Allen Porter Mendenhall

Archive for the ‘Creative Writing’ Category

Allen Mendenhall Interviews Julia Nunnally Duncan

In Arts & Letters, Creative Writing, Humanities, Literature, Poetry on April 3, 2013 at 8:45 am

Julia Nunnally Duncan

This interview originally appeared here at Southern Literary Review.

AM: Thank you for taking the time to do this interview, and congratulations on your forthcoming book, Barefoot in the Snow. This is, I believe, your third collection of poetry. How does this one differ from your earlier books of poetry?

JND: Barefoot in the Snow reflects a more mature vision and perspective of events and people because these poems were mostly written in the past two or three years. Some poems in this collection, such as “His Hands” and “My Uncle’s Grave,” took a longer time to germinate and more courage to share. I can’t imagine having tackled these poems earlier in my life.

AM: T.S. Eliot once said that genuine poetry can communicate before it is understood. Do you try to communicate with readers, or do you write for yourself? The answer to that is probably both, so let me rephrase the question this way: do you have a particular audience in mind as you write poetry, or are you more consumed with the craft, with “getting it right,” so to speak?

JND: Unless I am writing for a specific magazine theme or contest, such as the poem “My Mother’s Elm” that I wrote to submit to the Joyce Kilmer Poetry Contest (and for which I was thankfully named a winner), I write only with the intention of composing the most honest and polished piece I can. But even with “My Mother’s Elm,” the poem took over once I started it, and I forgot the contest until I finished it. My goal was, most importantly, to capture a particular tree’s place in my childhood and to select my most poignant associations with the tree.

AM: Why do you write poetry?

JND: To capture memories, to record reflections, and to work out intellectual and psychological puzzles and give them tangible form that others might recognize and be moved by.

AM: You have written in a variety of genres. Which comes easiest for you?

JND: A poem is easiest because, in general, it takes shape and is completed more quickly than a short story, an essay, or a novel. I have also discovered that my poems tend to find a readership more quickly too. My novels might have garnered me wider recognition and usually more regional response, but poems have allowed me more comfortable expression of what’s in my heart.

AM: Do you find that poetry demands a certain economy of language that sets it apart from other forms of writing?

JND: By the nature of the poetic form—the condensation of language and attention to rhythm and line structure—I would say yes. However, my poems are narrative, often telling stories, so they’re somewhat similar to my prose. I think my prose is lyrical, too.

AM: Who are the writers that have influenced you, and to which writer would you say you owe the greatest debt?

JND: My first response to this question is always D.H. Lawrence, mostly because of his novel Sons and Lovers, which was the first work of his that I read as a young teenager. At that time, I was moved by the romance, especially between Paul and Miriam, but now when I read it as an adult, it’s obvious that the relationship between the son and his parents and the dynamics between Paul’s parents are most compelling and what have affected me.

The English midlands setting of Lawrence’s work, especially as described in Sons and Lovers, has always reminded me of my Western North Carolina landscape, particularly as it was in my childhood. Lawrence’s boyhood coal mining village of Eastwood is reminiscent of the Clinchfield Cotton Mill village where my mother grew up.

As far as poetry goes, Dante Gabriel Rossetti’s “Alas, So Long!” is a favorite, and Poe’s “Annabel Lee,” with its internal rhyme and alliteration—devices I use in my poems—has no doubt influenced me.

AM: Tell our readers where they can buy your latest book.

JND: Readers can order Barefoot in the Snow from the publisher World Audience Publishers at www.worldaudience.org. Online distributors such as amazon.com will also offer my book. If readers are interested in getting a signed copy, they can check my web page at www.thereadonwnc.ning.com/profile/JuliaNunnallyDuncan for an ongoing schedule of my appearances in WNC.

AM: Thank you, Julia, for taking the time to do this interview, and best of luck with everything.

JND: Thank you, Allen, for allowing me to share this information about Barefoot in the Snow and for giving me the opportunity to reflect upon my life as a poet.

The 1965 Eagles

In Arts & Letters, Creative Writing, Essays, Humanities on January 2, 2013 at 8:45 am

Mel Mendenhall was born and raised in Columbus, Georgia.  He lives in Atlanta and is the CEO CLVL Solutions, LLC

Mel Mendenhall

The following essay was composed in 2011, when Gary Levi announced that he had an inoperable brain tumor.  Gary Levi passed away in November 2012.

