GAS Featured Poet: Arvilla Fee

 

Arvilla Fee lives in Dayton, Ohio, teaches English for Clark State College and is the lead poetry editor for October Hill Magazine. She has published work in over 100 journals and magazines, and her poetry books, The Human Side, This is Life, and Mosaic: A Million Little Pieces are available on Amazon. Arvilla’s life advice: never leave home without a snack (just in case of an apocalypse). Arvilla’s favorite quote: "It’s not what you look at that matters, it’s what you see.” ~ Henry David Thoreau. To learn more, visit her website and check out her new poetry magazine: https://soulpoetry7.com/

How to Eat An Over-Easy Egg

in Front of Your Ex

 

carefully,

deliberately,

fork cutting

straight down the middle,

yolk pooling

like a daisy-yellow pond,

perfect for dipping

butter-covered toast;

fold the bread,

drag it along the plate

in slow, circular motions,

absorbing,

never dripping—

never leaving the table

with egg on your face

Momma Needs a Moment

 

just five minutes to close my eyes,

to allow my chest to rise and fall,

to let my mind go blank.

Put your badgering on a shelf,

tuck those questions under your arms,

and just let        me         be.

I cannot answer the rapid-fire requests

that press into the gray matter of my brain

like bullish thumbs against a tender wrist.
I cannot tell you what’s for dinner.

No, I don’t know where birds go

when they leave their nests.

I don’t know why the store

was completely out of grapes.

Just let me have this bubble;

I’ll close my eyes and imagine,

if only for a moment

that I have all the space I need.

I’ll stretch my arms over my head,

yawn,

listen to the coo of doves,

step into the sun’s warm orb,

and measure my brief autonomy

in the beat of a hummingbird’s wings.

The Air Between Us

 

without the mixture of my molecules

and your molecules, the air is clearer,

fresher somehow, with a hint of jasmine,

pine, and tangerine—

 

without the verbal bullet holes and

the cock crowing, I can take a breath,

can spin around without hitting your ego,

fragile as it was—

 

without the rumbling of your empty

thunder, the sky has returned to me,

a prodigal piece of blessed haven,

draping me like a prayer

The Mad Librarian

 

Everyone said he was crazy,

my grandfather,

but I liked to think of him as

                  unconventional.

OK—so maybe the five hens

that slept in old milk crates

on his front porch was a little crazy.

Maybe the life-size garden statue

of Edgar Allan Poe with a raven

sitting on his head was—

well, odd at best.

But the pinnacle of his peculiarity,

according to the wholesome folks in town,

was his insatiable love of books.

Having converted his 1920-something

house into a massive library

when I was just a kid,

I found the rows and rows of bookcases

perfectly normal! Little books, big books,

books that smelled like the earth itself,

books with water marks and wax seals.

Books with red covers, brown covers,

no covers at all—tattered pages clinging

desperately to the threads that bound them.

Grandfather often sat in a winged back chair,

a book perched upon his knee, a book open

on his lap, a book held between two gnarled hands,

his gold, wire-rimmed glasses perched smartly

on the end of his thin nose.

I stepped on his glasses once, breaking both lenses,

but he kept reading with them anyway,

said it gave him a whole new perspective.

And it’s those glasses, sitting demurely on the last stack

of books he read that now waver behind the salty film

of tears in my eyes. I blink twice, put the specs on my face,

trying to see through Grandfather’s eyes.

Hazy Days

 

Clouds stretch thin

like prim Puritan lips;

the sun pouts

from behind the sultry veil,

searing the soil with her breath.

I stretch out on a lounger,

sweet tea glass to my forehead

icy condensation dripping

down flushed cheeks.

The bees fly in slow motion,

tipsy on pollen,

This is summer’s sweet spot,

the arc of time where days stretch

like melted salt-water taffy,

the radio scratches out Beatle songs,

and I forget about everything

except a raspberry sorbet

in the freezer.

straight down the middle,

yolk pooling

like a daisy-yellow pond,

ANDREW DARLINGTON's Review of ‘Down River: In Search of David Ackles' by Mark Brend

DAVID ACKLES: THE OTHER ‘RIVER MAN’

Book Review of:

