Synchronized Chaos August 2021: From My Vantage Point

Welcome to August’s issue of Synchronized Chaos Magazine! We hope this issue finds you safe and healthy and able to pursue your creative dreams and reconnect with others.

This month’s theme is From My Vantage Point, and is all about our perspectives, how and where we see the world.

Photo from Jon Luty, ‘On Top of the World’ Top Of The World Free Stock Photo – Public Domain Pictures

Jerry Durick’s poetic speakers observe their world from a variety of vantage points. His speakers are often detached, like Jack Galmitz’ characters, who are inert, calm, and isolated to a degree.

This slightly removed perspective can be lonely.

J.J. Campbell reflects on isolation, intimacy, nostalgia and his advancing age in his poetry, while Michael Lee Johnson’s illustrated pieces are quiet reflections of age and solitude.

Sherzod Artikov, in a poignant piece, depicts an elderly aspiring actor who dreams of playing King Lear while resembling the character.

A more distant, abstract vantage point can also inspire thoughts of transcendence. Hongri Yuan, in poems translated from Mandarin to English by Yuanbing Zhang, suggests that our lives and bodies hold reminders of eternity.

Sharma Shashi leaves her Earth-bound home for a dream voyage to the stars at night, while Mahbub looks at nature, mortality, and inter-cultural disrespect and power relations from a standpoint of openness and curiosity. He wonders why the world is, or has to be, the way it is.

Ship Wheelhouse Interior, from Lynn Greyling: https://www.publicdomainpictures.net/en/view-image.php?image=186882

Some writers take a more close-up perspective in their pieces, focusing in on the absence or presence of personal relationships.

Aloysius S. Harmon writes of moments alone at home after the loss of a loved one to death, while Abigail George reflects on how romantic emotions can change over time, on personal growth in and out of relationships.

Nibana Dahal’s poem reminds us all of the giddy uncertain energy at the early stage of a romance. Santiago Burdon probes the lonely bitterness of addiction and the persistence of hope. (Santiago just released a new poetry collection, Not Real Poetry, available here).

Stephen Jarrell Williams’ poetic speakers pan back out to a more universal view, and are unashamed of their sentiment and caring.

Cliffside Vantage Point, photo from Charlotte Merritt Cliffside Vantage Point Free Stock Photo – Public Domain Pictures

Travel can also expose you to new people, cultures, and perspectives, giving you a fresh vantage point while leaving you less lonely.

Bonnie Lee Black observes casual friendliness and conversation among neighbors and strangers in Mexico, while Kim Malcolm finds tranquility in a South Korean Buddhist monastery.

Robert Thomas remembers bonding with men different from himself way out in back country Texas over the beauty of a well-designed automobile engine.

In a more fanciful vein, Christopher Bernard’s short story The Ghost Trolley involves a young boy who journeys into a realm of peaceful people plagued by those who seek to dominate them.

This adventure tale reflects one of humanity’s perennial struggles, as does Chimezie Ihekuna’s screenplay The Conflict, also about creatures with the best, and the worst, of intentions.

Rajendra Ojha expresses similar sentiments in a poem urging humans to use our lives for compassionate and good purposes.

The Almost Hidden Creek, photo from Bobbi Jones the-almost-hidden-creek.jpg (1920×1920) (publicdomainpictures.net)

Other writers address social issues from a broad perspective. Steven Croft reviews Joyce Carol Oates’ new poetry collection American Melancholy, which explores America’s strengths, flaws, and contradictions.

Ken Ciocco reviews Michael Robinson’s new poetry collection From Chains to Freedom, which illustrates the effects of past and present American racism on the Black male psyche.

Others narrow their lenses, looking at individual characters’ stories to explore broader societal themes.

Z.I. Mahmud looks at women characters in Charles Dickens’ David Copperfield to explore themes of feminism, strength, independence and caring. David Myles Robinson comments on the disorientation and unrest of the 1960s in the United States through the interactions of a couple and then of a dysfunctional family in excerpts from his new novel Words Kill.

Ike Boat focuses in on his own life in his autobiography, outlining his teaching, DJing, MCing, and promotional creative work.

Ocean View Lookout, from Charlotte Merritt Ocean View Lookout Free Stock Photo – Public Domain Pictures

In a completely different vein, two writers play with language itself. Mark Young crafts poems using ‘found text’ from various poetic and non-poetic sources as a starting point, and J.D. Nelson tweaks words and letters to produce a variety of sound effects.

Mickey Corrigan also provides humorous pieces about the state of Florida.

Whichever ‘lenses’ you use to observe our world, we hope you have a spectacular and inspiring view this month.

