Hurray for the Riff Raff - St. Roch Blues
This video connects me with current events near and far. The sun was out today, though.
Lint Roller? I Barely Know Her
I'd rather be in outer space 🛸
Monterey Bay Aquarium

Andulka

#extradirty
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he wasn't even looking at me and he found me
art blog(derogatory)

if i look back, i am lost
KIROKAZE
🩵 avery cochrane 🩵
𓃗

pixel skylines
RMH
Not today Justin

shark vs the universe

titsay

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@edgelitandotherart
Hurray for the Riff Raff - St. Roch Blues
This video connects me with current events near and far. The sun was out today, though.
Regina Scully art
Approaching Port, 2013, acrylic on canvas, 76 x 72 inches
Equator, 2013, acrylic on canvas, 60 x 72 inches
Red String of Fate, 2013, acrylic on canvas, 72 x 60 inches
Wandering City, 2013, acrylic on canvas, 48 x 60 inches
Channels, 2013, acrylic on canvas, 76 x 72 inches
Phases of Sunlight, 2013, acrylic on canvas, 60 x 72 inches
Luminous Deep, 2014, acrylic on canvas on panel, 48 x 36 inches
www.reginascully.com
In each of my paintings, I try to create a micro-universe that resonates between the familiar and the unknown. I include different perspectives, carve up space, build upon fragments and try to hybridize disparate elements, in an effort to discover unexpected forms and varied transformations in the landscape. In this process, I attempt to excavate objects and spaces from our known reality as well as from the personal psyche and our collective unconscious.
Regina Scully lives and works in New Orleans, LA. She was born in Norfolk, Virginia and received her B.F.A. in Painting from Rhode Island School of Design and M.F.A from University of New Orleans. She was represented at VOLTA NY 2013 and recent solo exhibitions were with C24 Gallery, Chelsea, NY and Octavia Gallery, New Orleans, LA. Her work was featured in the The Southern Review, Fall 2012 issue. Scully’s paintings are included in various private and public collections including the Microsoft Art Collection, Frederick R. Weisman Art Foundation Collection, and the New Orleans Museum of Art. She is currently preparing for an exhibition in Geneva, Switzerland.
Photo by Jason Kruppa
Just a few more weary days and then.. by snailbooty on Flickr.
"I may detest what you say, but I will defend to the death your right to say it." —Voltaire
Nola Fam - Super Moon Shot Aug. 10 (2014) Twiter: @nolafam1 IG: @we_r_nolafam Free Download: https://soundcloud.com/nolafam/nola-fam-super-moon-2014
Super Moon, by NOLA FAM
--Produced by Mani (900). Lyrics written by
Nola Fam:
Q
Mani
J-$moke.
Catch their next show House OF Blues @ the Parish
doors 9:30pm, show 10:30pm.
225 Decatur Street, New Orleans. Tickets almost sold out.
https://soundcloud.com/nolafam
https://www.facebook.com/nola.fam?fref=ts
Twitter: @nolafam1
Instagram: @we_r_nolafam
WASH YOUR HANDS, SON
So many faux des Esseintes out there, so many Houdinis. From New York mostly.
And in the thick of it all, they contain within themselves an idea they are somehow pure and innocent
or worse, revel in the fact how they are not, or even worse, staying cool for years, without even trying.
"Wash your hands, son." One of the first few words my father said to me, I recall.
Now I know disease and renaissance. Now I know moral turpitude and rivers turned to cloth.
I see people "scratching" away plastic off of cards that might earn them fortunes. I see people laughing after Chinese take-out, marveling on the innards of a cookie.
I see a thriving meritocracy. I don't see any recession.
I see full-throttle hatred and condemnation of entire races.
Everyday I bleed. I vomit and I regain balance.
But I'm not looking for wisdom in a poem by Yeats.
I'm washing my hands just like Papa taught me.
I have no business here. We're not together anymore.
I wait --for the faucet to be shut off.
I dry my hands, my sunken-vein piano hands and I exit.
I end up in a gallery where stand busts of conquerers, bronzed.
This is the part where I want a bazooka. This is the part where I make phone calls.
Then I stop.
I'm not against anything, but cruelty and totalitarianism.
I can see the obstinacy of buffalo grazing in Kentucky grass. I can see an America before the idea of it existed.
I'm not even close to you, but still I hear your name.
You melt like treasure; you drink like its a divine command.
But you forgot to wash your hands, I'm telling ya.
I see children running during recess with eyes as deep as maps.
© Paul Rogov
All rights reserved by the author.
Paul Rogov studied Comparative Literature at the University of California at Berkeley and Social Work at USC. His literary work has appeared in Danse Macabre, Exterminating Angel Press, Stepping Stones Magazine, Femicatio Magazine, Cultural Weekly and others.
“The Fallen Years,” his critically-acclaimed debut novella, about a veteran of the Soviet-Afghan war, was released in October 2011.
In 2013, he was nominated for a Pushcart Prize.
