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Wednesday, February 17, 2016

Leonard Gontarek Reveals That Perfume Is The Gateway Drug

Apart                                                              

1

Tell me about yourself in a 100 words or less.

2

I have always believed, if it is not broken, don’t fix it.
I who believe it is not broken. I have never trusted the TV version
of autumn over autumn. I am only interested in people
who have fallen in with anything. It looks like I brought a haiku
to an epic fight. I was there the day the music cried.
My cat hung up on you. I am not good at lying.
I have a sacred heart.
I have difficulty telling the Mysterious Universe
and the Outside World apart.


Morphine


 1
                                                           
He sits on a bench refolding the map, with difficulty,
now that he knows where he is going,

The bouquet next to him
may be a gift, may have been given to him.  

He is on morphine.
He is wearing alligator gloves.
                                             
2

Poetry must change the world.
                       
 3

Santana is playing at a party in the past,                               
so loud you think the party is outdoors.


Window                                                         

 one
                                   
A single syllable of lily, before night.

 two

Mostly green, but gold too,
trees are ejected into the day.
The book says the voices of children
arise clear in spring like toys,

balls or kites, miraculous and
loud, and it is so.

The silence is a public garden.
You go there for the scent of water,
the statues of angels and monsters
and lovers, the magnolia.

You cannot see the future.
It is out of view of the window,
to the west. Darkness is covering the houses.
The branches are going out one by one.

The perfume is of a teenage flame.
The cat rolls in the last dazzle of light.

Each season is contained in the next,
understood simply. You cannot understand
spring, or summer. It is mysterious, as it should be.
The children have gone in, against their wishes, for dinner.             


Fair                 

It’s just like the chair
in my movie, I mean, dream.
There are thirteen things that matter for me here.                 



 1

Five Hundred New
Fairy Tales Discovered
In Germany.



 2

Newly Divorced Man
Gets Creative With
His Ex-Wife’s
Wedding Dress.



 3

I want to be paid for the time
I go to my job in my dreams.
The minotaur in the cubicle next to me agrees.


 4

The woman I’m with is wearing a perfume called High School.
The light is intentional.



 5

Perfume is a gateway drug.
 


 6

I feel totally safe-ish with you.



 7

Dusk is ex cathedra. The mica-flecked dark is also.



 8

Now that paradise is locked, where will we go?
Now that there is nowhere to go, what will we do with these brochures?
I have set fire to these messages in an ashtray many times in the last hour
and dumped the ashes in the river of wind.



 9

Little wind.
Don’t let it in.


 10

Everything is done. The truce is not apparent.



 11

The world isn’t fair, ladling out light.



 12

It’s spring. Kids run
through streets, with
cherry-stained hands, yelling,
trailing strings.



 13

I want more than this.
I know you do.



Rake                                                               



 1

It is the cutouts or silhouettes
of the leaves that concern
us. What is not here
is on our mind. The door

that opened out on the vista of light
cannot be seen or remembered
at all. It is suggested                                      
that the rake left out                                       

was not elegant, but may be so
now. Think along these lines.



 2

There is only one question: How can I help?
This is a direct quote.



 3

The man sits down at the paper
and begins to write a letter.
It is understood that there are those
among you to whom the idea of letter
will have to be explained.                              

Say you are viewing paintings in a museum
for the first time and you are transported to
a clearing and it is mildly hot.
The dragonflies are flashing and the base
of the mountain hums.
Two liters of root beer or ginger ale
are poured over you. You equate                  
this to the imagery in the paintings
you have seen and the emotion that is
stirred. It’s crazy, of course, but that is
why you’ve put pen to paper.

You add something
witty and charming because
you are writing to someone close to
you. And you sign your name.
That’s all.
Or you want to say the world is a garden.

Your small garden, which is wild, beautiful
and disordered, connects you to the larger world.
The birds make a terrific racket,                                                       

praise it and call it singing.
The soil smells like green darkness,
praise the slight air of oregano and dark chocolate.

You say you live for the civil twilight
when the bats try out the night
and the embers even out.

Say you coast in one of the boats                                          
to the center of the lake.
Tell me the silk the milkweed emits                                      

means the world to you
and you talk all day with cats and rats           
as if they understood.
Tell me you have fallen for the darkness                              
and petals, but save the last dance for me.



Level              



 1

Item: She parked under the dogwood                        
and hoped the blossoms
would undo and cover
her dark car.
She would photograph it.



There is a mysterious
rain in the fields, I am told.

Finite amount of crows
in oak at dusk.

 2

I would not want to seem
as if I knew something about
faith or the way to it,
if I did not.
To know a thing is simple.
When you do not know it,
it is complex, with many layers.