All of us have known someone who was a particularly good storyteller.  For me, that person was my Dad.  I guess growing up, as my dad did, in the country during the 1920s and early 1930s lent itself to that sort of entertainment: there was no TV, or even radio, back then.  It seemed all of his siblings inherited the storytelling trait, and as children my brothers, sisters, and I enjoyed listening to dad’s siblings’ stories about life on the farm, life in the military (eight brothers and one brother-in-law served in WWII), and life in general.

My Dad coached my first baseball team, the Eagles.  The Eagles I can easily recall are Sim Thomas, Rob Varner, Mac Turner, Johnny Jackson, Gary Levi, Jimmy Monfort, and Johnny Cooper.  In the history of eight-year-old baseball teams, our team, I’m certain, was the cream of the crop – the eight-year-old equivalent to the 1927 Yankees.  What follows is a quick biography of the players at age eight:

Sim Thomas – The star of the team; he did it all.  A true five star player: runs, throws, fields, hits, and hits for power.  He also was our most dominating pitcher, but susceptible to getting frustrated when the umpire’s vision was impaired and strikes were called balls, or so it seemed.  Pitched and played 1st base.

Rob Varner – a solid all around ball player who was reliable in all facets of eight-year-old baseball.  Rob and Sim were both upper classman, 3rd graders, whereas the rest of us were in the second grade.  Rob played third base and catcher.

Mac Turner – A solid second baseman and, like me, a coach’s son.  Mac was from a prominent family that, though wealthy, was very down-to-earth and inclusive.  Mac was always smiling and having a good time on the field and in the dugout.

Johnny Jackson – a really good athlete, muscular fireplug.  He could do it all.  He started out the season as a catcher, but moved to 3rd base after his mom felt – we all felt — that Johnny’s privates were getting a little too beat-up over the course of the season (Casey Stengel didn’t have these parental issues at the MLB level).

Gary Levi – Played left field and was easily our most outwardly enthusiastic player.  Gary woke up fired up and stoked those fires all day long until game time. He had a distinctive way of wearing his hat sideways on his head, with the bill facing left or right, but never straight.  He continuously pounded his glove with his fist while standing in his usual left field spot and giving himself a vehement pep-talk, or, depending on your perspective, “talking to.”

Jimmy Monfort – a very smooth shortstop for an eight-year-old.  He threw right-handed, but batted left-handed, a fact that I thought would look pretty cool on the back of a baseball card.  Jimmy was a sweet swinger who hadn’t yet mastered actual contact, but who looked very good swinging the bat.  There was no question but that he was a ballplayer in the making.

Johnny Cooper – “Cooper” is what we called him.  Did you ever know a kid who always smiled?  It didn’t matter what the circumstance, Cooper was smiling.  Unfortunately, Cooper’s five-year-old athleticism was captured inside an eight-year-old body that quite frankly had not caught up with his fellow 1927 Yankee eight-year-old teammates.  He stood in right field (one couldn’t claim he actually played right field).

The season began, and from the start it was apparent that the Eagles were a team of destiny.  Reporters from all around Columbus, and eventually the entire New York media, or so it seemed to us, followed the team as it plundered through the league beating the Foxes, the Bears, the Cubs, the Lions, and other collective critters.  Simply put, our pitching was dominant and our hitting and fielding were equally good.  Some among us, me included, had to learn to deal with periodic failures where insult was the occasional strike out, which was followed by immediate temper tantrums and tears.  One waiting to bat, or one sitting in the “open air” dugout, needed to stay alert because all of us, without fail, were prone to hurling our bat backwards, towards the dugout, whenever the ump ended our “at bat” with a strike three call.  All of us, of course, except “Cooper,” who always struck out with a smile on his face, and believe me, Cooper always struck out, were given to emotional instability when we ran out of strikes.

As the season went along, we continued to get better and better, and the kids playing on the other teams did as well.  Each team seemed to have a star player or two.  I recall being fascinated with each team’s colors: the Foxes wore red jerseys, the Bears green, the Cubs blue, the Lions a lighter shade of blue.  All teams’ jerseys and caps matched red for red, green for green, blue for blue – you get the picture.  The Eagles, on the other hand, wore the colors of a winner: navy blue with orange letters (like my beloved Auburn).  Would you believe me if I told you I can still smell in my mind’s nose what those jerseys smelled like—I can!—just as I can still smell the freshly mowed grass, or in the outfield, the stubble of weeds. Read the rest of this entry »

Communitas

In Arts & Letters, Creative Writing, Short Story, Writing on November 29, 2012 at 8:45 am

The following short story first appeared here in Full of Crow.

