That October

By JD Scott

Listen to JD Scott read “That October”:

You wore white slacks and shoes in my bed,
jumped out the second story window
on a bad moon and broke both ankles.

My pubis was a deck of cards with all
the heart suits removed. Climbing
vines grew out my wrists like worry beads.

These are our conjunctions. A boy who comes
and goes as he pleases. An untimely Labor
Day joke. A parable, which starts now:

you will not be permitted my restless hands
which hold each other like the ouroboros,
that dragon who swallows himself forever.

I threw my phone in the ocean, built brick
walls around my bedroom. I saw a psychic
in an alley downtown; she wanted me

to tell you this: you will marry a woman
who warns her children of the dangers
of hair dryers, and I will give birth to wolves.

About the Author:

JD Scott is most recently the winner of the 2018 Madeleine P. Plonsker Emerging Writer’s Residency Prize, selected by Lidia Yuknavitch, which will result in a debut short story collection published by &NOW Books. Recent and forthcoming publications include Best American Experimental Writing, Best New Poets, Denver Quarterly, Prairie Schooner, Salt Hill, Sonora Review, Ninth Letter, Spoon River Poetry Review, and elsewhere. Recent accolades include being awarded a 2018 Lambda Emerging LGBTQ Voices fellowship, attending the Poetry Foundation’s inaugural Poetry Incubator, and being awarded residencies at the Millay Colony and the Edward F. Albee Foundation. They are also the author of two poetry chapbooks. More about JD can be found at jdscott.com.

An Interview with Dorothy Chan

By Melanie Quezada

Melanie Quezada: Within your chapbook, Chinatown Sonnets, you speak about the Chinatown of American media and the Chinatown of your childhood. What influences your poems? What are your hopes when you send your poetry into the world?

Dorothy Chan: Lots of magical things, like what’s walking down the runway this season, what I want to eat for dinner, what pictures I’m looking through that day (maybe photos from my trip to Tokyo from last May), etc. I think a lot about highbrow, lowbrow, and middlebrow tastes—how the three intersect and what place the three play in popular culture and in the world around us. I remember a couple of years ago in Tempe, Arizona, we were hosting Matthew Gavin Frank, and at dinner, Matthew said something about how arguably, there’s no “highbrow” or “lowbrow.” Just middlebrow. It was the most brilliant thing I had ever heard. I think we were talking about the film, Fatal Attraction.

Things like excess and anachronisms excite me as well. Right now, I’m quite obsessed with Liberace and how, “Too much of a good thing is wonderful,” though I also see this quote attributed to Mae West at times. Both are iconic. I think about Liberace’s whole “palatial kitsch” aesthetic, and if you’ve seen Behind the Candelabra, you’ll notice the focus on Liberace’s (well Michael Douglas as Liberace) face on his version of the “Sistine Chapel ceiling.” Kitsch is such a big part of popular culture, and it’s a big part of my poetry. A couple years ago I was obsessed with the “Fake Cities” that have popped up around China, for instance, how in Tianducheng, China, there’s a replica Eiffel Tower and French town. Today, I was reminded of this past obsession when my friend Colleen sent me an Instagram photo of Cian Oba-Smith’s work. Oba-Smith’s latest collection is titled “Shanzai,” and it analyzes this architecture around China. It was so fortuitous that she sent that to me today!

When I send my poetry out into the world, I hope I can make people laugh. I hope I can make them think.

MQ: When did you start writing? What do you know now that you wish you had known then?

DC: I don’t quite remember when I started writing; it was quite early on. And it wasn’t just poems, but also plays and stories and essays. I was interested in all things artistic when I was a kid. I was really into visual art as well, creating lots of drawings and paintings and posting them on the fridge in my childhood home in Allentown, Pennsylvania.

I was first published when I was fourteen? Maybe sixteen? It was a small journal. And then I started writing poetry seriously during undergrad at Cornell.

I can’t think of anything I wish I had known then. It’s clichéd to say this, but it’s all a process.

MQ: Being a poet myself, I never know when to stop editing my works or how to start. How do you edit your poetry? When do you know when enough is enough with the editing process?

