Monday, February 01, 2010

Drop House

Short Story by Denise A. Otte

I sat at the table peeling potatoes for the 'papas fritas' while she washed the potatoes in the sink. The afternoon sun was casting my shadow upon the opposite wall of the tiny kitchen. My shadow blended in with the dirt and stains on the faded, floral wallpaper, so that it was hard to tell were the shadow ended and the stains began. When she finished scrubbing each potato, she handed it to me. I had a bowl of cold water in front me on the table and I put the potatoes into it when they were peeled to prevent them from turning brown. I looked down at the stained and torn jeans I was wearing and noticed a folded piece of newspaper that was jammed underneath one of the table legs to balance it. I worried silently that this might not keep the table steady and my bowl would topple off the table. I had a potato in my left hand and a peeler in the other. I sat on a rickety chair with the seat padding ripped out. This too had uneven legs and the chair tottered from side to side as I peeled. I had an old, metal barrel with a trash bag inside of it propped on top of an empty crate between my legs. I leaned over the barrel as I peeled, so the peelings would fall into the make-shift trash can. As I leaned forward my long, dark hair fell in front of me blocking my view of my hands as I peeled, and I almost peeled my thumb. I had to stop peeling to push the hair back from my face. I glanced out of the corner of my eye to the woman at the sink. She was a small framed woman with a tan, weathered face. She wore a faded, floral dress and had her black and gray streaked hair tied up in a bun with a rubber band. She worked quickly with older, more experienced hands and I struggled to keep her pace. It took much longer for me to peel the papas then it did for her to wash them, so I had a pile of potatoes waiting for me to catch up.

She handed me another potato. I reached for it, but when she let go the potato fell between my slippery, wet hands to the floor. I picked it up, hopping that she hadn't noticed my clumsiness. All I needed was more nasty words from her. She never raised her voice to me, but she was full of insults. Many of them whispered under her breath in Spanish, as if I couldn't hear her and couldn't understand her meaning.

Since my arrival in America last night she had already criticized me twice for choosing to speak English, instead of our native tongue. While growing up in Mexico, my father had stressed to me the importance of speaking English as well as Spanish and we spoke both languages in our home. He often said to me, “Soledad, English is the language of success,” and since I was finally here on American soil, I wanted to speak only English. This seemed to irritate Socorro.

Luckily, she hadn’t noticed that I dropped the papa. Picking the potato up from the hard, dirt floor of the tiny kitchen, I realized that the potato would need to be washed again. I would have to tell Socorro of my mistake. Silently, I got up from the table and walked to the sink. I showed her the dirty potato and motioned toward the stream of water. To my surprise, she didn't scold or taunt me. She didn't say a word. She just scowled at me and washed it. When she handed it back to me, I could feel the coldness of the potato from the tap water she used to wash it. I wondered to myself why she used cold water. My mother always used warm water for washing the potatoes.

"Why do you use cold water on the potatoes?" I asked in English. "My mother always washes them in warm."

"Well, your mother isn't here, is she, and we don't have the luxury of warm, running water here," she snarled in Spanish. She almost always spoke Spanish, but I could tell that her English was good. As she glanced at me over her shoulder, she added, "No, your mama is probably at home in her own kitchen in Mexico. She was never here in the coyote's kitchen, but she sends you here, yes?"

"She had no choice," I explained. "She became ill and my father was already here in America working to send us money every month. My Mama will pass away soon and I had to come here to live with my Papi. How else could I get here?" I asked. "I understand. This was a very difficult decision for my parents."

"No. Mija, tu no comprende! You don’t understand anything and neither do your foolish parents," she exhaled shortly through her nose with such force that I could see her nostrils flare. Making a "huhm" sound, she whispered "Tonto" under her breath at me, as she tossed the scrubbing pad into the sink.

"I am not silly! Don’t call me ‘Tonto.’ My name is Soledad!" I shouted at her, louder than I had intended, but my anger was welling up inside of me. “What right did she have to judge my family?” I thought to myself. “She is nothing!”

She glared at me. “You need to show respect and not raise your voice. If you speak this way to a true coyote, he will kill you. We are not playing house. These people mean business. We are their business," Socorro explained and for once she sounded almost kind, like a mother giving stern, but sound advice.

"No." I said curtly. "You are their business. You are their slave. I don't work for them. I am only here for another day. My father has the money. He just got a good factory job. He will pay the coyotes for smuggling me into America and then I will go live with him." The anger inside of me grew. I could feel my breathing had become more rapid and my skin began to heat up. My voice began to quiver, but I kept it low as she had warned me. "You, Socorro,” I spat at her through gritted teeth, “are the one no one wants. No one will ever pay to free you."

She turned toward me and stood directly in front of me, her shoulders straightened and her eyes met mine. She glared down at me with an intensity that sent a chill through me and, instinctively, I took one step back. She smirked and shook her head. “Don’t challenge me, child,” she said to me in Spanish, our eyes still locked. “I was head-strong, just like you in my youth and I already know everything that you will ever learn in your whole life. I am not another chicken, like you. I choose to work here because I am needed here. No one needs to pay to free me. I can go anytime I want to leave. Now, get to work on those potatoes. You are too slow. I had a donkey in Mexico that peeled papas faster with his teeth! And if I were you,” she warned as she motioned with her head toward the door, “I wouldn’t speak too loudly of my father’s good factory job. Do you see those two guards outside smoking and laughing on the porch? They report everything they see and hear to the coyotes. In general, Mija, don’t speak too loud. We don’t want to bring attention from the neighbors, either, or they will call ‘La Migra’.”

I didn’t say a word to her. “What could I say?” I thought to myself. I turned my attention back to the potatoes and sat working in silence, struggling to catch up with her. As we peeled, the tension in the room began to slowly subside. I looked down at the pile of potatoes waiting for me and realized that there were a lot of potatoes peeled. In an effort to alleviate the tension between us, I said to Socorro, “We eat good tonight,” in a falsely light-hearted tone. “This will be a nice filling meal for the six of us.”

“Huhm,” said Socorro again.

“Huhm, that is her favorite word,” I thought to myself, but I didn’t dare say it. Cautiously, I added, “I’m so hungry, I could eat it all myself. Last night when I arrived with that elderly couple, Roberto gave us the leftover papas fritas from last night’s dinner and I haven’t had anything since.”

As if she hadn’t heard me, she said. “We are expecting two coyotes and their chickens to arrive tonight,” Socorro said flatly, as she gestured toward my pile of potatoes.

“How many chickens…I mean…people in each group?” I asked.

“Who knows, two or three, maybe ten or twenty,” she explained. “And one of the coyotes is Pedro. He is notorious for bringing in very large groups. He smuggles them inside specially made compartments under the floor boards of semi trucks. Stacks them on top of each other like a deck of cards. One time he brought in over twenty-five chickens in one truck load. He made some big money from that shipment, but do you think any of us got a bigger cut, no!”

“Isn’t that dangerous?” I exclaimed, “Smuggling people in a truck like that!”

“Yes, Mija, many times the chickens don’t make it. On that run, he had six chickens die of suffocation and asphyxiation, but he just tossed them into a ditch and told their family that they didn’t show up at his station. He always blames mistakes on the coyotes before him. That’s why even the other coyotes don’t like Pedro much, but he makes more money than all of them combined.”

I looked down again at the wobbly table and the potatoes waiting for me. “Socorro,” I said feeling sick to my stomach and hungry at the same time, “this isn’t nearly enough potatoes to feed twenty people.”

“Don’t you worry, Tonto,” she said sarcastically. “Most of them will be too sick from the fumes and lack of air to eat anything anyway.”

I closed my eyes and silently brought my finger tips to my forehead, down to my heart and then across my chest from shoulder to shoulder in prayer. “Dear God,” I whispered. “I pray my father can pay tomorrow.”

