David Owain Hughes

Attack of the 50ft Stalker

Don’t call. 
Don’t text. 
Don’t write!”

Greg told her, which he’d demanded countless of times over the past few months, but it wasn’t sinking in, no matter how much he screamed it in her face or bellowed it down his mobile phone. Bailey, his ex-bae and current, fuck-nut stalker, had given him weeks of hell: He’d blocked multiple phone numbers, Facebook accounts, Snapchat usernames and Instagram identities. Yet, she kept coming, like a lovesick Terminator. 

To make matters worse—a living-fucking-nightmare of a situation—was the fact they worked together, too. There was no escape. She was there. Always. However, the situation had now hit its crescendo, its summit, as she went full, stage-five-clinger and erupted ‘at the office’. She stood before him now, ranting and cursing, having previously kept all arguments, threats and belittling comments and abuse to the shadows, away from work and hawk-eyed, eagle-eared colleagues, friends and managers.

“You bastard. You never loved me. You used me. Fuck it, I really am going to do it this time. If I can’t have you, then I don’t want to be here anymore.”

“Huh?” he said, her screechy voice reverberating around inside his head, sending icy, clawing talons down his back. His eye began to twitch. How the fuck did that noise not turn me off to begin with? he thought, drinking her in, fixing his eyes on her. Between that, her bullfrog-like neck, caked on make-up—half of which was always on her collar—itsy-bitsy tits with inverted nips, bland personality and the mindset of a child, I must have been thinking with my prick. Oh, yeah, I was. Fucking idiot. Well, I didn’t think she’d go all Play Misty for Me. Yep, got a regular Glenn Close on my arse.          

“Are you fucking listening to me, Greg?” Bailey clicked her fingers, stamped a foot, causing him to take a step back, away from the psycho, wannabe Barbie.  

Customers in the shop—standing on the outside of the in-store bakery—stopped to look and listen. To whisper among their numbers as the domestic unfolded. Along with the shoppers, colleagues and managers had also affixed themselves to their spot, mouths agape.

Fuck. This is bad, Greg thought, looking out at his chiefs, hoping his face looked pleading enough. “Well?” he said, thrusting a finger at Bailey. “Aren’t you—”

“Sod this,” Bailey said, cutting Greg off. 

Out of his peripheral vision, he saw her hand dart for something. 

A knife? he thought. With neck-cricking speed, Greg turned his head to look at her, seeing her reaching blindly for the rat poison the Rentokil guy had brought in earlier that day, ready to lace the traps with.  

No!” Greg said. “Do—,” he trailed off, words giving way to laughter, as Bailey picked up a handful of raw yeast and shoved it into her mouth, going back for more. Before realising her mistake, she’d consumed over half a block.  

His giggles caused her to look, in horror, with particles of munched bread-riser falling from her drooping gob, and squeal. “What have I done?” she gagged, holding her gut. 

“You’re in for some painful diarrhoea, babe,” he said, chuckling some more.

 Customers to join in.  

However, their supervisors did not see the funny side of things, causing Greg to wipe the smirk from off his face, as they moved through the throng of goggling shoppers, inching towards the bakery’s entrance. 

“I feel awful,” Bailey said, clutching her stomach, moving towards Greg, stumbling and collapsing against the door to one of the walk-in ovens. 

“Right, that’s it. Enough of this bloody nonsense, Bailey,” Florence said, the shop floor manager, entering the bakery. “I’ve just about had it with the both of you, to be honest,” she snapped. “The tension in here the last few months has been palpable.”

“What’s a palpable?” Bailey said, her arse squeaking. “I thought it was a plant.”

Greg slapped his face and groaned. It’s that intellect that kept me around, he thought, turning to Florence. “Had you taken my complaints about her stalking and harassing me seriously, then it wouldn’t have got to this stage, now would it?” Greg said, puffing his chest out, towering over Florence. 

A loud grumble, followed by a second fart, rocked the bakery. 

“Oh, fuck,” Bailey said, putting a hand to her arse. 

“Do not use profanity whilst on duty,” Tomasina—acting store manager—said, filing in behind Florence. “You’re in enough trouble, both of you, as it is, young lady.”

Outside the bakery, Greg heard a couple of other managers trying to disperse the shoppers. 

“It’s under control now, people,” someone said. “We’re sorry you had to witness that.” 

Another loud rumble sounded out. “I think I’m dying,” Bailey said, doubling over, as liquid shit began sliding out of her trouser leg, pooling around her feet.  

“Oh, God!” Greg said, holding his nose. “That stench.”

“Right,” Florence said, gagging, grabbing hold of Bailey’s arm. “It’s the training room for you.”

“Greg, I love yooou!” she said, latching onto the oven’s door handle. “I can’t live without you. I can’t eat. I can’t sleep. I can’t think. Please!” Tears flooded down her face. “I promise I won’t be needy. I’ll give you space. You can fuck other women… Whatever it takes.” 

Shhh!” Tomasina said. 

“Let go of the oven,” Florence grunted. 

“In any other situation, this would be comedy gold,” Greg said, about to give his superiors a helping hand.  

“You’re coming upstairs too, Greg,” Tomasina said, snarling, trying to pry Bailey’s fingers free of the handle.

“Hell did I do?” Greg said. 

More shit splashed out of Bailey. “I’m bleeding,” she wept. “The pain!”

