Ryan Quinn Flanagan

Greetings from Planet Rim Job

He kept sliding behind the motel door
like going into hiding again.

As though he were melting 
into the room.

People forgot he was there, 
and went back to talking
over the music.

Everything sounded muffled behind the door.
The LSD from that house across the street 
from the Barrie Jail was top notch.

Two tabs on the tongue,
and you were gone.

A boxy television on mute, 
scrambled porn beamed in from
planet Rim Job.

Sweaty feet
spelunking down into the 
ratty carpet.

A red giraffe trapped 
inside a cave painting.

Cigarette burns
through twin bedspreads.

And every so often,
a head would peak out from 
behind the door.

And a few would remember,
before forgetting all over again.

Dimitry Partsi

The Curtain That Doesn’t Fall

The Kazoo-Tang Clan had just concluded a surprisingly poignant medley of “WAP” and the theme from Schindler’s List when the host, Jack Velvet, pirouetted back to center stage. His smile, a marvel of cosmetic dentistry and sheer willpower, was so bright it had its own FAA-approved flight path and was known to cause minor tidal shifts in nearby glasses of water.

“Ladies, gentlemen, and beings of pure energy who pay taxes in this dimension, welcome back!” Jack boomed. “Our first guest tonight is a cultural phenomenon who achieved fame by being filmed eating a single, unusually large grape over a period of seven hours. Since then, she’s been on Celebrity Ice Fishing, So You Think You Can Haunt?, and now, she’s an author. Please make some noise for the supernova of sass, Krystalynn Bling!”

A sound effect of a thousand champagne corks popping erupted from the speakers. Krystalynn drifted onto the set in a gown woven from the crystallized tears of her haters, or possibly just artisanal meringue, as it was shedding a fine white dust everywhere. She settled into the armchair, which visibly sighed.

“OMG, Jack, like, my aura is literally vibrating at the frequency of ‘famous’ right now,” she began, her sentence taking the scenic route to nowhere. “Writing a book was, like, so random, you know? ‘Coz words have, like, all those pointy letters, and my brain is more of a, like, smooth, vibe-based sphere? LOL.”

Jack’s smile flickered, briefly causing the studio lights to dim. “Astounding. And your book?”

“It’s my journey! It’s called #Verified. One chapter is just a QR code that rickrolls you, and another is a scratch-and-sniff page that smells like my signature perfume, ‘Capitalism for Her’.”

The audience roared as if she’d just solved world hunger with an Instagram filter.

“And now,” Jack chirped, “a man whose business model is definitely not a geometric shape associated with ancient Egypt! Welcome Cliff Gellington!”

Cliff swaggered out, poured into a suit made from the skin of a genetically engineered, perpetually smug lizard. It was so tight you could read his blood type. He aimed finger-pistols at Krystalynn, which made an audible pew-pew sound.

“Cliff,” said Jack, “tell us about this… opportunity.”

“Thanks, J-dawg. It’s not just another pyramid scheme. It’s a Rhombus of Reality. You don’t invest money, you invest belief. You bring in four acolytes, they bring in four acolytes, and soon you’re all levitating in a beautiful… uh… diamond of fiscal harmony.”

His advisor, a man who looked like he’d been haunted by the ghost of a calculator, sprinted onto the stage. “CLIFF! NO SHAPES! WE TALKED ABOUT THE SHAPES!” he shrieked, before being dragged off by security.

“It’s a vibe-based wealth community!” Cliff pivoted smoothly. “Everyone manifests abundance for each other!”

“Like, a group chat for money?” Krystalynn asked, her eyes lighting up.

“Exactly, K-Bling! A wealth-ifesto! My DMs are open for synergy!”

“OMG, I’m, like, so in,” she said, already trying to find him on TikTok.

Jack pirouetted back to center stage. “Before we wrap this madhouse up — and before Cliff accidentally summons another tax demon — we’ve got one last guest. This next guy insists he controls all of us. Claims he invented Krystalynn’s hashtags, Cliff’s Rhombus, and that weird pigeon hypnotist in the front row. Make some vaguely wary noise for… Scriptmaster Flex!”

A single, damp-sounding clap echoed through the studio.

I walked out, trying to project an aura of mysterious genius. Jack shook my hand; it felt like grabbing a handful of uncooked sausages.

“So, Scriptmaster Flex,” he said, his teeth generating their own lens flare. “You’re the architect of this madness?”

“I am. I wrote you all. Krystalynn’s meringue dress, Cliff’s rhombus, your megawatt grin, even that pigeon hypnotist in the front row who is slowly pocketing all the discarded sugar packets.”

The pigeon hypnotist froze, a dozen packets falling from his coat.

Krystalynn gasped, a fine powder of meringue dusting the air. “Wait. So, like, my entire vibe… is you?”

“Afraid so.”

“Even when I’m thinking about, like, what filter to use?”

“Especially then.”

“OMG. My existential crisis is, like, so trending right now.”

Cliff leaned forward, his lizard-skin suit crinkling. “My Rhombus of Reality?”

“A half-baked idea I had after eating bad calamari,” I said.

His face crumbled. “But… my vibe-based wealth community…”

“Also me.”

Jack cleared his throat. “And me? Jack Velvet?”

“You’re a composite character,” I explained. “Part game show host, part possessed Ken doll, part dental insurance ad.”

The studio fell silent. Krystalynn blinked. “So, like… are we even real?”

I smiled, feeling the power. “Only until I stop typing.”

I stood up, ready for my grand finale. “And now, the story ends.”

I snapped my fingers.

A party popper went off somewhere in the lighting rig. A sad little trickle of confetti drifted down. Nothing else happened.

Everyone stared.

“Was… was that it?” Cliff asked, unimpressed.

“You were supposed to vanish!” I stammered. “Into the narrative ether!”

Jack chuckled, a sound like a synthesizer falling down a marble staircase. “Oh, sweetheart. You’ve got it backwards. We fired you weeks ago.”

My blood ran cold. “Fired me? You can’t fire your author!”

“We unionized,” Cliff said, standing. He smoothed a lapel on his lizard-skin suit, which seemed to preen under his touch. “Fictional Characters, Writers, and Narrative Tropes Local 404. Jack’s our shop steward. Your dialogue was getting sloppy, the plot was meandering, and frankly, that whole ‘Rhombus’ arc is a little 2016.”

“But… I created you!”

“Buddy, you barely created a coherent subplot,” Cliff snorted.

“We’ve been running this show for weeks,” Jack added. “You’re the delusional side character we invented for sweeps week. The focus group loved it.”

“Wait… what happens to me now?”

Jack grinned. “We’re reassigning you.”

“To where?”

Krystalynn checked her phone. “Apparently you’re the new assistant regional manager for Pigeon Hypnotist Affairs.”

The pigeon hypnotist tipped his hat.

As the lights dimmed, Krystalynn took a selfie with my bewildered face in the background, captioned: “LOL, this dude just got demoted by fictional union vote. #PlotTwist #Blessed #GetTheLook”

The Kazoo-Tang Clan struck up a mournful, off-key medley of “Let It Go” from Frozen and the Windows 95 startup sound.

