Where the Ducks Go

By Obi Calvin Umeozor

On your deathbed, this is what you think of:

You think of the night, years before, when Uloma’s call disrupted your sleep. The night the network was so sketchy you ran out the door of that one-bedroom shack- on-a-hill you called home to get better reception; to hear – above the crackles from the other end of the line, above the croaks of frogs belching hard into that cold November night – your Americana sister say the words you had been waiting thirty years to hear.

“We found him.”

In Tallahassee, Florida, of all places. And your knees buckled, and you sat there on the bench of weathered wood beneath the mango tree in your front yard, beyond the glow of the bulb above your doorpost that passed for a security light, and you swiped at mosquitoes and sand-flies as you listened to your sister in Baltimore tell you how she had gone down to Tallahassee to visit Ezinne, her daughter, at your alma matter; had gone to the South Hill Baptist Church that Sunday and beheld him preaching fire and brimstone from a pulpit of fiberglass. “We found Emeka,” Uloma said over and again, her voice cracked with disbelief; with three decades of pain. And there in the cold and the dark, with your sister’s raspy voice in your good ear, you had already begun calculating how much damage a plane ticket from Lagos to Florida would do to your savings. You were 49. And even then you had an arthritic knee and an inhaler in the breast pocket of your pajama top. And an octogenarian mother in a hospital two hours out of town. So your itinerant days were well over, you knew this. Yet, more than anyone else, you also knew how badly you had to – needed to – see your brother again.

The next morning you called your boss, the principal of the local girls’ secondary school and told him you wouldn’t be showing up to work for the next few weeks. You hung up on his protestations because you hadn’t once missed a day of work in the ten years you had been teaching there, and so you felt entitled to this break of sorts. You took your American passport out of the cellophane bag in the briefcase behind your dresser and you stared at that picture from ’93, from a far hap- pier time; when there wasn’t a streak of white in your hair; when you still had a smile, one that tugged at the left side of your face; when your eyes still had a glow in them. You thought again of Paunise, your Haitian-American ex and what could have been. You mounted your old Yamaha motor- cycle and you rode, in a trail of red dust, down to the cybercafé in the middle of town to book the earliest flight ticket you could find.

You headed down to the psychiatric hospital to see Mama.

She was in bed when you walked in and she smiled. But you ignored it as you took the chair beside the bed because you knew her smile wasn’t for you. Mama was battling late stage Alzheimer’s then, and you’d grown weary of telling her over and over, “It’s not Emeka. It’s me, Obinna. Remember?”

Nevertheless, you took her frail hand and stared into her deep-set, weary eyes and asked how she was. Then you told her you were flying back to the States. No, not to Baltimore to see Uloma or her husband, Salim, but to Tallahassee to find Emeka. Her eyes lit up at the mention of his name but she said nothing. She slowly pulled her hand out of yours and gave you an awkward smile, her eyes flitting from side to side. You sat with her a while, as you had done every week of her stay up to that point, and you looked out the dust-filmed window at the udala tree waving its branches in the Harmattan breeze out in the courtyard, at the fruits the size of tennis balls, and you wondered if you could reach out the window and pluck just one, and suck its fleshy seeds and juice the color of milk and let it slap the inside of your cheeks till you smacked your lips together like a baby tasting lemon for the first time. You imagined this would drive off the smell of disinfectants and air-fresheners that hung heavy in that hospital room. Mama dozed off before long and you got up to leave. But at the door, her voice reached you, frail and wiry, from the edge of her dreams. “Emeka?”

On the flight to Jacksonville, you didn’t sleep a wink. You ignored the entertainment system in front of you, because you hadn’t watched TV in years and you weren’t about to start then. In- stead, you looked out the window and feasted your eyes on the vast blue blanket spread across the sky over the Atlantic, far as the eye could see. The buzz of the plane engines and the snores of the heavyset man in the seat beside you began to make you drowsy.