“Will you help us get her out of here, for God’s sake!” Florence said. “This place will need fum—”

Florence’s rant was derailed, her hands flying off Bailey’s suddenly bulging forearm, smacking her in the face, sending her backwards, reeling, and smashing into the wall. Her skull connected with a sickening thud. 

Uh!” Florence said, sliding down the brickwork. 

“What the?” Tomasina said. “Did—did you strike her?”

Nooo!” Bailey wailed, Tomasina sent flying, her other forearm ballooning in size, followed by her hands, arms, shoulders, neck and every other inch of her. 

Greg, in fits of uncontrollable laughter, stopped, the gasps and screams around him jolting him back to reality. “Jesus Christ,” he said, watching as Bailey grew a dozen feet or more within the space of sixty-seconds, going from a petit five-four to gigantic seven-four, and beyond. 

Her clothes tore asunder, akin to the Incredible Hulk’s.  

You won’t like me when I’m angry, Greg thought, lifting his head up and up and up, seeing her grow at an incredible rate. This is how Jack must have felt after selling his cows.

Bailey’s body filled out. Her arse became curved and plump, thighs thick, tits stout and pendulous. 

“Why don’t you love me?” she continued to bawl, her expanding body crushing everything around it. When her head and shoulders crashed through the ceiling, raining chunks of plaster and board down on those below her, Bailey realised what was happening.  

Greg?!” she said, her voice breaking, tears dropping like individual waterfalls, whistling like Doodlebugs as they cut down through the air, washing Greg, Tomasina and Florence away, out the bakery and onto the shopfloor. 

It was biblical. It was Noah and his fucking arc. 

“We have to get out of here,” someone said. 

Shoppers jammed together as they tried stampeding towards the exit. 

Within the bakery, more ceiling collapsed, as spider-web-like cracks raced in all directions, causing the staff canteen on the second floor to fall through. Tables, chairs, Jill from checkouts and Dan the trolley boy, tumbled out of the spreading hole, along with fridges, ovens, chest freezers and other apparatuses and workers.  

Customers were crushed and splattered. 

Puddles of blood, piss and excrement spread along the floor in lakes. 

Clean up on aisle six, Greg thought, climbing out of the tear pond, pulling Tomasina to his feet as he did so. “We have to move, before the place buries us alive,” he said, raising his voice to be heard over the crumbling building and hysteria. 

“Greg?” Bailey called, her voice making the ground and shelving tremble.

When he looked, he saw Bailey raise her one exposed hand up through the hole in the roof her head and shoulders had create, and use it to smash away at the structure that trapped her. The back half of the bakery closed in on itself. Stone, plaster and board buried the large mixing bowls, bread and roll plants, tables and friers. 

Screams rang out from above, as more bodies rained down, necks, arms and legs snapping on impact. 

Greg saw blood streak and seep across what was left of the ceiling.

“Fuck,” he said, moving backwards, pulling Tomasina with him, as desks, chairs, cabinets, PCs, laptops, and other office equipment crashed from the heavens. 

Sprinklers burst to live.

Alarms blared.

Pipes exploded. 

“Where are you, handsome?” Bailey continued, her both hands now pulverizing the shop’s construct, freeing her body, like Kong breaking his chains.  

“Holy fucking shit,” Greg said, looking at her. “She must be 50ft tall.”

“At least,” Tomasina said. 

“Run,” Florence said, “before we’re—Oooph!” she cried, as Bailey’s enormous hand enclosed around her and squeezed. “Ugh… B-Bailey, you’re killing me…” she wheezed. “My ribs.”

From where Greg stood, he heard Florence’s ribcage, hips and other bones snap and disintegrate, before Bailey opened her gigantic maw and scoffed her down, grinding the manager to a bloody pulp.

Mmm,” Bailey said, moving forwards, raising one foot and bringing it down on a group of gawking shoppers, some of which took selfies and photos of the sci-fi freak. 

Arrgh!” they said, before Bailey turned them into a puddle of sticky crimson. 

“Come here, baby,” Bailey growled. 

“Bollocks,” Greg said, turning to run, slipping on the wet, teary floor, causing him to collide with a display table filled with packets of hot cross buns. When he saw Bailey’s hand swipe for him, he commando rolled over the Jesus buns, avoiding her grasp. “Sorry, bitch, but you’re not my type. Too tall!”

Greg glanced over his shoulder as he ran down an aisle, gaining on the shop’s exit, seeing her come after him. 

“You can’t get away from me.” Bailey swatted shoppers, staff members and managers out of her way, some of which were thrown through windows or into shelving.

“I don’t mind a tall girl, but a 44 foot difference is a bit much,” Greg said, exiting the shop, finding his car in the car park. When he reached the driver’s side door, Bailey come crashing through the front of the shop, demolishing the sliding doors and foyer, as the building’s centre fell through. Bailey stopped looked at Greg, roaring as she did. 

In the distance, Greg fumbling with his keys, he heard sirens, followed by a monstrous groan and the shredding of metal. 

“Fuck, fuck, fuck,” he said, watching Bailey tear up a trolley bay and hurl it in his direction.

Greg ducked, as the missile flew overhead, and crashed into the first fire truck on the scene. 

“Move,” he told himself, slotting his key into the door, unlocking his car. Behind the wheel, he started the engine and threw the car into gear, stomping the go pedal. “Screw you, Bailey,” he said, giving her the finger in the rearview mirror.

