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Tampa Review

Celebrating 60 Years of Literary Publishing

Michael Levan

January 1, 2014 by utpress Leave a Comment

SITTING BY A WATERFALL, I’M REMINDED HOW MUCH MY PRIORITIES HAD SHIFTED

by Michael Levan

I’ve heard this music before:
          white water’s roar over dam’s edge,
                batter of limbs caught between rocks
                       chiseled smaller and smoother each day
                            I’ve been alive, each day after,
                                 until they give way and let everything go
                                       downstream, carried along with fish, all mouth
                                            and rainbow, leaping from now clear water

All the water that came with such power
    and so suddenly I woke to shut tight my sons’
        windows, the screen door thwacking its jamb,
                 so we might again disappear night into morning.
                     Water that sewers and riverbanks couldn’t keep
                           from basement or our Desoto Wagon’s floorboards,
                                that swallowed slowly every storefront on Main
                                     and we canoed to Kowalski’s Market for loaf
                                of bread, peanut butter, four Cokes to hold
                           fast against all we’d soon lose: Duomatic washer-dryer
                     I’d saved for all year for our anniversary,
                 couch and wooden floors rotted through, everything
        I’d replace with late night and weekend overtime—

It all became such white
   noise when I found on top bedroom shelf,
         far in back, all the letters I wrote a continent away,
             photos and M.’s report cards, R.’s crayoned
                    family portrait where the three of them<
                           smiled under golden sun and crafted a castle
                                  of sand while I looked out over ocean waves
                                     beating lower and lower on the shore,
                           their music receding as water’s always does.

                                                                  Herco Imperial 

============================================================================
Levan photoMichael Levan’s poems have appeared recently in Indiana Review, Mid-American Review, American Literary Review, Lunch Ticket, Dialogist, and Heron Tree, as well as Cutbank’s 40th anniversary anthology and Southern Poetry Anthology VI: Tennessee. He teaches writing at the University of Saint Francis and lives in Fort Wayne, Indiana, with his wife, Molly, and son, Atticus.

Posted in: Poetry Tagged: michael levan, poetry

Frank Scozzari

January 1, 2014 by utpress Leave a Comment

TOO OLD FOR WAR

by Frank Scozzari

Old Makatiku looked wearily upon the young Kantaku. A pillar of youth he was, standing more than two meters in height with broad shoulders, a head full of shiny black hair, skin that was taut and clear, and muscles that rippled like the palms in a tree. His shadow stretched out over the African earth like that of a giraffe. And from his seated position in his thatched throne, Makatiku knew he looked old and weak and worn from a life lived fully.

That was me, Makatiku thought, staring up at the young shujaa warrior, forty years past. But I was taller, and even stronger, and I did not have this look of pity in my eyes.

“You must answer,” demanded Kantaku.

The council sat anxiously waiting. Makatiku glanced over at them. Among them were the elders and friends, and the many brave warriors he had fought alongside in the internecine wars, all in their colorful, ceremonial tunics.

If only there was a way out, gracefully, Makatiku thought.

He glanced back at the towering young Kantaku.

But there was none.

Every spear has two edges and each side cuts with equal depth, he knew. If he agreed to the challenge, he would face a humiliating defeat. He was no match for a man one third his age. After all his wonderful years of ruling with dignity and judicious benevolence, having his face rubbed in the dirt now was something he could not bear. Is this a fit way to end it? The thought of it offended his soul. Yet if he refused, he would have to abdicate the throne. It was law.

Kantaku stood waiting. And behind him was his entourage of young Maasai warriors.

“Are you sleeping?” Kantaku asked impatiently.

“I am thinking.”

And then a pleasant thought came into Makatiku’s head and small grin formed on face. Could young arrogance be so foolish?

And when Makatiku did speak, everyone seemed a bit mystified by his confidence and the cleverness in his eyes.

“I accept the challenge,” he spoke loudly. “It is a great tradition and it is the people’s right to see the challenge answered. Although I doubt that you are up to the task. I doubt that you or any of your young followers have the strength or the will or the intelligence to win such a match.”

