Paramnesia 2

Photo by Gertrude Käsebier (1905) Digital image courtesy of the Getty’s Open Content Program

Paramnesia 2

By Tim Peeler

 

Paramnesia 2

The deluge of nighttime dog barks
Pauses for the after storm gutter drip.
There was a game, he says, can’t
Remember if it was 47 or 8, but we had
A two run lead in the bottom of the ninth.
Crickets like a crowd roar and the faint
Leaving of a train across the river gorge.
You got a light. Thanks. Well they got
The bases loaded, drunk as they say.
The old man’s profile, a Hemingway
Hillbilly with bifocals in porch light.
And coach, he hollers for me to get in there
To pitch to this Babe Ruth no neck left hander. 
A bawling cow somewhere, the Judge’s braying
Donkeys, hungry in their dark pasture.
So I say a little prayer ‘cause I believed back then,
Hid the ball in my glove behind my back.
A neighbor’s old pickup truck inching
Through the front yard of his trailer.
I throw it hard and outside at the knees.
He swings and misses. Lights was so bad.
An owl in the maple top, sounding out a
Whole summer of loneliness.
When he struck at the third bad pitch, that was
The game, but then he come after me with his bat.
A Hmong woman across the field, singing by the
Lanterns in her vegetable garden.
Our first baseman, Rosenbluth, stopped
Him out between the bases.
The hiss of traffic on the wet road,
River like a belly against the old dam.
We piled on him, beat the shit out of him
Before his teammates got out there, must have
Been 48, same year I met your mother.

About the Author:  A past winner of the Jim Harrison Award for contributions to baseball literature, Tim Peeler has also twice been a Casey Award Finalist (baseball book of the year) and a finalist for the SIBA Award. He lives with his wife, Penny in Hickory, North Carolina, where he directs the academic assistance programs at Catawba Valley Community College. He has published close to a thousand poems, stories, essays, and reviews in magazines, journals, and anthologies and has written sixteen books and three chapbooks. He has five books in the permanent collection at the Baseball Hall of Fame Library in Cooperstown, NY. His recent books include Rough Beast, an Appalachian verse novel about a southern gangster named Larry Ledbetter, Henry River: An American Ruin, poems about an abandoned mill town and film site for The Hunger Games, and Wild in the Strike Zone: Baseball Poems, his third volume of baseball-related poems.

Chase Dimock: “The Haunted Pop-Up Halloween Store”

 

 

The Haunted Pop-Up Halloween Store

is the zombie corpse of a long dead
retail outlet rising from the grave.
Beneath the orange banner
looms the faint spectral glow
of a Borders Books sign.

Crumbling red Circuit City tile
lines the gates of hell.
The ghosts of VCRs and Walkmen
haunt the shelves now lined
with sexy nurse costumes
and adult sized My Little Pony onesies.

The souls of empty Blockbuster DVD cases
moan in the aisles, grieving the hole within:
the lost copy of Shrek II that will never be returned.
Radioshack floppy disks flutter like bats
in the rafters, blindly searching among
the plastic pitchforks and novelty severed hands
for the Tandy computers they once called home.

The death mask of Geoffrey the Giraffe
silhouetted in dust and grime on the wall
looks over a display of polyester werewolves
hears the faint memory of children jumping rope
and dressing Cabbage Patch Dolls drowned out
by the eternal loop of “Monster Mash”
bellowing from the rusty intercom.

Come November,
when Smarties and Almond Joys line
the discount candy bin and the trucks collect
boxes of unsold rubber Pennywise masks
the retail Zombie will shut off the fluorescent lights
and bury himself again beneath the crumbling
asphalt parking lot and the scuffed linoleum.
It once more becomes the haunted K-Mart
teetering on the hill. The ghosts peer out
eyeholes cut in their Martha Stewart bedsheets.
The damned wipe Ecto-Cooler off their chins.

.

