Reuban
Letter from the Editor
For the second time, our No Theme theme generated one anyway. We found consistent threads of time within each piece. We saw the progress and regress of living. We felt all and none while sitting on a back porch wrapped in a thick, cozy blanket holding a hot cup of coffee watching the leaves fall.
We begin in childhood, the birthplace of our formative years. The time before the chaos that is our teens. Years of uncertainty, explosive emotions, and find the love we thing will last. And then we enter adulthood for real and ask ourselves why did we want this when we kids. We thought because we did chores and listened to Simple Plan, we could handle the responsibitly of monthly bills, having a job, and pretending a social life exists. Let’s not leave out the absolute soul annihilating years of learning to love ourselves and prioritize what makes us smile. By now, there’s an acceptance to where we’re at. We’re wizened a bit with two feet planted decently firmly on the ground. There’s a confidence in our fingers now, conviction to our scroll. Working for an attainable goal, celebrating what’s worth it and turning away from all the red flags. Because once we finally knock on Death’s door, we’re gonna be damn sure life wasn’t wasted.
*winks*
A Poem in Three Acts
Désirée Jung
Stage 1 - Your Early Years
Golem
by Betty Stanton
I decorate my walls with drawings of him pieced together with mud and metal and bone, small plump fingers spreading waxy colors across dozens of pages torn from school notebooks. My father tells me the story – Prague at Easter, a priest turns Christians against Jews, the Rabbis make a choice, they learn —
to bring him to life,
to shape him from soil, like Adam, into the shape of a man,
to dance for him, breathe the name of God into his skin,
to tattoo emet¹, truth, into the muddy flesh of his forehead
to write God’s secret name on thick paper and force it, rough,
under his unfinished tongue.
My father watches from the corner of every drawing as he rampages – rises like smoke over bricked chimneys as he is killed. When we sit shiva, my mother and I drape every sheet we own over the large mirrors he hated, cry in dirty clothes. Later we will leave stones across his headstone, bind him into beit olam² –
to wait for God. Stones last, solid as memory, they do not
die. In every story, when his work is done, they must ink
met³, death, across his skin.
¹ truth
² house of eternity
³ death
Cycle
by Kelynen Bell
Aether∫Earth Creation (Beneath my palms lies power untamed.)exploitation
+C
Aether∫Earth Continue (Fflowing through my veins is gold to swim freely.)quit
+C
Aether∫Earth Collect (Bmemories overhaul peace, the comfort is suddenly distant.)hoard
+C
Aether∫Earth Chain (my eyes stifle in the darkness, blinding the innocence inside.)resist
+C
Aether∫Earth Clean (I yearn for the rare water to purify the blood on my fingers.)scar
+C
Aether∫Earth Corrupt (Hindsight never washes away thoughts of the previous life.)honesty
+C
Aether∫Earth Consume (My bones fracture. They have forgotten the journey.)liberate
+C
Aether∫Earth Confine (My spirit travels between the stars and cosmos unto Earth)commit
+C
C ∴power, when saturated, unleashes webs of potential upwards
to infinity, neverending but always gluttonous for a second chance.
it crawls
by Cithara Patra
around midnight, its little feet
climb up my back, inch by inch
furry legs brushing my skin
its tiny teeth prick my neck
as i reach behind to smack it away
this little bug that always crawls
nipping away at my arms and legs
tickling the back of my head
it crawls all over me until i reach around
and smack it…
WHACK!
yet it escapes in seconds and won’t return
till the next midnight
Cycle
by Kelynen Bell
Aether∫Earth Creation (Beneath my palms lies power untamed.)exploitation
+C
Aether∫Earth Continue (Fflowing through my veins is gold to swim freely.)quit
+C
Aether∫Earth Collect (Bmemories overhaul peace, the comfort is suddenly distant.)hoard
+C
Aether∫Earth Chain (my eyes stifle in the darkness, blinding the innocence inside.)resist
+C
Aether∫Earth Clean (I yearn for the rare water to purify the blood on my fingers.)scar
+C
Aether∫Earth Corrupt (Hindsight never washes away thoughts of the previous life.)honesty
+C
Aether∫Earth Consume (My bones fracture. They have forgotten the journey.)liberate
+C
Aether∫Earth Confine (My spirit travels between the stars and cosmos unto Earth)commit
+C
C ∴power, when saturated, unleashes webs of potential upwards
to infinity, neverending but always gluttonous for a second chance.
