Story from Richard Simac

In the Cool of the Day

The backyard was a confusion of Victorian classicism and Medieval cloister. With its 2-by-2’s painted like fluted columns and plywood painted with trompe d’oeil triglyphs, a crumbling shed stood like the cella of a long-abandoned temple. The half-caved roof let bits of light illume what was once hidden. In front of the shed’s doors, one missing, the other with sagging hinges, a concrete Venus standing on a seashell held a scalloped dry birdbath basin on her head.

In the opposite corner of the yard, the Virgin Mary, her heel on the head of a serpent, brooded with downcast eyes. Near the gate, St. Francis held both his face and his right hand aloft for a fluttering starling to perch. His left hand clutched a crucifix hung with a simple cord around his neck. Even what appeared to be the remains of a conciliation cross lay toppled among a patch of overgrown honeysuckle that conquered the eastern half and slowly worked its way across westward towards the setting sun.

As if the center of this known world, a peach tree with cankers on its trunk and scabs on the fruit completed the scene of apocalyptic desolation.

The house itself fared no better. Many of the windows were boarded. The screens all were ripped out. A partially shattered front window gaped with sharp edges, like the grin of a demon. Gaps in the roof tiles almost looked intentional, as if someone were making a found-object art piece. The front gutter hung crosswise. During heavy rains a torrent of water cascaded over the front steps, then pooled in the yard to flood both the street and the basement.

Big Bob lived there, with his dozens of cats that he never let out. On hot days, the smell reached up and down the street. No one ever saw him. He was like a god who existed only in fairy tales. Neighborhood parents warned their children, beware.

The boys used the shed as a clubhouse during the summer. Today, the sun began to set and the cool of the day descended upon the hot and humid earth. Rickie and Danny slid through the broken fence slats on the far side of the yard. When they entered the shed, Robbie was spread out length wise on the floor. He smoked a Camel.

“Benjie here says he has hair on his balls,” Robbie said. He was older than the other three. Much older.

Benjie stood on the other side of the shed with feet spread and hands on his hips. Robbie took a long drag then offered the cigarette to Rickie and Danny. Danny took the cigarette.

“You two talking about each other’s dicks?” Danny said between puffs.

“Only interesting thing to talk about,” Robbie said. He signaled for the cigarette.

Rickie sat on his haunches, took one last drag, then passed.

“I got a dick as big as yours,” Benjie said.

Robbie tossed the butt of cigarette through a tear in the back wall of the shed.

“Big as mine?”

“Bigger.”

Robbie stood, undid his pants, and flung his dick out. With a few shakes, he was hard. Benjie did the same.

“Lemme see your balls,” Robbie said.

Benjie dropped his pants to his ankles.

“Balder than a baby,” Robbie said.

Danny and Rickie laughed but when Benjie looked at them, they stopped.

“You gonna leave?” Robbie said. “Or you gonna watch?”

“Just watchin’ is gay,” Benjie said.

Danny stood, shrugged to Rickie, and took his dick out.

“Let’s go,” Robbie said and he began to jerk off. Benjie did, too. Danny tried but his dick stayed flaccid.

“Don’t leave me hanging,” Danny said.

Rickie unzipped his jeans and barely took the head of his dick out and just played with himself.

The afternoon air was quiet. A car passed a block away. Maybe there was the drone of a plane thousands of feet above. Or the deep moan of a truck horn. Besides those, no sound. Except the soft, mechanical, repetitive muffled movement of the boys masturbating.

“Jesus Christ,” Robbie said, “fuck me.”

He came on the gray pressboard floor of the shack. Robbie put his dick back in his pants and buckled his belt. He stood behind Benjie and rubbed his shoulders.

“Come on, you can do it,” Robbie said.

Benjie cried out, like a wounded animal, then dribbled a bit on his hands. Danny stopped. Rickie zipped up his jeans.

Robbie shook a cigarette out, put it between his lips, lit it, and took a long drag. He sighed and smiled at the three boys with him.

“Like what you see?” Robbie said. He stepped to the open door of the shed.

With their eyes opened, the other three boys turned towards the house. Danny covered himself in his shame. Big Bob stood in the shade of the peach tree. He wore stained jeans and a fraying sweater. The uncut grass reached to his belt.

“Perverts,” Big Bob said. He limped as he walked back to the house.