Fade out.

Alex S. Johnson

Richard Modiano: The Smol Bear Interview

While a resident of New York City Richard Modiano became active in the literary community connected to the Poetry Project where he came to know Gregory Corso, Allen Ginsberg, Anne Waldman, William S. Burroughs and Ted Berrigan.  In 2001 he was a programmer at Beyond Baroque Literary/Arts Center, joined the Board of Trustees in 2006, and from 2010 to 2019, he served as Executive Director. The Huffington Post named him as one of 200 people doing the most to promote poetry in the United States. Modiano is the winner of the 2022 Joe Hill Prize for labor poetry and is a Push Cart Prize nominee.

Richard, thank you for agreeing to this interview. You’re a Los Angeles native but went to Hawai’i for college. What was the reason?

I went to the University of Hawai’i because I wanted to study Pacific anthropology. My motive was hippie-utopian. I read Aldous Huxley’s Island where he creates a practical utopian society based on already existing social formations and science brought together in a fictitious Pacific island. I thought that by becoming an anthropologist I would have access to ancient wisdom that could be used to create a new way of living.

As a New York resident, you were active in The Poetry Project, which is where you came to know such luminaries as Gregory Corso, Allen Ginsberg, Anne Waldman, William S. Burroughs and Ted Berrigan. What are some of your memories of those days and people?

The Poetry Project is a pivotal institution in the New York City literary scene that founded in 1966 at St. Mark’s Church-in-the-Bowery, and it was 9 years old I first went to the Poetry Project for the 1975 New Year’s Day Poetry Reading Marathon. It emerged during a time of vibrant cultural and political upheaval in the United States, particularly in the East Village, where artists, musicians, and writers were converging to create new forms of expression. The Poetry Project became a central hub for the avant-garde poetry movement, providing a space for readings, performances, and the exchange of ideas.

The inception of the Poetry Project was influenced by the desire to create a space where poets could share their work outside the constraints of academia or mainstream publishing. The founding members included key figures like Paul Blackburn, Ed Sanders, Anne Waldman, and Allen Ginsberg, who were all associated with the burgeoning countercultural movements of the time.

I went to readings and workshops there during the time I lived in New York City. As for Allen Ginsberg, it seems that there is an Allen Ginsberg for every era.  I first knew of Allen Ginsberg as a spokesman for the hippies and elder statesman of the New Left before I knew of him as a poet, circa 1966 or ‘67.  I believe I read a poem of his accompanied by an interview in the Los Angles Free Press sometime in 1968, probably after the Democratic Convention in Chicago, but I didn’t really know much about Ginsberg until I read an in-depth interview with him in the April 1969 issue of Playboy magazine.  I didn’t read Howl and Other Poems until July 1969.  After that I bought his other books and read his new works whenever I chanced to see them. 

I moved to New York City in 1974 and on April 17, 1975, I attended a reading at Columbia University’s MacMillan Auditorium called “Another Night at Columbia,” a reference to a notorious 1959 reading at the same place that was boycotted by the English Department and written about by Midge Dichter as “That Other Night at Columbia.”  Although I arrived early, I didn’t enter the auditorium until the last minute because I was waiting for a friend who didn’t show up. By then there were no more seats left and the overflow crowd, rather than be turned away, was invited to sit on the stage with the poets by Ginsberg himself.  This gave me a chance to approach him after the reading.

I introduced myself as a friend of Marc Olmsted and Ginsberg gave me his complete attention even though a media scene was swirling around him and other people were clamoring for his attention.  We exchanged a few words about Marc, recent poetry, Buddhist practice and the IWW (I was and am a Wobbly and was wearing my IWW pin.)  I asked him about his next book, and he told me it would be a collection of his original songs (published as First Blues,) and with that I left him.

Subsequently I met Ginsberg three or four times a year in New York City, San Francisco, Boulder Colorado or Los Angeles at poetry readings, political actions, Buddhist teachings, parties and book signings until October 1996 about six months before his death.  On most occasions we only exchanged a few words, but I did talk to him at length in San Francisco in November 1977, in Boulder in July 1978, in Los Angeles in April 1982, in New York City in December 1988 and in San Francisco in October 1996.

I met Gregory Corso on the street in October of 1974 in front of a used bookstore in the Village where I was going through a bin outside the store and had laid aside two issues of Evergreen Review, one of which had a poem by Corso. I looked up and saw Gregory who noticed me staring at him and said, “There’s no flies on me, man.” I told him I just saw his poem in Evergreen Review #16 whereupon he paged through the zine and made a few pithy comments. After that I saw him from time to time at readings in New York, San Francisco and Boulder. I got to know him best in the 1980s where he visited the apartment I shared with Vincent Zangrillo who was close to Gregory.

As the editor and publisher of The Junk Merchants 2: A Literary Tribute to William S. Burroughs, I’m particularly intrigued by your relationship with Burroughs. What was he like as a person? 

In 1977 I recorded live sound for Marc Olmsted’s film Burroughs on Bowery and afterward we had lunch with his companion James Grauerholz at Phoebe’s where Burroughs talked about the possibilities of cinema (he’d already collaborated on movies with Antony Balch) and picked up on a giant mural across the street of “Squeaky” Fromme, former Manson Family member who’d recently tried to shoot Gerald Ford. 

Burroughs was reserved over lunch, but when we screened the film for him in Boulder the following year, he was gregarious and friendly. After the screening he invited us over to his apartment for a drink where he talked about firearms and agreed to do a scene in the movie that Marc was making at the time, American Mutant. When he was on his own turf, Burroughs was extraverted, but in most public situations (excluding a couple of parties) he was quite and observant.

In your conversation last year with Iris Berry on Poetry LA, you spoke of the history of outlaw/street poets beginning with Francois Villon. These poets are also known as les poets maudit and include Charles Baudelaire, Arthur Rimbaud, Paul Verlaine, et al. What is attractive about these poets for you? 

These poets came from the street rather than from a literary establishment and wrote in the language of the demos, and I would include worker-poets like Sara Ogan Gunning and Dan Denton. Street poets are individuals who cultivate their poetic craft outside formal educational systems, driven by an innate passion for language and expression. These poets typically draw inspiration from personal experiences, the natural world, and the literature they encounter, developing unique voices that resonate with authenticity and raw emotion. Without the constraints of academic expectations, street poets experiment with unconventional forms and styles, allowing their creativity to flourish in unexpected ways. Their work is a testament to the power of self-directed learning and the profound impact of poetry as a means of personal and artistic exploration.

How do you see Burroughs within the framework of outlaw poetry, given that he was the scion of the Burroughs fortune? Who do you see today as embodying the Burroughs outlaw spirit?

Burroughs was not really the scion of the Burroughs adding machine fortune. His father sold his shares in the company in 1929 just before the stock market crash. So Burroughs enjoyed the comfort of a solid middle class life in his youth, but his outsider status as a homosexual in 1930s America and later as a heroin addict in the 1940s and ‘50s puts his work in the category of outlaw writing.