it crawls
by Cithara Patra
around midnight, its little feet
climb up my back, inch by inch
furry legs brushing my skin
its tiny teeth prick my neck
as i reach behind to smack it away
this little bug that always crawls
nipping away at my arms and legs
tickling the back of my head
it crawls all over me until i reach around
and smack it…
WHACK!
yet it escapes in seconds and won’t return
till the next midnight
Stage 2 - Your Adolescent Years
Apache Mare
by Antoni Ooto
Breathing clouds to the warming air,
in the faithful future of all her years;
proud and natural,
present as a boulder in the way of a path.
Chestnut flank pressed against a rising sun
this light, this field—all her own
there is no other place
no other world.
A Certain Softness
by Erin Jamieson
I.
Indelible scars, touched with sunlight: railroad tracks of survival, my arms tell a story of how I fought for my existence.
Startling July heat, a half-melted ice cream sandwich, a park with tree branches that sway in the wind, bending but never breaking, rooted in long winter days, endured for these days of light.
II.
Years of teaching myself to abhor the softness of my belly, no matter how much it shrinks. The process of unlearning isn’t as simple as waking up and deciding to love your body. It’s a series of steps and missteps, shadows and light.
III.
fog on my windshield, remnants of last night as I drive myself across slushy roads, hurrying- all of us hurrying- to erase the days before or render them meaningless, rushing past boutiques with faded for sale signs, past the dollar store selling stale bread, past the fountain where we tossed gummies coins- wishing for success or love, trying to beat the next traffic light, trying to prove our bodies deserve space in this endless cycle of work & paying bills & trying to make things better but not knowing what better means, missing the sounds of spring trying to break through harsh winter
missing our reason for being
alive
Juliet Orders Salmon
by juliet Lockwood
Plant-based. Sustainable. Cruelty-free.The casual exposed brick walled restaurant was one of those places that tried hard to seem casual. Someone had left the wiring unfinished, Edison bulbs dangling from the ceiling and, of course, menus printed on recycled paper (so soft they all but dissolved in your hands). Hudson had chosen it carefully.
Tonight was important as all dates were at the beginning, they were only a few weeks in but this did seem like it could last.
Across the table, Juliet was flipping through her menu.
“Anything look good?” Hudson asked.
“It all looks good,” Juliet said, not looking up. “You?”
“Mushroom risotto,” Hudson said, smiling. “They use nutritional yeast for creaminess instead of dairy.”
“Nice,” she said.
The waiter appeared. Hudson gave his order, already picturing them clinking glasses over matching plant-based meals, a perfect little Instagram post he’d never actually make but would definitely think about.
Then Juliet spoke.
“I’ll have the grilled salmon,” she said.
Hudson was stunned, he was certain he’d hallucinated them.
“What did you say?” Hudson asked, blinking.
“Salmon.” Juliet smiled at the waiter.
The waiter scribbled on his pad and walked away, oblivious to the bomb that had just detonated at the table.
Hudson glared at Juliet. “You ordered fish.”
“Yes,” she said slowly.
“Why?”
“Because I like it.”
Hudson’s lip began to quiver followed by his eyes filled with tears.
“Hudson, what’s wrong?”
“They are social. They have friends. They swim together. Fish feel things! ”
Other diners glanced over.
Hudson sobbed louder, “Juliet, I thought you believed in ethical consumption!”
“Hudson, are you crying about fish?” she asked.
“You’re not vegan.”
“Not totally.”
“Either you are or you’re not.”
“Then I guess I’m not. Always.”
“You guess?” Hudson asked. “Are you going to consume an animal in front of me or not?”
“You don’t have to put it like that. ”
“What are you? What do you believe in? I’ve never seen you do anything like this before.”
“Usually, I eat vegan, but every now and then I don’t.”