“You’d better pray that Pedro doesn’t find out about your father’s new factory job or he’ll double your price,” said Socorro, as she finished cleaning the last of the potatoes. “Finish up quickly, Tonto, and help me find some type of bedding for the new chickens.”

I considered telling her again that my name was not “Tonto,” and I was not silly, but I knew she would never call me anything else, so I finished peeling the potatoes and cleaned the kitchen as quickly as possible. When I finished, I went to search for Socorro.

I found her with Senora Ramirez and her daughter Rosa. They were tying together burlap sacks and stuffing them with dead grass from the yard. They had been smuggled into the country like me. Socorro had told me earlier that the Ramirez’ have been here for three weeks, waiting for their family to raise enough money to free them. When she saw me standing at the doorway, Socorro shook her head and pursed her lips. Then she pointed at the burlap bags and snapped, “Get to work” then she added. “The real mattress you slept on last night will belong to Pedro tonight.”

“Perhaps he will share it with her instead of Rosa,” said Senora Ramirez to Socorro in Spanish and with a smirk in my direction, she added, “Pedro will like her. She is young and very pretty.” Looking me in the eye, she lifted her eyebrows, slightly tilted her head and said, “The coyotes are nicer, if you pet them, my dear. We will get our price cut in half because of Rosa. I am sure of it.”

“She won’t be here long enough to worry about that. She leaves tomorrow and good riddance to her,” said Socorro, right in front of me. “She has been quite useless since she got here, like teats on a warthog.” The women laughed as Senora Ramirez made clucking noises with her tongue and shook her finger at me. She was a large, stout woman with a sour face and a sour smell. She looked at everything with distain, including her daughter and I hadn’t heard her say one kind word to anyone since my arrival.

I sat down on the floor of the bedroom between Senora Ramirez and Rosa. The walls of the room were faded and stained, like the walls of the kitchen, but this one had old, striped wallpaper which was peeling in several places. I sat with my legs crossed in front of me and glanced around the room. I noticed another guard sitting on the floor in the hallway just outside the room. He was cleaning his pistol. All of the guards liked to sit around cleaning their pistols. I lowered my head to make eye contact with Rosa, who appeared to be my age and wore a dress made of the same material as her mother’s dress. I gave Rosa a pleading half-grin, but she turned away from me.

“How old are you?” I asked her.

“Don’t speak English to her, Tonto” growled Senora Ramirez in Spanish. “As a matter of fact, don’t speak to my daughter at all,” she said. I turned to Rosa. She acted as if nothing had been said about her and continued to stuff the burlap sacks. I uncrossed my legs, which were now beginning to ache and I continued to work as well. Longer shadows were now being cast against the back wall of the bedroom. It was getting dark, so the four of us began to work faster.

The darkness fell quickly and shrouded us in an uneasy secrecy. The house had no electricity, so we lit candles and lanterns to see as we continued to stuff more mattresses. We carefully kept the candles away from the grass and burlap. Just then we heard muffled noises coming from the back door. Socorro suddenly leaped to her feet and ran down the hallway to unlock the door. Rosa and I ran after her with the guard and Senora Ramirez close behind. All at once a freezing, cold gust of wind swept inside the house as Socorro swung open the door. It made the already cool air inside the house instantly feel like shards of ice cutting into my skin. The coldness literally hurt. I hadn’t recovered from the sudden, biting cold when the stench hit me full force. My stomach flip flopped as I automatically doubled over and the back of my throat clenched shut to keep the sparse amount of food I had inside of me down. The horrid smell of urine, vomit and gasoline filled the kitchen. People began to flood into the tiny room. Socorro lit the pilot light of the gas oven and opened the oven door. I was sure that she was trying to get some warmth into the room and into these poor people. Men, women and children dragged themselves inside, most of them crumpling to the floor against the walls as soon as they entered the house. Later in my life, I will look back to this moment and recall that this is how the walls had become so stained.

I sat stunned, gazing around the room. There was an old man sitting alone in the corner talking to himself and rocking his torso back and forth. A middle aged woman knelt beside him spitting up blood into my make-shift barrel trashcan. I searched the room until I saw Socorro in the hallway between the kitchen and the living room. She was on the floor bending over the body of a small boy with what looked like an oxygen mask over his face. A young woman cradled his head in her lap. Her eyes were closed as her tears streamed down her face like a waterfall. She clutched a Rosary in her hands and twisted, pulled and crushed it so hard, I was sure the beads were about to break. In Spanish she recited, “Hail Mary, full of grace. The Lord is with thee…Holy Mary, Mother of God, pray for us now and in the hour of our death.” She repeated this prayer again and again between her sobs. Somehow I heard her pleads to the Lord, in spite of the other muffled noises in the kitchen. I slowly and cautiously made my way through the crowd in the kitchen toward the woman. By the time I knelt by Socorro’s side, she was already lifting the mask off of the boy’s face and to my relief, he was breathing and conscious. Suddenly, the young woman grabbed Socorro’s hand and brought it to her lips. In Spanish she gushed, “Thank God for you! You must be our guardian angel. Gracias, Senora.” The boy coughed and choked again and before I could move a muscle, he turned and vomited in my lap. Dazed and shocked, Socorro and I instinctively turned our faces toward one another and then I noticed the grin beginning to form at the corners of her mouth. We shared a silent smile and then she hustled me back into the kitchen to wipe down my clothes with a wet towel.

The initial wave of activity in the house was starting to die down and everyone seemed to be settling in for the night. Senora Ramirez and Rosa had already served the ‘papas fritas’ to those who were able to eat. I surveyed the scene slowly. Socorro was now tending to the woman who was spitting up blood. She was guiding the woman into the bathroom. Senora Ramirez, Rosa and some of the guards began herding people into the back bedrooms and handing out the burlap mattresses. I was still standing by the sink trying to clean the vomit stains from my jeans when the back door opened again. The cold air swirled around the kitchen and a large man with dirty clothes and a rifle slung across his back sauntered into the room. He had thick, black hair and a worn, leathered face. His eyes were wide-set and he had several deep wrinkles around his mouth and across his forehead. “Frown lines,” my mother had called them. He wore an emotionless expression and he smelled of sweat and gasoline. As he turned to me, he asked, “Where is Socorro?”

I swallowed hard and my heart began to beat harder in my chest. “I…um, she’s…uh… she’s in the living room,” I answered. The man looked me up and down and then his gaze settled upon my young breasts which were not quite fully developed. His stare frightened me. My stomach sank and my heart pounded. Instinctively, I hunched my shoulders inward, lowered my head and crossed my arms in front of my chest. The man made a small, grunting sound at me and then walked away.

I waited awhile before I followed him. I wondered why he had asked for Socorro so quickly and wondered if he might hurt her. I was worried about her and I was afraid of this man, whom I assumed to be Pedro.

I walked down the hallway as quietly as possible. I heard muffled voices coming from the living room and suddenly I was struck with the memory of spying on my parents when I was a little girl. Many nights I watched from my hiding place as they talked and laughed and told each other about their day. It had been a long time since my parents and I had lived together in the same house because my father had gone to America for work. As I crept closer to the living room, following Pedro, I realized that I would never again be in the same house with my parents. When I heard Socorro’s voice, it reminded me that I would probably never hear my mother’s voice again either and a sadness filled my heart unexpectedly. Socorro’s voice seemed to grow louder as I came to the end of the hallway. My memories of home faded away as I realized that Socorro and the man were talking. They were talking about me.

“What did you find out about her family today?” interrogated the man in an accusing tone of voice. His voice was deep and resonant. He spoke quietly and with self-control. “How much do you think they can pay?”

“Pedro,” Socorro began. “Her mother is dying in Mexico and her father is a field worker. How much did you tell him for her delivery?” Socorro asked.

“So, that is Pedro,” I thought to myself. As he spoke, the hairs on the back of my neck prickled and stood upright.