He is currently shopping his novel: The Serpent and the Dove, (part family saga that spans centuries) to agents.
Paul emigrated to the United States as a political refugee from the former Soviet Union in 1979.
He blogs at www.visionsanddreams.wordpress.com and posts his fiction atwww.paulrogov.wordpress.com.
Black Sheep
“Turn here,” my older brother said.
I kept the secret (he liked men) from our God-fearing parents.
“K.”
Too fast --missed the driveway and landed in the ditch. Blood and hair stuck to the windshield where his face pounced on the glass. My brother or father didn’t speak to me again that year.
Antimacassar
She likes it. Late in the night. Barefoot. Dirty toenails in the flickering light from the refrigerator as it bounces against the Four A.M. shadows.
The fridge sweats. The compressor groans. Then rattles for hours in protest...
And she likes it. Keeps it cold. The liquid icy at first, then warm in her throat and in her chest.
She likes that it's always this way. Four A.M. The fridge light glinting off all the glass and shiny metal.
She likes that it's always just her.
Just a reflection in the kitchen window.
The chiffon with sweat clinging,
Always this way.
Always moist.
Always needful.
© Cheryl Anne Gardner
All rights reserved by the author.
Www.twistedknickerspublications.wordpress.com
Cheryl Anne Gardner is a hopeless dark romantic, lives in a haunted house, and often channels the spirits of Poe, Kafka, and de Sade. When she isn’t writing, she likes to chase marbles on a glass floor, eat lint, play with sharp objects, and make taxidermy dioramas with dead flies. Her writing has been described as "beautifully grotesque," her characters "deliciously disturbed." Her short fiction has been published in dozens of journal, and she is currently the head fiction editor at Apocrypha and Abstractions Literary Journal - accepting submissions now.
Www.apocryphaandabstractions.wordpress.com
Interview: Juliet Escoria
Juliet Escoria's new story collection is in the printing stage now at http://copingmechanisms.net/blackcloud The Collection: Black Cloud may be purchased April 23, 2014.
Resentment, confusion, apathy, guilt, disgust, spite, revenge, fear, powerlessness, envy, self-loathing, shame, all topics individually chosen for this collection. Stories written with the absurdity and the minimalist approach of Albert Camus. The darkness of the human condition is exposed (in these stories) with the gracefulness of Mary Gaitskill. These are (only two mentioned) authors that resonate for me while reading.
But Escoria threads her own path. Prepare to think, ask who is narrating? Who are these people, are they the same? You might answer: Yes. No they are different, but they seem so familiar ....
These stories will make you think and ask questions, and think more.
edgelitandotherart: Should the characters in Black Cloud embrace the absurd, or continue to escape life's contemporary questions? What do you think?
Juliet Escoria:
I don’t think they should continue attempting to escape. I’m not fond of fiction with a moral message, but I feel like if someone wanted to find some sort of instructive value from the work, the best take-away is that living a life based on escapism leads to misery.
I know very little about philosophy and I’m far from an expert on Camus or absurdism, but I do know that Camus saw three options: suicide, finding faith in some sort of God, and embracing the absurd. Camus thought the God thing was unacceptable, but this never made much sense to me. God doesn’t have to be religion. God can just be the things we don’t understand, and in this way finding faith can be so similar to embracing the absurd that I don’t see the point in separating them. Sometimes atheists are much more militant and short-sighted than the religious people they condemn.
edgelitandotherart: People will have to read your collection to understand this question. Are the good guys and the bad sometimes the same, or perhaps always the same?
Juliet Escoria:
I think most people have to fully understand the dark in order to truly feel the light. A lot of times “good guys” are just sissy bitches who can’t face reality. A lot of times good guys are small-hearted hypocrites. But sometimes bad guys are sissy bitches too, though. It’s a lot easier to be nasty than vulnerable.
edgelitandotherart: In your story “I Do Not Question It” the narrator says, "The hateful texts led to more sex. This process repeated itself, until one day it stopped. This was all a long time ago. This was back when we were different people."
Do you believe like the narrator that people change and become different?
Juliet Escoria:
I think the inside is always the same. As a small child, I was cranky and stuck in my own head and I couldn’t ever sleep. I’m still this way. This is my disposition, and I don’t think dispositions change much. But our habits change and so do our beliefs, the things we surround ourselves with, and sometimes our values. We tell stories about ourselves to ourselves, whether we’re aware of this or not, and then we live in accordance to these stories. But things can alter these stories.
I have a former life of me as a grad student in New York City. I have a former life as a junky waitress. I have a former life as a suicidal teen. All of these are different people than who I am now, although there are many things that have remained the same throughout all the different lives.
edgelitandotherart: In the final story: Trouble and Troubledness, your stories seem to come full circle. The narrator reflects and seems to question what is reality and who are the ones defining it. Do you feel we make our own reality, or reality is always the same?
Juliet Escoria:
I had a dream the other night and it was May of 2012. It felt exactly like May of 2012 did for me. I was doing the same things I did in May of 2012, the weather was the same, I was wearing the same clothes. I don’t know if I believe in like, eternal return or any of that stuff, but that dream felt so real that I wonder if I was actually living in 2012 again.
