Wavy Gravy, I imagine he’d agree that oppression, injustice and cruelty have no measure, no standards, no units and no sonnets and he’d have fun with the idea that bitterness is not a flavor in the Love Store.


The one time I met Wavy Gravy was in the late 1980s at the Lone Star Café in Manhattan, a bar and performance space with a big iguana on the roof, at the corner of 13th Street and Fifth Avenue. I didn’t know much about him then, other than his real name was Hugh Romney, Jr. and that he had been promoted by Lenny Bruce as a comedian in the early ‘60s before plugging into the Merry Prankster/Grateful Dead scene in the late ‘60s. He’d been wearing tie-dye ever since, often taking on the persona of a clown, rubber nose and all.


The man I met was no fool. Wavy somehow ended up seated next to me, and I watched him sort through the goofiness of the high and happy who came up to him. He matched their love and respect, or deflected their wit, as was appropriate. He sized up people fast, and always kept his part of the conversation kind. After watching him for a bit, I shook his hand and said I was glad to meet him. I let him be. There were way too many people who wanted his attention, and there was no way I was going to do anything to impress him the way he’d impressed me. 


Later on, I discovered Wavy had set up the non-profit Seva Foundation with Ram Dass, helping people get eyecare around the world, and that he’d created Camp Winnarainbow, a circus and performing arts camp in Northern California. I also found out he’d run for a “Nobody for President” campaign in the early ‘80s and was keeping a hippie commune, known as “the Hog Farm, alive and thriving. The Hog Farm is still going strong in 2022, even if its most legendary act is feeding and caring for the 400,000-plus who attended the Woodstock Music and Art Fair in August 1969.


Last year, when Wavy, at 85, ended up needing some hospital care, he started coming up on my news feeds, the whole world it seemed saying nice things about him. That set me into looking into his life a little more and me liking what I found. Last month, I was in Portland, Oregon visiting Prankster George Walker when George told me the tale of how Neal Cassady’s ashes made it from San Miguel de Allende, outside of Mexico City, to San Francisco, to the home of Neal’s ex-wife and their kids, by way of Wavy and the Hog Farm. The Hog Farm was then outside of Los Angeles and it was the first U.S. destination for the ashes, which were being delivered by Cassady’s girlfriend, J.B., Janice Brown. J.B., with Cassady’s remains, arrived at the Hog Farm by hippie bus at the same time that Charles Manson’s black bus was exiting that compound’s property, which was right next door to the Hog Farm. It’s all weird coincidence but somehow relevant now that our world has gotten so strange. 


Maybe that’s the point here, that compassion lives on much longer than crazy. Or, better yet, as Wavy Gravy put it in his haiku elegy for his friend Ken Kesey: “They say Kesey’s dead––but never trust a Prankster, even under ground.”







Kissing Builds Up Your Mouth


For Wavy Gravy



1.


Kissing builds up your mouth. The people most opposed to escapism are jailers. A poem is more than a series of words strung together to sound nice or make someone feel good. The nine billion names of god float, adrift in a conscious soup, under the influence of an outmoded way of perceiving the world. 


Take root, feel the dark of the new moon. Plant trees if for no other reason than to be kind to those who come next. Plug in, feel the flow of knowing right now. Make art if for no other reason than to be a window for light to reflect off. Tune in, slow the beat until the hum heals. Write if for no other reason than to have your passion go where it needs to go.


Jump rope rhymes. A cake in the rain. One for the baby who sucks his thumb. One for the bubble that’s sure to come.



2. 


My cat looks at me like there’s a bird singing inside of me. Speak what makes you wow. Why are you here? One two three: to have fun. One two three four: to tell the truth. One two three four five: to sweep away the nastiness. One two three four five six: to learn, to teach and move. One two three four five six seven: to play, play, play and keep playing.


Every monkey is different and any monkey can lend a hand. Tyranny releases its hold only to come back again. Oppression, injustice and cruelty have no measure, no standards, no units and no sonnets. We have no idea the influence we have on each other but like planets and moons and stars, we bend space. We each have gravity.


