SATURDAY POETRY SERIES PRESENTS: LYN LIFSHIN

WHEN I WAS NO LONGER MY LEATHER JACKET
by Lyn Lifshin

Something he’d picked up
and gently carried to the
closet. When I was no
longer something he half
wanted to wear, held so
delicately, smiled at like
when he came in later to
the reading, said he would
have brought the Margarita
but he didn’t know if I
liked it on the rocks, how I
felt about salt. Before I
was no longer my jacket,
darkly mysterious, soft but
with a musky smell, flexible
enough to do what he
wanted with. Before that I
was all animal, wild. I was prey
he was on a safari for, caught
in his crosshairs. He could
taste my hair thru e mail.
Once he tracked me as far as
San Antonio, couldn’t
find me. This time I was the
lure, the flash of a few verbs and
he canceled classes, took off
work. I was something he
couldn’t stroke like the leather.
He was used to things being
fatal, leaps and cracks. He was
a journalist, wanted no
emotion to get in the way
of the facts.

(“When I Was No Longer My Leather Jacket” was originally published in Poetry Bay and Lyn Lyfshin’s book Persephone printed by Red Hen Press and is reprinted here today with permission from the poet.)

Lyn Lifshin has written more than 125 books and edited 4 anthologies of women writers. Her poems have appeared in most poetry and literary magazines in the U.S.A, and her work has been included in virtually every major anthology of recent writing by women. Lyn Lifshin has also taught poetry and prose writing for many years at universities, colleges and high schools, and has been Poet in Residence at the University of Rochester, Antioch, and Colorado Mountain College. Winner of numerous awards including the Jack Kerouac Award for her book Kiss The Skin Off, Lyn is the subject of the documentary film Lyn Lifshin: Not Made of Glass. For her absolute dedication to the small presses which first published her, and for managing to survive on her own apart from any major publishing house or academic institution, Lifshin has earned the distinction “Queen of the Small Presses.” She has been praised by Robert Frost, Ken Kesey and Richard Eberhart, and Ed Sanders has seen her as “a modern Emily Dickinson.” Her prizewinning book (Paterson Poetry Award) Before It’s Light was published Winter 1999-2000 by Black Sparrow Press.

Editor’s Note: It is an honor to share with you the work of Lyn Lifshin today. A renowned poet, Lifshin has earned her reputation as a true wordsmith. With moments like “how I felt about salt” and “flexible enough to do what he wanted with, ” today’s poem at once delves effortlessly into a vignette of a relationship and simultaneously tells the story behind the scenes.

Want to read more by and about Lyn Lifshin?
Lyn Lifshin’s official website

SATURDAY POETRY SERIES PRESENTS: ANDREA KNEELAND

By Andrea Kneeland:

UNTITLED

When you put your arms around me and I close my eyes, everything except your body disappears. I press my face against your chest, my eyes all wet, and sometimes I pull away and see that I have left satisfying evidence of tears on your shirt. I will admire the evidence covertly. It looks like a Rorschach blot or a foodstain. When I close my eyes, you could be anyone. Sometimes I forget your name. I can even forget who you are while you are speaking to me, if I want to, if I keep my eyes shut, if I try hard enough. It’s not just you who disappears when I shut my eyes. The ones before you disappeared too. All of your arms, your t-shirts, your reluctant acts of comfort, all of you feel exactly the same and it doesn’t matter to me anymore who any of you are.


HOME MOVIES

the way flesh swarms like ants the stuttering thumps embedded
like morse in our bones forever a history of fingers glistening
like butter the way memory is sort of a stain
in the cloth

like grease or like blood forever there you are unbleached
how you let them touch you forever your breasts fleshed guppyfish
eyes straining toward opposite points in the air forever the arch
of your skin

and the slip of a fisted hand tanned like leather forever the wormy
brown nylon of twisted rug the way it holds the imprint
of swarmed bodies forever the muscle of thighs
the baby

soft skin of the wolves forever the circling throb of impatience
the impermanence of movement the impermanence of face
of the bodies of ten white socked men forever the clutch
like a balled baby

fist forever the way you pressed your self down into the love
ly brown floor forever how your face bleeds forever into the white
round white lights

forever how I wondered if anyone would ever love
you how I wondered how
you would make them


(“UNTITLED” was originally published in PANK Magazine, and “Home Movies” originally appeared in Tarpaulin Sky Press. Both poems are reprinted here today with permission from the poet.)


