Grand Guignol

The satellite truck fitted with 27 monitors
drives the streets of these cities
capturing moments of rigmarole.

Reporters stand in front of cameras
and wait for a countdown
from the button pushers
inside some production booth
clockwatching like thieves
hoping for parole.

Anchors shuffle copied paper
relayed into the brightly lit studios
by windup tapered interns.
Smile into the proscenium windows
of the world, whip turn and smile
dramatically into the proscenium arches
of this world.

27 monitors inside a truck parked
on the highest ground
flash incessantly.
An old news hound leans back
and packs a bowl,
27 monitors arranged in columns and rows.

Beheadings in a foreign country of war,
lets interview the families.
Planes entering buildings not coming out,
lets interview the fallen,
the ones who looked up and then fell down.
Lets push a microphone in mouth slack
with lack of words or air to blow
into the lungs of the drowned of Katrina.

Lets stare into the harsh glare of exposed sun
until we burn off our hallowed patina.

The lore of de Lorde carries on,
afterwards of Buchenwald,
transfixed on the transparent walls
of the asylum, brought by cable tv
into our sweetest homes.

Lets kill Paula Maxa ten thousand times more,
laugh at hysterical panic and maximized gore,
if you can’t faint then you are immured
inside the caresses of the hypnodomme.

Sigh like a furnace,
sans eyes, taste, teeth, everything.
We’re lovers only on the surface
while secretly seethe underneath.

27 monitors always turned on
pray to the legacy of our lord de Lorde.
All our world’s a stage
dependent and demented
within the confines of the Grand Guignol.

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Tartarus

I lack many things. I am blind.
My skin is uglier than Egil’s bones.
My bones horrify the good James Paget.
I’m led away from stadiums
through vomitoriums.
I forswear my faith and from faith, virtue,
and placed in my hands is the lyre of Nero.
I pluck from my virtue, knowledge,
and strangle the aria of Loge.
I exchange my freedom for wealth.
I transform into the scaly worm
with scales of debts unbalanced.
I am a brooding individual. I am deaf
to all knowledge, I am intemperate.
I twist myself into iron maidens.
I exhibit my snake and how the snake fits
inside these cobbled iron maidens.
I lose my balance, I fall defrocked.
I suffer from chronically cold feet
and dissipated and sprawled
in hoarfroast, I rise to anger,
impatient. I command the reversal
of the tides, old king Cnut in defiance
of the Lord, the Lord of Ragnarök.
I endure headaches, heathen headaches
devoid of brotherly kindness,
full of revulsion for all mankind.
I experience bouts of lethargy.
I either can’t or am unwilling
to raise my arms and plead
to stop wearing this cutis capotain
with the belt buckle like a tressure,
my ornamental fleur-de-lis,
my branded saint on frontispiece.
I’m forced to ask where is my charity,
ask this of my kind brothers,
my false prophets,
and natural brute beasts.

My charity speaks evil of my indignities.

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The Rose and the Red

Overtures are made. Music happens.
Blame Canadian Mist and Mountain Dew.
Blame the mix not the brew.

I sat there stretched out in cummerbund,
the circular table overflowed,
sweet buns, wedding cake, something thrown,
bridesmaids dancing in high heels and bright dresses.
Groomsmen spinning girls,
girls grinding with their hips,
they bite their lower lips,
twirl their plaited tresses.

I look at this army,
look at this army,
forever
and forever.
I think of the orphans
never and never.

If I really possessed free will,
I would choose to be God
just like everybody else
would choose to be God
if everybody had free will.

This is not a check,
non-negotiable, this
is a non-negotiable check.

PARTY TO THE FIRST PART
Tuxedoed castellan consuming his concoction,
across from him children caper at the dance.
The cloying matriarch, the aging dowager,
swirls her wine in a glass.
He ordered the white.
She ordered the rose and the red.
His wine was served from a decanter,
hers from two different fisted corks.
They’ve been paired since that first tasting
when sparklers flashed past them
on the walk to the Sarasota city pier.

She took her heels off on the beach.
He lost a cufflink.
They spoke about moscatel,
how the grapes are redolent.
He promised to take her to Lisbon,
the lie slipping by his teeth on the sixth sip.
She regretted choosing the double hook bra
and covered her curved c-section scar.
On the walk back to the hotel
a disheveled bum holding a welcome sign
asked for two million dollars
and this made them both laugh.

PARTY TO THE SECOND PART
You have been examined today for physical injuries.
Because of the emotional upset that happens during a physical assault,
you may not be aware of areas of pain or injury until tomorrow.
Shock, embarrassment, fear,
depression, blame, guilt,
shame or anger
are all very common and normal feelings.
You may not be able to think clearly
and you may have strong emotions
about what happened to you.
This is normal.

Crisis intervention and supportive counseling can help.
Many states require your doctor to notify law enforcement agencies
as part of administering treatment on a victim of a violent crime.

DISPUTE RESOLUTION
The blue dashboard illuminates his apatheia,
angled passing streetlamps shine on anomie,
her upturned face debrided, her mind at large,
her car seat reclines all the way back,
her legs curl underneath her, sweet
placid car marais, clumped mascara sways
a vision cloud malaise of drunken ataraxia.

And when they stepped out on their gravel lichyard,
he is now missing both cufflinks.
She carries her high heels. She thinks she walks
on crushed shells near the coquina rocks
that protrude askew at odd angles
all over the Sarasota keys.

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Skin Tag (an Exaggeration)

The sun filled my ears if not my eyes and I remember squinting in paradise feeling the cloying warmth. This was on the Venice Beach boardwalk, on a crisp November morn, amber and comatose; in fact so wearisome, during a brisk walk, tiresome, that I returned home and promptly fell back asleep, crepuscular in thought, a bear reclining on a chair.

Sometime that morning I bought a child’s visor, tan in color and modesty, the exact pigment of my skin, the bill no longer than an eyelash, and so tight around my vertex as to be most inconspicuous; in fact so camouflaged, during vivid dream assuaged, that when the brim flipped flat against my forehead, my memory disengaged.

