Joseph Farley

A Hard Night In East Texas

The sun had set hours earlier. Besides the stars, there wasn’t much light to see except for the high beams of an occasional long hauler.

A plume of dust rose above the highway. It mixed with clouds of dust already hovering in the sky.

A black Harley Davidson with tall wide handles and a long front end with extended forks.

Black leather boots with spurs, black leather jacket and matching pants, dark sunglasses, a handlebar mustache, thick muscles, a mean look.  You know the type.

A bandana covered the rider’s scalp, knotted in the back. It bore the colors of a flag. A rainbow flag.

This was not the kind of guy you wanted to mess with.

Not unless he wanted you to.

Near an empty crossroad the biker saw the light of a sign in the distance. It advertised a bar known in these parts for his kind of trouble. He revved the engine of his Harley and sped toward the sign.

He pulled into the lot of that bar, sitting by itself as it did in the middle of nowhere.  As he came to a stop, the steel door to the bar swung open. A guy walked out of the bar, stood at the edge of the parking lot, and fired up a smoke.

The man on the Harley turned off the engine and lowered the kickstand. He walked towards the door of the bar, his spurs jingling all the way. 

The man with the cigarette was watching him.

The biker walked up to the guy sucking on tobacco.

“Hey,” said the biker. “Is this a gay bar?”

“Hell no,” said the man with the cigarette between his lips. “There are no gay bars in East Texas.”

“Don’t lie to me boy. I heard rumors about this place. I’ve ridden a long way to get here.”

“There are no gay bars in East Texas! We are all real men. Tough as iron.”

“Fucking liar. I hate liars.”

The biker grabbed the smoker by his belt and his collar, and threw him through windshield of a van parked in the lot.

The smoker seemed dead for a moment, then he began to move. He didn’t look happy about his situation. He brushed the glass off of his face and body, ignoring gashes in his skin and long trickles of blood.

“Okay, maybe it is,” yelled the smoker. “You didn’t have to be a jerk about it.”

“Says who?”

“Says me,” said the smoker. He opened the van door and staggered out on to his feet. He straightened up to full height, glared at the biker, and added, “You want to make something of it?”

The biker looked at the smoker. He growled, “You hurt?”

“Hell no. This is nothing. I’ve had worse. Ever been tossed by a bull and trampled?”

“Not yet. Maybe I’ll give it a try while I’m out here.”

“Wrong season. You’ll need to come back in a few months. You can ride those coin operated bulls until then to get your ass in shape.”

“Funny. Go to the rest room and get cleaned up. Maybe I’ll buy you a beer.”

“You better make it two. And a chaser. I’ve earned it. Otherwise, I’ll kick your ass.”

The biker did not wait for the smoker. He opened the door of the bar and went in. A tall beefy bouncer slash doorman with a full beard looked him over.

The bouncer said, “There’s a ten dollar cover charge.”

“Do I get anything free with the charge?”

“You get to live.”

The biker took his wallet out of his pants. He pulled out a ten dollar bill before returning the wallet to his pocket. He rolled up the ten dollar bill, put it in his mouth like a cigarette, and pretended to smoke it. Then he ground it into outstretched palm of the bouncer/doorman.

The doorman laughed, “Nice one.”

The biker noticed cigarette burns on the bouncer slash doorman’s tattooed arms.

“I could give you the real deal later,” he said. “What time do you get off?”

The doorman gave the biker a gap toothed grin.

“Around two in the morning or there about. We aren’t strict about closing time. By the way, people around here call me Fucker. That’s short for Mother Fucker, on account of I fucked a lot of people’s mothers back when I was young and confused. Now I just fuck people up.”

“Well Fucker,” said the biker. “My friends call me Death And Then Some, shortened to Dee.”

“Nice to meet you Dee.’

“Likewise.”

“Have a good time while you are here,” Fucker said. “Don’t do anything that will make me have to mess you up.”

“Like you could do that.”

This statement made Fucker look back at Dee in a certain way that seemed to say, “Stick around and you’ll find out.”

Dee said, “Maybe I will see you at closing time. If I can stay that long.”

He started to pass by the doorman slash bouncer, but paused. He asked, “You got glory holes back there somewhere?”

