Saturday, April 1, 2023

Three Poems, Edward Tedrow

 
Open this poem 
 
From the piece of my brain  
that thinks elsewhere I want 
to flick open this poem 
like a Zippo and light 
a fire on your arm hair, 
the impetus to jump out 
of the box you confine 
your noggin in.  I want  
to flip open this poem 
to reveal the inner intentions 
the true guts of it.  I want to scatter  
the words like a deck of cards,  
a puerile shuffle, and see down  
past them the depth of which 
I am currently unaware.  I  
want to dissolve   
this poem to reveal a  
single poetic atomic 
itching awe in my mind. 





Black Spot 
 
Sitting on my sofa, something  
catches my attention 
in my peripheral. 
There is a black spot on my ceiling. 
Its shape is unclear from this distance. 
I think I have not seen it before 
but I may have seen it  
everyday, an irregular in the drywall, 
and return to reading my magazine. 
After some time I look at the spot again. 
It seems closer to me.  
It is closer to me. 
It’s a bug.   
There’s a damn bug  
in my house.   
Bastard! 
It moves toward me  
when I am not watching 
and stays still 
when I stare. 
Like death. 
Dark. 
Creeping.   
Motionless.  
Everyday. 
Every single day. 
Each time I glance up  
I hope to see it retreating 
having found nothing to  
feed on. It must have found 
something to feed on. 
I look again minutes later 
and it is closer still, 
of course. 
Soon it will be overhead, 
of course. 
Soon it will fall in my lap 
and I will cuss jump and jerk  
like I didn’t know  
it was going to happen. 





The Smell of Honey      
 
Some say my dog loves me.  Honey seems happy  
to see me but I see her as more needy than loving.   
Every day she roams the manicured back yard  
and eats dog food that I buy at a grocery.   
While her snacks vary a little the same dog food  
is out for her every day.   As she lies down she listens 
  
and wonders when again she will be petted or fed.   
When I lean down to touch  
my forehead to hers  
I smell the matted hair of 
an ancient wolf hungry, chasing  
a meal on a clumpy prairie  
 
panting panting  
missing and missing.   
On another chase  
and missing again.   
Catching the next one  
on the fuel of desperation.   
 
I smell the tearing  
of flesh and the yanking  
of meat that does not  
want to leave the bone.   
I smell the luxury of blood  
all over the sated wolf’s snout and paws.   
 
I owe it to Honey to pull  
on a rope with her.  When I lean down  
to touch my forehead to hers,  
Honey smells a man  
bewildered in a supermarket  
wondering if he’s lived his life right. 





Edward Tedrow lives in Slidell, Louisiana with his wife. 

NHC III,2; IV,2, Irene Koronas

 

1

90 percent in colop dex 3,
a protennoia in the ophite
version. 5 or at least 7

pentads doke the authentic 
flex. When segmen
hose the dentalize

and ghost the first
clinamen 
the first cog

the second tity
will alcove 55 ping pong 
tesseras.

A slant intrution
for a moment
filters notspars

inguges 
to perspective

an introx moot, 
oxic shutty 

that meta lorri
tarns the diagram

from pockanch 
the repro 



2

Dereading
discuts

and edits desponse 
to what is 177-78

derepeat 398
derefer 2 critical 
dequirements
sense or less
precise neodeduce

a statuary dehabit
the suspense trigger

that pronouns 
deincluse



3

This suppose broken
by dectifying
injunc with possible 

dedecessor the dedecessor

each ascend 
the decumference
deremains straight

a clear decupera
and an energy dereserve
from deconversion

the dialectical intricacy
alters a sharp degion 
at this point

degather and deinterpret

each expurg decall
becomes deputation
for expulsion






Irene Koronas is the author of numerous collections of xperimental writing. Her Grammaton Series includes siphonic, Volume VI (BlazeVOX, 2022), lithic cornea, Volume V (BlazeVOX, 2021), holyrit, Volume IV (BlazeVOX, 2019), declivities, Volume III (BlazeVOX, 2018), ninth iota, Volume II (The Knives Forks and Spoons Press, 2018) and Codify, Volume I (Éditions du Cygne, 2017). Her collections include Turtle Grass (Muddy River Books, 2014)  and Pentakomo Cyprus (Červená Press, 2009). Her xperimental writing and sauvage art have been published in Alligatorzine, BlazeVOX, The Boston Globe, Buzdokuz, Cambridge Chronicles, E·ratio, Marsh Hawk Press Review, Offcourse, perspektive, slowforward, Taos Journal of International Poetry & Art and Word For/Word. She is the Publisher of Var(2x). Her website is irenekoronas.com. 