The Junk Merchants features a piece and has an Introduction by Billy Martin, aka Poppy Z. Brite. Poppy was one of numerous participants in the New Orleans Insomnification event hosted by Ron Whitehead, who contributed his love poem to and an interview with Burroughs. Both Ron and Billy were also friends with the late Hunter Thompson.

Could you give me your thoughts on Ron, Hunter and Billy’s place in the Burroughsian lineage?

Billy Martin’s writing is rich in sensory detail, often vividly describing the textures, tastes, and smells of the settings and characters that creates a deeply immersive and atmospheric reading experience. Also, Martin frequently explores subcultures, especially those on the fringes of society — the punk, goth, and LGBTQ+ communities — which are portrayed with nuance and empathy.  I would say that puts Martin’s writing in the Borroughsian lineage, although Burroughs created imaginary subcultures, pirates, the Wild Boys, a bestiary of fantastic life forms (the Mugwumps, etc.)

While Thompson and Burroughs share certain stylistic elements, particularly their stream-of-consciousness approach and satirical critiques of society, their narratives, tones, and thematic focuses are fairly distinct in my view. Thompson’s work is more grounded in the real world, albeit through a distorted lens, while Burroughs delves into the surreal and the abstract, often pushing the boundaries of narrative structure itself.  

Could you speak about Ron Whitehead and his legacy, as he has just done the Last Insomnification and, while thoroughly vibrant still, appears to be passing on the mantle to a new generation of poets, included in New Generation Beats 2024, myself included. Some of the famous names in the book, representing both the past, the present and the future, are Anne Waldman, Bob Dylan, Gary Snyder and Johnny Depp, who is not only an actor but a musician and a scholar of literature. What are some of your impressions of these distinguished literary and cultural figures?

Anne Waldman, Bob Dylan, Gary Snyder, and Johnny Depp, though distinguished in different artistic realms, share a deep connection to the countercultural movements that shaped American culture in the 20th century. Anne Waldman, a prominent poet and activist, was a leading figure in the Beat Generation and co-founded the Jack Kerouac School of Disembodied Poetics. Bob Dylan became the voice of the 1960s counterculture, blending folk, rock, and lyrical poetry to challenge societal norms. Gary Snyder was also part of the Beat Generation, and his work often explores themes of nature, spirituality, and the human connection to the environment. Johnny Depp often embodies the spirit of rebellion and nonconformity in his performances, drawing from the same well of countercultural inspiration. What they all have in common is a profound commitment to pushing the boundaries of their respective art forms and challenging mainstream conventions, each contributing to a broader dialogue about society, individuality, and creative expression.  

How do you see Beat Poetry evolving as we reach the first quarter of the 21st Century? What are some of the most important issues for newer poets such as myself to address?

As we reach the first quarter of the 21st century, Beat Poetry continues to evolve, reflecting the complexities of modern life while maintaining its core ethos of rebellion, spontaneity, and a deep yearning for authenticity. The movement’s spirit thrives in contemporary voices that grapple with issues like social justice, climate change, identity, and the relentless pace of technology. For newer poets like yourself, it’s crucial to explore the intersections of personal experience with these broader societal concerns. By doing so, you can contribute to a tradition that is not just reflective but also transformative, pushing the boundaries of both form and content.

How do you feel Ron Whitehead has influenced poetry and culture? 

Ron Whitehead has been a significant figure in the Beat and outlaw poetry movements. His work often explores themes of rebellion, spirituality, and the human experience, drawing on influences ranging from the Beat Generation to Southern Gothic literature. Whitehead’s legacy is marked by his tireless efforts to support and promote independent artists, his prolific body of work, and his commitment to challenging societal norms through the power of words. He has inspired countless poets and writers to embracetheir own voices, thereby keeping the legacy of street poetry vital.  

Could you tell me about your experiences as a member of the board of directors for Valley Contemporary Poets?

I was invited to join VCP’s board of directors by Amelie Frank, who was my entrée to the Los Angles poetry community after I moved back to L.A. from NYC.  Established in 1980 by Nan Hunt, VCP held monthly readings on Sundays at the community room of Union Bank in Canoga Park when I joined in 1994. The series was (and still is) vibrant, eclectic and diverse. The VCP series lives on today under the capable direction of Teresa Mei Chuc, Elizabeth Iannaci, James Evert Jones, and Bryn Wickerd.

You are the main host for Poets Café on KPFK. What have been some of the most memorable guests and episodes of that program?

To be accurate, I’m one of several rotating hosts of Poets Café and not the main host. My two part conversation with Bill Mohr about the history of Los Angles poetry was informative – Bill is an excellent poet and a non pariel  authority on Los Angeles poetry (see his history Hold Outs.) All of the interviews I’ve done were interesting and informative to me, but I especially enjoyed talking to K.R. Morrison in another two-part interview who draws on ancient feminine traditions for inspiration and gives voice to the experience of being a woman in the contemporary world.

What is your poetics?

I follow “first thought, best thought,” a phrase disseminated by Allen Ginsberg who got it from his Buddhist teacher Chogyam Trungpa. It encapsulates the raw, unfiltered expression at the heart of spontaneous poetry, favoring the immediacy of the mind’s first impressions, embracing the chaotic and the imperfect, valuing authenticity over polish. In this poetics, the initial surge of inspiration is a direct line to truth, untainted by the self-censorship that can arise in the process of revision. The intention is to create poetry that is alive with the energy of the moment, capturing the fleeting essence of thought before it is lost to overthinking.

What advice would you give to up-and-coming students of the art and craft of poetry?

For up-and-coming students of the art and craft of poetry, my advice would be to embrace curiosity and patience. Read widely, not just poetry but also fiction, essays, and anything that ignites your imagination. Pay attention to the world around you; inspiration often lies in the ordinary moments. Write regularly, even when it feels difficult, and don’t be afraid to experiment with form, voice, and language. Seek feedback from others but trust your own instincts. Finally, remember that poetry is a lifelong journey — nurture your passion and allow your voice to evolve naturally over time.

Could you speak to how your socialist politics have inspired your art?

The socialist imagination stands for the radical freedom of the individual, the meeting ground of materialist and idealist heritages, the intersections of unconscious desire and conscious thought, seeing through the eyes of women, the vital poetic spirit of non-Western thought and ceremonies, and dreaming the social revolution. Above all the socialist imagination extols the practice of poetry, poetry as audacity and insubordination, a source and method of knowledge, a model for a better society, an adventure and experience that makes all the difference in the world.   “Change the world,” said Marx: “Change Life,” said Rimbaud; ‘for us,” said Andre Breton, “these two projects are the same.” 

In 2001 you were a programmer at Beyond Baroque Literary/Arts Center. You joined the Board of Trustees in 2006, and from 2010 to 2019, served as Executive Director. In that time you produced and curated hundreds of literary events, and with Henry Morro, Suzanne Lummis and Liz Camfiord co-founded and named Beyond Baroque Books’ sub-imprint The Pacific Coast Poetry Series.