There are many places
I would want to return
to without a dark heart.

Now as I purchase blueberries
on the sidewalk, I see my
heart as lightened.

The wind rustles Mirror
Lake once more. The pines or reflections?
It is hard to tell.



 3

Through the night of trees
and tree frog hum,
a clearing in the leaves.

A falls starts up. Sheet
by aluminum sheet.
Mostly gray, thunder distant in the day.

All happens so fast,
as though a letter had grown wings.



Perhaps there is a place
to set up the compass
and level,
to better see from one point to another,
the present to the past.
Maybe it is this park.                                                             


Customer Service                                          



 1

Somehow it is my father at the customer service window.
I feel sadness. I don’t know what to do with it.                                             
He hands me a brochure to take home, to think about it later.
I realize the cicadas I heard were in a dream.
The weather breaks.
The rides at the carnival are closed.
I cannot love the past again.
The city asks, Do you desire a glass coffin?
A skyline in haze and mist.



 2

I see a red dog and I want it painted black.
No more will my green seagull turn a deeper blue.
I want to see bats fly out from the sky.                                  
I want to see it plainly, plainly, plainly.



 3

There is a music.
It is like when you are reading and listening to music.
The story is longer and more drawn out.                               
There are people here and there.
You interact and four-hundred pages later you interact again.
Music, on the other hand, happens inside.
You are not really thinking about it.
It is a river.


            (after Richard Aldrich)



 4

The weather breaks. I realize
the cicadas I heard were in a dream.
I feel a sadness I do not know what to do with.
One that overcomes and confounds.
The rides at the carnival are closed.
I cannot have the past again.
A city skyline in a mist of heat and exhaust.
The wind asks, Do you desire a glass coffin?
Somehow it is my father at the customer service window.
He hands me a brochure to take home, to think about it later.




Leonard Gontarek’s recent book is He Looked Beyond My Faults and Saw My Needs
A new book of poems is forthcoming from Hanging Loose Press in 2016.
In 2015, his poem, 37 Photos From The Bridge, was a Poetry winner for the Big Bridges
MotionPoems project and the basis for the winning film from the Big Bridges poetry/
film contest sponsored by MotionPoems and the Weisman Art Museum in Minneapolis.

Wednesday, February 3, 2016

Jay Passer and Morning Winos, Evictions, the Barracuda Tank, and Chocolate Nail Polish

A NEW DAY

about 6 a.m.
after a food fight,
eyes reeking
from after hours,
the garnish of love
rumbling.

these are the details of victory:

so we celebrate,
decide eggs and a steak
drive to the store over
paved-over soil
jacked on foreign crude,
buy some beef
salt and pepper it heavy then
grill
kitchen good and filled with smoke,
drinks in hand, smile of wine, traffic going by
not a care in the world.

there is a sun on high and
guess what, it’s just
you
and me
and the urge to toast, ‘to the roasting flesh’
can’t wait to eat, yank it out of the
fire, slice off
ends against the grain once taught to do by a sot
at a campfire years ago
after a U.S. Government commodities score
at St John’s, Santa Fe, New Mexico:

that bastard used my pocketknife he later
pocketed for good


GENTRIFIED

first the lethal drummer across the hall
then the next door yoga girl with curly red hair

systematically replaced with robotic urbanites
a pain and panicky twitch inside while the doors rattle

they’re moving in!
well-oiled laughter, secret mechanical lives

and betrayal of my well-kept silences,
inevitable lonesome blues intuit

a brisk knock on early morning door,
notarized invitation for

perhaps a nice hot cup of eviction.



LOVE IS NOT ENOUGH

treading through pools
of molten lava
laundry day requiring
IQ of a thousand

mint tea steeped on the moon
Valentine postmarked
Pliocene

chocolate nail polish
sunshine leg balm
sparkly cigarette lighter

noticing a haircut
or a hard-on

it’s the little things
the alternative being

clown shoes
on a tightrope
teetering above

the barracuda tank


Jay Passer's work has appeared in print and online since 1988. His latest chapbook, FLOWER OMELETTE (co-authored with Misti Rainwater-Lites) is available from Lulu. He lives and works in San Francisco, the city of his birth.

Wednesday, January 27, 2016

Michael Lee Johnson and the Nuclei Redemption of Sugar Rats, a Salmon Vodka Drunk, Pickpockets and Knit Sweaters

Cheaters

I am tired of cheaters
online, weary eyed crossword
players complicated moves
drift dancers, lies, laid soft peddle
dark closet dreamers.