The man awoke to the chirping of a bird.  He lay listening in his bed for some time before rising, stretching, and gaining the window.  He looked outside.  The sun had risen; off-white clouds unrolled like scrolls across the horizon; wet grass and tall pines punctuated the land below.  Sometimes the man looked out and read the words of the world; sometimes he looked out and read nothing because the world seemed unwritten.  “Not for nothing,” he said to himself.  “Not for nothing.”

Sometimes he would see her standing in the yard, working in the garden, pretty as a sunflower.  Sometimes he forgot her.  She was never there in any case.

The woman was, in her youth, symmetric and vaguely beautiful, like a poem: full of marks and scribbles working in concert, taking on meaning.  In recent years she had become, despite herself, an aging monument to womanhood whose rough topography of face showed traces, however faint, of vigor.  She had been gone five years, but he thought about her, and about her cool, liquid eyes, on many mornings, especially on the cool mornings when the steady, westward breezes tussled his hair and smelled, to him, like memory; the pain of her leaving was stronger in the mornings than in the afternoons or nights.  The earth, the soil, the animals: all were alive, shamelessly, recklessly, gloriously alive then.  The stirring of birds and squirrels and the retreat of nighttime critters—raccoons, owls, opossums—inscribed the world with syllables and notes, sang the world to the world, perhaps even to the universe.  Something happened in the mornings, something tremendous: the soul, his soul, like leaking ink, bled into the world, stained the world, and he, the man, became an artist, and joined the growing chorus of life.

But the man was not happy.  He no longer understood happiness because he could not read it.

This morning was different.  He wondered whether it was the music, the tune, the tone.   Standing before the window, he closed his eyes and listened to the world and turned his head toward the source of the sounds and then opened his eyes.

There it was.

A redbird.

He stared at the redbird, a stranger to him.  He knew the daily visitors to his feeders and birdbaths, knew them as one knows the contours of his hand: mostly bluebirds and robins, but occasionally finches and sparrows.  The redbird, though, was new; its music moved him, drew him out of himself.

The redbird perched on a limb on the old maple tree and turned its beak to the sky, its crimson crest and round black mask both brilliant and threatening.  Its little button-eyes were barely visible beneath the mask, but the man thought he saw the redbird looking back at him.  He smiled and waved.  The redbird bobbed in acknowledgment and then flew off.

The man grew sad.

He gazed as far as he could into the distance: at the brooks and streams meandering down the mountain and terminating into the various fishponds that dimpled the Okmulgee valley.  He could just make out the images of trees covering the foothills; yet when he had stood here as a boy, he could see everything, even the neighboring village, south of the mountain.  How strange, he thought, that the body grows old.

The man placed his hand before his face and wiggled his wrinkled fingers.  He smiled knowing that he controlled these appendages even if they weren’t strong or nimble, even if they wouldn’t touch the woman again.  Then he frowned because the fingers, crusty and bent, seemed separate from him—as if they belonged to a force even greater: God maybe.

It was Monday.  The boy would come today.

He was kind, this boy: a hard worker.  He showed up on time every Monday and Wednesday to till the land, chop the wood, feed the cows, water the plants.  He had been at this routine for two years.

When the boy came, the man was happy. Read the rest of this entry »

Of Bees and Boys

In Arts & Letters, Creative Writing, Essays, Writing on November 14, 2012 at 8:45 am

Allen Mendenhall

The following essay appeared here in Front Porch Republic.

My brother Brett and I were polite but rambunctious children who made a game of killing bees and dumping their carcasses into buckets of rainwater.  Having heard that bees, like bulls, stirred at the sight of red, we brandished red plastic shovels, sported red t-shirts, and scribbled our faces in red marker.  They were small, these shovels, not longer than arm’s length.  And light, too.  So light, in fact, that we wielded them with ease: as John Henry wielded a hammer or Paul Bunyan an axe.

The bees had a nest somewhere within the rotting wood of our swing set.  Monkey bars made of metal triangles, much like hand percussion instruments, dangled from the wooden frame above; when struck or rattled with a stick, these replied in sharp, loud tones, infuriating the bees, a feisty frontline of which launched from unseen dugouts.

These deployments, though annoying, were easily outmaneuvered: Brett and I swatted them to the ground with our shovelheads.  Mortally wounded, they twitched and convulsed, moving frantically but going nowhere; all except one bee, valiant as he was pathetic, wriggling toward his nearest companion, his maimed posterior dragging in the dirt.  Not much for voyeurism, I relieved him of his misery.  Then Brett and I whacked the littered lot into tiny bee pancakes.