Andrea Kneeland is the author of The Birds & The Beasts (Cow Heavy 2011) and a web editor for Hobart. Her work has appeared or is forthcoming in a number of journals and anthologies, including Annalemma, DIAGRAM, Barrelhouse, Caketrain, American Letters & Commentary, Wigleaf, The Collagist, 580 Split and elimae.

Editor’s Note: Don’t let it be said that I don’t know how to ring the new year in with a bang! I must admit today’s poems are some of my favorites that I’ve had the pleasure to publish on this series. If you’re an avid reader it should be clear to you why these poems are right up my alley. Working strongly within the theme of relationships with an overtly sexual drive, these poems are a one-two-punch to the gut of America’s Puritanical backdrop. With moments and killer end lines like “And this will be proof that I know who you are and I mean it when I say that I love you,” “All of your arms, your t-shirts, your reluctant acts of comfort, all of you feel exactly the same and it doesn’t matter to me anymore who any of you are,” and “forever how I wondered if anyone would ever love / you how I wondered how / you would make them,” Andrea Kneeland is a poet after my own heart, and the perfect start to a new year of poetry!

Want to read more by and about Andrea Kneeland?
Hobart Literary Journal
PANK Magazine
Tarpaulin Sky Press

Art Lessons

Image from the Tom Corbett television series in the early 1950s. Command cadet Tom Corbett is flanked by Martian astrogator Roger Manning and Venusian rocket specialist Astro. Photo source: IMDb.

Art Lessons
By John Unger Zussman

One day in fourth grade, our art teacher passed out crayons and asked us to draw a picture of the most beautiful thing we could imagine.

I started with a verdant forest beside a lush green meadow. Above it I added a blue sky, wispy white clouds, and a yellow sun. And in the middle of the meadow, I placed a sleek, gleaming, silver rocket ship, pointed skyward and bearing an American flag.

It was 1960.  The space race was in high gear. The Russians had launched two Sputnik satellites in 1957 and the U.S. was trying desperately to catch up. Both countries were rushing to put astronauts in orbit. The excitement captured my nine-year-old imagination. I had even abandoned my beloved Hardy Boys books to pursue Tom Corbett, Space Cadet.

Only now does the sheer phallic audacity of that picture make me chuckle.

The art teacher, roaming the classroom, finally stopped behind my desk. “Is that really the most beautiful thing you can think of?” she sniffed.

I got the message. Since that day my artistic endeavors have been limited to doodles and scribbles. And my brilliant career as a rocket artist was snuffed out before it began.

Copyright © 2010, John Unger Zussman. All rights reserved.

An abridged version of this essay was published in The Sun Magazine in June 2004.

Anna Baltzer

STL-PSC Flash Mob: Boycott Israeli Apartheid in Palestine!

POPULAR BOYCOTT ISRAEL

ST. LOUIS FLASH MOB VIDEO

REMOVED BY YOUTUBE

Prompts Questions about Selective and possibly Unlawful Shut-Down

FOR IMMEDIATE RELEASE

December 23, 2010

Contact Person: Colleen Kelly, 314-761-7428

Who: Members and friends of the St. Louis Palestine Solidarity Committee

Where to view Flash Mobhttp://www.stl-psc.org/?p=149

Removed video: http://www.youtube.com/watch?v=OGAdfvGQ-xg

Dancing and singing to a parody of Lady Gaga and Beyoncé’s “Telephone,” more than forty members and friends of the St Louis Palestine Solidarity Committee (STL-PSC) serenaded holiday shoppers at Best Buy and AT&T stores in Brentwood, MO.  They urged patrons to join the boycott of Motorola due to the company’s involvement in Israel’s unlawful military occupation of the West Bank and Gaza.  A video of the flash mob was posted on YouTube December 13th, quickly going viral, with coverage in media around the world including Israel’s Ynet News. It acquired more than 35,000 hits in less than a week.