Poetry from Mickey Corrigan

 
 
 
 
 Florida Man Rampage 
 Florida Man 
 lives in the Keys
 listens to loud music
 alone.
 Florida Man 
 gets worked up
 to loud music
 alone.
 Florida Man 
 goes outside
 throws a stone
 guardian angel
 from the garden
 through the window
 of his house.
 Florida Man 
 stabs the tire
 of his car
 watches it go flat.
 Florida Man
 uproots 
 a for sale sign
 thrashes it 
 until it splinters,
 hits a metal mailbox 
 with the signpost
 until it crushes,
 crushes flat.
 Florida Man
 pauses, waits
 for the arrival
 of the local police.
 Music and masturbation
 he explains
 make him 
 feel like
 destroying stuff.
 Florida Man 
 goes to jail
 where there will be 
 more
 of what he already had
 at home
 alone.
 
 
 
 
   
 Florida Lawyer Disbarred For Harassing Law Firm
 Fresh out of law school 
 the new associate
 worked for six years
 before being let go.
 He could not let go.
 A restraining order 
 was filed.
 So he backed up 
 a Ford F250
 to the front entrance 
 to the firm
 yanked off the doors
 ran in and robbed
 his former office:
 a safe, a server, a key
 to the storage unit
 for two office chairs
 and an AR-15.
 He could not let go.
 So he created a website
 with the name of the firm,
 held shareholder meetings
 at 4 a.m.
 with the only other shareholder: 
 his twin brother. 
 This disbarred lawyer
 will not let go.
 
  
 Florida Man Arrested For Felony Theft Of 66 Rolls Of Toilet Paper
 I do my job, I clean the mess
 you leave behind not caring
 about hotel floors, hall carpets
 trash cans full of empties, full
 condoms, vomit in baggies
 roaches, chewed gum, crumbs
 and spills, I wash lobby floors
 your dirt, filth, germs that kill
 I want to stay home, my family
 needs food, medicine
 toilet paper
 ran out so I wheel a garbage can 
 out a back door
 with a Hefty full of rolls, roll
 them out to my work van, toss
 them in the back, fringe benefit
 hazard pay, it's just paper
 I clean up
 your mess 
 yet I get
 reported, arrested, charged
 with theft from a public lodging facility
 a third degree felony, man
 come on, what about the rooms
 full of cheating spouses
 boozers, drug boosters, liars
 the senators who made a killing
 on the stock market response
 to inside news and polls
 rise for men who shit gold,
 all I get 
 is more woe and no 
 decent place
 to go.
 
  
 Florida Man Selling Mansion Pays To Get Rid Of Buyer
 A Mediterranean style mansion 
 more than 20,000 square feet.
 She wanted to buy it, said
 she'd been looking for years.
 A home theater and 14 waterfalls
 on 16 wooded acres.
 She said she had the money
 proof of funds from a company
 that loaned her billions.
 Nine bedrooms, 13 baths, an entertainment wing
 a pub, poker room, music lounge.
 Said she'd pay $9.75 million 
 if he threw in
 the Jimi Hendrix guitar, 
 the Muhammad Ali gloves.
 A pool with a rope bridge
 a water slide, swim-up tiki bar.
 Days before closing
 she sued him
 so he couldn't sell
 to anyone else
 she had no funds
 a house in foreclosure
 a history of bankruptcies.
 He paid her $300K 
 to go away
 from the estate he'd built 
 as a luxurious respite
 from the stress of doing business
 in Florida:
 a sunny place
 for shady people. 

Originally from Boston, Mickey J. Corrigan writes tropical noir with a dark humor. Novels include the mystery pandemic tale Songs of the Maniacs (Salt Publishing, 2014), Project XX about a school shooting (Salt Publishing, 2017), and What I Did for Love, a spoof of Lolita (Bloodhound Books, 2019). The Physics of Grief puts the fun back in funerals while taking a serious look at the process of mourning (QuoScript, UK, 2021).

Poem by Santiago Burdon

Black Moon Promise

Bathroom confessions
backdoor redemption
Black moon promise
made to a leather winged Angel
Afterglow addict disciple of dawn
woman standing at the edge of love
listening for the silence in between the words
whispered by an ambidextrous tongue.
Loiterer in dim luminescence
under bloodshot skies.
beautiful visions reminding her of horrible things  
knowing the best part of truth are the lies
casualty of kindness twilight apostle
feeling what is not her favorite color
the song of flawed perfection 
its taste bitter on her lips
The melody fading along with the last smile of summer

Christopher Bernard’s installment of The Ghost Trolley

The Ghost Trolley: A Tale for Children and Their Adults, Chapters 5, 6 and 7

By Christopher Bernard

Chapter 5. One Eye

The two children crept up to a fallen tree just a stone’s throw from a gate where the Korgans had entered. Soldiers were beginning to come and go, carrying burdens of various kinds, nondescript bags and crates, some of them weapons – what looked to Petey like spears and rifles combined in some weird way – and a few civilians, maybe working for the military, on early morning errands and chores outside the camp. A burly guard kept watch, eyeing his fellow soldiers with deep suspicion as if expecting at any moment to find a spy. 

