Poetry from J.J. Campbell

Author J.J. Campbell White man with a large beard and a black tee shirt and eyeglasses stands in a bedroom with posters in the wall.
Author J.J. Campbell
ten more years
 

remember when your parents

told you they were staying

together for the sake of the

children

 

it was all a lie

 

they hated you and only

stayed together for another

decade because the taxes

were easier to do

 

ten more years of do

what your father says

 

ten more years of

anger and despair

 

ten more years of talking

yourself down from the

roof every other night

 

you still are haunted

by those ten years

 

eventually, time will

run out on all of us

 

not everyone gets

the bliss of a sunset
--------------------------------------------------------------------------
another sign of getting older
 

here comes a

sexy woman

in glasses

 

my knees

just got

weak

 

is it love

 

or fucking

arthritis
----------------------------------------------------------------------------
someone will find the happy out there
 

i was told i never write happy poems

 

some impossible challenges should

just be let go

 

but no

 

i have to do this

 

so, there's this little boy

watching the rain

 

his father tells him

those are tears from

god

 

and the little boy asks

why is god crying

 

and the father tells the

little boy it is because

of all the times he lets

down his mother

 

and the little boy, just

old enough to know his

father is probably full

of shit

 

says maybe it is because

of all the times you have

let her down and she knows

she could have done much

better

 

after taking his beating, the

little boy learned a lasting

knowledge about the truth...

 

it hurts
--------------------------------------------------------------
with all i have to give
 

hot water racing

down your back

 

i can feel your breath

in my soul

 

it feels like i have

waited forever to

taste you

 

to grace your lips with

all i have to give

 

be it this night or all

the nights we have left

 

you possess the only

arms i ever felt safe

within

 

i could promise you

the moon but i'd rather

go hand in hand shooting

the stars

 

walk across a bridge and

jump together

 

to see how much love

can let us fly

 

i want to show the muse

all that she has inspired

me to do

 

one day, hopefully

 

we'll meet in some

random city like it

was meant to be
----------------------------------------------------------
chasing dark secrets
 

the muse is in paradise

trying to enjoy life a

little bit more

 

i'm off chasing dark

secrets

 

wondering if it is only

my tail or a tale worth

telling

 

our love grows stronger

and i long for the day

where there is a lonely

beach and two old souls

enjoying a drink

 

i know the chances

are slim

 

but i refuse to believe

the impossible can't

happen

 

of course, the deeper

the longing the larger

the price to pay in

sorrow and madness


J.J. Campbell (1976 - ?) is old enough to know where the bodies are buried. He's been widely published over the years, most recently at The Rye Whiskey Review, Disturb the Universe Magazine, Horror Sleaze Trash, The Beatnik Cowboy and The Asylum Floor. He will have a joint book coming out this summer with C. Renee Kiser. You can find him most days on his mildly entertaining blog, evil delights. (https://evildelights.blogspot.com)

Z.I. Mahmud explores Romeo and Juliet

For young people living in the world of adults, “love” is a means of defiance and resistance. Explore with respect to the literary text and any cinematic adaptation of Romeo and Juliet prescribed in your course. 


The frantic pace of the movie reveals the outburst vehemence and impulsive hot-headed nature of the dwelling aboriginal of Verona as latterly foreshadowed by the rage, grief and passion of the feuding rivalries between the adversaries-Capulets and Montagues----true to the authenticity of Shakespearean spirit. 1960s film version was focused on tragic love; the 1990s is about violent love. 

Shakespearean dramatis persona were the milieu of the starcrossed lovers and their inner moral dilemmas of those minds whose temperaments resonate reckless and hasty nature as the dysfunctional world of the Montagues and Capulets whose blood and honour were inseperable. Modern day mise-en-scene of the adaptation is a brilliant spectacle that marvels the accomplishing achievements through bestowal of laurel wreathed bouquets and accolades. For instance, Mercutio’s raving in the Capulet’s ball makes unimpeachable exemplary phenomenon with the bottling of acid beforehand. Romeo’s decision to end his life with poisonous drugs parallels the lifestyle of violence and addiction. The mafia clans fanaticism of religious sentiments as projected by their Catholic vein running through the plot juxtaposes coldblooded aggression as ironically spotlighted by the stereotypical families. 

