POSTS

JeFF Stumpo

NUESTRA SEÑORA DE CONCEPT ALBUM

a scene for Janelle Monáe

EXT. ROUND, GOLD SWIMMING POOL

MONÁEBOT lounges at edge of pool, their legs off-screen, then suddenly jerks upwards as if pulled by puppet strings and dives sideways into pool. CAMERA pulls back, revealing three more identical MONÁEBOTS diving sideways in unison. As CAMERA continues to pull back, the MONÁEBOTS are revealed to be four fingers on a hand, and the pool is a holy water font in a church. EXT has become INT. The fingers are on MONÁEBOT PRIME, dressed in a tuxedo made of patent leather with prominent stitching that is computer cables.

      MONÁEBOT PRIME
Watch all the ways I can transform
Plane, train, my own getaway car
Log all the ways I have been born
Woman, android, even a star
Gawk at the spectacle and the storm
Light in my eyes from light-years afar
Talk about how I’m the brand-new norm
Cast a spell from a techno grimoire

MONÁEBOT PRIME removes their head with a slight twist and hands it off-screen, returning with a new head. It has the same face, but with an afro made of electrical wires. They reach into a pocket and remove an afro pick. CAMERA zooms in on it in an arcing shot, revealing the tips of the pick to be interfaces for a motherboard. As the scene arcs and zooms back out, MONÁEBOT PRIME sticks the pick in their wirefro. Their eyes glaze over, then show data downloading. Their eyes whir, spin, then click back into place. They begin to sing, wiggling their fingers à la jazz hands, which sing along.

      MONÁEBOT PRIME
You ever wish on a rainbow?

      FINGERBOTS
Rainbow…

      MONÁEBOT PRIME
You ever wonder where it goes?

      FINGERBOTS
It goes…

      MONÁEBOT PRIME
Yeah, light is a spectrum, we all know

      FINGERBOTS
All know…

      MONÁEBOT PRIME
And so are we, so won’t you glow

      MONÁEBOT PRIME and FINGERBOTS
Glow, glow, glow, glow, glow, glow, glow

CAMERA refocuses on the font/pool, now occupied by swimmers of a variety of genders and all with some robotic body part. The water lights up in shifting patterns as though RGB lighting were beneath it. The swimmers begin to trade their robot parts with no regard for where they originally were fitted, arms for legs, ears for nipples, jaws for crotches. MONÁEBOT PRIME reaches into the pool with their FINGERBOTS and swirls the water until everyone is laughing in a whirlpool.

      MONÁEBOT PRIME
We remained ourselves yet became one like a country. We sang harmonious notes. We were each a voice. We were 3D. We were images on screens on every TV. We were paradox engines driving towards a cliff, then riding off and levitating. We found the pieces within us that were missing. We replaced them with we. We pierced ourselves to become holy.

MONÁEBOT PRIME drops their hands below the screen and brings them back up holding PRINCE in their palms. PRINCE grinds his hips, drawing his hands from them up to his collar and popping it, continuing the motion to pull down his chest panel, revealing him to be a mecha piloted by JAMES BROWN. JAMES BROWN steps out onto the platform just created and gets down with the boogie, then lifts his hands towards his hair as if to brush it back but instead pulls up on his temples, lifting off the top of his head and revealing himself to be a mecha piloted by the smallest MONÁEBOT. The smallest MONÁEBOT holds eye contact with the camera.

END.

 

JeFF Stumpo is author of five chapbooks of poetry (most through Seven Kitchens Press) and a spoken word album, winner of the Subnivean Award for Poetry (judged by Major Jackson) and runner-up for the Joy Harjo Prize, and his poetry has recently appeared or is forthcoming in such journals as DMQ Review, The Journal, RHINO, Rattle, Puerto del Sol, and Allium. He is a survivor of psychosis and PTSD, husband to a PhD chemist, and father to an amazing trans child. He has a (poor) website at JeFFStumpo.com.

 

 BACK TO ISSUE

 BACK TO FOLIO

Ron Riekki

[POOR HISTORIAN] In the military, when they would tie you to the fence

I mean when they would tie me to the fence

I mean when they would tie us to the fence

I mean that they would tie us to fences

and there were so many fences
because it was a military base
where they were practicing the art of borders
and walls and hells and, well, we were
left in the sun with our hands duct taped
and our mouths duct taped, but then the duct tape
was ripped off so they could pour old food left in the sun
into our mouths because it was called hazing
and it wasn’t called torture, because they called it hazing
and this way for them it wasn’t torture, but just hazing,
and the sun was an hour and the heat was a month
and the repetition was a half-decade and they owned us
because we signed paperwork saying we wanted to serve
our country, which meant that we wanted to be disrespected,
and touched
and we didn’t want to be touched
and, later, at the V.A., when I’d tell the PTSD counselor
about this, she would stamp my paperwork with the words
POOR HISTORIAN, because the denial of the precious moment
is to darken the history of our childhoods and the sun
had no shelter then and they did this for fun, no, for power
and our bodies were burnt sunburn and the mosquitoes ate
into the tomes of our bodies and I cannot sleep at night,
ever, and I cannot sleep all day, ever, and I shake like I’ve been
translated into a thousand different ghosts and

when they would tie you to the fence

I mean when they would tie me to the fence

I mean when they would tie us to the fence

I mean that they would tie us to the fences

and there were so many fences and one time they rubbed
feces into one of the recruit’s faces and there was only one of us
they killed, just one, his name Lee, and in the war there was nine more,
but this wasn’t during the war, and it was, and it wasn’t, and it was war
where you can do anything, because we were children
and the sun was the oldest man in the cosmos
and I remember when they untied me and I went back to the barracks
I looked in the mirror and I tried
to rip my teeth off, because they want to turn your life into a dumpster,
and there is no one ever in the history of my history with the V.A
where they have ever apologized, only emptying the boxes
in the closets of the disappearances of the dead, how I looked up
the list of those killed in the war and they don’t list the suicides,

as if they’re still alive, as if they’re still tied to fence,
because they are and they are and they are and we are
and I am and I am screaming for you to please cut me down . . .

