Judith Skillman

VASES OF PEONIES

By Judith Skillman

We bring them in heavy
from the garden, we carry their weight
in our arms as if their pinks
were flesh. An atmosphere is created
inside the house exclusively of scent—
bridal, nuptial, called to order.
Their ruffled crinolines last for a day
and they become tow-headed girls
rallying for a fight, and they become
the spiders in their rose-wings, the ants
walking quickly away from.
We bring and bring them in
as if such a thing as a bouquet
could be painted by the unknown artist
who rents our nonexistent attic.
As if the head, the luxurious arm of green—
outstretched, having slept the sleep
of languor in the yard after bursting
from dark soil—as if even one
of these perfect Persephone’s
could live among our interruptions
and gallant intrusions, the sharp shears
of our smiling teeth.

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Judith SkillmanJudith Skillman’s thirteenth collection, The Phoenix: New and Selected Poems 2006 – 2012 is forthcoming from Dream Horse Press.  She’s the recipient of awards from The Academy of American Poets, The King County Arts Commission, and the Washington State Arts Commission. Her poems and translations have appeared in Poetry, Poetry Northwest, FIELD, The Iowa Review, Prairie Schooner, and elsewhere. Currently Skillman teaches at Yellow Wood Academy, Mercer Island, Washington. Visit judithskillman.com

David Salner

THE BURNING

by David Salner

I had been stacking forty-pound ingots in the heat, working to the point of exhaustion. I walked to the open furnace, attracted by the way it shone in the darkness, fascinated by the peaceful appearance of the liquid, so ordinary, like a pool of water.

This was my first shift in the foundry, my first view of a furnace of magnesium at 1300f.

A waist-high rim of bricks was all that separated me from the glowing pool inches away. As I stared, a change took shape in the depths of the furnace. The core was now suffused with a faint rose shadow that deepened before my eyes, as if the metal had come alive, blushing.

I stood over the furnace as my face baked, my skin a crust of heat. I was transfixed by the flux, now blood-red, but changing again, rising, blooming from the depths of the coloration, swelling until the silver skin of the metal began to split. An open wound, then another, another. Dozens of strawberry blisters riddled the sheen.

“Turn that fucking furnace down,” a voice boomed. “The damn metal’s burning.”

Someone in another room dialed the furnace temperature down, and the blush began to subside. That individual was not a doctor but, I later discovered, a metal refinery operator, an MRO. Meanwhile, someone else ran to the rim of bricks and sprinkled a dust of lemon-colored sulfur on the blisters, choking the burns, healing the skin.

Magnesium is not so much a metal as a creature that needs to be nursed.

The furnace was peaceful again. A silver sheen covered it, hiding its suffering flesh.

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David SalnerDavid Salner’s second book, Working Here, was published by Minnesota State University’s Rooster Hill Press. His poetry appears in recent issues of The Iowa Review, Poetry Daily, and Threepenny Review. He worked for 25 years as an iron ore miner, magnesium plant worker, and general laborer.

Joanne M. Clarkson

NEWS PEOPLE

by Joanne M. Clarkson

Skin made of newspaper: black on 
     white with patches of war, murder, 
weather and empty crossword 
         boxes.  They stand 

face forward with legs spread, verbs 
      for eyes, seeing the  
doing, and curved dark 
         tears.  The Daily. 

But oh to be the Sunday Comics. 

Bent at the waist, they ride the northbound 
     bus, left by a child tired from a day, 
a long journey of unwanted travel. 

A grandmother who always carries 
     scissors in her purse to snip out 
clothing tags or carve a person. 

 A man in the next seat who reads 
         without seeing then gladly 
 hands the world over 
               to be re-shaped into 

pirates and movie starlets or a family 
      with too many mothers. 

And even in the dark garage 
     where they are swept 
and crumpled, they still 
      shout from bins in rain 

 or,  burning, whisper partial 
      names of those 
convicted, those set free.

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Joanne M ClarksonJoanne M. Clarkson is the author of two collections of poems: Pacing the Moon (Chantry Press) and Crossing Without Daughters (March Street Press). Her work has appeared recently in Paterson Literary Review, Valparaiso Review, Caesura, and Hospital Drive. She holds a Master’s Degree in English and has taught, but currently works as a Registered Nurse specializing in Hospice and Community Nursing. Joanne lives in Olympia, Washington, with her husband, James.