The close shot camera focusing the Shakespearean hero and heroine cloistered by the walls of Verona and confinement by window frame of patriarchal abode respectively. Upon revealing close up shot Zeffirelli’s camera angle moves to showcase Romeo attired in a deep, lilac; a Montague bereft of Capulet vulgarity and ostentation; nonetheless, pill box hat, eyeliner, flawless complexion and the flower exemplifies effeminacy. “A glooming peace this morning with it brings. The sun for sorrow will not show for his head”-----unshaved, unkempt Romeo beside swollen lips and fluffy faced Juliet in the tomb scene is the visual artifice in commitment to the ironical perspectives of the drama. Zeffirelli’s textual interpretation literally elucidates Shakespeare’s highly stylized and emotionally expressive naturalism that bestows weight to the narrative moments like Juliet’s departure epitomizing overexcitedness and emotional disorientation by the state of the physical dizziness. Here, as throughout, Zeffirelli creates a situation where visibility becomes feeling and feeling becomes awareness. 

Religion of love imagery foreshadowed by the sonnet dialogue is absolutely superbly visualized filmic adaptation to cherish beneath the connotations of pilgrimage and saintliness: institutionalized and ritualized love-making courtship. The starcrossed lovers romantic love-making sonnet in the background depicted by the imageries of saints, pilgrims and statues brings the abstractest essence of martyrdom, canonization and immortality---the fabulous trappings embodying their history---their personalities and their naivetes, and their uncertainty of each other and the awareness of the social context in which they find themselves in the ignorance of perils. Choruses last six lines musical effect is absolutely inappropriate and unnecessary addition to the cinematic conventions of diegesis hovering between snapshots and painting, documentary and fiction; reconciling the present tense with the past tense of the film, ethical space with that of the cinema and history with story as profoundly replicated in Mercutio’s remark to Romeo is appropriately credible to Zeffirelli’s diegetic: “Now art thou what thou art, by art as well as by nature.” 

Further Reading

Sarah L. Lorenz’s “Romeo and Juliet”: The Movie, The English Journal, March 1998, Volume 7, No 3, Teaching the Classics: Old Wine, New Bottles, March 1998, pp. 50-51, National Council of Teachers of English 

Michael Pursell’s Artifice and Authenticity in Zeffirelli’s: “Romeo and Juliet”, Literature and Film Quarterly, 1986, Volume 14, No 4, pp. 173-178, Salisbury University



Essay from David Sapp

Kissing Patty McCalla						

Patty, Patty, Patty. When I was seven, all I could think of was Patty. Kissing Patty McCalla. Patty was the tiniest girl in our class, an itty-bitty version of Mary Tyler Moore. Dark hair, impish eyes, the best giggle. For picture day she wore a bright red jumper with chartreuse green leotards and white glossy vinyl Mary Janes. She was the first in our class to wear glasses, but I liked her anyway, maybe more so because of them. 

I chased her around the playground at Elmwood Elementary, around the slide, monkey bars, and teeter totters. In the winter, when the slide iced up, the boys crouched at the top and let our hard slick shoes and gravity carry us precipitously down the metal and across the blacktop. Fledgling ski jump Olympians. (Not the girls as at that time all the girls wore dresses every day.) Some kid was always getting hurt. As skinned knees were a daily occurrence, the teachers kept antiseptic and Band-Aids at the ready. 

We played jets and parachutes on the swings, and once I fell out the back of a swing and passed out from whacking my head. My ejection seat failed to deploy. I wondered if Patty was watching. Mom was called and I ended up spending a night at Mercy Hospital with a concussion beside a boy a little older who had a heart murmur. I threw up twice in one day: once outside the car on the way to the hospital when we took my sister to Grandma Dearman’s. Mom wasn’t keen on leaving my sister there as Grandpa Dearman was a “mean old bastard.” (He was!) And later, because I threw up cherry Jell-O in my bed, it looked like I was bleeding to death. It gave the nurse a fright. I was amazed at how the nurse could change the whole bed while I was still in it. I was even more surprised when the nurse didn’t seem to mind at all unlike my mother under the same circumstances when I had the flu.

Every recess, Patty was there and those fifteen minutes twice a day were bliss. Though I was equally in love with my second-grade teacher, Mrs. Hennell, and wanted to please her by making paintings and practicing the cursive letters lining the borders of the chalkboards, my mind wandered to Patty two rows over and three seats down. I tried many strategies to sit near her in the reading circle. But at recess, there was Patty, right there beside me. I wasn’t interested in shooting marbles in the dirt or playing kickball with the other boys. 

The competition was too fierce. And dangerous. Running towards home, Tom Auger, a boy on my bus route, slid under the chain-linked fence, broke his leg, and spent the next six weeks in a body cast. Though he got behind in school, Tom would later be a high school football star. I was happiest playing with the girls and the other less athletic boys. Girls were more interesting more mysterious, than boys. Why play kickball when there was Patty? 