 

Ron Riekki has been awarded a 2014 Michigan Notable Book, 2015 The Best Small Fictions, 2016 Shenandoah Fiction Prize, 2016 IPPY Award, 2019 Red Rock Film Fest Award, 2019 Best of the Net finalist, 2019 Très Court International Film Festival Audience Award and Grand Prix, 2020 Dracula Film Festival Vladutz Trophy, 2020 Rhysling Anthology inclusion, and 2022 Pushcart Prize. Right now, Riekki’s listening to “A Wish Come True” by Gavin Brivik from the Wild Indian original motion picture soundtrack. Reading and sound design by Vera Riekki Koss aka atmos.vera.

 

 BACK TO ISSUE

 BACK TO FOLIO

.CHISARAOKWU.

Sleep-Wake Cycle

In sleep, I hold catastrophe at bay;
awake, the fat arm of an aunt 
and an uncle’s mustard breath
press against my softest parts—
This wreck: persistent, recurring
brain on loop, glitch in the algorithm,
defiance of now, catalog of future, 
error of past, dominion over everything

 

Fancy

By the time the auctioning of my hands and the commodification of this flesh 
between my legs begins, we are far beyond origin stories; whatever cane and fire’s
good wake could cut to erase wanting, could conjure into a joyful noise for rabble-rousers,

has done nothing save plunge me into the depths of cracked lips and bloodshot eyes,
wrap me in pinafores and white lace. High price to pay for proximity to white—
his calloused palms, gum, bone against my skin, rum-drunk words spilling from his lips: 

you my fancy ▇▇▇▇ now.    Possession has always been their blind spot, 
unable to fathom the origin story of their concupiscence. He, like his brothers
before him and after, noble apes inking their incestuous nympholepsy

generation after generation—peculiar entanglements forged between fields, sheets, ledgers. 
Beneath his heft, between each breath, I hear my grandmama’s hum come ‘cross the river,
come ‘cross the river and say let there be no grace for those who call you out your name

for Regina
circa 1802

 

.CHISARAOKWU. (she/her) is an Igbo transdisciplinary poet artist. She’s received fellowships from the National Endowment for the Arts, the California Arts Council, and others. A health futurist and retired pediatrician, she’s developing a poetry collection set in the liminal spaces of the African diaspora in the Americas.\

 

 BACK TO ISSUE

 BACK TO FOLIO

samodH Porawagamage

Midnight Marching for Palestine in Lubbock, Texas

October 2023

Lankans say holy beings get down from trees
at midnight and roam looking for souls to save.
Something got into our heads during that early
Halloween party. Maybe the weed synchronized with
mindless drinking and hours of nonsense:
somebody’s ex’s breakup, the new assistant prof,
my curried cashews, digging up the soil
to determine the cause for my peace lily’s demise.
Then flashed the random memory
of a road trip. Motorcycles. Che Guevara.
Bob Marley and reggae and how nobody
gives a fuck about reggae
in West Texas. Jehan was about to ping
an Uber home. Maybe he did.

Why was Sameer making out
with my doorknob? I didn’t even know
we were playing truth or dare.
Still no takers into our wild cheers
of “make-out, make-out,” who mixed
Ceasefire Now! Maybe Amir, maybe
his teenage girlfriend who wasn’t even
supposed to be drinking. In no time,

Kavin was banging the door demanding
a ceasefire! Tanisha lit up a scented Walmart
candle to make it a vigil. Few had the presence
of mind to grab their shoes, but the moon nodded
as we marched through the street. A stray dog joined.
A midnight skater stopped by and asked
if we’re all right. I gave him a hug.

As we hobbled past a fenced yard,
somebody switched on the lights
and rushed out with a rifle
primed in his hands. I froze
and pictured my brain splatter
on the sidewalk like graffiti.
He screamed and screamed.
But the others drowned out his voice
and marched on without noticing.

When the dark cavities of our eyes
finally seemed to lock, he lowered
the gun and nodded in their direction.
“Heck, don’t see why the great state
of Texas can’t form our own country,” he said.

 

Perfect British English – Waiting Room Edition

As part of my IELTS exam, I am here
to converse in perfect British English
with an Oxbridge-certified examiner,
waiting thirty minutes past
my scheduled interview time.
The well-travelled macho dude
who went in before me stumbles
back from the testing arena
pulling his hair. He’s lost
both muscle and color, his steely face
a messed-up toilet bowl.

The girl after me is mumbling something
paganist under a spell of demonic
possession. I eavesdrop hard and finally
make out two versions from intonation:
interrogator and tortured prisoner.
A useful tactic for the CIA to adopt…

The magazine on the coffee table advertises
English courses of all sorts from kindergarten
to the top executive, and I hope they’d expand
the catalogue for the centenarian in his deathbed
as a final blessing. A TV screen plays
countless testimony of the saved. This eclectic
mix of black, brown, and yellow faces
can’t be more blessed to learn from
our perennial white masters. Light shines
on them from above. God’s back in His
civilizing mission, but this time making us
pay out of our pockets.

Yet it bothers me not to see a single
portrait of Her Majesty, the Queen.
Or her governors of Ceylon, so that
I could recall their names we immortalized
in school, fearing the teacher’s cane
would come down like thunder
to darken our brown skin more.
As soon as my unworthy eyes
behold her grace, I vow to bow
my loyal commonwealth head!

A young local to usher me in as if
let alone that twenty feet, I’d lose
my bearings. A white dame as expected
with her name on a golden plaque
greets me: “Good Afternoon!
I’m Mrs. Jacqueline White.”
The clock behind her shows 11.35.
I waver between afternoon and morning.
After all, the English are light years
ahead of us, so I mutter an apology
for not setting my watch to their time.
“Excuse me, Some-Wood, please speak loudly,”
she instructs for my own good.
Both my hands go unto my hair.

                 IELTS (International English Language Testing System) is a so-called standardized test 
                 of English proficiency for “non-native speakers” of English. It is masterminded and           
                 administered by the unholy trinity of British Council, International Development               
                 Program (IDP), and Cambridge Assessment English. The U.S. equivalent of IELTS is         
                 TOEFL.

 

samodH Porawagamage is the author of becoming sam (Burnside Review Press) and All the Salty Sand in Our Mouths (forthcoming from Airlie Press). His writing focusses on the Sri Lankan Civil War, poverty & underdevelopment, colonial & imperial atrocities, and disproportionate impacts of climate change on rural & marginalized communities. These poems are from his manuscript brown mongrel, which is about a brownie’s tragicomic misadventures around the world while also being a celebration of brownness.