“There is no such thing as a half vegan. Are you going to change your order or not?” he asked sharp and jagged. Hot tears slid down his cheeks.
“Hudson, you’re crying –”
“I know I am, this is worth crying about. I thought – you had me believing. You have to change your order or are you going to eat a corpse? They have choices, Juliet, you don’t have to order mushroom risotto like me. They have roasted cauliflower steak.”
“Hudson, I–” she began.
Just then the waiter came back not just with their two plates where steam curled but with their moment of truth.
Who did you give your heart to?
Horse Sense
(Days of 1964-65)
by James Kangas
When it came
clear to him,
the college shrink
(my first
time ever to
vent it all),
that I had
gushy dreams
over certain
guys and didn’t
know how to
deal with that, how
I was reeling
like a greenhorn
buckaroo at some
ball-busting rodeo,
he urged me
toward the West
Hall lounge
to find a girl
and go petting,
said my head
was full of bunk.
But a wind
through my body
told me to
saddle up
the bronco
in my heart,
admit his strength
and sheen,
charge destiny.
Published in Gertrude, Fall/Winter 1999
Three Stabs at a Definition
by James Kangas
It’s probably passion if
instead of a French kiss
you lock teeth;
if both of your sheets
and your mattress pad
get worked to the floor;
if your mouth goes further
than it’s ever gone before,
and the jellied melon
mousse
you loved last week couldn’t
pass now for dessert, didn’t
ever truly quiver.
Published in Chiron Review, Winter 1992
The Furnace Man
by Jerl Surratt
Whenever we talk and you begin
to let me see it’s warmed you up,
the sympathy I show about
how hard you had to work that day
it’s funny how it always takes
two cans of beer, no more, no less
for you to let me half undress
your Oh, whatever willing parts
and with a tailor’s touch undo
the lower buttons of your shirt,
the upper buttons of your jeans,
while you fire up your phone to stream
some clip in which a woman moans
in much the way I make you moan.
This Morning
by Dan Stokes
The suspicion you intuit
what I’m thinking
may be whimsy,
but this morning
when I muttered
flesh was covered bone
without a purpose,
you didn’t start
or smile.
Surgical Waste
by Sara Stegen
It’s like a cut on the finger
The kind that bleeds like
there is slaughter going on
Do you love blood sport
It’s a blood bath
A floor full of blood
The kind that needs multiple bandages
for days and days.
The cut that throbs and hurts
like a digital alarm clock
neon flashing
every minute
flip flap flip
when insomnia cuts into the night
painful
minutes flipping by.
You cut me deep
twisted blood
from my index finger –
I tried to point out the hurt
The cut the loss the ouch
I was indexed for hurt
Non-anon
I knew the cutter
I know exactly who hurt me
There is only the surprise
That it was you
The who I do not recognise
Did you think you were the prize
No – you’re just the price I paid
lying in a mountain of bandages
I am just waste.
Stage 3 - Your maturing years
Practicing Seconds
by Sara Stegen
Silence gets easier
on day two – on the second
Ticking hours
Practice makes perfect
You lose the sharpest pain
It’s like the second birth
The second loss.
On the second day
Silence gets easier
On day two
I can tell you
all – but will it matter
that I miss you.
But the telling does not change
an itty-bitty thing
Silence is like forever
Is a double rainbow ring
I’m wearing silence
Finding peace within.
I am practicing seconds.
What will be your legacy?
I Don't Have Enough Money to Pay for the Novelty Digital Clock That Counts Down the Seconds to my Death
by Nick Mendillo
While doom-scrolling on my phone during my morning shit, I come across a YouTube video that discusses how my existence could be acknowledged after I die—the types of deaths that will occur:
The first will be my physical body. My fatass will rot into the soil. To be the shit of insects.
Next comes the last time my name is spoken out loud. I imagine my name won’t be said out loud too much after I’m gone. Maybe when folks say, “So-and-so… what a piece of shit/what a hot shit/he was the shit/he amounted to shit.”
The last remaining photograph with me in it is the next death. I’m likely not even the focus of that photograph. Just a figure in the background of someone else’s memory. Some wandering guy at a busy theme park, looking for a bathroom. Unknown. Mysterious. Mise en scène.