Shortly after the count hit 35,000, YouTube removed the video in apparent response to a notice of claimed copyright infringement from “WMG.”  The STL-PSC is firmly convinced, as advised by legal representation, that the flash mob video does not infringe Warner Music Group’s copyright, as it constitutes a “fair use” of the song and parodies of songs are protected under a U.S. Supreme Court decision in Campbell v. Acuff-Rose.

Furthermore, the song copyright appears to be owned by a subsidiary of UMG Recordings, not WMG at all. The WMG seemingly has no claim to the song; on the other hand, WMG’s relationship with Motorola is well known.

STL-PSC believes that this is an infringement on freedom of expression and plans to challenge the take-down.

Author and national organizer, Anna Baltzer, on the removal of the video:  “There are more than 1,000 Lady Gaga flash mob videos on YouTube. None of them has been shut down by WMG.  What does WMG not want the world to know about Motorola’s connection to Israeli apartheid and war crimes? The targeting of our video shows that we are doing something right and the companies are feeling the pressure. Now more ever we need to keep the pressure up! Please continue circulating and click here to send a letter to Motorola and sign a pledge.

Washington University graduate, Banan Ead, explained why she participated in the flash mob: “I’ve lived in the West Bank for a few years and visited several times, and every time I go back, with every airport interrogation or checkpoint I get stopped at, I feel only a sliver of the degradation of what the Palestinians permanently living there have to go through.  It was also important for us to show that there are ways to non-violently resist that occupation. Plus, I like to sing and dance!”

86-year-old Holocaust survivor, Hedy Epstein, also participated, saying: “During my five visits since 2003, to the Israeli Occupied Territories, I was repeatedly asked by Palestinians I met as follows:  When you return home to the U.S., please tell people there what you have seen and experienced on the ground, because the media does not convey that. I have tried to honor that commitment.”

To interview Flash Mob participants, call the contact above. To find out more about the St. Louis Palestine Solidarity Committee, visit: www.stl-psc.org

Motorola provides equipment to the Israeli military used to maintain the occupation and illegal settlements. More on Moto here…

####


Anna Baltzer
National Organizer, US Campaign to End the Israeli Occupation
Local Organizer
, St Louis Palestine Solidarity Committee
Homepage: www.AnnaInTheMiddleEast.com
Facebook: http://tinyurl.com/fbanna
Twitter: http://twitter.com/anna_baltzer

ART REVIEW

 Paper collage (11 x 14 inches) made with found materials by Matt Gonzalez.

MATT GONZALEZ AT TRIPLE BASE GALLERY

by Paul Occam

Triple Base Gallery on 24th Street recently unveiled its new artists in a flat file project that allows a standing exhibit of hundreds of works on paper from 16 artists.  The show ended on December 19, but the pieces are still at the gallery in files.

Among some of the most interesting work presented was that of Matt Gonzalez, the progressive leader who shaped much of the political landscape in San Francisco from 2000 to 2004.

What has always been striking about Gonzalez, politically, socially and otherwise, has been his staunch refusal to separate art from life. As a small but significant measure of this impact, Gonzalez was the first elected official in San Francisco to open his office for artists to put on monthly art shows.

The practice he initiated of opening city hall to art and artists—merging art and politics—has become so popular that it is common for many officials to host art shows in their offices. This victory of non-separation represents a reappraisal of the political landscape that needs to grow.