 

 BACK TO ISSUE

 BACK TO FOLIO

Isobel Burke

home equity loan.

break the glass,
tell me not to worry about the pieces.
when i kneel to pick them up with bare hands
pick me up and bind them.
put me in the car and tell me world news,
tell me about my great grandmother:
“she was a teacher when women were nothing
more than the bones to build a home on top of.”
i’ve been awake for thirty-one hours
and still can’t sleep.
every time i try, i trip over pain
that i know i put away already;
pack the difficult things into boxes,
seal with caution tape
and pile on top of the boxes
where i packed the good things, and the things
that were just alright.
they’re sitting in the corner of your apartment,
taking up space.
you could put a nice coffee table there.

 

Isobel Burke is a Canadian poet born and raised on Vancouver Island. She was shortlisted for the 2024 Bridport Prize for Poetry and her poetry collection, inheritance, won the Saints & Sinners Literary Festival poetry contest in 2023. Her work has appeared or is forthcoming in publications including PRISM International, Pinhole Poetry, and Anti-Heroin Chic.

 

 BACK TO ISSUE

 BACK TO FOLIO

Abdulbasit Oluwanishola

Flowers Are Not The Only Fragile Thing

 

a 6-year-old palestinian-american was stabbed 26 times for being  muslim, police say.
 his mom couldn’t go to his funeral because she was stabbed, too.
—CNN News.

iii
we don’t question death for the pain inflicted by man;
for the hollow dug in our hearts by man; because, sometimes,
death fruits peace & mostly, all that man has given birth to is chaos.
give your eyes wings—see a man shoveling through debris
to collect the remnants of his four children after Israel’s  bombing.
see Heba Zagout. see 17 family members of Fady Joudah—a huge home
lacerated by every line succeeding bomb blasts’ history.

ii
the word Wadea means peaceful.                   means a small boy wearing a golden smile
enough to break a dark-ash rock.                   means a boy knotting english words onto
his father’s tongue. flowers are
not the only fragile thing.                                 say, a six-year-old boy, like butterflies, is tender
enough to be squeezed with palms.               say, he is an angel with (f)light who couldn’t
fight the man catapulting him
to heaven with a knife.                                       say, he is a human—he is a muslim—he is peaceful.
                                                                                  say, he became a stranger to his name when the edge
of the knife kisses his intestines.

i
what do we do if the entrance to our home is the origin of our sorrow?
what will Hanaan Shahin do when each suture of her knife-cut is the water
seeping her to the floor her child laid on, lifeless?
scar is the parental gene of pain, the first filial generation before death.
& no matter how much you gather, saliva can’t fill an ocean bereft of water.

 

ghazal with your name

for Shukroh

{شكرا= name}
{شكراً= thank you}

On the day of your death, I wept but barely enough.
Perhaps I was too young for grief, my sorrow too
fleeting to be named sorrow.
—Samuel A. Adeyemi

one day, we returned from school & شكرا
was already spat out saliva. yes, you, شكرا.

in our hands, soft like green leaves, you were a fresh tomato,
& for that, we languaged our gratitude to God, tenderly with شكراً.

your time was so pored like the space between two fingers.
did you enjoy those moments or were we too much of a pest, شكرا?

today, i saw you evaporating & i reduced the hotness of the sun.
afterward, i shared lollipops with the kids around & they said, شكراً.

despite knowing it’s a thank you, i ransacked your face round the area.
but like shadows in the absence of light, you were a vapor, شكرا.

just as wallahi & innalillahi in the mouth of hausa men, every
thanksgiving i receive these days dissolves into memory; yours, شكرا.

 

Abdulbasit Oluwanishola, SWAN V, has works up/forthcoming in A Long House, Poetry Journal, Poetry Column, Ake Review, Tahoma Literary Review, SUSPECT Journal, Ninshãr Arts, BAM Quarterly, Rowayat, Haven Spec, The Marbled Sigh, Invisible City, and elsewhere. He tweets @abdulbasitoluwa. You can also find him on Bluesky @oluwanishola.bsky.social.

 

 BACK TO ISSUE

 BACK TO FOLIO

Thaer Husien

Deport Me from the U.S. Colony Back to My Country so That I May Live, Fight, and Die with My People

Thaer Husien is a Palestinian educator living as an unwelcome guest on First Peoples’ land. He helped found The Posterity Alliance, is a Returned Peace Corps Volunteer, a Fulbright scholar, and holds an MFA in Creative Writing from American University. Writing can be found in Rusted Radishes, Black Warrior Review, Litro Magazine, Yellow Medicine Review, The Written Resistance, Montreal Serai, Sonora Review, Collateral, Emrys Journal, and Poetry Wales. His recently published novel, Beside the Sickle Moon, is a near-future tale based on Israel’s occupation of Palestine (Daraja Press, 2024).

 

Diary Entry #1492

So, then. We understand that October 7th was a prison break and that the Palestine Question stems from 1492, not 1948. As it happens, I’ve spent much of my life more than not assimilated into euro-amerikkkan pseudo-reality; a displaced settler materially and largely in mind despite my family’s best efforts to pull me from the confusion. Didn’t quite know soft imperialism back then, so I’ve done Peace Corps and Fulbright and the like thinking it wasn’t the worst way to go. But that deformity didn’t completely take hold and continues to recede, restoring matter thanks to the privilege of family, friends, allies, a lifetime of journeys into Palestine and places of the world, learning, unlearning, X,Y,Z-axis. May it always be so.

Due respect for a journey aside I can’t seem to accept this pervasive idea during a time rivers of blood flood more into Lebanon, Syria, Yemen, and the global south wholly – neo-settler-colonial expansion and capitalist extraction haunting every indigenous cousin and diaspora – that I’m supposed to be convinced theory and expression will save us from a bleak future we’re not supposed to look at, in a present we’re supposed to accept for what it is, while not mass organizing under banners or visions because of a great leap assumption that this leads to the same nature of the oppressor.