***

So you closed your eyes and you were 17 again, and Emeka was chasing you through the football field behind your house on the outskirts Port Harcourt, yelling for his stolen jersey back. You kept whipping the damp thing above your head like it was a rotor blade as you sprinted beyond his reach, the cheers of the other kids on the field spurring you on. Till Emeka got close enough to lunge at you and pull your down into the dusty turf with him. You exchanged smacks and nudges with your brother before he slipped his arms underneath yours and tickled hard at your sides till you began thrash- ing around on the ground like a distressed fish. Of course Emeka had always known that was your weak spot and he never failed to exploit it whenever you both got into one of your many tussles. Just then Uloma – ten at the time – who had come out earlier to tell you both that Mama had asked that you come into the house be- cause it was getting dark, ran out the back screen-door of the house yelling “Mama is coming!” at both of you. A few seconds later, Mama came pelting out of the house to- wards the field with a koboko cane in her right hand, her soiled apron flapping against her knees. You and Emeka knew the drill. You were both up in a flash and head- ed for the opposite end of the field. And the roar from your playmates in stitches drove you on till Mama was winded and ground to a halt with a shake of her head. And she continued to give you both the death stare over her shoulder as she trudged back into the house, with Uloma giggling and snapping at her heels. You had no worries because you knew that as long as you were with Emeka, Mama wouldn’t mend your butt. You and Uloma knew Emeka had Mama wrapped around his finger and you both used it to your advantage all the time.

Mama had given birth to Emeka in Houston, one year after she had married Papa; two years before they moved to Nigeria and had you and Uloma. But Mama always had a special attachment to Emeka, maybe because he was her first, maybe because he was a very lovable boy, with his quaint ways and voice deep beyond his years. That attachment only grew stronger after Papa died in a plane crash a couple of years after Uloma was born. In many ways, Emeka became the man around the house and he would often use that position too eagerly. And though he was only five years older, he would hover over you like you were just as much a toddler as Uloma. And though you knew he meant well, you somewhat de- tested the way he would poke his nose into your feuds, looking to fight your battles.

You didn’t know how much you would miss the horseplay and the tussles and the hovering until the year you turned 19, when Emeka began seeing Sandy and practically moved in with her. He was on the verge of completing his Electrical Engineering bachelors at the University of Port Harcourt, which was about an hour from home, and so he wasn’t always available anymore for Mama to stick her nose in his business. He told her he was in the middle of his final project and had to stay on campus more often to take care of it. Mama believed him, as she always did, but you knew better. As your brother grew scarcer, you grew to loathe his girlfriend – frail, gorgeous Sandy – even though she was very mild-mannered and easy going. It was all a game to her, you said to yourself. You knew she was trouble, everyone did. She was the only child of the Education Minister, Chief Nwosu, a widower who had spent much of his hustle years teaching Biology in some of the most desolate places in Southern and Eastern Nigeria, until a policeman beat him senseless during a traffic stop for refusing to drop a bribe. He sued the police for millions in damages and won; and after the much publicized court victory, no one was worthy enough to sniff his filthy laundry, much less hold his princess’s hand. Emeka knew all this, knew what an erratic man Sandy’s father was, but it didn’t faze him. He was sure – he told you so – that he was being discreet enough in public, that the Chief didn’t know his daughter was dat- ing a broke engineer.

All this had Mama so worried she took a couple of days off her work at the State Secretariat to drive down to Emeka’s campus apartment to look for him. He was no- where around. In fact, the landlord told her that he didn’t live there anymore. Said he lived with his girlfriend now, in an upscale apartment in the Government Residential Area of Port Harcourt. You had to calm Mama down when she got back. You even took over the handling the smaller affairs in the house to take the load off her.

And then that night happened. You heard it all from your hysterical mother as she held onto you and Uloma in the backseat of the taxi speeding towards Braithwaite Memorial Hospital in downtown Port Harcourt. Witnesses said Emeka and Sandy had left a birthday party–he had told you he was attending – in a hurry. No one knew why. They both ran out the house, hand-in-hand, and got into Sandy’s Peugeot sedan. They both were more than a little drunk, but Emeka insisted on driving, and on a dark deserted road at the edge of town, an approaching headlight was a little too strong for Emeka and he veered off the road, driving straight into an electric pole. Sandy, who didn’t have her seatbelt on, was thrown from the car, and she died in a cluster of wild ferns by the roadside. But Emeka survived, with all but two broken arms and a cracked rib. From then on, everything went downhill fast. The distraught chief promised to get his hands on Emeka; told Mama to her face at the police station where your brother was being held that she wouldn’t even find his body when he was through with him. Mama didn’t wait for another warning. She sold the house, used half the money to bail Emeka out and the rest to send him into hiding with some of her relatives in Houston. And she gathered you and Uloma and left Port Harcourt for Lagos, never to return.

It was two weeks after Emeka settled in Houston that he reported seeing some suspicious figures outside his window one night. And by the next morning he was gone.

