Tuesday, February 1, 2022

Selected Works, Angela Acosta

Mourning at Dawn 
 
I want to know that you were with me,
the night I sped down the highway into morning,
hoping that the mourning would cascade into memories
but I was numb.
The lock on, the love on, the Velcro of hugging skin
vanished quicker than the city lights near Hartford. 
 
The dawn awaits only me,
a truth lodged deep in my sore throat 
where I keep parts of you
from bobbing up at stoplights.
 
Returning home is only the illusion of loneliness 
because two arms never held four walls and a roof.




Our Queer Home in Space

In the doldrums of the twentieth century,
writers and artists dreamed up the impossible,
wishing for safe havens for queer and trans youth,
exchanging the epidemic of queer death for 
queer time travel, sending us to livable queer futures.

Once we cracked open the binary, 
we freed ourselves from gravity,
learned how to exist in bodies we’ve wanted since birth,
inherited knowledges from our elders to break Western epistemes
that gave us labels that could not recognize the diversity of our very existence.

Our futures were created by our elders, 
by countless generations living in the wrong story, 
writing new possibilities in their minds and diaries in the dead of night,
traveling not in a straight line, 
but folding the fabric of queer time
to find a place of refuge for our kind.




Earthbound

I am among the earthbound, 
never to plant a flag on another planet,
I am engrained within this 1g ecosystem
among the billions who inhabit spaceship Earth.

I am in good company,
all of humanity’s saints and sinners
lay under my feet,
covered in plants grown with the energy of Sol.

I live at a time when I have no option to leave,
no near-light speed travel, no hypersleep,
or the cold grip of the metal harness of my first off-world shuttle, 
no miraculous life-extending technology to make it across the Milky Way. 

We can’t all leave
and what awaits us requires the resources
of the lifetimes and imaginations of billions,
generations of preparation and impending tragedies.

May our children inherit the Earth,
may we continue to bathe in the Mediterranean 
while brave souls sample alien oceans on super Earths,
may we console the families of those light years away,
while herds still roam the savannahs and prairies. 

If the Earth is truly an oasis in space,
then may we the Earthbound keep it safe,
may it not merely be a hovel of misery
of the unfortunate and underprivileged, 
but an option gifted from our ancestors.




Dejando huellas

Los sabios dicen que hay lugares donde
uno se siente más en paz,
pero lo que no se dice
es que hay que buscarlos durante toda la vida. 

Pensaba que encontraría mi ecosistema perfecto 
en un pantano de Florida poblado por los caimanes
y el musgo español en el campus de la Universidad de Florida. 
Pensaba que lo encontraría en la cima de una colina al lado del mar Pacifico 
cerca de la casa de mis abuelos en la Costa Central de California
que ofrece un panorama de un mundo acuático entrevisto.

Cuando tenía veintitrés años dejé mis huellas 
en la tierra de la Península Ibérica.
Tomé un pedacito de tierra en las manos
y supe con certeza que allí pertenezco 
en un rincón de la meseta castellana. 

Mis antepasados vienen de ambos lados del Atlántico, 
de ambas historias de los colonizadores y los colonizados.
Ya no hablamos los idiomas de nuestros antepasados,
siendo yo la única hispanohablante superviviente. 

Nunca he tenido raíces fuertes 
por las docenas de historias entretejidas de mi familia,
pero en las afueras de Madrid
estando sola en San Lorenzo de El Escorial
me equilibré con la madre tierra.

No es mera curiosidad por la cultura española 
por parte de una turista,
ni tan siquiera una obsesión con el idioma.
Es más, es la intuición de un ser humano. 

Cuando veo el sol rutilante al aterrizarme 
en España, sé que allí quiero estar. 
Quiero sentir los vientos ligeros en mis brazos
y el aire seco que pasa por los ramos de los olivos
tal como lo cuentan mis poetas favoritos. 

Mis huellas se cubren con lluvias y hojas,
y me tengo que marchar a los Estados Unidos, 
pero por un momento me junto con la tierra
en un momento fugaz de conexión terrestre.




Leaving Footprints

The wise say there are places
where one feels most at peace,
but what goes unspoken
is that it is a lifelong search.

I thought that I would find my perfect ecosystem
in a Florida swamp inhabited by alligators
and Spanish moss on the campus of the University of Florida.
I thought that I would find it on top of a hill next to the Pacific Ocean
near my grandparents’ house on the Central Coast of California
that offers a panorama of a glimpsed aquatic world. 