DC: I stop revising whenever it feels natural to stop. I don’t believe in obsessing over my poem—when it’s done, it’s done, and I’m ready to send it out into the world. Then it’s time to write another one. But that doesn’t mean I don’t revise a lot. It’s quite the contrary; I simply don’t believe in obsessing over edits when it’s clear a poem is finished. It’s instinctual.  

I think the best thing to do is to read the poem aloud and to really “feel” it. Think about how you’d read it aloud in public, and these thoughts can guide your edits.

MQ: Your work could be considered risqué and differs from past works published by old dead white men. How has your work been received by publishers/other literary journals?

DC: Thank you. A lot of wonderful journals and publishers have been wonderful to me. The landscape of poetry is changing, and we really need to continue to welcome intersectional voices.

MQ: What are you working on now?

DC: I’m currently working on my third poetry collection, which is about the food I ate growing up. My parents are both from Hong Kong, and growing up, I ate a lot of Cantonese dishes, such as ginger lobster, tomato tofu, turnip cake (I think it tastes best steamed, in a bowl), corn soup, and char siu. These dishes aren’t just food to me—they’re my heritage and family history.

Click here to read Dorothy Chan’s poem “It’s Vending Men.”

Dorothy Chan is the author of Revenge of the Asian Woman (Diode Editions, Forthcoming March 2019), Attack of the Fifty-Foot Centerfold (Spork Press, 2018), and the chapbook Chinatown Sonnets (New Delta Review, 2017). She is the Editor of The Southeast Review. Visit her website at dorothypoetry.com. 
Melanie Quezada is a Creative Writing major at Ringling College of Art and Design. She currently resides in Sarasota, Florida. She is getting her bachelor’s in Creative Writing.

It’s Vending Men

By Dorothy Chan

I’d love a man vending machine
in the hallway of my celebrity home,
and I know this sounds like an ‘80s
high-concept film starring Andrew McCarthy
in his puppy-dog-eyes-golden-boy-prime
shrunk inside a vending machine
in a department store in Hong Kong,
because this is my version, and have you seen
vending machines in Kowloon malls
with their Korean beauty products
and knickknacks you just can’t live without?
And the lead actress puts in a coin,
and Hottie McCarthy comes to life
as they have high tea in the mall, and honey,
if we’re going to play make-believe,
I’m going all out, with this man
vending machine in the middle of my celebrity home
that’s complete with high ceilings
and koi pond with Zen garden
where I drink jasmine tea in the mornings—
Good Little Asian Girl, champagne
in the mini fridge of my walk-in closet,
like Cleopatra in the cartoons
who had absolutely nothing to wear, ever,
and I’ll need a room that’s all white,
save for the vase of red roses on the center table,
and I hate flowers—stop bringing them to me
when you’re asking for forgiveness, but everything
in life needs a woman’s touch—how I love
playing dream girl to the beefcake-of-the-moment-
Ripped-out-of-the-stud-calendar-let-me-
melt-butter-on-your-abs, sir, you stud
that I got out of the vending machine after swiping 10
my black AMEX, and sure, I was craving
sea salt and vinegar chips and red licorice and a cold cold
cold cherry cola to rub on my breast
because it’s getting very very hot in here,
and you’re looking like a snack this afternoon,
you stud, and I love telling you what to do
as I pose on this faux-fur-polar-bear-carpet
shag, snuggle by the fire, eating rare steaks
and red wine, bloody as hell
in front of the fireplace—classy,
and will you just turn around for me, bend over,
and I like this view, I like this view,
I like this view, and let’s roll around
the rest of this lazy afternoon, a little bit tipsy,
but before your shirtless scene,
why don’t you go to the vending machine,
get me a bag of chips and some strawberry licorice
but always remember—there’s more of you
where you came from, but let’s have fun for now,
and suck on each other’s tongues,
sharing this piece of licorice
Lady and the Tramp style, and there’s more of you
where you came from, in my celebrity home,
complete with heart-shaped hot tub,
and you hunk of man, you, we’ll have a little
afternoon fun before I’m done and I move on
to the next one, insert my coins
for the next flavor, wow this candy tastes good
in your mouth.

Read our interview with Dorothy Chan.