With relatively little attention and a host of small successful gallery showings at Adobe Books, Lincart and Johansson Projects, Gonzalez has produced more than 500 intimate small-scale collages over the last six years.  Many are done in the spirit of Kurt Schwitters, using only found materials collected on his walks through the city or poached from invitations he receives by mail.

The works can be found on the walls of other artists including Bay Area figurative legend Theophilus Brown and the well-known Mexican painter Gustavo Ramos Rivera.

Gonzalez’s primary palette is stuff other people throw away. The works themselves are meditations on value, meaning and social norms. As a body, the work recalls the Phillip K. Dick saying, “divinity is found in the trash substratum.”

The visual impact and gravity of his work is such that Gonzalez should not be denied a second career as an artist and may be remembered someday more in that vein, than as a politician.

The work is composed of images and discarded packaging, the disambiguation of old meanings through minor resurrections of color, compositions and forays into textures and curiosity.

The innocence of many of the pieces is striking and noticeable, inviting the spectator to see something with new eyes—similar to the way a child might be fascinated by a color or an object it instinctively reaches out for on the sidewalk, only to have an adult quickly shoo it away to enforce the conceptual reality of what is “allowed”.

Gonzalez’s work re-invigorates this moment, but stops the hand of authority before it can get a complete stranglehold on our innate sense of wonder.

Gonzalez’s reappraisal of this moment and his willingness to pick up the forgotten, unseen and rejected is a meditation on compassion. It displays an intimacy with things other people don’t want to be reminded of, as if to say “But look how great this is if you only get rid of your idea about it!” In this way the pieces are balanced by a sense of humor and the inherent questions that they pose about late capitalism, status and prescribed values.

Some of the pieces belong in the philosophical company of Asger Jorn and Guy Debord, two of the most famous members of the situationist international, and possibly as a continuation of their famous critique “The Society of the Spectacle.”

The pieces are a playful critique of modern society and throwaway culture. Gonzalez pays attention to ideas and things left in the margins and rescues them from oblivion and unconsciousness in such a way as to show us the ghost of modern living that lurks outside our doors.

Gonzalez goes further than Asger Jorn and Guy Debord when he appropriates the situationist concept of the “Drift”—a deliberately poetic and uncalculated exploration of the city—and catalogues it by creating artifacts of experience, an archaeology of everyday life created from discarded images and messages that he juxtaposes into small works of art.

The perspective is one that might be welcomed in a zen tea house—getting rid of the concepts of the past by presenting them without the garbage of conditioned thinking.

One notes that Gonzalez’s work in every field has always retained a trace of the outsider. In some sense he has made a career in representing people without a voice.

–Paul Occam

Paul Occam is the pen name of a San Francisco writer.

This review was first published at Mission Loc@l.

The Sestina Has Been Sinking, by Steve Davenport

The Sestina Has Been Sinking

for EMW

Sestina, tonight’s the night I push you off the overpass.
I’m done with your six kinds of hell. Your demanding sky,
your French complications, your clouds in my happy wagon,
your forty-two words for rain, your pearl-handled gun,
this concrete and asphalt that leap-frogs the low ground
locals call the Bottom, dirt cursed with industry and blood.

I’m done with your sixes and sevens, the pressure of blood
at the thirty-nine sutures pinning us to this long overpass
you keep calling me to, far above the patchy ground
that only we who grew up here could think deserves a sky,
any sky, even this one with its petro stink. I too have a gun,
this twelve-gauge I’m pulling loaded from my buckshot wagon.