A glass tumbles, resists definition. There’s no crash, no applause. I trust my compass: the closer to home, the easier the way.




3. 


I bow greet salute the person I am becoming. I bow greet salute the person I have been. Shabaz, shabaz, shahbaz, the open wing. I am I am. Relying on a measure of time is overwhelming, unless I learn to slow down the crush, the moment, the intensity, the show, the need, the emotion without resisting any of it. Being clever is nothing. Being wet is.


I ripple, I spiral, I wear my incomplete knowledge of the true nature of time and space with absolutely no sense of which thoughts, which actions, make or don’t make a difference. The poem is the word, bouncing off the page into the ear, across the heart and into the feet, your favorite dance, waiting for the sound.


Bitterness is not a flavor in the Love Store. It’s not even a topping. Forgiveness is available in sprinkles, swirls, cones and even comes in throwaway cups.






Thursday, September 15, 2022

On Literary Lineage: Considering JT Leroy by Su Zi

 



                                            

   A trilogy is a considerable artistic achievement. We ought to rightly salute such efforts to contribute to the culture, whether the culture of their time does so or not. In the canon of the literary arts, its critical history, there are lines of development for craft, for philosophy, for even the intermedia conversations of groups of artists that may or may not exist in face-to-face time.


    We who read, who read with knowledge of the literary arts, do more than taste a plot; a text exists both inside its time and in conversation with other texts, and a far more rich reading experience is to be had with awareness of these intertextual conversations. In consideration of a trilogy, the text continues this conversation with considerable commitment.


   And if the trilogy in question is taboo, this conversation between texts exists outside of the dominant culture of its creation. Many art forms have had entire genres that existed as taboo in their times and often beyond into history. Our current century has had a philosophical flux of both reconsideration of previously marginalized and taboo voices, and renewed efforts to silence them. At the release of the first volume (Sarah) in what is now a trilogy, the work of JT Leroy entered the arena of controversy, not for the text, but for the performance art that accompanied the publication: a controversy that still excites some emotion, but again not for the text itself.


    The folly of this lack of a formalistic view has historical antecedents dating back to mythic histories, and current culture is now just embracing the work of the last century that has previously been taboo. Since the trilogy’s first volume, first edition (Bloomsbury 2000) bridges the timeline of centuries and continues into those first years with the culminating edition (Harold’s End, Last Gasp, 2004), we who read ought to avail ourselves renewed consideration.


    While Albert Mobilio’s New York Times (2005) review does reference Genet and Selby, and Lindsey Novak’s Bomb Magazine interview does mention Wilde, the trilogy’s more overt antecedents seem to be somehow shadowed. The trilogy’s protagonist, Jeremiah in one work, Oliver in another, is a Dickensian child: a first-person point of view of disenfranchised denizens still not spoken of in polite company. However, there’s no sense of the dire and dirty here, but rather a comedic aspect: in Sarah, the protagonist is being fed steamed wild onions and compares that meal to his previously experienced “fine French shallots he sautés in a delicate saffron-infused lobster-chocolate-reduction sauce” (50), and it is the reader that realizes both meals are from truck stops. The elegant elaboration of Dickens is visible throughout the trilogy, with a certain timeless resonance:” there’s only the hum of moths batting against the caged-in light bulb in the middle of the row, crickets, and the low rumble of an isolated truck driving down Orange Blossom Trail” ( the heart is deceitful above all things 112). The streetwise cast aways of Dickens’ London have emigrated in the intervening time to American truck stops and strip clubs, and again to the street itself: “Everyone thought he was a vice cop when he started coming around, just cruising the block slowly in that big old silver Pontiac” (Harold’s End 9). Thus, a view of this trilogy only for the revisionist recontextualization of Dickens, it would position the work as post-modernism.