No. This is annihilation. How many of these settler-organizers in artificial communities called liberation spaces have ever spoken to loved ones in immediate danger of sanctioned slaughter? Can the neocolonial captured hear the sounds of death beyond chanting for indifferent idols? This is annihilation. Then again all I’ve heard from the awakened west is no rulers, horizontal structures; sure, but also “just do you,” while we’re surrounded by this war machine and ecocide slowly encroaching, encompassing, here, now. All while our inspirations come from those like Subcomandante Marcos, Kwame Nkrumah, Leila Khaled, Basel al-Araj, Alaa Mansour, Sakine Canciz, Lumumba, Sankara, the list goes on. But don’t fall for main character syndrome or delusions of grandeur like some Hollywood brainwashed drone thinking that’s your reality. But also-also, maybe grab some friends, read some zines, tag a recruitment center or set fire to a police station. Am I making any sense? Will they ever let me forget we’re demanding the impossible? This is annihilation.

I have basked in the artificial light of this spectacle sun long enough. It is not one of life but the extraction and exploitation of it and we must take responsibility for what that has wrought.

Game recognizes game, ‘we’ have lost ourselves to mutual aid, speculation, and theory for the safe bet of dying in radical vacuums, waiting on particular conditions, throwing our brave few under prisons and tanks. And we children of the diasporas stand for our enemies on podiums as mere relics and representations instead of a living, indigenous community displaced in this confusing place. Exotic objects of study dancing as settlers on unceded lands ourselves. No one really has the answers. Basel did but didn’t. I certainly don’t. Hard to imagine myself as even half of a half of these people who have risen the way I hope to someday do. But.

This is annihilation. Can’t shake the natural whispers that this – whatever “this” is – ain’t it. Belatedly join the First Peoples chant that, “Reconciliation is dead.” To hell with revolution. Free Palestine means death to the U.S. settler-colony. Death to the U.S. settler-colony means First Peoples’ land back and New Afrikan reparations. That’s not a bias, that’s the basis. And I am ashamed at my hand wringing no matter how justified. All any of us have to do is look to our left and right, to these so-called neighbors who think their vague concern makes them good people. Many can’t find their voice. Many more collaborate with Zionist entities cheaply disguised as something more digestible poison-honeyed with our stolen heritage. Hell, we barely ever talk about the Palestinians in the diaspora who write this off as a shoulder shrug inevitability or commercial opportunity. What of the neocolonial captured? Shouldn’t this inspire some self-confidence? Maybe an affirmation of our humanity against their absence of thinking? No. Despite grounding principles in al thawabet, this stalling indicates to me that we are really not all that different. We can be proud of our experiences, battling defeatism and the complex horror of Goliath at every waking day and sleepless night, and in the same breath recognize that the lack of results speak for themselves. Awake I dream of open recruitment. Not as some vague aspiration for a fictitious future, but a total possibility of the conditions in the here and now. This is annihilation. Some may call me a misguided romantic. Or just a fool. Tear me apart with intellect that avoids the same enduring questions, waiting for some mythical inciting moment, swirling around the same distractive, mitigating byproduct loop of organs we’re stuck inside together within this leviathan. Or maybe Occam’s Razor can slice all that shit up. Maybe we can set it aside and really begin. Shed the white mask. Every morning. In every conceivable way. This time, this time, this time, this time, this time, this time, really.

 

Palestine Plus One Trillion

Haven’t had more words to show, tell, explain our annihilation and what must be done about it for months now. But I recycle through because words are most of what I have while I build in this desolate desecrate place. They are all I have because each time I followed, I was led by cousins to Zionist encampments cheaply disguised as something else, something further away from the point of annihilation muttering something fucking ridiculous about community gardens, scholars, and donations in a vacuum erasing urgency and agency. Every time I tried to lead, I would find myself in ready company then excused to be alone after one, two, maybe three-four steps. It’s their dog’s birthday, after all. Every attempt to be Sent…

So here I die slowly until it’s not. Posturing until it ain’t in front of people who wouldn’t move a muscle if it was me under the rubble. Decaying faster than any martyr. Braver in my wander-search for the glorious who dig than any of your genocidal kin standing silent-still or those who storm-chase crimes against humanity seeking if you ever had your own.

This is annihilation, o’shades of the empire.
Numbers, statistics, and math often do more harm than good but just to break the spell locking frames in time, the martyrs orbit half a million in just fifteen+ months.

+
+
+

You cannot drown the adhan with your AI powered drones. You cannot deathcamp imprison from zero to ninety-nine. You cannot poison, burn, rape our living ancestors, heritage, land until it’s rubble like white settler soul. Cannot vaporize us under tungsten bombs. Cannot make our children carry parents in plastic bags. Cannot leave those children starved-dead on the side of the road for starving cats and dogs to feast. You cannot push us all into mass graves. Not just them. You.

Wander, search, build
muttering
between hammer strikes
they cannot escape this
they will not escape this
You will not escape.

 

 BACK TO ISSUE

 BACK TO FOLIO

Baz

Lambrini Socialist

for Shola Von Reinhold

The creed: I collected myself from the wreck
of decadence. Education? Oh, darling,
please. I already learned everything I need
to know, like at how to wear a silver signet
pinkie ring inset with an eBay lab-grown
rhinestone when I was perfectly born. For Earl
Grey cigarettes, I find that a cleaned vegan
camembert box makes the perfect ashtray, hides
the ash with its lid; I hide by covering
myself in peacock-teal silks. In the street, no
-body dares to make eye contact; my trick works
perfectly. Somebody else buys me Waitrose
sparkling rosé, which gushes with delicate
fizz. I insist on this, because foam, lotus,
& pizazz complete my perfect 3-point food
pyramid. I eat baroque, and am a slut
for the fabled yellow label. Theft’s a hobby
not a habit. Fuck me on a leopard skin
that never had to die. I am the Prince(ss)
of Panache, and rightful heir to the fabulous.
My wardrobe is made in charity shops, clothes
that come exclusively from the section marked
“cosmically androgynous”. Make way, sweetness,
because my 2-ton, 6-inch heel boots and tight
flamingo corset are on their way. My toast
is drowning in butter and a thick layer
of champagne marmalade; I drink it up, trans
-fixed by a self-portrait I did on the sky,
the ceiling adorned with a thousand shades of
me. Vain is a word for people who believe
that ’authentic’ means ’expensive’. But, gorgeous,
I’m your golden baby, made of 24
-karat pyrite. ’Extra’ doesn’t cover it,
I’m the real deal: a genuine specimen
fighting off my own extinction. Even if
you blink, you won’t miss me. Babes, I’m here to stay.