The upshot, I forgot. The upshot being is that I forgot. A bottle of fine wine without a corkscrew, I am drinking only water in dirty glasses, but after I clean my bifocals, I still see my world as something equivocal, parts clear and definite, parts intangible and infinite.

Flash forward, shoreward again, tides of March, another public space, another public land, this time embarrassed over a gastric disagreement with prawns and averse to laying siege to the restaurant toilette, I find myself in search of a more secluded lavatory. The night-cooled sand cruel and impolite, an impediment to my plight, a suction on my feet, in fact, restricting progress to the point where I was on the verge of an emergency.

And me, devoid of might and brawn, oh don’t be so withdrawn, I began looking at the sea as a place to egest, my own moon pool where I could excrete, sort of speak, and into the water I waded. All those undigested crustaceans escaped out of my body unaided. The wind recoiled in protest, even the minnows swam away with a disdainful attitude, most common in Malibu, while capturing your visage in rearview mirrors and wet avenues.

The upshot, I got hot. The upshot being is that squatting there I got hot. A pint of sweat creates a gallon of blood. When I wiped my hand across my brow I felt the acrochordon on my corrugated crust, resembling an accordion, this carapace of mine so much tree bark, a scab abrading like a peel, peeling off my face like husk. I followed the attached tag, unveiled the whole circumference of my head like an incredulous Magellan chasing Venus at dusk.

Here is where I debase myself and confess. My body is no longer lithesome and svelte. My body has become cumbersome, corpulent, full of heft. When once lissome and lively, laden with dexterous ability, this agility has now left. I am now jaded, bereft. Liver spots adorn this body. An eruption of rice grains assaults my shoulders and neck, my sagging bull neck. I’m laid low by a whitlow on my index finger that won’t heal, by gout swelling my toes, by painful spurs on my heels.

My navel constantly suppurates and separates bitter fruits half-eaten, vinegar swallowed, resentments berthing down my weight. I could never handle love and now exaggerated love handles are my anchors, death by cardiac arrest, my fate. Obesity is not simply gluttony, of this I can attest. Oh I am a glutton, engorged on rancor, swelling up my smirk. And the diabetic black spot burking my anja chakra cannot be broken or shirked. Look at how the brown recluse spreads varicose legs and venomous eggs.

Perhaps this was why I ignored the leather swathe encircling my mien; in fact, encompassing more than mere countenance but dissipating my demeanor and my manners, an insidious tax lien. I moved near the beach because I thought quietus within reach. I have not the courage to eat that peach, nor wear white trousers cinched. Instead I run into the waves with the anxiety of spleen. I cringe over the frothing spume, old and hunched, cowering and mean. I despair when I hear the sirens singing lovely and unseen.

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Marie Lecrivain – “Roxanne on Seventh Street”

ROXANNE ON SEVENTH STREET
by Marie Lecrivain

you don’t have to turn on the red light – The Police

How long ago did you stop caring? The search for Prince Charming in the red-tinged parade of faces that hover over yours, night after night, has gone beyond a raison d’etre, beyond the need to believe in fairy tales. The spike of your heels slowly sink into the concrete. The edges of your skirt fray along skinny steel thighs as you scan the streets for signs of expensive tastes; the quicksilver jaguar, a flash of gold around the wrist, the gleam of bonded teeth. Those trappings can sometimes guarantee a better class of client, though, not one who will caress ivory limbs gone marble cold, slowly build up the fire within, or, who will brush away, with soft kisses, the patina of sadness over your smile. As the sky darkens from purple to indigo, you spot a sports car as it snakes down the boulevard. You assume your best siren stance, turn on your crimson aura, and wait for him to find you.

copyright 2012 Marie Lecrivain

Bio: Marie Lecrivain is a writer/photograher/editor who resides in Los Angeles. She has been published in a variety of journals, including Haibun Today, Heavy Hands Ink, Poetry Salzburg Review, and others. Her newest short story collection, Bitchess (copyright 2011 Sybaritic Press), is available through Amazon.com and Smashwords.com.

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*Editor’s notes:

The rise of the popularity of flash fiction coincides directly with the widespread use of the internet as a form of communication.  With so much information flying at you at words per second, a reader’s attention span is a valued commodity.  Either keep information and content short and to the point OR be so damn interesting that the reader is compelled to finish reading.  Flash fiction has the strength and advantage of being able to capitalize on both these factors, perfect for internet reading.  And yes, for you purists out there, I am talking about microfiction.

Even though flash fiction has always been part of literature, (in ancient times mostly because of a scarcity of paper, indelible ink, and people who could read) not until post-modern times has the proliferation of flash fiction as an art form proliferated.  Ernest Hemingway popularized the form a bit but he did not intend to do so.  His idea of revision and rewriting was to strip everything away from the sentence and keep the sentence as short and terse as possible.  His main weakness is that no one can call his sentences poetic or lyrical, the overall effect may be poetic but the bits to achieve the effect are not poetic, I call the Hemingway style a flash fiction by way of pointillism as a point of comparison, excuse the pun.

The masters of the short story and the short-short story that I prefer are two Argentine writers, Jorge Luis Borges and his protégé Julio Cortázar.  Two characteristics drove their style, also unintentional.  One is the genre, Magical Realism.  The way I like to describe Magical Realism is simply to say ALL METAPHOR.  Write a story in all metaphor.  A writer must know their archetypes in order to do this, which is completely different from surrealism where a writer creates original metaphors.  When a writer distills a story to only metaphoric archetypes then a writer can keep the story short.  When the metaphoric archetypes are expanded upon then the short story can be expanded into a novel such as 100 Years of Solitude.

The other characteristic that drove the styles of Borges and Cortázar is the way that the Spanish language constructs sentences.  As a Latin based constructed language, most of the information in the Spanish sentence can be given through the verbiage, which is completely inversed from the Proto-Germanic languages where most of the information is given by defining articles and nouns (particularly true with German.)  Spanish can confer the same information in one sentence in what takes English three different sentences to achieve.  Some of Borges’ short stories are actually one long run-on sentence which are accepted and common in Spanish.  His English translations of his short prose do not do him justice nor are they as poetically written.  I am not sure if this style of writing in Spanish is “translatable” into English.  Borges is the polar opposite of a writer such as Hemingway but his stories are just as short.