Of course, I can’t forget my digital footprint. Everything I’ve ever said online. Chatrooms. Forums. LiveJournals. MySpace. Facebook pokes. Reddit comments. Every uploaded photo. Every text. Pictures of my root—my mortal bloodline—sent (with consent) and now immortal. No children born of me, yet my progeny live eternal in the cloud.
The video ends with an advertisement for a digital clock that would count down the seconds to your death. I can’t afford it.
I hang my head and look down into the cavernous toilet bowl, beyond my manhood that sags and is pulled by gravity.
I am nothing but a poor man, suspended over a cold, porcelain abyss of waste.
To be a ghost used as fertilizer for trees of life.
I flush the toilet, aware of my transparency—aware that anything inside me, everything I could ever produce, amounts to nothing but a steamy pile, to be flushed away and forgotten.
My legs are numb. What a waste of time, that clock. A regular reminder of the finiteness of my thoughts, and the perpetuity of my guts. I’d be alive, but waiting to die, watching passing phantoms float by with every tick. I decide to not buy the clock, but to keep the tab open on my phone’s browser in case I change my mind the next morning. That tab can be my clock, counting down in silence until I get a new phone.
Mannifesto of Scattered Notes, Circa 1980s
by Sherry Shahan
I.
They put me in a folding chair at a card table next to Allen Drury. The card tables are spread out in the living room because dinner guests outnumber chairs at the dining room table. They put me next to Allen Drury because he won the Pulitzer Prize in Fiction for 616-page Advise and Consent in 1960.
Allen Drury doesn’t want to talk about being a Senate correspondent for The New York Times or keeping an eye on Franklin D. Roosevelt and Harry S. Truman or his ‘definitive Washington tale.’ I don’t want to talk about writing short stories for sleazy men’s magazines. Adam, Cavalier, Nugget.
Dinner guests line up in the kitchen to take their suppers from the dishwasher. I should write something brilliant about them taking steaming salmon from the top rack of a dishwasher. I should read Advise and Consent or at least think about reading a book about writing or subscribe to Writers Digest. I should change the ribbon on my typewriter.
II.
The recipe for steaming salmon in the dishwasher comes from Hulsey Lokey, Chairman of the Board of Host International, Inc. The longtime chair knew a thing or two about preparing aluminum foil meals: meals and beverages delivered to airports and toll-roads.
Hulsey Lokey shared a thing or two about crimping salmon in foil and cooking it on the top rack of a dishwasher. Set the dial on the wash cycle, sans soap.
Colleen Moore lifts her crimped aluminum foil pouch from the dishwasher. The silent screen star wears her hair in a fashionable Dutchboy bob, just like in her silent movie Flaming Youth. In the 1923 movie Colleen Moore plays a bob-haired flapper who engages in an ménage-á-trois with her mother’s lover. I should watch Flaming Youth or at least think about writing a cookbook, maybe something like Romancing the Soup Bone or the Joy of Hot Dogs.
III.
Colleen Moore seats me at one of a dozen card tables on her patio, seating me next to James Lee Barrett because he wrote The Greatest Story Ever Told, Smokey and the Bandit, The Green Berets, Shenandoah. Colleen Moore’s cook dishes up crisp-fried slices of Spam and fruit cocktail with jet-puffed mini marshmallows.
James Lee Barrett doesn’t want to talk about Hollywood or his 1975 Tony Award for Best Book of a Musical for Shenandoah. I don’t want to talk about the sleazy story I’m writing about a golf pro (my ex) and his exploits on a fairway with a country club waitress titled “Long Balls and Driving Shafts.”
James Lee Barrett laughs when I tell him about the sleazy liquor store on 24th Street across from St. Rose Catholic School where I flip through sleazy magazines looking for my byline. “Editors don’t pay unless I ask and then only if I remember to send them a SASE.”
IV.
A friend takes me to Henry Luce III’s apartment for a cocktail because Henry Luce III publishes Time and Fortune magazines. Henry Luce’s wife greets us at the apartment door in a floor-length bathrobe and a cap of pink-sponge hair curlers. His wife cradles a tiny white dog with a tiny bow in her curly hair.