***

You got into Jacksonville on Friday at twelve noon and you immediately bought a Greyhound ticket to Tallahassee and called your sister. She said she would call ahead and tell Ezinne when to pick you up at the station. You’re at least excited about that. The last time you had seen your niece was two Christmases ago, when she had flown down to Nigeria to get some of what your sister called “cultural experience.” Uloma had always confided in you about how worried she was that Ezinne had become too Americanized, how she even knew a lot more about her Persian heritage – courtesy of her father’s relatives there in Baltimore – than she knew about Nigerian culture. Uloma told you how this had become a source of constant bickering between her and Salim. So you had taken Ezinne under your wings those three weeks like she was the daughter you never had, and you brushed up her Igbo, even as she practiced her Farsi on you. She rode with you on the back of your Yamaha to see her Granny at the hospital, and you hid your smile as you watched Granny play with Ezinne’s luscious hair, and call her “nwanyioma” even though – you were sure – she didn’t recognize her granddaughter. That was the Christmas you advised her to accept the offer from Florida State.

At the Greyhound station in Tallahassee, Ezinne looked a lot more mature than you remembered. She had her hair up in a bun and was spotting large hoop earring with the map of Africa inscribed within. And her fair skin glittered like it was resistant to the biting cold. Something about how she held herself up, hands on hip, reminded you of Sandy. She flashed that wide smile of hers when she saw you, ran up and crushed you in a hug. And after the hellos, after she quizzed you about your knee and you lied and said it was ok, she asked where it was you want- ed to eat. And you remembered the restaurant by Lake Ella where you had met Paunise during the protest against the Muscovy ducks roundup in the early 90s. “Hungry Sailor,” you said as Ezinne’s car, a Kia Forte, pulled out of the station.

But it turned out Hungry Sailor had been closed down years before, and a coffee shop had sprouted up in its place. So you ordered a chicken wrap because it was the closest thing to a Nigerian meatpie on the menu; and you sat with your niece on the swing bench overlooking the twelve-acre lake. You marveled at how much everything had changed since you were last here; at the rocks on the banks, at the green-roofed gazebo, at the ducks floating un-perturbed in the gleaming water. From the corner of your eye you noticed Ezinne watching you tear into that wrap, and at once you knew Uloma had told her the real reason you were in town.

“You know when I was here, there was a campaign to capture all the ducks and give them out,” you said, to deflect the question you knew was coming.

“Oh I read about that, Uncle. It’s a good thing I wasn’t there.”

And you snickered because you knew how much your niece loved a fight.

“I’ll take you to the church on Sunday,” Ezinne said after a while. “I’ve been there a couple of times before.” You smiled and you gave her knee a pat. And she leaned over and wrapped her arms around you, planting a peck on your bulging cheeks, and her head on your shoulder.

“I’m not giving you a bite of this, if that’s what you want,” you said between mouthfuls and the buzz of her laughter rattled your jet-lagged bones.

You swung on that bench with your niece and you tried to forget that Sunday was only two days away. You tried to forget how much things had changed since the last time you saw Emeka, at the departure lounge of the Murtala Muhammed Airport still holding onto Mama’s weeping form even though he had already said his goodbyes to her, to Uloma, to you. But it isn’t all that easy to for- get. You remembered most vividly Mama’s meltdown when Emeka went missing; she was sure the Chief had gotten to him. You re- membered how quickly Uloma ran out of there the moment she got the Fulbright scholarship. And of course there was your own es- cape to Florida State University, an escape so complete you married Paunise for the green card and you bought an apartment too – not even Uloma knew about that. Until you got the news that Mama had “gone mad” and you moved back home to be with her. They said she had Alzheimer’s and that it was, on some level, hereditary – and you remembered Mama saying something about a “crazy” uncle – but deep down you knew the reason she fell apart as quickly as she did.

“Did you hear about the Category One that came through here last month?” Ezinne asked after a while.

Of course you hadn’t. “I think so.”

“Well, I was really bothered about them,” she said, lifting her head off your shoulder and pointing to- wards the ducks dawdling in the water. “But when I came to check the next morning, they seemed just fine. And then I began think- ing: where do ducks go in a hurricane, Uncle?”

You were damned if you knew.

You spent the next two nights on the couch in Ezinne’s cramped apartment overlooking the school stadium – an imposing red-brick affair that still hadn’t changed all these years – and on Sunday morning she insisted on driving you to the church. You hadn’t re- ally talked about Emeka with her, but you knew you would when the time was right. On the way there, in the passenger seat of her car, the knots in your stomach were screwed so tight you could barely breathe, barely keep still. The back of the white starched shirt you had donned for the occasion

was soaked through, even though it was only sixty degrees outside.