Reality is tough for me. If I think about it too much, I get very depressed.
edgelitandotherart: What can readers expect next from Juliet Escoria? A novel? Short stories? And what will these or this project be about? And what book will you read (for personal enjoyment) next?
Juliet Escoria:
I think I am making an autobiography. I want to tell the story of me and those around me, and who I was at the beginning of my life and how I got to where I am now. I want to take a bunch of stuff – things of all different genres and forms – and glue it all together and call it a book. There will be things in the book that aren’t true at all, and some will be totally true, and it will be impossible to figure out which is which. I don’t know if this experiment will work, though. That’s okay if it doesn’t. Black Cloud came from a failed writing venture.
It’s pretty sad but I really don’t read much anymore. I don’t know what happened. I think maybe grad school killed it. Either that or the internet.
Here’s some things that give me personal enjoyment: Nicorette, cheese-stuffed pretzels, buying new clothes, going on trips, writing things that turn out the way I want them to, people telling me that my writing made them experience emotions, rubbing my dog’s stomach, driving long distances with my boyfriend, looking at the engagement ring he gave me, staying in hotels, Red Bull, crying, carne asada tacos, breaking stuff, and sleeping.
photo credit: Ben Irwin
website: http://julietescoria.com/
https://twitter.com/julietescoria
https://www.goodreads.com/book/show/20321919-black-cloud?utm_medium=api&utm_source=blog_book
I'm a 33 year old working mum currently living in Central Scotland. In my spare time I write, act, model, do photography and basically anything that will allow me to flex my creative muscles. I do it for the love of it.
an untitled story
It’s during these muted times, wandering around, following their lead, people and other people—pretty much anyone I can follow in step—becomes the only thing that keeps the ache from blurring the scene, turning what was once simple into something straight from the sewers. And the sewers, they’re inches from the ground at your feet, ready to spill despite what the citizens choose not to see. I’m quick about walking, like walking any faster will make a difference.
When you think about it, the kingdom surrounds you, and wherever you are, it has already flanked you on all four sides. Might as well take it in stride.
That’s what I’ve decided to believe, although I can’t be so confident. Still, it helps when you’ve got something to look forward to, even if it’s something as small as being able to walk ten minutes before breaking into a sweat.
The walking isn’t with any real aim. I have walked this street to the point where I can navigate with my eyes closed. I walk it before dawn and after dusk. I walk in long stretches rather than the usual circling of a single block. This is the extent of my search and still I can’t quite shake the feeling of missing something.
Something I need, missing. The walking part works best. If I tell myself, just a few more steps, before giving in and getting something to eat, by the twelfth step, my stomach will have settled, my thoughts on something else.
It helps to stay active. When I stop, waiting for cars to pass, I can feel the ground shaking. It’s far worse to know that it’s me, not the ground, that’s doing the shaking.
Walk to forget, and forgetting where I’ve been is one of the main reasons I started walking in the first place.
I have a tendency to lose in the battle of focus versus fixation. It doesn’t get better over time. The longer the walk, the more exhausted I get. When I’m exhausted, I can’t feel anything but the spiral of thoughts looking to keep me as close to awake as possible. I might be sick. I probably am. But then here I am, fixating again.
Better to be right here, in the physical. Focus on this, the chill in the air.
People walk without any notice of their surroundings. They keep their hands in their pockets. They walk like it’s not early; they walk like they’re already late in life. They walk like work isn’t three hours from now, and the day, its beginning manifested at dawn, isn’t just another start to another week in another month that fits snugly into this year. Few fixate on the future years when there’s still so much here to outlast.
I kind of hate how they can be so oblivious. And why must I be denied of the same?
I hide from and will be hidden by a certain variety of hate. I lost it all, you see. And it was all of a sudden. It wasn’t gradual. I could have closed my eyes, blinded to the occasion, and it would have still happened. I would have still become what will sooner than later end me.
Walk it off.
She’s on a phone meaning she’s not really here. Yet I listen.
She has a career, which is far more committed than a job. She’s got a life, which I can assume is consummated in the way she addresses the man on the phone, the way she mentions a name, Shirley, inflection right where it counts, as if to say: She’s my daughter. She’s my all. She is a testament to this kingdom, walking quickly, without care, to the exact measure where a car nearly hits her and her reaction is to kick at the front bumper, passing blame on the driver, phone never once leaving her ear.
I stick to the slower walk, the more anxious rather than authoritative talk.
I stick to this street corner with the rest, waiting out the traffic.
I watch her disappear in the thickening crowd.
It’s more difficult to focus and deny when it gets hot out. The heat tends to make me sweat. Sweating makes me stink. And that odor, it is not healthy. I’m sure everyone can already smell me. It’s likely the reason they remain further away rather than close. It’s why they keep their chins down. It’s why—isn’t it just the way a mind works when it wants to murder itself? Sends me constantly down into a ditch of shameful thought.