When I was twenty-three, I left my footprints
on the solid ground of the Iberian Peninsula. 
I took a piece of earth in my hands
and I knew with all certainty that it was there where I belong,
in a corner of the Castilian Meseta. 

My ancestors come from both sides
of the Atlantic, from histories
of the colonizers and colonized alike,
with me being the only surviving fluent Spanish speaker. 

I’ve never had strong roots
given the dozens of interwoven histories of my family,
but in the outskirts of Madrid,
alone at San Lorenzo de El Escorial
I found my balance with Mother Earth. 

It wasn’t just mere curiosity for Spanish culture
as a tourist, nor was it even
an obsession with the language.
It was more, the intuition of a human being. 

When I see the bright sun upon
landing in Spain, I know it is there I want to be.
I want to feel the light breeze on my arms
and the dry air flowing through the olive trees
just as my favorite poets describe.

My footprints get covered by rain and leaves,
and I have to return to the United States,
but for a moment I join in union with the earth,
in a fleeting moment of terrestrial connection.




Angela Acosta is a bilingual Latina poet and scholar. She won the 2015 Rhina P. Espaillat Award from West Chester University and her work has or will appear in On Spec, Eye to the Telescope, Pluma, and MacroMicroCosm. She is currently completing her Ph.D. in Iberian Studies at The Ohio State University.

Three Poems, JP Seabright

Start By Sending A Pawn Back

OBJECT: To be the first 
EQUIPMENT: 16 Pawns 
SETUP: Shuffle the deck          
facedown 
Movement is clockwise 

GAMEPLAY:
your first turn 
forfeit (skip) 
take the top card move accordingly “Discard Here"
You may not start a pawn out with any other cards!
You may JUMP over your own 
BUMP that pawn back to its own color 

move into your own SAFETY ZONE

Notes: Two pawns of the same color may never occupy the same space
your only possible move 
you forfeit your turn
you cannot move
you must move, even if it's to your disadvantage

WINNING:
all four of your pawns HOME first
Once HOME, do not move  
slide ahead to the end and BUMP any pawns in your way
land on a SLIDE of your own color, don't slide, just stay put

Safety Zone: Only you may enter your own color SAFETY ZONE
No pawn may enter its SAFETY ZONE by a backward move

you may not move your pawn forward beyond your own SAFETY ZONE entry
pass the entry space 
played against you
your turn ends 
forfeit your move if you do not wish to change places  

BUMP that opponent's pawn back to its START
If there's no one else to pick on

VARIATION FOR ADULTS:
All regular rules apply except:
Your turn ends; do not move  
if no opponent 
if no opponent has more 

We will be happy to hear your questions or comments about this game




Towards  *  Whether     


Completed
fidgeting             nearing hills
alongside calendars fixed ritual
digested 
eager sympathy
recruiter wallet period homes 
rooms

Silly beast
upper taken landed crop
torn oiled 
career tile trend
sting shot
grid axed
across artist
energy

Kinks
easy moth noises
leaves note
roses anyone
hardly rising
venue gentle
ranged
lists insist
chin pitch



Towards  *  Whether is an anagram of What Three Words, whose website is the source of this found poem using the author's many living spaces over the years.




DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT  DON’T squash spiders  DONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDON they’ll come back to haunt you  DONTDONTDONTDONT

DONTDONTDONT DON’T swat flies  DONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONT  for they are angels in disguise    NTDONTDONTDONT

DONTDONTD  DON’T throw stones   DONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONTDO if you can’t see where they land  DONTDONTDONT

DONTDONTDONT DON’T taunt cats DONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDO  for they know more than you’ll ever understand   DONT

DONTDONTD DON’T hit dogs  DONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONT  for a bark is never as bad as a bite  DONTDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTD (Despite what they tell you, this is a lie)  DONTDONTDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONT DON’T shoot birds  ONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONTDONTD for they can see inside your soul TDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONT  DON’T eat meat   DONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDO  you don’t know where it’s been DONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDO (It was once a shitting, puking, fucking animal like you)  DONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTD  DON’T kiss me  DONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONT for I might cry and you won’t like that  NTDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTD  DON’T hold me  DONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTD because I’ll shiver and shake and not in a good way DONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONT DON’T ONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDON  JUST DON’T  DONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDO DO NOT DONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDON  DONOT DONOT DONOT  DONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDO DONOD DONUT DONUTHIN DONENOT NOTDONE NOT DO NOT DO NTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONT   NOT DO OUTDONE ONTO   NTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONTDONTDO  DONOTDONOTDONOTDO DONTDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONT   DOT DOT DOT…  DONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT




JP Seabright is a queer writer living in London. Their debut poetry pamphlet, Fragments from Before the Fall: An Anthology in Post-Anthropocene Poetry is published by Beir Bua Press. Their debut prose chapbook NO HOLDS BARRED is out early 2022 from Lupercalia Press, as is GenderFux, a collaborative poetry pamphlet, with Nine Pens Press. More info at https://jpseabright.com and via Twitter @errormessage. 

DON’T

Two Poems, Ginna Wilkerson

Light/Woman


Hint of a Metropolis dweller, light-pole-tip woman,
slate grey in the late afternoon.

In the night her face shines, 
framed by smooth metal tresses.

Nobody knows her, no body supports her – 
slim metal figure, sidewalk to sky.

Deep-cast sun of winter yellow is steam from a building basement -
backdrop for her passive face.

Sturdy glass to withstand wind, hair/hood for shelter,
otherwise nakedly exposed.

Veiled without veil now, and then,
loneliness seeping into the concrete.

Only-imagined view brightens the light, sometimes -
her eyes see the dark and the glow.




Torn: a photograph

Your accusatory wedding gown lurks in my closet
calling up my loser’s excuses, my shadow justification
for the death of it all.         Our last time 

together my accidental striped shirt
accused you in turn, volleying back my pain when
the final chance was jaggedly torn apart.

Your abandoned image in a photograph, held 
in a trembling hand, seen with vacant eyes,
reaching back for an autographed memory…

Are you offering someone new your grudging affection?
Or did you lose your feminine path like a child’s lunch
left on the bus?    




Ginna Wilkerson has a Ph.D. in English from the University of Aberdeen. She has published two poetry collections and a YA novel, recently exploring visual art as an extension of the same creative process.

Mother, May I?, Leila Tualla

Her insult sat on her tongue, before it spewed its venom 

unto my skin. Her vile words latched on, burrowing its way inside me,

and acting as a cancer; turning perfectly healthy pieces of me into 

fading embers of a person. I found solace

in pages of books, along the cracks of dusty baseboards, and 

hiding in darkened closets. Anywhere I could find to be

as small as I could, and breathe

as little as possible, and be

invisible in this house.

Her hatred of me, about me clinging to me like skin 

and would manifest from time to time; pinpricks of worthlessness and

waves of nauseated panic rendering me scared and 

needing to hide.


Now I’m standing and staring at this dilapidated structure of

a home where my heart never did quite belong. I thought

I’d be able to bury these memories along with her. But my scars 

were grown from insults, and nightmares had built my foundation.



Leila Tualla is a Filipino-American poet and author. Leila’s books include a YA contemporary romance called Letters to Lenora and a memoir/poetry collection called Storm of Hope: God, Preeclampsia, Depression and me. Her poetry is featured in several mental health anthologies and she is currently working on a poetry collection based on Asian American stereotypes and identifies.

Selected Works, Lauren Tivey

Removing the Father

This rogue vein, an unwanted genetic hand-me-down
from him. I remember his lumpy, squat legs, blue 
snails bulging and curling, their meandering paths
across his skin; a horrible yet fascinating map.

In the ‘80s, he had them painfully stripped, with long
recovery time, but that treatment—my doctor calls it
barbaric—has advanced. My own unruly varicose vein, 
never allowed to degenerate to the same point, is being

plucked out of me, phlebologist with surgical crochet-hook,
inching down my numbed and perforated calf. I ask to see
the pieces, which are white, stringy as the bands 
that marble a wedge of steak. With each snip comes

relief, as the doctor rips defective bloodlines out.
My body, a warehouse: anger in the muscles, grief
in the deep fat, memories stewing in subcutaneous layers,
sometimes dull and vague, sometimes raw and searing, 

contaminating blood, strangling flow. What did my father
do, or not do?  Does it matter? A child knows love, or
its absence. The vein, with its swell, its itch, its burn,
is the last thing connecting us, and I want it

dead. After the throbbing, irritation, and left-over
tenderness of the procedure come the sobs, hot
and surging, as I release him. Up and down my leg,
the tiny scattered scars, like blossoms along a rocky trail.