A phenomenon I have noticed more and more lately are poets basically bucking the fad of the “spoken word revolution” and admitting that if the narrative is only prose disguised as poetry then they will basically just write the poem as flash fiction.  Almost all the academic poets have started doing this to differentiate themselves from the Charles Bukowski / Michael McClure / Beat Generation imitators, of which there seems to be no end of copycats.  Why should they even try to endeavor to versify narrative poetry, when the form itself has almost lost all meaning by this point?

Confessionals are the worst with every coffeehouse poet believing that every little instance of their life is fraught with meaning.  Couple the confessional poet with the empowerment of the urban poet and mix that in with the passionate rant of the political poet and a scene is set for the most excruciating repetitive night at any poetry open mic.  Many of these poets hide their ineptitude behind prosaic free verse, with the nonsensical line breaks, the lack of punctuation, the creative “cell phone text” spelling, non-capitalization, all giving the appearance of poetry but really just being a sorry excuse for badly written prose in poetry form.

Academics simply say, no, we are not going to play that game.  And some have begun to perfect microfiction by weaving in poetic lyricism.  Two local Los Angeles poets and teachers have written many poems in this manner- Charles Harper Webb and David St. John.  They have also written lyrical prose, which is when the sentence is structured like a poetic line but the poem is written in paragraphs.  A mixture of versification and short story paragraphs may also be compounded and blended into any one piece.  David St. John excels in this type of lyrical prose.

And then we have true microfiction as an overall poem.  Our current Nobel prize winner, Tomas Tranströmer, cultivates and refines this style of flash fiction.  Each word a brush stroke, perfectly placed, perfectly nuanced, each sentence flowing, many poems no longer than a 3 to 5 sentence paragraph.  I cringe sometimes when I see that some of the translated poems are broken into verses in English when I can also see the Swedish version right next to the translation is actually written in prose.

Marie Lecrivain’s poem, Roxanne on Seventh Street, is a Tranströmer type of poetic flash fiction:  long flowing lines, perfectly placed comma breaks for breath.  This poem is meant to be read aloud.  The brush strokes are there comprising a fully fledged narrative in less than 70 words.  The flowing lines also denote movement within the poem, movement with words, and movement with images.  We see red, silver, gold, and white under a black sky with the darkness pressing down on the flashes of color beneath.  Three words jump out in the sentences that also make up the act breaks:  “raison d’etre” “patina” and “siren.”  If this poem had been written as verse instead of flash fiction, the piece would have lost all composition and strength.

Marie Lecrivain wrote a great exemplar of flash fiction, one which I am proud to present.

– Angel Uriel Perales, April 2012

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Brandon Stewart – “She Blinks”

SHE BLINKS
by Brandon Stewart

lady sits across from me
in the lobby at hilton times square.
catatonic daze,
she exists the entirety of a solar system apart.
thoughts consumed
in somber silent film,
a matinée to the silently obsessed.
time foreclosed on raven hair’s beauty,
with it, evicted her spirit.
mid-forties it seems, possible bearer
to at least a child.
dense carbon noose asphyxiates her fragile neck,
wannabe starlet someone could once afford.
hour glass centerfold mangled
to crumpled foil posture,
realization that younger hips cover this month’s edition.
iron rouge and mascara
anchor a face
to its abandoned harbor.
far too many naps in the sun crib to compensate with war paint.
pickled sienna husk, proof of low esteem
the moments seem to unwrap.
selfish scarecrow and lion…
the humbug
behind the drapes has no more tokens for lady.
a sigh,
a show of life,
for a brief moment – a breath
she blinks

empty gaze returns,
projecting memories of youth onto granite columns.
storyline reads
like pages in yesterday’s tabloid.
men, parties, extravagant gifts
in exchange for her highness’ narrow talents.
spoiled child prostitute
in a woman’s wrinkled cloak.
panting dogs
dropped flowers and ruby sandals at her feet.
conscience void
of the tasks required of her in return,
sickening circus acts to steal a witch’s income
of adoration and worth.
aging princess’ world once an oyster
now smells of carp rotting in a moat.
life of favor and elegance
cost more than three clicks of her heels.
time paid no interest on glamour,
all accounts returned insufficient.
alone
without commodity to trade for a beau’s affections,
lady ponders the future purpose of her life.
film stops,
audience sits silent,
another brief moment – a breath
she blinks

she turns toward me with apologetic smile.
i turn my interest to the younger prospect at the desk.

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Brandon Stewart performed his university studies in architectural engineering and mechanical engineering. He holds a Ph.D. in comparative religion while continuing his research into ancient mythologies and philosophical systems. He is an active member with the National Society of Professional Engineers, American Mensa, and Mensa International. When not at work in the fields of structural design or machine design/automation, Brandon can usually be found relaxing his brain while tinkering at his hobbies of poetry, literature, empirical history, esoteric philosophy and research, physics, quantum mechanics, and cosmology.

Other credits-
A Treatise on Relativity: A Logical Perspective of Relative Physics and Cosmology – DreamTree, 2011

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*Editor’s notes:

One of the characteristics of post post-modernism, or postmodernity, or metamodernism, or whatever chic buzzword critics may want to call the literary shift we are currently experiencing (we really need at least 50 years of distance to apply the correct literary appellation) is undeniably the fusion of technology and literature.  In fact, this intermixture has been happening ever since the Transcendentalists have all gone to meet their perfect Maker as reflected in Nature.  The Modernists no longer believed in the inherent goodness of man OR nature.  Some did not even believe in the existence of God.  The Bible was no longer the authoritarian voice in the science classrooms.  And the 20th Century began with an explosion of technological advances that in equal turns made life easier, more comfortable, more bearable but which also disseminated more misery and suffering throughout the world.