A sigh came from the council, and similar exclamations from all the villagers who were gathered around. Kantaku too seemed a bit surprised by Makatiku’s willingness to accept the challenge but welcomed his words nonetheless.

“Okay then, let’s get on with it,” he said.

“There is one condition, however,” Makatiku added.

“Yes?”

“I would like to choose my own weapon.”

“Weapon?” Kantaku asked.

The young Maasai warriors standing behind Kantaku exchanged curious glances.

“Yes, I ask that I be allowed to choose my own weapon in this case.”

Kantaku looked over at the council. It had been more that fifty years since a challenge for the throne had been decided by a fight with weapons, a fight to the death. The Kenyon and Tanzanian governments had long since outlawed the practice, and tribal leaders throughout the Maasai Mara had come to accept the notion of a bloodless succession.

“Do you accept my request?” Makatiku asked.

“A request for weapons is evidence of your antiquity. You are an old man stuck in old ways.”

“Nevertheless,” Makatiku said calmly. “It is in the book of laws and has never been distorted. Though foreign governments have tried to rid us of our ways, the rules have never changed. It is the challenger’s choice of weapons. But in this case, I ask that I be allowed to choose my own weapon.”

Kantaku glanced over at the council expecting some form of intervention from them, but there was none.

“I know tradition,” he replied.

“Only women and politicians desire weaponless fights,” Makatiku said. “Though it is the warrior who chooses peace over war, it is also the warrior who chooses bloodshed over defeat and humiliation. Yes?” As Makatiku said this he ran his eyes over the crowd of villagers. “And it is the warrior who accepts death over dishonor, even from a foe.”

Kantaku remained silent. For nearly a minute he remained silent, then he looked over at the council members and raised his chest high. “I accept, old man,” he said, confident.

Makatiku nodded his head, pleased.

And then there is the issue of an aged body. Makatiku thought. What an abomination it would be if no animal sought his meat! In all his years, he had seen it less than a dozen times. There was the remembrance of Old Nampushi, who had died of some terrible, western disease and had been left in the sun for the buzzards, but no buzzards came. And how a spotted hyena came by and sniffed his dead body and walked past it without even taking a simple bite. This will never do. A corpse rejected by scavengers was considered to have something wrong with it and was cause for great social disgrace.

He dropped his eyes down to the red dirt beneath him.

Nor was burial an option, he knew. It was harmful to the earth. To place a rotting corpse in the ground was to defile the earth.

“Also,” he said, “I will need five kilos of ox fat and blood, placed in the care of my good friend Jakaya.”

Makatiku turned and looked over at his old friend who sat with the other elders on the high council.

Jakaya nodded his head.

Kantaku looked at Makatiku curiously.

“It is not for me,” Makatiku said.

Kantaku chuckled. “We will see who it is for, old man. Anything else?”

“Nothing.”

Kantaku signaled two young boys, who hurried away to the butchery to gather the five kilos of fat and blood.

“And the weapon you will choose?” Kantaku asked, his voice now conveying a tone of disgust.

“I would like to know the weapon you choose first, if that’s permitted.”

“Okay, if it is your wish,” Kantaku said.

He looked around at all the villagers, knowing anticipation was building.

“A long spear,” he said boldly.

The young warriors exchanged spirited words, voicing their pleasure at his choice.

A long spear was the ideal weapon for mortal combat between two men. Its long shaft enabled a thrust from a great distance. Its barbed headpiece, once in, could not be retrieved, at least not without causing substantial additional damage. And when thrown properly, it could pierce the stretched cowhide of a Maasai shield.

“And you?”

“A simi.”

“A simi?”

“Yes, a simi,” Makatiku said firmly.

A lively discussion erupted, not only among the young warriors, but among the council members as well. A simi was not a weapon designed for warfare. It was a simple tribal knife with a blade not longer than fifteen inches, used ritualistically or for skinning animals.

“This is silliness,” Kantaku said.