Truth of the matter is that I cannot stand still.
I cannot do what they do. I cannot shut out the thoughts.
But then, I would have made sense of this if I could. Perhaps this has little to do with sensation. I don’t want to think about what it is that’s growing in my mind.
It can’t be good but, like the delaying of the meal, denial works wonders.
If you think you know better, you haven’t felt what I’ve felt. You haven’t seen what I’ve seen. Denial has no expiration date. It consumes until something else grows from its cavernous hold. And then, the same thing always happens:
The affliction registers after-the-fact, long after there could be any fault.
But you see, I’m not fixating. I’m not.
I’m walking. I’m following. My walk is about as on-point as I’ve ever been.
Already my tendency to fixate has put me off the production of what I had intended to peddle. Don’t assume that I’m a pusher. If anything I am the one that can do little but feel each nudge. A moment of deliberation, exhale, and then I am left with just this, the same thing you feel. Which isn’t much. Back to what I’ve been doing then—I have mentioned following others, but I mustn’t ever really believe that I’m really voyeur to their actions. I follow them mostly for the act of following, nothing more.
I’ll pick someone out and I will follow. But what I have begun to do is count their steps. I walk in rhythm with them, a few paces behind.
I keep my hands in my pockets, one hand thumbing the plastic card while the other reaches for nothing. It probably should be reaching for something. I’m good at maneuvering through the foot traffic. No snubbing and no shoulders colliding, I have noticed the way with which the sidewalks of the kingdom have been partitioned. There’s a definite pattern that I pretend is far more important than it actually is.
I pick out the one person—forcing myself to remember that it doesn’t matter whom—and I’ll watch as they do any number of things.
Thoughts are measured in slow time—I could think up a year and still, ten minutes in real-time haven’t past me by. There’s no such thing as a minute when every minute eats away at your insides. There’s only time, and way too much of it.
It’s no longer dawn and it’s no longer a new day. Halfway there, I begin feeling brittle at the joints, the exhaustion setting in.
Ponder the thought—do I seek similarities, part of myself in the people I observe?
Acceptance is intolerable. Most certainly I am walking to my grave.
My stomach begins to churn. I feel it the same, muted clicks of taste, where my senses cross and what I taste is what I smell, what I smell is what I hear. It happens differently every time, but it’s the same twisting and contorting, the same would-be worry, that what’s happening isn’t right.
It feels wrong. But when put into words, it’s a jumble like most thoughts.
Choices are for those that consider the kingdom their ally rather than enemy.
By the time I’m back in the motion of each footfall, it’s forgotten—any and all taste. I deny the knot forming in my chest and pretend to cough until it clears. But I could feel it in my bones. Senses strained the moment it became more than a mere twitch of the eye. My stomach churned, and I could do little but let it climb my throat. I didn’t want to let it out, fearing that by seeing it pour from my lips, I would no longer be able to deny my destruction. No one would watch, but that wasn’t the problem. The one that mattered could do nothing but watch. I had to watch. I had to be there, stumbling through every strange turn. There is no forgetting what this has become, no matter how much I try.
I walk but soon I will be unable to follow. As my breaths and heartbeat grow frantic, I knew that I would be defined by this mania.
I am its keeper as much as I could be its killer. I could do nothing but wait in excitement as blood filled my mouth. Yet by the time I’d choke on the taste, the excitement fled, leaving me with the panic, the knowledge that everything had been my fault.
No one would know the taste of this temptation. No one would save the one that spent more than he could ever make back in a promise.
This was mine, and mine alone.
© Michael J Seidlinger
All rights reserved by the author.
Michael J Seidlinger is the author of a number of novels including The Fun We’ve Had, The Laughter of Strangers, My Pet Serial Killer and The Sky Conducting. He serves as the Reviews Editor for Electric Literature as well as Publisher-in-Chief of Civil Coping Mechanisms, an indie press specializing in innovative fiction and poetry.
http://michaeljseidlinger.com/
http://michaeljseidlinger.com/about/
Trigger Happy
Gun to your head
show me the trigger
not pulled
by mistake
show me the river
between the pull
and the misfire
at your ear
the waves
grasp
your shores
all the names
lost in the recoil
maybe it was you
trying to run
back roads dreams
pulled over by the highway patrol
you hear a noise but cannot wake
the dark figure at the end
is only the TV
how many times have you driven
a ghost through your hometown
the storm rolling in
sleeps next to you
remember you are
every day
empty church
reload
lord, can you hear me
shuffling to the Chevron
at 3 a.m.
the storm rolls out like a deputy
wet pavement
it is still
the hour of lullabies
all the songs I owe Virginia
quiet as the Blue Ridge
holding back the clouds
© Benjamin S. Lowenkron
All rights reserved by the author.
Benjamin S. Lowenkron's home is the river. He was born by the Potomac, educated by the York & the James, and now lives by the Mississippi, where he teaches at Baton Rouge Community College. Join him in the currents with his new book, "Bone River" (Ampersand Books) and the accompanying soundrack, "Hymnal" by Joey Carbo.