Enter the writers trying to make sense of a world that no longer made sense.  First came the Imagists, Ezra Pound and Hilda Doolittle better known as H.D..  Both rejected their uptight religious upbringing, Pound was a Quaker, Doolittle a Moravian, and both were offspring of scientifically minded fathers, Pound’s was an assayer, Doolittle’s an astronomer.  Doolittle was the one who wrote the Imagist Manifesto, which exhorted poets to only use exacting visual images and terse but sharp language to convey meaning.   The first six precepts of the Imagist Manifesto:

1. To use the language of common speech, but to employ the exact word, not the nearly-exact, nor the merely decorative word.

2. We believe that the individuality of a poet may often be better expressed in free verse than in conventional forms. In poetry, a new cadence means a new idea.

3. Absolute freedom in the choice of subject.

4. To present an image. We are not a school of painters, but we believe that poetry should render particulars exactly and not deal in vague generalities, however magnificent and sonorous. It is for this reason that we oppose the cosmic poet, who seems to us to shirk the real difficulties of his art.

5. To produce a poetry that is hard and clear, never blurred nor indefinite.

6. Finally, most of us believe that concentration is of the very essence of poetry.

We have Ezra Pound to thank for the introduction of such luminaries as T.S. Eliot, James Joyce, and Ernest Hemingway before Pound’s career disintegrated ingloriously into an insanity of Fascism and Anti-Semitism.

Eliot and Joyce ushered in the American Symbolists, expressing their disgust and equal pleasure at the complicated state of the modern mind and the confounding of all the human senses with *gasp* free verse and greater freedom of fluidity.  Images now became “symbols” and not so exact, representing some truth or moral question of the human experience.  Poets experimented with images AND language and we have physician poets like William Carlos Williams writing about a red wheelbarrow full of life-saving rainwater and the soldier e.e. cummings unfairly never using the rules of capitalization or punctuation and the insurance executive Wallace Stevens, bored out of his mind in his office in Hartford, scribbling furiously about a single jar placed on top of a lonely hill in Tennessee.

The Americans actually came to symbolism late behind the French.  But we have always been a more solemn culture than Europe, our forefathers having emigrated originally NOT because of religious persecution but because their strict conservative religious observances were incongruous to growing enlightened worldviews.  Thank God, ironically, for the humanists and secularists amongst our founding fathers.

By loosening up all traditional poetic forms, the American Symbolists paved the way for the Beats.  And then the Beats took something great and turned it into shit.  I’M JUST KIDDING, actually World War II and all the war baggage the war entailed derailed modernism and then the post-modern period began.  BUT SERIOUSLY, the argument as to who contributed more to American literature, the American Symbolists or The Beat Generation, is a different essay for another time.

Which brings us to today, when the fusion between technology and literature is complete and has become more of an amalgamation; when anybody with a laptop can type away with two fingers and burp out some verses and call themselves a poet; when a poet doesn’t even have to know how to spell and can claim that this deficiency is part of the “artistic process.”  Self-published chapbooks and online pretentious poetry criticism blogs EXACTLY LIKE THIS ONE abound-  How meta, how metamodern my self-reference, which in turn is even more meta.  Are we better off now, literary wise, than from the time that the Transcendentalists were traveling to their poetry readings, through the snowy woods, in an open carriage pulled by horses?

Only you can decide.

-AUP

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Brandon Stewart is a no nonsense writer that writes no nonsense scientific manuals and works as an engineer perfecting no nonsense computerized machines to enable them to perform better and more efficiently-  No nonsense!

In his free time, Stewart writes precision poems with exacting images and calculated words.  His latest poem, a blend of free verse, lower caps, images, and symbolism, takes the smallest of human gestures, an eye blink, and transforms the gesture into the comprehensive statement of his subject’s life.

Notice how Stewart also deftly places his subject in the cosmos and by doing so also places all of us, the reader, humanity, in our proper place in relationship to the cosmos.  The lady in question may have let her life go by in the space of an eye blink and she may hold the same consideration to the observer who may be watching her at 24 frames per second BUT the observer realizes that his life is likewise in a silent zoetrope carousel should the universe also be watching.  So, from the still picture in the magazine to the eye’s beta movement of illusion, life is only worth a blink, the inner life of the mind’s eye as well as the outer life.

– Angel Uriel Perales, March 2012

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Kurt J. Hargan – “The Train Out of Bangor”

THE TRAIN OUT OF BANGOR
By Kurt J. Hargan

We rattle the train out of Bangor
The morning sun blinks Colwyn Bay
We are away to change at Birmingham
The miles we desperately gain.

You’re quiet and watching the castles
Embedded in ancient Welsh hills.
There’s something you have to, must tell me
Something I fear we both feel.

The aisles are clanking with tea carts
The silence is slicing my heart
The windows are clapping and tapping
To say it would cause too much hurt.

This land has its meadow hue reaching
The lanes and the flats are all bought
The dank, musty hedges are grabbing
This land has a hold of you tight.

Oh, leave! Please dear God, don’t you leave me
My life would be empty and shell
Just say it, that’s all now, just say it
Somewhere I’ll deal with it all.

Our train clatters on in the morning
Through Abergele and Rhyl
Moving on, moving on through the Midlands
We wait for the tea cups to spill.

(Originally published in A Winter’s Journey Through England and Wales in 2005 by Northfork Publishing.)

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*Editor’s note:  Form poetry is probably the toughest genre to tackle for today’s young writer.  Apart from the fact that the popularity of form poetry has waned since the surge of Modernism over a hundred years ago, all that fuss about the traditions of meter and rhyme just seems like so much school HOMEWORK for the budding young writer.  Confessional poetry is HARD ENOUGH, I’ve heard some complain, why complicate matters by adding all that rhythm and cadence?  Plus, Bukowski became famous without writing any form poetry, so why should I do it?  Ah, yes, the staid complacency of the Bukowski mimic and apologist.  I don’t know, sometimes I ask, do you think that a rock and roller should learn how to read music?  Invariably I always get some type of response about the POWER and FEELINGS of the Jazz player who ignores the sheet music and plays from the SOUL, as if harmonic expression and melody is not some kind of learned and practiced structure.