“Can’t rightly say,” Fucker said. He pulled at his beard with one of his hands. “Might be some in the back, but they could just be rat holes or bullet holes. I don’t get back there much and don’t have much use for such things.”

“Well, I do. I’ll take a look.”

Dee went into the darkness beyond the second door. His eyes adjusted. He sat at the bar.

There was one bartender, old and fucking ugly. The bartender came over to where Dee had put down his ass.

“What’ll it be?”

“A Shirley Temple and a shot of vodka on the side.”

“Coming right up.”

Dee threw down the Shirley Temple in one gulp. He drank the vodka slowly. Very slowly. He didn’t have a lot of money on him. Only enough for a night out.

He listened to the music while he sat at the bar. Tex Mex. Honky Tonk. Old country. Some metal mixed in.

Dee waited to see if Mr. Smoker was going to take up his offer of liquid compensation.  He got tired of waiting. He didn’t see Mr. Smoker anywhere. He thought maybe the guy had decided to drive himself to a hospital. Dee wished Mr. Smoker luck with that. It was at least sixty miles to a hospital with a proper ER room. Dee doubted any of the pop-up private emergency care centers nearer than that would be open this late.  

He finished his vodka and put a tip on the bar. He felt it was a big one considering his current limited resources. 

Someone walked up behind him and stood there while he was still seated. Dee did not bother to turn and look.

“Hey,” said an angry voice, a voice with a taste of barbed wire in it. “Are you the asshole who threw some other asshole through the windshield of my van?”

“What if I was?”

“You are going to have to pay for that, clean up all that glass, and clean the damn blood off the seats.”

Dee decided to have a look. He turned and glared at Mr. Angry.

“Sorry about that,” Dee said. “Didn’t know it was your van. If I had known it was yours I’d have put you through that windshield first.”

The van guy wasn’t having any of this. He pulled a Bowie knife out of his fashionable shorts.

“You are definitely gonna pay now.”

A shot gun blast ended the argument. Dee nodded toward the bartender.

The old ugly bartender made his face even uglier.

“No fighting in my bar. This is my place. That’s my rule. There’s plenty of nothing around here where you can duke it out or stab and shoot each other. Comprende?”

Silence answered him.

Van guy was bleeding out fast. That old ugly bartender never fired warning shots.

“Carlos,” the bartender shouted. “Throw this bastard out in the garbage heap so the coyotes can get at him. I have no tolerance for low tippers.” 

The bartender eyed Dee. Dee quietly took out his wallet and added a few bills to the tip he had previously left.

Carlos came from the back. He grabbed Van Guy by the feet and started to drag him towards the door. Carlos had to stop when Van Guy’s right leg came off above the knee, right where that shotgun blast had hit him.

The old ugly bartender snarled, “Carlos. Be more careful with the trash. And make sure you mop the floor when you get back.

Carlos grumbled. He picked up he bottom portion of Van guy’s right leg, and shoved it up the man’s shirt. Then he took hold of Van Guy from behind, grabbing under his armpits, and dragged him out the door.

Dee asked the bartender, “Glory holes in the back?”

“Fuck you. You made enough mess of this place already. Glory hole? Find it yourself if there is one.”

Dee went to the back of the bar. A drawing on the wall next to the rest room showed a big cock and an arrow pointing toward a door.

Dee went through the door. It was the kitchen. Two guys were busy in the heat from open flames, whipping up french fries and haute cuisine. 

“Glory hole?” Dee asked.

One of the cooks pointed toward another door.  Dee stepped through the door. He was outside behind the bar. There was a dumpster to one side and a wooden fence on the other. The planks of the fence were six foot high. Some of the planks had holes in them at different heights. A few cocks were there, poking out of some of the holes, waiting in the open air, all firm and juicy.  

Dee headed towards where the cocks were. He ignored the flies and biting insects that formed clouds between the dumpster and the kitchen door. He reached the fence and got to work. Lips and tongue, teeth and gums. He did what he knew he could do. He sucked off all of them. Had a stomach full of jism to go with the grenadine and the vodka. He walked behind the fence. He waved to the tough guys who were zipping and leaving. He found an unattended hole and put his hard one through it. He waited near ten minutes before he got a bite. Man, he thought, this can be too much like fishing.