“Go, car. Go, go, go,” he said, moving his battered Pinto out onto the main road.

All the while, Bailey’s image filled his side mirror, as she gave chase, gaining, her impossibly long arms stretching out, her fingers grabbing for his car…

Salvatore Difalco

Two Fingers Neat

I am about to crack open a bottle of Knob Creek
and do you know how much that put me back
even at the Duty Free Shop in Buffalo? I am
taking a page out of the Book of the Dead
and hoping nobody finds it missing. One
day A.I. will translate it for me and I will
be that guy. That guy who keeps looking
for his identity. Did you happen to see one
floating around the foyer or hanging
near the latrines? Regard him, this man
with thinned eyes, and make no sudden moves.
If all is true, then too bad for you should he 
take a fancy to your perfume or your
footwear. Even frontline German soldiers
during World War II knew the difference
between English chocolate and their own.
Or look at this bone in my wrist that I broke
many years ago, before the invention
of plaster casts and self-love hand lamps.
When I said all we needed was a lubricant,
I meant something sweeter than K-Y Jelly.
The cannons won’t boom without you
standing behind them and doing that thing
those dudes setting off those things do.
War never appealed to me, but now I 
must eat it for breakfast, lunch and dinner,
I say eat well, my friends, eat your fill
for tomorrow may never be the tomorrow
promised to you and me, as I swim 
from the neck of Lake Erie to its jewels.

Tony Dawson

Erica

Erica is flighty, not to say flirtatious,
known to her many friends as Erotica
and by friends, I really mean boyfriends.
Her secret cleft is no longer a secret.
Whenever she sees someone she fancies,
her not-so-secret cleft begins to secrete
with desire to get to know him carnally.
Erotica is always open for business,
as she’s wont to say and who can blame her?
Life is for living and what better way
to live it than spreadeagled on a bed
waiting for the sword of Damocles,
as she nicknamed the latest in her line
of muscular Mediterranean lovers.

Dana Jerman

Sugar In The Well

The drink was so good it reminded me of nothing else at all. I had no frame of reference in either smell or taste for how to log it. It took me away from both time and pain. Too, it reminds me that I could go a long long time wearing the heat of many words and ancient beautiful nothings inside me. Ages for keeping my mouth shut. 

Hindsight afforded me the notion that if I had showed up to the rescheduled potential second date, he would have lost respect for me. So much had been cocked-up in the lack of translation between our communication styles by now I wasn’t sure either of us wanted to enlist our interpersonal clean up crews to make it right. Would we only create more of a mess?

Then the future comes and there I am: Las Vegas, Day 3000 — all the west side apartments I used to inhabit are gone and now I live in a part of town far flung from them at the end of a street in the vintage city proper.

My backyard scintillates by day with early light and wind turning suncatchers and spinning bees. By night with the glistening backs of stray cats, black and calico, who leave the feathers of their prey askew by the back door.

Everyone has been telling me lately that I look different. That something has changed. But really I think my hair just went thru a growth spurt.

Sitting there with that cocktail in a moment that becomes a meditation I bring him in. What if we had that promised date?

Inside my imagination’s hotel I embrace him and hold him fast. I kiss him and touch his head and move my palms over his shoulders. I keep kissing him in different places as I let the desire build inside my body. Fluids rushing like a dam break.

His hands are across my ass. They bunch my skirt and expertly interpret the shape of my underwear. In a flash his shirt is up and I am inhaling the warmth radiating from his chest. A perfume uniquely masculine, undeniably his. My shoes come off. My bra undone. Stockings tugged away. Breath growing fast. Panting as his erection drops out. My lips part to what I can’t look away from. Hungry to taste and swallow precum from the throbbing head of it.

Inside a break in the action we can hear soft moans from the next room over. A woman cries out as her orgasm builds. He closes his eyes and sighs — the sound makes a warm hum in the air which has deepened his fantastic pleasures. As if inside a movie and from behind the camera of my eyes I watch. I say nothing. I don’t move. 

Daniel de Culla

Thanks Whore, Goddess of the Bushes

I met Gabriela, a female archangel
In the Casa de Campo
The best thing about Madrid
Near the Batán, where there’s a little square
Where they teach you how to bullfight.
I saw her and I loved her
Because of the abundance of everything she had.
I gave her five hundred pesetas, the old kind
And she took me to enjoy her completely
On all fours
Inside some flowering bushes
Holding my hand, saying:
-Pumps to the rabbit hutch 
Where about one hundred and twenty are.
From the top, where the cable car passes
That comes from the Paseo Pintor Rosales
To the Cerro Garabitas
They threw rose petals at us
And the occasional half-eaten sausage sandwich
While we made love doggy style.
I had run away with another classmate
From the Conciliar Seminary
Which is in Las Vistillas
With the desire to end the false celibacy.
This cock-eater was to my liking
She satisfied me, especially when she answered me
When I asked her:
-Are you working for a pimp?
-No, I’m here on my own.
Free Love!
Delighted with the raw, unprotected sex
And with having lost my virginity to this whore
So beautiful and sexy
I sang to her in the Gregorian chant style:
-“I praise your cunt
To which my cock has worked wonders.
How grand, amidst the bushes
The love that justifies us!
Thanks whore, goddess of the bushes.
Thank you for the illusion
Of having swallowed my cock
Before ejaculating inside your vagina.
Thank you for having placed my priest’s crown
My mystical virginity
Between the two holes of your ass.
Thank you, whore, for this hour.”
My friend, my soulmate
You who have been watching us fuck
Let us sing to the goddess Whore with joy!
The woman’s cunt is vast!
Her boundless charity
Even though we have to pay to enter
The heaven of her vagina!
As we were leaving
Saying goodbye with a kiss
I saw her wiping away with a silk handkerchief
The amorous remnants outside her vagina
Then, she would hold it up to her nose
To wipe away a green snot that was dripping from her
Very similar to sheep’s snot.
Also, right next to it
Inside another bush
My companion and I saw a jar
That contained colorful condoms
Filled and torn, overflowing.
And next to it, another jar
Where she would defecate if she needed to.
-Goodbye Whore, I shouted to her.
Thank you from the bottom of my heart.