“It is the weapon I choose,” Makatiku replied.

Kantaku looked back at the warriors behind him. Then he glanced over at the council members. Makatiku sat quietly, joking with the idea of it in his head.

What form of trickery is this? Kantaku wondered.

All his life he had been taught to be suspicious of gifts from adversaries, and he was wary of Makatiku now, of his deception and cunning. Weapon, a simi was not; yet skillful Makatiku was, in the art of combat and killing. Kantaku’s father had told him all the stories, of how Makatiku had overcome a group of five Kaputiei warriors by hiding in the dead, rotting corpse of a water buffalo, and how he had sprung from the corpse with bow and arrows and killed all of them. And how he had been chased once into a steep canyon by a herd of crazed elephants, only to start an avalanche that crushed and killed most of them. His feats of bravery were legendary, and his acts of cunning something to be wary of. For Makatiku to choose a simi now, in a fight that would determine the end of his reign and perhaps the end of his life, surely there was some form of trickery behind it.

And he could throw a knife, Kantaku thought, further than the length of any long spear. And its two-sided blade was perfect for finding a place to stick after sailing end over end through the air.

Makatiku sat quietly in his rickety throne, waiting.

“And I will take a tall shield,” Kantaku said, unflinchingly, “along with my long spear.”

Again the warriors nodded their heads and voiced their approval.

“It is a wise choice,” was all Makatiku said.

A tall shield, two-thirds the length of one’s body, was capable of deflecting a barrage of arrows. It could easily deflect a single, hand-thrown knife.

Despite his arrogance, which comes along with youth, Makatiku was fond of Kantaku and tolerated his youthful ambitions. Of this new generation of warriors, a generation that Makatiku did not like or understand, with cell phones and a desire to live in cities, Kantaku stood apart. It was he who most cherished the traditional ways. And he who was most clever. The others were merely warriors in name and appearance, Makatiku thought, who posed for photographs and dressed the part only to satisfy the expectations of the safari lodges.

It is not an easy thing, Makatiku thought, to make way for a new generation of warriors, some of whom had exchanged their spears for cricket bats and text books. It was a contradiction, he thought, to accept the new; a contradiction of all he was and all he knew, and of all that his father and grandfathers were, and all that they knew.

But this one, perhaps, had a chance, he thought, watching Kantaku’s eyes, if he was forced to eat hyena. He noticed a digital watch on the wrist of one of the warriors. Ah! The New World! It is a pity that life must evolve, and change, and end. And that the flames of youth burn out so quickly. And standing way in the back was another young warrior wearing a New York Yankees baseball cap, no doubt given to him by one of the safari tourists. He quickly removed the cap when he caught Makatiku’s eyes upon him.

Yes, too many changes have passed, Makatiku thought.

He had seen it all, the erosion of customs over many years, from one governmental program to another, each designed to strip his people of their traditional ways. And the unstoppable inflow of technology, like a giant dust storm of locusts that he could not keep out. Commercial cotton and synthetic clothing had long since replaced the traditional calf hide and sheep skin, and the beadwork was no longer made of stone or wood or ivory, but glass or plastic. He glanced down at the feet of the warriors and realized that half of them wore sandals soled with pieces of motorcycle tires, and one even wore a pair of Nikes.

And too came the digital age. It was all too much, this new world that invaded his land and had swept through his people like a foreign disease. He recalled the electric pumps brought in by the new government to filter their water, and what happened when they broke and they had no water for three days because the unfiltered water now made them sick. And how the doctors poisoned their children with injected medicines, making them ill for one week when they were otherwise well; and how lion hunting was banned by the Kenyan government. What kind of obscenity is that? And yet fee-paying trophy hunters were granted permits to hunt lions under a new government plan to create a wildlife corridor, which essentially evicted tribes of his flesh in northern Tanzania. We cannot kill the lions to protect our herds, yet foreigners can hunt them for trophies? It was not a world that Makatiku liked, or wanted to be in.

“Bring two tall shields,” Kantaku said, motioning to a junior warrior.

