Jeni De La O

2.0

He was so happy,
that day. Came home with a big box,
“Its name is Dorian! How clever is that?” he said.
I remember feeling
amused, and warm that he knew the story,
—should have wondered         how much
he remembered
it would take
instead, I laughed—set it up!
This will be good for him, I prayed,
not that he wasn’t okay—but we are all
striving for
a better tomorrow starts today flashed on the display.
 
Dorian, silver sphere, sat expectantly
while my husband read careful directions
when to recharge
how to connect,
Wi-Fi integration, voice recognition—
gave it his name 
and life:
allow access, allow access, allow access
always listening,                 plotting
data points to              
“A better you in 30 seconds,”
that’s the promise.
“Touch Dorian here, and let it swallow your anxieties whole!”

All the
is this email too direct / is my hair thinning / everybody hates me / my pants are too tight / my skin is so dull / am i too old for this / do i belong here / will they know i’m a fraud / i am such a burden / why am i this way / will my children’s children be indentured to FedLoan too / is the sun going to explode / is this job going to last / will i have enough / what is enough / i am not enough / i’m almost thirty what have i done / can we afford a house--
Gone.

And to every “I am failing, I am
failing—” Dorian says: 
you are only tricking yourself into failing.
 
At first, things were great: my husband
out of bed at six am to make me coffee was
delightful and 
Dorian glowing in the corner, 
a minor dread,
was easily swept under the rush of our days.
 
He was faster and lovelier and 
out of his own way, he is out of his own way!
I really did start to think that.
 
I watched my love loop himself into a bow
and a lasso and a tightrope
across which deals inched forward.
He, a lifeline to (me)
drowning in an ocean of 
—you should try it, he said.
No,
 
I’ll leave my body to the rot and the chemists.
The broken cupboard of my neurology holds
its chipped mugs well enough,
synapses rattling and hormones coursing as they do;
but dammit if a little part of me didn’t love
the newly balanced, agile and relentlessly focused man
in bed with me,
at the store with me,
present with me,
so with me that  I didn’t even notice the first 
shots fired.
Who would notice anything 
with an empty laundry hamper and
an oven full of warm bread?
his canceled dentist’s appointment
a fluke.
because I don’t review my credit card statements
or listen to my voicemails,
I missed the early signs of      
system overload:
business dinner vanished from his calendar,
odd.
Once I had said to him,
“Honey, what does Dorian do
with all the bad things he takes away from you?”
And we tumbled into a discussion
of what constitutes badness and relativity and
whether or not fairness should enter the argument
where artificial intelligence is involved.
 
This isn’t terminator, he’d grinned as we fell
into bed and Dorian glowed in the corner, ominous.
But the kissing was so good I forgot to say
all those bad things have to go somewhere.
I forgot to tell him about Octavia Butler’s organism ship and how
what we bury has consequences.
 
our private pictures texted to his mother,
alarming.
       
Where do all the bad things go?
Into the cloud, into the cloud.
 
A month later when my happy, soaring
Icarus crashed home from work 
with a box full of all his things, we were too late.
            
Every draft email in his draft folder:
SENT.
 
He      snapped.
A gladiator in cargos, wielding my meat tenderizer.
 
“This isn’t terminator!” I shouted as 
pieces of Dorian splintered and ricocheted
off our freshly painted walls.
I watched my husband swing and smash
until my protestations crumbled and
were swept into the dustpan.
 
He packed up all the shards of it,
every scrap of steel, and shipped them back to Boston
with a note:
This may not be terminator, but this machine has to be stopped. My wife always says we can’t will our emotions away, we have to deal with them, they have to go somewhere. Perhaps I should thank Dorian for putting me through hell because I see now, she’s right. If you have any sense, you’ll scrap this project.
-I.
It was over.
 
Like taking your shoes off after a long, long flight:
little by little the dents disappeared and we
eased back into our inferior selves,
pettiness and procrastination spread like 
salve over our mechanical gouges. 
 
And just when the laundry bin was piled
high enough to feel normal again, 
another box arrived. 
 
The note read,

Dear I.Thank you for your feedback. Other Beta testers experienced similar interface malfunctions with Dorian 1.0we’ve worked all that out now. Instead of uploading to the cloud, Dorian 2.0 captures all that toxicity in a 3D printed cube. Care to give it a whirl?


Jeni De La O is an Afro-Cuban poet and storyteller living in Detroit. Her work has appeared in ObsidianTinderboxGlass PoetryRattle and others. Jeni edits poetry for Kissing Dynamite Poetry and organizes Poems in the Park, an acoustic reading series based in Detroit.

