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SPOTLIGHT: A Blurry Photograph of Home by Gina Tron

https://www.amazon.com/dp/B0BF2P7T42

BLACK HERRING

A tar dealing family
a former corpse
in the mud
of a Cumberland Farms
a Cumbies
a body
mouthpiece, a family
tar as thick as tires
that could be slashed
for exposing
the unintended murder
of the business
not premeditated
not intentional
just collateral
just the terrority

It all comes
with,
the cop says
as he chews tar
in cheek
don’t tell nobody
I unarmed
in the seat of his game
surrounded by guns, throne of gauges
as we drive through a parking lot
with a murder of crows
little black dots
on a sheet of white snow
window down
and dragon puffs spew
from his mouth
it’s a picture-perfect image
of the moment

Standing on the hill
more murders this year
than ever before
but it’s still so still

Cawing together
on a sheet of white
icing darkness in mass
gathering until the click of overcast. 





PENUMBRA

I am not a statue
just a blurred photograph of one
I’m rotting parts
a human with a surname
who was sucked into a swirling hole
noir, eating solar systems without condiments
and when I came out the other side
the title had been ripped off
detached, robotic
thrown up
I’m merely the regurgitation of real feelings
the salvaged ones recovered in the spatial storm.




CHECK ENGINE

I lay in the new car smell
standing upon grass
not a vehicle in sight
staring at their gravesite
waiting for words to waterfall down
but I am a desert now

The letters that I used to dress up
have abandoned me
an alphabet still, I pull from
but their curves aren’t covered

There is less dirt dividing us now
but the souls have deserted me years before
their flesh suits did. 





CROSS COUNTRY > DOWNHILL

We traced a ski path in sheets
downhill fast
and swam in each other’s frozen lakes
with hesitance but also,
haphazardly fast

The warning signs were there
of a drain
with endless sadness pouring down it
even with the faucet off
yet I still insisted that he wash me
with the soap he was too ill to see.






PATERNAL

I’d cry and try to get through the door
but the pink wouldn’t hear me
cotton in ears to blur out the noise beyond the walls
and the blue, while face-to-face,
would push me away
I’d climb over his legs to get to the doorknob
but he’d shove me down
with his eyes upon items of interest
books, newspapers, anything but me
the toys behind me merged into a pink mess of ponies and convertibles

I eventually learned to stop crying.


Emma McCoy is Alien Buddha’s Featured Artist for October 2022


ABP- Thank you for taking this interview, Emma. This past spring we had the privilege of publishing “In Case I Live Forever”, a chapbook that ended up being our best selling title for the month of May.

What can you tell us about the process of writing this collection?


EM- Absolutely! I started this project in the spring of 2021, and I worked on it off and on over the next year. Because this collection takes place on a chronological timeline, and my character had no time constraints, the sky was the limit for what I wanted to research and write. The process for me really looked like picking a time period and a place, and then researching the poetic forms most popular there at that time. Then I would look at my timeline, see the mood of the other poems around it, and go from there. It was like putting together a big puzzle, and it made it so much more fun following the same character the entire time.




ABP– Can you share a poem from In Case I Live Forever with us here?


EM-  I think one of my favorite poems from the collection is “She Who Saw the Deep.” It’s a ballad inspired by the old English epic poems like Beowulf, and it’s eight pages (much too long to print here, I’m afraid). It took me about five hours to write in one sitting, and it’s my favorite because I really was crafting this huge story and I knew I could only let the reader see it through a small window. I used a lot of what are called “kennings” which are old English poetic conventions where two nouns are squished together to make a new noun. So I have words like “king-graves” and “warrior-gods” sprinkled throughout in an homage to the style.




ABP- Who is your favorite writer? What is your favorite book?


EM- Oooh tough question. I think when it comes to poetry I love the poetry of Naomi Shihab-Nye and Luci Shaw. They both have their own distinct style that really inspires me in my own work. And I’m also super lucky to have two lovely women in my life who inspire me every day with their poetry: Katie Manning and Margarita Pintado-Burgos. They teach at my university, and their work is so amazing and they’re great people to be around. As for my favorite book, I’d have to say the Martian by Andy Weir. I can’t get enough of it, and I re-read it all the time!




ABP– What is the art/lit scene like in San Diego, CA these days?


EM- It’s fantastic! There are so many cool writers and poets and artists to get connected with. I recently was a featured reader at the San Diego Festival of Books hosted by UCSD, and I got to hear from some really amazing poets like Rudy Fransisco. I’m looking forward to getting more involved with open mics and book launches and celebrations this year, because there’s a lot happening.




ABP– Do you have any works in progress, or upcoming events that you would like to mention? Any plans for 2023?



