They Tap Me on the Shoulder and Say They are Going to Ensure My Poverty Will Erase My Last Name and My Homeland Forever (But the Smiths and the Jones Will Live On) | Ron Riekki

Image: Moren Hsu

When I was in the military, we marched over the purple coneflower and milkweed and powderpuff and canna lily until they were dead from the war of our feet and later when they haze-crucified me I aspirated on my own vomit and saw death marching through the undergrass and he was a he and he was not as seismic as I’d come to expect and

when I was on the football team, they installed debt in my chest and they drove their trucks on the swamp conifers and carved encyclopedias into the pines and our homecoming king took a knife to his abdomen to spell the words MINING TOWN.

When I worked in the prison, they concreted everything so that the yard wasn’t, and the smell was of feces and lives frozen as poison and

when I worked in security, they put me in an isolated guard shack where there was no heat and no one else around for miles and I’d listen to the wolves and would wonder if they were coming from inside me.

When I worked on the ambulance, my partner would make fun of the patients as soon as the patients weren’t our patients and he would reenact their pain by holding his body in the distorted positions in which we found them and I’d go home and warn my parents that if they are ever on an ambulance to record everything because God can see everywhere but not inside the walls of piss and pus, and

when I was in middle school, they’d put us in lockers and light little pieces of paper, throwing them through the hole, telling us that we were going to experience what it’s like to be the sun and afterwards I’d go outside and stare up at it in the hope that I’d go blind forever and it didn’t happen because I could never take the pain and instead would go home and swim in the neighbor’s empty pool, me and a buddy, just moving our arms and walking in that big useless pit.

When I was in PTSD counseling, my counselor fell asleep so I decided to go to sleep too except I could see the helicopters on fire when I closed my eyes and so I just sat there, staring at him, watching him age so slowly, seeing the grandfather and the great-grandfather and the grand-corpse just begging to come out and

when I was in high school, we cheered the violence and admired the violence and encircled the violence and awarded the violence and moved back for the violence and watched the violence and the violence did its thing.

When I was dead, I realized that the earth was everything, that all there is is the earth, that the people on it are just dots, dips, dark, that we are spiders, that our arms are air, replaced so quickly.

But the earth.

But the earth.


Ron Riekki’s books include My Ancestors are Reindeer Herders and I Am Melting in Extinction (Apprentice House Press), Posttraumatic (Hoot ‘n’ Waddle), and U.P. (Ghost Road Press).  Riekki co-edited Undocumented (Michigan State University Press) and The Many Lives of The Evil Dead (McFarland), and edited The Many Lives of It (McFarland), And Here (MSU Press), Here (MSU Press, Independent Publisher Book Award), and The Way North (Wayne State University Press, Michigan Notable Book).  Right now, he’s listening to Nick Drake’s “Northern Sky.”

Dubuque ⎯ Davey Adams

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Photo by: Ryan Hafey

1500 miles from home ⎯ now the van was running funny ⎯ still a long way to go. Better not press our luck. A quick pause at a roadside rest stop told us all we needed to know. The long way got longer. I eyed the corn, into the shop with ye, Chevy.

We killed time in the best way we knew how, cold Cokes in the warm sun. Oh hey, an antique shop let’s pop in for a quick look-see. Much cooler inside. Mom and I browsed while Dad chewed the fat with the old man. Dad was always up for a chat.

The room, perfumed in age… old woods, motor oil, tanned hides; filthy pine floorboards caked with grime; shelves amassed in knick-knacks of every kind; steamer trunks of a bygone time. Cobwebs clung to stacks of tobacco tins. In one case, a death’s head pin – how surprising to see such a thing. Spoils of war, collected from the corpse of a dead German – affordable for those who enjoy the souvenirs of sin. I imagined some middle-American named Bill or Jim telling the proprietor to “wrap it up with those Bakelite plates and that hurricane lantern.” How casually it sat, embossed with a rictus, that grin, a grim reminder to some, a display piece for him. No one else seemed to care. I pretended I didn’t either.

We walked out empty-handed and into the still-warming day. Repairs made, once more on our way… 1500 miles from home and double that back. One day I’ll return with my own children. Will the pin still be there in that case? And, if it were, wouldn’t it look better at the bottom of the river? We crossed over the mighty Miss. Onto Illinois and all points east.


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Davey Adams was born and raised in Southern California to a family of actors. Lifelong student. Collector of Associates Degrees and part-time jobs. Writer. Poet. Singer. AKA The Good Doctor. You can find him on Facebook, Instagram, and Bandcamp.

real turkey supper – summer j. hart

Matt Clifford - Photo Credit Matt Diss ALOC Media

The shadow wore Gucci.