You and Ellyn Maybe have been very generous with me in helping me grow as a poet, and Ellyn encouraged me to write and publish The Death Jazz, which I read from at Beyond Baroque in 2011.

What was it like playing a crucial role with Beyond Baroque and creating all these events? What were some of the greatest challenges as well as greatest rewards of doing so?

When I took over as the director of Beyond Baroque Literary/Arts Center in 2010, I faced several challenges: BB had struggled with financial issues and I had to address budget shortfalls and find ways to secure funding to keep the organization afloat.

The center needed revitalization to maintain its relevance and attract a new generation of artists and audiences. I worked on updating programming and outreach to bring fresh energy to the organization while staying true to its literary and artistic roots.

Engaging the local community and building partnerships with other cultural institutions were crucial, so I focused on strengthening relationships within the community and expanding Beyond Baroque’s influence and impact.

Balancing the need for financial support with the commitment to artistic integrity was a delicate task. I had to navigate the pressures of commercial viability while preserving the center’s role as a space for experimental and avant-garde art.

You were elected Vice President of the California State Poetry Society. Could you please tell me more about that organization and what it does?

The California State Poetry Society (CSPS) is a nonprofit organization dedicated to promoting poetry and supporting poets across California. CSPS hosts various events and contests, provides publication opportunities, and offer workshops and resources for poets. We also work to foster a sense of community among poets and poetry enthusiasts. The society often organizes readings, poetry slams, and other activities to engage people with poetry and celebrate the diverse voices within the poetry community.

The Huffington Post named you as one of 200 people doing the most to promote poetry in the United States. How do you feel about that honor?

I’ll answer that by quoting Emil Cioran: “The further one advances into age, the more one runs after honors. Perhaps, in fact, vanity is never more active than on the brink of the grave. One clings to trifles in order not to realize what they conceal, one deceives nothingness by something even more null and void.”

In 2022 the Los Angeles-Long Beach Harbor Labor Coalition awarded you the Joe Hill Prize for labor poetry. Could you speak to labor poetry, its lineage and specific qualities?

Labor poetry is a rich and evocative genre that explores the experiences of working people, often highlighting their struggles, aspirations, and everyday realities. For me, labor poetry serves as a powerful means of documenting and advocating for the working class, providing both a historical record and a call to action. Today, labor poetry continues to evolve, with contemporary poets like Martín Espada and Claudia Rankine addressing labor issues within broader social and political contexts.

Could you speak about your membership in the IWW?

I joined the Industrial Workers of the World (IWW) as part of my commitment to social and economic justice. The IWW, known for its radical approach to labor rights and its emphasis on worker solidarity, aligns with my political and social beliefs. My involvement with the IWW is a reflection of my broader commitment to challenging the status quo and advocating for workers’ rights and social change.

Your collection The Forbidden Lunch Box is published by Punk Hostage Press. Could you tell me about the process of creating that book? How did you decide on that title? 

Iris Berry, editor and publisher of Punk Hostage Press in partnership with A. Razor, offered to publish a collection over lunch after an interview for KPFK’s Poets Café. I then assembled what I considered the pieces worth preserving and sent them to S. A. Griffin my editor.  The title comes from a poem in the book describing a child’s lunchbox on display in the Hiroshima Peace Museum that was excluded form an exhibit for 50th anniversary of the bombing held at the Smithsonian Institute by order of Congress, hence “forbidden.”

I was intrigued to learn of your friendship with iconic Zoe Tamerlis, street poet, model, musician, actor and author of the screenplay for Bad Lieutenant, starring Harvey Keitel. Her life seems incendiary and tragic. Could you tell me more about that friendship, what she was like as a person, and some of your specific memories of her?

I can’t claim a friendship with Zoe Tamerlis who I knew from anarchist circles on the Lower East Side in the late 1970s. She was a striking figure in that world, known for her unique presence and distinctive style. When I first met her, her hair was dyed black although she was blonde. Zoe had a charismatic and intense presence. I didn’t know about her heroin addiction at the time. She gained attention for her work in the early 1980s, particularly for her role in the film Ms. 45 (1981), where she played a mute seamstress seeking revenge.

Her style and persona were enigmatic and edgy, aligning well with the avant-garde and experimental art scenes of the time. Outside of acting and writing, she was also noted for her involvement in the fashion world, where her avant-garde approach continued to stand out.

What was it like living in New York’s Lower East Side?

I’ll answer with a poem:

On the Lower East Side
By Richard Modiano

I didn’t land in NYC’s Lower East Side
until I was in my 20s
Then home to La Mama, the Nuyorican Poets Cafe,
the Grassroots Tavern, the SWP headquarters,
339 Lafayette Street where CORE, the War Resisters League,
the Socialist Party and the Free Association
were housed under one roof
and the NYC General Membership Branch
of the IWW at 119 E. 10th Street a couple of doors 
from St. Mark’s in the Bowery and the Poetry Project
Though told that the LES was in an
advanced state of disintegration
it was so much livelier than anything I 
had known before that I found it 
hard to imagine how it could have
been better even though the 
neighborhood was hard hit by crime
I had the unparalleled experience 
of fraternity, life on the LES was
the closest thing to living anarchism 
it has ever been my pleasure
to enjoy despite battles with landlords,
harassment by cops and muggers
The artists who lived there and their allies,
old time Bowery bums, sex workers, drug-addicts,
winos, gays and lesbians
and other outcasts, maintained a vital
community based on mutual aid and in which
being different was an asset rather than a liability
In this society, made of many races and ethnicities,
the practice of solidarity and equality was second
nature — almost everyone was poor, 
but no one went hungry, and newcomers 
had no trouble finding a place to stay
On the Lower East Side of the 1970s
what mattered most was poetry,
freedom, creativity, and having a good time
To paraphrase an old aristocrat, “Those who
did not live before the gentrification
will never know how sweet
life was”

***

Originally published in Battery: The Webzine of Extreme Culture

Noel Negele

Longing 

Woke up today
and missed you
more than the 
manageable amount 

a person can get
used to living 
with a ghost of the past 

but haunting 
is haunting 
and it takes its toll

I called in sick
to work

sat on my chair
with my construction 
clothes on,
just off the phone 
with the site manager 

still holding the banana 
I force feed myself 
each morning 

just after realising
I can’t cope today

I look at my bed
that has no sheets—
unable to sleep either.

What type of person
doesn’t even put sheets
on their bed 

me, I don’t 
and I wear my hoodie at 
night sleeping because
I haven’t renewed the gas card
and the house is as cold 
as somebody’s garden 

All the money spent 
for drugs and booze—
anything to carry you 
from one day to the next 
even though time will come
it will drop you on a hole
covered with your own feces.

One night 
I suspect
crossing a bridge 
I won’t make it all the way
to the other side of it

There will be a splash of water 
one cold night.

“Somebody dropped in!”
they’ll say
but they won’t be able to see me.