The Korgan with the muddy boots had glanced back as he entered the gate with a salute to the guard, who stiffened to attention – Petey noticed muddy boots had only one eye. The other was covered with a patch.

Sharlotta whispered, “We got to get into camp somehow—”

A strange, cruel shriek interrupted her. Under a tree nearby a trio of scruffy-looking Korgan kids—a few years younger than they were—were playing, to the two children’s horror, a cruel game of toss-the-kitty. The kitten mewed frantically, its little tail spinning as it flew as the little Korgans tossed it back and forth with yips and shrieks of a mean pleasure. A large tabby sat crouched in the grass, its tail fluffed, its mouth open and clicking ominously, its eyes watching the kitten being tossed back and forth with a look of fascinated hopelessness.

“So terrible!” whispered Sharlotta.

Petey scowled under his watch cap. He always hated seeing helpless creatures being tormented.

A moment later Sharlotta said, “Where you go?”

“Just a sec.” Petey slipped away into the brush.

A few minutes later a stone came flying out at the Korgans. Then a second. Then a third.

“Paonas!” shrieked one of the little Korgans.

The kitten fell onto a soft patch of grass and the three kids ran off, disappearing through the gate. The guard ignored them as he peered hard at a passing soldier hunched under a box of projectiles. “Ain’t you seen me a thousand times, Harree? Watcha staring a’ mee loik ya’ thought me were a Paonee?”

“Maybe ya’ bee, Jorok!” snarled the guard. “Ya wouldna bee the feerst t’ve turned tween dawn ’n’ noon on a visit outer the gates.”

The guard’s brief distraction did not go unnoticed: Petey ran from the brush, swept up the frightened kitten, and ran back with it to Sharlotta.

“Mew!” went the kitty. “Mew!’

 “Poor thing!” Sharlotta whispered, cuddling it against her cheek. “You safe now.”

But the kitten didn’t look too sure of that.

After a moment, the large tabby emerged from a bush and sat nearby, staring at them suspiciously.

“Must be the mom,” said Petey. Sharlotta placed the kitten carefully near the tabby, who hissed instinctively at the young Creel, then sniffed at the kitten, bit it by the scruff of the neck and carried it swiftly into the brush.

“Now all we must do be to get into camp,” said Sharlotta.

“And follow One Eye.”

Suddenly they looked at each other. They had gotten the same idea.

“We have to dress like Korgan children,” said Petey.

It was a little trickier than that, of course: they would have to disguise themselves until they convincingly looked like Korgan children.

            “Well,” said Petey, in a subdued voice, “their hair is dark, and really long . . .” His own hair was bright orange and very short.

            “And dirty! And full of snarls!” Sharlotta’s voice was filled with disgust. “And clothes of them be all muddy, and they look they have not had bath in one month!”

            Petey looked solemn: he did not exactly enjoy taking baths himself, and in fact had skipped one last night, so he could get up early (anyway, that had been his excuse). He hoped Sharlotta hadn’t noticed.

            “But that means,” he said, “that if we get all dirty, and rough up our clothes and hair, they might not notice we’re not Korgans. After all, adults never really look too closely at children who aren’t their own.”

            “Yes,” Sharlotta said thoughtfully, “I notice that.”

            “And if they do look, and think we don’t look quite right,” Petey said, brightly, “they’ll just blame their parents!”
            So, not having a better idea, and needing to get into the camp as soon as possible so they could follow One Eye, they set about roughing up their hair and clothes and smearing mud on their faces and hands, and making themselves look generally scruffy and grungy and beat-up and dirty. Petey had to apply a lot of mud makeup to the hair at the edge of his cap: it took a lot of dirt to hide the orange, even when he pulled the cap down to his ears.

            “There be one good thing,” Sharlotta said cheerfully. “I can wear my jacket right side out now.”

            Now the smears of ash stains looked just right for a scruffy Korgan girl.

            “How I look?” asked Sharlotta after they were done.

            Petey looked her over doubtfully.

            “Your hair looks too pretty.”

            Sharlotta scowled.

            “And your head look too ugly! You never have to comb long hair full of snarls!”