When he had been done, Dee went back into the bar through the kitchen. A drag performance on the small dance floor had just begun. One of the performers looked at him. She was tall and thick as a line backer under the blond wig, make up, and sequinned dress.  

“You!” the drag queen pointed a thick finger at Dee. “You fucking bastard. I told you I’d kill you if I ever saw you again.”

The old and ugly bartender shouted, “No fighting in the bar. How many people do I have to shoot before you all understand that!”

“Ok,” said Dee. “We can’t fight here. Where do you want to do it? Parking lot? Out in the desert?”

“I can’t do it tonight,” said the blond. “I have to do two shows tonight. Are you available tomorrow morning, say between ten and eleven?”

Dee checked his pocket calendar. It was full for the next day. Bank robbery was written in big letters across Wednesday.

“Can’t do tomorrow. How about Thursday? Or maybe Friday?”

“No, that’s not good for me. I have a hair appointment and a therapy session on Thursday. Friday I have choir practice in the afternoon. After that I have bowling league.”

“Damn,” Dee said. “That sucks. I’ve got plans for the weekend, and next week I will be out of the area.”

“Vacation?”

“Nah, supposed to help a guy I owe favor break out of a Mexican jail.”

The blond said, “Guess we’ll have to kill each other next time we run into each other.”

“Sorry,” Dee said. “But that’s how it’s going to have to be.”

“Well, give us a kiss before you go. For old times.”

“Sure what the hell.”

After a quick smooch with not enough tongue for his tastes, Dee headed toward the door. As he passed the bouncer slash doorman, Fucker said, “We still on for 2 AM?”

Dee tried to remember if he had made any firm promise. He wasn’t sure.

“I’ll try to come back for ya,” Dee told him. “If I’m not here then, we can do a rain check.”

“Okay,” said Fucker. “I’ll keep my fingers crossed.”

Death And Then Some got back on his chopper. He rode off into the night. He had a lot on his mind. For starters, where was that damn bank he was supposed to rob and who was in on it with him? He shook his head. His mind was sieve these days. It pissed him off. Getting old too fast. Made him angry. Still, he made a mental note to make some discreet calls on one of his burner phones when he got back to his place.

He stopped at a convenience store on the way to the town where he rented a room. He took a piss in the rest room. He saw the surveillance camera was disconnected. He took it as a sign. A sign saying, “Rob me.”

The night clerk was working alone. Dee killed him with his bare hands. A twist of the neck and a pop. Afterward he cut the man’s head off with a big knife that he found behind the counter. He tossed the head up on the roof for fun. 

He only got forty bucks, some snack cakes, and a couple six packs out of it. He couldn’t carry much more on his bike. Still, it was worth it. Made him feel young and evil again. Dee did not know how long he would still be able to get that kind of blast out of life anymore. He never told anyone his real age. It never helped as a pick up line. Time was ticking on him. He could feel it more and more each day. He needed to go for all the gusto he could while he still had the chance.