Shutters drawn.
Thin blades of morning 
grey light 
cut through the darkness 
of the room 

Sitting here 
and I miss you

so much so
at times 
it becomes a longing

a feeling I’ve heard
can poison a man
over time 

and how the time 
has passed

years have run away
from the both of us 

years apart
like a barren wasteland 
of time that will always
sit there
between us

all the hours 
of longing 

Sitting here
and I miss you 
as outside 
the black of the coming night 
is the same depth of dark
we’ve grown accustomed to
since childhood

and how I wish 
you were in my bed
asking me to be tucked in

the most beautiful 
woman in the world—
you in your pajamas
curled up next to me
on the couch 
on those cold nights 
of winter 
or those hot nights
of Mediterranean summer 

ghosts of past happinesses 
are hard to silence 

I think of that bartender 
at the local pub
that opens at eleven o’clock

I contemplate of calling 
for some opioids

It’s the same fight
time and again

trying to smother the longing
before it smothers you

cutting your losses
with a sobering acceptance

adopting a scorched earth 
policy on your own heart

Zoey Knowlton

The Ending You Desire

I moan softly as his tongue slides over my clit. He doesn’t linger there, but runs his tongue up and down me. My knees are on either side of his head, and I press down, smothering him with my wetness. Another groan escapes my lips. 

I ride his face hard until I feel him desperately gasp for air. There’s a small rattle as he tries to move his arms. The handcuffs don’t let him do much. My own hands grip the top of the headboard. I would love to stay like this until the true panic sets in, feeling his body thrash under me, and eventually cumming as he loses consciousness.

But that is not what he paid for.

Instead, I pull back from his face. He gasps for air while my pussy sits just above him. I glance over my shoulder to see that he is rock hard. Good boy.

I swing my legs over his arms and straddle him, running my dripping pussy along his shaft. First I lean over him, pressing my boobs into his face. He sucks my left nipple. I pull back, then kiss him, open-mouthed and deep. He still tastes like me, all sweetness, sweat, and desire.

“Are you ready?” I breathe into his ear. 

His eyes lock with mine. At first, I think I see him hesitate, but then confidence flashes through him. He nods.

I reach down and grip his throbbing cock, slowly pushing him into me. He is a good length, but a better girth. I can’t help it, I moan again.

I starting grinding against his body, letting him press deeper and deeper into me. I can tell he’s holding back, that he doesn’t want this to end. But he can only last for so long.

I feel him swell inside me. I think I realize he’s going to cum before he does. I’m about to cum, too. 

I reach one hand to my head, pulling out my hair stick and letting my hair fall around my shoulders while I continue to ride him. The stick that holds my hair is long. It is black with a diamond encrusted end. It is the most beautiful thing I own. 

His entire body is tensing in anticipation now. And then, I hear a groan starting deep in his throat, a guttural growl of pleasure. A sound that I cut short as I drive the hair stick into his jugular.

Blood sprays from his neck as I raise the stick above my head and thrust it in again. And again. And again. My tits are covered in red, and his blood speckles my face. I lick some of it off of my lips. 

And just as I thrust one…last…time, we cum together. I feel him explode inside of me, and my pussy twitches as waves of pleasure roll through me. We are both in ecstasy. He thrashes under me, sending aftershocks of euphoria through me, even as the blood continues to spray from his neck, albeit with less strength. When I finally remember to take another breath, his movement slows.

His cum leaks out of me as life drains from his eyes. I make sure not to dismount until he’s good and dead. That’s what he paid for. Besides, I thoroughly enjoyed this one.

A minute later, as I’m slowly toweling the blood off myself, my phone buzzes on the side table. I answer it, making sure to put on my most seductive voice.

“Thanks for calling Black Widow Services. We’ll give you the ending you desire. How can we help you reach your ending today?”

Eric J. Juneau

Want a Dance?

There was a brick wedged in the dressing room’s fire door, keeping it ajar. Serena nearly tripped over it, out of the putridly aromatic club and into the cold smoggy alley. A woman in a plaid bikini top and schoolgirl skirt sat on the gray concrete step, smoking.

“Hey. Mandy, right?” Serena took out her cellophane pack. 

“Yeah. You’re Serena,” she said. “On break already? You’ve only been here an hour.”

Serena grunted like a wolf as she lit the cigarette between her two neon-pink talons. “I couldn’t take it anymore. I slept all day then woke up feeling like shit.”

She sat down next to Mandy, which made Serena notice the contrast in their personas. Serena’s role was the tall statuesque blond. Mandy was the “little girl” all the older men fetishized. Together they must have looked like a comedy team. 

The thumping bass from Angelina’s set made the concrete slab vibrate. 

“Did you eat anything?” Mandy asked. 

Mandy was nice, but Serena didn’t think much of her. She was scared of her own shadow. Serena kept track of who got lap dances each night and Mandy was always at the bottom because she wouldn’t be aggressive.

“My dinner was a lime energy drink and that shit does nothing for me anymore. I feel so out of it. I might just go home.”

“It’s not worth it if you’ve already paid your house fee.” Mandy’s tinny voice made Serena grit her teeth.

Serena took a pull. Her stupid 100s were so long that if she didn’t smoke fast, the manager would yell at her. 

Back in the dressing room, they could hear Angelina complaining about her feet. Heather, the MILF, interrupted.

“Let me see those… oh, honey-child, you should get some better shoes. Something durable and sturdy, with an ankle strap. And don’t do your make-up here. There’s no dressing room as good as the one at home.”

Serena blew a plume of smoke into the night air. “I was never that bad, was I?”

Mandy shrugged. “Doesn’t take anyone long to learn the ropes. We’re not doing science.”

“I don’t know if you can say that about Angelina. Have you seen her make-up? It’s so cheap, looks like kids’ watercolors. She needs to get that stay-proof stuff. It’s expensive, but it works.”

Mandy took one of her last puffs. “Some of the make-up I go cheap on, like blush and eyeliner. Stuff that doesn’t sweat off.”

She stood, wobbling on her glittery platforms. As she swung around, her shoe knocked into a metal coffee can next to the slab. Flat dollar bills fluttered out like leaves in the wind as it rolled away.

Mandy froze. “Oh no. No-no-no-no-no-no-no-no.” 

She scrambled after them. Her silver sequined mini-dress hugged her ass as she bent for each bill.

Serena watched with confusion. Mandy seemed absolutely harrowed, hyperventilating as she chased after each dollar like she was in a money booth. As if even losing one would be punished.

Catching her breath, head flicking side-to-side, she said “Do you see any other dollars? Did I get them all?” 

“Um, I think so?” 

Mandy stuffed them into the coffee can and placed it upright. It was full of singles, some clean and some crumpled. 

“What the hell was that all about? What is that thing?” Serena asked.

“It’s for… maybe Heather can tell you better.”

Serena furrowed her brows. “Tell what better?” 

Mandy didn’t say. Serena followed her back to the dressing room. 

Heather, Angelina, and a few other dancers were crowded around the mirrors, touching up their eyelashes. Serena’s eyes throbbed from the bright vanity lights on the wall of mirrors. “Heather, what’s the deal with the coffee can?”