Author the Author:

Dorothy Chan is the author of Revenge of the Asian Woman (Diode Editions, Forthcoming March 2019), Attack of the Fifty-Foot Centerfold (Spork Press, 2018), and the chapbook Chinatown Sonnets (New Delta Review, 2017). She is the Editor of The Southeast Review. Visit her website at dorothypoetry.com.

The Fish Gods

By William Todd Seabrook

It was a hot day when Olly and I went out to find the Fish Gods. We packed the boat, and pushed off from shore, rowing with one paddle after Olly lost the other in the water slapping at some bass.

On the shore there was a man in a straw hat sitting in the cattails, one hand tucked inside his half- open shirt, the other propping up his chin, a wandering mind that could not readily tell the difference between the water and the sky. The sun had tanned his bare feet and long, cracked hands. Every so often he would spin the stalk of a cattail between his fingers, but he did not touch the water, or whisper into the wind, or give any sign that he acknowledged or loved or despised those tiny creatures.

And still, he stole our fish.

They gathered at the edges of the river, swirling under his shadow, squeezed in so tightly he could have scooped them up by the handfuls. But he only sat there, his hand under his chin, motionless, as if the weather had carved him out of the Earth over the eons, his eyes weary with the weight of it all.

Olly carefully plucked a pencil from the box, saying, A love letter, I think, and leaned over the side of the boat and began to write on the water’s surface. As the letters rip- pled into the current, the fish swam away from the muddy riverbanks of the old man, because fish always fall for romance, them being fish, although only one of them—a trout with only half a fin—swam up to the water’s edge and nipped at the pencil tip as Olly wrote.

My darlings, my cherished creatures, there is not time enough for us in this dismal world, so please let us laugh together and love together before all else falls before us.

He signed the note with his name and kissed the water with his chapped lips. I lifted the net, but Olly threw his hand into my chest. There’s only the one, he said. There is time enough, and I will have them all.

After a moment, the one-eyed fish swam back the shore, followed by others, but not all.

Goddamn you, old man! Olly yelled, but the man did not stir.

You have to be sincere, I said, grabbing a pencil out of the box. The sun had grown hot, very hot, and the sweat ran into my eyes.

I hooked my foot under the wooden seat and leaned over the water, dipping my pencil into the surface.

Young Lords, flee before the world sees your end. I love you too much to watch your gills grow green and your scales harvested for their silver. Your lives are filled with dread, I know, and there is nothing to be done. Die slowly, or die quickly. That is the offer.

I signed it, but realized I had not been honest enough, so I added: P.S. I am not a fish.

The fish scattered, then reformed in their clusters, a handful of them floating in front of me now, too, although the bulk of them had returned to the shore.

Well that didn’t work, I said.

Just hold on for a few minutes, Olly replied. You want them to dwell. It shakes their souls loose, and gives them a sense of purpose. You have to give them purpose before you can expect them to sacrifice for a higher cause.

What higher cause? I asked.

The only higher cause there is, he said, twirling his pencil between two fingers. The cause of the passionate, whatever it may be.

An hour passed, and then another. The sun grew even hotter, burning us to our cores, but still the old man did not move. The fish, however, had slowly returned to us, swimming in circles below our boat, their tiny minds swirling too, their mouths gulping it all down. After the third hour they had all amassed in one large clump under the spot where Olly’s words had stained the water.

I told you, Olly said, picking up the net. They’ll die for passion.

On the shore, the old man unhinged his arm from under his chin and dipped his finger into the water, twisting it in a circle, but writing no message.

The fish began to swim towards the old man, but Olly was quicker, scooping them up in one motion and dumping them into the cooler. The slippery fish twisted in the ice, their backs breaking and their eyes spinning in their sockets. No matter how I tried, I could not feel sad for such ignorant beasts. Before Olly closed the lid, he kissed his fingertips and extended them to the pile of fish bending in agony. When he did so, they all stopped moving and lay still.

Simple as that, Olly said.

Death is only complicated for the living, I said, shielding my eyes with my hand. It’s brutal out here. Shouldn’t we head in?

But there are more fish out there! Olly yelled, tipping the boat side to side. All the fish in the world are out there, just waiting to be scooped up! Isn’t that right, old man?

On the shore the old man had his hand under his chin again, but made no acknowledgement of us, or the boat, or the river for that matter. As if none of it were there. By his feet was a single fish, the half-finned trout, flitted between the cattails as if searching for a way to come ashore.