Story of Ink

i.
At 16 I am a cliché butterfly. The artist is fresh out of prison, and we meet in a dimly lit basement, as a party roars above, on a dark New Hampshire winter evening. He is moon-faced, ignorant, and untalented. The tattoo: half-dollar sized, crooked placement, wobbly lines on my right bicep. I am surprised by how much it does not hurt. I hide it from my mother for months, hide it from myself, until summer blooms a metamorphosis. 

ii.
Later, the faded smudge. I walk into a tattoo shop, looking for a wolf, and find him. The artist is a few years older, with a sticker on the shade of his gooseneck lamp: Scum always rises to the top. He wears ripped jeans, motorcycle boots, leather vest with colorful biker insignia. My butterfly is transformed into a wolf howling at the moon. I sleep with the artist, a one-time thing, after he designs a chapbook of poems for me—cover, artwork on individual poems—one a vintage heart and dagger, with dripping blood. 

iii.
My roommate’s insane, criminal boyfriend, also fresh out of prison, but talented with the gun—sitting at the kitchen table, he applies a dreamcatcher around the wolf and moon. We drink beer and smoke joints, Led Zeppelin reverberating from giant stereo speakers; a good time, which no one has anymore. The art now stretches from shoulder to elbow, and I love it. 

iv.
The faded wolf and moon now upgraded to a large wolf’s head, staring straight on, filling the parameters of the dreamcatcher shield, by a no-nonsense professional artist, in a bright, antiseptic studio. Other details—feathers, beads—are sharpened, highlighted, some shading added. It is only a business transaction between us. After, edges peek out of my dressy blouse at work, as I type up real estate documents. 

v.
Post-divorce, I march into a shop and ask for a Jolly Roger, a skull with crossed swords, on the back of my neck. The artist wants to know, Why something so masculine? I tell him this is my rogue fury, a warning to those who would wound me. He understands, and we chat about failed relationships over the sounds of The Cramps, The Misfits, The Ramones. I am strong and fit now, prepared for trouble.

vi.
A decade passes. In Kathmandu, Nepal, I ask the young man, Kisi, an award winning artist, to add classic red roses and leaves around the neck. Have I softened? No. If anything, I am more hardened than ever. It has taken a long time to get here.


vii.
Two sparrows with swirling wings, applied with care, one on each shoulder, facing each other, by the gifted Jessica. She understands the searing grief of SIDS, and works with a gentle touch, soothing presence, as I weep freely. The birds: flights of angels, after the death of my granddaughter. One day, I will fly to her, but now is not that time.

viii.
Chiang Mai, on a sweltering evening, as the chanting of monks in the temple next to the shop waft in the window on a cloud of incense. Thai bamboo—the solemn artist meditatively dots two military stars, one to each shoulder front. I am doing this for the symmetry, balance, and nothing more. At least, that’s what I believe. The sharp stick tap-taps in, over and over, unrelenting, unforgiving, but I know how to tolerate such things.

ix.
Back in Kathmandu, a grueling, seven hour sitting for the left arm, a bust of Green Tara, beloved bodhisattva, my patroness. Kisi etches her serene green countenance, jeweled crown, elongated earlobes and golden hoops, mudra clasping lotus blossom—flowers, so many flowers—and flames for good measure. Around hour five, my arm swells to the size of my calf, but I tell him to go on, finish it, we must not stop. Om tare tuttare ture soha, Tara’s mantra echoes, swirling through the air of the shop, as Kisi wipes blood and excess ink from my bloated red arm. Compassionate one of action, liberator of human misery, I pray, Green Tara, free us all.




When You See It

A dead cat in the street, flies feasting, early morning sun a horrifying illuminant. And last night, the rich bitching about the help, these Eurotrash trust fund kids at the overpriced rooftop terrace bar. The dichotomy always slays me. A blind man, palm outstretched, squatting against the mosque, while the tourists pour past, guilt-ridden behind designer sunglasses—and it’s true—if you don’t see him, he doesn’t exist. I always look. Coins if had. The press of privileged flesh, the cold metal into the claw. In the main square, an attractive young man advertising himself: Life Companion. Oh, downtrodden of the world, I write of you. In the brief flash of existence, I pray, and I press the coin, as the private yachts sail by. 