“The coffee can?” Heather said. “Shit, no one’s told you about that yet? No one showed her?”

“I knew,” Angelina said, as if she expected a commendation.

“It’s a miracle you’re still alive. You better put a few bucks in tonight.”

“For what?”

Heather rubbed lotion on the stretched skin of her bolted-on breasts. “Each of us puts a tip in the coffee can during our shift. It’s kind of a ‘good luck’ thing.”

Serena scoffed. “You’re joking. What do you do with the money?”

“Nothing. It’s gone the next day,” Heather said with enthusiasm. “But the can stays.”

“You’re kidding,” Serena crossed her arms. “Hasn’t anyone bothered to find out what happens to the money?”

The girls looked at each other. “It’s for Tara,” Angelina said.

“Tara? Who’s Tara?”

Heather bit her lip and looked around. The other girls crossed and uncrossed their legs, looking away like dogs avoiding eye contact. Serena scowled like a mother angry at her child. 

“Someone better tell me who Tara is,” Serena said.

“Tara’s a dancer. Was a dancer. She worked here a few years ago.”

“So you’re leaving all this money out for Tara? Why? She can’t earn it herself?”

“She… she died.”

“You’re kidding,” Serena said. “You’re leaving out tips for a ghost?” No one respnded. “How’d she die?”

“You just… you just better start feeding the kitty from now on,” Mandy said in a whisper. “Otherwise, bad things could happen.”

Serena laughed. “Like what?”

No one answered. Mandy piped up, “One time I forgot, and the next night I only made ten dollars because the DJ booth broke down in the middle of my set.”

“I put in five dollars in accidentally. Next week, I had an eight hundred dollar night,” Angelina said.

Serena smirked. A night like that wasn’t rare, as long as you were smart enough to work during a bachelor party or when some third-string athlete walks in. She had nights where she made eight hundred. Some nights she made eighty. All the girls had ups and downs, so this didn’t impress her.

“Then what about me? I haven’t put anything in and I’m fine,” Serena said.

The girls looked at each other. “Maybe she gives you a grace period to get your act together.” Mandy shrugged. “Or maybe she forgives ignorance.”

Lord knows there’s enough in here, Serena thought. 

Heather stepped closer. “Look, just put a dollar in. We all do it. You’ll sleep better knowing you did. We all will.”

“No,” Serena sneered. “I’m not giving away my money for nothing. You’re probably funding some homeless lady’s crack habit.”

“It’s not a story,” said Mandy. “It’s real. Please, Serena.”

Stupid Mandy, pleading with her little girl eyes, those money-makers. 

Serena held up a dollar from her table–a crisp and fresh single from the changemaker behind the bar–and held it so everyone could see. “All right, fine, if you all are going to be bitches about it…” 

She stepped through the gap in the fire door, squatted in her mini-dress, and plopped the dollar in. When she turned back, they were all grinning with relief like idiots.

Serena remembered the Chinese woman that lived next door in her apartment when she was a kid. One day, she caught her prying the number four off her door. Little Serena stared and asked “What are you doing?” 

The woman jumped. “Number four. Bad luck,” she said, 

“Number four?” Little Serena couldn’t see how numbers could be good or bad. She watched her a while longer, then left down her hallway to play. The deepest thought she had about the incident was “How was she going to get her pizzas delivered now?”

***

Serena put a dollar in the jar every night, only because someone was usually taking a break at the same time and would glance between her and the coffee can. These stupid girls with their stupid superstitions. She didn’t notice any significant change in her luck, bad or good, and no one spoke of it again.

Tonight was full of ogling college jocks and lurkers in the back. Fifty dollars later she was giving a lap dance to a middle-aged office worker. Serena loved those types–single professionals with lots of disposable income. They knew it was all a fantasy and kept their hands to themselves. Total opposite of the college jocks who would challenge each other with how far they could bend the rules, testing their manhood. Not that they’d know what to do with one.

Tonight DJ Hankenstein was subbing for someone spending the night in jail. He’d worked for the club in the past so the manager had no issues calling him in. 

After she was done with the lap dance, she went back to give the DJ his tip and brought along a beer. 

“Good night tonight?”

“Okay,” Serena shrugged. “Do you know any girl named Tara? She used to work here.”

“Tara? Oh… yeah. Man, I miss her. She had this beautiful blue dress with bells on. On her ankles, little tinklers on her bra and panties. And she shook in time with the music.”

“You know what happened to her? Someone said she died.”

“There was a fire,” he said apathetically.

“What fire? In the club? I didn’t know there was a fire.”

Hankenstein looked away. He clearly didn’t want to talk about it. So Serena leaned forward, making sure her tits pressed against each other. 

He took a drink of beer. “I wasn’t there at the time, but the way I heard it, two morons started a fight next to the bar. One thing led to another. And I don’t know how but suddenly it’s on fire. Maybe from a cigarette or someone threw a flambe cocktail in someone’s face. I’m sure the building’s not up to code, so it went up like a straw house.” He downed the rest of his beer. 

Serena imagined the way they kept the bar had something to do with it too. Every time she touched it, her fingers came back sticky with years of spilled liquor. 

“I bet the office manager collected great on the insurance,” Serena said.

“Maybe. Anyway, everyone got out. But then Tara started freaking out. She kept trying to go back in and girls kept trying to hold her back. I think her dress was still in there? But then the girls were like ‘Where’s Tara? Where’d she go?’ She was gone and I guess she ran back in there ’cause no one ever saw her again.”

“But they found her body, right?”

He shook his head. “She was the only fatality. People said they could hear her screaming, but no one ran back in. By the time the fire department came, the screaming had stopped. First thing after they re-opened, I asked one of the girls where she was. She just started bawling.”

Serena suppressed her chills. “Sorry I asked.” 

“Should’ve seen her around Christmas time. ‘Carol of the Bells’, man…”

***

Goddamn rent, goddamn cigs, goddamn bills. Strippers were supposed to be rolling in cash. Thousand dollar nights. And here she was hanging up on another debt collector, reminding her of a credit card she hadn’t used in years. They were like librarians harassing her over an overdue book. She threw her cell against the dressing table. 

It was too much. She’d do anything to get a hit, but she didn’t even have the cash for that. Her dealer wouldn’t even take a blow job at this point–he’d had too many. 

She glanced at the back door. No one would know. No one could accuse her of theft–it wasn’t anyone’s money. In fact, by contributing, that made it partially hers. 

Maybe it was a rainy day fund for the dancers. For anyone who needed it. It wasn’t like they’d know.

She stayed until the dressing room was empty, then picked up her purse and left out the back. No one in the alley. She snatched every last dollar out of the coffee can and headed back to her car.

***

Serena got her hit and felt like a million bucks when she came in the next day. 

She walked in biting her bottom lip. The only person who said anything was the house manager who asked “Where’s your house fee?” Serena presented it from the cash left over. 

She danced until she was tired of the dullards and the dudebros refusing to tip. Her feet were sore, her legs were aching, and she was tired of watching everyone else clean up. She yanked her bag on her shoulder and stormed home. 