Gabriel Bates

What Stays

I wear each shitty tattoo
like a badge of honor.

The black panther,
the pinup girl,
the red rose,
the pair of dice.

I still don’t regret
a single one of them.

That wouldn’t do
any good anyway.

Because regret is like ink—
it never goes away either.

Damon Hubbs

Jodhpurs and Clavicles 

There’s no telling where I end 
and you begin. All the kings men
are in the kitchen doing jujutsu with Jane. 
The afterparty contains hostile agents 
and bad news about the divine. 
Your lips are layovers in a foreign train station. 
Portals to a parallel reality
double back with dates and revisions.
Your friends call you the queen of Mars. 

Dodie remakes the world with ECM classics.
Our talk turns to jodhpurs and clavicles, 
the lilacs wilted in the vase on the table.   
There are the wounds we are given 
and the wounds that we choose. 
I must be bricked up alive for the fortress to stand.  
My dear ________________ , 
“Charlie don’t surf.”  
The TV is a UV burn.

Mark James Andrews

Ron Asheton Says

I play guitar
Don’t call me 
Iggy’s right-hand man
I was always into Nazi shit
doing Hitler speeches
and wearing SS pins
at Ann Arbor High School
Don’t call me 
Fat Beatle
They tucked my Iron Cross
medal under my leather
for the jacket photo
of our first album
the stooges
damn I was juiced
that Elektra Records dropped
the Psychedelic lame 
part of our band name
I was into wearing nazi regalia
at all our shows 
a Jewish fan came up to me
crying Why are you doing this?
I told him Aren’t you glad
the Nazis lost so a freak 
like me can wear this?
Well I guess I was 
Iggy’s best-man 
at his first wedding
when he married 
a Jewish chick
and I showed up 
wearing a Luftwaffe
fighter pilot’s jacket
our Jewish manager 
officiated

Kim Addonizio: The Alex S Johnson Interview 

Kim Addonizio has long been one of the most fearless, versatile, and emotionally resonant voices in American literature — a poet, novelist, memoirist, musician, and teacher whose work moves with equal fluency through the ecstatic, the ordinary, and the brutally honest. Her books, from Tell Me to Mortal Trash, from Bukowski in a Sundress to her newest collection Exit Opera, have shaped generations of writers who recognize in her work a rare combination of vulnerability, craft, humor, and unflinching clarity.

In this exclusive interview, Alex S. Johnson speaks with Addonizio about the deep currents that run through her writing life: the hunger that drives form, the shifting terrain of desire, the body’s betrayals and astonishments, the role of imagination in resisting the utilitarian, the long arc of craft, and the wild patience required to sustain a creative life across decades.

What follows is a candid, generous, and wide‑ranging conversation with one of the most vital literary figures of our time — presented here in full, exactly as she spoke it.

ASJ: Dear Kim, thank you again for agreeing to this interview. Your work has been a touchstone for so many of us — not only the poems, but the essays, the fiction, the craft books, the music, the whole restless, shape-shifting body of it. I’m grateful for the chance to speak with you about the deeper currents running through your writing life.

Across collections like Tell Me, Mortal Trash, and Now We’re Getting Somewhere, your poems move with a clarity that feels both fearless and formally precise. When you’re drafting, what internal permission do you give yourself that allows that level of honesty to surface without tipping into confession for its own sake?

KA: I gave myself permission long ago to be as vulnerable and honest as possible and not to worry about what people think. My poems aren’t for everyone, which is fine with me. I dedicated Bukowski in a Sundress to “my tribe.” Poets, artists, thinkers, lovers, dreamers, seekers. People who understand that life is complex and who aren’t afraid of difficult territory. The lost, the shitfaced, the bold and the painfully shy, the bewildered. I think of Neruda’s “Arte Poetica”:

but the truth is that suddenly the wind that lashes my chest,
the nights of infinite substance fallen in my bedroom,
the noise of a day that burns with sacrifice,
ask me mournfully what prophecy there is in me,
and there is a swarm of objects that call without being answered,
and a ceaseless movement, and a bewildered man.

ASJ: You’ve worked in multiple genres — the novel Little Beauties, the story collection The Palace of Illusions, the memoir Bukowski in a Sundress, the craft books Ordinary Genius and The Poet’s Companion (with Dorianne Laux), and of course the poetry. How do you sense which form a particular emotional or narrative impulse belongs to? Does the form announce itself, or do you have to coax it into the right shape?