Selected Works, Daniel Y. Harris


2.223 

Zakhor, its symmetrodonta 
(reNgine for recon): this Kol 
Nidre is arkhonic—death 
urge, the archive. 
Crystallō—files:NUM/ringbuffer. 



2.224 

This archenomology—covenant
is struck with Karkinos: otobiograph
for no pasarán, 
hacks a CTF.     


 
2.225 

Shibboleth—a priori: request
a forgery (CSRF) 
attack—Šin.



3.03 

Indifférance in black oilcloth,
sprung from rumor—use
Pwndora, the massive
Ipv4 scanner. 



3.031 

Ǵhutóm in beyng, the pincer 
grip (gobfuscate 
in the SharpChisel):
in Weltjudentum, the hackney,
the cobalt strike aggressor
against the sorites paradox:

unworld. Run TorBot—axis split
the null (exonerator/condemner).
BURNALLs lingual barb (sawol). 



3.032 

The fygure—memoires d’aveugle:
CodExt (encode/decode)—overlap:
CyberChef, Ciphey, Katana,
Basecrack, Sttr. This pelvic
collateral—sauf le nom
neuts pies lesu domine dona eis
requiem. Pistil/stamen by Satanael:
co-ordinata—the radix is negative.
Qeeqbox/socialanalyzer.git.
Coda: apokálupsis/hazon:
j-eden—this traumnabel. 



3.0321 
 
Tzerufei ‘Otiyyot—the syntagm 
divinitatis symbola: (Zbase32, hex,
geohash). Viens, reconnais 
la voix qui frappe ton oreille.
The law’s contra: 
gitcide—baud.



3.04
                 
The testimony 
(naguère)—OffensiveRust,
its haplóos cirques a high
hollow: prijōs. 
Body—gerem. 



3.05 

Dimyon in the exitwunt 
(Šabbat)—its RedGaurd in a C2 
facility preflow. Exploit this hapax
legomenon (VLANPWN):
Āyīn-e Mānī in the epiphysis,
or this adyton, the combrox.



3.1 
 
CRISPR-Cas9 antiviral defense
system or negentropy/syntropy:
SillyRAT—Überlegungen
bust. The despoiler.   







Daniel Y. Harris is an extreme experimentalist. His Posthuman Series includes The Resurrection of Maximillian Pissante, Volume V (BlazeVOX, 2022), The Misprision of Agon Hack, Volume IV (BlazeVOX, 2021), The Reincarnation of Anna Phylactic, Volume III (BlazeVOX, 2019), The Tryst of Thetica Zorg, Volume II, (BlazeVOX, 2018) and The Rapture of Eddy Daemon, Volume I (BlazeVOX, 2016). His extreme experimentalism has been published in Alligatorzine, BlazeVOX, The Denver Quarterly, Dichtung Yammer, E·ratio, European Judaism, Exquisite Corpse, Marsh Hawk Press Review, The New York Quarterly, Notre Dame Review, perspektive, Poetry Salzburg Review and Word For/Word. He is the Publisher of Var(2x). His website is danielyharris.com.

Wednesday, November 2, 2022

Three Poems, Joshua Merchant

Sun Dial

a woman cornered finds a tooth to sink even
if they’ve been whittled down for others’ comfort.

I knew I truly hurt my mother when she held the belt.
I crumbled watching her let loose silent tears in search of comfort. 

praxis creates the muscle for self-care. she wasn’t always 
a cherry stick lit hospital; she sucked her thumb for comfort.

she wasn’t a heavy drinker. Enjoyed a nice wine. a spritzer. 
don’t recall a lot of water bottles. she chewed ice to my discomfort.

we were all as sensitive as my teeth. three cancers in one house.
the other? two and the reason I see geminis and seek comfort 

because we all get a bad wrap eventually, I try to show my true 
nature first. don’t ask about my bite if you want comfort 

ask Her. see if the wind howls a cheat-code for my nerves. she 
gives what I try to- patience for your comfort.

if I show you my browser history, the amount of receipts tethered 
to the corner down the street, will you show me your comfort?

maybe I’ll learn something. give me an interview to try, an error
bottled, a carrier blood vessel sifting through clouds to your comfort.

if not off; if not away- the ledge as fashion statement. ignore 
the spaces seen through me. all my greats have this comfort. 

the bruise we joke about being invisible; the many ways we learn
to clean a cut: I lay by the pool sweating in discomfort





The Headless Horsewoman

in another poem from another
world ago I mention 
an axe in my face. 