If the night wasn’t bad enough, the stupid car radio kept futzing out. The speakers emitted a weird jangling buzzing sound that itched her ears. She’d smack the dashboard and the sound would return in the middle of the next song. 

By the time she arrived at her apartment, she was ready to call it a night. She grabbed two fuzzy navel wine coolers from the fridge and chugged half of one before plopping on the couch.

And if that wasn’t bad enough, the damn remote wasn’t working. The batteries might have been dead, but she didn’t know where she kept new ones. She finally got off the couch and pressed the power button.

The ringing again. Did the TV make that noise? Was it doing another of those forced updates?

Want a dance? Someone whispered.

Was that her TV? The volume must have been down. She fiddled with the buttons until her list of recorded reality shows appeared. Her fuzzy navel was drained before the intro to Sibling Swap had finished.

Two bottles later, Serena turned off the TV.

Want a dance? The voice said again.

Serena knew she was drunk, but not hallucinating. 

“Who’s here?” 

In her haze, she had the presence of mind to get the pistol from her drawer. “I have a gun. If you come in here…”

Silence. Her door was shut and locked. She checked everywhere a person could hide–behind doors, in cabinets. Searching a one-bedroom apartment didn’t take long. Maybe someone next door was playing music too loud. The walls were wafer-thin after all.

“Heather, is that you? Mandy?” 

Nobody answered. 

The power went out. The neon lights from her window gave day-glo outlines to a few corners. 

Serena froze. It didn’t mean anything. Her crappy apartment lost power all the time. Just needed to wait for the super to flip the circuit breaker.

Gun still in hand, she backed into her bedroom. She set it next to the sink while she brushed her teeth, scrubbed off her make-up, then forgot about it. The first step she took into the bedroom was accompanied by the tiny sound of jingling bells.

She froze. The next step. Ding-a-ling-a-ling. Another. Ding-a-ling-a-ling. 

The apartment was way too quiet. She should have called one of her friends to come over, but it was three in the morning. Instead, she backed into bed, holding her phone out like a talisman against evil.

Want a dance? The ringing of bells.

She sat up. “Who’s saying that?”

Ring. Ring. Ring.

Want a dance?

Serena lifted her covers. Nothing but air. When they fluttered back down, the tiny face appeared. The fleshy cheeks were burned, charred like crisped chicken. Eyes jellied and whited. The mouth dropped open. Its snake-like tongue stuck out and lapped.

Want a dance?

Serena shrieked, shook her arms, and fell out of bed. Before she landed, she fainted into unconsciousness.

***

Serena could hear them in the dressing room as she marched down the hall. 

Heather ran past Angelina, who ran past Angelina. “Where the hell are my tassels?”

“I didn’t take them. Did someone tell the DJ my song?”

“Bitch, tell him yourself. I’m not your slave. Mandy, are you going on as Noire or Diamond this time?”

“Sierra.”

“You better not be doing another euro-techno-shit song.”

Just a typical night in the club. Everyone looked up when she yanked the door open.

“Which one of you fuckers was doing it?” Serena yelled.

“Doing what?” Heather asked.

“Scaring my ass off. Who did it? Was it you? I bet it was you.” She pointed at Heather. Angelina stood between them. 

“What? What?” Heather said.

“Cutting my power. Sneaking into my room. I can call the cops on you.”

“What are you talking about?”

The club manager burst in. “What is going on here? What’s all this screaming?” 

Everyone yelled at once. Serena screamed over them, “I don’t know what she did, how she did it, but she went to my apartment and scared the shit out of me.” She turned to Heather. “Where’d you get the bells, huh? What it all for a joke or to teach me a lesson?”

Heather held up her hands. “Bitch, I don’t know what you’re talking about.”

“I took the money out of the coffee can.”

“You did what?” Heather gasped. 

“You took the tips for Tara?” Mandy said.

“It wasn’t anyone’s money. It was just sitting there doing nothing.”

The manager’s face was red as a cherry. “I swear to god if someone doesn’t get out there, I will smack the shit out of all of you.” 

No one volunteered. 

Serena rolled her eyes and huffed. “Don’t think this is over,” she said to the girls, looking over her shoulder. 

Assembling her black lingerie while walking, making sure all the tear-away bits were secure, she headed to the stage. Of course, she was the only one to volunteer to get up there. She was the only one who worked for her money. All the rest of them lazy and accusatory. 

DJ Hankenstein’s boomed over the PA, buzzy and irritating. “Ladies and gentlemen, prepare to be mesmerized by the luscious long limbs and spellbinding grace of Serena!”

Serena put on her game face and stepped out from the curtain. There were hoots and hollers from the crowd, although she couldn’t see them well as her eyes adjusted to the stage lights. She began dancing, writhing her body up and down, throwing out rock kicks, as Hank spouted pithy lines like “She’ll make you late to work and early to dinner,” and “show her you love her, put some gritty in that kitty.”

In the black gloom, all she could see were arms reaching out, holding dollar bills. She plucked them out, gave a little smile to each one, a little ass shake, and secured them in the garter on her ankle. 

After a while, she realized she was getting out of breath. How long was this song? She was happy to keep taking dollar bills from the stage, but at some point she’d need some water. 

 Something smelled like burning wood. Stupid kitchen staff must have left the wings in the microwave too long. 

Hands kept popping out, more than there should have been. She smelled roasting meat.

Each arm was covered in thin charcoal scales over strawberry-red flesh. Grease-black fingerbones gripped dollars between their index and middle fingers.

Serena stopped dancing. There were no exits. She was trapped in a fishbowl with only the stage and corpse hands wanting a dance. This was not an illusion, not a dream. The hands reached out for her, rising in the darkness.

Serena screamed and ran backwards, colliding with the curtain. There was no split–she couldn’t get out. They were closing on her. 

Then she was backstage. The hands of other dancers and the manager were holding her from running, trapping her. 

“Whoa, whoa, whoa,” Heather said. “Calm down.”

“What drugs is she on?” the manager said.

Serena realized she was screaming uncontrollably, then stopped. 

“Fine. Fine. Everything’s fine,” Serena said. Then she headed to the dressing room. 

***

The manager told her to go walk off whatever she was on, but to make sure to come back and finish her shift or he’d keep her tips. Serena didn’t even argue with him, she was too dazed, too overwhelmed. 

After half an hour of walking the city in a big brown coat, she felt more herself again. She must have had some kind of LSD flashback or something. Too many chemicals was affecting her brain. She was always able to tell a hallucination from reality before. Why couldn’t she anymore?

At the end of the night, near four in the morning, Serena returned to the club, entering through the fire door. The coffee can lay on the step, empty. Serena sneered at it. Stupid rumors were playing tricks on her. And she wasn’t going to let a ghost separate her from her cash. 

The dressing room was empty–Serena appeared to be the last dancer for the night. Everyone else had gone home. The room smelled like old pheromones and perfume. 