Carlie Blume

Little Tart

On my tenth birthday my mother invites our whole family over to dinner. Grandmother, Aunts, Uncles, Cousins, all bring bon-bon colored gifts that look like treats I ache to devour. 

Before we eat, the kids play freeze tag out front. We ignore the carpet of pine needles that bites at our heels.  

After dinner we do cake, open presents. I unwrap the soundtrack toAladdin, Lisa Frank stickers, colored pencils for school. I squeal while opening a Western Stampin’ Barbie, marvel at her turquoise ten-gallon hat and jacket, finger silver fringe on sleeves, boots that stamp tiny trails made from B’s. 

While my mother cleans up, my cousins and I head to my room where we plan a performance for the adults, a ritual we conjure every time family gets together. I grab my new cassette; press fast-forward a dozen times. 

Click stop at the right spot.

We delegate roles, practice moves, pull outfits from squeaking drawers, my cousins wrap their heads in towel turbans, I choose the red camisole and underwear set I got for Christmas. In a troop we march downstairs, declare that the show will soon begin, take our places, cassette set up, towel draped around my middle awaiting reveal. 

Music slinks from plastic speakers, rising like white smoke into the air. Warm adult smiles nourish small egos while cymbals pave melodic roads. 

I wait for vocals to trill, for song’s climbing crest to release, for words that claim Arabian Nights, are like Arabian days. On cue, I release my grip, grind hips to loping beat, fuzzy legs against tepid air, channeling that particular brand of Disney sex. 

I let my camisole’s thin straps fall softly like first snow. When the song ends my mother’s face fades to frown, the others shift, turn quiet eyes toward the ground. 

I pick up my discarded towel, avoid disapproving eyes until breakfast the next day,

when my step father brings up my little dance, calls me a little tart

Then he laughs.


Carlie Blume is a Vancouver born writer of poetry and fiction. Her work has appeared in The Maynard: a poetry journal, LooseLips Magazine, BAD DOG Review, Pulp Mag, and Guest poetry journal. She is currently working on a novel. You can find her on Twitter @carlie_blume

William Bortz

SURFACE OF THE SUN

I have been to Arizona— 

listened to people geniusly relate the state to the surface of the sun

the ways we reconcile our suffering

little to no laughter

—red everything

brutal stardust

so unlivable, yet its population blooms each year

in line for therapy

—hello grief

I forgot to grab a number

when I did—129,784

yes, my mother used pills

no, in the livingroom

clear blue & stale air

not a cloud in the sky of her eyes

—10, I remember the bus ride home from school that day

it was late August

my new sneakers are covered in a thin layer of brown film

beams of thick dust and Midwest light poured through the window pane

the place was so unlivable

surface of the sun


William Bortz (he/him) is a husband, poet, and food editor living in Des Moines, IA. His work appears or is forthcoming in Okay Donkey, Oxidant Engine, Empty Mirror, honey & lime, Turnpike Magazine, Back Patio Press, and others. He shamelessly still listens to Meteora.

Todd Copeland

Something Triumphal and Everlasting

Like the sweeping melody
of “Hark! the Herald Angels Sing”
but times eleventy million.
 
Or like when we saw Nirvana
play the 40 Watt
in that transfiguring fall of 1991.
 
Remember?
After ending their set with “Aneurysm,”
totally hammered,
they destroyed their gear
amid a chaos of distortion
that felt, in the moment,
never-ending and inescapable.


Todd Copeland’s poems have appeared in The JournalHigh Plains Literary ReviewSouthern Poetry Review, The Wallace Stevens JournalValparaiso Poetry ReviewSewanee Theological Review, The Antigonish Review, and Columbia Poetry Review, among other publications. He lives in Waco, Texas.

Pamilerin Jacob

What an Inspiration—the Moon!

I am in the business of interrogating 
Light. The moon has inspired
more suicides than poems.
I say this because before
my first attempt I sought first
its permission. My methods are
safe. A quick knick on the surface
& I am emptied, chaste in my rendering. 
 
I want to believe death 
is a painless exercise, like cracking
the knuckles—enjoyable, even.
 
Isn’t this the ruse of all
ages—a thumb thinking itself
flexible, bends backwards
to touch the wrist?