 

Baz likes poems and people. He’s been published in Full House, Spellbinder, and elsewhere. They have worked in collaboration with Lyra Poetry Festival, The Story Works, and the Oxford Poetry Library to help bring funky words to the people who need them most. He can usually be found on public transport or trying to avoid dairy products.

 

 BACK TO ISSUE

 BACK TO FOLIO

William Owen

Silver Coyote

the narrative holds characters of glutinous demeanor
the shape-changing sea spirit proteus is the paradigm of self
men / how much i love them / the things they do so well
need some protein to fix my tender muscles
what is your engine?
it is clean and it is a source of beauty sensations
its inside is pink and resilient like a rubber band
it tastes like soft metal
its lining is moist
it can be filled with cream or jelly like a donut
it is the heart of masculinity
it may be skewered and you will be taken by pleasure

*

It was raining on the afternoon Sky bought his sweater.

He loved the smell of the rain and the calm neutrality of all the colors in his purview, the sidewalks and cinder lots and streets like different shades of dark metal, the sky a gentle cotton.

He liked to pretend he was alone in public, unless he was with Jason.

He kept his black hood up over his mask, a silky blue layer that was easy to breathe through but close to slipping off his chin if he didn’t pay attention. 

A woman was talking to everybody at the train stop. 

He was next to last to board, and she followed him on and sat down a few seats across from him. 

She didn’t stop talking out loud, and when they were halfway into the ride she rushed off, dropping her wet green jacket in the aisle.

*

He had settled on a certain store, an old name in cute retail, a store you could find in any city. 

But then he passed a new store, housing a brand that seemed to specialize in anonymity, neutrality, quiet oversized clothing.

He stopped in and put on a sweater in the dressing room. The clothes made him feel like being a turtle, encased and happy in his warm isolation.

The fibers scratched his naked forearms, but gently, enough to remind him of the soft rich thing that covered his torso.

He wondered if Jason would touch his arm and feel the texture.

On the way out the door, a boy passed him, his hand outstretched, and then Sky saw the boy was dripping thin bloody splashes from his hand, which brushed his black rain jacket.

*

At home he worked on a song. He sat in his music chair, the harp resting on his shoulder.

                            Daddy is sunshine | he makes the wind stop| i am the cave wall |
                            he makes the fire shine | grasshopper singing| breaking my elbow |
                            touch Daddy shoulder | fall to the meadow

It sounded like a lullaby. He was thinking of branching into hymns.

The sound of the lowest D string filled his mind.

He played the D string.

The drone split the air in waves.

Two melodies began to form in his mind, one for each hand.

His fingers found the melodies.

The droning D undercut the lullaby.

He stepped out onto the balkon.

The D string’s echo followed him, placing itself amid the dense sounds of night like atonal music.

                            heated voices, doorslams
                            clutters of laughs and heavy tire spins
                            chasses hitting the dip in the drive
                            the gravel lot where they park
                            to scream and unburrow,
                            nighthawks together

Jason buzzed him on the intercom.

They walked toward the restaurant. Jason talked about the style of the homes they passed. Sky imagined playing his harp while Jason worked in the backyard, cutting plants and keeping them healthy.

They ascended the ramp of the pedestrian bridge and he covered his ears, but Jason did not squeeze his shoulder.

They walked to the theater.

Sky and Jason watched a drag queen on stage dancing to songs from Xanadu.

Jason told him about things from that era: Joey Arias, Klaus Nomi, Fiorucci’s—the dancers in the shop window, they were all gone now.

*

“You’re seeing someone?” Sky asked.

“Yes.”

“This weekend?”

“I have a lot of free time since I’m single,” Jason said.

Sky looked at him, followed his jawline to his eyes, which didn’t change their expression.

“Are we dating?” Sky asked.

“I never considered us dating.” Jason turned, briefly looking at Sky before he said, “I didn’t do anything to lead you on. We can talk about it if you want.”

On stage the queen was dancing to Xanadu. He was dazzled by her glittery pantsuit.

“Why do we see each other so often if we’re not dating?”

Jason did not answer.

*

It was late and the street was empty.
In the dark a coyote appeared, running toward them.
The silver coat was a vessel of moonlight.
It turned sharply, following the street.
Jason left him at the end of the bridge.
Alone, he passed the same houses as before.

*

He was consumed with memories of his dates with Jason.
He wondered what they could have been to Jason if they were not the same thing.
The first time he visited Jason’s apartment, Jason showed him memorabilia from NYC.
He knew Boyd Macdonald and Boyd had written him a flirty letter.
Sky told him about the book he read about Boyd.
Jason showed him the letter. He took off his slippers and Sky put them on his own feet.
He climbed into Jason’s lap and they looked at the box of memorabilia together.

*

Feeling unsettled, he went for a walk.

                            I am wandering in the night wind
                            like an apple in the sky

*

Sky sent a message to a man he met online.

He met the man at his apartment.

The man entered the bedroom and gave him something that made his lungs gasp.

The man took off his shirt, his shoulders and arms much larger than Sky.

He lay on the bed, unable to move.

The man twisted him half around by his arm.

He felt his ribs flex.

Choices of the vulture—
                            he tore the meat away
                            ball bearings of animal marble

*

At home on the balkon, unable to sleep, he wanted to forget Jason.
He only wanted to keep the silver coyote.

*

Sky heard the twilight sounds.
He played a heavy metal song.

                            vox killer | fox killer | bear trap in the cradle | rock-a-bye | punch it down
                            on the clown | chug daddy’s blood | make his carpet muddy | make his
                            waterbed explode | like his fat belly | make it rust | make it rust

He made an appointment with Hanna, an aesthetician at the beauty spa down the street.
Hanna placed a towel on Sky’s face. She performed the constant sensation of shifting textures on his skin.

                            How’s life?
                            Not worth talking about
                            I’m sorry
                            How are you?
                            I moved to a smaller place. It has an air conditioner
                            Oh good
                            Would you like the sea salt treatment? 
                            Not today
                            Would you like the sea bird treatment? 
                            What’s that? 
                            You get to be a sea bird
                            Yes, please

*

A man texted him, and Sky went over to his place.