In return for my affection Patty kicked my chins. I came home once too often with black and blue and variations of purple and green legs. But I endured the pain because it was Patty, and she was my girlfriend – as far as I knew. Even though I begged her not to, Mom called Patty’s mom and they laughed together over the kitchen phone about our courtship. The shin-kicking eased up, but I rather missed the bruises. Mom said Patty probably liked me well enough but was just fickle. All I could think was fickle rhymed with and reminded me of pickles. I liked pickles, especially the little sweet gherkins. As usual, Mom did not define the new word or offer up a dictionary. 

There were other words like belligerent, incorrigible and insolent that stumped me, though no other grownup I loved used those words describing me. I had a notion of what the word unruly meant. Nine years later when I was driving and Dad was out of the house, on the last day of living with her, Mom threatened to declare me an unruly juvenile according to the Ohio Revised Code, Section 2151.002 – when she was “on strike” and wouldn’t cook, do laundry, or look after my little sister for weeks – wouldn’t allow me do the laundry – when I tried to get out the door with the laundry baskets and detergent – when I shoved her.  (Years later we learned that during Mom’s strike a budding molester down the street attempted to lure my little sister inside his house with candy.)

In the summer I missed Patty terribly. We exchanged letters even though we lived only three miles away. These were brief and repetitive as there wasn’t much to talk about in the dog days of summer and our large loopy handwriting didn’t allow for much elaboration. I wanted her to visit so that I might kiss her under the wild cherry tree in the meadow. I implored Mom and Dad to let me ride my bike down Martinsburg Road, a busy highway, to see her. 

After all, I rode to Gambier to get a haircut once, over that rickety bridge spanning the Kokosing River. It was a very bad haircut – crooked bangs, but I also stopped at the candy store on Wiggins Street and loaded up with Bazooka Bubble Gum and Three Musketeers. But then, maybe that trek occurred when I was ten or eleven. Kenyon College was there in Gambier and my grandmother was a cook at the dining hall for many years serving the long-hair kids from the East Coast. Grandma and Grandpa had a little dairy farm just outside the village where I spent much of my summers. 

My bike was an embarrassment as Dad bought it for me new just before the Sears Spyder and the Schwinn Sting-Ray models with the banana seats and the chopper handlebars came out. Mine was a gearless stylistic remnant of the 1950s – fire engine red with coaster brakes, too much chrome, and whitewall tires for god’s sake. None of the other boys in the neighborhood ever commented on my bike as they were generally polite kids, offspring of professors who taught at the very protestant and very evangelical Nazarene College just down the hill. John Taylor, who played a viola in the orchestra and would become a weather forecaster, had a gold Spyder Mark IV with caliper brakes, a leopard print seat, and a gear-shifter like Steve McQueen’s sportscar. 

I felt somehow that I was just a little less cool and was required to work harder at popularity as I was also Catholic and went to catechism on Sundays rather than Bible school. Their evangelical parents were suspicious of Catholics. No, in actuality, prejudiced. Maybe it was because I knew fewer rules and players’ stats in football – though I liked the Jets and Packers for some reason. Maybe it was because I was the only boy in the neighborhood who knew how to swear properly.

I lost track of Patty after fourth grade as, of course, there were other girlfriends: Brenda, Sherry, Robin, Melanie, Penny, Linda, Barbie. But Patty McCalla was my first obsession, and I was indebted to her for that emotional opportunity, the instantaneity of love, the purity of adoration before the animal desire of adolescence took hold. I am not sure I actually kissed Patty when we were seven – even on the cheek, let alone on the lips. I doubt we fully comprehended the procedure even though there was plenty of kissing on television in the old black and white movies at 4:00 on Big Ten Theater and even on Bewitched and The Brady Bunch. I am fairly certain we held hands a bit until it was no longer practical to do so. After high school, I heard she married Tom’s cousin, Dave Auger, and like everyone else suffered the tragedy of adult life. They had a little girl who ran out onto Sycamore Road.


David Sapp, writer, artist, and professor, lives along the southern shore of Lake Erie in North America. A Pushcart nominee, he was awarded Ohio Arts Council Individual Excellence Grants for poetry and the visual arts. His poetry and prose appear widely in the United States, Canada, and the United Kingdom. His publications include articles in the Journal of Creative Behavior, chapbooks Close to Home and Two Buddha, a novel Flying Over Erie, and a book of poems and drawings titled Drawing Nirvana.