Anabela Machado

Offal

He mumbled strange words under his breath, a ritualistic torment. Her body, opened on the table, organs slipping out, falling on the tiled floor, white smeared with red blood. Iron in the air, a prophecy fulfilled. He opened her like a box, like a flower, like a curtain, the beginning of a fateful play. Violence pouring out of him, shaky limbs and wild eyes, violating her over and over again, inside and outside her body, made of nothing but desire. The taste of it all heavy on his tongue, the killing replaying in his head, dried throat, eager to drink in the misery, crimson blood no longer flowing through beautiful veins, under the perfect skin he found all his dreams, muscles and bones that could outlast his life. Undone girl, beloved flesh, the wonderful meal she was to become. Seared in a pan with butter, the taste of her, the feel of her, butchered. The fire inside him, the urge that beats with his heart, excitement like champagne bubbles. He wanted to live inside her, nestled under her ribs, organs pushed to the side, like her baby, her very own baby. He wanted to pull her skin on like a suit, darling flesh, its smell unforgettable, animal scent in her hair, between the strands, stringy and stained. Her skin, his skin, her mouth a black hole, better than any cheap Halloween mask. How nice, to keep her teeth in his pocket, white like marble, nicely shaped canines, unable to bite, to leave a mark on the leather of his skin. How nice to fuck her memory over and over again, brain matter all over the floor, useless, ugly, unimportant. How nice to put his hand inside her ribcage, the little bird, nice sweet bones, sharp like a weapon. How nice to rest his body on top of hers, head where a shoulder should be, sticky blood like honey, the smooth feeling of her organs, an appetizer. How nice to feel powerful, a man turned into a destroyer, monster eyes and monstrous desires. How nice to see as life slips away, empty eye sockets, hollow ground. How nice to be the one who chooses, who plucks someone from the street and cuts them apart, ordered by no one, a man working alone. How nice to feel the chains of prison, trapped beast, but still live in the minds of many, a snake making a nest inside society’s very own heart, power shown in the love letters, all the words saying the same thing…’please kill me, please take me apart, please break my skull, please eat my flesh, make me a part of you, let me love you, let me heal you, let me make you normal again, fuck you back into sanity, my murderous lover, show me I matter more than all the others, their blood under your tongue, their screams forever engraved in your memories, let me show you how much better I die, let me be your carrion, your star, let me have your baby, a little girl, special just for you, I’ll raise her, let her body be yours when the time is right, a little boy you’ll make into your mirror image, teach junior to kill, teach him how to seem harmless, the nice guy, the helper on the side of the road, give all of them a lift, poor girls, tie them up in the back of the car, he’ll hold them down for you, wait outside while you enjoy it, dig the grave so they won’t find the body again. Let me open my legs and my throat for you, the gush of blood your favorite thing, I’ll keep your basement of terrors clean, scrub the stains on my hands and knees, I’ll be the bait you need, the feminine presence that inspires trust, you can hit me hit me hit me and hurt me and hurt me.’ How nice to stick the notes on the gray walls, to wear a ring and to have the visits and their pretty woman hair and woman smells, to paint their faces blue and purple, to have their eyes on the outside, the photos they can take, the trust they give to those that don’t deserve it. How nice to kill them all in your dreams, to tell it to their faces and watch them eagerly drink it in. How nice to have the face of the perfect trickster, promising, a whole life ahead of you, to eat and to kill and to end. To live like an infection that never goes, the name said in the night, why they shouldn’t walk home alone, why alarm systems exist, the man with the knife, with the empty heart. How nice to do it over and over again, and still be considered beautiful.

Alex S. Johnson 

Kandy Fontaine: Slutty Cenobite Detective

Kandy Fontaine was chilling with a vape and doomscrolling on the ‘net when she caught the flicker of something forbidden on her screen.

Specifically, a text message which appeared to have leaked through from her Onion subrouter she used to access the dark web.

“Time to play?” read the text.

“Positively,” typed back Detective Fontaine.

The texts came fast and furious then: an invitation to the dance. Demons or angels, depending. The box. It floated six inches in front of her laptop screen, made of interlocking nodes of data that glowed a phosphorescent green. Inside lurked bondaged creatures, hotties, coolies, lukewarms, all from another, grim dimension, all promising pleasures and terrors and soul-shredding beyond the furthest reaches of even her, admittedly depraved, imagination.

Soon they stood in front of her. The legends, the one they called The Engineer, the Chatterer, all the archetypal crew. 

“Your suffering will be legen-” began the one known as the Hellpriest.

Kandy put up a black leather gloved hand. “Got it. Even in hell, legendary, my suffering. Make it so. I’m game. Rip me multiple holes, fold them back, fuck them, smear me across many dimensions, shred my pussy, bind and flay and gag me, do watcha do. I’m game, I’m hip, and wet af.”

“No, seriously,” said the dark lord, known to Fandom–and later, in THE SCARLET GOSPELS-as Pinhead, for obvious reasons. 

“Seriously?”

“Seriously, we will fucking TEAR YOUR SOUL APART.”

“I like what we’re saying here,” said Detective Fontaine, pulling aside her soaked panties so the Hellpriest could espy her glistening labia. “I want you to. Do the thing. For sport. Send me to Hell. Do your worst.”