    Towards the last third of the twentieth century, deconstructed and taboo works found (and still find) a variety of genres available to them, but few were as potent as Punk. The rightful heir to the now-recently-re-esteemed Beat movement, Punk still has performing musicians. In the literary realm, there was the work of and now the namesake award for New York’s Kathy Acker. Jonathan Thornton described Acker’s work as’ “intentionally transgressive, engaging in shock tactics […]to engage with such issues as childhood trauma and sexual abuse” (tor.com); and although Acker died in late 1997, her namesake award is still given, the value of that literary approach recognized. In this trilogy of Dickensian-Ackerian gist, released within a handful of years in a continuing conversation of topic, of text, we who read are faced with three different publishers for one trilogy. That the Bloomsbury and Last Gasp editions can be located in hard bound format, with the Last Gasp edition being particularly lovely, these are still disparate volumes. While reconsideration of the work more appropriately recognizes it as postmodern, at least, and Punk for whenever that becomes as recognized as the Beats now are, the presentation of the trilogy overall is an overdue concern. For a press neither afraid of the taboo, the marginalized, or of work that poses critical considerations, this trio ought to be in a rightly deserved boxed set. For we who read, our dissimilar editions will be cherished, nonetheless.



Literary Saga of J.T. Leroy



Su Zi is a writer, poet and essayist who produces a handmade chapbook series called Red Mare. She has been a contributor to GAS from back when it was called Gypsy Art Show, more than a decade ago.

                     

Check out her author page on Amazon.


Wednesday, June 22, 2022

GAS Featured Writer: Rodrigo Toscano


Rodrigo Toscano is a poet and essayist based in New Orleans. He is the author of ten books of poetry. His newest book is The Charm & The Dread (Fence Books, 2022). His Collapsible Poetics Theater was a National Poetry Series selection. He has appeared in over 20 anthologies, including Best American Poetry and Best American Experimental Poetry (BAX).  Toscano has received a New York State Fellowship in Poetry. He won the Edwin Markham 2019 prize for poetry.  rodrigotoscano.com  @Toscano200


La Proletaria

 

The smell of pulp, turpentine, and bleach, usually permeates this side of town. But when winds from the southeast swoop into the valley, the toxic brew is fast cleared away, and what remains is the smell of wet grasses, mud, and wildflowers. This natural phenomenon mitigating human-made conditions has only a limited effect on the minds of the hard-working townsfolk whose every other thought dotes on the health and growth of the town’s young.    


She not only had the gall to admit it to herself, but also had the presence of mind to look for an opening (any) to construct a whole new reality for herself, and for something else. The eerie attraction she felt for this outcropping of Pre-Cambrian rock spoke clearly and directly to her the first time she saw it in the middle of the field. 


In the deep of winter, the paper mill’s indoor facility is cold and noisy. In that environment, she didn’t pay much attention to the roll press feeder guy dressed in the mustard-colored industrial pants and brown checkered long sleeve felt shirt. Also, the safety glasses and helmet occluded much. 


One day, her workmate buddy approached her about the possibility of maybe coaching her “little cousin” on basic lacrosse techniques. She readily agreed, having been a great player in school herself, the same school her buddy’s “little cousin” was now attending, but also the Pre-Cambrian rock in the middle of the field, enabling her resolve. 


Actually, she recognized him before he did her. She had caught his eye at the mill. She thought he was “cuddly,” but sufficiently “rough,” her exact taste in “little cousins,” which was just beginning to pick up speed. Decked out in a bright red, terry cloth, short sleeve disco shirt, and loose-fitting green parachute pants, the only part of him she could correlate to the Pre-Cambrian rock in the middle of the field and/or the guy at the press feeder on the third shift – the general mass and approximate density, was something else.  She could barely cloak the dilation of her cheeks’ surface arteries as she laughed easily at herself flaying the lacrosse stick every which way, tumbling to the ground, legs all over the place. 


At the end of practice, she offered to give him a ride home. As fate would have it, hard rains had made the winding road where “little cousin” lived impassable. They had to turn onto “the estuary,” the oldest road in this part of central Missouri, a tree-lined road made of stone and railway planks. 


The sound of the automobile’s front axle rod snapping in two reached her ears pretty much at the same time as something else crawled its way up into her nostrils. The last moment of sanity she remembers is the look of her own short brown hair flared out onto her face in the mirror, sticky and messy, the Pre-Cambrian rock in the middle of the field there also. As a whole new reality set in, a gust of wind made the maples around them rustle.