May your pieces make a smart pattern. May the dead wagon
carry a vacuum and glue. If there are forty-two words for hell,
I expect thirty-nine of them to be you. You need a real gun,
Sestina, my dirt under your nails, the rough of this overpass
for texture, the heft of a gunite hose shooting two-up at the sky
to make a holy road for rich pilgrims heading for better ground,

which means rolling or manicured or ode-worthy, any ground
but this petro dirt you call me back to with talk of the wagon
that will save you. I’d do the Crazy Wing through a bad sky
if I thought I had anything new for you and your stale blood,
your long form, the way your returns wrap this overpass,
Sestina, in the same old sixes and sevens. Better someone gun

you down than endure one more round of blanks from the gun
you pull from your obvious garter. Better the hard ground
meet you falling than I waste my love from this overpass
on your history, the stretch marks you earned on the art wagon.
Bottom needs steel, slaughterhouses, freight trains bringing blood
and thump of flesh on flesh to make its rough song, one part sky

to five parts slag and spill, glorious smokestacks praising the sky,
canals, and river, a round of voices joining as I lift my shotgun
and new ashes settle all over this Bottom I love like blood.
Time for us to go, Sestina, double-pumped to sky and ground,
me to open fields, where I’ll whistle past the dead wagon,
and you to your forty-two words for life after overpass.

We promise to curse the sky. We deliver our ends to the ground.
We’re loaded on the meat wagon. We love the noise of the gun.
Here is the blood we love. Here is where we leave the overpass.


Steve Davenport is the author of Uncontainable Noise (2006), which won Pavement Saw Press’s Transcontinental Poetry Prize. His “Murder on Gasoline Lake,” listed as Notable in Best American Essays 2007, is available as a New American Press chapbook. Recent publications include a lyrical essay in Northwest Review, poetry and fiction in The Southern Review, and a scholarly essay about Richard Hugo’s poetry in All Our Stories Are Here: Critical Perspectives on Montana Literature (University of Nebraska Press, 2009).

SATURDAY POETRY SERIES PRESENTS: KENDRA GRANT MALONE


A PLACE WHERE YOU CAN BE ALONE
by Kendra Grant Malone

WHEN I GOT OFF THE TRAIN TONIGHT
I WANTED TO BE
BACK IN THE MIDWEST
THERE WAS NO REAL PROMPT
FOR IT
MY BRAIN WAS SUDDENLY
FLOODED WITH IDEAS
OF LAYING IN FIELDS
AT NIGHT ALONE
AND BEING ABLE TO SEE VERY FAR
A PLACE WITH NO HILLS
I WANTED TO BE
IN A PLACE
WHERE YOU COULD BE
ALONE AT NIGHT
AND HEAR THE INSECTS
SWARMING ABOVE YOU
AROUND YOU
A PLACE
WHERE YOU CAN SEE
THE WHOLE MILKY WAY
I DIDN’T WANT TO BE
IN NEW YORK
THE SMELL
IS AWFUL HERE
AND SO IS
THE CROWDING
I WANTED TO BE ALONE
LIKE YOU ONLY KNOW
WHEN YOU ARE FROM THE MIDWEST
WHERE IT IS POSSIBLE
TO DRIVE TWENTY MINUTES AWAY
AND BE THE ONLY HUMAN BEING
FOR MILES AND MILES
I WANT TO SPOON
THE CORN STALKS
TO SLEEP TONIGHT

(“A PLACE WHERE YOU CAN BE ALONE” was originally published in The Offending Adam and is reprinted here today with permission from the poet.)

Kendra Grant Malone lives with her cat Delores Grant Malone. Her first collection of poetry, Everything Is Quiet, is available at scrambler books. You can also visit her website to read more about her work and her cat at kendralovely.blogspot.com.

Editor’s Note: Today’s poem is dedicated to all of my Midwestern friends, particularly those of you who hail from the quiet sparse spaces. While so many of you have been eager to leave the stillness of that life behind for more urban pastures, I think you know what this poem is speaking to. How one might, in a moment overwhelmed by the hustle and bustle of city life, long “to drive twety minutes away and be the only human being for miles and miles,” “to spoon the corn stalks to sleep,” “to be alone like you only know when you are from the Midwest.” Perhaps you’re back in your Midwestern home today for the holiday, and perhaps this poem will help you to better appreciate your return.