“I told him $1200 American dollars for her transportation and one night’s lodging. His deadline is tomorrow. I had Marco call him today. The man says he has the money, but do you think we can squeeze him for more?” Pedro asked.

“No,” said Socorro too quickly. Her voice flew up an octave and she sounded almost like a girl herself. She cleared her throat, took a deep breath and then continued, more calmly, “I think you’d be wasting your time with this one, Pedro. Better to keep squeezing Franco Ramirez for his wife and daughter. He must be getting desperate after so long. He will definitely pay more for them.”

Pedro groaned as he leaned back on the torn, old sofa. There were so many rips in the upholstery that it was hard to visualize the original pattern. “I don’t know. Maybe we’ve squeezed all we can with that one and besides I’m getting tired of that Ramirez girl,” he said as he signaled for Socorro to remove his boots. I had crawled to the end of the wall and was shielded from view by a collapsing old recliner. In this spot I could get little glimpses of the scene and hear every word. Socorro knelt down in front of Pedro and untied his big, dirt covered boot. She tugged at the boot a few times before it came off his foot. When the boot was freed, a horrid stench like rotting meat and sweat assaulted my nostrils from across the room. The odor lingered in the air. “Whoa, woman!” he said gruffly as he kicked at her. He missed her face by only fractions of an inch. “My feet are sore and I don’t need you pulling my leg off!” he spat at her. He put his rancid, foul feet up on the coffee table and said casually, “I like that new girl in the kitchen. I want her tonight. Bring her to me later.”

All at once I felt the room grow colder and everything began to spin around me. I rested my head against the wall. My blood seemed to be half frozen as it pumped through my body. Colder, I felt colder still. My heart began to beat violently in my chest and a shiver shook my whole body. “Did he mean…yes, I’m sure that’s what he meant…” My palms began to sweat and my skin felt clammy. I felt cold and hot at the same time and tears began to sting my eyes. She will tell him, “NO!” I knew she would. I sat waiting, willing, pleading Socorro to tell him “No, you can’t have her! I won’t let you touch her,” but she didn’t.

“Lo siento, Mi amore,” she said. “I didn’t mean to hurt your foot,” she apologized.

I couldn’t believe my ears. She apologized! She had not defended me and she had referred to him as her love! “Who could love such a man?” I screamed in my head. “She must be out of her mind,” I thought, but as I silently watched her frantic efforts to make him comfortable, I began to see that she did not act like a woman in love, but rather, like a nervous servant. This was not love, my parents sitting and talking together, that was love. I then recalled the words Senora Ramirez had used earlier this evening, “the coyotes are nicer if you pet them” and I began to understand Socorro’s behavior, but I still wasn’t sure if she intended to deliver me to the monster later in the night. Did she expect me to appease the coyote as well?

Socorro’s voice lifted me out of my thoughts and I heard her say, “you don’t want to keep that annoying little girl. She is stupid, useless and disrespectful. She rarely does what she is told to do and when she does, she makes a mess of it. You should’ve seen how many papas she dropped today and she dropped a dish too. She is full of fight and her clumsiness will cost you money, Pedro,” she explained too earnestly. Shaking a finger at Pedro, she told him in a stern voice, “You should send her home tomorrow as planned.”

Pedro sat forward on the couch and eyed Socorro closely. His eyebrows furled and his scowl returned. I began to worry that he was angry at her for being so bold with him. I could tell that Socorro was worried too because she leaned away from him and brought her legs up underneath herself into a squatting position in case she needed to run. Pedro slowly lifted his hand toward her face, grabbed her by the chin and pulled her face closer to his own. He glared deeply into her eyes. His angry expression eased. Then suddenly, he bellowed a hearty laugh. “You are jealous that I want to keep her,” he said with a smug, satisfied grin. “Aren’t you, woman? I suppose you want me to stay with you tonight, don’t you?” he taunted her. “Very well, I will keep you company tonight. You don’t have to make excuses to get rid of the girl. Now, go get my whiskey. I need a drink.”

I watched him intently, as my heart pounded heavily in my ears. I thought maybe I had misunderstood what he had said. The realization that I would be safe tonight was just beginning to sink into my brain, when I noticed Socorro’s feet on the floor beside me. She had walked around the corner on her way to the kitchen to get Pedro’s whiskey and found me crouched halfway behind the wall and the recliner. She moved further down the hall so Pedro would not see her and signaled for me to follow her. Silently, I did as I was told and followed her into the kitchen.

“I…I…you saved me…” I didn’t know what to say. My mind was reeling. A million thoughts crashed together in my mind and my eyes began to well with tears. “Socorro…” I said breathlessly, “I…”

“Don’t do this, Mija,” she answered in Spanish. “I don’t like all this drama. I do whatever I have to do to survive in this place…because I belong here, but you don’t belong here and so you need to go home tomorrow with your father. I will see to it. Now, go quietly to find a piece of burlap and get some sleep. You will need your strength.”

She bent down and removed the grate off the bottom of the refrigerator and grabbed the bottle of whiskey that was hidden inside. She walked past me down the hall. Just before she turned the corner into the living room, she stopped and looked back at me. We stood silently for a moment, staring at each other, but before she turned away again, I quietly whispered the words in Spanish, “Gracias, Senora.”


Contributor’s Note: My name is Denise Otte and I am currently a case manager at a prison that houses primarily immigration inmates. This employment background gives birth to most of my story ideas. I am currently an on-line student at Cerro Coso and although I've been writing short stories since I was a teenager, this is the first story that I have ever completed. In the past, I never finished my stories because there was always something missing when I read them over. They seemed flat, lacking character and depth. Sometimes there were fundamental errors in the plot or I simply lost interest because the story never came alive for me. This began to change after I enrolled in the English C141 course Creative Writing: Fiction and Poetry here at Cerro Coso. The teaching and the reading assignments showed me how to liven up my stories and make them believable and more vivid. It also helped to have a deadline. I found that I work much better under pressure. Now that I know I can actually complete a story, I plan to finish all those other half-told tales that are saved in my
computer.

Monday, January 25, 2010

Girl in the Picture

Poem by Jennifer L. Day

She is a young woman in the picture.
Her hair is set just so,
in the style all the other girls wear.
She looks like she’d said goodbye
to someone in World War II.
She stands alone on a balcony
in a dark dress, very neat with
her high-heeled feet crossed,
the only thing noticeably improper.
She looks to the side, her hair glistening
and covering half of her ivory face,
as if to hide a sad story. She lets a small smile
touch her lips. She appears to know I am watching
her, that I see her stand by herself in a place
so exquisite and breathtaking,
somewhere lovers must have met in secret.
But she doesn’t want me to see
how alone she is. But then
I feel her spirit as I refuse
to shift my invading eyes
and I am standing where she was
there alone.
In the next moment, I’ll be joined
by a charming stranger
who likes to make girls laugh.
Maybe we’ll dance like children
And maybe when I stand here again
We’ll be the lovers gazing over
a new world.

Contributors Note: I am currently a student at Cerro Coso and hope to continue studying the art of the English language. I love photography and I hope to learn more of the arts and all they entail.

Monday, January 18, 2010

Creating a Monster Using the Method of Victor Frankenstein

Essay by Kelly Pankey

“I consider it useless and tedious to represent what exists, because nothing that exists satisfies me. Nature is ugly, and I prefer the monsters of my fancy to what is positively trivial” -Pierre Charles Baudleaire

There are many reasons why someone would want to create a monster. One reason could be that a person wishes to play God, but he or she feels that just creating a normal being would be boring and let’s face it, it’s been done before. Then there are those that are just naturally angry about everything and want to punish the world for its lack of sympathy and understanding. These people want to create a monster that will wreak havoc upon their enemies. The last group of monster makers would be those who just have nothing better to do with their time. If you fit into any of these categories you might be interested in Victor Frankenstein’s method for creating a monster.