EM- So many plans! I’m one of those insufferable writers who always has to be working on something. I have a chapbook that’s completed and is currently in the review process at a few presses, so I’m hoping that will happen this year or next year. I’m also most of the way done with a full length book on Biblical prophecy, and I’m just so excited about that. It’s the biggest poetry project I’ve undertaken, and so much work is going into it I just know that when it’s done I’ll be really proud of it. So look out for it in 2023!

Additionally, I’ve been trying to stretch myself this year, so I’m one draft into a fantasy novel. Prose is a very different process than poetry, but I’m enjoying the challenge.




ABP- Thank you again for taking this interview, Emma. If there is anything else that we did not cover, please feel free to tell us about it.


EM- Thanks for having me! It was really such a treat to be able to publish “In Case I Live Forever” with ABP. For any fans of narrative poetry, old fashioned epics, or a plain old fun story, be sure to head to ABP to check out “In Case I Live Forever”!

SPOTLIGHT: Kahi and Lua: Tales of the First and the Second by Melissa Llanes Brownlee

https://www.amazon.com/dp/B0BCS7DMLK


Birth
Birthed from the dark, the dark that made the night, the night that made the dark, the sun hiding and the moon shining, Kahi stretches himself under the seven stars as the heavens turn over the fire of the earth. Lua joins Kahi, opens herself in the darkness of their mother, the night. They will be joined by their brothers and sisters but for now they are alone together in the dark. They see before eyes. They feel before skin. They know before synapses fire. They find each other under the watching stars, under the watching night. They will see the birth of life, witness the creatures of earth, of water, before birthing their own.




True Gods
Kahi finds himself lounging in pjs on the sofa, the lanai door open to the ocean breeze, Lua ordering laulau for delivery because she has a craving for steamed taro leaves and poi. They have spent the new century, as their creations called it, indulging in living an American lifestyle. Recently, they had decided to adopt a few cats, who promptly decided that they were the actual gods and lorded over them with ease. Kahi didn’t mind. He felt a kinship with their demanding cries for food and head bumps for pets, which they received both promptly and abundantly. It was only natural to offer them their due. It was kind of nice, he thought, giving in to the needs of others.



Chicken or the Egg
Lua often wonders why she is second. It’s the chicken and the egg thing, right? Which came first? She knows the answer because she is the egg and life comes from all eggs. Kahi would argue with her about this since, you know, he’s first. She just lets him keep believing that. She doesn’t want another apocalypse tantrum like the last one where he killed off all of the creatures she had worked so hard on creating, you know, using eggs. She was also experimenting with live births when it happened. Luckily those creations and some of the smaller egg layers survived so she could continue, but man, he can be such a baby sometimes.




Echoes of Rock and Air
Kahi thinks he can write a song. He’s been listening to a lot of old country lately. A little Nelson here, a little Patsy there, some Johnny and Merle sprinkled on top. He has created many wondrous and amazing things. Writing a song should be a piece of cake, he thinks. He created gods of inspiration, so composing a little ditty shouldn’t be that hard.


He listens to Loretta, borrowing some of her magic to create his. He strums a strata or two, finding a key. Yes, that will do nicely, he thinks. The rocks created before him carry sounds just as old, perfect for what he wants, he plucks words from the ether and starts…on the edge of the mining town, in a little shack, fallen, fallen, fallen, a woman waits for her man to come home, darlin’, darlin’, darlin’, she doesn’t know he’s not a comin’, comin’ comin’, still she waits, a baby, growin’, growin’, growin’.
Lua feels the earth shake as he sings and plays, worries he will destroy the very people he is singing about. She strums the strata in the air, lightening the melody and adds…on the edge of the mining town, in a little shack, fillin’, fillin’, fillin’, a woman lives with her family, lovin’, lovin’, lovin’, the air carries their joy, driftin’, driftin’, driftin’, to the men and boys, workin’, workin’, workin’ in the mines of this little mining town.
Kahi stops playing as Lua finishes, their duet echoing through rock and air. It’s the first time they have collaborated in a long time and he’s glad. He leans into her, and she smiles, knowing what she has saved.



SPOTLIGHT: Monster Parts by Samari Zysk

https://www.amazon.com/dp/B0BCCXM65F

when i told her/when i tell you about her

for mutti

my mother put her face against my shoulder, clutched at me. it was agony in its miracle. her body shook against mine.

for a while, we shivered at the same frequency. it was astounding that our harmony didn’t make the lightbulbs in her bedroom explode into a starry sky. it was incredible that she believed me.

and yet, no. it wasn’t astounding or incredible.

i drove back home in the worst rain of the summer — it was a cinematographer’s dream of atmospheric storytelling.

when i reached my apartment building, i checked my phone. my mom had texted me.

i got my things and am on my way to a hotel.

my fingers shook as blood labored up to their tips.