Want to read more by and about Kendra Grant Malone?
Buy her book!
Kendra’s Blog
The Offending Adam

The Coming Crisis of Op-Ed Food: What Class Says About Food (or the Poverty of Food Theory)

By Liam Hysjulien

It’s hard to get behind any food movement (if they can even be categorized as such) these days.   While I tend to eat healthy—spending roughly a third of my income (which as a graduate student isn’t very hard) on organic, local foodstuff (mostly bulk grains, vegetables, and fruit)—I can’t buy into any movement that freely throws around—without a hint of irony—terms like “locavore” or “foodie.”

Still, I feel lambasting a movement that I respect, albeit not always linguistically, so dearly is counterproductive to fostering a united front.  If we are going to recreate our food system, both locally and globally, it is imperative that both the food intelligentsia (Pollan, Allen, Patel, Berry) and rank-and-file, food-minded citizens are not cannibalizing each other during this very important moment in time.

Decades from now, the early 2000s may be seen as a watershed moment for the alternative-food movement.  Sociologically speaking, food consciousness, akin to the increase in human-rights consciousness during the 80s, has entered full-force into mainstream American society.

Evidence of this collective food consciousness is everywhere, and unless McDonald’s begins injecting a brain-altering serum into their McRibs, it is here to stay. We can look at the popularity of movies like Food Inc. (Oscar-nominated) and Fresh and Pollan’s book, The Omnivore’s Dilemma, as good indicators that mainstream America is awake and mobilized toward the problems of our incredibly destructive food system.

But being awake about an issue doesn’t always mean you truly understand it.  And this is not to say that there aren’t smart people spending serious amounts of time looking at the issue of food, but personal experience, no matter how scientific we try to be, invariably leads to some degree of bias.  The problem is not the bias, but the fact that we seem to be ignoring glaring contradictions in favor of a more comfortable narrative.  The food movements seems to be content with the idea that since poor food choices got us into this mess, changing these choices will in turn solve the problem.

When Michael Pollan says that “[e]ight dollars for a dozen eggs sounds outrageous, but when you think that you can make a delicious meal from two eggs, that’s $1.50. It’s really not that much when we think of how we waste money in our lives” (Worthen 2010), there seems to be some strange, out-of-touch daftness in his line of thinking.  Is the problem simply that we haven’t understood the message of the food vanguards?  Perhaps, but I think there’s more to it than that.

I’d like to propose something a little more critical—fully aware that it will be perceived as both polemic and hyperbolic.  The problem of food is just another example of a systemic assault that has been waged against the poor and working-class in this country over the last thirty-odd years.  As wages have remained stagnant, the price of foodstuffs—with the exception of soda—has steadily risen.  We have the saturation of commercials focused almost exclusively on promoting heavy, processed, food-cum-chemically-enhanced meals to children—with fruits and vegetables rarely making an appearance.

We have people with limited access to personal transportation, coupled with working multiple jobs and longer hours, living in food-dead zones, where the nearest grocery store might be miles away.  We have basically created an economy running so fast and unequally that the logic of this system is predicated on people also eating as quickly and cheaply as possible.  This isn’t about people just not wanting to eat healthy food.  Or not knowing some ridiculous cost-balance equation about how spending X amount of money on nutritious food today will save Y dollars on health bills in the future.  Or the platitudes that if people stopped wasting so much money on material junk they’d have more money left to buy $4.00 organic peaches.  It’s about a system in which food, which should be the most basic of rights, is now some repackaged, commodified afterthought.

The problem of consumer-based movements is that they tend to focus all the strategies on personal choice, disregarding structural inequalities that are at the root of our food problems.  And even when they acknowledge these structures, they think that civil-society-promoted social movements can somehow operate successfully within the system.  When thinking of food, the question should not be why people don’t eat well, but why we have created a system that reinforces—at a cost to mental health, financial security, and physical well-being—a food plutocracy where food has become increasingly fetishized at the top and placed out of the reach at the bottom.