It’s better not to dwell, old man! Olly yelled, pointing to the cooler. This is what’ll happen to you.

But the old man in the straw hat did not reply, or even look out way, looking elsewhere, at a more interesting or less interesting place.

A true God, I thought.

Above us, the clouds slowly curled themselves into letters. They said: I am not a fish, either.

About the Author:

William Todd Seabrook received his MFA from the University of Colorado, and his PhD from Florida State University. He is the author of four prose chapbooks, and his work has appeared in SmokeLong Quarterly, Phoebe, The Volta, Tin House, Mid-American Review, PANK, CutBank, and Quiddity among others. He is the editor of Cupboard Pamphlet, a prose chapbook press.

An Interview with Mike McHone

By Sandra Shim

Sandra Shim: What kind of mindset were you in when you wrote the poem in this issue, “The Executioner is Drunk and The Ropes Are Too Wet for Strangulation”?

Mike McHone: Stoned. (laughs) To be honest, I was in a sarcastic mindset. I came up with the title first, which is something I never do in any of my writing, fiction, poetry, or otherwise. The piece was an outgrowth of the title. And I wanted to write something that could find a home in a literary journal or genre magazine like the Magazine of Fantasy and Science Fiction; a mainstream publication or an independent one; something that couldn’t quite fit snugly in either fraction.

SS: Who does the executioner symbolize?

MM: An unqualified fool in a position of authority, power- drunk, and too stupid to do anything but destroy people’s lives. Thank (insert chosen deity here, or lack thereof) we don’t have that problem in the United States. I guess I’m still in a sarcastic mindset.  

SS: Who is the poem directed at?

MM: As George Santayana said, “Those who cannot remember the past are condemned to repeat it.”  The irony is it’s an old quote, obviously from the past, and people can’t really remember it accurately and repeatedly misquote it. There have been instances in civilizations past that have delved into scenarios akin to what’s being described in the poem. And if you don’t know what I might be talking about, then this poem was written just for you!

SS: How did you decide to use a flight attendant-sounding tone?

MM: I thought if I balanced something as menacing or horrific as a large group of people committing suicide because a government, authority figure, or anyone wielding power over them instructed them to do so with a very proper, professional, business-as-usual, by the book tone, it would enhance the horror. When you take weird imagery or uncomfortable wording and make them excessively normal, the horrific, satiric, or fantastical elements are embellished, at least in my opinion. Plus, when it’s blended with the image of a hangman being far too drunk to do his job, it adds a bit of gallows humor to the piece quite literally.

SS: The last line implies that the audience is the problem. What emotions were you hoping to initiate with this poem?

MM: As far as the emotions go, I wanted a mixed bag. In all, the piece could be taken as a dystopic poem, or an allegory, or a warning, a satire, a bad joke, or a good one, or something that Rod Serling and TS Eliot would talk about over drinks at Bukowski’s apartment.

And, yes, the last line… “We apologize for any inconvenience you may have caused.” You don’t have to look that far into our past or present to see that more than a few politicians or religious leaders think of most of us in this regard. We’re causing inconvenience because we have the audacity to want clean air, or clean water, or want to get married to the people we love even if they have the same genitals that we do, or want to go to school without running the risk of being gunned down like a soldier at Passchendaele, or want student loan reformation so we don’t slip back into indentured servitude, or want to be treated equal in the workplace and in life, or make a living wage, or not be thrown into prison for smoking a plant, or not to be beaten by police because of skin color, or have some left wing idiot try to ban a book because the subject matter or word choice might offend their precious little ears or cause their already-weak stomachs to bubble with nausea, or have a right wing moron try to ban a movie because it might upset their almighty god that probably doesn’t exist in the first place, or because we just generally want to left the fuck alone. The fact that these problems persist, and the fact that an overweight jackass from Detroit had to write a goofy little poem drawing attention to them, shows that it’s just too much of an inconvenience for the power people to do anything about it.

Apologies, folks. I didn’t realize how big this soapbox was before I got on top of it. I think it’s best I stop here and let you get back to your regularly scheduled program called life.

Click here to read Mike McHone’s poem “The Executioner is Drunk and The Ropes Are Too Wet for Strangulation.”