The young warrior, a boy not more than fifteen years old, went off to gather the weapons, but Makatiku stopped him.

“Wait,” he said. “It is not my desire.”

Kantaku looked on, waiting.

“I would like a short shield,” Makatiku said.

The sound of snickering came from the villagers. Again he mocks me! Kantaku thought. He ran his eyes through the crowd, tightening his upper lip. “Follow his wishes,” he said with a tone of disgust, and the boy hurried off to gather the weapons and shields.

“Anything else?”

“No. It is quite enough.”

Nothing more was said, and the boy returned quickly with the simi, the long spear, and the two shields. And now it was time for Makatiku to rise from his thatched throne and face his young challenger. And he did so gloriously, but slowly, feeling the pains of his arthritic joints. He rose to a height equal to that of Kantaku, and despite his age of nearly sixty-two years, his shoulders were still broad, his muscles still lean and well-defined. He wore a kunga of red and blue, and pink cotton, which wrapped loosely around his trim waist and angled down over one shoulder, across his large, protruding chest. Everything about him symbolized tradition, and the customs of old, and the seniority of his rank, and the success of his reign; from his graying, long hair, that was woven in thinly braided strands and fell to the middle of his back, to his multiple, brightly colored anklets, which numbered no less than ten. His earlobes were pierced and stretched in a manner reserved only for royalty, and there was the symbolic beadwork that embellished his body and told of his meritorious past, of a life lived long and fully.

The boy handed Makatiku the short knife and the small shield. Makatiku examined the knife, running his finger along the edge of it. It had a finely honed metal blade and a wooden handle with a cowhide grip. Then he studied the small shield, flipping it over and looking at the face of it. It is correct, he thought. It bore the sirata of a red badge that signified great bravery in battle and was only permitted to be painted on the shields of the highest of chiefs. Still, it was a decorative piece at best, meant only to be hung outside one’s door to indicate one’s presence. Less than twenty inches in diameter, it was not designed for warfare.

The boy gave the long spear and the tall shield to Kantaku. The shield, made of stretched and hardened buffalo hide sewn to a wooden frame, nearly cloaked his entire frame. The spear, made from the finest dark ebony wood, rose more than a meter above his head.

There was laughter among the villagers, and Kantaku realized how ridiculous it must have looked.

Makatiku smiled broadly and ran his eyes through the crowd. His considerable stature dwarfed the small shield and simi in scale, he knew, even more so than their actual size. He glanced over at the council members and nodded his head appreciatively. Then he raised the shield and knife high above his head to the applause of the villagers.

Kantaku waited for the applause to subside.

“Now you must answer,” he spoke loudly.

Makatiku stared at him. Could young arrogance really be so foolish? he thought. Then, seeing the muscles on Kantaku’s chest tighten and his shoulders flex, Makatiku’s face became gaunt and serious. It is time!

He quickly squatted down into a combat stance, holding the small shield firmly in front of his chest and the short knife high and aggressively above his head.

Kantaku likewise firmed his stance, ducking low behind his large shield and raising his spear into a throwing position.

The two men stood there momentarily, opposite one another on a small mound of earth, the old and the new. The time for talk had ended. The differences between the traditional and modern were past them now, and Kantaku did not wait. He was certain Makatiku had a plan and would spring it upon him quickly if he gave him the chance.

He thrust his spear back, holding it cocked high to the side of his head, and with perfect aim, not wanting to give Makatiku time to strike first, he thrust it forward with all his might.

At the same moment Kantaku released it, Makatiku dropped his shield and short knife to his side and pushed his chest forward. He stood there, poised and relaxed with his chest exposed as if it were impenetrable to the spear.

The blade of the barred spearhead flashed in the morning sunlight. All the villagers looked on in wonder as the spear soared through the air and hit him squarely in the chest, slicing through his flesh and bone and coming out his back.

For a perceptible instant, Makatiku remained upright, impaled by the spear. It was as though his body defied gravity, held high by the soul and the pride of a great chief. Then he dropped to the ground, dead.