Meanwhile, the defeated community, convening somewhere in the wood, commissioned its combat medics: fat, steady-flying drones that hovered airborne over the dead and then descended, slow and sinking, like flying saucers.  The medics would, when we let them, carry off their dead to an undisclosed location.  I couldn’t watch this disturbingly human ritual, so instead I annihilated the medics, too.  They were easy targets, defenseless.  And they kept coming in battalions of ten or eleven.  As soon as I’d destroy one battalion, another materialized to attend to the new dead.  Unlike the frontliners, the medics didn’t try to sting.  They just came to collect.  But I wouldn’t let them.  Neither would Brett.  Eventually, they quit coming.  That, or we killed them all.

Bees are funny creatures.  Unlike birds, they have two sets of wings.  Most female bees, unlike most female humans Iknow, grow their leg hairs long and their bellies plump—this in order to carry nectar or pollen.  Bee pollination accounts for one-third of the human food supply.  Without bees, then, we might not have our Big Macs or Whoppers—nor, for that matter, honey or flowers.

When I lived in Japan, I had a friend who fancied himself an entomologist.  When he and I tired of talking politics, books, or women, we spoke of insects: I told him weird insect stories, and he explained away the weirdness.  He informed me, for instance, that the bees living in my swing set were probably solitary bees: a gregarious species that stung only in self-defense.  This, you might imagine, was sobering news for an insect murderer.

I asked about the medics that carried away the dead.  Honey bees, he said, discarded their dead for hygienic reasons—to prevent the spread of infection—and they coated their dead in antibacterial waxes.  As for the behavior of my bees, however, he wasn’t sure: maybe they, like honey bees, discarded remains where germs wouldn’t spread.  Or maybe—and he said this facetiously—they conducted funerals.

It wasn’t long before Jared, the boy next door, got in on our bee brutality.  Pregnant with mischief—more so than me or Brett—he decided one day to show us something; shepherding us through the woods, lifting a disarming smile as if to say, “Trust me,” he paused at last, indicated a hole in the ground, and declared, “Thisis it!”

A steady stream of yellow jackets purred in and out of the hole.  He waved his hand to signify the totality of our surroundings and said, “Ours.  All ours.  None for the bees.”

Or something to that effect.

Brett and I nodded in agreement, awaiting instruction.  If we were confused by Jared’s deranged sense of prerogative, we didn’t show it.  Brett found a heavy rock, which I helped him to carry.  We dropped it at Jared’s feet.

Jared summoned forth a mouthful of mucus and hacked it into the hole.  Unfazed, the yellow jackets buzzed in acknowledgment but otherwise ignored the assault.  “These guys are in for hell,” Jared said of the bees, offended at the ineffectuality of his first strike.  He anchored his feet and bent over the rock, which he heaved to his chest and, leaning backwards, rested on his belly; then he staggered a few steps, stopped, and—his face registering another thought—dropped the rock to the ground.

“Spit on it!” he ordered.

Brett and I, obedient friends that we were, doctored the rock in spit.

Then Jared undertook to finish the job he’d begun:  he bent down, lifted the rock, waddled to the hole, straddled the hole, and dropped the rock.  The ground thumped.  A small swirl of dust spiraled into miniature tornadoes that eventually outgrew themselves and became one with the general order of things.

“That’ll do it,” Jared said, clapping his hands together to dry the spit.  The colony, its passage blocked, was trapped both inside and out.  Those un-entombed bees, rather than attack, simply disappeared.

We rejoiced in our victory.  Jared pantomimed conquest, pretending to hold an immense, invisible world Atlas-like over his shoulders.  Brett danced.  I was so busy watching Jared and Brett that I can’t remember what I did.

We didn’t know that yellow jackets engineered nests, tunneled hidden passages and backup exits; nor did we appreciate what the tiny zealots were capable of.

It started with trifling harassment: a slight, circling buzz—reconnaissance probably.  Then I felt the first sting; looking down, I saw a yellow jacket, curled like a question-mark, bearing into my leg.  I spanked it dead.  It looked angry—something in the way it moved.

I heard Brett scream.  Then Jared.  Then saw the ubiquitous cloud of yellow jackets rising in the air, moving as one unit, enveloping us with fatalistic purpose.  My ears filled with the steady drone of thrumming wings.