“And it’s way too clean . . .”

Petey, without further ado, filled both hands with mud and splattered it over Sharlotta’s hair, at the same time grabbing and violently matting it.

Sharlotta shrieked.

“What you doing! Stop that! Right now!”

They started wrestling and fell in the mud.

“What’s goin’ on over there?” a Korgan voice rang out.

A shadow fell over them and they stopped, suddenly terrified.

Petey glanced up and saw, against the sun, the guard with his lance staring down at them.

“Quit fightin’ and get back into camp. There be Paonas around here, and they eat little-uns like you for breakfast. Go home!”

The children, covered with mud and with their tangled, dirty hair in their faces, were too frightened to say a word, so they stood up and scampered through the open gate into the camp.

Chapter 6. The Camp of the Korgans

The children were faced with a spaghetti of dirt lanes and passages through which a strange assortment of ox and donkey carts and curious-looking tanks, with long snaking treads, snout-like guns, and tall, needle-like turrets, and fat, tubby armored cars and troops of Korgans moved, mostly armed soldiers, some marching in platoons as their sergeants barked orders, some on the backs of horse-like creatures, or on patrol, some bustling about on unknown errands, some sitting in front of their tents, cleaning their weapons and trading jests.

Among the crowds were more civilians, women and children and a few old men and women, but all of the Korgans looked curiously fierce, whether because of the styles of the clothes they wore, or their habit of expression, or just how they were born; they all looked angry about some unknown grievance, and Petey quickly decided he had better put on his “angry face” if he hoped to fit in—even though he didn’t feel especially angry, just excited and a little scared—and looking scared he realized would definitely not do.

The camp was as big as a small town constructed entirely of tents and cabins, huts and sheds, arm depots, bivouacs, lookout towers and long, ramshackle barracks above which flagpoles rose and the Korgan flag flapped loosely in the morning air—a black flag with a pair of lightning bolts crossed in a crimson circle.

The children had no time to investigate their surroundings and didn’t want to stand out by gawking, so they scampered down several lanes till they found an unused tent in a vacant corner and crouched behind it. They had been right: no one had paid any heed to them; they were just a pair of urchins playing in the street.

One curious thing that Petey noticed about the Korgans: though the hair of some of them was brighter and shinier than that of others (they ran from sandy to streaked, from dark to dirty to platinum, and some were even like what Petey’s mother referred to contemptuously as “peroxide”), they were all, every single one of them, blond.

“You know what?” Petey suddenly grinned. He felt quite exhilarated.

“What?”

“That was fun!”

Boy, Sharlotta looked funny, with her hair all mussed and full of mud! But maybe he should keep the thought to himself. Girls could react weirdly to teasing—not like boys, who would just push you and tease you back, then forget about it.

Petey was also going to tell her about making sure she put on her angry face, like the Korgans, but she looked angry enough on her own, now they were in the camp, so maybe she didn’t need to be told.

Sharlotta looked askance at Petey.

“There must be special place where they keep prisoners,” she said in a whisper.

“I’ll bet he’ll take us to it if we can find One Eye,” said the boy. “He was talking about having to interrogate your family.”

“That was the other one. But no matter.”

“It was One Eye.”

“It was the other one!”

“No, it was One Eye! And anyway, we only know what he looks like.”

Sharlotta was silent, with dignity.

“All right, Know-It-All, and how do we find him?”

Petey stared down at the dirt between his knees where he was crouching.

“Well, we can’t stay here,” said Sharlotta. “They won’t come to us. How do I look?”

“Honest?”

“Honest.”

            “Terrible!”

            “You sure?”

            “I’m sure. You look terrible!”

            “Good,” Sharlotta said stiffly,

            “How about me?”

            “Well, you look awful!”

            “You sure?”
            “Of course I be sure!”

            “Really truly awful?’
            “Really truly awful!”

            “Good!”

            Petey rather liked the idea of looking awful but decided not to press his luck by asking a third time.

He paused and took a breath.

“Are you ready?”

“No. But that not matter, yes?”

            Petey shrugged.

They both took a breath, and went out into the camp.

            There was a feeling of tension in the air. Korgans on duty seemed especially busy, rushed, and even off-duty Korgans looked tense; a truck bristling with armed soldiers careened through the street past the two children, the soldiers shouting for pedestrians to get out of the way.

            Many of the soldiers had covered their faces with red and black war paint, and their solid, hard bodies made the ground rumble as they marched past on the double.

Soldiers walking the streets greeted each other with sharp, animal-like cries.