 

About the Author: Chase Dimock lives among mountain lions and coyotes in an undisclosed location between Laurel Canyon and the Hollywood Hills of Los Angeles. He serves as the Managing Editor of As It Ought To Be Magazine and makes his living teaching literature and writing at College of the Canyons. He is the author of Sentinel Species, published in 2020 by Stubborn Mule Press His poetry has been published in Waccamaw, Hot Metal Bridge, Faultline, Roanoke Review, New Mexico Review, and Flyway among others. He holds a PhD in Comparative Literature from the University of Illinois and his scholarship in World Literature and LGBT Studies has appeared in College Literature, Western American Literature, Modern American Poetry, The Lambda Literary Review, and several edited anthologies. For more, visit chasedimock.com

 

More by Chase Dimock:

Imitation Unicorns

“Women Who Love Men Like Ours” By Rebecca Schumejda

 

(Editor’s Note: This is the second of a two part series of poems on incarceration by Rebecca Schumejda. You can read the first one here.)

Before my brother’s incarceration, I held many beliefs that I now grapple with; one is my once vehement view embracing an eye for an eye, the law of retribution. The idea once seemed simple, if you do wrong, you should suffer an equivalent consequence. The problem is I interpreted this guiding principle through the kaleidoscope of my own limited experience, an experience that did not take life’s complexity or the fallibilities of the justice system into account. The variables are endless, for example just pick up Anthony Ray Hinton’s new book, The Sun Does Shine, which discusses how he survived three decades on death row in Alabama for a crime he did not commit. The number of death row inmates who were set free is absolutely staggering. Then of course, you have to consider mental illness and countless other factors when considering retaliation in lieu of a more magnanimous alternative.

Here’s the thing, I never thought I would be standing on line, shoes in hand, waiting to walk through a metal detector at a maximum-security prison to see my little brother. I never thought I would sit across from someone whom I once knew as the kindest, gentlest person and question every conviction I ever held about him and about all my perceptions. I never thought someone I loved would cause others, including myself, such intense pain by committing an inane act, an act still unfathomable to all affected. Here’s another thing, sometimes you cannot make sense of a tragedy no matter how hard you try. That aside, I want to believe that if you are willing to look at your experiences, even the most painful ones, as opportunities to learn then you will grow as a person and you may even be able to help others along the way. I have to constantly remind myself that good can come from a tragedy, that all is not lost. I use what I know, poetry, as a catalyst for thought and discussion, the chance to make people feel less lonely. I believe poetry is a good place to start any conversation.

 

Women Who Love Men Like Ours  

I drive toward your house 
and end up at a maximum-security prison,  
knowing I didn’t make a wrong turn.  

I witness the woman guard,  
at the first checkpoint, turn away  
three women for dress code violations.  

The woman in front of me steps out of line  
to bring those three women out to her car  
where she has t-shirts and sweatpants  
in all different sizes for moments like this.   

I take off my shoes before entering  
your house, not to keep the floors clean,  
but to pass through a metal detector  
before being allowed inside.   

The guard gives me a dirty look  
for letting the woman, who helped,  
back into her place in line and I regret  
drawing attention to myself   

but then the woman says,  
We got to be here for one another  
cause ain’t no one else gives a shit  
about women who love men like ours.  

Since I feel connected for the first time  
in months, I nod in agreement as if  
I traveled hours to see my lover or husband  
instead of my little brother.  

At dusk, on my way back to a life,  
where I forget my brother’s address,  
the setting sun is an orange jumpsuit  
crumpled up in the corner of a dingy cell.

.

About the Author: Rebecca Schumejda is the author of Falling Forward (sunnyoutside press), Cadillac Men (NYQ Books), Waiting at the Dead End Diner (Bottom Dog Press), Our One-Way Street (NYQ Books) and several chapbooks including Common Wages, a joint project with poet Don Winter. She received her MA from San Francisco State University and currently lives with her family in New York’s Hudson Valley. She is a co-editor of the online publication Trailer Park Quarterly.