‘DOWN RIVER: IN SEARCH OF DAVID ACKLES'

by Mark Brend

(2025, Jawbone Press)

http://jawbonepress.com/down-river/

ISBN 978-1-916829-22-0, Softback, 148pp+8 photo plates

To follow their hit single ‘This Wheels On Fire’, Julie Driscoll with the Brian Auger Trinity recorded a superb five-minute take on David Ackles’ ‘Road To Cairo’. It failed to chart. Later, the Hollies – with Mikael Rickfors, covered Ackles touching ‘Down River’. Spooky Tooth also recorded the same song. Born in Rock Island of ‘Rock Island Line’ fame in Illinois (20 February 1937), David Ackles was a songwriter who never wrote a hit. He released four albums, three for prestigious Elektra Records, with fan-man Bernie Taupin producing his brooding, elegant and eclectic masterpiece American Gothic (1972), after which there was a final Five & Dime LP in October 1973, for Columbia. 

He family moved to LA, but he didn’t live a Rock ‘n’ Roll life. He wasn’t cool. While other kids were out rocking around the clock he was listening to clunky old musical The Desert Song. Raised in a Presbyterian religious theatrical family he did Hollywood toddle-on parts in six Rusty movies – a kind of low-budget Rin-Tin-Tin variant billed as ‘Great Kids… A Wonder Dog!’. Out of step with teen-trends he favoured all-round variety to the Twist or the Boogaloo. If Bob Dylan referred to himself ironically as a ‘song-&-dance man’, David Ackles started out as the real thing.

Intending simply to demo his songs for other’s consideration, Ackles accidentally fell into recording his eponymous debut album (1968, EKS-74022). He’d already turned thirty and had yet to play a single solo live date. Jac Holzman’s Elektra was likely the only label with the open foresight to sign him. Producer David Anderle used session players, including former Iron Butterfly and future Rhinoceros musicians. They may simply have overdubbed Ackles existing demos without Ackles even being present, on songs such as the thumb-tripping screenplay ‘The Road To Cairo’; or the warm-voiced conversational piano-led ‘Down River’ – which he performed for a DJ John Peel Radio session. It tells the tale of a freed prisoner who returns to his hometown to find his girl has found someone else, yet he accepts the situation with sad grace. ‘Blue Ribbons’ controversially – at the time, is about a white woman pregnant by a black man. Then there’s the liturgical organ that complements the ‘arms of grace’ lyric of ‘His Name Is Andrew’ (covered by Martin Carthy on his 1971 Landfall album). 

Despite writer Mark Brend’s scrupulous research, which considers unreleased outtakes and lost songs, the session details remain uncertain. Yet Brend perceptively writes, Ackles ‘wrote as a dramatist or an author, creating songs like one-act plays or short stories,’ while under the influence of the Brecht-Weill partnership. It was difficult to place Ackles in context, he was not quite Randy Newman, neither was he a darker Harry Nilsson, he might have been chanson, Jacques Brel, or maybe even his Elektra labelmates Tom Rush or Tim Buckley? To journalist John Bauldie Ackles’ songs are ‘often dark vignettes of the sorrows and inevitable seriousness of experience, poetic sketches of not-so-beautiful losers and unlucky lovers, hopeless vagabonds and embittered misfits, set to tapestries of tune. It’s grown-up stuff’ (‘Q’, February 1994).

After failed sessions with Al Kooper and Don Ellis, the eight tracks that make up Subway To The Country (1969, EKS-74060) use lush widescreen Fred Myrow settings – an arranger who’d worked with Jim Morrison and would score Charlton Heston’s Soylent Green (1973). The title-song has a ‘got to get back to the land’ father-to-son brightness, other tracks such as ‘Mainline Saloon’ – with its dubbed-on ambient lowlife Bar sounds, and ‘Inmates Of The Institution’ with its chilling atmosphere of community derangement, in particular are disquieting and deeply unsettling. While the macabre character-sketch ‘Candy Man’ about maimed war-veteran Oscar, jailed for unapologetic peado offences, is possibly his bravest song, in that it adds psychological depth to a disreputable individual. But where Jim Morrison or Lou Reed were writing from their own life-milieu, good church-going David Ackles appears to be assembling his cast in the way that a playwright creates characters. His songs are story-songs.