            Some of the Korgans looked at the two children a little too closely, a cold gleam in their eyes. Petey was especially worried Sharlotta didn’t look quite “terrible” enough. Maybe she was one of those girls who, no matter what they did to themselves, always looked nice. He should have put more mud in her hair.

            He was going to tell her to cover her face with her bangs when a Korgan suddenly stopped them.

            “Hey, girlie!” he said, grinning at Sharlotta and pulling her hair away from her face. “Anybody tell you you cute as a Paona? Bet you get that from fellas all the time!”

            Sharlotta stared furiously at him.

            “And you,” she shouted, “look just like a Korgan!”

            The Korgan hooted, laughing, as the children scampered off.

            Sharlotta pulled her hair over her face until only one eye peered out as if through a parted curtain, without her companion having to advise it.

            They huddled behind a pile of junked weapons, watching the passing parade. Drums thundered, trumpets rang out, and cries of “Ramora, Ramora!” and “Death to Steed!” echoed through the camp as a war party gathered in a parade ground in front of them. 

Then, from a broad space between two low barracks, a solemn procession emerged and moved toward them.

Chapter 7. Bang Bang and Blue Moon

            Columns of armed soldiers in black uniforms and helmets, with the strange crossbow machine guns across their chests, marched in precise and mechanical order, their simultaneous tread shaking the ground. Behind the soldiers moved a platform, like the floats Petey had seen in parades at home, but draped in red and black, on which stood a Korgan, in a commanding pose and wearing scarlet robes and a black cone-shaped hat, like a wizard at a Halloween party, that Petey would have laughed at any other time. He looked to the young boy like a priest and held a staff shaped like a young dead tree, its branches writhing in profile against the sky. Behind him rose a monumental figure of crossed lighting, like the figure in the banners, but all of gold. The priest’s face was covered with red streaks like war paint. And kneeling in front of him, two acolytes held up an open book as he made elaborate gestures with his small, gloved hands and chanted in an incomprehensible tongue.

            The platform, a kind of large moving altar, was being pulled by a mass of tall, delicate-looking creatures, with pointed ears and elven features, and  patches of fur on their cheeks and arms, their heads and faces, and they dragged the platform with long ropes tied around their shoulders and waists. They seemed vaguely familiar to Petey. Two Korgans with whips “encouraged” them, with shouts and lashes, to keep moving in time with the marching soldiers.

            Suddenly the boy realized where he had seen them before, or creatures like them. They were like the monkeys he had seen when the yellow trolley had first entered the forest in Otherwise.

            “That must be Altar of Ramora,” Sharlotta whispered. “I hear of it but never see it before. And those are Paona. Prisoners that have been turned into slaves.”

            Petey realized something else that was strange and unsettling: if the Paonas were like monkeys, then the Korgans were like people . . .

            Behind the altar a choir of Korgans in black robes solemnly marched, singing a hymn to the rhythm of the marching soldiers—but it was like no hymn Petey had never heard in any church he knew.

It was a series of blood-curdling cries and swooping yells, with fists raised to heaven, to discordant blasts of trumpets and drums.

            Behind the angry choristers came a crowd of Korgan women, looking cowed and fearful, their hands clasped before them and their heads bowed. And behind the women scampered a rag-tag gang of Korgan children, whooping and shrieking.

            Sharlotta and Petey watched as the procession passed. Then a couple of the Korgan children following the women ran up to them. One of them picked up a pistol from the pile of junked weapons and started waving it.

            “Bang, bang, Paona!” he shouted at Petey. “You dead!”

            “I’m not a Paona!” Petey shouted back, immediately regretting it. Being silent would probably have been wiser just now; this was not the first time that thought had occurred to him, invariably a fraction of a second too late.

            “Yes you be!”

            Petey glared back at the boy.

            “You new here?” the girl Korgan asked Sharlotta, in a deep, froggy voice.

            “Yes,” Sharlotta said, carefully lowering her voice and trying to imitate the frogginess of the other’s voice.

            The boy aimed his pistol at Petey.

            “Bang, bang! You dead!”

            “Where you from?” asked the girl Korgan.

            “Over there.” Sharlotta pointed vaguely toward the east.

            “The land of the blue moon?” the girl said, sounding skeptical. And the blue moon was indeed already drooping in that part of the sky.

            “I said you dead! Now fall down!”

            Petey glared even harder at the boy. He would not fall down just because he was ordered to.

            “I always wanted to go to the land of the blue moon,” said the girl.

            “You fall down! You dead! I just kill you!”

            “Maybe I can come and visit you?” she asked politely.

            “If you want,” said Sharlotta in her froggiest voice.

            “No, you fall dead!” said Petey, who pulled a pistol out from the pile and started waving it at the boy.