“Wait,” said the Hellpriest. He consulted with one of his lieutenants in soft, androgynous syllables. Then: “how did you access us without the Lament Configuration?”

“Wait-I thought I did,” said Kandy. “Maybe you could ask an admin. Do you have those…where you are?”

“No admins, please, it’s…too mundane.” But Kandy could tell his heart wasn’t in it.

“So, you’re confused, I don’t give a fuck, just bend me over and give me a proper hell-rogering. So fucking wet, muh dude. Ready to be thoroughly soul-ripped. Hang me up like a side of meat. Do the needful.”

The Hellpriest coughed. “Actually, do you think we might take a rain check, or just…not?” Kandy’s greed for torture was obviously freaking him out.

“Well…what? Do you want ME to do EVERYTHING?”

“What do you mean?”

“I mean…well, why don’t I just show you…such sights.” And with those words, Kandy’s skin flowed with glowing grid lines that intersected at discrete intervals where nails had been driven. Soon every inch of her flesh had been thoroughly worked over, and she looked like a lab experiment gone terribly wrong, all glistening red muscle meat and no lips. 

“Fuck me you’re weird!” said Pinhead. “Ok so look, and this is…completely unprecedented, but…we’re going to voluntarily…return…only…this is embarrassing, but…could you send us back?”

“No.”

“No???”

She touched the Hellpriest’s chest, which opened up beneath her hand. She reached inside and pulled out his heart, held the muscle up to her gory lips for a moment, then began to chew. “Fuck that’s tasty!” she exclaimed.

“Noooooo….”

“Yessssss,” she said, mocking him. 

Pinhead’s flesh began to disappear in shreds and reappear in Kandy’s body. Soon she had completely ingested him into her own protean form. She belched and began to rapidly rub her clitoris while lubricating herself with a fine mixture of the Hellpriest’s soul-essence and his fleshly part. 

His loyal followers parted like a sea, and she began to incorporate herself into the matrix of the Hell Kingdom. At some point no real difference could be discerned between her and Hell itself. 

From her nodal throne she texted her partner, Detective Joe Oroborus. 

“Wouldst like to live delicously af? And bring the crank and DMT? But this time, no carpet garf please.”

Kandy Fontaine, Slutty Cenobite Detective, reigned in Hell until she got bored. Then she returned to the mundane realm and engaged in the usual desultory shenanigans.

Holden Arquilevich

The People and Oslo

Oslo wakes in Spring, smelling like piss and stale sweat and he loves it.

He stretches his long hairy back and his spine crackles. Oslo’s haunches are boney and sticking sharp beneath his skin as he walks, padding along the floor of his cave. His walk is a triple-triple thump. This is because Oslo has six legs. Oslo is a god.

Oslo is not the sort of god who needs worship. Oslo only needs the calories. He needs the fat and the muscle and the marrow.

When Oslo th-th-thumps to the mouth of his cave, he goes blind from sun and snowmelt. He grimaces, bearing tusk and tooth. He is most vulnerable now, when Winter is newly departed and the fruit has not bloomed and become swollen, and his prey are all bones like him. More than Winter when Oslo sleeps–for Winter is simply a warm dream to Oslo–is fresh Spring the time when even Oslo may join his hairy, smelly, roaring, vicious, rutting, beautiful ancestors in God Heaven.

Oslo’s sharp eyes adjust. Oslo sniffs the air in great huffs. There is smoke. There are people at the river below. They are in their fur coats and they have survived Winter. Oslo saw them before he slept, only then their spears were dull and now they glitter. 

Before, he hunted the people. He hunted them until they gave up running and began giving themselves to Oslo piecemeal. Oslo preferred this to the hunting. He grew fat and content and took easy meals and waited for the deep sleep of Winter.

Awake, he sees the people have left nothing for him. It did not occur to them he would wake hungry. During his rest, the people had forgotten Oslo.

Oslo lumbers down the hill and the people see him coming. Oslo approaches the largest tent he can find–the shaman’s tent–and uproots it, hooking it on his tusks and shaking it vigorously. There is a single yelp from inside the tent as Oslo begins burrowing his snout into the hide walls, then silence. Like a boar digging for roots, he mashes the tent into the earth, twisting and snorting, the hide walls of the tent spiraling into a twisted mass of dirt and curled canvas. 