He was still playing shoes-optional Folk-dens supporting Tom Rush or Joni Mitchell… such as the ‘Bitter End’ on NY Bleecker Street, until he played a support slot at the ‘Troubadour’ on Santa Monica Boulevard to an audience of the counter-culture glitterati there to witness rising star Elton John. It was 25 August 1970, and although Ackles performance was overshadowed by Elton John’s career left-off, there was rapport between the artists that led to Ackles crossing the Atlantic to live at ‘Farthings’ in Wargrave on the Thames at Berkshire, from where he could commute, scoring his own arrangement charts, to record at the IBC studio at Portland Place with Bernie Taupin producing. 

‘It seems like you get a sharper perspective on your own country when you’re away from it’ Ackles explains on the sleeve-notes of American Gothic (USA Elektra EKS75032). This time there were eleven tracks with a full 43-minute playing time including the 10:05-minute ‘Montana Song’ which is a search for rural ancestry roots taking him to a ‘long abandoned farm,’ all interpreted through diary entries. But there was still what Brend calls not ‘enough of the familiar’ to hit mainstream preconceptions. No chorus. More string quartet, piccolo and cello than Rock guitar. Even Brend concedes that ‘it is also the most inaccessible of his records’ which requires repeated plays and close attention to yield its rewards, ‘it’s not a record for the streaming age.’ For Ackles himself, he’s quoted as saying ‘I like parables, little morality plays.’ 

Critically the album was well-received, from Stephen Holden in Rolling Stone to Derek Jewell in the Sunday Times, drawing comparisons as diverse as Aaron Copland and George Gershwin. Chris Van Ness, writing in the Los Angeles Free Press, announced it as ‘the Sgt Pepper of Folk’. But as Brent admits ‘critical acclaim doesn’t always sell records.’ After it peaked at no.167 on the Billboard album chart, Ackles amicably parted company with Elektra. Only to be picked up by Clive Davis of Columbia, for a more modest low-budget album project.

The newly married Ackles produced Five & Dime (1973, USA Columbia KC32466) on a four-track TEAC machine in his Pacific Palisades home, inviting guest musicians – including Dean Torrence of Jan & Dean (on ‘Surf’s Down’) to visit in various combinations, before the tapes were mixed and mastered. Inevitably, the resulting album got lost within label and management politics. It was what Mark Brend calls ‘a more personal, intimate record – a step back from the big statement of American Gothic.’ Twelve tracks this time, including the black horror of ‘Aberfan’, which records the events of 21 October 1966 when a small Welsh village was engulfed in a landslip of saturated slag with a tragic loss of life. Ackles succeeds in riding a precarious edge between being maudlin or exploitational.

By now, ‘the fissure between talent and sales that was a feature of Ackles’s recording career from the start became a chasm.’ There were no more albums. But he wasn’t in it for stardom. He was in it for music. With the advent of CD there was a mild ripple of approving reappraisal with the reissue of his Elektra albums. A 2CD compilation There Is A River (2007, Rhino 8122-74884-2) included all three Elektra LPs plus ‘unreleased songs & rarities’ with Bernie Taupin and Elvis Costello liner-notes, although the edition was subsequently withdrawn due to legal conflicts with Ackles’ estate. And there were nay-sayers. Some reviewers considered that after such doses of intricate prettification it was necessary to syringe the ears with the Ramones or Motorhead!

A tall dark-haired affable man, David Ackles didn’t die a Rock ‘n’ Roll death. After retiring from Pop he wrote TV scripts, enjoyed a long academic career while writing and producing low-key musicals and ballet scores. His ambitious musical projects ‘Allendor/ Prince Jack’ and ‘Sister Aimee’ remain unstaged, while his collaboratively scripted Word Of Honour was filmed as a TV movie starring Karl Malden and a young John Malkovich. David Ackles survived having part of his cancerous left lung removed, but died of a relapse 2 March 1999 in Tujanga, California, aged sixty-two. Yet his reputation persists. Elton John and Elvis Costello sing his praises. Mark Brent’s book is a personal quest to discover the truth about the man he got to speak to once, on a single phone call.

 Ensorcelled by the September 1955 mystical vinyl codex ‘a-wop-bop-a-loo-bop-a-lop-bam-boom’ at age eight, Andrew Darlington embarked on a lifetime quest to decipher the magical incantation’s profundity, traipsing in not entirely straight lines of zigzag wandering across decades of enchantment, yet is still no closer to the true enlightenment revelation must bring. 

As of now, the seeking continues across a proliferation of platforms, including EIGHT MILES HIGHER .