Richard Stimac has published a full-length book of poetry Bricolage (Spartan Press), over forty poems in Michigan Quarterly Review, Faultline, and december, and others, nearly two-dozen flash fiction in Blue Mountain, Good Life, Typescript, and three scripts. He is a poetry reader for Ariel Publishing and a prose reader for The Maine Review.

Poetry from Mark Young

Court-métrage

The Rōshi enters the meditation room. All is silence.

He claps his hands. "How can you tell when a persimmon is angry?" he puts to the room.

The silence deepens.


Circumstantial

Every human being needs to feel that they are important, 
valued. Now is the time to move from rhetoric into action.

The path to sustainable development must ensure that people 
living in poverty are included. Communication styles can help.

Music can inspire. Its manifestations permit the possibility of 
a chance encounter between trans Americans & the current Pope.


À la campagne

School. Public
phone box. Un-
used hall. Over-

grown racetrack.
A gravel road
lies ahead.

 
DoNuts T.®ump looks to swallow up The Holy See

I can change my cookie settings
at any time, but can't change
the cookie cutter paradigm. Which 
means that if I don't get in & get a 
share of the Vatican action before 
those oligarchs arrive & buy up all the 
available building land, it’ll have to be 
the Sistine Chapel that gets pulled
down to make way for the new
Trump Vatican International Hotel.


The conspiracy fairy left me a silver dollar for my tooth

Jerry Fletcher is a man in love with a woman he observes from afar. Whoopi Goldberg questioned the Moon Landing on "The View." Jesse Ventura & his team of experts examine some of the most frightening & mysterious conspiracy allegations of contrails, which consist of ice crystals or water vapor condensed behind aircraft. Any gap in official information on such violent events is filled by online theorists proffering a "big explanation." Hoaxes go viral because the public rarely makes the distinction between conspiracy and misinformation in the aftermath of tragedy.

Secret schemes that shaped the world around us are hiding in the footnotes of our history books—you just need to know where to look. Urbandictionary.com is being used for governmental purposes. The government is finding out ways to control us, through an event or set of circumstances created as the result of a usually secret plot by powerful conspirators. Secretary Wolf calls these rumors "full of misstatements & misapprehensions."

The ads in this column are not endorsed by the author.

Poetry from Wazed Abdullah

Wazed Abdullah

The land of Bangladesh


In the land of Bangladesh, 
Where the monsoons bring life and breath, 
The people thrive with an unyielding zest, 
And their spirit shines through every test. 
From the mangrove forests of the Sundarbans, 
To the tea plantations of Srimangal, 
Every inch of this country bears witness, 
To a beauty that's beyond measure or scale. 
With a rich history and vibrant culture, 
Bangladesh's story is one of grit and nurture, 
Where heroes and legends stand tall, 
Their stories echoing through every hall. 
The red and green flag waves high, 
A symbol of pride and unity in the sky, 
For a nation that stands strong and bold, 
Defying all odds with a heart of gold. 
So here's to Bangladesh, 
A land of wonders and endless zest,
May her people always find their way, 
And her glory shine bright every day.

Wazed Abdullah is a student of grade 8 in Harimohan Government High School, Chapainawabganj, Bangladesh. 

Poetry from Roodly Laurore

Patience

 

The future hides, fades away

Gives way to doubt, doubt.

Sleep flees, appetite disappears

Body weakens.

Discouraged, takes refuge in the corner, saddened.

No more inspiration, shrouded in darkness

Desolation, last weapon

Last minute companion.

But in the end, the flip side

Leads the way, brings hope

that lasts forever

The fruit of patience.

_____________________

Patience



L'avenir se cache, s'efface

Fait place au doute, sans doute

Le sommeil s'enfuit, l'appétit disparaît

Ainsi, le corps s'affaiblit.

Découragé, se réfugie au coin, attristé

Plus d'inspiration, plongé dans l'obscurité

La désolation, dernière arme

Compagnon du dernier moment.

Mais en fin, le revers de la médaille

Ouvre la voie, apporte l'espoir

Qui dure à toujours

Le fruit de la patience.