As citizens we need to break the Ag Business-political accord.  This can be done by voting into office people who are not wedded to the interests of Big AG, supporting your local food movements, and pressuring at all levels of government a need for healthy and safe food alternatives.  But without widening government support toward locally grown food, current food solutions will remain largely on the periphery—eating around the edges instead of tackling the middle of our increasing food crisis.

If the 2050 food disasters narratives are even half true, it’s not a matter of making better personal food choices, following rules of eating, or becoming awakened to a foodie manifesto, it’s about addressing a coming global food disaster the world has never seen.  I think the food movement needs to push even further and leave no options off the table.   As Raj Patel once said, “why are there markets of food at all?”  If we are going to buy into the idea, as proposed by the likes of Graham Riches and Patricia Allen, that access to healthy and safe food is a fundamental human right, how then that right becomes realized is an essential question.

How about a government program that tiers the prices of food—through EBT-type cards—by income bracket?  Or government refund checks to individuals who buy fruits and vegetables.   This isn’t about accepting a future of “eight-dollar eggs” which will only exacerbate the division—mostly along class lines— between the well fed haves and the well fed have-nots, but about realizing that gravity of our food future requires a range of solutions.

Andreas Economakis

Paul Simonon and Joe Strummer (Rock in Athens, July 27, 1985)

“Do You Really Want To Hurt Me?”

by Andreas Economakis

July 27, 1985. Day 2 of the big Rock in Athens concert. S. and I squeeze our way through the excited crowd and sit down on the white marble seats. We look around the open-air Kallimarmaro Stadium, home to the 1896 Olympics. The Clash are playing tonight and the place is packed to the gills. I mention to S. that I finished the marathon in this stadium when I was twelve years old. I remember being so very upset that the local newspaper misspelled my last name in the article the next day. My mom, feeling bad, whited-out the mistake and carefully wrote in my name. It was nice of her but it didn’t take the bitterness away.

I pull out a can of smuggled Amstel beer and crack it open. I hand the can to S. and she takes a swing. She hands the can back to me, her eyes smiling, flirting. Things are finally warming up between us. The mythical woman on the pedestal is finally becoming human, approachable. I’m so infatuated with her.

The lights dim. The crowd starts whistling in anticipation. Suddenly, S. takes my hand in hers. My heart skips a beat. My mind travels to the night before. There we are, seated in the same marble seats, but things are so very different. No smiling, flirting eyes, no heart-skipping looks or touches. Almost like an anti-climax, Boy George of Culture Club steps on stage. His hair is gelled high over an overly made-up face, the eyeliner around his glazed eyes giving him an almost macabre look. He’s wearing a strange and not too flattering green training outfit with shiny reflector strips and he’s sweating buckets in the hot Athenian air. Like gasoline tossed on fire, the crowd up front, mostly punks, start heckling and jeering. Before long they start throwing pebbles and water bottles at Boy George. He leaves the stage in a fit of disappointment. After several rollicking minutes of uncertainty, an announcer comes on stage and chides the crowd. A few more awkward minutes pass by and Boy George steps back on stage, inflamed eyes scanning with crowd nervously. He walks up to the microphone, takes a deep breath, and starts singing “Do you really want to hurt me?” The crowd roars “YES!!!” in unison and pelts him with more pebbles and bottles and insults. Remarkably, Boy braves his way through the song, hips dancing and swaying melifluously around the flying detritus and hurled invectives. When the song ends and the mayhem and impending carnage becomes fully apparent, Culture Club decides to flee the stage. My last image of Boy is a frightened flurry of green fabric and black face make-up, the stage’s probing spotlights making him look a like a fugitive zombie from Michael Jackson’s “Thriller.” Outside the stadium, petrol smoke, black as night, billows up to the darkening orange-blue sky. Word gets around that punks outside the stadium have set fire to Boy’s tour-bus. In reality, several concert crashers have set a car on fire as they are upset at being kept out of the stadium by a beefed-up police force. The stadium is rolling in confusion and smoke, everyone unsure if the concert’s going to be cancelled.