An Interview with Featured Artist Jon Rodriguez

By Andi Tomassi and Jon Rodriguez

Tampa Review Online: How long have you been a working artist? What caused you to move in this direction?
Jon Rodriguez: I’ve been a working artist for about seven years now. Classic Disney animation, comic books, and films were a huge inspiration for me growing up.
TROn: I know you are an Art Director at Dunn&Co. What’s that like? And do you feel it has influenced your fine art process in any way?
JR: Working for Dunn&Co. is a great experience. I enjoy the process of conceptualizing and executing ad campaigns in a collaborative environment, and being surrounded by talented people. I feel that working in the advertising industry helps me as a creative on multiple levels. Advertising has a story element that strives to connect people on a personal level through various forms of mediums. Connecting to one another is a powerful human desire. I’m grateful that I create connections for a living.
TROn: How would you describe your studio process? What are your rituals?
JR: I usually start with a basic idea and try to break down the meaning to its core. After deconstructing my concept, I try to think of new ways to experience it—a different point of view that’s refreshing and unique. Concept dictates design. When I’m happy with the main idea, I use its concept as a roadmap to the final design. This process is always different, but I try to work within these parameters.
TROn: Jon, in regards to fine art, you have been working in the same style for quite a while now, using characters that are all seemingly tragic. Can you give us a little insight into how these characters evolved and also how they connect to you personally?
JR: Since these characters reflect different attributes of myself, they are evolving with me constantly. Each character has their own distinct traits that reflect different aspects that mirror where I’m currently at in life. Some are hopeful and some are tragic. These characters act as a way to share a deep truth about myself, in hopes of helping people see a truth in them.
TROn: You’ve told me that Edward Gorey had a big influence on you. What would you say are your other influences?
JR: Other influences include shamanism, eastern philosophy, symbolism, and ice cream.
TROn: Which is your personal favorite piece?
JR: My favorite piece is “The Sleepy Slave.” It’s one of the largest pieces I’ve made and the most time-consuming. I worked on it continuously for over a month and put a lot of sweat into it.
TROn: What if our viewers want more of Jon Rodriguez? Where can they find your work?
JR: They can see my work at jon-rodriguez.com.

AscensionAscension

Necromancer

Necromancer

Greedy Ghouls

Greedy Ghouls

Sleepy Slave

Sleepy Slave

The Keepers

The Keepers

Dreary Drone

Dreary Drone

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Jon RodriguezJon Rodriguez is an art director, graphic designer, and illustrator living and working in the Tampa Bay area. He’s been an artist for most of his life and has exhibited in galleries across the U.S. He has also worked on campaigns for local businesses, as well as large brands, and everything in between. Some of his experience includes Toyota, Dunkin’ Donuts, Tampa Bay Lightning, Shoe Carnival, Buffalo Wild Wings, Costa Rica Tourism, and Baskin Robbins. He strives to be highly conceptual and produce eye-catching visuals that will capture the attention of all audiences.

Andi Tomassi graduated from the University of South Florida with a dual-major BA in Visual & Performing Arts and Art Education. She is currently an MFA candidate at the University of Tampa.

Joey Poole

INSTINCT IN THE ABSENCE OF THOUGHT

or THE CURIOUS CASE OF THE DROWNING CATERPILLAR

by Joey Poole

Recently, in the midst of a brutal July heat wave, I noticed that my azalea bushes were being absolutely skeletonized, eaten right down to the stems. A closer inspection revealed that the bushes were crawling with a horde of large (over two inches long) black caterpillars with striking yellow spots and bright red heads, tails, and feet. I’d been sent the pestilence of the Lord in the form of the red-headed azalea caterpillar, a notorious pest throughout the Southeast and parts of the Midwest.

Figure 1. Azalea caterpillars assume this pose when they’re harassed by predators or nosy gardeners. It’s not exactly the most threatening defense mechanism around.

 

I was a bit torn about what to do. I value insects—except for fire ants, which are invasive anyway—in my yard, and try to encourage native plants that some might consider weeds in hopes of attracting them. Figuring that caterpillars were at least as desirable as azaleas, a notion my pesticide-happy neighbors with prettier shrubbery understandably don’t share, I decided to leave them be. But when I checked in on the scourge the next day, the considerable amount of damage they’d done overnight made it clear that they would decimate the azaleas if left unchecked. Something had to be done.