The Belly Dancer

I’d never seen a man move his body
                         like that, and I was grateful 
                                        for the darkened theater

as I felt heat rise, flushing
                         my face, while he undulated
                                        over the polished floor

surrounded by a shimmying
                         coterie of veiled women,
                                        hips tracing figure 8s

in the humid summer evening
                         of Istanbul. Mythical, god-like,
                                        he twisted his pelvis into my

memory, to the rhythm
                         of the tabla, light silk
                                        of his harem pants 

clinging to his form
                         a trace of hair
                                        sloping down his abdomen

under his waistband.
                         And his torso,
                                        his perfect torso

glistening under stage lights,
                         his long black hair plastered
                                        to the fine sheen of sweat

coating his sculpted shoulders.
                         As the throbbing
                                        of music and pounding

of feet reached a crescendo
                         he threw his head back,
                                        emitting a yelp of ecstasy

his loins quaking, coins
                         of his hip scarf 
                                        rattling

—and he was art—
                         Berninian, Rodinesque, 
                                        a statue come to life, and he

knew it, offered himself for our pleasure
                         and we, rapt audience, tremored in our seats,
                                        idolatrous at the altar of the orgasmic.




A Melancholy Café

Pick a city—Istanbul, London, Buenos Aires—and find the café along a cobbled side street where, sitting inside during the deepening evening and looking out, you may feel you’re in Paris, circa 1927. Something to do with an arched window, a stone casement, a sweep of burgundy velvet. Perhaps there’s a framed sepia photo, a red rose, a stack of tattered books. Jazz will be essential, and you must be wearing a soft scarf, while drinking coffee or tea from a vintage cup, which offers a graceful clink against a saucer. There should be a lover sitting across from you in the glow of a candle, and a man in a hat should ride by on a bicycle, preferably with a basket of bread. The other patrons must not sit too close, and the staff should not approach too often. You’ll need to be an artist of some sort, to have read Baudelaire or Rimbaud. And if your life has been full of misery, which I’m betting it has, it helps if you can remember with wistful detachment. Stay there, lost and found in reflection, with your understanding lover until closing time. Quietly, say merci. Go on, now, you’ve everything you need to endure this world.



Lauren Tivey is the author of four chapbooks, most recently Moroccan Holiday, which was the winner of The Poetry Box Chapbook Prize 2019. Other titles are The Breakdown Atlas & Other Poems, Her Blood Runs through Me, and Dance of the Fire Horse. Tivey is a Pushcart Prize and Best of the Net nominee; her work has appeared in South Florida Poetry Journal, Saw Palm, Connotation Press, and Split Lip Magazine, among dozens of other publications in the U.S. and U.K. She lives in St. Augustine, Florida, where she teaches English and Creative Writing at Flagler College.  

SHORTCUTS TO LIMBO, Martin Payette

 

1.

At least our darkness can’t reach the sky.


2.

Everything is so transient that even this sentence cannot be fixed.


3.

Too much food on my plate, and still starving for beauty.


4.

Conceiving emptiness is possible when you read this.


5.

The dream is over, but his mirage still remains.


6.

So close to death and still looking for entertainment.


7.

The end is near but there’s still some time left before the very end.


8.

Your abyss deserves kindness, too.


9.

You cannot have a grip on emptiness.


10.

Being nothing is not easy, it needs practice.


11.

No beauty can pretend witchcraft forever.


12.

Death always got an edge when I come.


13.

Look at the mirror and see : you don’t know who your dealing with.


14.

Reproach to myself, reproach to others : waters from the same dwell.


15.

A doctor can only heal, but a writer is also authorized to wound.


16.

Thoreau accidentally started a forest fire a year before writing Walden. Nowadays, a lot of dropouts need to take the plane to flee civilization.


17.

Oil is the sperm of our transport.


18.

Hate is passed from parent to child. 


Indifference can be transmitted by anybody.


19.

Her beautiful face disfigured by capitalism.


20.

Their lips were swollen with money, but the rest of their face was disfigured by capitalism.




Martin Payette is a Lofi musician and poet. He lives in Montreal and knows a lot about wandering 
in his city, or in foreign countries. He has published one book of poetry in French and now shifting focus to beginning a Lofi music channel on YouTube.