The dazed villagers looked on in disbelief, as did Kantaku. The suddenness of it was shocking. Their great king, the fierce warrior who had fought and won so many battles, had not even lifted a finger to fight. His natural abilities to dodge and deflect, and to counterstrike, were not invoked at the time he needed them most. Though he had out-maneuvered all enemies in the past, he had left them now, strangely, without a strategic plan.

Jakaya summoned the young warriors.

“Mnakamata!” he said.“Take him.”

The spearhead was quickly removed. The shaft had snapped when Makatiku fell to the ground, making it easy to extract. The warriors gathered him up, and upon Jakaya’s directions, carried him to a place outside the village, down near where the river flowed out onto the savannah. The five kilos of ox fat and blood was also brought down and set beside the chief’s body.

“Enda!” Jakaya shouted to the young warriors. “Go! Go away!”
And they did so, solemnly, without looking back.

Jakaya knelt down and took a moment to look over his fallen friend. His face was sullen and old, and had the dark lines that come with age. His face was gray with all the signs of death, but his expression still revealed a regal presence. He was king, once more, Jakaya thought. And now was cut the umbilical cord between heaven and Earth.

With a wooden ladle, Jakaya covered Makatiku’s body with the ox fat and blood. He covered every inch of it, making sure no place was left exposed. Then he sprinkled the body with beads of black, green, red, yellow, and white, which mimicked the colour sequence seen in the animal life cycle. He added more white for the decade of peace he had brought to his tribe; and blue for the colors of the waters which ran clean and fresh until the machines of government polluted it; and more red for the warrior’s blood and bravery, which Makatiku had witnessed many times. A good death is its own reward.

“Come feast little Oln’gojine,” Jakaya said. “Come taste the meat of a great warrior.”

Jakaya left, back to the village, to the cluster of mud houses where he hung Makatiku’s small, red shield, and his simi, outside his inkajijik. Then he went to join the others in the celebration of the new chief.

Though Kantaku sat in the thatched throne in full ceremonial dress, he found no joy in his heart. He had achieved the throne, but had not won a victory. Even in death, Makatiku mocked him. He laughs now, he thought. There, down by the river of life, he revels in laughter!

The coronation was quite subdued. Though all the villagers gathered for the festival, it was not full of song and dance like the great celebrations of the past.

“It was Makatiku who threw the spear,” one of the villagers said.

Kantaku looked down at him and quietly hung his head.

“Makatiku is still King,” another villager said.

Down by the river Makatiku’s body lay in the hot African sun. All day it lay there, and by late afternoon the tsetse flies had gathered and the smell of the fermenting ox blood rose across the savannah. Before the sun had completely set, three spotted hyenas came across him. They encircled him and sniffed the earth around him and the kunga that wrapped him. Their nostrils filled with the scent of human, but there was also the smell of the ox blood and fat, and when they tasted the meat, they found it to be unique and flavorsome. On through the night they feasted, gnawing down on the bone and flesh and stealing chunks from one another. By morning when the villagers returned, nothing remained of Makatiku but a stain on the earth.

============================================================================
Scozzari photoPushcart Prize nominee Frank Scozzari resides in Nipomo, a small town on the California central coast. His award-winning short stories have appeared in numerous literary magazines, including South Dakota Review, Oklahoma Review, Berkeley Fiction Review, Ellipsis Magazine, The Nassau Review, and The MacGuffin, and have been featured in literary theater.

Posted in: Fiction Tagged: Fiction, frank scozzari

Cassie Hottenstein

December 1, 2013 by utpress Leave a Comment

THE PARABLE OF THE MADMAN

by Cassie Hottenstein

Are you not the madman who lit a lantern in the bright morning hours, ran to the market place, and cried incessantly, “Do I dare?” and, “Do I dare?” There will be time, there will be time: We will now discuss in a little more detail the struggle for existence, and I will show you something different from your shadow at morning striding behind you. The term human anatomy comprises a consideration of the various structures which make up the human organism. In a restricted sense it deals merely with the parts which form the fully developed individual and which can be rendered evident to the naked eye by various methods of dissection.[1] I should premise that I use this term in a large and metaphorical sense, including dependence of one being on another, and including (which is more important) not only the life of the individual, but success in leaving progeny.