A few literary movements in the last 25 years have harkened and longed for the return of more traditional forms in American letters, most notably the New Criticism of the mid-80’s and in the last decade the New Formalists led by Dana Gioia and the NEA.  But even these promulgated some type of fusion with the emerging technologies and the ubiquitous return to oral poetry in the guise of spoken word and the performance poet.  In this type of ambiance youth is king, youth in the Hollywood sense of the word, the hip-hop sense of the word.  Style trumps any other consideration.  A motto that was adopted early on in the slam poetry competitive world was “the best poet always loses.”

This artifice has evolved to the point where we now have invitation-only poetry “battles” where the poetry gladiator needs to be known to the arena poetry promoter and / or the poet warrior must audition through a cattle call process that involves the audience of the arena.  This is done not so much to select the best poetry that can be found but to actually cultivate a certain type of audience, sort of like the Goth kids having to make sure a potential Goth is Goth enough for their little clique.  In ancient Rome, the best gladiator survived, bar none.  In current poetry circles, the best poets may still be banished by the audience if they don’t look or dress correctly or have the right attitude.

My contention is that the LUSH beauty and musicality of the form poem is completely lost in so much theatrical contrivance.  Rhymed poetry is hardly ever heard, unless the poem sounds like rap music lyrics, and traditional forms are not even recognized.  Masters of form and style such as Yeats and Keats are equated or rather equivocated with Hallmark Greeting Card level rhymes.  To write a Shakespearean or Petrarchan sonnet is an ironic exercise in futility.  Kids unabashedly name Eminem and Tupac as their favorite poets, neither of which have ever written a book of poetry, and the omnipresent Bukowski adulation, always with Bukowski.

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I first heard Kurt J. Hargan read his poetry around late 2002 early 2003.  We were both regulars at Adam Bresson’s showcase of poets called the ReallyBIGShow at the UnUrban Coffeehouse in Santa Monica.  This was long before the current Velvet Guerrilla Cabaret that is there now and run by Michael Slobotsky (Go check it out!)

What was amazing about Kurt J. Hargan is that he had the rare ability to quiet down the room by reading form poetry, he is just that good, and the talent is readily apparent.  In 2005, I got lucky and was part of the first of two ReallyBIGShow tours of the Southwest.  We toured and performed throughout Southern California, Arizona, and Nevada.  Hargan was a fellow performer and he was selling several books and I bought all them.  All of them were brilliant, all of them were different styles, and all of them included perfectly written traditional forms.

One clear influence was Robert Service.  Kurt J. Hargan has a series of Alaskan odes that in my opinion far surpass Robert Service.   I say that because Hargan retains a more serious balance with his nature vs. man metaphysics and Service tended to delve into humor and Wild West type grandiosity at the most inopportune times.  Think of Hargan as more of a Service and Jack London mix, without the bombastic adventures, but with the venerational nature elements written in various forms and verses.

The other clear influence and the poet I would more closely associate Kurt J. Hargan with is W. B. Yeats.  Yes, listen up people, I just compared Kurt Hargan to Yeats.  Their styles clearly match, the consonant rhyme (near rhyme), the cadence, the rhythm, their highly artistic forms.

Just look at the similarities in style from the last stanza of Hargan’s poem above to the last stanza of one of Yeat’s best known poem, The Wild Swans at Coole:

Hargan

Our train clatters on in the morning

Through Abergele and Rhyl

Moving on, moving on through the Midlands

We wait for the tea cups to spill.

Yeats

But now they drift on the still water,
Mysterious, beautiful;
Among what rushes will they build,
By what lake’s edge or pool
Delight men’s eyes when I awake some day
To find they have flown away?

Both Hargan and Yeats here have mixed pararhymes along with assonance and perfect rhyme to create two very different but beautiful exacting scenes.  In fact, I would argue that Hargan has managed more active movement, more immediate movement than Yeats, since Hargan captured the immediacy more succinctly (clatters – moving on, moving on – wait… to spill.)

I am proud and honored to present Kurt J. Hargan as the inaugural poet of the Featured Writer section here at Rumrazor Press.

-Angel Uriel Perales, March 2012

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Our House

Only the blood in my bones keeps me warm.
Wake up to this chilling breath,
shrouds out of my mouth, a dirge dog fog.
My down comforter filled with sunken hopes,
anchored by tears that swelled there.
The marriage bed, shackled I am,
diffused, lying prostrate directly on top
of fleeting passionate visions. Now, the cold sweat
indicates I must get up and face hubris alone,
my libido, notwithstanding.

Last week a trapped bird in the atrium broke through the middle panel of the
back door, the lower middle of the tic-tac-toe grid. It must have been a bird,
for all the glass was on the outside, blood on the quarter size jagged edge of the
hole. I installed a double dead-bolt on the kitchen door. I will fix the glass
later. For now, just cut out a piece of cardboard, cover the panel, the double
dead-bolt in case a would-be intruder decided to finish the job the bird started,
break in- out. The pilferage would consist only of a 15 year old push mower, a
garbage bag full of the sport’s section of the newspaper, a round poker table,
chairs, trash, all her dead plants. The wind knocks off the cardboard square
sometimes like it did last night, when the bleak draft stalks what used to be our
house, violating through numerous crooks, crannies, orifices, starting and
beginning with the bolted kitchen door. Her dead plants don’t stir, they don’t
move, they don’t flake, they are dead, only crumble at my dry touch.

Sometimes I stare at all the dishes in the kitchen: blue porcelain, stacked, rows
upon rows, inside nameless cupboards. I never enjoyed the privilege of an
actual dinner party with the fine china we registered for. I never even picked
up all the sets that waited for us at Dillard’s. Here are three cards, on top of
this plate, from Dr. Denton, the Sturgill’s, and Andy Gaines, the man most consistent
at being unoriginal, lazy. I bet those dinner sets are still waiting, clean,
cleaner than these dusty rusty cards. The microwavable Tupperware shows
wear and tear, from cooking all that spaghetti in the microwave. The sauce
melts into the plastic. I still hadn’t wiped the microwave clean from where she
put a chimichanga in for too long and it exploded, that crisp burnt taste of
chicken permeating everything I blast in there, making my jaw ache sardonic,
wishing for shock treatment instead of the inevitable hunger that makes me
have to eat. Everything is a chore these days, especially washing these endless
dishes. One thing we used to do together, because we used to eat together, one
of the last things we ever agreed on. Eat when you’re hungry, sleep when
you’re tired. I should be thankful that those functions still propel me into
activity.