Oslo lifts his head to face the people.

The people brave enough to speak say, “You have killed our shaman, who spoke to the gods. You are clearly a god. What would you have us do now with no shaman?”

In answer, Oslo eats the brave people, and some of the cowardly people, until the only people left are the ones who wet themselves and lie down as though they are already dead.

Eating the people brings strength to Oslo, but not quickly enough. Weariness washes over him as the people sit heavy in his belly, and he finds himself collapsing from exhaustion on the pile where the shaman’s tent used to be, sinking into a sleep not as deep as the sleep of Winter, but very close.

Now the people who are left rise, shocked at this turn of fate, and they grow angry. The people who are left gather what spears were not shattered when Oslo devoured their warriors, and they take them to Oslo. They stab him in the throat and the eyes and all six of his legs, and his sleep is so deep that he does not wake. Even as all of his blood runs out and fills in the burrow-hole and covers the crumple of the shaman’s tent and submerges the shaman’s body lying curled up inside like a dead baby in an amniotic sac, Oslo does not wake.

Oslo only wakes in God Heaven, where he sees his ancestors. His brothers and sisters going back so many years and who befell so many fates like Oslo. He joins them in the fields of God Heaven where they scream and roar and hump and fuck and roll around in their own piss and make more gods, child-gods who will never see the world of the people–child-gods who will only know God Heaven, with tusks and many legs who gather around their father Oslo, who tells them stories of the people who forgot him, and of his taking revenge on that fuckhead shaman, and how the people who were lower than cowards took revenge on him. 

While Oslo enjoys fucking his brothers and sisters and siring children and telling them the same stories over and over, below, the people sleep uneasily near the pool of Oslo’s blood, praying those assholes never find a way out of God Heaven. Below, the people do not sire children quickly like Oslo. The people whisper in quick, breathless wonder. The people find berry-picking brave and hunting trips nonsensical. 

The people fear who their next god will be.

And they are right to, for the people’s next god rises from the pool of Oslo’s blood, wearing his tent like a great cloak, splashing blood all over the people’s tents and their faces with his emergence. The shaman rises and lumbers towards the people with a th-th-thump, his face the same as they remember, but also like Oslo’s face now. 

The people wait for the shaman to speak.

The shaman raises sharp fingers toward the sky. “I am returned,” he says, forming the words carefully around his new tusks, “and I am stronger than ever. And I will show you that I am not a little pussy who gets stomped on by cranky gods. I will show you the way to God Heaven, where we will hunt that asshole who crushed my tent and ate our warriors. Then we will return to the side of this river and not worry about such things any longer.”

The shaman turns and dives headfirst into the pool of blood and holds his breath as he swims to God Heaven, knowing that strong lungs and enough godsblood is what you need to get there.

There are still no brave people left, but those who are inspired by the sight of their shaman–his skin dyed deep red and appearing regal and terrible in his tent cloak and many legs and shiny new yellow tusks–those people grab their weapons and dive in after him.

Oslo sits with his family admiring the plains of God Heaven, considering what story he will tell next about those shitheads below, when his kin begin to howl and hoot in alarm all around him.

Out on the plains, the dirt begins to soak from below and bubble until it breaks and blood spouts up in a tall geyser, coating the little gold flowers of the plains of God Heaven in a thick film. The blood spatters Oslo, and when he tastes a drop, he tastes his own blood on his tongue, and he feels a pit form in his stomach.

The people emerge, and now they are now taller than Oslo. The people have six legs like him–the gift of his blood–and on top of that they have two human arms with sharp fingers. The spears the people carry drank the blood while they swam, and now they are longer and with shafts like serpents, the tips of the spears snapping their jaws and flicking their tongues in the direction of Oslo and his family. 

The shaman leads the war party in his great, blood-soaked cloak. He carries no spear. He does not need one.

Oslo roars and snorts and paws the ground before charging in blind rage at the shaman and the people, overturning the soil as he runs and crushing the little gold flowers of the plains. His brothers and sisters and children follow in a great mob, roaring and snorting, the th-th-th-th-th-th-thumping of hundreds of sixes of legs making the ground shake.