                            I met a man at his apartment
                            a brown recluse wound on his calf
                            It looked like a piece of flesh had melted out
                            He acted blameful towards his dog
                            a tiny chihuahua, sickly and fearful

*

Sky wandered around the hospital complex near his apartment, never sure where the entrance was.
Crying and circling aimlessly, the hospital complex felt like a labyrinth.

                            I feel too nervous for words 
                            I am in a state of emptiness 
                            My feelings are mylar floating away
                            I don’t think there’s any way to ask for the help we really need

*

At home, Sky played a song, the soundbox resting on his shoulder.

                            It’s time to go outside | it’s time to feel the light |
                            to hear the train go by | alone but I’m alright |
                            It’s not the world I saw | when I was seventeen |
                            It’s all a frozen lake | so I put on my skates |
                            The wind it tastes so clean | the trees they wave at me |
                            inside the memory | of things I hope to see |
                            The train it rumbles past | it doesn’t stop for me |
                            But that’s okay, I’ll be alright | I’ll put myself to bed at night |
                            I sleep alone in harmony | with yellow birds out on the open sea

*

Sky stepped onto his balkon, looking for the source of a sound, a clanking of discard piles.
Somebody, more than one person, was selecting things to save or sell—bottles and things.
He thought, with a stress sense of correctness,

                            Here we are sharing the same oxygen, the same trees hovering over us
                            The sound of my survival is the dense hum of city,
                            the math too fractal for music theory

 

Will Owen writes about gay male existence, as well as the torments of growing up working-class. He enjoys playing pickleball and baking oatmeal chocolate chip cookies.

 

 BACK TO ISSUE

 BACK TO FOLIO

Danica Li

Funeralesque

The mourning was held at a deluxe parlor. The carpet so deep and new that any depression elicited by your step rebounded instantly underfoot. On an elevated dais below a two-story-tall projection of our savior, a clergy-member pronounced us remnants and witnesses. He was a small, discount thundercloud, his waving hands pudging over his tight-buttoned cuffs, his chest puffing and charging him three feet forward, then a leap back. Still, beneath him, faces glistened, overt with feeling. The things he said affected them like a wind tormenting a field of wheat. I’d seen videos of such fields. Never in person as they were not of this world. A man a few seats down from me gripped the back of a chair with both hands to keep upright. He was mouthing along to the minister. His wife next to him, dissolved in grief. I wondered who they were, what complex of relations and events bound them to the deceased. 

I spotted Loren, mostly via his hair—he had completely changed it, styled and combed it quiet, so that it offset his posture of sorrowing. His face was different too. So different I hardly recognized him. But his hair was the same color, and as I scrutinized him a lick escaped the orderliness of his facade and touched the exact midpoint between his brows, indicating to me. 

Hi, I called, sotto voce, when he passed my row on the way back to the reception area. But the man flicked a puzzled look at me and continued on, not breaking stride, like he didn’t know me. 

Maybe I was wrong, and he didn’t. 

At the front of the hall a wail went up, shot like a flare. If I looked up into the cloud of emotion above us that had amassed from this last hour of ceremony it would be spreading like a red and diffuse light. Raining flecks of her acid distress on my upturned cheeks. It was always a woman. 

The man, Loren or not-Loren, came back. The lick of hair was pressed back into place. He took his place in the front row. He had gotten there before me, so I had placed myself two rows behind. Not wanting to complicate his fiction with the intrusion of my known face. I stared at his back. For a moment, his profile was visible as he looked behind himself. His eyes scanned the congregation. He was searching for someone. Someone he knew who knew the absence at the center of this event, who could draw him deeper into it. But had Loren ever sported a beauty mark just above his right cheekbone? Was he capable of smiling as painfully as that? 

The woman was the deceased’s mother. I could’ve guessed. She was speaking. The savior rippled above us, disturbed by a psychic transmission from the netherworld or a frisson in the equipment. The mother’s back was to it, so she wasn’t aware. As she spoke, her whole body sagged, clinging, against the casket. Her voice was composed—it hardly shook—but her body betrayed her. 

Ma would’ve hated to go like this. She would’ve squalled and kicked and berated us for even bringing up the idea. She never wanted anything to do with these public displays, the wreaths of plenty overhanging the slender box, the dead housed with all of their belongings. Better to go quietly. Just a few loved ones to tend to you. A plain stone sunk quietly into the pond. 

After the mother, a procession of four or five people followed. They each bowed to the casket. Then spoke. But their words pinged off my consciousness like grains of sand. In trying not to think of Ma, I was thinking of her. It was a relief when they finally called me, too. 

I worked my way over people’s laps on the way to the aisle. My speech was folded in a sweaty half-page clutched in my hand. I approached the man. He had moved into the seat right next to the aisle. In the moment of passing he looked up at me and I down at him. His expression was stripped by sorrow to its rudiments—slashes of eyes, mouth gripped so closely over its teeth it implied the entire outline of his skull. I knew I’d been wrong. 

I mounted the steps. Up close, the apparition of the saint was far more lifelike. She wore necklaces of thorns around her long throat. Her expression was beatific and upward-aimed. She shone white and solid as candle wax. My neck prickled. I neared the casket. For a moment, because of how the others had bowed, had wept, had placed their bodies on that box, I expected to see the deceased’s material figure, his reupholstered and painted face with the lips sewn shut over an unquiet tongue. But the casket was empty like they told me it’d be. 

There were many events like these. For people buried in blizzards, or swept away by hurricane winds. The elements were ruthless. But ice storms and winds were actually the merciful encounters. Better to be disappeared than savaged beyond recognition by fire, or have your face cooked underwater to the softness of stewed plums and picked off by fish. 

