February 23rd, 2009

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Sherman Pearl

DEMOLITION DERBY

There’s an innocence in these surrogate
battles between cars—all the bodies
are fortified to withstand the crashes,
all the doomed are made of metal.
Aggressors seem to comfort their victims,
backing away almost ruefully
after smashing them into nightmare
versions of the showroom beauties
they’d been. There is grace
in how the hulks accept fate, how still
they stand, hoods sprung open
as signs of surrender; and courage in the way
wounded competitors keep charging
like heart-pierced bulls
until one by one they stop, finally spent,
and stand bleeding black into the dirt.
And when only one remains
mobile with nothing left to attack
there is love in the winner’s victory wave.
My kid and I used to wave
to each other like that
across electrified little battlefields
at amusement parks.
We’d laugh from the padded insides
of our bumper cars then ram
each other like tanks intent on destruction.
Every jolt felt like affection;
each collision was a way of touching.

from Rattle 29, Summer 2008

February 22nd, 2009

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Jason Nemec

EVERY DRUNK HAS A PASSPORT

Here they come, stumbling down the sidewalk two by two,
      masses of hammered college kids puked out of the bars
on the Tennessee Street strip after last call. And it’s not the sight
           of them that gets to me as I stand in my boxer shorts watching
their bumbling migration from the balcony of my apartment;
      it’s the sound as I’m yearning to sleep off the iron-legged stress

of a hard-fought double at the restaurant, the fuck yous
      yelled at the top of smoked-through lungs, the punches
itching to be thrown, revving up in the glamour boys’
           well-exercised beer muscles, the shrill come-ons screaming
from deep in the exposed chests of scores of girls who received
      their breasts as high school graduation presents, Whoo! and Yeah-uh!

cutting through the night air overtop the off-tempo
      rhythm of high heels on asphalt. If I had to pick a mascot from
the entire mad cacophony to represent this species born unto me
           at 2 A.M. and set to die off by 2:30 every Thursday through Saturday,
it would have to be this beanpole of a kid scarecrowed between
      his two buddies, his spiky, standard-issue-fraternity-brother hair

pointing straight head, his feet fumbling out of order, but his mouth
      still working just fine—he’s shouting I’m drunk! over and over
as though the entire planet not only cared, but also failed to hear him
           those first twelve times. I wince, not just because of how obnoxious
I’m Drunk is acting, but because his un-tucked, pale blue oxford
      is just like one of my favorite shirts from back when I was in college,

and I realize that I’ve been I’m Drunk, I’ve been the guy
      who’s so plowed he needs to be carried out of the bar. My 21st
birthday saw me, in that shirt, beneath the high ceiling of Panini’s
           in Coventry Village, or rather, a version of me who actually thought
that trying to ingest 21 drinks in one evening was,
      if not the smartest idea, just something that had to be done.

So even though my heart back then had recently been wrung out
      like a sponge by Lindsay, who I used to refer to as Lucy in poems,
I offered myself up to the ritual, I picked a bar, ordered up some songs
           on the jukebox—probably some crazy mix of whatever bad rap song
was popular at the time and a little vintage Billy Joel—and then
      put back shot after crystalline shot with names I can’t

remember, save for a Redheaded Slut brought by Jen,
      who was a redhead but was not a slut, and a Buttery Nipple
from Heather, who really did have buttery—no, just kidding.
           I think I was about two hours and thirteen drinks in when
the floor gave out, the lights behind the bar fell apart, and the spins
      kicked in, at which point I was beyond lucky to still have

my good friend, my brother-man Goo there, all 105 lbs. of him,
      to lean my suddenly Gumby-like 185 on, a weight
he absorbed and shouldered like a pack mule, pushing me
           past the bouncer and down the xylophone steps to the street,
every sound ringing wrong: the amused eyes of strangers tinkling
      against my head, car horns with their volume cranked,