Pamilerin Jacob is a Nigerian poet whose works have appeared in Barren Mag, Agbowo, Poetry Potion, Dwarts Mag & others. He was the second runner-up for Sevhage Poetry Prize 2019. Author of Memoir of Crushed Petals & chapbooks, Gospels of Depression, and Paper Planes in the Rain (Co-authored); he is a staunch believer in the powers of critical thinking, Khalil Gibran’s poetry & chocolate ice-cream. Reach him on Twitter @pamilerinjacob.

Razielle Aigen

dream borderlands

I am not your Iphigenia
oh father, you
 
who are not here anymore 
to dispense judgement
 
disapproval or blessing
willy nilly like the wind when she wildly interferes 
 
taking with her what she whirlingly wills, unhinging 
doors right from their frames
 
carrying off to oblivion anything 
not sufficiently tied down —
 
she shows no mercy.
dear you, father 
 
I am not a sonnet but you can,
if you must, interpret these dream borderlands
 
in which your future self is watching you in your endless sleep
in which you win your war over the wind
 
at my expense.
the ruins now seem fitting as a starting place.


Razielle Aigen is a Montreal-born writer and artist. She is author of the forthcoming chapbook, Light Waves The Leaves (above/ground press 2020). Her poems appear or are forthcoming in Entropy, Contemporary Verse 2, The Anti-Languorous Project, Deluge, Bad Dog Review, Moonchild Magazine, Dovecote Magazine, Half a Grapefruit, Five:2:One, California Quarterly, and elsewhere. Razielle holds a B.A. in History and Contemporary Studies from Dalhousie/King’s University, and is an alumna of The Writer’s Studio at Simon Fraser University.

LeAnn Pham

Drea(m/r)y Reverie

i see her face in honeyed light,

butterflies floating around her like 

freezing monochrome moths

                                                & she is tender-loving flame, who spits

                                                broken records of the past in her free time.

 

( WHERE WILL YOU STAY?: here, where the cherubs 

pluck on the harpstrings / like she does 

with / your heartstrings. // there, where 

reality’s nightingale / is calling you home. )

 

                                    my bones feel like eden’s carcass:

                        wilted,             /           winded            /           whistling         

in aches for someone that is nevermore,

tucked beneath the lovegrass of the heaven we stepped on.

 

& she is not                 really here                   & this

             is just some rococo painting inside my rotting mind—

 

 

                                     i’ll keep the lights on tonight.


LeAnn Pham is an eighteen year old poet who usually writes about love, loss, and yearning with various styles to give each poem a character. She is drawn to poetry and visual arts and hopes to major in film. LeAnn can be found on twitter @nihilistiks, where she rambles about anything and everything she possibly can.

Liwa Sun

Delaware County Democrats Fundraiser

This afternoon I made my way through poison ivy and the crowd
Eyes panning my name tag and away
Milky arms fetched canapé 
Blonde ladies grimaced or smiled at each other, I could not tell
In a reproaching voice they asked me to excuse them 
No matter where I stood I would be in someone’s way
No sooner did I think up an elusive word than the circumstance expired
No longer excusable was our lovely teen angst, you and 
Nowhere to dispose of this underage Yellow Label
I affected a face to receive edification and joy
You obliged in forbearing civility
We existed in and out of it selectively
No more wacky Pennsylvanians, we drove off in your red Honda
Having given nothing, having gained nothing.


Liwa Sun is a Chinese writer, poet, and a game-theorist-wannabe. Her works are forthcoming in The Bare Life Review and Seven Circle Press. She lets poetry contaminate her memory, in which she rejoices. She lives in Philadelphia with a small couch and mountains of books.

Julene Tripp Weaver

New York Escape

after Matt Eiford-Schroeder

Everything at once always, said New York City
gloating at how much sits on its solid granite base—
razed so long ago. Its electric lines buried beneath
ground, no ugly wires overhead. We did it all early—
built that subway—one line then the next, we forget 
the order of everything once it arrives—here now,
everything in place, in its decay—it was always 
perfect at the beginning.
 
It’s hard to leave such an everything at once always place 
one gets stuck in the wonder, in awe of the clear sky
narrow between skyscrapers, carrier pigeons inbred 
for sheer cliffs along an ocean, their DNA recalls—deep 
genetics—they taste their insides rotting from old bread 
fed to them by an elder on a park bench. One day 
they rise free. Some of us escape, resettle, take
a deep breath, mingle with other birds, stand on a true
 
cliff. No window washers on platforms, no poison
put out to lure an early death. Here there are no white
flour crackers, no easy food that bloats, here we are prey, 
we forget that everything at once always place,
now with our self, the same life and death, the innate 
satisfaction of the familiar. Landed on sheer rock 
a cliff over an ocean. We perch.


