Arc

Starstruck,
and wrestling within mortal coils,
God’s lucid fame
overshadows
the cast of our
solitary arc.
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Proof

With the grave mortal nearness
that only distance can bring,
we enter the bruised, secret heart of our childhood,
a stalker’s negative proof,
slow-burned to exposure
and fade.
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Torch

How a writer, cave-timing
dark and solitude,
annoints an ember by
crafting the small hours
into a flagrant torch.
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Six

   I was six when I found out I’d never become a super hero.
   We were in the kitchen. Me, my mother and father. My father’s hand was around my mother’s throat. He had a wild, bloodshot, not-there look in his eyes, an inflamed vacancy. He reminded me of a wolf about to savage its prey.
   My mother’s eyes were big with fear. She cried out a number of times—Daniel, Daniel he’s going to kill me. Daniel, Daniel.
    My name became many things in that moment. An accusation, a weakness, an empty husk, a recrimination, a point of departure.
   She kept calling out my name, it felt like a hundred times, but in reality it was probably around six or seven. Things not only look bigger when you are small, they also sound bigger. All the shouting and screaming and accusations and vitriol that filled my house felt like acoustical storms to my small pink ears. Violence was the melody upon which all other riffs were improvised.
   So yea, my name, repeated—Daniel, Daniel, Daniel, Daniel. But no one was home. Something vital in me had fled, had flown away to another part of the house, or out the window. It wasn’t there and without it I couldn’t move.
   Frozen, I stared at my father.
   He struck me as inhuman, like some lunatic in a horror film, like Jack Nicholson in The Shining. His meaty hand was clutched around my mother’s thin neck (she always had a dancer’s neck) and I knew that he could break it if he wanted to, that the possibility of him breaking it existed as a very real possibility in that moment.
   What had preceded my father’s hand around my mother’s throat was my mother’s caustic verbal attack (pertaining, as usual, to gambling, drinking, drugging), which had then escalated into my mother throwing things, at first in the proximity of my father and then directly at him.
   He deflected objects, and ducked, it was warfare with a quality of slapstick.
   My mother remained the aggressor until just after she took a swipe at his face and caught his cheek with her nails. My father touched his fingers to the fresh scratch-marks, as if needing to tactilely confirm what had happened, and then he lost it, charging at my mother like a bull and backing her into the wall, where she was now pinned, hand around her throat, calling out my name. Daniel, Daniel, Daniel.
   Each time I heard it there was less of me there. My name was the hated enemy that was driving me out of myself.
   Yet I had to do something to help my mother, to save her, I was her only hope, and despite my paralysis I managed to speak—Da.
   This single utterance broke his trance. He still had the wild look in his eyes (I know because he turned it on me) and he still had his hand around my mother’s throat, but the murderous intensity had slackened, just enough.
   He released my mother and stormed out the front door.
   Piece a shit, my mother screamed as the door slammed.
   Screams and slamming doors. This was the vocabulary of the house.
   My mother slid soundlessly against the wall and crumpled to the tiles.
   She cried hot, loud tears.
   I looked at her and didn’t move.
   I felt bad for her. And hated her.
   The hatred burned deep in my chest and lungs and I wasn’t sure of its source then, but now I understand that I hated her for forcing me to participate in their war, for involving me in her mess, for trying to enlist me as her savior, but mostly I hated her for showing me that I would never ever become a super-hero.
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Scripture

To be swallowed,
wordless,
as the worst you always feared
turns lighted proof
into lasting scripture.
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Flint

   I also saw Anya on that trip, though our meeting was unplanned. I was on the subway platform waiting for the train when I spotted a thin girl in torn jeans and a bright green tank-top walking in my direction. Her hair was a bushel of unruliness. As the girl drew nearer I realized it was Anya and called out her name.
   Her response was slow, as if my voice had reached her on delay.
   Daniel, she said, my name wrapped in gauze.
   Then recognition brightened and lifted her voice and turned my name into a coarse cheer—Daniel. Holy fucking shit. Daniel.
   Anya breezed into my arms for a hug. I could feel too much of her skeleton.
   Anya mumbled words into my ear. Her voice was as whittled as the rest of her.
   I was looking over her shoulder and wanted to keep looking there. I was afraid to release her and step back because then I’d have to look at her face. I knew it bore waste and ruin that my mind would latch onto. And play back to me again and again, the portrait of a death-mask that now covered Anya’s real face, her buried one.
   Inevitably I stepped back and took in what was not there, what had gone missing.
   I didn’t need to follow the track-marks on Anya’s arm to understand the nature of her cave-in.
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Second-Hand

We, as time-worn saboteurs,
engage the history of scabs
and locks, resetting old wounds
to the hands of a busted clock.
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Wish You Were Here

Send us postcards from your loneliest places,
your fault-lines and secret rivets,
send us words
and we promise not to burn them,
we promise that something of the ineffable
will stick, as if a lasting thorn
in God’s bruised paw.
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The Killers at Red’s

Excerpt from Nocturne Variations appearing in Riot Material.
Joe pushed open the door and a bell sang.
Max followed Joe into Red’s.
The men’s dark hats and trenchcoats were beaded in snow.
Joe took off his hat and waved it profusely, air-drying the moisture that had accumulated on it. He put the hat back on and surveyed the diner.
The place was empty except for two customers.
An old woman, wearing a green hat that fit her head like a woolen conch shell, was seated at a table in the far corner. Arms gelatinously splayed on either side of the table, she was hunched over her bowl as if divining messages from it. When Joe and Max entered, she raised her eyes and stared at them with listless gravity.
At the counter, which was lined with red vinyl stools, sat a rumpled, doughy-looking man with an eyepatch.
Read the full excerpt here.
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Review of The Girl

the girl
Review of Meridel Le Sueur’s The Girl, appearing in Riot Material.
“The Girl is set in St. Paul, Minnesota, during the Depression, with much of its action centered in a speakeasy known as The German Village. This is where the protagonist, a young naïf who is only referred to as “Girl,” works as a waitress and initiates her crash-course into a harsh and unsentimental education. To metaphorically anthropomorphize the world of The Girl, and its stylistic tone, imagine Jamaica Kincaid, Ernest Hemingway, and Clifford Odets shooting the shit in a gin joint run by Eugene O’ Neill. In fact, the vividly drawn characters of The Girl would fit right in with the barflies and pipe-dreamers of O’Neil’s The Iceman Cometh.”
Read the full review here.
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