The people meet Oslo and the other gods. There are more gods than people, but the people have their terrible spears that whip and snap and bite, and the gods are mostly comprised of god children who have never known strife or toil, so those young gods die in droves to the people’s wicked spears and sharp claws.

But Oslo’s brothers and sisters are fiercer. They have known the struggle of the hunt and the cruelty of Winter, and they fare better against the people. When Oslo’s brothers and sisters see their young being eaten by the people, they lose all control and throw themselves at the people with no thought to how they land or what bones they break, so long as they break the bones of the people too. When one of Oslo’s brothers or sisters pins one of the people to the ground, the people swing their red claws and gouge out their eyes, but Oslo’s family do not let go until they are blind and the people are mashed into pulp.

And all the while, Oslo duels with the shaman. The shaman, whose magicks were once relegated to the occasional premonition and god-sponsored whiff of wisdom, now shoots fucking blood lightning out of his fucking fingertips, and his cloak whips around him like wings, lifting him into the air to glide above Oslo like a manta ray. 

Oslo hates this fucker, and he hates waiting for him to land and he hates running in circles to dodge the blood lightning that snaps at the ground and poisons the soil and murders the little gold flowers. So Oslo snatches up his children, whipping his jaw sideways towards the sky, pitching them squealing at the shaman. Those that miss land miles away on the plains of God Heaven, making huge craters when they land and breaking their skulls. 

When one of them finally flies true, the shaman twists and beats his cloak wings and pivots on the air, drawing a scythe of blood lightning with a gnarled finger, dividing the child in two.

Oslo’s brothers and sisters are faring well against the people, but his children are not. And even if they can kill all the people, the shaman will just keep flying around like an asshole and killing them while they stay stuck down on the plains of God Heaven.

So Oslo tries something stupid.

Oslo races towards the pool of blood, dodging blood lightning strikes, trampling his own children, and smashing past his brothers and sisters grappling with the people. When he arrives, he does not hesitate to dunk his head into the pool and drink deeply in long gulps that make his throat bulge and his eyeballs spin and whirl inside his skull. He drinks up all the godsblood in three gulps, and with each gulp after that, he begins to drink the world below. The people of the shaman’s village are the first to be sucked up screaming into Oslo’s mouth and consumed.

The shaman screeches like some kind of fucked up bird, and reigns down hell and blood from his fingertips and the flapping of his cloak in a massive barrage, but his strikes are useless against Oslo. Oslo has grown too strong in just four gulps, and as he sucks down a fifth–drinking down the animals and the rivers and the lakes of the world below–he grows so large that he suddenly feels the shaman’s cloak flapping against his massive shoulders.

Oslo rears up, two legs on the ground, four reeling in the air, and snaps up the shaman like an alligator catching a bat. The shaman yelps once, and then dies like a bitch.

Oslo lands back on all sixes like a natural disaster, shaking the plains of God Heaven so hard every one of his family fall over. 

His surviving brothers and sisters then rise, and the few of his children that also rise are the ones he is proud to call his own. 

Oslo shakes the shaman back and forth in his mouth and the shaman is scattered about into pieces. Oslo’s family swarm the pieces of the shaman’s body, screeching in joy, and they eat his liver and his cock and his face. 

While his family consumes the shaman’s body and they grow stronger and stranger from the effects of peoplemeat and godsblood and the little gold flowers that get mixed in, he rounds his now colossal body until he is towering over the pool to the world below, and with his great snout and his massive tusks he burrows into the pool, overturning the dirt until there is no passage left, and the way to God Heaven is shut.

And below, on the other side, Oslo’s snout appears jutting up from the earth where the village used to be like a mountain being born, and the rumbling of his excavating is like an earthquake at the dawn of time, and a great calamity ensues, and whatever life was left in the world below is burned off or buried under rubble or drowned in liquid metal.

When Oslo is done flailing, buried in the plains of God Heaven, he realizes that four of his six legs are wedged among the rocks and dirt, and that the pollen of the little gold flowers is stinging his eyes, and that he is trapped.