Railroad Burial
Sixteen days after the engineer died, all the locomotives on the line filled with black smoke. It rose like a ghost out of the fireboxes and went hissing through the compartments. All trains were stopped until their coal burnt out. Afterward, the soot was crusted black on everything, oily and smelling like meat, and all the engineers cursed the fireman for what he had done.
#
Two years before the engineer died, the fireman found a rail rider clinging to the end of the caboose. The man's body was bent double over the railing in the cold rain. The wind had ripped his clothes apart, and they dragged behind him like old skins. The fireman went to the cab, the engineer wrapped in coal-dusted denim and eating cigarette after cigarette while he watched the gauges. The fireman told him about the dead man, and they stopped the train. They took the rail rider's frozen body, scooped out some rocks under the track, and shoved him under. The engineer wrapped the man's fingers around the metal rails. “This is railroad burial,” the engineer said. “We have to hold the track up forever.” He ate a few more cigarettes and they got back on the train. The rail rider braced the track under them.
#
One year before the engineer died, he found the fireman out on the running board. The moon was glutted with light. The engineer stank from whiskey and nightmares. Underneath them, the wheels of the train clicked over the fingers of the dead men holding up the track. The engineer grabbed the fireman's shirt in his fists. “Swear you won't put me under there when I die, or I'll kill you.”
#
The day the engineer died, the others came in their coal-blacked denim, offered grease for his engine, and ate the last of his cigarettes. They asked the fireman if he knew what to do, and he said he did. The fireman shoved out the ice and stones and placed the engineer under the tracks. He wrapped the man's strong dead fingers around the rails and walked away from his promise.
#
Fourteen days after the engineer died, the fireman cowered under nightmares sleeping and waking. He couldn't take the sound of the wheels cutting across dead fingers anymore. He stole a railcar and rode all up and down the tracks, but he couldn't tell the engineer from any of the other sun-whitened dead. The fireman peeled back their fingers, stacked them like logs on the railcar, and rode away. The rails sagged weakly beneath him.
#
Fifteen days after the engineer died, the fireman was cold and alone. He needed to hide the dead before the engineers found him. He rode back into the station one night, and working in the dark of the rail yard, he stuffed the bodies deep into the coal chutes until they were all gone, until his throat was filled with soot, until it was morning.
#
Sixteen days after the engineer died, the trains loped back toward the station on the sagging track, crusted over with soot and stinking like meat. The fireman hiding in the woods saw the rails warping and spreading apart. He knew the trains would slide off and pile on the trackside, their metal hulls pressing engineers and firemen to death. He ate his last cigarette and crawled underneath the track. Grabbing the rails in each hand, he held them together and listened to the black trains shrieking forward out of the night. He squeezed the rails and wept. No matter what happened, it would be his fault.
© Micah Dean Hicks
All rights reserved by the author.
Micah Dean Hicks is an author of fables, modern fairy tales, and other kinds of magical stories. His work is published or forthcoming in over forty magazines, including Indiana Review, New Orleans Review, and New Letters. His short story collection, Electricity and Other Dreams, was published by New American Press.He is a PhD student at Florida State University, where he studies creative writing and fairy tales.
Author website: http://micahdeanhicks.com/
This story can be found in his collection: http://www.amazon.com/Electricity-Other-Dreams-Micah-Hicks/dp/0984943943/ref=sr_1_1?s=books&ie=UTF8&qid=1378073216&sr=1-1&keywords=electricity+and+other+dreams
illustration by: Liz Green
Railroad Burial first appeared in: The Smoking Poet.
Clark: 1 ... 2 ... 3 ...
there is no planet stranger
than the one i'm from. - Lucille Clifton, "Note Passed to Superman"
Clark #1
Such busy things happening all around me now. One, who or what made these sheets? I cannot leave them. Busy things like a man driving a truck full of cheese, chock full of it. Two, who or what made it? A cow is only a tiny part of cheddar. A woman is only a tiny part of a child, but children love cheddar. Three, who or what is behind macaroni and cheese? In the winter, it's all I can do to leave these sticky sheets and eat. When I do, it's one for the record books. Busy things are happening all around me --who or what is happening? Clark, when you go to work is it a busy thing happening around everyone else? Bubbles and dirt and cheddar, an understanding to meditate upon. Washing, washing everyone else's baby Buddha. I'm down. I'm up. I've been washing all these babies my whole life, trying so hard to sum it up despite the horrors of math, without any numbers except one, two, three— here for you, here in tininess, a tiny part. So tiny.
Clark #2
Take the value of the em dash, a mark some might say of the Beast, some might say of the underdog, a mark mostly used by losers and isolated attic dwellers. Take it up with Emily. Feverish and blanketed, lovelorn timeworn Em— To be honest, Clark, I once thought em dashes took their name from her. Clark, that's not it. I still like to pretend it is it, it is it the way a cape on a man in tights flying in the sky is it, is a thing I could call down with fury rather than bury another hope. A red cape! An exclamation point, a ping, a dotted footprint of goddamn, I fucking mean
it
— I mean it! Period. Poetry has value.