Silent Danger, Amy Bassin & Mark Blickley

 

Image by Amy Bassin



It was starting again.  His father slammed the bedroom door so hard Nicholas could feel the vibrations travelling down the hallway, searching for him. He jumped off the kitchen chair.

            Nicholas knew those vibrations. Like lightning, they were attracted to metal and it didn’t take a genius to know that the new kitchen set his mother recently bought had chairs with aluminum legs.

            After the vibrations wobbled the chair, the yelling began. His mother Lucille, and his father Charlie, were now locked in their bedroom.

            Nicholas liked living in the city but when the yelling started, he always wished he was living in the country.  It wasn’t the trees or grass or fresh air Nicholas longed for, it was a house. A big house far enough away from his neighbors so his parents’ yelling couldn’t be heard. Everyone in the building could hear their screaming and the next day at school Nicholas would be teased about it.

            No one called Nicholas by his given name, not even his parents. His father was always asking, “Hey, Nick, how’s it going?”  Nicholas would answer, “Things are going swell and my name’s Nicholas, not Nick.”  That’s when his mother would laugh and say, “Lighten up, Nicky.”

            The first time Nicholas realized he hated the name Nick was one morning at the breakfast table.  Nicholas was busy scooping out raisins with his spoon when his father burst into the kitchen.  He had his hand on his throat and blood was seeping through his fingers.

            Lucille jumped up from the table.  “My God, Charlie, what did you do to yourself?”

            “I didn’t do anything!  It’s these cheap razors you buy.  Even when I use a fresh blade, I nick myself.”  Charlie pulled his hand away so his wife and son could admire his wound.  The sight was so ugly that Nicholas’ cereal stopped tasting sweet, so he pushed it aside.

            “If you stop buying such expensive liquor, I might be able to spend more on razor blades!” shouted Lucille.

            “Since when have you complained about the quality of booze I bring into this apartment?” Charlie shouted back.

            “Since it’s given you the shakes so bad in the morning you cut your own throat!”

            “Ha!  You’re the cut throat in this house!” snapped Charlie.

            “How dare you say that to me, especially in front of Nicky!” cried Lucille. But she need not have worried.  Nicholas was already running down the apartment stairs, heading for school.

            As much as Nicholas disliked the name Nick, he hated Nicky even more.  It rhymed with sticky, tricky, sicky and much worse.  More than once he was the subject of some other hot-shot fifth grader’s rap song.   

Hey you little dicky Nicky,

Clean that fat ass so sticky

But it might be a little bit tricky

So buy a dog to quicky licky

You into not smelling so icky

But be careful its teeth don’t give you a hickey

No, you could keep Nick and Nicky, but Nicholas he liked.  It had dignity.  It was a name long enough that people had to make an effort to say it.

            Nicholas tip-toed down the hallway as he made his way to his room.  He didn’t want his parents to hear him.  Despite all the loud arguing coming from their bedroom, he still had to be careful if he didn’t want to be detected.  That’s because a strange thing happened whenever they started their shouting matches.  Whoever was doing the screaming had the other’s complete attention.  The two voices never overlapped, never collided.  When one parent stopped yelling there’d always be a slight pause before the other parent started in again.

            It was these pauses that were dangerous.  As soon as they were aware of their son’s presence, they’d stop yelling long enough to ask Nicholas to judge which one of them was in the right.  No matter what Nicholas said it always made things worse.

            One night at the dinner table he asked his parents about their fighting style.  “Mom, Dad, how come when you fight you never scream at the same time?”

            His father straightened up in his chair.  “It’s because we’re civilized people, Nick.”

            His mother placed her spoon by her dish.  “And we respect each other, Nicky. Your father and I respect what the other has to say, so we listen.”

            “Oh,” said Nicholas as he dipped his spoon into a cup of chocolate pudding.




New York interdisciplinary artist Amy Bassin and writer Mark Blickley work together on text-based art collaborations and experimental videos. Their work has appeared in many national and international publications as well as two books, Weathered Reports: Trump Surrogate Quotes from the Underground (Moria Books, Chicago) and Dream Streams (Clare Songbird Publishing House, New York). Their videos, Speaking In Bootongue and Widow’s Peek: The Kiss of Death represented the United States in the 2020 year-long world tour of Time Is Love: Universal Feelings: Myths & Conjunctions, organized by the esteemed African curator, Kisito Assangni.