The first step you will need to take is to study an outdated science such as Alchemy or some other scientific field that has since been discredited. People may ridicule you for it, and they may even laugh at you, but this is a necessary step in the process. Don’t become disheartened when you are put down for devoting your studies to Alchemy. Victor’s own father called Victor’s first book on Alchemy “sad trash” (Shelley 46), and told him not to waste his time on it. Even Victor’s professor at the university told him that he wasted his time studying those books. But that did not deter Victor!
Next, you must find a suitable place in which to work on your creation. The place you choose must be secluded and dreary for best results. You must also take consideration of how you are going to illuminate your new abode. Candles are a good choice. They put out very little light and are inexpensive. Plus, they set the mood, which will provide you with some much-needed inspiration for your project.

The third step is where you start to get your hands dirty. This is where the fun starts. You are now required to visit the morgues and cemeteries to gather up your materials. Slaughterhouses are also a great resource. It is very important at this point to choose the largest and most grotesque body parts you can find. The bigger and uglier you get, the better your monster will be. Also, the larger body parts are easier to work with, which will make the task go by more quickly, as Victor discovered, “As the minuteness of the parts formed a great hindrance to my speed, I resolved, contrary to my first intention, to make the being of a gigantic stature …” (Shelley 58).

After collecting your materials, you must begin assembling your creature. This will take a lot of time and patience. You must forget about family, friends, and anything else that could be a distraction to your work, and focus complete attention upon the task at hand. You may receive a few concerned letters from your loved ones, but just ignore them for the time being. Your devotion and hard work will be rewarded in the end.

At last, after perhaps years of struggles and setbacks, your task is almost finished. But the final step is also the most important step in creating a true monster. After life is finally bestowed upon your creation you must do one more thing. Run away! You must now abandon the thing you devoted so much time and attention to for so long. If you don’t complete this last step properly you may just end up with a giant, ugly best friend. You don’t want the monster to feel the slightest bit of gratitude to you for creating it. And God forbid it should learn any of the other human emotions besides anger, hate, and devastation. What good would a kind, compassionate monster be, anyway?

Well, if you follow step-by-step Victor Frankenstein’s guide for creating a monster, the results should be nothing less than an angry, murderous, and probably very miserable creature that will owe its entire existence to you and you alone. You may lose a few close friends and family members to the monster’s wrath, but that’s a price you must be willing to pay when you take up the occupation of creator.

Works Cited
Baudleaire, Pierre Charles. BrainyQuote. 2008. 13 March 2008.
Shelley, Mary. Frankenstein. Ed. Johanna M. Smith. New York: Bedford/St. Martin’s, 2000.

Contributor’s Note: I am currently a student with a few semesters behind me. I am hoping to receive a degree from Cerro Coso and then transfer to a university. I love to read and write, but I have also discovered since attending college, that I enjoy just about every other subject I pursue in my studies.


Monday, December 07, 2009

Nostalgic Tea Time

Digital Art by Randa Henderson
12.8" x 8"



Contributor's Note: I grew up in Ridgecrest and am pursuing a degree in Graphic Design. So far I've only had one class in digital art, and I am excited to improve and learn more about this profession and art form.

Monday, November 30, 2009

The Angel and I

Poem by Ashley Olson

She didn’t know that I
was there in the graveyard
that cold November night.

I watched hidden by an angel of granite,
as the little, hunched over woman
made her way to a fresh grave.

Light from a rising full moon, glistened off her wet cheeks
as she knelt down to the soft ground and whispered,
“I still love you.”

Though the night was young
it was time to go, the angel and I,
so we drifted away into the shadows.

All the while I whispered back to the darkness,
“I know, I know.”
She didn’t get to hear me.

Contributor’s Note: I am seventeen years old. I have only been living in the beautiful Owens Valley for a year and a half, and have loved every minute of it. I have been attending Cerro Coso Community college since the move. I enjoy horseback riding, competing in many of the local English shows, and fishing for the notorious native Brown Trout.

Monday, November 23, 2009

My Penance

Short Story by Denise A. Otte

It was a warm September morning and I was sitting on a bench at the bus stop when Teresa sauntered over and sat down next to me. I knew it was her, even though I was looking down. I could see her big, white work shoes out of the corner of my eye. She had to step over a McDonald’s bag with something smashed inside it, probably a hamburger. I could see the ketchup soaking through the bag. In this neighborhood, I was surprised some hobo crack head hadn’t picked it up for breakfast. Teresa sat down, but didn’t lean back. “Don’t worry it’s dry,” I said as I waved my hand toward the newly spray-painted “Sur 13” on the back of the bench. “Spider and Rico did it yesterday. Nice job, huh?” I asked. Teresa nodded her agreement.

I swear I used to feel like my whole life was spent at the bus stop. I was seventeen then and I took the bus everywhere. I was always going somewhere because I never wanted to be where I was. At the time, I was living with Rico, my boyfriend. My mom threatened to kick me out if I didn’t stop seeing him. She didn’t like his gangster hype or the drugs he sold. Instead of breaking up with him, I moved in with him and then I had to take the bus to high school every morning. I really wanted to get my diploma. Everyone said I wasn’t going to graduate because of the baby on the way, but I figured I could make it until the end of the school year. I was only two months pregnant. I had a few friends that had babies and quit school. After that, they couldn’t even get a job at the mall. That wasn’t going to be me. I wasn’t going to let this thing, this mistake, ruin my life.

Teresa was twenty years old and she was a waitress at an old diner called the Red Barn. I was telling Teresa about how I got the bruise on my cheek. “I know that sometimes there is no right or wrong, just different ways of looking at the same situation,” I explained to her. “Rico says that I make him too angry and he’s right. There have been a lot of times when I knew he was getting mad, but instead of backing off, I just kept at him. Is it more wrong of me to push him or is it more wrong of him to hit me? ‘Cause I always hit him back, every time he hits me, so maybe there is no right or wrong.”

“I don’t think anyone should be hitting anyone,” said Teresa, “but a man shouldn’t be hitting a woman at all, especially not a pregnant one. They’re too strong. He could really hurt you or the baby.” She crossed her arms over her red and white checkered apron. I wouldn’t be caught dead in that loser uniform. If she had washed off two layers of makeup and put her big, sprayed hair in two pig tails, she’d have looked just like a milk maid straight off the farm.

Teresa wasn’t really my friend. I talked to her at the bus stop every morning, but I didn’t ever take her advice on anything. Teresa didn’t date, so she didn’t know much about men. She was kind of ugly. She had a really big head and a big nose and bad, nasty teeth, probably from her druggie days. I still liked Teresa though, she was real smart. She was always reading something at the bus stop, but she didn’t know anything about love or relationships. She said she had sex with a lot of guys when she was using, but never had any real boyfriends, so I didn’t take her advice about my problems with Rico. Teresa wasn’t a very understanding person anyway. She was always acting better than everyone else and always preaching about God. She said she found Jesus when she got clean and then He helped her get that waitress job with the great tips that she always bragged about. I thought that maybe Jesus could have got her something a little better than that. Anyway, she was always criticizing me and Rico. She told me I was stupid for having sex with him because he was a player. Then she would tell me that he was abusive because of the hitting. I didn’t think Rico was a player, but looking back on things now, well, she might have been right about the hitting. At the time, I thought that maybe the hitting was a sign that Rico just wasn’t my soul mate. That’s why we made each other so mad all the time.

I didn’t think that Rico was a player, but he did have one other girl, Stephanie, that he was seeing. Players screw everybody and lie about it. Rico didn’t do that stuff. He was a nice guy. He was just in love with both of us and he hadn’t made his decision about who he wanted to be with yet. I told Teresa, “Everyone who is dating has to make the decision to be with only one person sometime. You don’t meet someone and just dump all your other choices overnight. Rico is just taking his time making up his mind to be sure he makes the right choice between me and Stephanie, and if I nag him about it too much, he won’t choose me.” Now, when I look back on things, I think that maybe he shouldn’t have taken so long to decide.