KA: I’ve published two novels, Little Beauties and My Dreams Out in the Street. I hope I never want to write another one. They’re such a slog, day after day. Maybe one day I’ll become obsessed again — that’s really what it takes — and try to write another (small) one. I’ve also largely abandoned stories, though I’m really proud of The Palace of Illusions. I’m still drawn to writing the personal essay, and am finishing a collection called Anywhere But Me. But poetry is my heart, the thing that makes me happiest, the thing I always want. And yes, the form does announce itself, as a feeling, a hunger, a need. I’m still ravenous for poetry and trying to write something that maybe goes beyond, or in a different direction, from poems I’ve previously written.

ASJ: Bukowski in a Sundress confronts the “outlaw poet” label head-on, along with the gendered assumptions embedded in that lineage. How do you see your relationship to the Bukowski tradition now — not just the man, but the cultural machinery that surrounds him and the writers who get pulled into or pushed out of that orbit?

KA: He’s certainly been widely read, and has gathered a lot of rabid fans along with sniffy detractors. As I wrote in that essay, I haven’t read most of his work. I appreciate that he was a working-class guy writing about people at the margins who struggle and fuck up and rely a little too much on the bottle. My Dreams Out in the Street and my novel-in verse, Jimmy & Rita, are based on the same characters, and they would be at home in Bukowski’s world. While writing both of those, I spent a lot of time with Denis Johnson’s first novel, Angels, as well as William Vollmann’s Whores for Gloria.

ASJ: Many of your poems inhabit the charged space between the ecstatic and the ordinary — the bar, the street, the late-night kitchen table. Do you see the sacred and the profane as opposing forces, or as two expressions of the same human appetite for meaning?

KA: The human appetite for meaning! I love that. Our culture certainly sets those in opposition. Whitman, for one, didn’t. Of course, they’re inextricably part of us. We need to function in the ordinary world, but we’re also drawn to, and require, non-ordinary reality. Imagination. A world without it–fascist regimes have long recognized this — would be reduced to the hell of the purely utilitarian. No music, no dancing, no true erotic expression. Just obedient little consumer units, or outright slaves, screws and bolts and O-rings in the machines that serve the masters.

ASJ: The body — its pleasures, its betrayals, its hungers — is central to your work, from My Black Angel to the more recent poems in Now We’re Getting Somewhere. How has your relationship to the body, both as subject and instrument, evolved over the course of your writing life?

NOTE: Latest book is Exit Opera (W.W. Norton, 2024).

KA: I’m not the same writer at seventy that I was at forty, when my first poetry collection was published. Those were the poems of my twenties and thirties. I’m not obsessed anymore with romantic love, which was a big subject and struggle for me. I’m happier now. Mentoring has become important to me — to give something back, to offer something to newer poets trying to make their way. I take teaching very seriously; it’s truly a vocation, like poetry. And I’m still pretty astonished that I’ve been writing and publishing this long and that my work is still speaking to people.

I guess those remarks aren’t strictly about the body, though it’s clear that hormones are part of how my body, brain, and writing have changed. And aging is a bitch. Once you start really losing people, you get the message of mortality in a much more visceral way. My parents are dead, three of my four brothers are gone, and a friend or two has disappeared. Time and death are more acutely present. Everything about my body is changing. Kind of like puberty! I’m constantly going, WTF! Now this?

ASJ: You’ve written extensively about craft, especially in Ordinary Genius and The Poet’s Companion. How do you balance the unruliness of lived experience with the discipline required to shape it into art? Do you find that craft liberates the material, or contains it?

KA: And now I’m in the process of working on a third book, The Poetic Mind, about craft, creativity, and community, with another poet. I always remind my students that craft is their friend. It’s what helps them get their vision into form. Life is unruly, uncertain, unpredictable, messy, fraught–however hard you may try to control it, you can’t, quite. Same with art, really. But focus, purpose, commitment–those will take you a long way in both. Artists are not people with vague creative yearnings. You may start that way, but if you’re going to get anywhere, you can’t stay in that place. In Ordinary Genius I talk about the Roman concept of serving your genius, which is a sort of tutelary spirit that guides you. Call it divine, or non-ordinary, or an essential self; it’s what you need to serve in order to manifest your desires.

ASJ: Your work often interrogates the stories we tell about ourselves — the myths we inherit, the myths we invent, the myths we eventually outgrow. Looking back across your books, what personal mythologies have you had to dismantle in order to keep writing truthfully?

KA: Wow, I don’t know. I’m not sure I’ve ever thought about a personal mythology. I have been aware of dramatizing the self; I mean, I always want to create some kind of drama in a poem, and there’s a line between that and melodrama I may not have always succeeded in avoiding. The “I” in my poems is me and not-me. I’m trying to inhabit states of feeling, which start as my own but might be tweaked in some way for greater effect. Maybe, anyway, self-presentation is always a kind of myth or story we tell ourselves about who we are.

ASJ: Music threads through your work — not only in your collaborations, but in the sonic architecture of your poems. What role does music play in your writing process, and how consciously do you think about rhythm when you’re composing?