            There was the sound of an explosion. All of the children stared in alarm at the Korgan boy: his pistol had gone off, the bullet just missing Petey’s head.

The hair on the Korgan boy’s head rose like the fur on a frightened cat, and he threw down the pistol and ran off, followed by the girl, after a shrug and a shy glance back at Sharlotta. “Boys!” she cried out as she ran off.

            Petey dropped the pistol and the two of them ran behind the pile as a massive Korgan soldier picked up the fallen gun and tossed it onto the pile.

            It was One Eye.

            “You!” he shouted.

            Petey felt a hand grab his shoulder and lift him bodily from the ground.

            This is it, thought Petey. I’ll never get home alive.

            “Many times you have been told never to play around weapon dumps.” The Korgan spoke in a calm, measured voice, like a more brutal version of Petey’s dad’s. “How often must we tell you? You might kill someone. You might kill each other. You might kill me.”

            One Eye gave Petey a single hard fierce shake that made the boy’s teeth rattle in his head (unlike his dad, who rarely did more than give him lectures and send him to bed without his smartphone), then opened his hand and let him drop to the ground.

            “Now go home. And take your girl friend with you.” One Eye looked at Sharlotta, whom he had not even bothered to chastise—she wasn’t sure which insulted her more, this, his calling her Petey’s “girl friend” or his general attitude of condescension and contempt. She was about to give him a piece of her mind when Petey—seeing her turn red and open her mouth—pulled her away, and they ran off, as ordered. Sharlotta glared back, with fury in her eye, and caught One Eye staring after them strangely, with his single crimson eye, as though he had noticed something that did not seem quite right. Then Sharlotta noticed that Petey had a tear in his cap, and a patch of his hair was exposed, like the bright skin of an orange.

            They ran behind a horse cart and stopped.

            “Some of your hair be showing through a tear in your cap,” said Sharlotta.

            “Oh!” said Petey. Unfortunately, there was no mud where they were, but there was some dust, which he applied vigorously. “How does that look?”

            “A little to left—no, to right—no, to left—no—yes—here, let me . . .”

            And Sharlotta applied her hands to his head as Petey scowled.

            “There,” she said, “that better, anyway. What be your parents thinking when they give you orange hair?”

But Petey had no time for another tedious debate on that subject.

“Look!”

One Eye was walking away after commanding a guard to keep watch over the weapons pile. Petey pulled the young Creel to the other side of the cart as One Eye disappeared into a warren of lanes among a chaos of tents, then they followed, at safe distance, after him.

One thing made it easy for them: the black strip of his eye patch stuck out against his dirty yellow hair, even in a crowd of Korgan backs, so they didn’t have to follow too closely. Sharlotta was worried he had seen through their disguise, but knew there wasn’t much they could do about it. As long as they didn’t bump into their new Korgan “friends,” Blue Moon and Bang Bang.

They threaded slowly through the colorful encampment, passing whole mini-villages where tangles of Korgan families lived, with smells of cooking by the small Korgan women wafting across them (and making both of them hungry, as Petey hadn’t had much breakfast, and Sharlotta hadn’t eaten since before the raid on her home the night before)—smells of baking bread and soup and coffee—with long lines of washing hanging out to dry, showing the array of Korgan fashions for men and women, girls and boys, and even their undergarments waving like banners in the breeze (Petey was left wondering at some of those, they were so peculiarly shaped, whereas Sharlotta delicately pretended not to notice)—but all the time keeping One Eye in sight, losing him only once, when he turned into a weirdly constructed little hut with a chimney three stories tall and didn’t come out for ten minutes, and they thought they had lost him for good; then he came out, adjusted his belt and continued on. Petey turned to the young girl and grinned. “A Korgan outhouse!”

At last One Eye turned into what looked like a litter dump in a distant corner of the camp where skinny, famished pariah dogs lurked, biting and snarling at each other over snatches of left-over garbage. He approached a forbidding-looking tent, black and low. Two guards at the entrance saluted him sharply, and One Eye saluted cursorily back and disappeared inside.

The sun stood, brilliant and hot, at the peak of the green sky.

Then a light wind began blowing.

Steven Croft reviews Joyce Carol Oates’ American Melancholy

Human is as Human Does: A Review of American Melancholy by Joyce Carol Oates

Reading American Melancholy (Ecco, 2021), the new collection of poems by Joyce Carol Oates, I thought: America is manic in our uncritical self-esteem and self-confidence, Joyce Carol Oates is mantic in her suggestion of where we are going and poetic descriptions of where we have been — [I couldn’t resist].  She begins the collection with a husband reading the Nation in the ease of a hammock.  A poem in which doubt is delivered lightly, easy to bear in the beauty of the metaphors:


before dusk rises from the earthbefore the not-knowing if (ever) (again) the earthwill turn on its axis to the light, the great furnaceof the light….