Poetry from Michael Robinson

Middle aged Black man facing the camera with his face resting on his hand
Michael Robinson

Rejoicing in the Lord
 
For: Olga Shearer

Psalm: 34:3 (NIV)- “Glorify the LORD with me;
   let us exalt his name together.”


My soul sings to the Lord, as the sun rise your closeness comes.  
I kneel at the foot of my bed and praise you Lord with joy.  
What a delightful song my heart sings in gladness to know you.  

I turn to you for you have healed my troubled soul by your love.  
Rejoicing in my salvation from the heaviness of a broken heart.  
Now there is gladness that I have come to know of your redemption.

I once was lost in the mist of pain and sadness for I had no hope.  
You spoke to me and give me hope by the gleam in your eyes.  
Your voice was soft, and your heart had warmth for my aching soul.  


My weary bones would have been crushed if not for your gentleness.
I turned to you for comfort and found rest and I rejoiced  
A pillow to lay my head and rest a weary mind to be restored.


My soul delighted in your salvation for all my sins were forgiven.




Poetry from Jacques Fleury

Young adult Black man with short shaved hair, a big smile, and a suit and purple tie.
Jacques Fleury
Random Musings about Submission

By Jacques Fleury

[Originally published in Jacques Fleury’s book You Are Enough: The Journey to Accepting Your Authentic Self]

Let’s just begin in
medias res…or in the middle of things…
You see, we had artistic differences,
I was the artist and they were indifferent…
“Thank you for your submission…” but I never 
Submitted!

At least not in the way that they wanted me to;
If I wasn’t fiscally challenged, I would board a jet plane
And head for a luge run at Saint Moritz Switzerland,
A psychotically dangerous sport;
Maybe they’ve driven me to psychosis!

Luge, a sport rooted in Germanic tribal wars against the Romans;
Bored aristocrats on vacation looking for a distraction;
Although I am distracted by my own tribal war here in America,
I am nothing like a bored and puerile aristocrat…
This landed me in a mawkish quagmire of self-pity;
In my mind I absconded into a journey of devilment to topple my torment;

Writing can be an exercise in discernment that you are inevitably
Obliged to submit for judgment; that is if you expect to make
An impact other than justifying your own derangement due to
Maladjustment…
“Your writing is not a good fit for our publication” was the nadir of my existence!!!
What did I write to warrant such specious offerings you may ask?
Well I wrote from the voice of an ignoble omnivorous muskrat
Whose sexual identify is non-binary;

Both a strumpet and a sthumpet!
And as an exponent of socio-political justice wrote hither and thither
An apocalyptic reverie about mutant muskrats;
A germane allegory or political fodder for the purpose of unveiling
pejorative prejudice;
Deciding to introduce a foreign element into an established
Yet insecure environment so to demonstrate the ensuing behavior
Of those who deem themselves superior;
The muskrat representing the only POC or person of color
In an all-white order where WASPS Rule!

WASPS being descendants of
Wealthy Anglo-Saxon Protestant Males
Feeling their long history of imposing their cultural values and
Socio-political power over “the other” that is
women and minorities…
Threatened by a neo-progressive era geared towards changing the status quo;
Clamping down on their suppression in retaliation to the
Nascent and unrelenting movement towards socio-political
And economic progression and equality
In this American Nation!

“Thank you for your submission
But your work is not a good fit for our publication…” 
Really?!
So here I am, randomly musing about not being chosen…
Am I just a titular poet?
A deuteragonist in my own story?
When do I get to be the protagonist hero despite my AFRO?!
When do I get to be the plucky character in epics akin to

19th century iconoclastic South African king Shaka Zulu whose heroic story depicted
How he united tribal factions to create notable states and powerful African identities…or even
Anglo-Saxon and French epics like Beowulf together with Le Chanson De Roland?
Or even the archetypal Mesopotamian great:
The Epic of Gilgamesh;
Regarded as the earliest prototypical literature and the second oldest religious text…

“Your submission is not on par with our vision…”
Really?!
Even in the midst of global
Dissention and division?!
So we had artistic differences…I was the artist and they were indifferent.