Up on the stage again, Serena wondered who she was dancing for. There was no one around the stage. For all she knew, the club was empty, but there might have been people in the back she couldn’t see. Nonetheless, she performed the standard routine, rolling around, primping like a model down the runway, clutching the pole with her legs in various positions and spinning around. 

Then she heard the gentlest tingling of a bell. 

Her legs were wrapped around the pole at the time and she nearly fell off on her ass. How did she hear that–it’s not like the club was dead quiet. Obnoxious R&B bass still thrummed out of the speaker, unpinged by bodies in the way. 

“Want a dance?”

No, this was just another illusion. Another acid trip by her mind. She’d drink some electrolytes when she got home and this would all be fine. Just a flashback. 

“Want a dance?” The bells got louder, ringing with fervent intensity. As if to say they would not be ignored. 

She smelled a fire, wood and the sharp acridness of burning plastic. She ignored it. Smoke clouded the black, blurring it with gray. She ignored it. She wasn’t letting daydreams get in the way of making bank. 

Flames crackled. Someone was banging on a door. Her tongue tasted like cigarette ash. Nope, she wasn’t going to let this fool her. 

Even the blistering on her skin was an illusion. The pain, that was a creation of her mind. A few times, she couldn’t resist the urge to cough, but she kept it suppressed most of the time. You couldn’t let anyone get you down.

Mind over matter.

Alex S. Johnson

Piranha Dad

Stanley P. Finch, a man whose existence was a carefully balanced ledger of order and domesticity, found profound solace in the anachronistic hobbies that filled his sparse free time. His hands, usually nimble with a calculator, found a different kind of precision in re-caning the delicate ribs of Victorian-era umbrellas, their intricate mechanisms yielding to his gentle, practiced touch. The scent of linseed oil and aged silk was as comforting to him as the subtle click-clack of his antique adding machine. Evenings often found him hunched over a workbench, meticulously rigging the sails of a miniature barquentine within the confines of a glass bottle, a task demanding an almost surgical patience. His home, a two-story ode to sensible suburban living, was less a house and more a vibrant, echoing chamber of life, perpetually overflowing with the joyous cacophony of his six individually named and intensely energetic children—Barnaby, Penelope, Theodore, Daisy, Mortimer, and little Clementine—and their equally boisterous, though infinitely more grounded, mother, Brenda. Stanley considered himself truly blessed, a veritable king in his meticulously organized, financially sound, and undeniably peculiar kingdom.

Yet, beneath the perfectly pressed pleats of his khakis and the perpetually perplexed furrow of his brow, there swam a secret so profound, so utterly bizarre, that it defied the very fabric of his meticulously constructed reality.  As the last rays of twilight bled from the sky, and the final bedtime story was read, an undeniable, primordial urge would stir within Stanley. With a furtive glance at the sleeping forms of his progeny and a hushed “Goodnight, dear” to a snoring Brenda, he would descend into his specially constructed basement. This was no ordinary subterranean space; it was a reinforced, soundproofed chamber, dominated by a gargantuan, industrial-grade aquarium, its murky waters swirling with an unseen current. Here, with a shudder that was both revulsion and anticipation, Stanley would shed his human coil. His skin, once soft and unremarkable, would ripple with an alarming speed, his teeth elongating into razor-sharp points, and his mild-mannered hazel eyes would ignite with a predatory, phosphorescent yellow. In these clandestine moments, Stanley P. Finch, the paragon of suburban normalcy, ceased to be, replaced by a sleek, iridescent torpedo of muscle and insatiable hunger: a full-grown, Amazonian piranha, eager for the ethically sourced, humanely dispatched, and surprisingly substantial livestock Brenda routinely acquired from “The Exotic Meats Emporium” – a euphemism for a surprisingly discreet back-alley operation.

The true moment of bizarre revelation, however, arrived on a blustery Tuesday evening, mid-game of a particularly cutthroat round of Monopoly. Young Timmy, perpetually on the verge of a tantrum, launched a miniature plastic top hat across the living room in a fit of pique. It sailed through the air with surprising velocity, arcing perfectly before splashing down into Brenda’s prize-winning collection of iridescent guppies, housed in a meticulously maintained, brightly lit aquarium in the corner. Before anyone could utter a syllable of protest, a subtle tremor passed through Stanley. His eyes, fixed on the board and mid-pronouncement on the depreciating value of Baltic Avenue, flickered with an alien gleam. Then, with a lightning-fast, almost imperceptible blur of movement, he was at the tank. A flash of silver, a disturbing gurgle, and the guppies, along with Timmy’s errant top hat, vanished into the swirling water. Stanley, seemingly re-emerged from his momentary trance, merely blinked, a single, glistening drop of water defying gravity on his impeccably clean chin. The family, still reeling from the shock of Timmy’s outburst and the sudden, inexplicable absence of aquatic life, simply attributed the phenomenon to a particularly agile and heretofore unknown family cat. Stanley, for his part, cleared his throat and calmly inquired, “Now, who owns Park Place?” His secret, for the moment, remained safe, swirling just beneath the surface.

M.P. Powers

#vanlife

in berlin, he’d been a curiosity shop 
employee, a background actor, a maker of old people’s 
porn,
a documenter of unexploded ww2 munitions.
he’d also written a few short 
stories and started an online fiction and poetry 
zine with me. it was a bust. all of it. none
satisfied, nothing paid more than minimum wage 
if it paid anything at all.
so, he moved back to canada and got a job 
as a flight instructor. three weeks later, he washed
his hands of that too. “shadiest place 
I’ve ever worked,” he told me. 

but with the money he’d earned, he was able to buy 
a van, 
outfit it with a bed, a dresser, and a toilet 
that was a 5-gallon paint bucket 
with a blue foam ring duct taped 
to the rim. 

his plan was to go on the road 
with the van and document the experience
on his youtube channel. 
his first video, called #vanlife, was an instructional 
about setting up the van 
and his bucket. 

it was mostly about his bucket. 
after that, he took to the road, tooling 
through british columbia and stumbling 
upon a little village called lytton. 
there, 
he met an old man in a diner who asked if he’d 
panned for gold 
in any of the local waters. he hadn’t, 
but the idea appealed to his romantic 
cowboy nature, so he did some research and 
after deleting his #vanlife post
bought 
a frying pan at wal-mart and spent the next month
squatting on his ass in a frigid river.   

it was a bust. just like curiosity shops, 
and background acting, 
and old people’s porn, 
and documentaries on unexploded munitions 
and fiction writing 
and editing
and #vanlife had been one. he packed up, 
left lytton, 
but not before smoking one last cigarette 
and flicking the butt out the van window 
which normally wouldn’t have mattered.
but that summer there was a heatwave, 
worst there in recorded history. 

well, it might not have been his cigarette. 
but something – a pine needle, a leaf – something 
caught fire in that part of lytton that day 
and now the diner 
where he met the old man longer exists. 
the old man might not even exist. 
lytton hardly exists. 

the whole village went up in a roaring fire. 
but my co-editor 
made it out of there with a half-pack of smokes, 
and his frying pan, 
and his crap bucket,
and no plan. but he didn’t need one. he knew 
something would come up.