I have known the arms already, known them both, arms of the patient etherized upon a table.[2] The phalanges are fourteen in number, three for each finger, and two for the thumb. Each consists of a body and two extremities.[3] The dorsal digital veins pass along the sides of the fingers and are joined to one another by oblique communicating branches. Those from the adjacent sides of the fingers unite to form three dorsal metacarpal veins, which end in a dorsal venous network opposite the middle of the metacarpus.[4] Somewhere I have never travelled, beyond any experience, nothing which we are to perceive in this world equals the power of the patient’s intense fragility.

I will show you, madman, fear in a handful of dust, and nobody, not even the rain, has such small hands.[5]

~

In the room the women come and go talking of Michelangelo. There are so many of those creeping women, and they creep so fast. I wonder if they all come out of the wallpaper as I did? The subject of the “uncanny” is a province of this kind. It undoubtedly belongs to all that is terrible—to all that arouses dread and creeping horror; it is equally certain, too, that the word is not always used in a clearly definable sense, so that it tends to coincide with whatever excites dread.[6] A hand cut off at the wrist: as we already know, this kind of uncanniness springs from its association with the castration-complex. There will be time to murder and create the etherized patient. We have killed him, you and I. Both of us are his murderers. But how did we do this? How could we drink up the seas? This is just to say, forgive me; they were delicious.[7]

Hurry up, please, it’s time. My nerves are bad tonight. A special variety of nerve-ending exists in the subcutaneous tissue of the human finger; they are principally situated at the junction of the corium with the subcutaneous tissue. They are oval in shape and consist of strong connective-tissue sheaths, inside which the nerve fibers divide into numerous branches, which show varicosities and end in small free knobs. Reflect how over a month ago he had cut his finger with a knife and only the day before yesterday this injury had still hurt him badly enough. He found himself transformed into some kind of monstrous vermin.[8] His fingers stood up before his eyes like pillars, enormous, blurry, and seeming to vibrate, but unmistakably four. But there had been a moment of luminous certainty, when each new suggestion had filled up a patch of emptiness and become absolute truth, and when two and two could have been three as easily as five.[9] Do we not feel the breath of empty space? Has it not become so sweet, and so cold?

Among other things, you’ll find that you’re not the first madman who was ever confused and frightened and even sickened by human anatomy. You’re by no means alone on that score, you’ll be excited and stimulated to know. Many, many men have been just as troubled morally and spiritually as you are right now. They speak bitterly about guys who find release by shooting off their own toes or fingers. So easy: squeeze the trigger and blow away a finger. They imagine the quick, sweet pain, then a hospital with cold tables.  And in the middle of them, with filthy body, matted hair, and unwiped nose, you weep for the end of innocence, the darkness of man’s heart, and the fall of the true, wise patient.[10] He, too, decomposes. He is dead. He remains dead. And we have killed him.

 

Texts used, in order of appearance

Friedrich Nietzsche, “The Parable of the Madman,” from The Gay Science.

T.S. Eliot, “The Love Story of J. Alfred Prufrock.”

Charles Darwin, On the Origin of Species.

T.S. Eliot, “The Waste Land.”

Henry Gray, Anatomy of the Human Body.

E.E. Cummings, “somewhere i have never travelled,gladly beyond.”

Charlotte Perkins Gilman, “The Yellow Wallpaper.”

Sigmund Freud, “The ‘Uncanny.’”

William Carlos Williams, “This is Just to Say.”

Franz Kafka, “The Metamorphosis.”

George Orwell, Nineteen Eighty-Four.

J.D. Salinger, The Catcher in the Rye.

Tim O’Brien, “The Things They Carried.”

William Golding, Lord of the Flies.