Henry Luce III smiles at me from a large, worn leather chair. Heaps of newspapers and magazines sit on the floor by his worn chair. Henry Luce III doesn’t want to talk about how many newspapers and magazines he reads a day and I don’t want to talk about the rejection slips from Penthouse and Hustler tacked to a corkboard wall in my den.
I stand over a newspaper spread on the floor in a corner of Henry Luce III’s bathroom. A red plastic fire hydrant sits in a corner of the spread out newspaper. Maybe I should read a page of the newspaper while I sit on Henry Luce III’s toilet or at least think about writing a story about a thirty-year-old who writes short stories for sleazy men’s magazines and never knows what to talk about.
V.
I plop quite independently onto rust-orange shag carpet across a coffee table from Dale McRaven because he wrote episodes of The Odd Couple, The Dick Van Dyke Show, Lavern & Shirley. Dale McRaven doesn’t want to talk about his Emmy nominations for Mork and Mindy or creating award-winning TV series Perfect Strangers and minutes tick into hours and it’s getting harder and harder for me to know what to say.
I should have joined EST when I had the chance or at least find something to do with my hands. I write erasable paper and paper clips on my wrist and am mortified with myself and rub my wrist over my stone-washed jeans.
VI.
It’s exhausting being mortified most of the time and scared all of the time and trying to think of something to say. Maybe I should write about being mortified and scared or at least check the Los Angeles Times to see if they printed my “Letters to the Editor” about cooking meals in a dishwasher. But never mind.
It’s exhausting standing in the sleazy liquor store on 24th Street and thumbing through sleazy magazines looking for my byline. So I sit at my desk in the godawful silence and half-dark pulling typewriter keys from my mouth, the keys that always ask Who are you? What do you want? What are you afraid of? ~
Monkey and Circus
by Cheryl Snell
She had seen too much, and so she sketched herself with stitched eyes. The drawing satisfied her
and pleased her friends, so she mounted it on the gallery wall. On opening night, a straggle of
gallery-goers stumbled in off the street with their own eyelids whip-stitched closed, having heard
the hype about the art world’s newest trend. To tell the truth, it was a relief to un-see
the town’s eyesores─ men punched in the throat by their own fists, pinned to a night swimming with
swarming. Winding leashes around their own necks, guests glided to the reception like
rhinestone-collared panthers. An incontinent hose kept the path slippery enough to be interesting,
and the dark sharpened viewers’ hearing, an excellent thing in the blind. The art critic who
happened to be a ventriloquist carried his dummy headfirst into the hall. They watched and were
watched by guests swilling and spilling champagne while they awaited judgement on the new
drawing. When it came, it came from the critic’s voice from the dummy’s open maw. Billows of
blood instantly poured from the artist’s ears. The words had her─ never one immune to bad
reviews─ body-blocking her drawing in slow motion while she sewed her pursed lips shut. It was
insurance against the escape of her opinion of the dummy’s opinion. She understood then that
nobody wanted to hear it and that she was destined to die in her own arms.
Stage 4 - Your Elder years
Waiting for the band to start
by SHerry Shahan
A daytime moon cups my asymmetrical spine.
Sequins needle bones strung together with shoelaces.
Veins bubble up for no reason, reminding me of baby
frogs mashed by a steamroller.
I’m a bouquet of puckered crepe-paper, enhancing
the palette of parties in any season.
Yesterday, I paid for my first-ever massage supine in a
spiritual trance beneath kerosene green mire.
Today, I write a love letter in erasable ink just in case
his letters are written in invisible ink.
We used to dance naked under the street lamp.
Just in case I pour another glass of Gallo
wondering if it will be my last.
I’ve reached a certain age and will not raise my voice against it.
Odds are I never should have lasted this long.
Spitting images
by James Penha
When I was a youngster in New York in the 1950s, ornate cuspidors hung from the facades of handsome buildings along fashionable avenues. But my mother advised me never to use them, never to spit at all. “A disgusting habit,” she said. And although as I matured, I ignored many habits (mostly sexual) my mother had declared to be “disgusting,” her rule against spitting settled in me. I never spat — not even the shells of sunflower seeds which I would remove from my mouth with my fingers after cracking them open.