Luckily for a few of the caterpillars, there was someone standing between me and total annihilation. Although she was revolted by the fact that I picked them off the bushes with my bare hands, my girlfriend’s nine-year-old daughter didn’t like the idea of killing the caterpillars, reminding me that they were baby butterflies (actually, the adult form of these particular caterpillars is a rather undistinguished, drab-looking moth, but that didn’t seem important). We decided that we’d keep a handful of them indoors and destroy the rest. Playing god by deciding which of the babies lived and which died, I plucked three of the caterpillars, one of whom was chosen because it looked like it might bear a parasitic wasp egg, off of the bushes before committing genocide against their brethren. We set our new pets up in an empty terrarium with azalea sprigs to munch on, waiting for them to spin cocoons and turn into moths, which we planned to release far, far away from our own beleaguered azaleas. Little did we know that our moth nursery would soon provide a fascinating glimpse into the power of instinct in the absence of the capacity for true thought in the form of a seemingly suicidal caterpillar.

In order to keep the azalea sprigs fresh for our new house guests, we put them in a glass of water, thinking the caterpillars would hang out on the leaves, safely high above danger of drowning. For a couple of days, they did. Then one of them started doing something that seemed to defy all logic, as if captive life had driven it insane. It started marching right down the branch, sometimes pausing at the water line as if trying to decide what to do, but more often simply charging on into the water. Underwater, it continued right on down the branch all the way to the bottom of the glass and then fell off, writhing hopelessly in the water because caterpillars, it turns out, can’t swim. Over and over the same caterpillar did this, and we saved it from drowning several times. No matter how many times we fished it out of the water and sat it back on the leaves, eventually it would get the same foolish notion and trudge headlong into danger.

Perplexed, we tried to figure out what was driving this caterpillar to attempt suicide. Depression was the obvious answer, but it’s an anthropomorphic mistake to assign human emotions to animals, especially insects. A little research on the life cycle of the azalea caterpillars revealed that, unlike many caterpillars, which make cocoons right on the leaves or branches of their plant hosts, Dantana Major burrows into the soil to pupate. This solved the mystery of the drowning caterpillar. Obviously, it was ready to get on with the metamorphosis—enough with the endless crawling and munching, munching and crawling! It was time to rest and then, if only briefly, to fly. The instinct woven into its DNA through a mechanism still largely unknown to science was driving it ever downward, even when that direction meant certain death.

This shouldn’t be surprising. Insects—and, arguably, all of us in the animal kingdom—are essentially biological robots, programmed to react in certain ways to certain stimuli. Like a moth driven to burn off its wings, Icarus-like, in a candle’s flame, this little booger was determined to find the ground, no matter what stood in the way. French entomologist Jean Henri Fabre famously demonstrated that processionary caterpillars, those who march in lines, nose-to-tail, will walk endlessly in a circle when their leader is removed and the line circles back onto itself. The caterpillars will continue to trudge around in a circle until they die of starvation or exhaustion, even when food items are placed nearby. The instinct to follow the line overpowers the drive to eat, and ultimately, the will to survive. Even mammals exhibit similar behavior, like the proverbial horse running into a burning barn or lemmings driven to mass suicide by population density and herd instincts.

Luckily, as primates, we’re a little better equipped when it comes to problem-solving. Some of the more regrettable aspects of the human condition notwithstanding, it generally pays to have a frontal lobe capable of critical thought, something that can override instinct when things get dicey. You wouldn’t, for instance, march calmly underwater, not even realizing that you were drowning as the water filled your lungs (or spiracles, as with the caterpillar) just to get to where you knew deep down in the very fiber of your being, way down in your DNA, that you were supposed to go, if your house were flooded. You’d stop at the edge of the water, scratching the skull covering your huge brain, and think about where you could spend the night.

The caterpillar that seemed bent on drowning itself didn’t have the luxury of thought, which never would have mattered in its natural habitat, where there would be no standing water at the bottom of the world. Pausing to question its instincts or other such dawdling on the way to make a cocoon in the ground would be a good way to get eaten by a bird or a lizard, rendering its brief life a genetic failure.

It’s easy to look down our noses at such mental simplicity. But let’s not get too high and mighty here, because our huge frontal lobes don’t always protect us from ourselves. If they did, we wouldn’t smoke tobacco knowing that it might give us cancer or call our exes in the middle of the night, knowing that it can only result in heartache.

Figure 2. Only a tiny fraction of the horde eating our azaleas.

 

As for the caterpillars, who might not be able to ponder their own fates but will also live out their lives without ever tasting heartache? Well, we couldn’t exactly kill them after we’d gotten to know them, so we decided to set them free to eat the azaleas in a local park. My apologies to the municipal landscapers.

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Joey PooleJoey R. Poole is a writer and strictly amateur naturalist from Florence, South Carolina. His fiction and non-fiction have appeared in places like The Southeast Review, Adirondack Review, Clapboard House, and Bartleby Snopes. Like everyone else, he’s hard at work on a novel.