 


[1] “We need to look for pieces,” Mom explains. Saturday morning, I’m in my Poppop’s garage on my hands and knees. There are pieces missing. I don’t know how many yet.

[2] Poppop is meticulous, as always. The handsaw sways back and forth from its hook; a stained rag lays neatly folded, freshly wet; the sink tap still drips dry. Behind this careful organization, handprints trail from the once-white walls to the workbench, drying into the paint. I find desperate smears clotting in the sink: he’s washed his hands of any evidence, wiped away this mistake with the rag.

[3] There’s a fingertip wedged between the garage door and the wall. I imagine Poppop shaking the tension cord with his free hand, cursing under his breath, careful not to scream, “Let go, goddammit, let go.”

[4] There’s another fingertip on top of the bloody ladder – he must have misplaced it during his rush to the sink. Wash it away, it’ll be okay, no one has to know.

[5] It takes two extra minutes to find the third clinging by its flesh to the freshly cut tension cord. Unsalvageable.

[6] I slide on my back underneath his shiny silver Civic. At least he was careful not to smudge the car’s paint. Dad packs the cooler; I hear a ziploc baggie slosh with ice and ripped nerves.

[7] There’s the overwhelming stench of blood and WD-40. I taste metal from the back of my nose to the tip of my tongue, so I put my hands over my face to mask the scent. It grows stronger – my face is sticky. His blood was on my hands.

[8] He is perfect, perfect. In those trembling moments, when he bit his lip and tried not to scream, he took care to hang the handsaw just so on its hook: swing swing, nothing is wrong. One perfect hand and one with three missing fingertips folded a rag, shh, if I’m quiet it won’t stain. Soap will wash it away. Shh, if I’m quiet I’ll be okay.

[9] I’m counting my fingers over and over because I’m not too sure they’re still attached: one two three four five, one two three four five. Sometimes they’re there, and sometimes they’re not. His fingertips fit perfectly into my palm.

[10] Mom is trying to discuss stubbornness and assisted living and Alzheimer’s and he’s lucky to be alive the cord could have hit his face after all. My throat is full of bile; all I can retch is a wet “no.” I want to say, “We haven’t found all the pieces.”

============================================================================
Cassie HottensteinCassie Hottenstein was born in Pennsylvania and raised in South Carolina before finally settling in Florida. She is a teaching assistant, writing tutor, and full-time student at the University of North Florida. She hopes to graduate in Spring of 2013 with a major in English and a minor in creative writing. In her spare time, she writes poetry, rewatches episodes of Hannibal, and obsessively collects figurines of owls. “The Parable of a Madman” is her first publication.

Posted in: Nonfiction Tagged: creative nonfiction, experimental writing, hottenstein, nonfiction

An Interview with Featured Artist Carolina Rodriguez

December 1, 2013 by utpress Leave a Comment

By Cynthia Reeser with Carolina Rodriguez

Le Désert de Mon Coeur

Le Désert de Mon Coeur

CR (TROn): Your artwork is wildly imaginative. Where do get your ideas? What inspires you?

Rodriguez: Well, I use everything that surrounds me, the places I go, the people I talk with, the plants, the bugs, the water, the fire, the space, the stars, the galaxies and comets, the constellations, the stories I hear, and sometimes, the feeling of being bored or sad.

 

The Clouds Will Explode

The Clouds Will Explode

CR: Please talk about your development as an artist.

Rodriguez: Everything began around ten years ago when I was fifteen, influenced by movies, comics, and Japanese artists. From there I decided to use digital media as my [primary medium], mainly because I don’t like to clean my brushes. I got into a visual arts career, and since then, I’ve been trying to improve my drawing and learn the programs I use a little better.

 

The Childish Voice

The Childish Voice

CR: All of the work in your online portfolio is digital art. Have you ever tried your hand at any other mediums—painting, drawing, etc.?

Rodriguez: Of course I have. I still draw a lot in a sketch book; I love colored pencils and I try to use them as much as I can. I’m also part of a graphic workshop called “Taller Trez” that involves woodcut and etching techniques.