I couldn’t spit if I wanted to. I didn’t even know how to do it as I realized recently when I was hospitalized with pneumonia.
My doctor asked me to deposit a sample of slobber in a cup for laboratory analysis. I tried, but the cup remained dry or merely salivated. The doctor persisted in his request, and so I turned to the internet to research how to expel mucus via deep coughing. The directions were clear and useless. Not till my husband said, you have to growl the stuff out of your throat and into your mouth, did I recall the gruff sound my brother, never fearful of seeming disgusting, would make when he would “hock a loogie.” I tried to imitate that sound and suddenly my mouth was full. “Now lock your throat like you’re gargling … and pretend you are getting rid of mouthwash into that damn cup.” Yes, like gargling! Spitting out mouthwash!
Bring on those specimen cups, Doc. Sorry, Mom.
SAD (Seasonal Affect Disorder)
by Sherry Shahan
the calendar’s voice is dark / even brine salt is gray / an endless hourglass / gray goes black / it still surprises me / sneaks up on me / Time to turn the clocks back! / restlessness creeps in on a drunken moon / my vinyl blinds won’t lie flat / the grimy strings, a midnight noose / who makes up names for all the babies anyway?
i trip on an extension cord / sink into every stain / a million exclamation points pierce my skin / feelings bleed out / my pills run out / i string despondent bras over a mirror / crawl into an empty space / swallow an invisible blanket / wait for mermaids to sing
i’m not thinking a damn thing / but go mad when my rind splits open / ornaments of a broken
life / i count backwards / wait for the moon to sober up / even the clock won’t talk to me / can a lizard grow back from a single cell?
i remember floating on the beach under rays of light / a lover’s hand in my pocket, melting
loneliness / when i looked good photographed naked / when i remembered my name / the sun must be a lonely star
i’m out of wine again retreat resign resolve escape in my nightie to kiss the
cold sidewalk open my mouth like a goldfish waiting to be found.
How does your story end?
Catechism of Bone
by Betty Stanton
The years bent your spine, calcified your marrow, each vertebra
a relic pressed into the reliquary of your back. You prayed to become
an altar; your breath incense, your ribs a pulpit, your tongue a cloth
laid clean. But the stone only remembered its own erosion, the dust
that speaks more eloquently than prayer, a crumbling hymn that cut
your palms open as you tried to lift it. Every confession curled your
bones deeper, grinding bone until it spread into your skin like bruises,
nested like stones in your throat. A scripture bound in broken cartilage,
carried through a nave of silence where even the saints turned their faces
from your crushed body. What faith survives when the altar crumbles?
When the reliquary rusts? When the marrow itself hums with betrayal?
You kneel and call it holy, you touch the ruin and let it cover your body
with ash. You raise your curled hands toward a heaven that flickers like
dying candles above the ocean of bodies spent before it. The fog gathers
in your mouth, and you open it wide enough to swallow your prayer whole.
Ars Poetica: Dirges
by Alex Carrigan
After “Ars Poetica with Zydeco” by Steven Leyva
1.
I sometimes lament that I
cannot be buried on the beach,
that the surf will exhume me,
that Buddhist scripture turns my
body, covered in crab bites, into
another wave to return to the ocean—
but that might suit me better than cremation.
2.
It’s easy for me to imagine
the graves hidden along
the sides of the roads here.
They’re not always women caught
in political scandals, nor are they
always deer who thought they could
cross the open plain at night.
Sometimes I’ll find a cluster of
clover along the side of the road
and think of the joy that was lost
here, of the promises of a better life
that couldn’t make it to the destination.
Just up the road from the clover patch
is a series of drive-thrus,
and I think about which one I
should visit to obtain a food offering
for the next grave I come across.
3.
They say poets are supposed to find
the meaning of waves and clovers
as we slowly tread our way towards death,
but at the end of all of this,
all I can think about is how
the last living thing I saw die was a
jellyfish that couldn’t be brought back
into the ocean, as the surf carried it
too far up the shore.