Old Hens 

Why do old hen's cry-
socialize in familiar doctor offices safe
the smell and the scent of times unchanged.
Magazines folder pages back to comfort.
Seek nuclei redemption in prayer books of the New Testament.
I find them there beside me in seated chairs, and wheelchairs,
moving on, why do old hen's cry?

South Chicago Night 

Night is drifters,
sugar rats, streetwalkers,
pickpockets, pimps,
insects, Lake Michigan perch,
neon tubes blinking,
half the local street
lights bulbs burned out.


No One Cares

No one cares
I set in my 2001 Chevy S10 truck
drunk on smoked salmon vodka,
writing poems on Subway sandwich napkins.
No one cares my life is a carburetor
full of fumes, filters, caskets, crickets.


Memories:  Tasha Tudor


The heart of this land is within the person living there.
The cattle grazing near the riverbank, gardens manicured
with manure, cats sucking milk from any nipple, and those corgi dogs.
Mice loved life beneath her steps where she walked.
Sheep baskets full wool to wheel and knit sweaters handmade.



Michael Lee Johnson lived ten years in Canada during the Vietnam era. Today he is a poet, freelance writer, photographer, and small business owner in Itasca, Illinois.  He has been published in more than 875 small press magazines in 27 countries, and he edits 10 poetry sites.    Author's website http://poetryman.mysite.com/  He has over 76 poetry videos on YouTube:   https://www.youtube.com/user/poetrymanusa/videos   Email:  promomanusa@gmail.com

Thursday, January 7, 2016

Matthew Borczon Protests That We Are More Than Ten Pages

End of shift

The Afghan
soldier was
shot in
the chest
and thigh
mostly I
just held
his arms
down while
they put
in a
central line
and the
Lieutenant
hung bag
after bag
of blood
there were
6 people
working on
him and
he seemed
stable as
we sent
him into
the OR

that night
lieutenant
told me
he had
died on
the operating
table we
could not
keep enough
blood in
him he
said just
before walking
away funny
I really
thought he
was going
to be
OK he
said over
his shoulder
I thought
so too

but back
then I
think I
thought  the
same thing
about the
Lieutenant
and me.



Human resources

Spent 7
days in
HR working
on files
and charts
I thought
it would
be a
nice change
of pace
from the
ward and
the blood
and bandages
just a
long row
of cabinets
and I
only worked
day shift
that week
but after
the 31st
death certificate
I filed
into skinny
folders
I knew
for certain
that death
was everywhere
here and
it reduced
everyone’s  life
to 10
pages or
less.


Post deployment

I
stripped
and cleaned
both my
rifle and
9mm and
gave back
my body
armor and
two full
sea bags
felt a
hundred pounds
lighter for
awhile as
I walked
around Norfolk
trying to
feel like
a civilian again

I remember
really enjoying
those first
few weeks
back home
before the
weight
of everything
I could
not give
back from
the war
hit me
and I
crushed
everyone
those I
loved and
those I
barely knew.


Matthew Borczon is a nurse and Navy Corpsman from Erie Pa. He served in the busiest combat hospital in Afghanistan from 2010-2011, he writes about his experiences on Camp Bastion and about the difficulties he has had since coming home. 

Tuesday, December 22, 2015

Stephen Bett Puns Buddha Love, The Locked Drawer of Spiritual Fatigue, Agoraphobia, and Learning Emptiness

Back Principles (14) : Keats & Rilke coming up again (& damned Spicer, too)

Who sees into me
… has mine heart?


Too easily tossed
(on a heap, on
a mound)


This inning is
future time
(grace time …?)


I would take
a pitcher
of you


Drink it, bat it
out of here
−−whatever
it takes


I lose myself
completely, am
struck dumb
in your
buddha
love


Where is my
ground, where
is my Heysus
spinning to
now


This (heady) gain
is nerve loss
(also)


It is mystery
one enters
−−terrified
(& possibly
alive …)
Witless &
spooked,
& unafraid
to say so
(god help
me)


Look in mine
eyes & give
me your
strength,
I have none
that doesn’t
shake the bases
loose in the
night


Look in mine
eyes, I have
forgotten how
to see

Back Principles (34) : spiritual fatigue

This is surely
spiritual fatigue
(on the loose)
(at loose ends)


Backed into a corner
(loosely speaking)