But I decided to muse about it to manufacture
My own moment,
Fashion my own non-contentious and all-inclusive literary faction,
Where ALL postulatory voices are worthy of publication;
Because the acrimony of exclusivity is
A damnation!
I will continue to submit but NEVER to their behest for 
Submission!!!
Silhouetted figure leaping off into the unknown with hand and leg raised. Bushes and tree in the foreground, mountains ahead. Book is green and yellow with black text and title.
Jacques Fleury’s book You Are Enough: The Journey Towards Understanding Your Authentic Self

Prose poem from Brian Barbeito

Two dark horses on grass behind a wooden fence in front of a house as the sun rises or sets in front of clouds.
Closeup of a white horse in a stall. His or her head is in a bridle.
Black and white photo of a group of people riding horses in the forest.
Wood and concrete building with flowers and grass and trees and a few clouds in the sky on a sunny day.
Green barn with a red roof near some trees on green grass under a cloudy sky behind a wooden fence.
Long barn and grain silo on a dry patch of grass under a partly cloudy sky.
Near Where Reeds Sometimes Sway in the Wild Wind, (and of fields barns summer’s scenes, the mise-en-scene of pastoral worlds northern) (for Raquel)

there was a winding way, and it was beyond the towns where fields and farms lived and had lived for decades, for seemingly forever. I asked a soul why some of the horses had little or hardly any places to wait in the rain (though they had some), and others at different places had large and many shelters. she said that not all ranches, just because they are ranches, have the same amount of money. and it was a sunny and summer and calm day,- and the horses there, one brown and one white and one black, would pause so briefly and look at me as I passed by. that was another world, and I wondered what it would be like being borne into such a lifestyle. 

I glanced back leaving, and saw there as I did elsewhere the tall barns on concrete forms with old but curt and organized windows small and sometimes even large. sometimes the structures were faded and needed painting and even the forms, the concrete foundations,- spoke somehow of their age. if there were reeds or some kind of wild growths on the edges of such places I liked them very much. and if the wind announced itself suddenly and then even frequently and brought such reeds over or over and back and forth in the world, like they were all dancing or talking, well I liked that even more since the world was alive then. it was an okay day. they were okay days. there wasn’t a lot to complain about.

Poetry from Daniel De Culla

Two young light skinned boys in jackets, jeans, and sweaters visiting a museum with outdoor sculptures of dinosaurs that are life size.
Isabel G. de Diego’ photo
MY GRANDCHILDREN PLAY AND DREAM 
ABOUT DINOSAURS

What joy! What happiness!
While my grandchildren play 
And dream about dinosaurs
I, at their innocent age
Played with El Jabato comics
Roberto Alcázar y Pedrín
Tarzan of the Apes
King Kong and Beauty
And Warlike Azañas 

Remembering that dwarf General
Who rode a horse
Followed by Moors riding donkeys
Whom the entire Church flattered
And walking him under a canopy
For the benefits received
Being a total serial killer
From this country called “my beloved Spain”
As Antonio Molina
The man from Malaga called him
Andalusian copla and flamenco singer.

The entire Church
For these graces received from the Dictator
Had an extreme love for children
Like that of donkeys or donkeys
Stop with its mouths.
Love that was allowed by children
Because they were indoctrinated by fascist mysticism
That swarmed through Iberia
And all of Europe.

Now, my grandchildren play 
And dream about Dinosaurs
Of strange names that they know by heart
With innocent contentment
Because they see themselves converted 
Into protectors of these
Pitting them against each other
In amazing fights
In dinosaur operations
Similar to those announced and seen sets
On the benches of the Congress of Deputies
That amaze everywhere
Thank God and his asses.

When I tell them to contradict them
And make them angry:

That Triceratops is called Jester
That Velociraptor is called Cambriles
That Diplodocus is called Capitol
That Brachiosaurus is called Pig
That Stegosauria is called Balam
That Iguanodon is called Borak
That Archeopteryx is called Spain

They get very angry, and tell me:
-Bobo (for grandfather), you are a fool.
You know nothing
Wanting to hit me hard in the belly
With the jaw of an Iguanodon
What his mother saves me from by telling them:
-Bad very bad. No, children, no.

You don't do that to grandpa.
They run away laughing out loud.
While I feel like I'm privileged
Having the glory of enjoying with them
Which are so charming.
The most beautiful in Iberia!

Because, at my age, thanks to them
They have made me a warrior with their Dinosaurs
And, thanks to them
 I am the King.
Because being it
So depends on the children.

-Grandpa, there are dinosaurs that talk.
-Yes my children, of course.
I look at them and think:
-The souls of children pass to the dinosaurs
While the souls of men
Become to madmen or cafres
With feelings of serial killers.

Furthermore, I tell them:
-Do you children know something?
-What thing? Bobo.
-That dinosaur milk is very medicinal.

-Isn't that right, mom?
-No, my children, no.
Your grandfather is a fool.
-Yes mom.
-The fool is not a dinosaur
He is a big gorilla.

-Daniel de Culla