Mike McHone’s work has previously appeared in The Onion, The AV Club, Playboy, The Detroit News, Neo-Opsis Science Fiction, and numerous independent and online publications. He lives in Detroit with his wife, two cats, a nephew, and a beta fish named Trevor.
Sandra Shim currently studies computer animation and creative writing at the Ringling College of Art and Design. After graduation, she hopes to enter the animation industry and write her own stories. Her favorite animated films are The Lion King and Zootopia.

The Executioner Is Drunk and The Ropes Are Too Wet for Strangulation

By Mike McHone

attention
there will be no hangings today
the executioner is drunk and the ropes are too wet for
strangulation

please proceed to the nearest injection center in a calm and
orderly fashion, single file

after you’ve arrived at the center you will be directed to a
private stall

once you are in the stall, please reach above you and grab
the needle from its overhead position
and place it directly into your arm

one of our customer service representatives will be on hand
should you need further assistance

please secure your own needle first before helping your child
with theirs

once the needle is injected snugly into your arm please lie
down on the table provided for you
assume the christ-like pose and wait for the fluids to be
injected into your body

to repeat:
there will be no hangings today
the executioner is drunk and the ropes are too wet for
strangulation

we apologize for any inconvenience you may have caused

Click to read our interview with Mike McHone.

About the Author:

Mike McHone’s work has previously appeared in The Onion, The AV Club, Playboy, The Detroit News, Neo-Opsis Science Fiction, and numerous independent and online publications. He lives in Detroit with his wife, two cats, a nephew, and a beta fish named Trevor.

Mammal

By Sarah Gerard

Dear Mammal,

Your star moved over me in opposition. You implanted yourself in the walls of me. Your father held me in the bathtub and we watched you spread around us, light diffusing. There were all the days after. I’m taking a bus to the mountains.

Science is unforgiving but we return to it. It’s been weeks but time is relative to feeling. I let in the air. I let the air in again. You’re a monochrome smudge on a screen.

We stop at an onramp. I read by the face of my watch. The passengers sleep and I hear them by the echo you left. Gunpowder is poisonous. It deprives us of iron, making us bleed.

I know the meaning of reproduction. A man pins a sign to the shirt of a small child, then leaves her. I find versions of you in a comma, a shadow, a curve, a tadpole, identical movements, any creature, a rabbit, an earthworm, a virus.

We wait on the shoulder. We’re stuck in a dark place and we’ve returned to our old repetitions. I eat my placenta. I constellate versions of history. You were mistaken.

To love is to orbit potential if you love nothing. It’s raining in the mountains and you will never have to learn that pain is profit. I find a cabin. There’s a dark ring circling the lot. The river is named for its origin. Taking a man is also killing him. I will never forgive your father. I attach myself to the mountain’s breast and drink the milk of the future.

There is no end to deconstruction. Time is immense and fabric, so we are together. I go before you to clear the way for futility. I cleared you from the weave. We returned to the source and discovered its brutality. It’s beautiful here on the mountain.

I carry you as two lines and an absence. A dog comes out of the woods looking for food. I feed and bathe him. I sweep my absence into corners, cover it up with inattention, drift toward a bright center. We use light to measure distance. An animal robbed of her young will call it making sounds she’s never made.

Repetition breeds habit and comfort. The dog and I pass each other at predetermined times of day and pass back. Leaves fall. Cold clears the sky. From the ground, we see stars.

I had delusions. I believed in the power of two and feared the zero. I no longer fear what the mountain can do. I feel that I did it for love. I learn to cook with fire. My body is a tool. Time is a loom with ten strings. I lift one to make a story.

Mammal, I see your face as translucent. I leave the cabin open and walk toward a distant hum. I have written you, now send you. The road is wide and milked over. At its end there’s nothing.

Your mother,
Mammal

About the Author:

Sarah Gerard is the author of the essay collection Sunshine State, a New York Times critics’ choice, the novel Binary Star, a finalist for the Los Angeles Times first fiction prize, and two chapbooks. Her short stories, essays, interviews, and criticism have appeared in The New York Times, Granta, The Baffler, and McSweeney’s. She’s the New College of Florida 2018-2019 Writer-in-Residence.