if we thought of ourselves as just a collection of blood cells in motion, wouldn’t that make living seem so much more beautiful? constant movement, up and down your torso, your arms, a gentle, perennial tsunami of life. uncontrollable.

i flexed my fingers until the purple beneath my skin melted into white and felt my shoulders shake as i cried.

that’s so good to hear, lmk when you get there, okay?

my mother bought a vegetarian slice and an IPA from the pizza shop i recommended her. her face brimmed with life and redness while we waited for her order beneath the pastel rainbow of my umbrella. she smiled at me.

what is beauty? by assigning that word to anything, it could be argued that we imply performance — we place an audience upon a subject. within that framework, it’s cruel to call something beautiful, because then they can no longer exist as only what they actually are.

but by the same token, we can also free something by calling it beautiful if we define beauty as honesty.

when i tell you my mother was beautiful then, so alive and safe beneath my umbrella, little tears sliding around her eyes, i mean it to acknowledge her in her entirety. i saw her in that moment as nothing other than who she was.

both the audience and the subject are freed by honesty. the word doesn’t matter — i could use any adjective, but beauty freed both of us that day.

i held her hand as we walked back to the car.




refusing to be diagnosed with anorexia for five years

is there another way to say this.
tell me honestly — i don’t know where to begin.
maybe if i do, the words will falter and pause and land
somewhere i know, some clearing in the brush that i’ve charted, that i
can call by name. i’m lost. words swarm a half-eaten moon.

i am not tall enough, i am not big enough to hold everything that’s screaming
to be let in. my hood is drawn against a hurting, bruising sky. how do i begin, how
do i apologize. how do i know that this will answer to a name at all.
these are wild things, these words. these are things with teeth.
i keep walking. my wicker basket swings and swings, threatening to fly away.

red red red, says the ground when i look around. my cloak has grown so
heavy. everything wants to move, and i do not. everything has teeth except for
me. red red red. my hood falls over my eyes, over my mouth so that it’s all it can
say. all i can say. all i can say is red red red. and it’s not enough. can’t
there be another way to say this.

a bone. another rib on the path. a sternum. my hip bone. i am not alone.
who am i. red red red. apples in my wicker basket. there has to be another way
to say this. i’m lost. i can’t go any faster, everything is far away and i’m so tired.
the eyes in the darkness are mine. bread in my wicker basket. the swishing tail
in the darkness is mine. red red red. the teeth prodding at the sky are mine.

how do i begin when i don’t know the way. how do i begin when i don’t know which path i walk.

how do i begin when my body was never only mine.

how do i begin.

how.




aleph

i want to go somewhere quiet, where
my voice unravels at my feet
i want my language to come apart so i can
put it back together again

i didn’t ask for this, any
words on my tongue weren’t there when i started
my language did not originate from beneath my teeth
between my tongue and cheek
i hate having to speak to exist

the torah says that the world began with the words “let there be light”
but is there no worse crime, or greater, more devious fallacy
than comparing me to g-d?
i can’t possibly begin anything with words

don’t tell me we were all created in g-d’s image
i wasn’t created, i was remembered
i woke up and locked eyes in the darkness
i began having forgotten and lived my life remembering how to talk

i want to forget again, my words are foreign
poking at the inside of my cheeks, rising like daisies in early spring

this language wasn’t meant for me
only with obsolescence can i possibly reclaim my voice

i want to return to the place where language is becoming, where
i don’t have to forget who i am in order to speak
i remember who i am in a language that is screaming in its birth




survival

do you remember how your skin creased around the knife?
part of the story is what comes next

do you ever regret telling it?

you’re coming around — you tore the gravity off your mouth
clever little fish, unhooking

what are you looking for in this world of cast-
off lace, eggshells breaking, becoming smaller and smaller and
many? remember when you parted the gray walls
to find the sun? remember how you bled pollen and it felt
like a secret when you looked at the teeth in someone’s mouth?

that’s the hook of it, isn’t it?

somehow, your hands can still touch
touch your face, and it feels like witness
witness even now, despite everything, you still
remember how that felt

part of the story is telling it
is that what really comes next?
open your mouth, treat the puncture inside of your cheek
learn the weight of everything without carrying it



gender and sexuality

my eyes pucker like flowers closing at night
sunlight slipped down her nose like a second face

the moment it fell, i tasted honey on my tongue and
she smiled in the shifting shape of a waxing moon

darkness sucked its fingers clean and
spit out the bones —
stars fell with a clatter on the black plate

she said she thought i was beautiful but
i didn’t know what form that word took in her jaw

the water receded within her, something trembled somewhere like an egg hatching
i looked up, even though the lake was staring at me below with its glassy, wanton eye
the night’s belly was swollen from eating the sky

she didn’t hold my hand but the skin prickled on my palm
my eyes shut completely, became flowers; you see, that was the mistake