The bus came just in time to save me from Teresa’s preaching about Rico cheating on me. I didn’t know why she always called it cheating. She just didn’t get it. I understood Rico, so it didn’t matter to me what the bus stop waitress thought. Grateful for the chance to move away from her, I picked up my backpack and slung it over my right shoulder. My long, black hair got caught under the strap. Teresa pulled my hair out for me and said, “I swear, Maria, you should cut your hair. It goes all the way down to your butt. It must give you headaches. By the way, how are you feeling lately with the baby and all? Are you still sick all the time?”

“Nope,” I said. “The sick feeling has gone away, but I still feel bloated all the time.” Then whispering to her, I said, “Monday, I had a little blood in my panties.”

“How come you didn’t go to the clinic right away?” she asked, looking at me kind of funny. “Aren’t you worried?”

“No,” I said. “I’m sure everything is fine. I feel okay and I don’t want to cost Rico any more money for extra visits.” Teresa just rolled her eyes and gently pushed me ahead of her onto the bus.

The bus arrived at Teresa’s stop first, and I was glad because I didn’t want to talk to her about the baby anymore. I just wanted to ignore it and forget for a minute that it even existed. I felt like nobody ever wanted to talk about me anymore. They only asked about the baby. Even Rico paid more attention to the baby than to me. Sometimes he acted really excited about the baby and he patted by belly. One time he brought home a Little Golden Book about a train that said over and over again, “I think I can, I think I can." He made me sit down on the couch. It was really nice because he put my feet up on the coffee table and he put a pillow behind my head and one under my feet. He rubbed my belly and kissed it and then read the train story to my belly. That little train thought he could do anything and I remember thinking that Rico could probably do anything. Every time he said he would do something, he did it. He always came through for me and for his homies. Rico was a guy you could count on. Not like my old man, my father. He was never around much, and when he was, he just drank and yelled at us. If we got in his way or talked too loud when he was home, my mom would smack us good. I know she did it to protect us. It was much better to get a quick smack from her than to get punched by him.

I liked that Rico read to my belly. It was so sweet that it made me cry and I stopped crying when I was seven. Nobody ever felt sorry for me anyway, so why bother crying. I felt like a big baby crying that day about a stupid train story. Rico said it was just that pregnant women get really emotional about their babies, but I wasn’t thinking about the baby. I was thinking that Rico wouldn’t be doing all that nice stuff for me if I wasn’t pregnant. It was all for the baby. None of it was for me. Rubbing my belly was pretty much the only time he touched me anymore. I wondered if he was having more sex with Stephanie.

As I sat on the bus, I glared down at my stomach. I had a pooch there where it had been flat before. My belly ring seemed to stick out at an awkward angle and my favorite jeans were starting to get too tight. I didn’t want to get fat and I didn’t want to give up these really cute jeans. They showed off my butt and I loved them because they were Mudd jeans. I was so lucky to find them at the thrift store. The bus lurched a few times and the fumes were pretty bad. Usually, I would get nauseous on the bus ride, but that week I had felt pretty good. It was great, like I wasn’t even pregnant, and on the bus that day, I remember pretending in my head that I wasn’t going to have a baby at all. I imagined myself selling all kinds of Mary Kay make-up and winning a cruise and a pink car. Sometimes, I even pretended that I was going to college and when I graduated my parents and all the ‘cholos’ from the neighborhood that talk shit about me, came and saw me. After the ceremony, they all hugged me and told me how wrong they were about me and apologized for being mean. Then they all asked to borrow money from me and I looked them straight in the eye and said, “No.”

The bus came to Teresa’s stop and she said goodbye and wished me luck at the clinic. I watched her exit the bus and walk down the sidewalk. I began to think about what Teresa had said about Rico and the hitting. I spent a lot of time defending Rico, but the truth was, I think a lot of the time Rico started the fights on purpose, just so he could get mad and stomp out of the house. While he was out, he would go down to the club and hang out with Spider to “cool down.” That way, he got out of the house without me nagging him about him spending more time with Spider than with me. If I complained about it later, he would say he was planning on spending time with me until I started a fight and drove him away. I used to believe him when he said that stuff and I wondered why I was always nagging him. After being with Rico for about a year, I started to realize that he was getting me all worked up on purpose. So after that realization, I ignored him. He didn’t like being ignored. I think that’s when the hitting started. He couldn’t get me to nag him or fight with him because I was ignoring his comments and he got really mad. The first time I ignored him, he swung his fist at me hard, landing his knuckles on my jaw. After hitting me that day, he went to Stephanie’s apartment and stayed the whole night. Eventually, I learned to fight with him, but just a little bit, so he would just go hang with Spider. If I fought too much or ignored him completely, he'd hit me then run to Stephanie, saying it was my fault.

When I first got pregnant, I was excited because I thought he would dump Stephanie for sure and we would start a family together, maybe even get married. But now I was just praying that he didn’t take off and leave me with this thing all by myself. If he did, my mom wouldn’t help me. The day I told her I was pregnant, she called me a whore. “You don’t deserve to have a child!” she screamed in my face.

As the bus continued to roll along, my thoughts drifted toward my older half-sister, Rosa. She was my mom’s first kid from Julio. Sometimes my dad would be gone for weeks and Julio would come around. My mom always had a lot of men, and she called me a whore. I wondered if Rosa would let me stay with her if I left Rico. I didn’t think she could afford to keep me and a baby. If I went to work, who would watch it for us? At least Rico made enough money on the street to pay for the stuff we needed, and he didn’t ask me to work or quit school. The way I saw it, I was stuck with him, bound together by the baby. This thought sometimes made me giddy with happiness and sometimes it scared me to death.

I sat in my bus seat and watched faceless people walk by on the sidewalks and colorless cars pass on the street, until finally the bus stopped and I got off. The clinic was right in front of the bus stop. It was in a really bad neighborhood. I think it was Crips territory. I pulled the sleeve of my jacket down and held the material between my thumb and forefinger, trying to hide the “13” tattooed on my wrist. It wouldn’t be a welcome sight around here. The outside of the clinic was clean, but the paint was so chipped that it was hard to tell what color it had once been. There wasn’t a sign on the top of the building; instead there was a large piece of wood leaning against the wall. It had the word “clinic” spray painted on it with an arrow pointed toward the door.

Before I walked in, I checked my purse to make sure I had the ten dollars they charged me for each visit. The room was small and it smelled like pine sol. There was a counter near the door where the receptionist sat, and a bunch of hard, plastic chairs against the opposite wall. Between the chairs and the counter was an old, wooden coffee table covered with outdated magazines.

“Name?” said the woman behind the counter. Her name tag said Stephanie. My skin crawled and I glared at her. The woman was old, at least thirty. I knew it wasn’t Rico’s Stephanie, but I still didn’t like her.

“Just what the world needs,” I thought to myself, “another Stephanie.”

“Name?” she said again, impatiently.

“Maria,” I replied as I rubbed my shoe against the baseboard of the counter.

“Uh, your full name. I need your full name,” said Stephanie with a fake smile.

“Maria Consuela Calderon,” I said, looking her in the eye with my own fake smile. “Is Dr. Hubbard in today?” I asked. “I saw her the first time I was here and I’d like to see her again.”

“Yes. She’s here, but you’ll have to take a seat and wait your turn,” said Stephanie pointing to the crowded waiting room.

I remember waiting for what seemed like hours. Finally, Stephanie poked her ugly, sour face into the room and said my name. She led me to a room in the back. It was a small room, painted white with gray trim. There was a sink and counter, an examination bed, a stool and a tray. In the corner was a machine with a little tv screen. I undressed, put on the paper gown Stephanie had given me, and sat there for awhile waiting for the doctor. As I waited, I daydreamed that I was a grown woman in a church dress with a handsome husband and a minivan. In my fantasy, the husband was standing next to me, holding my hand and suggesting baby names. I was so lost in my imagination that I didn’t hear Dr. Hubbard and her assistant enter the room.