I tip-toe down the stairs to check the furnace. Careful with the third step from
the bottom, where the child cut his foot on the loose nail, where I tripped with
a hamper full of clothes, evoking a clap and rich laugh from her before concern
took over to see if I was hurt. That was shortly after we moved into our house.
By the time the child cut himself, I lambasted his mother for her carelessness,
she, spitting with rage that she gave the child permission to go downstairs to
tell his daddy good-morning, a fine Saturday wasted not looking at each other
while the child cried when the Tetanus needle pricked his skin. Careful with
the third step because the nail is no longer there and nobody will laugh if you
fall.

The furnace quit burning, a long time ago the furnace quit burning. The
instructions were implicit and direct, do not let the fire die out, do not run out
of fuel, for you will have to prime it to get it working, pump, pump, perhaps
hire some outside help to get it working. It will cost you a lot of money, a lot
of effort. Will it even be worth the time when the fire is gone, the ashes are
damp, the furnace quit burning? No Edna St. Vincent Millay candle here. I’m
not sure I even had a wick. I’m still surprised every morning at the ghostly ice
I see tainted on the edges of everything. Did I scold the child for running wild
with the can of fake frost at Christmas? No, those were the cobwebs right
before Halloween, drooping like a weeping willow from the chandelier over
the dining table. She lit candles to create a mood. She always lit candles, fragrant
ones, in the bedroom, in the bathroom, to create a mood, floating candles
that did not smell of old gasoline like this furnace that quit burning. And the
tundra is what I sleep on.

All the spare blankets cover the windows that don’t have blinds. There’s one
over the bay window in the dining room, out of place. I like it dark and silent,
I move through that room like a whisper. The giant matador on the wall
receives no ovations. And the candy disappears one by one, soon there will be
none left in the dish on the table. The blanket stops the sun from fragmenting
on the chandelier, real cobwebs are hammocks now, sway gently in the breeze
of my passing. The complaint hangs in the stagnant air.

On to the family room, a museum of statistics, this is where the child spilled
cherry Kool-Aid, this is where she sat to smoke, see where the ashtray has fallen
repeatedly, the discolored rug, the scorches on the couch cover. I made love
to her on the couch, her eyes riveted on a porno on the television, a lesbian
scene, she had her fantasies. We never did find a willing partner, well, there
was that blonde who didn’t want me, just her. I couldn’t even watch. She said
no, reluctantly. I made love to her on the couch, my foot would slip behind the
cushions, to mix with the change, a stray sock, her hair beret. She would sit on
me on the couch, same lesbian scene on TV, sound off, for me, I would talk her
through it. I knew all the names to call her. The recliner had other uses. I
could kneel on the handrests, so could she. The television is gone now, along
with the solitary porno flick we enjoyed. The stains and statistics remain, food
mixed with textured sex, covering my furniture, a paint-by-the numbers trick.
Sometimes, when I lay down on the couch, the faint muskiness returns, she sat
here naked, saturating her essence into the core of my being. I’ve cried.
Because I quit looking for her pubes after I washed the sheets off the bed.

I don’t know why I installed a phone jack in the child’s room. Presentient, I
may have been, for I now have my modem hooked up. No laughter in this
child’s room. I always used to step on something, a toy, a cracker, a raisin, a
marshmallow, Crayola skid marks on the wall, a bag from Baskin Robbins, too
many flavors, too many colors. I’m blinded when I think of my child, like a
kaleidoscope in my heart. I must force myself to dismantle the bunk bed with
the desk underneath, create more space in this extra room, my computer forces
me to hunch down, the small chair creeks ominously while I surf aimlessly.
Above, beyond the railing, Spiderman reeks of the bedwetter’s only weakness.
Such a frail understanding, when those huge saucer eyes would question why,
why must I go to bed, when you haven’t even talked, not to me, not to each
other, why, why can’t we watch that episode of Goosebumps, or play with
Sonic on the Sega, watch him jump, bounce, run, now it’s your turn, I’m all out
of lives. Daddy, please leave the closet light on, turn my TV on, keep it on low
volume, I’ll promise I’ll get up if I have to go to the bathroom. A little louder
please, Dad, the television, because if I hear you two fighting, in the atrium or
the dining room, I won’t want to get up. I’ll have to pee so bad I’ll fall asleep.
No more Kool-Aid after 8:00 O’clock. I wish I were deaf or dumb or numb.
Maybe if I had a phone I could call God. Presentient, I don’t know why I
installed a jack in the room.

Every night I have to endure the blue, blue bedroom with the adjoining yellow
bathroom. Yellow sickly bathroom, every time I walk in there I have to brush
my teeth. Black thrives in the cracks of the tile and tub. Absence grows fungus
in my bathroom. I haven’t thrown away the Scope bottle knowing she
wrapped her lips on it. She shaved me, I shaved her in there. So bold in that
bathroom, we even made a game out of me inserting her tampon in, with the
smooth, glide applicator. She pretty much broke water the same way, leaving
me in the tub to reflect, for a second, exactly what had just mixed with the
soap, steam, dissolved bath beads. The towels tell our story. We used to share
a large red beach towel with a toucan on it. Afterwards, two towels, his and
hers, side by side, till death do us part. Mine appeared in the garage, oil
smudged, hers in the kitchen, with the rags. We always bought expensive towels
during Christmas after that, each year wondering how we could destroy
such beautiful cloth. She finally dried off with her terry robe, covering her
body. I went back to the toucan, the eye unraveling because it snagged on the
doorjamb.