Then, as happens in moments like this, moments of panic, moments when one feels he’s lost control, feels some other faculty taking over, I submitted to a greater power, which stiffened the muscles of my neck and arms, sent contractions through my calves and thighs, like spasms moving me forward, making me to run, the house, my house, once far away, a small square, growing larger and larger until at last it became a complete, reachable form, the door, my safety, announcing its presence, telling me to hurry, hurry.  Ahead was a fence.  I’d have to jump it.  I measured my strides for the leap, which, miraculously, I achieved with the slight assistance of my palms upon the fence-top.  I found the doorknob, dove into the kitchen, flung off my clothes.  The drone wouldn’t go away.

But where was Brett?  Not here.  Where was he?  Just then came a voice—“Allen!  What in God’s name?!”—and then mom was beside me, horrified, her eyes growing three-times their normal size; and then she was gone again; somehow I was back at the door, looking outside, at the yard, at mom battling the fleet of yellow jackets, at Brett stuck on the fence top, screaming, his face flushed red—red!—his arms leaking blood.  Was that blood?  Or a sore?  I couldn’t tell.

Mom deposited Brett in the kitchen, stripped him naked, called the doctor.  Tweezers.  I remember tweezers.  Yellow jackets were in his ears and mouth.  They were everywhere.  Outside, they continued ramming their bodies into the window.  I looked out.  One hovered there.  It looked at me.  I looked at it.  Insect and Man.  Sizing each other up.

In light of these memories, I can’t help but sense that, no, on account of their characteristics and functions, bees are not the affirmative, happy creatures of some Wordsworthian lyric; that they are too much like us for armistice or reconciliation; that, in fact, we will never see the last of them, as they will never see the last of us.  They will live on, as will we.

Let the boys at them, and they at the boys.  That’s how it ought to be.  So alike are the two that it’s hard to tell who has the advantage of intelligence.  I learned, those many years ago, before the profundity of it all struck me,that wounds can teach the tragic lessons of ignored similarities.  There’s something to be said for that.

If nothing else, I have come to admire bees for their tenacity and courage in the face of insurmountable power.  Theirs is a world of flux,disorder, and death.  Their body is a weapon, one that, once used, terminates everything.

Boys war with bees.  Bees war with boys.  Just another kind of outdoor game, one on a side, except no one can say “Elves.”  Not in this game.

In this game, there is only one ending.  Even in victory, the bees lose.  It takes a man to understand; it might just take bees, or something like them, to make a man.

Three Poems by Amy Susan Wilson

In Arts & Letters, Creative Writing, Humanities, Poetry, Writing on September 13, 2012 at 8:45 am

Amy Susan Wilson lives in Shawnee, Oklahoma and has recently published in Southern Women’s Review, Dead Mule, Red River Review, Cyber Soleil Journal, Red Dirt Review, Crosstimbers, Southern Literary Review,and in other similar journals. Amy is at work on a novel, The Fine Life of Mrs. Delbert L. Smith, which explores the first female attorney in Oklahoma to practice oil and gas law.  Non-fiction writing interests include Senior, over age fifty-five beauty pageants, and the pay day loan industry as it intersects with spirituality. Amy lives in Shawnee, Oklahoma with her family and three rescue dogs: Matthew, Pedro, and Snowball. She holds an MFA from Columbia University.

The following poem first appeared in Volume 11, Crosstimbers (Spring-Summer, 2011).

Doing the Hula

 

Don Ho, Hawaiian Breeze,

whisks her from this living room of green shag,

sensible sofa covers

to sandy white beaches with

girls swiveling hips, jiggling away

Just like Laki-Laki at Don Ho’s side.

 

Pall Mall clutched tight as a rosary,

sweet tea pressed into the other.

With each gulp and crank of vinyl

Eunice becomes Lead Hula Gal

her gray permed poodle hair

glossy-black; waist length.

All the men want her.

Don Ho blows a kiss

into her ear

as she hulas into the coffee table

laughs into the lamp

cry-giggles to the floor.

I will not forget the time

she brought out her ukulele

and Colt 45

held it to her left temple

then crown.

Grandma Eunice,

if you were to drive

by 3901 Windsor Way,

peek into the window at yourself

you’d see a woman

downing Diet Coke & rum

that only you call ice tea.

You’d see a woman

stumble through the fluorescent night,

your Maui Island faraway

as you dance into the dust

of volcanic ash.

 

 

The following poem first appeared in Volume 3, Red Dirt Review (Spring 2012).