I never told you about the hands that threw it
there. funny story, a woman with a raincloud 
for a head actually believed her mother

when she was told I was a dirty 
motherboard. when I survived her 
I asked of what another bark-toned

nose like mine did to hers. 
her head dispersed. I don’t know if 
my eyes melted but I could feel my face 
painting my toes red. told my momma;

she said my mouth was closed and sent 
me back to her- I asked the headless woman 
what happened. she said I blew on her 

too hard and wielded her sword. 
I would’ve popped her but there was nothing 
there. I had no weapon, no tools 
from another poem with an axe in my face





Pack A Day

She sits on the patio holding a dollar’s worth of life.
or maybe tapping the opposite; the cool breeze 
meant to air out the house splitting the smoke 
between grass and couch is more honest. If I 
asked for a list of names leaving her face drifting 
in furrows she’d giggle. somewhere an ungrateful 
farmer became a tool rusting in the rain. Gods laugh
at those who think themselves lightning; caress 
the scorched earth with two fingers knowing 
somewhere the soil is still good. 

the scorched earth caresses Her with two fingers; still, 
the soil is good. She is held on the patio. sitting. a dollar’s 
worth of life. or maybe believes god is laughing at Her 
lightning. the cool breeze slamming the door 
between the living room and outside is just as honest. 
being outside reminds her She’s free to cry but a halt 
cannot exist where rust will take its place in the rain. 
when I asked for the location of hands to be crafted 
into good luck charms she giggled.

I’d drape the living room with the hands of bill 
collectors like christmas lights just to hear more giggles. 
next, the palms promised as thrones - two fingers 
snipped; shoved into the scorched earth - She’ll caress 
during the rebirth of the good / die wicked. the wild die quiet. 
the scorned and depleted are born outside waiting for rain. 
She is a patio holding a dollar for safe keeping for life. 
at least natural disasters are honest. torches have 
no reason to complain to lightning. 

ever ask a fool the difference between a solar beam 
and a strike of lightning? She asked me this; nervously I giggled. 
one has already lived fully, the other, spur of the moment; both 
are honest. one’s impact is based solely of that, a force, the other’s 
not seen as bad or good. just a necessary experience, a part of life. 
I guess both are, huh. you smell that? finally, rain.

somewhere an ungrateful farmer is putting a rabbit’s foot to shame - 
his hand dangling around my neck as I play in the rain. my mother 
sits on the patio waiting for a second strike of lightning. She is a god. 
a majician. almost feral; testing one of her theories about life. 
when she finished her cigarette and nothing happened 
she giggled. I ran to the patio excited, how’d I do? my first 
attempt at flying. you did good. even when she lied, he was honest. 

in her eyes I won’t always be honest. I don’t think she minded 
if it meant I wouldn’t have to be a souvenir in the rain, 
or dead to be good, passionate without the lightning. 
to be - to be the face - to be in the face of fire 
and softly giggle. to be - to be in the eye 
of any storm and still in awe of life. 

the cool breeze slamming the door between the living 
room and the child who smells like outside is just as honest 
as them laughing like a god discovering lightning.

being outside reminds them they’re free to be dirty 
and laugh about it in the rain. they tell their mother 
they already showered. she giggles.

the child soaking the carpet doesn’t make 
them good or bad. it makes them young. 
She remembers that life.





Joshua Merchant is a native of East Oakland exploring what it means to be human as an intersectional being. They've had the honor to witness their work being published in 580Split, Eleven Eleven, and The Rootwork Journal.

Shampoo, Laura Stamps

Turn, turn, turn. In this dog magazine. To the next page. An article. How to give a dog a bath. It’s about that. But this. This I wonder. Bathing a dog. Is it like giving a cat a bath? Or trying to. I mean, let’s face it. Trying is all you can do. With a cat. Just ask Paula. My best friend. Last year we gave her cat a bath. In the kitchen sink. A blood bath. That’s what it was. For her. For me. But not for her cat. Never her cat. That crazy boy! Although, he was hyperventilating. He was. I swear. By the time we finished. He was. But dogs. They love water, don’t they? If I had a dog. (Okay. I don’t. But maybe. One day. Maybe. I might. Possibly.) I’d give him a bath. Every month. I would. Just like this article says. Plus, there’s dog shampoo. And so many kinds to choose from. Lavender and mint. Oatmeal for sensitive skin. Deshedding shampoo. (Really?) Whitening shampoo for white dogs. (What? What?) Probiotic shampoo for dogs with hot spots. (Are you kidding me?) Green tea. Bergamot. Honeysuckle. Shampoo, shampoo. It can change your life. It can. Seriously. This. This I know. Because, because. On that day. Years ago. When I arrived in Wilmington. All I had was my purse. And my car. That’s it. No clothes. No luggage. Nothing. But when you escape. You grab what you can and run. That’s what you do. And I did. But in Wilmington. I stopped. For necessities. You know. Toothbrush, toothpaste, soap, comb, shampoo, makeup. That stuff. And there she was. A woman. At Walgreens. In the shampoo aisle. Talking on her cell phone. Placing an ad in the local paper. A furnished apartment. Hers. For rent. It sounded nice. Really nice. So I grabbed the shampoo. And turned toward her. “I’m interested,” I said. That apartment. Saw it. Loved it. Still love it. Still live there. Ten years later. And I’d do it again. Leave my ex. That is. Start over. With just the clothes on my back. And no shampoo. I would. Again. In a heartbeat. 