she pounced like a fox and ran away
with petals in her snarl

but who would stop a fox with petals
between her teeth? such an innocent and
useless prize. i might as well have given them to her
they were only important to me, after all

the darkness slung volleys of wind
my throat rasped with everything i couldn’t see anymore

my eyes died in her mouth anyway. she wouldn’t
think they’re beautiful in daylight
somehow, that’s what i mourn the most: the uselessness of it

if she would have asked, i would have given
her flowers and put them in water so they
could have a home with her
only people who have considered their
flowers appreciate others’

but she didn’t. i would have given them to her
i promised the sky i would give them to her. i would
have given her witness

closed my eyes for her, too
if she’d have seen that it was a living thing and
not something to decorate her incisors

darkness considered me, and lay down behind my body
somewhere, my flowers were dying, my eyes will never quite open all the way

the lake’s eye slid shut


SPOTLIGHT: Ghost House by Emily Butler

amazon.com/dp/B0BCD698KQ

Fairy House

It is my job to count the fairies in the house. This is not stated, more, implied. There is a ladder leading out the window. I follow it and forget my job because you are handing me a pill bottle filled with sunflower seeds. I look different. You look the same. The pink flags on these lawns signify something political but I’m not sure what. I walk and the world creates itself around me. I cannot walk fast enough to get to the end of this simulation– piercing the boundary of what I thought to be the sky.





Sinedu’s Letter

Sigh after sigh I realize–
the flowers keep on dying.
Birds make no difference.

I’m laughing on thin air.
There is a sensation
like falling.
I know that soon
the earth will break me.

A blushing little thing
shrinking ever smaller.
Invisible in crowds.
Choking on river water.

The house was a sunflower. Now it bleeds.
I wait to hear from you.




Cento for Jenny and Jennifer

It’s become just like a chemical stress.
Someone shouts “you’re ugly.” Dogs bark at the sunset.
All these eighties movies houses drown
in purple light. The sky is a bluish gray.
I cry into my hands.
I cry into a pillow.
In my dreams, I see myself hitting a baseball
in a green field somewhere near a freeway.
I walk next to the freeway and down the hill.
Back at home I think I feel an earthquake
and we’d better hurry up. I avoid the mirror again
and then I look in the mirror for what feels like two minutes
but is closer to an hour, tracing the lines in my face
for something more beautiful than is there.
I remember all the women who have not made it.
I’ve barely been gone.
I think about not making it.
Am I asleep or awake? Where is the song? The beauty?
The movement? The playfulness? The life?
The crowds keep me coming back, cheering.
I’ve become just like a terrible mess,
commanding the wrong body
the wrong voice
the wrong name.
I’m not a failure, I swear–
I’ve got a lot over here without you,
but now I want it all for myself.





Scent Meditation

Find a comfortable, symmetrical position on this lawn chair.
Might I suggest resting the soles of your feet on the bottom rung
of the wooden chair in front of you. Yes, the one you found
on the street and painted baby blue but it’s still ugly and
chipped from the rain. Do not chide yourself for forgetting
your possessions in the rain: bike, fire pit, hammock.

Now, close your eyes. Someone else will have to read this to you.
There you go. Inhale deeply. Recall the time when your therapist
read you a body scan meditation. You felt so completely
watched. She told you to exhale through your mouth, so you did.
It was uncomfortable. Exhale however you damn well please.
Inhale through your nostrils. Notice any scents.

Earlier, doing the dishes, you got deja vu
while calculating how many more days
your boyfriend will be travelling.

The neighbor’s radio static sounds unnervingly similar
to those experimental bands you like. Broken Social Scene.
Múm. Oh, now you’ve done it. You’re only supposed to reference
myths or the Bible. You aren’t supposed to make
the dual “you” so obvious.

You aren’t subtle. But the smell of your cut lawn is. Inhale it.
Notice how each inhale smells a little different, almost imperceptibly,
but it’s there– like the differences in each and every moment
of your life. Each and every bite of your boyfriend’s
chocolate cake. Notice how you’ve never noticed this before.
Now, sniff your own armpit and remember you’re alive.




Progress

Tonight, I attempt to calm myself
around the predictable weight
of a nail polish bottle. Shade
black as pupils. Butyl acetate
stings my nostrils. I can’t stop myself
from thinking of chemicals
as unnatural. As if the world
were not made of carbon.
Toxic scents trigger pleasant memories:
Gas pumps, road trips.
Energy drinks, all-nighters.
Bleach, a swimming pool.
Can you believe there was ever a time
we didn’t live like this?
I could have mixed beeswax
with orchids, crushed berries against cheeks,
traversed by footfall and horsehoof,
no need for microchip or safety goggle.
Let us forget the word tomorrow.
Sometimes the only way forward
is to turn back.