Julene Tripp Weaver is a psychotherapist and writer in Seattle. She has a chapbook and two full size poetry books. Her most recent, truth be bold—Serenading Life & Death in the Age of AIDS, was a finalist for a Lambda Literary Award, and won the Bisexual Book Award. Her work is widely published in journals and anthologies; a few include The Seattle Review of Books, HIV Here & Now, Mad Swirl, and the Stonewall Legacy Anthology. Find her online at www.julenetrippweaver.com, and on Twitter @trippweavepoet

Dane Hamann

Thoughts

Thinking—not blood.
The machine of the heart
 
slips into sequence
with the percussion 
 
of feet on road,
the sunset orangish-red.
 
Not thinking of friction
or fluid, the thrum
 
of living. But I’m
alive. I’m thinking—
 
I will be found
wind-eaten and, at least,
 
sun-perfumed
from collecting dusty miles
 
like pennies in a swear jar.
I’m thinking—
 
this may be beautiful,
this unending
 
echo in every chamber
of me. This
 
is me pulling knives out
of my flawed soul.
 
This is me lighter than
an eyelash, veins
 
pulsing with air.
I’m thinking—I’m bleeding.
 
My thoughts drain
into the red horizon.


Dane Hamann works as an editor for a textbook publisher in the southwest suburbs of Chicago. He received his MFA in Creative Writing from Northwestern University, where he has served as the poetry editor of TriQuarterly for the past five years. His chapbook Q&A was recently published by Sutra Press.

Steve Henn

Hallmark Memories of the Distant Past

When my brother and I cried in the theatre
watching E.T. for the first time. That vacation
when I threw a wailing fit over the taste
of the spaghetti. That vacation when I threw up
seven times in the front seat of Dad’s new Buick
Century. That vacation with me in an ankle boot,
on the beach, after Dad died. I saw a movie
late at night at a sleepover. A man’s head exploded.
No one else was up. When we became a trio, and so
my bully and I began to bully, together, our smaller
friend. When gum was smeared into my hair at
a basketball game and I ripped out the affected locks
at the root. Then my bully made me show the guys
at lunch. God, I hated middle school. School
was crap til college. Then life was crap, sure
enough. Then the freefall, then the slow recovery.
Once, in college, my friends and I got blitzed
on date rape drugs and one guy ordered
a pizza from a campus emergency phone.
For kicks and shits. For giggles. Because
we could. Days later I took more by myself
but it wasn’t as fun as I thought it would be.


Steve Henn wrote Indiana Noble Sad Man of the Year (Wolfson 2017) and two previous collections from NYQBooks. He resides ambivalently in Indiana.

Gabriela Maceira

The Song of Frances Bean

Pictures of her as a baby 
red face in tears
In the arms of a tall black drag queen
Lives on in millennial infamy
As her beautiful blonde
Yellow-haired parents stumble along behind.
 
A fascination with death and the cold empty 
Solace is gone by sixteen as she grows up
bombarded by smiles and notes.
 
O Frances Bean, the damsel of punk
I look at her within glossy pages
She stares back at me with her indifferent eyes
Her lips parted begging for me to hear her
Praised for a tragic legacy
Never mind her own song


Gabriela Maceira is an emerging writer and an MFA Creative Writing candidate at The New School in New York City. Her work has previously been featured on Queen Mob’s Teahouse.

Mandy May

A May Wake

is a half-step from a tailgate party; is veggie platters; is full Marine
Corps regalia with starry-eyes dripping all over it; is sneaking to the
parking lot off the side to have a smoke and a beer because someone
packed; is comparing regional prices of cigarettes; is a loss; is a
celebration; is a family dinner, family-style; is at least eight hours
long; is Smek & Sons on Cermak; is not necessarily in the month of
May—in fact, rarely is; is usually in late summer; is recounting the
story of the potato peeler to the forehead at least one more time; is
passing around fresh babies; is harassment about absent maternity;
is horseplay; is catching up; is rows of hard backed, hardwood pews
with one smooth arm rest at each end; is watching a casket walk out
the back door; is one last drive through Berwyn or Cicero; is
headlights in the middle of the day; is car after car after car after car;
is the short black curtain pulled tight to cover the view of the casket.