Goo telling me just a little bit further to his car,
      and me unable to hold on to myself, vomiting into
the storefront alcove of Passport to Peru, a specialty shop
           where, years later, I would buy a tapestry and feel ashamed
inside for shattering my kaleidoscope of liquor drinks
      across their threshold, trying to expel a bellyful of demons

brought on by a girl who said she left me to deal with her own
      alcoholism, and I can’t go there anymore, not Passport to Peru,
but to Lindsay’s long departure, because the going results in
           pages and pages of untranslatable manuscript in my head,
worse than this, longer than this—this, which is just to say
      that the asylum silence there in my moment of greatest intoxication,

while I was hunched over in that worldly store’s doorway,
      staring deep into the world of myself as my rough reflection
winced and stared back, has whispered across the years for me to look
           hard at the caved-in shells of the screaming kids outside my apartment,
and listen even harder to the longing that lines declarations like
      I’m drunk!  And while it hurts to watch I’m Drunk’s friends drag him

like a massive sack down the street, maybe the reason any of us
      are driven to render our extremities so useless, to float
our insides on such a magnificent ocean of booze in the first place
           is because on any given day, our fattening hearts weigh at least
1000 pounds, and our bodies get tired of having to carry them around
      from minute to minute, and person to person, all by themselves.

from Rattle #29, Summer 2008

February 21st, 2009

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Dave Morrison

REPAIRMAN

The parents had called him to
take a look at their twelve-year-old,
Mikey, because the school had said

that unless something was done he could
not ride the bus anymore. He’s asleep? asked
the Repairman. The father nodded, Yes, he

sleeps like a log. The Repairman gently removed
the top of the sleeping boy’s head and
attached the wires to the video screen. The

boy’s dream showed a spiral staircase going down
and down, and swarming up it like an army of
ants was a long ribbon of angry men wielding

hatchets, each chasing the man in front of them,
racing, unending, up the stairs. He’s obsessed
with revenge
, whispered the mother, and what
people think of him. He takes things he doesn’t

need and fights constantly. The Repairman nodded.
He had seen this problem a lot lately. He was glad that
they hadn’t waited until Mikey was older and

dangerous. He clicked on his
flashlight and the parents leaned in. OK, see that
blinking red diode? That’s the violence circuit.

Now, follow that red wire, to that screw
block…that’s the ego terminal. Now follow that
yellow wire…see? There?
The mother drew in a

breath. Two crossed wires glowed the angry red of
toaster elements. The father’s face was a question
mark. Fear and pride answered the Repairman,

they’re always too close, they get crossed all
the time. Now watch the screen
… He reached in
with a long pair of pliers and the screen

flickered, and then they watched as the swarm of
men rushed to the top of the stairs, to a parapet
of sorts, and in a steady stream each man leapt

from the tower dropping his axe and spreading his
arms. They floated like hawks towards the
river valley below.

from Rattle 29, Summer 2008

February 20th, 2009

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Review by Brian Spears

WAKING STONE
by Carole Simmons Oles

The University of Arkansas Press
201 Ozark Avenue
Fayetteville AR 72701
ISBN 1-55728-825-9
2006, 99 pp., $16.00
www.uapress.com

When I was in my first year of the MFA program at the University of Arkansas, the visiting poet Dave Smith said of one of my poems, “That’s an Arkansas title.” He explained to me that two of the founding voices of the Arkansas program, Miller Williams and James Whitehead, had a tendency to write personae poems with long titles that provided information about the dramatic situation. Whitehead’s “Long Tour: The Country Music Star Explains Why He Put Off the Bus and Fired a Good Lead Guitar in West Texas” is a good example of that.

Waking Stone by Carole Simmons Oles, published by the University of Arkansas Press, doesn’t have any titles quite as detailed as Whitehead’s, but the spirit is the same. Oles’ book is largely an examination of the life of the 19th century sculptor Harriet Hosmer. Most of the poems are written in Hosmer’s voice and focus on the challenges Hosmer faced as a woman in a male-dominated field. She pulls from Hosmer’s letters and other sources to produce a solid, sturdy book of poems.

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February 19th, 2009

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Joe Mills

ON ATTENDING A HIGH SCHOOL GRADUATION

Looking at them
clustered together
in their black robes,
waiting for their names
to be called,
waiting to become
more distinct
versions of themselves,
I whisper véraison
and if it makes you
uncomfortable to consider
these boys and girls
in terms of ripeness,
the fullness of fruit
waiting to be picked,
that’s understandable,
because after all,
if we’re honest,
there’s always something
slightly unnerving
about walking a vineyard
and casting a calculating eye
at all those vines
waiting to be thinned
all those grapes
waiting to be harvested,
all that fruit
waiting to be crushed
transformed and packaged
for our future pleasures.

from Rattle 29, Summer 2008

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