Back me, back
me not …


My back is knotted


Lies bound in a
locked drawer


When it creaks open
pray for something
merciful


Pray there is
something
there


You will not
have my back
beyond this
point


It will be loose
at ease, or it
will be
broken

Back Principles (52) : agoraphobic 

Big spaces are
made of this


Phoenix to Yuma
−−terrifying


The christ to
the buddha …
terrifying too


Hold my back (pls)
the landscape
would break
it in halves


Agoraphobic,
big space


Holding emptiness
in my hands






Stephen Bett is a widely and internationally published Canadian poet. His earlier work is known for its sassy, edgy, hip… caustic wit―indeed, for the askance look of the serious satirist… skewering what he calls the ‘vapid monoculture’ of our times. His more recent books have been called an incredible accomplishment for their authentic minimalist subtlety. Many are tightly sequenced book-length ‘serial’ poems, which allow for a rich echoing of cadence and image, building a wonderfully subtle, nuanced music. Bett follows in the avant tradition of Don Allen’s New American Poets. Hence the mandate for Simon Fraser University’s “Contemporary Literature Collection” to purchase and archive his “personal papers” for scholarly use. He is recently retired after a 31-year teaching career largely at Langara College in Vancouver, and now lives with his wife Katie in Victoria, BC.     www.stephenbett.com 

Sunday, December 13, 2015

Vin Whitman Reveals the Centiperson, Screaming Birds, Leviathans, Orgasmic Blindspots, and the Asterisk as Crucifix

LIGHTNING/BUGS

 This was where we
 Spun our cocoons
 This was where we set the
 Seeds free
 Unaware of our
 Eight-armed enemy
 Invisible filaments drawn
 Asterisk or crucifix?

 Bumbling bee
 Desperate to worship
 W/ drunken lane changes
 Crashes the silken barricade
 And sobers into a hostage

 Butterfly army
 Sleeps through the storm
 As a leviathan would underwater

 Birds scream bloody terror at the
 Oncoming waterfall's windshield
 A weather phenomenon
 That spells hospital
 Or cemetery
 In violet text

 Doesn't even set
 The web askew

CENTIPERSON

 Do you roam yourself like a giant planet
 Discovering secret burial grounds,
 Orgasmic blindspots

 I do

 You could roam into the space
 Just above your skull and pull
 It down through the floor
 To excavate a comfort zone that's
 Become a claustrophobic

 Zoo

 Sheep and kangaroos
 Are people too
 I'm a scavenger of depth, not width
 Roaming a grave and salty
 Undertow

 Few

 Can stay on the surface
 Of their sunny dispositions
 Extreme evolution and
 Stunning photographs

 Ensue

 I could take no pictures of
 My journey
 I had to draw them slowly
 From memory

 Why only roam to your
 Outskirts of skin?
 Lose count of dimensions
 In your centipede of nerves

 THERMOGENIC

 The jaws of rejection
 In a classroom
 Full of meat

 Left out
 To thaw, or worse,
 Thrown to the ground
 Losing teeth

 Post traumatic
 Dents in their faces
 Their slivered cat-eyes
 Flat-lining

 The bias-cut of a few
 Prime numbers

 Taste of a loaded,
 Bulging society
 Passed down in generational sausage

 Links
 A condition that will worsen
 To our hands
 Still shaking
 Sweating
 Giving off heat

Vin Whitman writes in fearful imagery that can make him paranoid, but he's learned to thrive on it. He is working on the social skills needed to do social work. He reads with The Tea House poets in Florida.

Saturday, December 12, 2015

Michael McInnis Speaks of the Crank Time of Einstein's Trains and the Effects of Light Pollution

Crank Time

There is no 4th
dimension

in crank time
traveling

faster than the
speed of

light no longer
held in

place by gravity
or dreams

of Einstein’s trains
lurching through

fallout shelters and
frigates

that sail too close
to the edge

while the earth keeps
accelerating

and wobbling ever
so slightly

centrifugal forces at
work while

tides churn and wash
as if all

the whales and sea
monsters swim

to one side of the
ocean at once



1962


All there at the
beginning

the inexorable
descent

into a kind of
madness as

if trading green
stamps

for furniture or a
crock pot

never used or that
display lamp

with the bulb that
flickered

and smoked the
pocket

calculator turned
upside down

always reading
7734

and outside the
plate glass

window a mackerel
sky showering

missiles and
rockets



People Living in Caves



people living in caves
return to the

surface crazy the sun
no longer

comforting the moon
no longer

holding any mystery
and the stars

they never recall the
stars as if

light pollution was all
that remained



Michael McInnis lives in Boston and spent six years in the Navy sailing across the Pacific and Indian Oceans to the Persian Gulf three times, chasing white whales and ending up only with madness. He has published poetry and short fiction in Literary Yard, 1947, Dead Snakes, Monkey Bicycle, Cream City Review, 5x5 Singles Club, Facets Magazine, Arshile, Nightmare of Reason, Oak Square, Quimby Quarterly and Version 90.