Waiting in Line at the Pott. County Wal-Mart

 

 

If you live in the rural South and you are female and own a vehicle, or your cousin owns a vehicle, you can’t help but shop or just browse Wal-Mart at least once a week. In fact, Wal-Mart is not unlike attending the First Baptist Church; it is there and you must, you must participate in that weekly or more visit because it is how you were raised, and the urge to be a part of this world is coded into your Southern female DNA . If you are from the East or West coast you likely won’t understand, but anyone from here, the rural South, this South, well, ya’ll know what I mean.

                                                                        -Amy Susan Wilson

                                                                                                                                               

 

This dude runs some Morning Star corn dogs

down the conveyer,

there goes four Silk Soy Strawberry yogurts

but this guy, he’s no fruit

No Sir

tan biceps –Big–

but not too big

cute jogger’s butt

framed in Levis

he stands about 6’3–

oh, here goes some organic blueberries

wow, I am like marrying you

if you’d ever get off your phone

so I could say,

Blueberries, isn’t it nice they’re in season?

 

That’s what I’d say cuz I can’t think

of anything better;

How pathetic.

Wait, he’s going ninety an hour

on his cell:

So fight the cocks anyway

Just  fight’em ‘n place five, C.J.

 

What? He’s yacking about birds?

fighter birds?

How can you buy soy ‘n fight birds?

You know they attach razor blades to their ankles;

even Kris Steele, a Republican,

voted against cock-fighting.

 

Mmm, second thought,

Mister those Levi’s

just hang out on your bony ass

‘n your nose pug-like,

a girl nose

No a Michael Jackson nose.

Lord, now I have to get a divorce

cuz I married you

when Lynelle here rang up

teriyaki tofu, some three olive hummus–

I honeymooned with you at a green resort

in Tucson

as you sacked

with cloth reusable, recycled  bags

you brought from home.

 

Lord, I can’t help

but linger at Coin Star

as you drain the change

from your hemp wallet—

I thought you were tan from jogging

with a big black rescue dog

 

the kind no one wants to adopt

but no, I find out you’re tan from

raising rooster bulls to cock fight.

 

Gosh dang, cock fighting.

murdering the Lord’s creatures.

Are you the one

to attach the razors?

Or does your buddy C.J.

do your dirty work?

 

How do I find men like you?

 

Now you’re climbing into a hybrid Escape,

a bumper sticker:

 “Support the N.R.A.”

Oh shit!

I need an annulment

and fast.

 

You catch my eye and grin.

Listen, this three minute marriage

it’s over

I’m glad to be single again

and whew,

start my new life over

totally without you.

 

 

Slut Butt Miller: A Barber’s Daughter

Whale-O-Suds Tunnel Wash,

Jimmy Maloney unfastens

midnight-blue push-up

one hand.

White wife beater

daisy duke shorts

litter John Deere

floor mats

along with

Jack Daniels

Pall Mall pack.

That gush

of green soap,

creamy mint frosting

you’d see on top

a cupcake.

Turtle Wax

complimentary,

3:00 in the a.m.

Tonight

Blaine Sawder

football keg

Haunted Hill.

Pink thong

unwraps

Jolly Rancher easy,

watermelon kind.

After

the after party

Slut Butt

squeals donuts alone

Shawnee Bowl.

Neon pin

oil derrick tall

winks egg-white.

All the boys

gone home

texting from bed

their real

sweethearts.

 

Keystone glued

to cup holder,

Slut Butt

circles her Father’s

‘95 beige Impala

round and round

that empty lot,

swears to FM

and humidity

her Daddy visits

like in a movie

but a dream,

Recall your tire swing

            Salt Fork River?

                        I cut from old tread

            roped to oak—

                        You was my

            Little Angel,

                        Baby-Girl.

 

Her Mama

irons shirts

seventy-five cents

a pop,

Benny Lee

            Yacking to you 4:00 a.m.—

            And I won $500 million

            Oklahoma Lottery.

Asphalt and sky

pitch-black

as the inside

of a beer can,

the backseat

of some boy’s truck

waiting.

Hunting: A Poem

In Arts & Letters, Creative Writing, Humanities, Poetry, Writing on September 5, 2012 at 8:45 am

Allen Mendenhall

The following poem first appeared here in Arator.

Hunting

The deer, leaned over, frightens

at the sound of the crack,

the broken stick beneath his  hoofs

or the hunter’s feet.

Wagging his tongue in the  moonlight,

shaking his fist at the sky,

the hunter loses choice and  chance.

A moment later

it would have been gunfire:

the sound

either unreal or untrue

that cannot be heard

except by the living.

A crisp cool tug of air,

like the long drag of a  cigarette,

wisps across the earth,

slaps him  in his face,

reminds him

of the coming cancer.