Laura Stamps loves to play with words and create experimental forms for her fiction and prose poetry. Author of 43 novels, novellas, short story collections, and poetry books. Most recently: CAT MANIA (Alien Buddha Press 2021), DOG DAZED (Kittyfeather Press 2022), and THE GOOD DOG (Prolific Pulse Press 2023). Winner of the Muses Prize. Recipient of a Pulitzer Prize nomination and 7 Pushcart Prize nominations.  

Murder Or This, Kristin Garth

after Lori Vallow, “The Doomsday Mother” and “Twilight” 

Explain to a bishop it will be murder 
or this — divine rites of the temple (not 
teen vampiric kiss scribed by girl latter 
day saint, a hundred million or so bought,
alternate scripture, eternal bodies 
perfected by blood a bikinied 
martyr imbibes with pressure-canned purple hull peas 
from your year’s supply.   Any female you heed 
you learn by eight to deny like all the rot 
and dark thoughts behind a cheerleader smile,
the incest you fought, acquiesced and then sought 
to fashion an executioner you have beguiled. 
Deem you immortal. the temple spirits,
and no one believes you would murder for this.)





Kristin Garth is a womanchildish Pushcart, Rhysling nominated sonneteer and a Best of the Net 2020 finalist, the author of THE MEADOW (a novel from Alien Buddha Press, October 2022) and 26 more books of poetry and prose.  She is editor of eight literary anthologies. 

Four Poems, Sneha Mohidekar

 seal-skin

skin in/side means
viscera/l lee-side protects
interstitials buttoned/interstitial
buttons protect
the biting wind/she
eats/the skin off her lips
eats her lips eats her skin
enamel enables
whispering/requires the means
to close your mouth





cut fruit

she douses her hands in orange juice
pretends it’s blood
pretends to have slayed a giant, harvested its heart
pretends the empty chambers are whisper galleries
pretends to hear secrets, technically articulated
pretends they’ll slip on a technicality
pretends that was the question

she sucks blood off her teeth
pretends it’s orange juice
or, doesn’t pretend—
preens





end of the world as we knew it 

the fish are tilting at windmills
the pigs have bulked up and backwards and sprouted feathers
like a dinosaur, or a chicken
we stay inside and watch
and try to keep our siblings from escaping out the bathroom window
to tilt their heads back and stick their tongues out and close their eyes
trying to catch scraps of sky
falling as brown-bottle sea-glass

the atmosphere is fracturing along ley lines and 
we were wrong about them
(their placement not
their existence)

all the perforations in the earth
(oil wells, water wells, well, well, well)
are singing best of the 2000s
I can hear you harmonizing

one of your sisters asks if we can go get milkshakes
my brother asks if he can drive
he isn't licensed, though, I remind him
and he laughs so hard I think he's folded his lungs into origami shapes
shooting star, airplane, butterfly

when we leave the drive-thru, I have a foot out the window
and one and a half fingers on the steering wheel—
my body has become liminal
you have an arm and half your torso out the window
reaching to pet the wind's soundwaves
you raise your whole chest to ask me
voice curling gentle between the cupholders and the gearshift
will it hurt
I pretend not to hear over the sound of the smog ripping into composite parts 
you don’t ask again
our siblings are in the back
they're so big
expanding into the space and then expanding it
they're making shapes out of the clouds
and dripping hamburger juice onto my seats





in/set

the cartographer draws
fractals and eats them
the wind brings her erosion
the cartographer carves her face
of the cliff with her maps of the cliff
hangs reality on record
there is salt in the water
and in the wind and in the way
displacement is a vector and
is loadbearing caves walled in water
carry the cliff





Sneha Mohidekar (she/her) reads poetry theory and queer space operas on the train. Her work can be found in The Indianapolis Review and Ghost City Review.