 

Image Credit: “Prison, Albany, N.Y” (1865) Digital image courtesy of the Getty’s Open Content Program

Margaret Crocker: “Earth, Air And Lynda Carter”

 

 

Earth, Air And Lynda Carter

I first remember flying.

Flying

with the ceiling’s 70’s popcorn textures
at my cheek.
I could touch it
if I’d only stretched out my hand.

I was a superhero then,
in my first moments of life and memory,
with my Wonder Woman Underoos,
Lasso of Truth
and the bad guy in the background
for seconds,
long particles of seconds,
an eternity of nanoseconds,
in Million Dollar Man slow motion,
with the Bionic Woman smiling at my shoulder.

“Forget Lee Majors,”
she whispers,
“and fuck the Army.
Let’s leave it all behind with our invisible jet.”

And then I land,

Remembering landing for the first time,
as I remember no other landings before now.
The Underoos ruck up to my armpits,
everything explodes,
the house explodes,
sound and sight explode,
the air, Lynda Carter and Lindsay Wagner are sucked from my universe,
the villain is there,
and the ultimate final twist–

That our heroine
could never fly,
after all.

.

About the Author: Margaret Crocker is an artist, writer, wife, mother, daughter, sister and thief. She collects stray animals and has this weird fantasy of being on The Great British Baking Show, despite the fact she uses a bread machine. She knows little but proclaims much. There is much we don’t know about her.

 

the bleeding horse at sea

Félix Bonfils “Mer morte et montagnes de Judée” Digital image courtesy of the Getty’s Open Content Program

 

the bleeding horse at sea

By John Sweet

 

the bleeding horse at sea

and then it turned out
that the trick was just to
give in to depression, and of course
i felt like a fool for not realizing   
                                 this earlier

i sat there in an empty house
listening to water run down the walls

sat there listening to
the starlings in the attic

thought about my oldest boy

about all of the apologies i owed him

kept wishing i was asleep
until my alarm clock
woke me up the next morning

.

About the Author: john sweet, b 1968, still numbered among the living.  A believer in writing as catharsis. Opposed to all organized religion and political parties.  His latest collections include APPROXIMATE WILDERNESS (2016 Flutter Press), BASTARD FAITH (2017 Scars Publications) and the limited edition HEATHEN TONGUE (2018 Kendra Steiner Editions).  All pertinent facts about his life are buried somewhere in his writing.

All of the Above

“The Bad Book” Unknown Artist, Digital image courtesy of the Getty’s Open Content Program

 

All of the Above

By Jason Ryberg

 

All of the Above

A book of poems is
a family photo album
for a spectacularly dysfunctional family,

a scrapbook of newspaper clippings,
wedding announcements, obituaries
and concert ticket stubs,

a file cabinet full of classified documents,
elaborately detailed conspiracy theories
and jealously guarded recipes.

A book of poems is
a jelly jar full of fortune cookie fortunes,

an ancient tome of forbidden knowledge,

a grimoire of (otherwise) benign
spells, hexes, hoodoos and charms.

A book of poems is (at least)
equal parts scrapyard and curio shop,
(bus station at 2am  / country crossroads at midnight),

a shoebox full of old post cards
and love letters,

a rolodex of dead or merely
recommissioned phone numbers
(I’m sorry, who were you looking for?)

A book of poems is an estate sale for a wealthy,
eccentric hoarder who has been missing
and presumed dead for nearly a decade.

an operator’s manual for a machine
that hasn’t been invented yet,

a road atlas for a lost continent.

A book of poems is …

all of the above.

.