I was always in bed first, reading. She slept by the alarm, the lamp, and her
pills. In the morning, I would have to reach over her to turn off the alarm, a
daily-lost opportunity. Some nights, she used to wait for me, breathless, to
reach over, turn off the lamp. I’d pretend I was distracted. She’d wear a short
silk camisole. She would reach over, start plucking lightly at my chest hairs,
I’d lower my book. Her knee would rise up my leg, the camisole would skirt
up past her hip. I could feel that bristled tickle that told me she wasn’t wearing
any panties. I could feel the heat. I would get stiff, wet at the same time, her
hand would drop, the tip of her middle finger dipping into the semen bubble I
knew had formed there. Her hand would clamp, her fingers smearing it all
around the top of the soft dome. Our mouths would lock. She’d mount me or
I would mount her on the nights I reached over to turn off the light, who cares
who slept on the wet spot.

Only the blood in my bones keeps me warm.
The furnace quit burning.
Ants crawl up through the pipes, spread themselves out in the sink,
like an army, like a plague, like an invasion,
our house becomes some other type of house,
my house
wood, glass, carpet, linoleum, ceramic, plastic, brass
lifeless elements, this is where I dwell.
Where will you sit naked tonight,
with the novelty of your surroundings intoxicating you?
Can your skin feel the indelible imprint of my touch?
or have you shrugged off that mortal coil, become reborn?
Have your walls already adjusted to the next man’s person?
At one time we were hand carved as one, an Indian dollar
windswept for centuries, even fossils are eventually discovered
and uprooted.

So it goes for bliss and blisters.
I bring the next one home, she don’t sit like you,
she don’t laugh like you. The next one, well,
I can’t quite remember if you twirled your hair that way. The next one
catches her breath in a most peculiar way, a habit borne out of the need
to let her partner know the moment is close.
Something you would never do. You were more of a back-archer.

I replace the broken window panel.
I talk to a realtor, maybe move to a condominium,
all the joy has gone out of mowing the lawn.
Let someone else do it for a while.
The new girl doesn’t understand why I would sell the couch,
she also loves the recliner. I want to try a waterbed, with a heater.

A year from now the new owners have paved the driveway,
installed motion detection lights, bitched about the unnecessary
deadbolt on the kitchen door that they just keep open,
a pool table in the atrium.

I drive by, I imagine you do the same,
we pass each other, looking at our house,
not knowing what kind of car the other drives.
I received a gray business letter the other day, forwarded
from the old address typed in front of the envelope.
When I opened it up, empty, nothing,
and the postmark said
nowhere.

(c) 1997 Angel Uriel Perales

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My Embellished Life. Game #2- Find the Embellishment

So let me regale you with the unimportant minutiae that compromise my life, because nothing screams self-obsessed more than inane insignificant observations that make me feel like I am not really so insipid to think that my life rises above that of the tedious humdrum.

So lets play a game. Below are 26 factoids about my life, one for each letter of the alphabet. 25 of them are absolutely true. Only one of them is a lie. Tell me which one of the following statements you think is false.

A: I once lived in Guadalajara, Mexico for 4 years but I don’t remember much of it.

B: A marriage of mine lasted for only 52 days before separation.

C: David Gordon Green, the director of the film Pineapple Express, was also the cinematographer of my sophomore year student film.

D: My worst job ever: High school age linen sorter and washing machine operator at a hospital laundry facility during the AIDS crisis in the mid-80s.

E: I have a picture of Pat Lalama actually petting a llama.

F: The furthest north I have ever traveled is Carcross, Yukon Territory.

G: I just had to look up the word “furthest” on the internet to see if I used it correctly and I am still unsure so I left the abovementioned sentence alone.

H: My hands turned green briefly for a time from a job I had putting logo stickers on brand new straw brooms coming off the assembly line. What is even stranger is that I got the job by applying at the headquarters of the McKee Baking Company who makes Little Debbie snack cakes.

I: The first lottery ticket I bought in Los Angeles hit 4 out of 6 numbers, including the mega number, but I threw the ticket away because I was under the erroneous impression that you had to hit all 6 numbers to win anything.

J: I once enjoyed a “quicky” on the sky ride at Opryland.

K: I fell asleep one time while standing up holding a boom microphone over my head.

L: One New Year’s I took a picture of a drunk girl kneeling on a chair facing the wall and I put a caption on it that asked, “Blair Witch?” That same night another guy took a video of the same girl giving him a blowjob.

M: I had to sit in a police department waiting area in Texas while a family member was being questioned about bringing baby parrots across the Mexican border.

N: I was in a car wreck where my older sister got her long hair all tangled up on the rear view mirror and she had to get her hair cut short in order to extricate her from the car.

O: I directed the first ever English language play translated from Spanish that was written by the world famous Puerto Rican playwright Roberto Ramos Perea and he was present at the opening.

P: In an early poem of mine I compared Mammoth Cave in Kentucky to my ex-wife’s vagina.

Q: At one time I could run a mile in under 5 minutes. My best time that I remember was 4:47.45 my freshman year in high school.

R: I had to sit in a principal’s office all day because I was accused of taking off the lug nuts from expensive student vehicles in the parking lot and all I had to eat that day before I went home were Jelly Belly Beans.

S: Sharon Stone told Lisa Gregorich, my boss at Hard Copy, that I looked like a fat Robert Downey, Jr., after I greeted them at the premiere of Hollywood Animal Crusaders.

T: I got so mad that I got blocked in while parked at a strip mall that after 20 minutes of waiting for the owner to return I then physically pushed a Mazda Miata out of the way and into the street even though the rear wheels were locked because of the hand break.

U: I was involved in a ménage á trois situation that sometimes included threesomes with two lesbians. The situation with the lesbians lasted for more than a year for some strange reason. They were lesbians and hated when I suggested that maybe they were really bisexual. This question of mine is what made them stop having sex with me or so they claimed.

V: I saw a homeless person spitting and stomping and cursing Lorne Greene’s star on the Walk of Fame.

W: I got a “B” in an acting class my Senior year that knocked me out of the running for valedictorian and salutatorian at graduation. Turns out the person who got valedictorian was the daughter of the same acting teacher and one of the Deans of the University.

X: I refractured my arm in the same spot two days after I got the cast taken off.