44 Spa Croft Road, Ossett, 

West Yorkshire WF5 0HE

ENGLAND (Tel: 01924 275814

Email: andydarlington@talktalk.net

Twitter: @darlingtonandy

Website: www.andrewdarlington.blogspot.com)

GAS Featured Poet: John Yamrus

 

John Yamrus is widely recognized as master of minimalism and the neo-noir in modern poetry. In a career spanning more than 50 years as a working writer, he has had nearly 4,000 poems published in books, magazines and anthologies around the world. His writing is often taught in college and university courses. Three of his more than 40 books have been published in translation.  2025 has seen the release of two new books: the quasi-memoir CAPTAIN BEEFHEART NEVER LICKED MY DECALS OFF, BABY and a book of poems, DON’T SHOOT THE MESSENGER: JUST GIVE HIM A GOOD PLACE TO HIDE.

his favorite response

 

to almost 

anything she said 

was “well I’ll be dipped in shit!”.   

 

it 

didn’t 

matter what she said, 

 

or 

how, 

 

or 

why,

 

 or 

even if 

the response 

was appropriate, 

 

or fit...

 

it 

was always 

“well, I’ll be dipped in shit.”

 

it 

was so 

awkwardly annoying 

 

that 

she couldn’t wait 

till he’d offer something new. 

 

but, 

two weeks 

after the accident,

 

and 

the light 

that was or wasn’t green, 

 

she’d give 

anything she had 

 

to 

hear him say it 

one more time and smile.

GAS Featured Poet: Michael Lee Johnson

 Michael Lee Johnson lived in Canada for ten years during the Vietnam era. Today, he is a poet in the greater Chicago-land area, IL. He has 354-plus YouTube poetry videos. Michael Lee Johnson is an internationally published poet in 46 countries, a song lyricist with several published poetry books, and a nominee for 7 Pushcart Prize awards and 7 Best of the Net nominations. He has over 653 published poems. He is the editor-in-chief of three poetry anthologies, all of which are available on Amazon, and has authored several poetry books and chapbooks. He has over 653 published poems. Michael has administered and created 6 Facebook Poetry groups. Member of the Illinois State Poetry Society: http://www.illinoispoets.org/ and Poets & Writers: https://www.pw.org/.  His poems have been translated into several foreign languages. Awards/Contests: International Award of Excellence "Citta' Del Galateo-Antonio De Ferrariis" XI Edition 2024 Milan, Italy-Poetry. Poem, Michael Lee Johnson, "If I Were Young Again." 

I Conceal My Craft

 By Michael Lee Johnson

 

I conceal my craft beneath the shell

of an armadillo, snug in its embrace,

nestled near its warmth,

as insects buzz under the midday sun,

where stories collide with struggles,

and words fester like unresolved thoughts,

distant from the critics' needle pen hearts.

Their relentless demands, cold cash, 

and hollow praise layered thick with honey

on pages between verses, where every line

holds a lingering scent or memory.

I gaze up at the vast sky and chuckle.

Speaking in tongues nervously out of mind

shining chimes waiting for the next critic

to declare my thoughts don’t flow,

out of character, my rhythm’s a misstep.

I tally each word, joy, and sorrow.

One poem, one collection of verses for me;

One poem, one collection, a poetry book against me.

Breath shallow, breath hard for the heart with age.

I conceal my craft under the armor of the armadillo.

 

The Older I Get (3)

By Michael Lee Johnson

 

The older I get,

the fewer friends I got.

My teardrops fall on empty ears.

Imagine those soaked pillows.

Friends, some I've had for over 30 years.

Now, they are petrified by their own fears,

confined in jealousy, self-disgust, or gone.

Evaporation takes over the space where leftovers are stored.

They left my world nibbling on little, left behind.

My abysmal room, insane, schizophrenic

smells of pending death. Do my crying, do my praying.

Brian Wilson, “In My Room.”

Prayers seldom go beyond my ceiling,

mystically tucked back inside my brain.

Growing older, wiser, figured out nothing at all;

nothing worth worrying about.

Less tolerance, more self-opened space,

fewer gutless enablers, as time passes, doors close.

Old doors don’t squeak, no need for WD-40.

Key phrase: they die or show their true colors.

The older I get, the fewer friends I got.

I start best when the world awakens, roosters crow.

I fall asleep, like my mother, into slow-wave sleep.