“Hi Maria,” said the doctor. “This is Sheila. She’s a student who will be working with me for awhile. Do mind if she observes your check up?” she asked.

“No,” I lied. Dr. Hubbard asked me to lie down and put my feet into the stirrups at the end of the exam table. She and the student moved down to the end of the table, looking up my paper dress. The student asked me to scoot down to the end of the table, so I moved my butt down toward her a few inches. Then she asked me to scoot some more and then more. My butt felt the edge of the table before the puta finally said to stop. Any farther and I would’ve fallen off. Lying flat on my back with my knees in the air, I felt like I was on display at some kind of freak show, or maybe at some alien autopsy where I was the alien or maybe the baby was the alien. I remembered some sci-fi movie where the alien baby rips its way out of the mother, or host, as they called her. That’s how I felt--like a host to this alien invader.

“Have you had any problems since your first visit,” asked Dr. Hubbard.

“No,” I lied again. For some reason I felt like the bloating and the bleeding should be kept secret. I didn’t want her to ask me why I didn’t come in sooner like Teresa had asked. “I haven’t even been getting sick lately either,” I added honestly.

“Well, I’d like to do an ultrasound today,” said the doctor.

“Okay,” I said. “Will it hurt?”

“Not at all,” she explained, as she brought the machine with the little TV screen over to me. Sheila helped her get it set up and then she poured a cold, clear gel onto my stomach. She had a small thing in her hand that kind of looked like a remote control or a computer mouse and she rubbed it over my stomach. As she rubbed, she studied the TV screen carefully. Her face crinkled up and her eyes squinted at the screen.

“Turn up the volume please,” Dr. Hubbard told Sheila. I heard a crackling sound as Sheila turned a knob on the front of the TV, but I heard only a faint static. Sheila gave Dr. Hubbard a funny look and then the doctor took over, rubbing the little thing over my stomach again, this time pressing harder. I could see fuzzy, black and white blobs on the screen, but none of it made any sense to me. Sheila looked confused and worried.

“Maria, I can’t find the baby’s heartbeat,” said Dr. Hubbard. “I don’t want you to worry though. Sometimes they are just hard to pick up on the ultrasound. I’m going to try to get closer to the baby and see if we can find something that way. Okay?”

“Get closer?” I asked. My heart began pumping hard in my chest. “Is there something wrong with the baby?” I asked. All the hair on my body stood on end and my skin suddenly felt cold and prickly. I was scared, terrified, but then, suddenly, another thought flashed through my mind, “I’m free. If the baby’s gone, then I’m free.” The thought sent a shock through me and made my stomach turn. I grimaced and gritted my teeth to keep the bile down. I wanted to throw up. How could I think such an awful thing? What kind of monster am I? Dr. Hubbard saw my reaction and put her arm on my shoulder.

“It’s okay, Maria. Don’t worry about the baby. We don’t know anything yet. Just let me take a look,” she said. “We have a different kind of ultrasound wand that we can insert inside of you to press on the cervix. This will give us a better idea of what’s going on in there. It won’t hurt, but you will feel a lot of pressure. Just lie still.”

I remember laying there on the exam table, wondering if God would strike me with lightening at that very moment. My mother was right about me. I didn’t deserve a baby and I didn’t deserve Dr. Hubbard’s kindness. The doctor pressed and pushed the wand inside of me, but there was still no sound and only blobs on the screen. She finished her exam and helped me sit up so we could talk. She explained to me that the baby had died. As she spoke, my eyes filled with tears and then I started to shake. The sobs slowly took over. My body began to convulse and then lurch violently with each huge sob. I heard the gut-wrenching sounds, but they sounded far away and it took a few seconds for me to realize that the sounds were coming from me. My ears felt like they were stuffed with cotton balls, so it was hard to hear my own voice. Instead of hearing my own cries, I felt the sound waves ripple from within me, like an ocean tide beginning in my stomach and crashing out through my mouth. I collapsed into the doctor’s arms. Even now, when I remember that moment, I’m not sure why I was crying. I just know that I felt so much emotion that it was indescribable. There was no name for it. It wasn’t pain, sadness, relief, fear, shame or remorse. It was all feelings and no feelings all at the same time, an overwhelming emptiness.

Dr. Hubbard and Sheila stayed with me in the room for awhile, until I calmed down. Then the doctor told me that she wanted to schedule me for a D&C the next morning. She told me to clean up and put my clothes back on so I could talk with her in her office.

Dr. Hubbard was sitting behind her desk when I walked into her office. It was a small room with the same bare, white walls of the exam room and the same cheap furniture that was in the waiting room. Dr. Hubbard motioned for me to sit down at the desk across from her. As I sat down, my eyes focused on her certificates and degrees. They hung on the wall behind her and between them was a picture of her leaning against a minivan. In the picture, a handsome, smiling man stood behind her, making bunny ears over her head. They were both laughing.

“Maria, we scheduled you at 9 o’clock tomorrow morning for the D&C procedure,” said the doctor.

“What is a D&C?” I asked.

“It is a dilation and curettage that is performed after miscarriages,” she explained. “It's a simple procedure in which the cervix is dilated and the fetal and placental tissue is suctioned out. It's much easier than waiting for your body to expel the fetus naturally and if we do it soon we can avoid severe cramping and hemorrhaging for you. Do you have any questions about the procedure?” she asked.

“No,” I lied again. Dilation and curettage sounded so violent to me. I just stared at the picture of Dr. Hubbard and the man. Then I asked, “Why did it die?”

She came around from the back of her desk and sat in the empty chair beside me. She took my hand and explained that these things sometimes happened with first pregnancies, especially in younger women. She said that sometimes the body just doesn’t produce enough hormones to support a new pregnancy and that it was not a sign of problems with future pregnancies. Then she asked me if I had any more questions, but I only had one.

“Could the baby feel my feelings?” I asked. I really wanted to ask her if the baby could read my mind, feel my fear, my resentment. Instead, I just stared at that picture of her and her man.

Dr. Hubbard tilted her head slightly giving me a curious look. Slowly she began to shake her head. “No,” she said in a small, quizzical tone. “The fetus couldn’t feel your feelings. It was too underdeveloped to feel anything.” There was a long pause and then she asked with concern, “Maria, are you going to be okay? Is there someone we can call to come get you?”

“No,” I replied. “I’ll just take the bus.” I sat outside on the bench, waiting for the bus. I thought about taking the next bus to Reseda to stay with Rosa. Now, it would just be me. I knew she would drive me back tomorrow for the procedure and then, maybe, I could stay with her. My mom might even let me come home, but only if I left Rico for good. Besides, I didn't want to deal with her men always hitting on me. Then I tried to imagine my life without Rico. I had been with him since I was fourteen. I can’t even remember what things were like before him. Sometimes, it seemed like he was always a part of my life.

The first year we were together, for my birthday he gave me a little jewelry box with an angel on it. He said it was because I was like a beautiful angel to him, a gift from heaven. It was the first birthday present anyone had ever given me. If I could have had a baby girl, I thought to myself, I could’ve given that jewelry box to her on her first birthday and Rico could’ve read her the little train book. As I sat daydreaming of a baby and a peaceful life with Rico, the bus to Reseda arrived and the doors opened. I thought about getting up, but I felt so heavy, like I was glued to the bench. My body felt drained and my head felt kind of cloudy. Unable to decide, I just sat there. The driver stared at me for a minute and then, as if in a dream, he slowly closed the doors and the bus floated away.