The service didn’t start until an hour after you both got there. You sat with Ezinne all the way in the back, behind a screen of feathered hats and silk hand fans. You tapped your feet to the choruses sparked by the choir on the raised platform by the altar and picked up by a drone of eager voices. You watched your niece sing along to the worship tunes that came after, you watched her wave her hands in the air with her eyes shut tight and you wondered if this too was a phase, like the Hindu one she went through three years before. And through all this, you scanned the altar for any sign of your brother.

And then one of the ministers, after a rather dour prayer session, called up to the pulpit a Pastor Matthew Walker and the congregation erupted, as a lean, somewhat bent man climbed the steps of the altar and walked gingerly towards the pulpit. And you couldn’t help but hold your breath.

In a navy blue suit stood what looked to be a much older version of your brother.

But you weren’t sure until he opened his mouth to speak about the Sermon on the Mount, about

how it was incredibly important to be peacemakers in a turbulent world. And that voice, though croaked and much deeper than you remember, though bearing a heavy Southern American accent, took you back many years to a time you weren’t sure you wanted to remember anymore. Ezinne slipped her hand in yours and held on, and it was only then you realized how wet your face had become.

And as you made your way towards Pastor Matthew after the service was done, with Ezinne by your side, you noticed how much of his hair was pearly white, even though, by your calculation he couldn’t have been more than 54. His smile was still as disarming, and he flashed it at the church members lined up to shake his hand and congratulate him on a great sermon. As you waited your turn, your heart pounding furiously in your chest, a woman who looked to be about your age, walked up to the pastor from be- hind, handed him the child in her arms, and pecked his cheek as she rushed away. You hesitated, watching the pastor grin as the girl, no older than two, stroked his chin. But Ezinne nudged you on without a word and soon you were right in front of the man you had been searching for most of your adult life. At first he smiled without a fuss and extended his free hand to you and Ezinne, and apologized for the toddler’s “chin-stroking fetish,” but then as he searched your face when you didn’t immediately respond, you watched the realization hit him like a block of brick; you watched his jaw drop open.

“Obinna?” His voice was barely above a whisper.

You nodded because your lips wouldn’t stop quivering. You took his hand gingerly as he stretched it out to you again. You watched him struggle to keep his cool right there in the front of the altar, with the crowd pressing in around you, eager to have a word with him. Your brother stooped to drop the kid he was carrying and he told her to go find her mother. He looked at you again, the shock still drawn across his face. “That’s my granddaughter, Lulu.” You already thought as much, so you simply nodded again. You saw him fix his eyes on Ezinne beside you; you heard him gasp, “Is that Uloma’s…?” You nodded yet again, as he took Ezinne’s outstretched hand and shook it eagerly.

At that point you wanted to get it over with. You knew deep down that the burning question wasn’t “why?” You weren’t there for that. The only reason you had held onto his memory all those years, the reason you had flown so far from Mama, from home, was to tell your brother how sorry you were. How you hadn’t meant to tell the Chief that he was going to be at that party with his daughter. Well, you had meant to but only because you wanted to get him back to Mama who was hurting so bad, only because Sandy was bad news. You wanted to tell your big brother how you had no idea it would all turn out the way it did.

But you can’t quite find the words. And when a church member tapped Emeka’s elbow to introduce the lady on his arm as his wife, you took that window and you spun on your heel and made a beeline for the door. You didn’t stop when Ezinne called out to you; you didn’t stop for the deep, familiar voice screaming “Obinna!” over and again. You cut through the crowded parking lot where you almost got run over by a Cadillac the size of a tank and you hit the sidewalk, leaving the church’s giant spires pressed hard against the blue skies behind you. You broke into a trot; you ignored the bite in your knees, and the frigid breeze grating your face, and you ran, as you have always done, from your troubles. You passed the old town cemetery, and the post office. You didn’t care where you ran to, so long as the old fig trees kept their shelter above you.

You flew back to Nigeria the next week, and you burnt your American passport as soon as you got home, even though you had promised Ezinne at the airport that you would be back to see her. Uloma didn’t speak to you for weeks; and when she finally forgave you for coming into the country without stopping by Baltimore, you asked if she had spoken to him yet.

“Who?” she asked.

You could tell she still hadn’t forgiven him for what he put Mama through. Of course you were not going to tell her what you had done; that was between you, and your God, and perhaps Emeka.

So you went back to your solitary life in that house on the hill, and you buried your mother beneath the mango tree in the front yard, and that secret deep in your wrinkled heart, where no one could see it, not even the doctors that found the lump in your chest.