I put my head to the casket’s polished edge. Ma. Are you there? Hearing nothing, I rose and moved to the lectern. The bright lights burned my retinas like suns. My fingers jerky, ungreased, I unfolded my page of notes. I tried not to read from them. Funny how easily in Los Angeles I flew off-script, improvising wildly, never keeping to the exact letter of what the writers wanted me to say. Untethered by reality, I was freed to invent. But that was another person, another place. Today my eyes kept returning to my page. I was trying to describe how important this person had been to me. Her absence a crater miles wide in which nothing would grow. I was trying to impress on everyone out there how important a person, any person, is. How vital, so that when they ended, reality itself underwent a transformation, became thin and membranal, and it felt as if you could pass through walls and other people, clean and transparent as wind. Did you know, a producer of documentaries once told me, that we and everything around us are made up mostly of empty space? Emptiness was necessary to the construction of us and of the world. Long, tense spans between atoms, that swayed invisibly like bridges. But I didn’t know the words. How to say this. I hoped they mistook my confusion for grief, so convincing that I strangled and hiccupped. 

*

I blinked and found myself marooned in a crowded, chopstick-clattering restaurant. It took me a moment to recognize the clouded glass windows with their peeling enamel of menus and specials, and the language of the conversation that rose and dipped around me, punctuated by bursts of laughter. Cantonese, the language Ma spoke, which Lee and I had inherited from her only in bits and phrases. 

I remembered that prior to my arrival I had been walking aimlessly, looping the blocks, trying to shake off the day. Rehearsal, submergence, and re-emergence made the hours slender as seconds. Before me was a bowl of congee chunky with pieces of thousand-year egg. I must have ordered it. I got up to find a spoon, obediently as if at the direction of my past self. 

Analisa, in shoulder-brushing gold hoop earrings and black tights that cut off mid-calf, was mopping the floor behind the register, a phone tucked into the crook of her chin and shoulder. Her back was to me. It gave me a jolt. I didn’t want her to see me like this. Confused, intermittent—reconstituting myself. But before I could duck away, she pivoted mid-swab and saw me. The corner of her mouth quirked up and she gave a little wave. I smiled, but the attempt gripped my face in an odd way. I plucked a spoon from the bouquet at the counter and escaped back to my table. 

No sooner had I reseated myself than the door opened in a tingle of bells. A band of teenaged boys tumbled in. They looked so young it hurt my eyes. Like boisterous puppy dogs they piled in at the table next to mine. They ordered, in a cascade of interruptions, from a teenaged girl worker wearing a t-shirt emblazoned with a mouthy slogan, who rolled her eyes at their pleas and cracks. 

I noticed one of the boys was quiet. He didn’t joke with the girl but made his order politely, his face red as a beefy tomato, and though I could see nothing odd about this his friends all went absolutely silent, a silence loud with repressed and filthy commentary. The girl didn’t look at him, but it seemed her sarcasm softened, and she smiled down at her pad as she jotted his order. 

After the girl server left, the boys’ attention veered. Two of them excused themselves for the restroom. One of the boys drummed on his overturned plastic bowl with two plastic spoons while ricocheting rhymes back and forth with his friend. Another three were having a contest with the jarred marinaded slices of chilis peppers that sat table-side, taking turns sucking as many spicy pepper seeds up their nostrils as they could muster. The last boy was sitting in the middle of all this, unspeaking, his face still red but a little less so, and I didn’t understand that it was happiness, pure happiness, that made him quiet, until the lights flickered, off, on, off again, and everyone looked up. For a moment I was afraid it was an outage, one of those abrupt unannounced black-outs that cut air to patients on breathing machines in the hospital and marooned us in a darkness that was outside of society. But then a wavering light was moving towards us in the dark restaurant, and as it approached I saw it was the two boys who had gone restroom-ward, ushering with them the girl worker, who was holding a big sheet cake on a tray, looking a little embarrassed, but also, delighted. The cake was made, I knew, from one of those cheap boxed mixes, but still, it was an impressive cake, topped with frosting and sprinkles and stuck higgledy-piggledy with colorful candles. They, that is, the delivery procession, came to a stop at the table, and the heckling and hooting boys quieted. The red-faced boy looked up at the girl he liked with touching solemnity and his face split into a smile. When he cut the cake, everyone started, badly and in mismatched cacophonous keys, to sing. 

In the outages, the worst hit were the hospitals, the morgues, and the ice cream shops. Why did I think this, as I sat in the dark, listening to the celebration at the table right next to mine? 

When the lights came back, the boys were eating their slices of cake with unguarded relish. The girl waitress and the red-faced boy were talking, haltingly, in undertones. She was shoving loose strands of hair behind her ears and he was looking at her then back at his hands then back at her again. I envied them their blundering earnestness. 

And here was Analisa, approaching, wiping her sweat-shiny forehead with her forearm. The boys perked up under the weary daylight of her smile.  

Steven, she said, waving her hands like a magician gathering her birds. You want a picture? I know your ma will. C’mon, sit together, I’ll take one.  

She took one photo, then two more, of the girl waitress leaned in grinning, the boys pulling faces. But then they wanted a picture that included her too. 

Analisa said, Hold on. And she cocked her head and said, Hey, V., can you help? She held out her phone. The table of boys looked at me for the first time, I think for the first time realizing I was there. For a moment I was confused, too, and uncertain if I was. What was this world that was right beyond the border of mine, rife with laughter, impervious to the deletions and blurrings of death? It seemed impossible that the two could occupy the same plane. In fact, when I took Analisa’s phone—humidly warm from her grip, decorated with small, cute stickers—and rose to position the picture, the photos I took were grainy and blue-hued, the smiles unnaturally bright as if transmitted from another dimension. 

*

At this one, everyone was strangely chatty, like we had just met each other at a conference hosted at a resort and were trying to make friends. How did you know the deceased? She was my coworker; my god-aunt; my friend; my eclectic, intermittent neighbor who watered the tomatoes with a mineral-rich brew made from her own aged urine. She was descended from Mexican emigres, Hokkien refugees, Scottish traders—a medley-line of itinerants and adventurers and wanderers. She had a face like something cut into stone, but when she embraced you, you felt as soft and comforted as if you could lay your head on her shoulder and drift to sleep. She always laughed at my bad jokes and made me feel like she meant it. She was tough. She was a field biologist. She once broke her arm in a jungle, strapped it in a splint and carried it on her for four days, and on the fifth discovered the last colony of an elusive species of frog, whose skin secreted the answer to the riddle of a particularly ravenous cancer. We always used to joke that in the dystopian, bombed-out future she alone would remain alive, tearing squirrel jerky with her teeth, sewing menstrual pads out of thread and wads of moss. How did she not make it? She was wily, implacable. She wrote a one-hundred-and-sixty-page dissertation living in a yurt in the high desert while high on tranquilizers. She climbed a mountain to take a condensation sample from a shy cloud. She could do anything. She was my wife. 