KA: I find it impossible not to think about rhythm. I’ve studied various musical instruments since I was a teenager. First guitar, then voice, then flute, harmonica, and now banjo. In my head, I hear and orchestrate the music of every line. By now it’s innate. I’ve done a couple of word/music albums and will be doing a third with my partner, a professional guitarist. I’m really excited because I’ve created some banjo accompaniment to one poem and I’m going to play flute for another. Plus, this time I’ll also have access to a band for a couple of pieces. I’m definitely an amateur, but I have obsessively worked on some things I can perform without humiliating myself. I tell my students to put their ear down to their lines and listen hard. The music of a poem is one of its great pleasures, for me. But a lot of my students can’t hear their lines; I’m also telling them to tighten, not only for the music, but also the concision a poem can offer.

ASJ: Desire — erotic, intellectual, existential — is a force that runs through your poems and prose. How do you think about desire now, as a writer and as a human being, compared to when you were publishing The Philosopher’s Club and Jimmy & Rita?

KA: Can I say hormones again? A lot of things have calmed down, thank God. I still have plenty of longing, though. When I began, I was so immersed in poetry, and gripped by the powerful need to swallow it whole, to make it my own, and yes, to succeed at it. There was nothing else I really wanted to do with my life, until I found poetry. I was floundering in my twenties, doing a lot of drugs and drinking and hooking up. I didn’t have a lot of faith in myself. I had a lot of childhood trauma to reckon with. I was trying hard to focus on music, but when I found poetry in my late twenties, something profound happened. I can’t quite say it saved me from myself, but it was the beginning of the process. In terms of those first two books, it was of course really gratifying to find a publisher and realize I might actually be able to make my way as a poet in the world. Now that I’m twelve or so books in, it’s easier, of course, to get published (though like everyone I collect my share of rejections); but I’m more confident in myself as an artist, and mostly I want to write new work that feels urgent to me, even if it may not be to others.

ASJ: You’ve mentored countless poets, both directly and through your craft books. What do you wish emerging writers understood about the long arc of a creative life — the part that requires endurance, patience, and a willingness to keep reinventing the self?

KA: Exactly that! I use Adrienne Rich’s phrase: “wild patience.”

ASJ: You’ve lived through multiple literary eras and scenes. What has remained constant in your work, and what has changed in ways that still surprise you?

KA: I’ve grown less attached to narrative, and more interested in surprise. I’ve tried to turn outward more. Not exactly away from the self, but to put the self into a larger context. I’ve interrogated “The Confessional” in various ways–there’s a sequence in Now We’re Getting Somewhere; and while I value it as a mode, I’m a lot more restless in terms of subject matter. I’ve noticed that the new poems I’m writing are still engaged with the personal, but what I see in terms of subject matter are things like the current political shitshow, what’s been called the Sixth Extinction, evolution, ancestors, ancient Greece, the Vikings, war.

ASJ: Finally, who are the poets — past or present — whose work continues to challenge, nourish, or companion you? Are there writers you return to when you need to be reminded why you do this?

KA: I’m not going to name any living contemporary writers, though I’m aways casting around for who is doing interesting work. In fact, I won’t name anyone, because it would probably distort my actual reading habits. Mostly, what inspires me to write lately is anything dealing with history, culture, the environment. I rarely used to read or watch that kind of stuff. It was always personal essays and stories and novels. One day I’ll probably return to all that, but I’ve hardly read a novel since Covid, and the only one I read then was one by Graham Greene. I was able to finish it because it was short, and involved a lot of pink gin.

Zoe Hollingsworth

Well Earned

It’d been about six weeks since the day they’d run into each other at the downtown library. Grace supposed they were seeing each other now. It’d happened quickly, the weeks passing without her even really being aware. 

Grace liked the way Adrian held doors open for her. He teased her about her white-knuckled driving. He was smart. He had what turned out to be a very good job as a industry colorist. She could overlook the way he seemed to occasionally disappear, zoning out staring at mirrors or streetlamps and during movies and even sometimes in conversation. He seemed to want a companion he could relax in total silence with, and she was used to filling this silence, in any way possible. She equated this to the awkwardness of their first date last summer—they’d been mismatched because she was so frazzled, being new in town, and he was so gentile. It’d unnerved her at the time. But things were different now. Her various liaisons had made her brave. Grace felt she’d completed a step, been allowed to move up: she liked having someone real to go out with on a Friday night now, getting out of the Valley and away from her computer screen. 

A weekend in late March, or was it early April? They had a good time. He took her to the Catalina Jazz Club on Sunset. They ordered steaks and watched a pickup band play Oingo Boingo songs and he let her finish the chocolate pot de crème, scooping the graham cracker dust from the corners of the plate. Grace got buzzed off three glasses of Sonoma Coast chardonnay. A warm wind pushed her into him on the street, and they kissed for the first time: his lips were soft and determined pressed against hers. She didn’t dislike it, feeling oddly helpless in his arms. He grabbed her by the back of the head, forcing her into place. It hurt a little, but she let him. The thrill reminded her of her long-term penpal, GHOSTLOUPE. She imagined that was how he’d kiss her. This bled one fantasy into another, and she was beside herself by the time she got home, aching down there for hours. Very quietly in her bedroom, after midnight, Grace masturbated, her mouth dropping into an ah of shock at her body’s hasty, shuddering response. She felt less ashamed afterward, now that there was a real person involved. 

Her first time at his apartment, they’d had a strange conversation. She’d been admiring his vintage cameras. He had three or four on the side table next to the door: she recognized a 35-millimeter, a cracked rainbow strap curled around it; a vertical folding camera, and an old Kodak brownie from the 70’s. 

“Have you ever shot anything on these?” She asked.