Mandy May is a Baltimore MD based writer and designer. She earned her MFA in Creative Writing and Publishing Arts from the University of Baltimore in and is currently working toward her Doctorate in Interaction and Information Design. She is the author of the poetry chapbook Magic: Moon Tides Sing Violet Petals (Babe Press) and co-curated Nasty: an anthology celebrating dark spirits (Babe Press). She believes in ghosts, magic, and the splendor of a body failing. She has three cats.

Beth Bayley

THERE IS MUCH TO FEAR IN THE JUNGLES OF SINGAPORE

Monkeys, monitor lizards, snakes, skinks, 
errant golf balls whizzing past one’s head, 
giant bees, giant spiders, regular-size scorpions,
mud, falling trees, heatstroke, 
fire ants, dengue mosquitoes, packs of schoolchildren,
auntie and uncle walking clubs, 
my own bad choices, and definitely ghosts, 
because everyone knows they hang out in the woods, 
lost on their way to the afterlife, 
sometimes caught in trees and totally unappeased 
by my incense, prayers, and sorry excuses for burnt offerings.


Beth Bayley is a writer, yoga instructor, and occasional archivist who divides her time between Massachusetts and Singapore. Her work has appeared in Vox PoeticaPicaroon Poetry, and Neologism Poetry Journal, among others. Find her at bethbayley.yoga

McCaela Prentice

Poolside

Pretty girls don’t
Light their own cigarettes. Your friend said
He loves Frank Ocean but he’s never heard Solo;
Loves his girlfriend but says he’d be better off
Solo.
 
I add to the stack of pizza boxes
Next to your recycling; he should break it off.
He texts back unsaved numbers and kisses her
On the forehead when she carries in the order.
His mouth must be like an ashtray.
 
The neighbor kids peer through cracked lattice,
You wave from atop the broken dryer on the deck.
I can see it for you now:
Two kids and a swimming pool.
I’m not brave enough for that.
 
We’ll stay up until our phones die,
Or until you put me to sleep
Telling me about the Proverb across your back.
You must not know the one
About the company you keep.
 
When I go
You’ll get another.


McCaela Prentice recently graduated from St. Lawrence University in upstate New York where she studied public health and creative writing. Her poems have previously been featured in The Laurentian Magazine, and she was an honorable mention for the Small Orange Journal Emerging Woman Poet Honor of 2019.

Cassandra de Alba

miniatures

in the store of small desires i touch nothing,
afraid to break a delicate plaster hand,
dishes the size of dimes. i won’t decorate
another house where i don’t fit.
i’m almost ready to risk something 
the size of my life & full of blood,
to ride into town with my twin fears:
obsession, the jacket of knives
i look so good in –
desire, a foul animal
gone stupid in the heat.


Cassandra de Alba is a poet living in Massachusetts. Her work has appeared in Underblong,The Shallow Ends, and Tinderbox, among other publications. Her chapbooks habitats (Horse Less Press, 2016) and ORB (Reality Hands, 2018) are about deer and the moon, respectively, and Ugly/Sad is forthcoming from Glass Poetry Press in 2020. She is a co-host at the Boston Poetry Slam at the Cantab Lounge, a poetry reader for IDK Magazine, and an associate editor at Pizza Pi Press.

Kyla Houbolt

Dance On

She got herself some wings
but first, she had to take
some pills.
She shucked out of that
body, slipped up
the broken spine
in a dope-smoothed climb, shook
loose the old hurting legs,
gathered up all
her hydroplasmic willfire
and shot
out of that too-tight
braincase, no earthbound pharma meds
come close to slowing that down now she
shattered those shackles
into spacedust and 
gone.
 
You. You watch her blaze.
Or if you can't see her no more,
you just let her be.
 
She's gone from here, dancing,
she's all right
now.

Author’s note: Written in honor of my beloved friend M., dancer, artist, blazing being extraordinaire, who after many years of great pain following a terrible accident, and after innumerable attempts to heal, decided to leave. I honor and support her choice while missing her very much. She graced us all. Her departure took place a number of years ago, but I can still hear her laugh. I am grateful to Ghost City Review for homing this small tribute to her brilliant spirit.


Kyla Houbolt writes, mostly poems, though she is old enough to know better. Some of her work has appeared in Mojave He[art] Journal, Kissing Dynamite, Burning House/The Arsonista, and elsewhere. You can find most of her published work on her Linktree, here: @luaz_poet | Linktree and follow her on Twitter @luaz_poet. Kyla is a 2019 Best of the Net nominee.