He looks through the sights, down  the barrel,

and fires at the nothing that’s there

to kill the something that is,

the sum of his existence,

and ours:

hope and truth.

“The Glass Eye,” A Poem by Amy Susan Wilson

In Arts & Letters, Creative Writing, Creativity, Poetry, Writing on August 22, 2012 at 8:45 am

Amy Susan Wilson is a writer living in Shawnee, Oklahoma. She holds an M.F.A. from Columbia University and her work has appeared in the Southern Literary Review, Southern Women’s Review, Red River Review, and other journals.

The Glass Eye

Acting like you come

to pet my dog Bullet

No Sir Little Missy

you come to lookit

the quarter-sized hole

in my head

where my glass eye lives.

 

‘Jack in the Box Joe’

I call him.

Pops just like Jack

out of his tin box,

or dentures

From my mouth.

Hold out your hand

I’ll drop him to your palm

go on

he won’t bite.

 

Girl, slow your jabbering down.

Did Jack in the Box Joe

ever fall out my head

when he wasn’t supposed to?

 

Three springs back

Tornado Juanita

drove trucks, trailers

Big Lots!

ten counties over;

that wind a noodler’s arm

yanking Joe out my socket,

Joe a catfish

bunkered deep the nest

of my skull.

 

Campground Twelve,

Lake Shawnee,

Jack in the Box Joe plunked

Right smack that

memory foam posture pedic queen

lodged the top

an old oak.

 

Last June

International Youth Rodeo Finals,

lost my eyeball

Expo building.

 

Youth barrel racing

starting up–

old Joe roll behind a saddle stall,

a miracle that loudspeaker,

            Rodeo fans

            we got us one navy purse

            an eyeball turned in

            Anyone missing an eye

            Or lady’s purse

            Go left of Roy’s Funnel Cakes

            Right of Connie’s Chicken Gizzard Wagon;

            Again, anyone lost an eyeball

            Assert to Rodeo lost and found.

 

Jack in the Box Joe

plopped back in

that empty space

in my head

Joe all grateful,

sputters a little

            Thanks Man,

Joe going hippie

on me

sometimes.

 

Do I have to clean him

since he’s made of glass?

Windex, a paper towel

spit-shines Joe

clear as a prize blue marble

or show Corvette.

 

How did I get the nickname

“Eyeball-Satellite?”

Joe and me

we spot rain

good as a NASA satellite.

Rain, sleet twenty counties away,

the glass eye twitches.

 

If Jack in the Box Joe

knew stocks like he knows rain

I’d be rich  

as Wal-Mart clan,

Bentonville area.

 

Did you know Alice Walton

got herself a DUI

Christmas 2012?

Forth Worth ranch,

I-35.

Miss Alice

coulda splatted

like a water bug,

liquor a respecter

of no one.

 

Watch Little Miss Amy Susan;

My eye’s gonna twitch.

Rain our way come this hour.

Best to scoot on home

eat your Mama’s

corndog, okra supper.

 

Oh foo and poo

fiddle stickers to boot,

you think I could make this up?

Joe and me

got to feed Bullet his Purina

I mix with a little Swanson’s

scoot home girl–

beat the rain,

don’t forget

to count your blessings

for all you have.   

“Bottle Tree,” A Poem by Amy Susan Wilson

In Arts & Letters, Creative Writing, Humanities, Poetry, Writing on August 15, 2012 at 8:45 am

Amy Susan Wilson is a writer living in Shawnee, Oklahoma. She holds an M.F.A. from Columbia University and her work has appeared in the Southern Literary Review, Southern Women’s Review, Red River Review, and other journals.

Bottle Tree

My Nanna’s backyard elm

outfitted with blue, red

green glass bottles

tied with chicken wire the width

of a hen’s beak

to each branch.

 

            Scarin’ crows away,

Gram’s explained.

Wind chimes hung like gaudy ear bobs

from lobes of lower branches:

a lady bug with silver spoons,

that copper kettle adorned with

aqua beads, a faded red tin cup,

the kind hobos carry

while riding the rail.

 

Each sunset

those Blue Nun bottles

soft purple

like a mood ring

or Goddess moon from Jupiter.

          Mama back at Griffin,

I’d sigh,

run my palm

down the spine

of charcoal bark.

 

I never told Nanna,

kids at school

just Ruby-Lucille

me winning

a big red Escalade

Firelake Casino

someday I would—

 

Mama and me

we’d chomp green M&Ms

all the way to California,

big blue ice chest

the kind with wheels

loaded with biscuits

Pepsi, Paydays

strawberry ice cream bars galore.