“Oh yeah,” he nodded, moving forward to touch the lens cap of the 35-millimeter. “This one is a family heirloom. I’ve shot all over the city with this one. And the brownie I like to take out sometimes. Developing is a bitch though, I need to do it at work.”

“What do you like to take pictures of?” Grace asked.

His face seemed to cloud instantly. She was starting to notice it a bit, like a curtain falling, whenever something came up he didn’t want to talk about. 

“People, mostly.” He said this curtly. “Do you want me to take your picture? I could do that right now. Here.”

Grace blanched. “Oh no, I was just curious, I wasn’t—”

“I think you may need to earn it first.”

“What?”

“You haven’t earned it.”

She faltered, staring at his grave face. She’d suddenly lost points somehow. “I—okay, if you say so. I didn’t, like, mean anything by it.”

“No.” He was agreeing, but it felt like a condemnation. His gaze dropped from her to the cameras on the table. Then something seemed to change, a beat passed, and he was back. 

“Sorry,” he said. “It’s just—this equipment is delicate and very old. And I have a—I guess it’s a sense of privilege, when it comes to capturing a subject. It’s a very vulnerable thing. It’s very intimate.”

You brought it up, she thought, nodding her head sagely, backing away from the table. 

“But,” he was saying; his voice changed and it was suddenly loftier, happier. He grabbed her by the hand, twirling her around with his arm extended. “You, my dear, may have earned other things.”

“Oh yeah, what’s that?” She asked, mimicking his playfulness, trying to lighten her own heart. Hoping for a kiss, anything to sweeten up the moment. 

“Follow my instructions,” he said to her pointedly. He was grinning, but serious. 

“Okay.”

He dropped her hand, and she stood there stupidly, waiting. 

Adrian smiled, enjoying her visible awkwardness. When his admiration had waned, he said:

“Remove your clothes, please.”

Grace made a face. “Here?” She asked. She looked at the couch, turned around to glance at the TV, then back to Adrian, who was nodding, stony-faced. She remembered she was supposed to follow instructions. Right. 

She sighed loftily, partly to curb her beating heart. They hadn’t yet slept together. They’d only made out on the street and in his car a few times—and to her surprise, he hadn’t even tried digging his fingers into her underwear then. Their knowledge of each other in these details was still unexplored territory. Her face was on fire as she sunk to the ground to remove her shoes.

“No,” he said. “Stand up.”

She eyed him silently, and stood back up. She kicked her shoes off, not bothering with the laces. He watched, one hand on his chin, as she wriggled out of her jeans and, sighing loftily again, lifted her arms to take off her t-shirt, draping both on the end of the couch. 

She hesitated in her bra and underwear. 

“Both of them,” Adrian gestured. 

Grace’s eyes had lost some of their brightness. She stared at a spot past his head as she slipped herself free of the bra—a little mesh thing he liked quite a lot, light violet, with halter straps keeping her nipples pressed tightly against the fabric. 

The briefs, navy blue, were opaque and covered both cheeks, giving everything a wide berth. Angles and cuts and nothing else to see, really, other than the tiny, wedged impression of her sex in the fabric. 

A roll of flesh dimpled together sweetly at her waist as she curled to ease the underwear down. Muscles reflexed as she curled back up, and he could observe where baby fat had given way to cellulite, and where she’d remained lean. She was shorter than his Arctic Fox. Her body was, broadly, a pear: her breasts, freed from the mesh bra, were small and white, pale nipples inverted on her chest, her waist narrow enough for him to wrap both arms around and have overlap. Her hips widened out from here, surprisingly so—into a large ass which was wide and shapely, practically an entire ocean’s surface he could imagine resting his head on. 

She held her powerful thighs together stiffly. The little triangle between them was clustered with a soft swath of brown hair, a flesh-colored slit in the middle. He wished he could put his tongue in it right then and there.

“Good,” Adrian said. “Very good. Now—turn to the wall, please.”

Grace looked as if she were starting to disassociate: he knew the expressions. As long as she followed his voice, it was fine for the time being. He’d get her out. He was very happy with her. She turned slowly from him and faced the gray wall. 

“Put your hands on it.”

Her palms sought the gray, flattened out. She stared at this, concentrating on the color. Grace imagined living inside an entirely gray world. She was suddenly chilly, and tried not to shake. She wasn’t sure what was happening down below, the sensations were confusing, and so she kept her legs together. She felt oddly hungry, a grumbling erupting in her stomach. 

“Spread your legs, please.”

She’d been afraid of this. As she readjusted against the wall, taking a spread-eagled stance, she felt air reaching new parts of her in the front and back. Out in the open like this, helpless, all she could do was wait for whatever was going to happen next. 

He came up behind her. She could feel his breath on her neck. Her ear. His lips seeking her hair. He kissed her neck. He breathed through his mouth, forcing warm air into her hair which sent quiverings up and down her spine. She felt drugged as he crawled her this way, taking in the poison through his breath, saliva, and she almost cried out when a hand also suddenly sought her ass, gripping tightly, digging the nails in. 

He kept his hand here, on her ass, in an expert hold the entire time, while his other hand began to explore her. Tentatively at first, until it began to use the moisture provided and seek out a wider, sweeping gesture. 