A virtuoso writer, Oates could have spent her career as a poet soothing our anxiety and we would have bought those books.  Take a poem like “On This Morning of Grief” from a previous collection (Tenderness), it will make you feel absolutely good, but Ms. Oates has always had an Ancient Mariner bent towards awful seriousness in her storytelling, and by poem number two of Melancholy we are already heading there (there is the blithe, Apollinaire-like surprise of “Kite” — a shape poem with a soft pensive turn, like a kite — and her consideration of her cat Cherie’s purrrsonality traits [I couldn’t resist], Jubilate: An Homage in Catterel Verse, but “easy listening” poems are as rare here as in any JCO collection). 

Poem number two, Exsanguination, a short lyric, its question like an uncryptic koan, makes me think of the age-old question, “What is the nature of suffering and what is its ultimate cause,” and if we listen to the poems in American Melancholy Joyce Carol Oates will tell us, and it is us.


The third poem, “Little Albert: 1920,” begins a consideration, in several poems, of American behavioral psychology experiments in the first half of the twentieth century.  Again, a virtuoso writer, few can personalize, make us internalize, the physical and psychological vicissitudes of pain and fear as well as Joyce Carol Oates.  At the end of “Little Albert,” the poem’s speaker — Little Albert himself — morphs into a sort of collective narrative speaker — we become Little Albert — the speaker is us:


All this was long ago.  Things are different now. John Watson would not be allowed to terrorize Little Albert in his famous experiment now. Ours is an ethical age.
Or was it all a bad dream?  Were you deceived? You were Little Albert?  You were conditioned to fear and hate?  You were conditioned to thrust from you what you were meant to love? You were the victim?  You were the experimental subject? You were Little Albert, who died young?


The question this and many poems in the collection suggest to me is “are humans brutes, always at risk of engendering or falling into depravity?”  With this question hovering over many of the poems, the poem which stands out the most in American Melancholy is “To Marlon Brando in Hell,” where the answer is “yes,” even for this seemingly larger than life talent.  The speaker here is a woman the exact age of Joyce Carol Oates.  The anaphoric repetition of the word “Because” gives the poem’s indictment of Brando, the man of such talent and promise, a sort of fever pitch.  It begins:


Because you suffocated your beauty in fat. Because you made of our adoration, mockery. Because you were the predator male, without remorse.
Because you were the greatest of our actors, and you threw away greatness like trash…
Because the slow suicide of self-disgust is horrible to us, and fascinating as the collapse of tragedy into farce is fascinating and the monstrousness of festered beauty….


The speaker is angry and affronted that as a girl of fifteen she was “lured out” to take a bus to a neighboring city, “in the most reckless act of her young life,” to see Brando star in The Wild One in a seedy theater: “a place that would have been/ forbidden, if the girl’s parents had known./ What might have happened! — by chance, did not happen.”  (Calling to mind what happened to the Grimes sisters in 1950s Chicago after venturing out at ages 12 and 15 to see Elvis in Love Me Tender: their naked bodies found by a road outside Chicago a month later — and evoking America’s true crime underbelly which much of Ms. Oates’ oeuvre has a Venn overlap into.)  The poem covers many of Brando’s film successes and turns them all into indictment against what he will become as he manifests more and more moral agnosticism, perverts his success and his physical beauty into insane mockeries.  Brando’s twisting of himself has twisted the speaker (only more reason for her anger), who after such sustained dismay and loathing still desires him: “Because you have left us.  And we are lonely./  And would join you in Hell, if you would have us.”

If “To Marlon Brando in Hell” is maybe a centerpiece of the collection, as centerpiece I think of it more as panopticon, a central, substantial, and substantially damaged life that looks out at lesser known and unknown lives with greater or lesser degrees of damage, varying degrees of self-doubt, anguish.  In “Edward Hopper’s ‘Eleven A.M.,’ 1926” the speaker is Hopper’s famous nude looking out a window (not as so famous as Brando, but famous).  In the poem her self-worth is tied to the married man she waits for, leaving her in the loneliness and isolation of his too infrequent visits.  Fans of Oates will want to bring her short story “The Woman in the Window” (which also interprets Hopper’s painting) into their consideration of the poem, but the more sinister elements in the story (contemplations of murdering the other by both) are not in this poem about unhappiness and frustrated fulfillment. 