 

Grams calls Griffin

          A  nerve hospital

           A mini-vacation from life.

 

Church ladies whisk

meatloaf

salisbury steak

Sunday afternoons,

          Grams too old to handle a child

          This stage of life

          All by herself.

 

Always,

Mrs. Harlan Dodge Simpson

presses a green bean casserole,

Old Testament

coloring book

to my palms

 

lambs, cows

slaughtered on an altar,

carnation red crayon

for blood

twelve pack Crayola.

           

Ruby Lucille always waits,

backyard,

those bottles

clink like diamond bracelets

TV stars load their arms with.

          “Well Lady Bug,

          A fine plan

          You and your Mama,

          Heading to L.A.

          Someday,”     

Ruby Lucille whispers

in her bottle tree language,

Ruby Lucille

never laughing

never  letting on.

Unraveling

In Arts & Letters, Creative Writing, Creativity, Law, Literature, Writing on July 27, 2012 at 8:45 am

Rose Auslander is a partner at a Wall Street law firm and Poetry Editor of Folded Word Press. Co-editor of the Twitter anthology On A Narrow Windowsill, Rose has read her poems on NPR; her poem “For You Mothers” received a Pushcart nomination; “Oh My” received a Best of the Net nomination. She is a Regular Contributor to Referential Magazine, and her work appears in cur-ren-cy, Right Hand Pointing, Cyclamens and Swords, The Dead Mule, and Red Dirt Review. And she blogs!

The following excerpt, which first appeared here in The Mom Egg, is part of Rose’s upcoming memoir, A Pencil on the Ceiling, about surviving as a pregnant first-year law student nursing her way through her diploma

My infant, my daughter, my beautiful red-blond, blue-eyed child, lies in my arms, in my bed.  An unseasonably cold September afternoon, raining, chill, the chill that seeps into a person’s veins like formaldehyde.  My three-month-old daughter sleeps in my arms; my poor, embalmed arms feel nothing.

I wrap up in the afghan I crocheted for her, the yarn I worked into granny square by square, month after pregnant month, obsessively, mathematically, finding new permutations of pastel blue, pink, yellow and green to draw through into white, infinite borders of white.  I sit wrapped in yarn, unraveling.

How did I ever think I could start with yarn and crochet a garden of colors for a baby?

If only I could sleep, sleep . . .

No, study first. 

Law school.  How did I ever think I could get through law school with a baby at home?

A pile of case books rests on the pillow next to my infant daughter, next to markers of neon blue, pink, yellow and green, and pencils for thoughts, all for my numb hands to try to draw through into white, infinite pages of white.

Come on, just study. 

Or at least color:  Blue for facts (what happened in the world to cause the dispute), pink for procedural history (what happened with the case in the courts), yellow for the holding (what the court decided), green for what I can’t understand.

I drift off into National Business Lists, Inc. v. Dun & Bradstreet, Inc., 552 F. Supp. 89 (N.D. Ill. 1982), sleepily coloring in facts like:  “The customer does not itself receive much of the information contained in the computer data base.”  Feeling much like that customer, it takes me forever to get to the holding, and by that time, I’ve forgotten what the case was about.  I’m stranded somewhere in endless fields of green.

Hoping somehow to get through the hundreds of assigned pages, I try to read cases while holding baby Freddie, nursing her, even changing her.  But I swear, each time she nurses herself to sleep, she sucks more of my brain cells out with the milk.  And the milk/ammonia scent?  A knockout drug for those of us who’ve been staying up until 2 a.m. each night reading cases, and getting up again at 5 a.m. to nurse a baby-who-will-not-sleep.

Why won’t she let me sleep?

By 3 a.m., I put down the books, and close my eyes.  There are still endless unread pages of unintelligible heretofores, theretofores, therefors, and wherefores in every subject.  If I can’t get my brain back from wherever it has gone, I’ll never get to  my environmental law reading, where I’m already dangerously behind.

How did I ever think marking up cases in colors would somehow turn me into a lawyer?

Joyce Corrington Publishes You Trust Your Mother

In Arts & Letters, Creative Writing, Fiction, Humanities, News and Current Events, News Release, Novels, Writing on July 23, 2012 at 8:45 am

Allen Mendenhall

Joyce Corrington, a friend and supporter of this site (see here, here, and here), has just released the final installment of the New Orleans mystery series begun by her and her late husband John William Corrington.  Learn more about this book, You Trust Your Mother, at Joyce’s website.

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