 

Poetry from Mesfakus Salahin

Rebirth of Love

See the heart of the world
It is not imagined by lovers so called
The sun rises everyday in eyes
Everywhere the dream independently flies
Mountains travel beautiful places
The tree talks to its branches 
With sweet voice fountain sings
Beauty flies on the air's wings
The sky sleeps on the flying cloud
Raindrops play like brotherhood
Love deserves loneliness 
Relation builds on avoiding ugliness 
Birds adore first night
Nature refreshes morning sight.
Rebirth reproduces generation's wheel
Though the world will be a shelter of nil.

Poetry from Don Bormon

Don Bormon

In a Day of Winter

Winter is a season of cold and mist
This time dew shines on the leaves
It shows a lot of beauty of nature
In a day of winter,
I was walking on the street, I saw
The trees were dry
The leaves left the trees, I think
The leaves did not want live with the trees
The sun rays hide back of the dew
It wants to reach on the earth, I think
If I could be the sun rays!
I would come on the earth
To make happy the trees
To remove the dew and mist and make clear the sky. 



Don Bormon is a student of grade 8 in Harimohan Government High School, Chapainawabganj, Bangladesh.  

Christopher Bernard reviews William Kentridge’s Sibyl at Zellerbach Hall (Berkeley, CA)

U.S. Premiere of William Kentridge’s SIBYL, March 17, 2023 (Photo by Catharyn Hayne)

The Mouth Is Dreaming

SIBYL

William Kentridge and collaborators

Zellerbach Hall

Berkeley

A review by Christopher Bernard

The climactic event of an academic-year-long residency at UC Berkeley by the celebrated South African artist William Kentridge, was the United States premiere at Cal Performances of SIBYL, the latest example of his deeply witty, darkly lyrical, postmodernly brilliant, if intermittently satisfying (though the two last qualifiers are perhaps redundant), but exhilarating suspensions in organized theatrical chaos.

Beginning as a reluctant draftsman, and having gone through a succession of dead-end careers in his youth (as the artist has described in interviews), Kentridge finally embraced the fact that his deepest gift lay in drawing; in particular, his capacity to turn charcoal and paper into an infinite succession of worlds through the dance of mark, smear, and erasure, similar to those of a master central to him, Picasso. Through drawing, he was able to extend his explorations into other fields of interest, including sculpture, film, and theater, above all opera and musical theater, attested to by his celebrated productions of operas by Berg, Shostakovich, and Mozart.

The artist also realized that it was precisely this capacity for creation itself – though perhaps a better term for it might be perpetual transformation – that stood at the heart of what we must now call his peculiar, and peculiarly fertile, genius (a term I do not use lightly – Mr. Kentridge is one of the few contemporary artists whom I believe fully deserves the word).

The latest hybrid work combining his gifts is a theatrical kluge of disparate elements that meld  into a uniquely gripping whole, though there are gaps in the meld I will come to later.

The central idea is the Cumaean Sibyl, best known from Virgil’s Aeneid and paintings by Raphael, Andrea del Castagno, and Michelangelo. A priestess of a shrine to Apollo near Naples, she wrote prophecies for petitioners of the god on oak leaves sacred to Zeus, which she then arranged inside the entrance of the cave where she lived. But if the wind blew and scattered the leaves, she would not be able to reassemble them into the original prophecy, and often her petitioners would receive a prophecy or the answer to a petition not meant for them, or too fragmentary to be understood.

The performance opens with a film with live musical accompaniment, called The Moment Is Gone. It spins a dark tale of aesthetics and wreckage involving the artist in witty scenes with himself as he designs and critiques his own creations (a key link in his own transformations), and, in two parallel stories, Soho Eckstein (an avatar of the artist’s darker side who frequently appears in his work), a museum modeled on the Johannesburg Art Gallery, and the Sisyphean labors of zama zama miners – Black workers of decommissioned diamond mines in South Africa; work that is as dangerous and exhausting, and often futile, as it is illegal. Leaves from a torn book blow through the film bearing Sybilline texts: “Heaven is talking in a foreign tongue,” “I no longer believe what I once believed,” “There will be no epiphany,” and long random lists of things to “AVOID,” to “RESIST,” to “FORGET.” The museum is undermined and eventually caves in at the film’s climax, leaving behind a desolate landscape surrounding an empty grave.