Clark #3
Every ex every person has ever had is crazy, in general. I mean, it's mean and strange that the only sane among us are the loveless, or those committed for life. The excess of exes exceeds potential access to the exless. The sidewalks are too crowded by exes, dripping crazy into puddles. Don't step there. Don't step there either! Clark, it's catching. I never was a quitter till I quit. It would appear that exed out or axed, I am strange-crazy. Where on God's green earth does that leave anyone?
© Dena Rash Guzman -- Life Cycle—Poems (Dog On A Chain Press, 2013)
-- DRG Lusted Road Honey Co & Humblebee Pollinator Conservatory
Translation
By Gaius Valerius Catullus (Author), Joseph Bienvenu (Translator), Illustrations by, Thaddeus Conti.
16
I’m going to fuck you and then suck you off Aurelius, you queen, and Furius, you whore. You think, because my little poems are flamboyant, I must be a little flaming too. It’s true, a real poet ought to try to be austere, but his poems don’t need to be, and poetry, if it has any technique and spark to it, whether it is glitzy or not, will excite the itch not of boys, but hairy men who can’t even budge their calloused limbs. You say, because of “my myriads of kisses,” you think I’m not a man?
I’m going to beat you up and then I’ll suck you off.
76
If there’s any satisfaction a man can have from remembering the good deeds he’s done, in knowing that he was kind, that he kept his word, that he never ignored promises he made to the gods, that he never sweet-talked anyone into doing anything wrong, then, Catullus, there must be millenniums of happiness coming to you in payment for all your unrewarded kindness. Because everything that a man could do or say for anyone, you did and said for her, but you got no thanks from her, and all your kindness was wasted. Why should you beat yourself up any more about it? Why don’t you toughen up and forget this whole miserable business that even the gods find distasteful? It’s hard to all of a sudden give up on a love you’ve had for a long time. It’s hard, but you have to do it anyway. This is your only chance to escape, your only shot at victory. You have to do it, whether you’ve got it in you or not. O gods, if you have any pity at all, if you’ve ever held out a last shred of hope to a man on death’s door, look down on me in my misery, and if I’ve lived a good enough life, cure me of this fatal disease which spreads its stiffness through my arms and legs and chases all contentment from my chest. I’m not praying for her to love me anymore or for her to be faithful (not that she could). I just want to be healthy, to get rid of this hideous infection. O gods, answer this one prayer for me, a humble man.
http://www.lavenderink.org/content/catalog/215 http://www.amazon.com/The-Poems-Gaius-Valerius-Catullus/dp/1935084178
Two reviews from Amazon. "It comes as no surprise to me, though surely a delight to savor, that it has taken a New Orleans poet to truly lock eyebrows with the most passionate and genuine Latin poet of antiquity."
—Stanley Lombardo, Professor of Classics, University of Kansas
"He gets the filthy parts just right…"
—Peter Thompson, author of Angle of Incidence / Shades"
The Abergorki Long Veg Growing Society
The church hall boasts its customary fête day smell; the mothballsy stink of old clothes from the jumble offset by the faint parmesan stink of the floor. It’s here, on Friday nights, that Sel’s twin ten-year-old daughter’s practice ballroom dancing barefoot. The women are fawning over the vicar, plying him with tea and macaroons. Sel wants to snicker aloud at this cliché but knows the vicar is handsome; a young thirty-something with bitumen black hair and brown beer-bottle eyes. He drops Dai Tablet’s beans on the pasting table set aside for the annual Abergorki long veg growing society show, then goes back to the car for his cucumbers. Cucumbers are Selwyn’s thing: gently boomerang-shaped, smooth-skinned, a bright Islamic green. He’s won every September for the past five years. If he can do it again, if he can win the competition one more time, he knows that’ll send the wheel of fortune spinning in the opposite direction; that his luck will change, everything’ll be alright. The smell of cucumbers, acidic and dusty, leaches out as he lifts the door. He heard once their scent is an aphrodisiac. Not for Susan; it’d take an earthquake to rouse her.
As he crosses the courtyard he sees Dai’s box van pull up in the parking bay, the stone chippings spluttering. ‘Am I too late?’ Dai says, clambering out, a package wrapped in newspaper held to his waist.
‘You’re alright,’ says Sel. ‘Time to set up. What’s that?’
Dai pulls the parcel closer to himself. ‘Something I’ve been experimenting with in the greenhouse.’ He drops the parcel to his side and presses his keys, the van locking behind him. Inside, he begins setting his produce out on the crêpe tablecloth, carrots and leeks expertly arranged in a balsa wood fruit basket, the newspaper bundle set aside. He’s wearing his Cardiff Blues jersey which he knows irks Selwyn no end, lifelong Ponty fan that he is.