Grace was in a state, a place she’d never found herself. She couldn’t move. Sensations were beginning to rise—ones she’d brought herself to before, of course, but never in the presence of another and never upright like this, arms taught and trembling, as she struggled to control the rocking rhythm of his hand, which had grown enormous, and a terrible pulsing, like deep vibrating velvet, which also grew until she was gasping and squeezing her eyes shut and the word “No,” escaped her lips. 

The moment Grace whispered “No,” he knew she was starting to come. He held onto her tightly, as she was trying to get away from him, drooping and sinking towards the floor, her legs like wet clay collapsing. When she cried out it was cough-like: not the sound of someone mimicking pornos or movies they’d seen, but involuntary. This pleased and aroused him, the authenticity of it. He liked how she naturally fought it, too.

The release had triggered something in her legs, and Grace stood there, her body curling inward, hot hands sliding against the wall, trying to keep herself vertical. She breathed in loudly through her nostrils, feeling like a winded rhino and wishing he weren’t there, wishing she could just go to the bathroom and get herself together for a minute. She concentrated on the gray world two inches from her face.

“Good,” he whispered in her ear, finally releasing his grip on her ass. It was stinging a bit. The room was eerily silent. 

***

Fifteen minutes later, Grace was sitting in her car on Franklin Avenue, trying to light a cigarette. Her hands kept shaking, but after a couple of tries, she got it. She pulled away from the curb without thinking about where she was going, her mind blank, one hand resting lightly on the turn signal switch. 

It was late, not many cars on Barham. Her left hand, holding the cigarette out the window, was sturdy only by the time she’d descended back down into the valley, bottoming out at the Forest Lawn and Pass Avenue intersection. She was rounding the corner at the Warner Brother’s buildings, glancing at the familiar tan gates, the Hot Dog Haus across the street where she’d once gotten sick outside. 

He hadn’t offered to let her spend the night, but she wouldn’t have accepted, anyway. The evening seemed over, at any rate. He’d watched her closely as she pulled on her jeans, leaning against the arm of the couch. There wasn’t much said between them, and Grace felt strange, almost frightened of him as she gathered her things. Her crotch was still pulsing like a beacon, a humming filling her body which was not unlike the need she’d cultivated online with GHOSTLOUPE. 

But that had all been fantasy. This was real, and she felt a new humiliation in it, that she’d come so hard and fast, as if this cheapened her, made her slutty. It’d felt forced out her, the pleasure itself incidental. She couldn’t read where his true interest lay, exactly, in regards to her. 

This thought popped out in her head as she sat at the light on Olive Avenue. She was surprised it hadn’t occurred to her before at some point. 

He hadn’t thought it a good idea to try and get her to stay. He knew her discomfort well, and watched calmly as she avoided his gaze, grabbing her things. He was used to women not looking at him afterward. He was reminded briefly of the previous girl’s last path through the apartment. But Grace wasn’t angry or hurt, she was confused. Wrestling between pleasure and fear. It was best to let her go. He downplayed his goodbye, smiling sleepily at her, standing in the open doorway. Despite a growing fondness, or perhaps exactly because of this, he closed it in her face. Through the keyhole, he watched as she turned and, as if in a trance state, walked to the elevator alone. Turning back to the living room, he raised his fingers to his nostrils. The smell of her lingering effluvium was practically a drug; he felt woozy for a brief moment, standing there with his eyes closed. 

Adrian knew the drive home would probably be enough, but if not, he’d hear from her in the morning. He was pleasantly surprised when about two hours later, while he was reading an article on the toilet, she texted him. He clicked over to the message, eyebrow raised. 

-I had a good time tonight. 

She was sitting on her bed as she sent this. Safely bathed in the soft orange lighting, returned to an adult womb, where her parents slept soundly down the hall and, cautiously, she’d made herself come again. Lying on top of the covers, breathing heavily, Grace asked herself what had been so frightening about the evening, after all?—he’d wanted to please her. That was nice. The separation and the time to think had made the eerie feelings she’d experienced in his apartment fade away. Or maybe she’d just deleted the shame, purposefully, all of it—the strange sense of unease which had followed, the feeling she’d been violated somehow, like something had been involuntarily taken from her. 

It’d been surprisingly easy, standing in the kitchen in the stove’s half-light (which her mom left on whenever she was coming home late), absently eating chips from the bag on the counter and going over the scene again. She’d enjoyed fighting him. That was what had made it so intense. He’d known this all along. 

When she woke up the next morning, Grace was absolutely starving. Her mother found her at the kitchen table, reading an article in Entertainment Weekly about Jennifer Lawrence’s favorite swear words, and eating an enormous bowl of Cheerios. 

“How was your date last night?” Her mom moved around the kitchen, jiggering the coffee pot, dabbing at her eyes with a paper towel she ripped from the holder.

“It was nice, actually,” Grace said brightly. She was in a good mood. She preferred talking to her parents in the morning to all other times of day. The sun threw a transparent yellow angle on the dining room table, and she thought all the sudden how easy, how beautiful everything was. 

She pulled out her phone to show her a picture of Adrian. It was his main photo from the app.  

Her mother wrinkled her nose from over her shoulder. “He looks kind of like an actor that could play a vampire on one of those Gen Z shows, doesn’t he?”

Grace couldn’t help herself. She burst out laughing, and couldn’t stop; she inhaled a cheerio, and started coughing. Her mother slapped her on the back a few times, frowning pleasantly. She moved Grace’s braid back and forth a few times, as if playing absently with her own.