The film is silent, though its exfoliating imagery almost provides its own music, an incessant rustling of forest leaves like those of the original Sibyl’s cave. The live music is composed by Kyle Shepherd (at the piano) and, by Nhlanhla Mahlangu, choral music sung by a quartet of South African singers, including Mr. Mahlangu. The choral music is based on the hauntingly quiet isicathamiya style of all-male singing developed among South African Blacks in eerie parallel to the spirituals of American Black culture, and for similar reasons: to try to console them for a seemingly inescapable suffering caused by white masters in a brutally racist society.

The second half is called Waiting for the Sibyl, in six short scenes separated by five brief films. The live portion presents half a dozen or more singers and dancers in scenes from the life of the Sibyl acting out her half-human, half-divine mission. Several of the scenes also incorporate film projections of drawings in charcoal and pen and pencil, black-ink splashes dissolving into mysterious exhortations (some of the visuals are powerfully reminiscent of Franz Kline’s black paintings on newspaper and phone directory pages from the 1950s), and Calder-like mobiles and stabiles, the most powerful of which spins slowly for several minutes, turning from an ornate display of stunningly dark abstractions into a climactic epiphany of resplendent order: the divine oakleaves of the Sibyl upon which we can read our destiny if we are lucky enough to find the one meant for us. The claim “There will be no epiphany” is here startlingly, and definitively, denied.

A line of bright lights along the front edge of the stage projects the shadows of performers and props against back screens and walls to effects that are both compelling to watch and symbolic of the dark side of every illumination. In several of the scenes, Teresa Phuti Mojela, playing the Sibyl herself, dances in magnificent passion as her shadow is projected grandly on the screen behind her to the right of which a flashing darkness of charcoal and ink from the artist’s hand dances beside her.

In other scenes, the treachery of the material order is allegorized in a dance of chairs moving apparently by themselves across the stage and collapsing just when a poor human being needs to rest on one from the unbending demands of the material order of living.

In another scene, a megaphone takes over the stage and barks orders across the audience, many of them transcriptions of the oracular pronouncements on the Sibylline leaves: “The machine says heaven is talking in a foreign tongue.” “The machine says you will be dreamt by a jackal.” “The machine will remember.” Though then the megaphone – stand-in for the machine – seems to turn against itself: “Starve the algorithm!” it demands, shouting over and over, to several unequivocal responses (“Yes!” “You said it!”) from the audience I was in.

One of the most dazzling of the short films is an immense one-line drawing that begins as a dense chaos of swirling squiggles in one corner that eventually builds into an elaborate, precise, wondrous, surreal but perfectly legible drawing of a typewriter. But the draftsman does not stop there, he continues drawing wildly, apparently uncontrollably until the screen is a thick liana, a fabric of chaotic twine, the typewriter slowly sinking beneath the chaos of a creation that cannot stop. This is a nearly perfect example of the perpetual transformation – one might say, of existence itself – that is one of Kentridge’s central themes.

SIBYL is filled with such brilliant and, for me, unforgettable moments, as I have learned to expect from this artist after he first invaded my mind in a retrospective I saw in 2010, and in the following years in such masterful creations as “The Refusal of Time.” But the piece is not without weaknesses. The artist admits, in interviews, that he does not know how to tell a story. And that is clearly true – and in most of his work, it doesn’t matter. But for a live performance, something like a narrative arc is required for a piece to cohere and satisfy at least this spectator. The arc can be as abstract as you please (such as in a Balanchine ballet), but it needs to be there. And it is not present in the second part of SIBYL (where it needs to be) nor, a fortiori, in the work as a whole. The production provides a fascinating evening, loaded with ore; my only complaint is that it could have been even better than it is. For example, I was expecting a fully climactic conclusion. There is none; it just stops. The ending is merely flat. Postmodernly unsatisfying.

Among the things that stay stubbornly in memory are the vatic sayings of the Sibyl herself, strewn across screen and stage as at the mouth of the priestess’s cave: “Let them think I am a tree or the shadow of a tree.” “It reminds me of something I can’t remember.” “We wait for Better Gods.” “The mouth is dreaming.” “Whichever page you open” “There you are.”

_____

Christopher Bernard’s third collection of poetry, The Socialist’s Garden of Verses, won a PEN Oakland Josephine Miles Award and was named one of the “Top 100 Indie Books of 2021” by Kirkus Reviews. He is a founder and co-editor of the webzine Caveat Lector.