Y: I carried around a replaced driveshaft in the bed of my truck for about a year because I was afraid to throw it in a dumpster because I knew the serial number on it could be traced back to my truck. Finally I stashed it in the front of my parking space of my apartment building. Then recently my landlord said I couldn’t leave it there anymore. So now it is in the bed of my truck again.

Z: I have an inversed body dysmorphic disorder image problem where I see myself in my mind’s eye as thinner or at least as thin as I was when I was younger in the past. So when I see current pictures of myself as grossly obese in actuality, I feel shock, intense shame, embarrassment, and guilt, and I try desperately to keep tags of those pictures away from my Facebook profile. This is the reason why I wear black clothing most of the time.

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My Embellished Life. Game #1- The Internet License Plates and The Taco Bell Affair.

So let me regale you with the unimportant minutiae that compromise my life, because nothing screams self-obsessed more than inane insignificant observations that make me feel like I am not really so insipid to think that my life rises above that of the tedious humdrum.

So lets play a game. Of the two stories posted below, one of them is completely true and the other is only partly true. I want to know if you can spot the fiction within the two stories. Remember that only part of one story is true and the other is completely true. Tell me which part is made up, from the beginning of the sentence to the end of the sentence, and I will announce a winner:

1. Driving around LA I spotted a 2012 Cadillac Escalade with Nevada plates that read “DOT NET.” I thought that is doable, probably true, believable, the skeptic in me remained dormant. In fact, from the hipsterish older vibe of the driver, ruddy male, balding, hair slicked back, budding ponytail, I wondered if he made his internet money in porn.

THE VERY NEXT DAY, I’m driving around LA and I spot a 199ish Mitsubishi Galant with California plates that read “DOT ORG.” Immediately the skeptic in me roars awake with a laugh and shakes my head wildly, nope, not in a thousand years, not unless it is a non-profit organization that promotes, I don’t know, water and sanitation needs in developing countries or some shit. Then I saw the unkempt teenage driver and I thought, oh, the son of a lady that has a non-profit website that runs some kind of youth centered music scholarship program.

Between then and now I convinced myself that surely somewhere some lady named Dorothy Knett or Dorothy Cuomo is hating her nickname.

2. Since about November, or earlier, the nearest “open until 2am” Taco Bell, which is less than a mile away, has been turning off all their lights late at night except for their inside lights and the drive-thru lights. The result is that the Taco Bell looks like it is closed but in reality the drive-thru is still open. But you actually have to pull into their parking lot and look closely to realize this.

Two slackers with bad attitudes work the late night drive-thru on weeknights. Anything other than tacos and burritos is suddenly “not available.” Apple Empanadas? “Sorry, we’re usually out of that late at night.” Cinnamon Twists? “Sorry, we sold the last one an hour ago.” Nachos Bell Grande? “We’re out of chips to make that.” Cheesy Fiesta Potatoes? “The only side available right now is the rice.” If you go through the drive-thru after 11pm when all the lights are off and you want something OTHER than tacos and burritos, forget it, they don’t have it.

In fact, even if you were to order tacos and burritos, such as the big box $5 specials, they give you a guilt trip. “I hope you know that you’re getting the last of these tonight.” And the way they say it clearly indicates that you are just a big burden on them. I mean, they are still nice enough that you can’t quite call them out on their Pavlovian conditioning, but you get that uncomfortable feeling like you made a mistake to choose to get something quick to eat at midnight before heading home.

So I started wondering how true it was that they were constantly out of food late at night. They didn‘t have that problem before the two asshole slackers started working the late shift.

I got lucky one night and saw a car pull in and I pulled in right behind it. I wasn’t even hungry but I wanted to do an experiment. I stuck my head out the window and strained to hear what the car ahead of me would order. The lady driving ordered a Volcano Double Beef Burrito Box and pulls up and SURE ENOUGH at the window when she pays she gets the spiel about how lucky she is to be getting one of the last boxes. I ordered the same exact thing as she did so I was listening and I knew that they give the spiel at the window not the intercom. So when it is my turn to pay, the guy begins with his, “you know, this is one of the last boxes for the night….” And I stopped him with a “Cut the crap. You are always out of food. Even when we order what YOU want to give us you are always at pains to let us know how LUCKY we are to get the order. You told the lady in front of me the same exact thing you are telling me. I call bullshit. I think you don’t want to work or you don’t want to be disturbed or something and you are systematically trying to condition people to quit coming here late at night.”

The poor kid was frozen and looked like a deer caught in headlights. And then for a second his face twisted up in unmitigated rage. And then he composed himself with effort. And the way he did so I just knew that I had totally NAILED him with the truth. In fact, the other worker heard the exchange and he was peeking behind some racks like a scared rat. Then the kid started with the denials, “Well sir, that is just not true, I don’t know how you can think something like that….”

I just raised my hand. “Save your excuses. And save your food, I don‘t want it. You win. I will not return to this Taco Bell until all the food on the menu is available again and I see that the lights are on like they are suppose to be to illuminate the front of the store. Just know that I will be writing your manager about this.” And I left.

So I go home, sleep, and the next day I write a short e-mail asking the manager to look at his security footage as to the lights situation and to also notice the late night sales. A weird thing you have to do is to first call a number on the Taco Bell website to then get the e-mail address for customer complaints, which I think go to Yum! Brand headquarters in Louisville, KY and not directly to the individual store manager, I believe. A process which I also think is redundant. C’est la vie. I complained that the store is not properly lit up and looks closed and that many menu items are suddenly not available as evidenced, I was certain, by the itemized store receipts. And left it at that.

About a month later, I get a generic e-mail, so sorry for your experience, blah blah blah, here are some coupons for free food. Ok not my problem and not what I wanted but Ok.

Then LO AND BEHOLD I’m driving by the other night around 1am and ALL THE LIGHTS ARE ON at Taco Bell. I get happy. I pull in, a Mexican guy answers the intercom, I order the Doritos Locos Taco box and then I very deliberately add an apple empanada to my order. Tick, tick, tick, fingers crossed. “That would be $7 dollars with whatever change, please pull up to the second window.”

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

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