‘Men?’ the vicar says, sidling to the table, toned pectorals distinct under his tightly-fitting cassock. ‘Would you mind exhibiting a little earlier? The WI are behind schedule.’ He checks his watch for effect. ‘One of the ladies has gone back for a flan.’
‘No problem,’ Dai says absently, spraying his water spritzer.
‘Back in three,’ the vicar says before turning to receive a bouquet of snapdragons from a child with a plaster on its eyebrow. ‘Let’s see it then,’ says Sel, eyeing Dai’s bundle. ‘Must be pretty snazzy for you to do it in secret. What is it? Spinach?’
‘If you must know—’ he reaches for the parcel, gently unfolding the newspaper. ‘It’s cucumbers, the luxury type, not the Burpless, a different variety to yours.’
They’re different alright; thirteen inches apiece, sleek and tapered. Spotless. Sel is thunderstruck. ‘Good work,’ he stutters while Dai leans over the fruits as if to perform cunnilingus on them. Sel feels his temperature rising, prickles moving across his sternum.
The vicar’s coming back ‘Where are we?’ he asks rubbing his hands together, eyeing the produce perfunctorily. ‘Let’s start with the beans.’ He points at Dai’s runners. ‘First prize to you,’ he mutters at him. No fanfare. No pomp. Dai smiles slyly to himself. ‘Thank you, vicar.’
‘Cukes, then,’ the vicar says.
‘Cucumbers,’ Sel corrects him. ‘Cukes are something else entirely, related to the melon family.’ The vicar shrugs; could not care less about long veg or its given names. ‘Cukes,’ he repeats himself, gesturing at Dai’s luxuries.
‘You’re kidding me?’ Sel is instantly apoplectic. He wants to step onto the table and stamp the produce down like a wine presser squishing grapes. ‘I don’t kid, Mr Griffiths,’ the vicar says.
Selwyn hears himself shrieking abruptly at the vicar, his Adam’s apple swollen: ‘You jumped up little arsehole.’ He chops him once in the midriff, his teenage karate coming back to him, unstoppable as light. The vicar doesn’t flinch. ‘Excuse me, ladies,’ he says, scanning the room. He draws his elbow back, the whipcord of a crossbow. In a second Selwyn’s on the floor.
He opens his eyes, the lids slow and sticky. His vision is blurred, woolly patches of purple on the lens. He makes out his bare legs, resting on a Terylene sheet, stretching out into infinity. He’s tall, he remembers, 6’3. At the seatbelt factory they called him ‘the Griffith’s tower.’ He turns to see an overweight man in the hospital bed next to him, long seashell-white hair curling where it meets his shoulders. ‘Oh, it’s you,’ Sel says, as if he’s known him all his life, though he’s never met Georgie Pugh, not properly. He lives a few metres away from Selwyn in an area known colloquially as ‘the villas’. The council sold the majority of the seven-bedroom properties off at the height of the housing boom. It’s a sought after cul-de-sac, the prices reaching into the millions, but the Pugh family were too numerous to be re-housed in the flats further down the valley. They remain a comical presence in number 7, infamous throughout Abergorki. Georgie’s been cautioned by the police for the eighth time recently, having continuously allowed his seven-year-old granddaughter to ride his cherry-coloured mobility scooter unattended around the grove.
Noticing Selwyn gawping at him he says, ‘Iesu Mawr, butty! That’s what I’d call a shiner.’
‘You should see the other guy,’ Sel says thinking for the first time about the vicar. Turn the other cheek by Christ. Susan’ll have Sel’s balls in the smoothie-maker for this. He knows she’s got a soft spot for the vicar herself, knows it by the way she insists on taking the girls ballroom dancing at the church when clearly they hate it.
‘Never had you down for a slugger,’ Pugh says. He throws his blanket aside, his feet hitting the linoleum with a slap. ‘Must be the stress? The redundancy and what not?’ Sel casts his cloudy glare around the other men on the ward; greying creatures packed into their bedclothes like caterpillars in chrysalises. ‘What do you mean?’ he says, his voice a cranky whisper.
‘Well,’ Pugh raises his volume rather than lowering it. ‘You must have been on a tidy wage down there. Floor manager? Those villas don’t pay for themselves.’ Sel hadn’t realised that gossip can work both ways, that Georgie could detect and repeat his misfortunes the way he did the Pugh’s.
‘It’s only a touch of concussion,’ Pugh tells him. ‘Come downstairs, have a fag.’ He smiles, baring toothless red gums, pulling a navy housecoat around his fleshy pink bulk. ‘I don’t smoke,’ Sel tells him.
‘Yes, you do, you fibber,’ Pugh says. He points with an archer’s fore-and-middle finger at his sunken eyes. ‘I’ve seen you on your decking in my bins, quarter-to-midnight every night, same time that barmaid from the RAFA gets back and into the shower. Duw, there’s a pair of apples on that one, ey?’ He lifts a hand-rolled cigarette to his lips and turns, scuffling out of the ward. Selwyn thinks he might be dreaming when in Georgie’s place he glimpses Susan, grappling through the double doors, loaded with the full five-piece set of Samsonite luggage they’d purchased for their Mediterranean cruise two summer’s ago. She drops the hatbox. It hits the floor with a crack and opens, his work ties springing out like joke snakes from a can. She approaches his bed, arms swinging. ‘I swear you’re the stupidest man who ever lived! And pretty soon you’ll be the sorriest.’