She picked out his last suit from the stash he kept in the trunk of the Lincoln Continental GT, the one with the keypad lock. She could tap the code in her sleep.

She leaned against the kitchen island, poured Chardonnay, & waited for the meds to kick in.

After the funeral, she started cutting the suits into tiny identical squares, the way she diced tomatoes, stacking them into neat piles in the closets & under the beds.

He hovered by the dishwasher.

The tubes, oxygen, wheelchair, morphine had all become necessary evils in the end—the four fucking horsemen, he had joked, coughing & taking another drag.

This form cut a confident silhouette.

Stay awhile, I guess, how does that song go? He floated under the artificial daylight to an empty chair & held out his hand.

A constellation of tiny, jagged stars twinkled in the swirling dark of his palm. Cubic Zirconia, she thought, as they clattered onto the blonde oak table.

His sleeve began to unravel, his hand to dissipate. She wished she could see his eyes, his tell, but the darkness was fading now, sinking into the linoleum.

The Sunday after he died, she stole letters off the church marquee because what did they actually know of ghosts, holy or otherwise?

She slapped them down on the table like she was dealing: REAL TURKEY SUPPER
His silent laughter rattled the silverware.

She contemplated the empty bottle—squinted her eyes at it until it wavered & split into two. The suit had uncoiled itself into a single tangled thread, his body an inkblot on the tiles.

She pulled out leftovers from the fridge.

Cigarette smoke & unfamiliar perfume clung to the air between them.

Some things even death can’t change.

She stepped over what remained, to the microwave, & hit reheat setting 1. She stared at the slow spinning plate, counting the clunks made with each rotation.

Maybe they were diamonds this time.


SJHARTphotoSummer J. Hart is an interdisciplinary artist from Maine, living in the Hudson Valley, New York. Her written and visual narratives are influenced by folklore, superstition, divination, and forgotten territories reclaimed by nature. Her poetry appears in Northern New England Review, vol 39 & Third Point Press, Issue 14. Her mixed-media installations have been featured in galleries including Pen + Brush, NYC, Gitana Rosa Gallery at Paterson Art Factory, Paterson, NJ, & LeMieux Galleries, New Orleans, LA. She is a member of the Listuguj Mi’gmaq First Nation. WEBSITE | INLIQUID SITE

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for jay who didn’t get cable television until he was thirteen and also thinks i’m petty – jane-rebecca cannarella

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For Jay who didn’t get cable television until he was thirteen and also thinks I’m petty: And how I made fun of how he first experienced the joy that comes with cable like placing snow melt between tart teeth and getting the phantom taste of salt from the sky–or from some truck, more likely–but it’s cool because it’s good anyway. It’s the propulsion of quickly falling ice crystals and thunder from the sky that now lives inside him.

Anyone can be part of the earth’s outer atmosphere, and this is the closest to becoming a cosmic being that Jay’s ever been. And he and I are acting like those two stars in our galaxy who have begun behaving strangely: a cool giant and a relatively hot white dwarf—a stellar corpse. Outbursts of energy like when he couldn’t stay seated and was asked to sit in the corner during middle school because he was being disruptive. Now we’re both warm movement and icy at the same time and are filled with the need to rattle the desktop as the universe cycles through us. And with images being spoon-fed through eyeballs for so many years, it’s like he’s growing and cooling at the same time. Maybe I am, too.

There is the terror of so many choices, like the fear of being in the middle of the crosswalk when an ambulance is coming, silenced and stricken, and how do you run to safety when your feet are stuck to the black top? With every fuzzy sound augmented and amplified, as animated figures grow and lean—continually expanding, cable television is communicating with the divided sky and directly into every and any TV watcher, but him especially.

Jay could and can sit and watch the bleary movements and he knew, and knows, that the universe keeps growing; and when he was just thirteen he had eaten Christmas-in-July-snowflakes: the light changing across wavelengths, both astronaut and astronomer and he got cable and because of that parts of him lives in solar systems light-years away waiting to fall back to earth.


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Jane-Rebecca Cannarella is a writer and editor living in Philadelphia. She edits HOOT Review and Meow Meow Pow Pow Lit. Most recently she is the author of the flash fiction collection Better Bones and the poetry chapbook Marrow, through Thirty West Publishing, 2019. She is haunted by ghosts, all of which she believes are barnacled ships. 