The lights dim and then, suddenly, Joe Strummer walks on stage. Back to today. The crowd explodes in applause. A hero’s welcome. “Should I Stay or Should I Go?” he bellows. “STAY!!!” the Greek crowd roars. I swear, I’m so happy to see Joe that tears well up in my eyes. A smiling S. turns toward me and kisses me on the lips. Joe finishes the song and dives into the crowd. He’s hoisted up, swirled around over people’s heads and thrown back on stage. He grabs the mic for the next song. That night S. and I become boyfriend and girlfriend. I owe it all to the Clash. Thank you, Joe Strummer. Thank you.

–Andreas Economakis

This piece is part of a collection of stories on blindness entitled: The Blindness of Life.

Copyright © 2010, Andreas Economakis. All rights reserved.

For more stories by Andreas Economakis click on the author’s name below.

SATURDAY POETRY SERIES PRESENTS: OKLA ELLIOTT

By Okla Elliott:

THE IDIOT’S FAITH

Three lanterns floated in the dream she told him, but he didn’t want to hear about lanterns. He wanted factories unbuilt, windows smashed open. He wanted libertine wailings. She denied being a builder of factories, but he knew her reputation. A wind blew in from Montreal, or she said it was from Montreal, said she could smell the bars of Rue St Laurent. He was skeptical but didn’t want to argue. What good are arguments on a Saturday night? What good are arguments at all? She told him again about her love of the French language, and he thought maybe they were getting somewhere. The modern sunset outside her window was spilled wine tinged with pollution. They went down the mountain to town, found the trouble she had decided they wanted. She called a homeless man a fallen Chinese god, and they mourned his sad descent, forgetting (almost) their own. That is the power of generosity, one use of our idiot faith in human love.

 

THE LIGHT HERE

It sets a mood
of clownish tragedy,
of ecstatic failure waiting to happen.

It is not a static blue light
nor the throb of a strobe.

It is not a light to read by
nor to be naked in,
unless you are desperate
or barbarously horny.

I would use it to look for you
in a cave or catacomb
or an ossuary crowded by the famous dead–
that is, if you were in such a place,
I would use this light to find you.

It is a light that yellows the periphery.
It is not a light that brightens the center.

It is mixed from an overcast morning
and the electric urban dusk.

It is a light I could live in
if I came to terms with certain failings
in my character
and the character of others.

I know you have light where you are,
better light even,
but I wanted you to know
about the light here.

 
Okla Elliott is currently the Illinois Distinguished Fellow at the University of Illinois, where he studies comparative literature and cultural theory. He also holds an MFA from Ohio State University. For the academic year 2008-09, he was a visiting assistant professor at Ohio Wesleyan University. His drama, non-fiction, poetry, short fiction, and translations have appeared or are forthcoming in Another Chicago Magazine, Indiana Review, The Literary Review, Natural Bridge, New Letters, North Dakota Quarterly, A Public Space, and The Southeast Review, among others. He is the author of two poetry chapbooks–The Mutable Wheel and Lucid Bodies and Other Poems–and he co-edited (with Kyle Minor) The Other Chekhov.

Editor’s Note: Today I am honored to present to you the work of As It Ought To Be‘s managing editor. His work speaks for itself, as does the significant body of publications in which his work has appeared. Okla is an impressive scholar, a fearless leader, and a wonderful person to know in the writing world. He believes strongly in the idea of building and sustaining a community of writers, and I am honored to be a member of that community. Regarding today’s pieces I will say that Mr. Elliott effortlessly combines vignettes of straightforward narrative with crisp images and moments of simple yet brilliant language such as “What good are arguments on a Saturday night? What good are arguments at all,” “if you were in such a place, I would use this light to find you,” and this kicker of an ending, “It is a light I could live in / if I came to terms with certain failings / in my character / and the character of others. / I know you have light where you are, / better light even, / but I wanted you to know / about the light here.” Simple. Elegant. Stunning.

Buy Okla Elliott’s new book, A Vulgar Geography.