About the Author: Jason Ryberg is the author of twelve books of poetry, six screenplays, a few short stories, a box full of folders, notebooks and scraps of paper that could one day be (loosely) construed as a novel, and, a couple of angry  letters to various magazine and newspaper editors. He is currently an artist-in-residence at both The Prospero Institute of Disquieted P/o/e/t/i/c/s and the Osage Arts Community, and is an editor and designer at Spartan Books. His latest collections of poems are Zeus-X-Mechanica (Spartan Press, 2017) and A Secret History of the Nighttime World (39 West Press, 2017). He lives part-time in Kansas City with a rooster named Little Red and a billygoat named Giuseppe and part-time somewhere in the Ozarks, near the Gasconade River, where there are also many strange and wonderful woodland critters. 

Leadwood: A Conversation with Poet Daniel Crocker

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Leadwood: A Conversation with Poet Daniel Crocker

By Chase Dimock

 

In Leadwood, Daniel Crocker surveys twenty years of his work as a poet. Ranging from the metaphysical significance of the McRib to courageous deep dives into bipolar disorder, Crocker’s book is more than a collection of poems; it’s a chronicle of a poet’s maturation and a man’s coming to terms with his upbringing and identity.

Leadwood is the Daniel Crocker origin story. He was born among the long closed lead mines and chat dumps that littered his rural Missouri hometown. He confronts poverty, bigotry, and religious zealotry along with personal tragedies that shaped him as man and a writer. As a middle aged poet, Crocker depicts the lingering effects of Leadwood, balancing nostalgia and care for his home with trauma. In his newest poems, he gives us stirring insight into his relationship with bipolar disorder.

No matter his age, his work has always been confessional and brave. Crocker is a rural Anne Sexton, a Sylvia Plath raised on Sesame Street and WWE wrestling, a John Berryman in the Wal-Mart aisles, a Robert Lowell with a smirk and morbid punchlines.

 

Chase Dimock: Although this is a collection of your work from the past two decades, you decided to give the book a title: Leadwood. Once the reader hits the first poem “Where We Come From,” they will learn that Leadwood is the name of your small hometown. Why did you decide that this one word would be descriptive of two decades worth of your work? What does understanding Leadwood as a town achieve toward understanding Daniel Crocker as a poet?

Daniel Crocker: This kind of dates back to my very first full length book, People Everyday and Other Poems (Green Bean Press, 1998), which I dedicated to  Leadwood. Later, me and my wife, Margaret, would do a chapbook together called “My Favorite Hell.” It was put out by Alpha Beat Press. We used the Leadwood population sign as our cover art. So, I guess Leadwood has had a hold on me from the beginning.

Like you said, it’s my hometown. I think most of us are shaped by where we grew up–for better or worse. Most of my formative experiences happened there, and I’ve written a lot about them.  And, I certainly have love/hate relationship with Leadwood. I have many great childhood memories, but also worries about lead poisoning and the ecological disaster that my home town is. Mostly, however, I wanted to make sure that the voices of my small town, and by extension other small towns, aren’t lost. There are small towns all over the country that have been ravaged and left behind by corporations–whether it’s Leadwood, which was founded by a lead mining company who later up and left the town with huge piles of chat (lead and dust) that were as big as football stadiums. The cancer rate there is extremely high. The soil has been tested there was found to be 10,000 more times the lead in the soil that is considered safe. Continue reading “Leadwood: A Conversation with Poet Daniel Crocker”

Sally with the Accent

Pablo Picasso, “Femme couchée lisant”

Sally with the Accent

By Kevin Ridgeway

 

Sally with the Accent

she’s from Yonkers
has white skin
white hair
and a bright smile
she used to do social work
and her insight means
she can finish our 
therapist’s sentences
and initiates 
the growing
process
of others
so much
until she stops 
responding to her name
and denies everything
into the fog 
of disassociation
and waking up lost, 
not knowing
where and how
she’s found 
herself again.

.

About the Author: Kevin Ridgeway is from Whittier, CA. He is the author of six chapbooks of poetry. His latest book is A Ludicrous Split (alongside poems by Gabriel Ricard, Alien Buddha Press). Recent work has appeared or is forthcoming in SlipstreamChiron ReviewUp the RiverNerve CowboyThe American Journal of PoetryMain Street RagCultural WeeklySan Pedro River ReviewLummoxMisfit MagazineThe Cape RockPlainsongs and So it Goes: The Literary Journal of the Kurt Vonnegut Memorial Library. He lives and writes in Long Beach, CA.