No one said: She was my mother. A small relief. I couldn’t have tolerated meeting another like me. Orphanages were difficult places, mirrors quaking at each other, provoking fists to splinter the sight of one’s own pain multiplying into infinity. 

How did you know her? I was asked. 

I said: A treatment I received when ill was developed from her long and persistent research into chromosomal antiquities. I am alive because of her. 

Wow. 

Yes. 

Did you ever meet her? When she was alive.  

No, I said. But I thought I would come meet her now.

And that was what it was like. The person a composite of anecdotes, of words attempting to conjure her anew. Each person here kept a piece of her. If I spoke to enough of them I could see her. I kept speaking, and listening. And out of the edges of my eyes, she came closer. I saw her flinty stare, her unmovable conviction: However ravaged the world, it remained worthy of being saved.

Who was this woman to me? Someone in whom a thought had begun, gained detail and clarity, surfaced into the world, acted through others, deployed analyses, mechanisms and productions, and, years later, caused the preservation of my life. Didn’t we all owe someone in this way? Every medicine invented and taken, every kindness performed and received, every intervention, every act of care, every life-giving touch, began first as a thought in the mind of another.  

I did not say she was my mother. Though I don’t know why, the thought played at the edge of my mind, like a child along a border of wire. 

In the middle of the service the wind picked up. At first I thought it was just a squall. It was not the season for anything more. But someone ran for the double doors and shoved a long bar down, barricading it. Another ushered attendees away from the windows, herding them into the aisles, where they stood, crowded together. The speaker stopped speaking. I remained in my seat, right next to the aisle, surrounded by the agitated attendees. In silence, through the same windows which we had been hurriedly conducted away from, we all watched the world outside. A muffled movie. The trees jacked and thrashed. Parked cars rocked on their wheels. A broken-winged umbrella chased itself down the street, followed by a dragging deck chair, which at the last minute lifted and rammed a window-front. The speed increased. Clouds of birds, trashed television monitors, shopping carts, runaway racks of discount clothing whipped through the streets, light as blown foam. 

Then a booming impact shook the roof. The people who held the pieces of my mother scattered. They raced for the doorways, where the structure might hold up. I didn’t move from my seat because, at first, I didn’t believe this was happening. I looked up and then away, wiping; tinging grit had drifted down into my eyes, shaken loose by the crash. But no hole appeared in the roof. Whatever had crashed was not intent on entrance. 

Nevertheless I rose, and—my self-preservation instincts now so sluggish I could hardly believe I had once run nine miles in a day to outwit a wildfire—moved slowly to the edges of the room. 

The walls rattled like panes of glass, then stilled. The wind canyon outside did too. The roof reverted to its solid state again. While a few of the attendees went out to investigate and report any damage to authorities, the rest of us remained standing, uncertain. 

Then someone spoke. It was the husband of my mother. Was it not important to persist? he said. The wind had stopped. The roof continued to stand. She would not have wanted us to discontinue the service. 

I looked up again. It was true. The roof was still. No grit drifted down to dot my forehead or catch in my lashes. 

The husband climbed the stage and faced us. His face was impassive. His voice, shaken at first, had gained a solidity and evenness that calmed me slightly. He said: We will tell stories of her. In this way she may remain alive for another day. 

I wondered what had fallen on the roof. A great oak stories tall. Pieces of another building. Perhaps the wind had picked up a car, carried it for miles, then dropped it on top of us as a forgetful child does a toy.  

Who would like to speak? the husband said, looking over us, the crowd.  

The people who carried the pieces of my mother murmured. A few of them slowly took their seats while others continued standing, looking shocked, or frightened, or confused. Still others gathered their things. It was dangerous, I heard them murmuring, it would be better to leave. We can arrange another commemoration, at a more convenient time. And more and more of them bent to retrieve their purses from the floor, their coats from the seats, and they shook hands and embraced as they headed for the exit, out into the world, where the wind had laid down quietly in the streets after exhausting its great emotion. They took the pieces of my mother they carried with them and they walked out and away. 

There were just ten or twelve of us now. I wanted to chase yelling after the ones who’d left, but instead I sat slowly in a chair. 

The others began speaking again. Softly, their voices rose. Once she survived three days by herself in the High Sierra in a snowstorm. Once she built me a small shed on the hill behind my house that I could sleep in with my children when the flood swamped the house, bursting out of drainpipes and overflowing the tub. She liked to collect seeds and specimens. She could grow a garden to feed a party from some dried pods. She taught the people she loved how to cut wood and carry water, how to set a splint and read how moss grows, and even more than that, she taught us how to think and how to feel, and how to protect how we thought and felt not only from the wildfires and hurricanes and torrential winds, but from all the savages, depredations and losses of living, so that we could continue on in our small and incremental ways. What did she teach you? Who was she to you? What did you learn from this person who was so important to us? 

They were looking at me. I was the last one to not have spoken. 

Who was she to me? She was my mother. She carried me for thirty-four weeks in her own body. I was formed from her blood and muscle. For years, she fed me and washed me, carried me on her back and taught me to speak. Whenever I fell, she helped me stand again. Whenever I lost my way, she helped me find a path back to it. She talked to me when no one else would. When I grew old enough to leave home, she watched me go into the rest of my life. When I looked back, she was always there. Until, one day, she wasn’t. 

As I faced the mourners of the deceased woman, my face was wet. They were complete strangers to me, I had never met a single one of them until today, but in grief, their expressions were just like mine. I said: She was my mother in the way that all of us are to each other. She saved my life.

 

Danica Li is an employment and civil rights lawyer based in the San Francisco Bay Area. Her writing has been published or is forthcoming in the Missouri Review, the Iowa Review, December Magazine, Southeast Review, Cream City Review, Lit Pub, and the California Law Review, has appeared in Best American Short Stories 2023, and has been twice nominated for the Pushcart Prize. The first writing prize she ever won was for a short story about unicorns in the fourth grade. Find her at danicaxli.com.

 

 BACK TO ISSUE

 BACK TO FOLIO