The next bus would be my bus back home to Rico, the last bus of the evening. If I didn't get on it, I would have been out there in the dark for the rest of the night and that neighborhood was the worst I’d ever been in. The bus to Rosa’s house was gone and I couldn’t sit at the bus stop forever. I would have to get on the next bus. I thought about getting off at a different stop, but I wouldn’t know anyone in those neighborhoods and that was dangerous.

So, in this way my decision was made. Making no decision at all became the most pivotal decision of my life. Instead of getting on that bus, I just sat there. Why hadn't I gotten on that bus? I think I wanted to. Looking back at things now, so many years later, I know that I should have, but I didn't. I sat at that bus stop for what felt like forever, waiting for the next bus home. As I waited, I imagined another bus pulling up to the stop, a bus painted bright, sunny colors, like the Partridge Family's bus. On this bus people were singing cheerfully, “I think I can, I think I can,” and it made me feel happy inside, in spite of the tears running down my cheek.

Contributor’s Note: I am the mother of two awesome little girls and I work for Corrections Corporation of America. In my free time I enjoy writing short stories. My dream is to someday publish my own anthology.

Monday, November 16, 2009

Threnody

Poem by Cherie K. Day

The echoed knell of the church
bell rings through my ears,
penetrating my soul with
its indelible immutability.
Who am I now?

Contributor’s Note: Day is a Cerro Coso student.

Monday, November 09, 2009

Tree of Life

Painting by Kelly Pankey
Acrylic on canvas
4'x 2'6"



Contributor’s Note: I am currently a student with a few semesters behind me. I am hoping to receive a degree from Cerro Coso and then transfer to a university. I love to read and write, but I have also discovered, since attending college, that I enjoy just about every other subject I pursue in my studies.

Monday, November 02, 2009

Waxing the Moss on My Back

Essay by Kristi Goss

I had a Super Bowl party last night. This house is a disaster. Dishes are strewn around and there is the faint odor of cigarettes in the closed garage. Empty soda and beer cans are lined up on the kitchen counter. Remnants of a once whole tortilla chip are ground into the carpet. I’m stressed out but an unlikely acceptance overcomes me. Usually, I can’t concentrate with such a catastrophe surrounding me, but I have an assignment due for a college class. With a two year old boy, no sitter and limited time - I summon the energy to get started on it.

I plop down at my computer with my hot cup of coffee in my hand, staring out the window of my house. It’s a modest house, but it rests in an almost flamboyant spot and I call it home. I scored this geographical prize a few months ago. It was pure luck and it's cheap. I am content here. Did I say I’m content here? Yes, I can honestly say I’m just fine here.

I get to work and begin to type, but I'm distracted as a hummingbird lands on the feeder I’ve placed outside my window. She visits often. Her body ruffles with the chill in the air. She seems frenzied, yet curiously calm on her perch. A family of Quail waddles along the hillside looking for some food. A cottontail bunny playfully hops across the yard. Cows dot the hillside and the sizable mountains behind them vanish at the top of my windows. It’s unpleasantly cold and dark, but the storm clouds have fragmented long enough to reveal the striking rolling green hills that are in my view. Cool, bluish-grey shadows reveal intense emerald patches of grass that resemble a manicured golf course. The invented golf greens are broken up with large grey rocks and a crisp cerulean blue sky that I had painted from imagination years ago. Countless snarled oak trees and mossy boulders are scattered across the hills. I think of how permanent they are. They have no option of getting up and leaving. Everlasting and wise, they seem pleased right where they are.

A crackling fire is burning in my fireplace and my two year old son stares into the television with those annoying TV characters, the Teletubbies, giggling in the background. The noise is distracting, yet while entertaining my son it offers me a bit of time to do my “thing” with school. As I gaze out the window, I’m content and peaceful. I don’t itch to get out of this place. I love it here. This is a change for me because I’ve spent most of my adult life wanting to get out of the geographical prison I was born into.

Growing up in a small town wasn’t desirable to a girl who wanted to be a rock star and an artist. The yearning to break free has led me to some interesting places. My first break out was in my teens. I moved to Hollywood, then after a summer, moved back home. The San Francisco Bay area was home for awhile, and then I hung out with Buddhist monks in a monastery in Scotland. The culture and the old traditions of the Deep South were intoxicating too, but so was I, most of the time. It was time to go home again. I escaped to the glamorous Palm Springs. As I did many other times, I retreated into my cell. This time, I brought a visitor. As I keep typing, I look up at my beautiful and precocious son, Jack. His triumphant entry into the world has slowed my hurried approach to life. Yet, he keeps me at a speedy pace. So here I am, back again. Although, this time, it no longer feels like a sentence.

I get up to clear some cans off the counter while my son is singing along to the lyrics “I love you, you love me…” with Barney. This tune would make me nauseous at any other time in my life, but watching my two year old attempt to sing anything brings a big smile to my face. I try to refocus. I sit down and begin typing again, trying to put words to what I’m feeling and experiencing. It’s difficult to concentrate with this little guy at my feet.

It’s time to put another log on the fire. It’s time to put another load in the dishwasher. I get up for the hundredth time to check on my son who has now retreated to his room to play. He’s fine, so I sit down again at the kitchen table to get this assignment done. It doesn’t take long before Jack has wandered out of his room and is again staring at the TV. He’s hungry. I make him lunch. He seems pleased. I pour another cup of coffee and begin typing again.

As I struggle to illustrate the final points on my paper, I can’t help but look up from my computer and out at the rolling hills again. The rain clouds are returning. The overcast sky turns the colors of the landscape into a deeper and richer palette. The weather is constantly shifting, suggestive of our life on this planet. Gazing deep into the landscape, I sense a profound knowledge that I am going places. With the effort and determination of returning to school, I’m traveling in my mind. My soul knows that I’m moving towards something different - something I think I like, yet the geography is the same.

As I eagerly type the last sentence, the harried hummingbird returns to the bare-limbed tree outside. I watch her dance around. This creature is free to go wherever she wants, yet she remains here - day after day. I think she loves it here. She’s content - reminiscent of the oak trees, the mossy boulders and regardless of the cloudy days.

Contributor’s Note: Kristi Goss is a forty-one year old student returning to college to achieve a bachelor’s degree. She writes, paints, plays guitar and (at his frequent request) plays "pirate" with her two year old son, Jack.

Monday, October 26, 2009

Poetry in the Written Word

Poem by Jennifer L. Day

A drama of black and white
Creating characters of love, hate, heartache
Erratic in its conception
Fluid in its completion

Defying ways of the mind
But surrendering to the soul
As I look on that which I love
I, all the more, consider it my enemy

Contributor’s Note: I am currently a student at Cerro Coso and hope to continue studying the art of the English language. I love photography and I hope to learn more of the arts and all they entail.

Monday, June 22, 2009

Fiction Contest--Deadline July 31

Glimmer Train Press

Family Matters
A prize of $1,200 and publication in Glimmer Train Stories is given quarterly for a short story about family. Online submissions are encouraged. Submit a story of 500 to 12,000 words with a $15 entry fee by July 31. Visit the Web site for complete guidelines.

Very Short Fiction Award
A prize of $1,200 and publication in Glimmer Train Stories is given twice yearly for a short story. Online submissions are encouraged. Submit a story of up to 3,000 words with a $15 entry fee by August 31. Visit the Web site for complete guidelines.

Glimmer Train Press, 1211 NW Glisan Street, Suite 207, Portland, OR 97209. (503) 221-0836. Susan Burmeister-Brown and Linda Swanson-Davies, Coeditors. http://www.glimmertrain.org/

Monday, June 15, 2009

Fiction Writing Contest


Attention Creative Writing Community: the Tennessee Williams/New Orleans Literary Festival is accepting submissions for its Second Annual Fiction Writing Contest. The winner will recieve a $1500 prize, a $500-value VIP pass to the festival (March 24-28, 2010), publication in the New Orleans Review, and more. Open to writers who have not yet published a book of fiction. For all the details, go to tennesseewilliams.net. Sounds like a good time!