Top Photo: Sven Scheuermeier

sad stories of the death of kings – howie good

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I ask a friend if she can remember the last time that the stars and moon hatched from a golden egg. She doesn’t answer straightaway, just tucks a stray comma of hair back behind her ear. Because it’s one in the morning, the darkness outside is more like a solid than a liquid or a gas. I’m suddenly really tired of struggling to stay awake. The answer comes later, when I read in the paper that they sliced open a dead whale that had washed ashore and found in its belly plastic cups, plastic bottles, plastic bags, and two flip-flops.


Howie Good is the author of The Titanic Sails at Dawn (Alien Buddha Press, 2019)

Photo: Edu Lauton

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the monk’s succulents – j. miller

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What kills you doesn’t make you stronger, as if every reason happens for a thing. I spent weeks trying to figure out how to keep the succulents alive. Patiently listening to classical music, and sufferingly waiting to hear back from my botanist-friend. Gregor Mendel waits as the plumule and cotyledons spread to the sunshine, to live without shame and to massage the ground as a 马杀鸡, accept the shame and stains of the ascetic life. A horticulturist who loves their houseplants will lose them; A horticulturist who hates their houseplants will need to water them even after death.

The matter of the fact is death creeps towards the houseplants. Now I remember if time passes by me, the magnolias will outlive me. Now I remember these sheets of time. Each layer found in a newspaper or magazine. The monk as a botanist advises that sunlight accelerates growth.

Growth. A bush beats around the dead houseplants. 上a Chinese word for up, pronounced shàng shàng shàng shàng shàng shàngshàngshàngshàng shàng shàng shàng shàng shàng shàng shàngshàngshàng. Can the shrub withdrawal into the moonlight, and still watch the birds fly from their holes in the sky? Those aren’t birds.

You were a bird in a previous life, said my monk-friend, as we walked towards the delicatessen on 84th. A previous life, a forgotten sheet, sediment un-dredged, left to fall through the hole in the sky and rain that creates holes in the smoke, and holes in the sea, and sea in the holes. I am a houseguest here. Resultant from the monk’s prediction, all the houseplants died on 84th street. Or it could have resulted from an ancient Chinese proverb.

All gardens know better than their gardeners. My houseplant smirks at me. The houseplants know that I am its houseguest. Bonsai sprouts legs and waters me in my sleep, my pillow stained with sweat. All sheets uncanny, my potted plant and I use the same bathroom.

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J. Miller is a writer currently living in Central China. He teaches literature to a city that is often referred to as a furnace, and in winter he lives shrouded in a white curtain. Instagram @yawn_sea

Photo: Viktor Talashuk

museum of lost things – howie good

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Now and then a person in his or her fifties or even sixties walks into my little shop. The men in particular try to maintain a dignified demeanor, but the more they stare at the price list, the more obvious the desperate nature of their situations becomes. I operate a business that rents neckties and briefcases to job interviewees. Most of the customers are recent grads who never needed a briefcase or tie before. I may seem to care about how they’ll do in their interviews. I don’t. Why should I? They frequently return briefcases with the snap locks broken or with strange items left inside. Ant traps. Lace-trimmed panties. A blurry photocopy of an 11-page suicide note. And yet I can’t always bring myself to just throw the stuff away. In fact, I crowd more items onto the storeroom shelves every week. A chrome lighter engraved with the initials KKK. One child-size red mitten. The takeout menu from the Bowl O’ Rice Restaurant. It’s like I’m the curator of a museum of lost things. Minibar bottles. A losing scratch-off ticket. The musty remnants of a hundred surefire plans.

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Howie Good’s latest collections are I’m Not a Robot from Tolsun Books and A Room at the Heartbreak Hotel from Analog Submissions Press. 

Photo: Heather Zabriskie

holes – hillary leftwich

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They lay down on the bed, his head inside her chest. He thinks of how a heart is like an engine, if the oil runs out it will seize. He saw a broken engine at his mechanics once, right after their daughter Lily disappeared. See that? The mechanic said, pointing a socket wrench at the hole. If you don’t check your oil, that’s going to be your engine. That’s going to be his heart. Too many cigarettes, too much booze, and love tethered then clipped. She slips him inside of her, asks if he wants it faster. He answers in heavy breaths. When the shaking subsides, she doesn’t touch him. They fall asleep and wake to an Amber Alert on his phone, flashing like a neon sign. He shuts his eyes and dreams of a little girl stolen. The girl is in a car with a man speeding down a curling highway. The trees lean in on either side of the road, straining to see inside. The man tells the girl the engine sounds funny, and if she isn’t careful he’ll bust a hole right through her heart. He hands her a gallon of strawberry milk and she drowns herself in pink, erasing her face. The man whistles to the music on the radio as he drives, the trees in the rearview mirror folding like two dark wings.