Oslo’s family notices too, and when they are finished eating the people and the shaman, they turn on the vulnerable Oslo, and his brothers and sisters start eating him and fucking him in the ass, and his children nibble on the parts of him that are exposed above the earth that they can reach like his triceps and his two legs that are not buried.

Oslo uses his free legs to squish a couple of the ungrateful runts, but there is nothing to be done about his brothers and sisters who continue to devour him, swarming like ants.

And soon enough there is nothing left of Oslo but a giant skeleton buried halfway between heaven and earth, and his family who tell stories of his legendary deeds and how he closed the way between the two.

Scott C. Holstad

No, Phoenix was the Silver Dollar Bomb!

I met people everywhere I went traveling around the continent and I was like a damn magnet, attracting many to me despite working hard to be anti-social while I simultaneously repelled quite a few too, content to hate me while I was pleased to return the vibe.

While on my way from Atlanta to Los Angeles, I decided to stop off in Phoenix for a bit. Had some contacts, distant friends, a couple of publishers there and an artist friend from Tennessee was having a show in a Scottsdale gallery while some friends in a band signed to a 4-record deal with huge label were doing a concert out there and I’d heard people were traveling not only from Tucson and Flagstaff but also from Albuquerque, Dallas and Houston to see them – I’d been giving writing lessons to the fucking lead singer! – and there were some clubs I wanted to check out, blah, blah, blah. shit, seemed I’d be busier in Phoenix than while on the Sunset Strip, Long Beach or Hollywood and that was damned crazy.

Turned out Phoenix was the damn bomb. One experience that led to that assessment was like this:

I used to meet funky people at an Atlanta club called The Masquerade, a 3 in 1 deal – Heaven, Hell and Purgatory – while I ended up partying with a lot of the bands playing in Heaven, most over from Europe, as I got hammered with Front 242, Alien Sex Fiend, KMFDM and others, I really got my fix down in Hell, with its perfect presence, total darkness, cold stone slab floor, brick walls, chain link fence by the bar, surreal Japanese flicks flickering off the ceiling, people grinding to an industrial edge, where I once dropped a tab and watched David Lynch’s Industrial Symphony No. 1, which fucked me up more beautifully than Eraserhead ever did.

But that’s not the point, right?

So, I found myself in this grimy industrialized hidden part of downtown Phoenix at a new place called The Silver Dollar Club, which couldn’t match The Masquerade or many other established clubs, but they were trying. I mean shit, they somehow got Skinny Puppy down there from Vancouver and I was surprised to run into Sisters Of Mercy’s Andrew Eldrich there, looking conspicuous in trying to look inconspicuous. You know what I mean.

I also met this groovy chick growing out a carbonite hard-edged mohawk, artistically drawn eyebrows like Siouxsie and also like this chick back in Knoxville, a chain attached from two of her 11 earrings through one of her two nose rings down her chest, divided into two so both fiercely erect pierced nipples could join the parade, but not stopping there, the reunified thin chain traveled south visiting her studded navel while this time I didn’t make the mistake I’d made with the one in Knoxville – when this girl also bragged about her chain controlling her clit ring, I didn’t take her fucking word for it, dammit!  Simply said, “Prove it.”

She was wearing a short tight leather skirt, which complimented her chain mail-motif top. The place was dark and packed and people were dancing, and after doing a couple of quick lines, we moved out into the middle of the dance floor where we clutched tightly as she grabbed my hand and discretely guided into under her hiked hem where I was delighted to find little but exactly what she’d bragged on and while I was feeling around to get the feel, I found myself flicking, twirling, rubbing round and round with wild rhythm matched by a booming bpm beat making everything/one throb harder and I went faster and hotter and wilder and she grasped my face, her tongue forcing its way between my buzzed lips, and she thrust at me, grunted hard and then nearly collapsed as my hand felt a gush like fucking Niagara Falls and I held her up, her body convulsing, and I eventually maneuvered us over to wall, then outside into breathable air once she said she could walk again and goddamn, turns out they were right about Phoenix becoming hip. 

I had to get over to Los Angeles the next day, which seemed disappointing to both of us, and despite some passionate good-bye kisses, later I realized I never got her name but I didn’t wash her fragrance off for days after, thinking it the sweetest scent I’d ever captured.

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?”