Sel hasn’t had time to devise an explanation. ‘Just got a bit out of hand, that’s all.’
‘The vicar?’ she says. She’s wearing a knee-length summer dress, poppy print on beige. She’s got a cracking pair of legs on her, Sel’s wife.
‘Just because he’s a vicar, a man of God. Doesn’t mean he is God. He wouldn’t know a good cucumber if you stuffed one up his jacksy.’ Susan claps her hands over her nose, mortified. ‘Listen,’ she says. ‘They phoned and asked me to bring your things.’ Man and wife gaze momentarily at the heap of suitcases blocking the gangway. ‘All of it,’ Susan says. ‘I’m filing for divorce..’
Georgie Pugh is back from his cigarette-break, loitering in the corridor, squinting through the frost-striped window, ogling Susan’s calves. She turns on her sandals, heading for the doors. Eyeing Sel over her shoulder, she says, ‘Don’t bother coming back to the villas,’ a touch of head-mistress trickling into her voice. ‘I’m having the locks changed. I might even get the vicar to do it.’
‘La-dee-da,’ Georgie says, swinging his hips, trying to impersonate Susan and her hard-boiled femininity. It comes off cretinous; a bit pantomime dame. ‘Smile, mun,’ he says to Sel, throwing his smoking paraphernalia into the bedside drawer. ‘Tea trolley’ll be around in a minute.’
The tea is scalding, irritating the emergent ulcers on Selwyn’s tongue. After three sips he sets it on the overbed table, giving up. ‘Now’s our chance,’ Pugh says purring conspiratorially at him from the adjacent bed. ‘After they’ve come for the cups. Before the visiting starts. The nurses change shift. We can sneak down for some fresh air.’
‘I told you. I don’t smoke.’ Selwyn turns away from Pugh to look at his neighbour on the left. A man in his nineties, features eaten away by age, a catheter tube running from under the blankets into a bag propped on the bed’s frame, half full of a glowing yellow liquid, the exact colour of the energy drink the girl’s love. Suddenly he can smell the hospital; disinfectant, winter vegetables boiled to mush.
Georgie’s spare dressing gown is short and wide. Sel can wrap it twice around his torso while the hem barely covers his testicles. He holds the material to himself, his arms crossed rigid below his waist. Georgie leads him towards a metal cabin at the edge of the hospital grounds. He invites Sel in with a swoosh of his arm, loose flesh shaking. He stoops, rummaging in a plastic bag hidden under the desk, coming up with a flagon of cider. ‘Cheers,’ he says, loosening the cap, bringing it to his mouth.
What has it come to? Sel, a loser, for the first time in six whole years. Jobless, wifeless, humiliated by the vicar, freezing his bits off in a disused shed. His only friend, the cider-swigging village idiot.
‘Have you ever worked a day in your life?’ Sel asks Pugh.
‘Nope!’ Georgie says proudly. He hands the bottle to Sel and licks at a cigarette skin. ‘Model aeroplanes, I do.’
‘You don’t want to work?’ Selwyn asks. Georgie lights his roll-up. ‘What’s the point? No work about for a person of my below-par breeding. She made it that way, Thatcher. I would have gone down the mine, after my grandfather. We were built for that; short.’ He holds his hand flat at his chest, as if measuring a child’s height. ‘Capitalism is a kind of anarchy, mun. Everyone out for what they can get. Maybe you thought you’d got a little bit at your manager’s desk on the industrial estate. They fool you into thinking you can climb some ladder then they kick it from under you. Not for me, boy.’
‘Fair enough,’ Selwyn says. He doesn’t want to get into an argument about dignity. Self-respect.
‘What are you going to do with all that money, anyway? Go on holiday and come back moaning about the queues at the airport? I can look at the Med on the TV.’ Georgie sucks thoughtfully at his tobacco. ‘Model aeroplanes,’ he says.
‘Cucumbers,’ Selwyn says, as if from nowhere. He lifts the cider to his nose and sniffs at it, the bubbles pricking his nostrils. He takes a sip, sweeter than he’d expected. Suddenly he sees it, his future laid out in front of him. A shop on the High Street, the shelves heaped with every kind of cucumber, the exotics; Indian, Armenian. Susan in a French maid’s apron bagging them up. The restaurants in Cardiff coming to buy in bulk. Never had a thought come to him so pure and lucid. That’d teach ‘em. Dai, the bloody vicar. He had a bit of redundancy money left too. He looked at Pugh, his face reflected in his pupils, Pugh’s reflected in Sel’s, their images replicated in one another over and over, ad infinitum. ‘Cucumbers,’ Sel says again, his voice a whisper.
© Rachel Trezise
All rights reserved by the author.