In “Old America Has Come Home to Die,” an “iconic” twentieth century vagabond, entirely one of Robert Service’s “men who don’t fit in,” returns home physically broken and vaguely remembered, his only value now to play himself and be videoed for a budding Ken Burns great-niece to make an “A” in her college Film Studies: “Tragic, vividly rendered & iconic.”  In these cases, the speakers’ lives are perhaps atypical yet without pathology.  There but for the grace of God could go us, but there are other speakers in Melancholy we will see as “other.”  Like the damaged speaker of “Doctor Help Me,” obviously coerced as a minor into sex by her best friend’s father, her life now a disaster of promiscuous sex, that baby and more babies.  But, she has the traumatic time-confusion of Porter’s “Granny Weatherall,” so how many babies?  Hard to tell.  This too damaged woman could not be us — and for Oates’ fans her anguished pleading for an abortion will call to mind Luther Dunphy from A Book of American Martyrs who could never be us. 

Likewise, the Chinese doctor in the poem “Harvesting Skin” whose medical work forces him to become a sort of occasional serial killer could never be us.  He is one of just a couple non-American speakers in American Melancholy, but is he truly un-American?  — a question central to this collection of poems.  America, us, the US, is a humane country.  Many of us contribute to charities annually.  Some of us even work in soup kitchens.  “All” of us, respectable people, try to do good deeds.  We are a humane country — littered by mass shootings.

Until we embrace, know the “other” as us, its pathology will continue to run through us unabated.  To be truly human, be really better Americans, we have to know the part of us that is sick, and we have to want to be cured.  Otherwise — on page 40 of American Melancholy is “Apocalypso.”  For me its “too late warning” is buried in the poems like a key.  I invite readers to read it and the other poems in American Melancholy, the latest book by the reigning Queen of American literature.

A US Army combat veteran, Steven Croft lives happily on a barrier island off the coast of Georgia on a property lush with vegetation and home to various species of birds and animals. His poems have appeared in Liquid Imagination, The Five-Two, Ariel Chart, Eunoia Review, Anti Heroin Chic, Synchronized Chaos, and other places, and have been nominated for the Pushcart Prize and Best of the Net. 

Poetry from J.D. Nelson

 
 
 
frog, what?
  
 dee
 p
  
 hee
 liminal e-e-e
  
  
  
  
 circuit ch.
  
 clack, amour
 duckling armor, THAT
  
 when sounding, arose
 a rose, risen!
  
  
  
  
 low ding
  
 & forests
 gum bull
  
  
  
  
 soar sore R
  
 om
 edison
  
  
  
  
 yore morn
  
 shark rope, a dee
 dee can swim, swam
  
  
  
  
 bio/graf
  
 J. D. Nelson (b. 1971) experiments with words in his subterranean laboratory. His first full-length collection of poetry, entitled in ghostly onehead, is slated for a 2021 release by mOnocle-Lash Anti-Press. Visit http://www.MadVerse.com for more information and links to his published work. Nelson lives in Colorado. 

Poetry from Mark Young

 
 
 
 
 Room 281
  
 A divination of entropy, in
 which people pass but
 collide with one another
 in corridors that then be-
 come impassable. When he
  
 found her, she was reading
 an Icelandic detective story,
 somewhat convoluted as well 
 as full of multi-syllable patro-
 nymic or matronymic names. 
  
 The building that housed the 
 radio telescope was caught by 
 sunlight, then let down gently.
 Its message bank was empty.
 Later he walked home alone. 
 
   
 From the Pound Cantos: CENTO XXV
  
 Propped between chairs & 
 table, torches melt in the glare. 
 Flame leaps from the hand, 
 the rain is listless, the leaves are
 full of voices. Our bodies also
 heavy with weeping. Time
 spent knocking at empty rooms,
 stubborn against the fact. 
  
 An ex-convict out of Italy, 
 water running off from his twis-
 ted arms, swung for a moment 
 & knocked me into the black 
 snout of a porpoise gripping the
 blue-gray glass of the wave. 
  
 
  
 A line from Jimi Hendrix
  
 Despite it being a culturally
 inclusive environment, delive-
 ring messages intended for
 airborne bacteria presents a
  
 unique challenge. Because of
 constant barriers — such as a 
 vacuum cleaner able to rescue 
 a dog from a mini iceberg — there
  
 is only ever one way in. Test the 
 water, & in time find that the most 
 efficient method is to hide them in
 a radio program full of mirrors.
  
 
   
 languor longer
  
 He thought indo-
 lence might be a 
 group of languages 
 along the lines of 
  
 Indo-European, 
 but found he didn't
 have sufficient 
 drive to look it up.