 

Painting with fine strokes that it appears dreamlike. A lone male figure, his back to the viewer, wears boots and a reddish cape that moves. The figure appears to stand on ice. His shadow casts elongated before him. There is mist creeping behind him along the bottom of the frame. Grayish mists and thin fog around the corners, sides and top of the upper frame.

Oblio

CR: I notice a lot of texture working in your pieces. For example, in “The Clouds Will Explode,” the background of the wall has a texture similar to that of oil pastels, yet in the window, the images are highly detailed. There is also a transparent quality to some features in the lower third of the image, which contrasts with the objects in the light. Do you consciously create a variety of textures?

Rodriguez: Sometimes I’m just sloppy and mix up things without noticing, but I do like the feeling of messy textures on my paintings. The result is always different, but I really try to apply a lot of things that I learn over the process in previous works. It’s fun every time, but sometimes I get [frustrated when] something is not working. But I understand that even if it doesn’t work, I learned something new.

CR: Many of your pieces are very detailed. Could you talk about your process a bit?

Rodriguez: I’m kind of neurotic; I love detail, even if people can’t see some of the things I include in an image because it’s too small to see. I [need the detail] to be there. My process varies, but I always start with an idea, then form a color palette and create a sketch. Then on the computer I redo the lines, paint underneath them, and from there, it’s chaos—anything can happen. I go crazy and do whatever I feel like. It’s definitely fun.

What’s next for Carolina Rodriguez…

Carolina Rodriguez will be exhibiting her work at the Pontifical Xavierian University at the end of January 2014. For more information on this artist and for news of upcoming exhibitions, go to https://www.facebook.com/TALLER.TREZ

~

Visit Carolina Rodriguez on the web at: http://morbidtea.daportfolio.com/

============================================================================

Carolina Rodriguez

Carolina Rodriguez is a native of Bogota, Colombia and attends the Pontifical Xavierian University (Pontificia Universidad Javeriana) in Bogota. View her art online at http://morbidtea.daportfolio.com/.

 

 

Cynthia Reeser headshot

Cynthia Reeser is the Founder and Publisher of Aqueous Books, and Founder and Editor-in-Chief of Prick of the Spindle literary journal. She has published more than 100 reviews in print and online, as well as poetry and fiction in print and online journals. Her short stories are anthologized in the Daughters of Icarus Anthology (Pink Narcissus Press, 2013), and in Follow the Blood: Tales Inspired by The Hardy Boys and Nancy Drew (Sundog Lit, 2013). Cynthia is currently working on a literary short story collection inspired by fairy tale lore. Also a senior editor for two association management companies, she lives and works in the Birmingham area and attends the University of Tampa in pursuit of her MFA in Creative Writing (fiction). Visit her on the web at www.cynthiareeser.com.

Posted in: Interview, Visual Art Tagged: artists, Carolina Rodriguez, Colombian artist, digital art

Sean Prentiss

December 1, 2013 by utpress Leave a Comment

TENT

by Sean Prentiss

Hours after the sun has set into these dark
Cascade Mountains, hours after we’ve slunk
Off to our scattered & weary tents that sag
From weeks of wilderness living & these
Endless days of rain & snow, I lie in a bag
That reeks of earth & sap & bar oil & listen
To the songs of snow against the vestibule.

I wrap the heat of my bag tight around me,
Wondering how this new crew is holding up
In their cheap bags, wondering if they dream
Of soft pillows, cell phones, & humming
TVs to shepherd them to sleep after another
Cold day in these green mountains of rain.

I don’t blame them their dreams & as I shut
My eyes, I dream to the cold music of snow
& dream tomorrow—or the next—to when
This bearded face may finally experience
The warm rays from that barely rememberable

Sun.

============================================================================
Sean PrentissSean Prentiss is the co-editor of The Far Edges of the Fourth Genre, an anthology about the craft and philosophy of creative nonfiction. He teaches at Norwich University and lives in northern Vermont.

Posted in: Poetry Tagged: poetry, sean prentiss
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