About the Author:

Obi Calvin Umeozor received his B.A. in English from the University of Port Hartcourt, Nigeria and taught English Literature before moving to the States in 2015, where he obtained an MFA in Creative Writing from Florida State University. His work has appeared and is forthcoming in the New Orleans Review, adda and others. He was shortlisted for the Commonwealth Short Story Prize in 2018.

The Molting of Cyrano

By Joe Manus

I received a phone call in the stovetop summer, following my sister Tracie’s diabetic death. At the time, I lived in an Athens apartment complex, in cube number 217, with a New Yorker with New York cats. I was redundantly confined to its walls from 4:30 pm until 7 am. Ordered by a judge who wished me to change. Enforced by a pistoled probation officer who wished I would not.

The call was from her friend George. He was old and gentle. He looked a little like Santa, but instead of Christmas cotton, his beard was matted and yellowed from cigarettes and sweet tea. His jolly had vacated, leaving him like a hitchhiker home. He worked alone, in the night, in the water treatment plant. He called to let me know I had inherited Tracie’s Boa Constrictor and he was ready to let it go. He brought it to me the following week. He had it in a pillowcase, displaced among other alien articles, on the back bench seat of his LTD. He once again became Kringle when he handed me the bag of serpent.

George had always wanted to lay with Tracie. He never did or she never would. He chased her with cached kindness, while she, in literal blindness, chased criminal country boys with bad haircuts and blown-up muscles. He cried old, stale tears when he confessed his postmortem love for her. He had wanted to cry every time she confided in him her broken hearts, from broken promises, from broken men. He had wanted to cry while he watched her combat death back like a cat cornered. That day, in that parking lot, he soaked my shirt shoulder with every tear he was too scared to expose to her, when she was living. He handed me the last living trace he had of hers; A snake in a bag.

He drove away. I went inside and shut the door.

I never heard from George again. I built the snake a home inside a gutted 1950s television cabinet. I hung my dead sister’s silver emergency alert bracelet on a nail above it. She had worn it on her wrist every day she lived. Its raised emblem of two snakes climbing a winged pole to nowhere. I did not inherit a name for the snake, so my future wife named him Mowgli. In her innocent homage to Kipling, she embraced how George had become the Bagheera that saved my sister’s orphan and how I would become the wolf that raised him.

The snake shed its skin that night. Turning itself inside out, in a concertina movement by moonlight. I woke up wishing I had as well.

About the Author:

Joe Manus is a lifelong resident of the South. He was educated in the public schools of rural Georgia, receiving his high school diploma in 1992. Joe is an award-winning furniture designer and builder. He believes in living the best and worst of the human experience and writing about it.

I

By Matt Wenzel

In the airstream & the engine, in the de-icing,
juniper, & fumes, you, ghost of x-mas, are there to
keep us from falling. For five hundred years I wet my
lips with zero kisses; I held this pose for 900 winters;
my flesh sought only you, El Niño, for 730,000 days. But now
nine of my heads—this one I drowned; this one I severed with an
open pin; this one cut by windshield; this one starved; this one got
pinched off with a leather belt; this one, by a rail; this one
quit; this one, beheaded; this one I froze off like a wart—
rot in my roll aboard in the overhead compartment with
so much to say, not a lot of breath left to say it.

Today, I go to make a wish for all of them.
Undercarriage, tarmac, drive shaft, constant-
velocity joints, dull glitter falling in stream
white light. A deer hangs from a tree, agape from
xyphoid to groin, heartless & anusless, swinging &
yellow gold illuminated by your halogen, our scratchy
zombie ray. The teeth on the mandibles & craniums gristbite
against the silence & their blackened tongues probe the
briny cranberry mist we sail in. I dream unzip their

cold lips in the house prepared for me.
Demonic, my itching navel is unravelling.
Every calorie is burning. Inverted &
fetus, tail wagging sperm,

grunt, mount, hunt, scent,
heard.

About the Author:

Mat Wenzel is a PhD student in Poetry. He was a 2015 Lambda Literary Fellow. His work has appeared in Puerto del Sol, Glitterwolf Magazine, Penumbra, Guide to Kulchur Creative Journal, Right Hand Pointing, Off the Rocks Anthology, Glass: A Journal of Poetry, Crab Fat Magazine, and Carve Magazine. He earned an M.Ed. from Lesley University and an MFA from Ashland University. He currently has 36 stamps in his National Parks Passport.

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.