When he wakes up, the dog outside is barking, the coffee machine is grumbling, and she’s gone, a hole on the side of the bed where her body used to be.

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Hillary Leftwich currently lives in Denver with her son in The Murder House, a registered historical landmark and notorious 1970’s flophouse. She is the poetry and prose editor for Heavy Feather Review and curates At the Inkwell Denver. In her day jobs she has worked as a private investigator, maid, repo agent, and pinup model. Currently, she freelances as an editor, writing workshop instructor, guest instructor for Kathy Fish’s Fast Flash Workshop, and writer. Her writing can be found or is forthcoming in print and online in such journals as Entropy, The Missouri Review, The Review Review, Hobart, Smokelong Quarterly, Matter Press, Literary Orphans, Occulum, and others. Her book, Ghosts Are Just Strangers Who Know How to Knock, is forthcoming from Civil Coping Mechanisms/The Accomplices in October of 2019.  Find her online at hillaryleftwich.com and on Twitter @hillaryleftwich

Photo: Fancycrave

the poet who keeps a stripper pole in her bedroom – michael brockley

to the girl
I am drawn to your poems about women in barfly Nirvana. Your fascination with rattlesnake tattoos on the arms of PCP-stoked men. And your lifelong feud against nuns: Sister Eleanor of the Lash, in particular. I stand in awe of your courage when you challenge her Inquisition zeal. Barbed wire encircles your ankles. A primitive rose winks above your right breast. I have your initials branded on my wrist. When you blow your harp, the blues man Deaf Persimmon Fillmore rasps back. You installed a stripper pole in your bedroom for your lovers. Added a Hohner tat under the Chinese character for paradise across your back. And studied with the masters. In The Lives of the Diva Poets, I read you never wear jewelry anymore. Or perfume. Just biker jackets over tank tops and ripped designer jeans. When Sister Eleanor reappears on Mulholland Drive armed with her ruler and the vengeful God of Revelations, you taunt her into a duel. Her tuning pipe against your Fuego Azul. She doesn’t stand a chance. I met you in your Lucky Strike year over a bacon-and-eggs breakfast in a town renowned for labyrinths. You autographed a book with “last call” on the cover. When you play the harmonica during poetry tours, frat boys sit in the front row. You advise them to deep ink Betty Boop on their biceps. They want to hear you say fuck. I want to hear you recite the poem that tells what women want.

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Michael Brockley is a pseudo-retired school psychologist who still works in rural northeast Indiana schools. His poems have appeared in Clementine Unbound, Third Wednesday and 3Elements Review. Poems are forthcoming in The Blue Nib Magazine. In regards to social media, Brockley can be found on Facebook.

Photo: Naomi August

remembering to dream – linda m. crate

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standing on the edge of love, i looked in but was always forced out; a false god stood in the temple of my family keeping me away from all those who loved me—i could not break his lies nor could he swallow my truths, and so we stood he and i; two different shades of fire unable to communicate—he misunderstood me, claimed i misunderstood him; people have always whispered that he is good but they didn’t have to kill his ghosts—they didn’t know how my feet trembled in fear of breaking egg shells or how hard it was for me to reclaim all that was lost, didn’t know what it was to be versed in silence so they could know the hymns of peace when they really wanted to war against monsters; they do not know the definition of good—but maybe that’s the point, no one really knows what they are saying, no one really knows; everyone thinks but no one knows until they see the monster how monsterous a monster can be—but i know, and i’ve seen, his fangs; he cannot feign innocence to me—sometimes monsters take the shape of people we love, and sometimes that means we have to kill nightmares so we can remember how to dream.

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Linda M. Crate’s poetry, short stories, articles, and reviews have been published in a myriad of magazines both online and in print. She has five published chapbooks A Mermaid Crashing Into Dawn (Fowlpox Press – June 2013), Less Than A Man (The Camel Saloon – January 2014), If Tomorrow Never Comes (Scars Publications, August 2016), My Wings Were Made to Fly (Flutter Press, September 2017), and splintered with terror (Scars Publications, January 2018), and one micro-chapbook Heaven Instead (Origami Poems Project, May 2018). She is also the author of the novel Phoenix Tears (Czykmate Books, June 2018). TWITTER | INSTAGRAM | FACEBOOK

Photo: Steve Shultz

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