Cape Split

Across the Bay of Fundy, towards Nova Scotia, as seen from Fundy National Park, New Brunswick

Cape Split

By Tobi Alfier

 

Cape Split
      Cape Split is quite literally the “end of the world”
                                                                         Google quote

                            I

Pain is like the prenup you forgot to get,
it takes all the sweetness, leaves you
with the pawn tickets. You will never
be able to buy back an unfurled forehead,
true smile and the grace of comfort.

                            II

So you sit in the bar, listen to complaints
of other people’s unwanted houseguests,
drink just enough. One more winter
outlives its welcome as you as you lick
your cold lips, search for a warm face.

                            III

The weather is ice over shade,
you need an elbow to pity you home.
This is not the first time. The tide is out,
you are resting on mud, you need a pilot,
who knows your analogies are weak

and your pride is mighty. Like a ship asail
with no engine, you pray for wind to lead you
past the soft swell of young lovers to the breakwater
of hearth, to tea and the quiet compass of a stranger’s
voice bidding you safe travels, small hurts.

.

(This poem first appeared in Sterling Magazine)

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About the Author: Tobi Alfier (Cogswell) is a multiple Pushcart nominee and multiple Best of the Net nominee.  Her chapbook “Down Anstruther Way” (Scotland poems) was published by FutureCycle Press. Her full-length collection “Somewhere, Anywhere, Doesn’t Matter Where” was published by Aldrich Press. “Slices of Alice & Other Character Studies” was just published by Cholla Needles Press. She is co-editor of San Pedro River Review (www.bluehorsepress.com).

“Walking West on East 5th Street” By Jeffrey Alfier

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Walking West on East 5th Street
                          Benson, Arizona

It is spring, and in a town that awaits
the luster of fairgrounds to come alive,

the doors of taverns open early, like strangers
with a promise. Flat-roofed houses yield

to groves of mesquite. Their limbs stretch
streetlight halos into frail shadows veining asphalt

that webs the neighborhood. The trundling
iron of the Union Pacific enters town at a late

hour. Its headlamp startles shacks to burnished
yellow as it floods for mere seconds the frame

of a drunken soldier, home on leave from a long
war. He shuffles through an unpaved alley

like an astronaut scuffing the dust of the moon.
A final blast from the locomotive seems to hew

the world into the past tense. It surmounts cheers
unreeling from a small crowd seated under

the ballfield lighting of a pickup game. A young
hopeful sprints homeward, rounds third, already out.

 

This poem previous appeared in Idyll for a Vanishing River (Glass Lyre Press, 2013)

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About the Author: Jeffrey Alfier is 2018 winner of the Angela Consolo Manckiewick Poetry Prize, from Lummox Press. In 2014 he won the Kithara Book Prize, judged by Dennis Maloney. Publication credits include Crab Orchard ReviewSouthern Poetry ReviewAtlanta Review, Copper NickelEmerson ReviewIron Horse Literary ReviewKestrelHotel AmerikaMidwest QuarterlyPoetry Ireland Review and South Carolina Review. He is author of The Wolf YearlingIdyll for a Vanishing RiverFugue for a Desert MountainAnthem for Pacific Avenue: California PoemsSouthbound Express to Bayhead: New Jersey PoemsThe Red Stag at Carrbridge: Scotland PoemsBleak Music – a photo and poetry collaboration with poet Larry D. Thomas and The Storm Petrel: Poems of Ireland. He is founder and co-editor at Blue Horse Press and San Pedro River Review. An Air Force veteran, he is a member of Iraq and Afghanistan Veterans of America.

 

Image Credit: “Main Street, Benson, Arizona” By Jeffrey Alfier