Tuesday, March 31, 2009

Creative Writing Club: Call for Writers and Literature Lovers!



Oh, the words, the words,
the achingly
inadequate
beautiful
words.

--Terry Hertzler



Allow me to introduce myself: my name is Michele Beller, and I am the new Student Editor for Cerro Coso’s online Creative Writing Club. I am very excited about having a community of fellow writers with whom I can share my love of writing and good literature. What a great opportunity! Here, we can support each other as we master our craft, bounce ideas off each other, and share resources. I look forward to some inspiration, some good reads, and I really look forward to some great discussions!

What better time than National Poetry Month (April) to shift the online Creative Writing Club into first gear and get ‘er running again? National Poetry Month is an annual celebration of the art of poetry, with the goal of increasing appreciation and support for poetry and poets. Let’s read some great poetry! Let’s write some even better poems! Let’s turn our friends and family on to the pleasures of verse! And let’s have some great fun in the process!

National Poetry Month was started by the Academy of American Poets in 1996, and has been gaining momentum every year since. Inspired by this celebration, we have many fun activities scheduled for April, like some great reads, and some fun writing exercises. Come join us! If you are already a member of Cerro Coso’s online Creative Writing Club, log on and jump in. You’ll see the site has received a spiffy tune-up and a new paint job. If you’re not a member, go here to request the enrollment key from the club’s faculty advisor, Gary Enns.

Monday, December 08, 2008

Review for Parra's After-Dinner Declarations

After Dinner Declarations
Poetry by Nicanor Parra / Translated by Dave Oliphant
Available: December 2008
Host Publications

"What is Poetry?" begins a Nicanor Parra poem that sets the stage for an experience in poetry I never knew I wanted. All right, so you have to get halfway through the book before you read this snippet of thought I'm beginning with, but sometimes we have to be in the middle to realize the value of what came before. Parra describes himself as an anti-poet and I could, at best, be described as anti-poetry. Don't get me wrong, I like some of it, and my generalized opinions haven't miraculously changed due to this reading, but I do believe a gem has been found. I think most critics can agree it's difficult to find good poetry saying something remotely interesting. What was appealing about Parra's style is that he's not pretentious, nor is he cliché.

Parra writes many of his poems in succession to each other offering you to read as if he were thinking aloud and letting his mind wander. Readers might not be familiar with many of the other authors Parra frequently mentions, but think of it as a chance to depart from the formulaic writings that are thrust into our Hollywood society and jump into new ideas for your next booklist. It doesn't take away from the experience. Parra's unique way with words, if not somewhat cryptic, creates a sense of humility (sometimes self deprecating) while simultaneously pompous. And he certainly knows how to serve up a bowl of irony that's palatable while still being thought-provoking.

In one particular poem, Parra utilizes Hamlet's most famous soliloquy, commentary sprinkled throughout for a modern context, in a blatantly honest and humorously somber look into the human condition. The genius that is "After Dinner Declarations" could only come from someone who has lived long enough to know or was born with more wisdom than he deserves. He has seen the pain of politics, life, and ignorance. And yet he maintains the outrage and innocence of a youth who has not yet seen the remainder of his poems. That sort of passion dies with "I've lived long enough to understand," "I've seen things over the course of my life," and the ever so slightly bitter and accepting; "The world is going to hell in a hand basket." He sees idealism as a requirement for young people and insanity for old, but you can't help but see sparks of optimism in his own ideas. Maybe as you reach a certain age, you're able to suppress it and by the time you pass age 70, you can afford to think like a young man/woman, provided the excuse "eccentricity" is readily available.

There are few poets (and for that matter, authors) who can illuminate a problem with such calm and normalcy to be effective in inspiring voluntary brainwork. Parra's "Remarks by the Minister in Charge" relates a social dilemma as if it were the fault of the victims, not unlike the style of Jonathan Swift's "A Modest Proposal." The creativity of this reverse psychology tickles the poetic ivories until you hear the sound of truth ringing in your ears.

The book, on the whole, is very enjoyable. In fact, I quite enjoyed this work for its honesty, complexity, irony, and entertainment, (not to be confused with modern entertainment which lacks the essential effort it takes to realize your being entertained). Parra without a doubt has a way with words, and more importantly, ideas, which explains why he has been nominated several times for a Nobel Prize. But his work speaks for itself, so, to return to the question and poem that I began with, "What is Poetry?" I step down from my podium and ask someone better than me to answer. Mr. Parra, would you mind taking the floor?

Thursday, December 04, 2008

Decoding The Love Song

T.S. Eliot’s “The Love Song of J. Alfred Prufrock” brings to life the inner workings of an aging man who worries about isolation and loneliness because he lacks a mate. With only a cursory glance, a reader might believe that this epic journey is but a mere dirge to a life which lacks love. However, deeper analysis brings forth another conclusion about this poem’s true intent. It is in fact a veiled social commentary, focusing on various aspects of human society.

Perhaps the biggest elucidation would be the plot of Prufrock itself. The speaker of the poem is a balding man who it seems cannot find love no matter how hard he tries. As he grows older, his chances become slimmer due to physical unattractiveness which is at odds with the preconceived notion of physical beauty that his community holds when courting. He lives with the knowledge that the women he seeks will say things about him like “'but how his arms and legs are thin'” (678)! Controversially, Prufrock also lets the women he sees blend together into a singular being in the respect that he has “known their eyes already, known them all” (679). Here the speaker is pointing out how all of the women have the same values in a man, and that they are in a way all the same, and thus almost gives up by not knowing how to “presume” due to the repetitive nature of the females in his world. However, eventually, later in the poem he seems to succumb to the situation by deciding that the proper way to handle his age is to take up the latest fashion, wearing the “bottoms of [his] trousers rolled” (680). Even though he still seems dejected and maintains that he will probably never find a woman, he trudges onward and carries on with his quest to attain love. This interpretation of the ending helps us see the conformity that is imposed upon a person who is for the entirety of their monologue and objector to the statues queue. He goes along with the concepts he hates only because he it seems to be the only means to his end. As such, much of his dialog can bee seen as a commentary of the social standards one has to go though for even the most minuscule prospect of love.

One way Eliot illustrates his social qualms is with the many historical references he makes, one of the most noteworthy being “In the room the women come and go talking of Michelangelo” (678). We can imagine that he is talking of perhaps the most famous Michelangelo who created the Sistine Chapel, reputed to be on of the greatest artists of all time. For approximately a hundred years now there have been rumors and evidence circulating claiming that he was a homosexual, this timeline would of course put the start of the rumors within the same time period that Eliot was writing this composition (Alberge). Homosexuality was something of a taboo practice in the early 20th century; it can be assumed that one of the most noteworthy people of all time possibly partaking in same sex relations would be the hot button for gossip. With rumors, there is no need for truth in the matter, only that people are willing to spread it to others who will do so in kind. So when a critical question is posed in the poem we “make our visit” to the place where women talk “of Michelangelo” (678). It would seem as if the speaker is saying that we as a society put the most stock in the gossip of a sewing circle, rather than focusing on what is actually important in the bigger picture. His connotations to rumors are supplemented by those of other literary classics.

Elliot makes numerous allusions to other great works including, but not limited to, Hamlet, The Bible, and Dante’s Inferno. The sheer number of references he makes is a testament to his poetic style, and simultaneously turns the poem itself into something of a social commentary in that only the learned people of the world could read and understand it. Perhaps this was intentionally done to help drive people into become more scholarly, and have a greater appreciation for the various forms of the written word. It has been suggested that he intentionally made his poetry so complex in order to pull in the reader and make them “involved” (Brooker). Is there any doubt that today almost a hundred years later, in the U.S.A, our educational system seems to be in at least quasi dire straights? Moreover, this idea can be further expounded upon when the connection is made that out of all the works both the editors Schilb/Clifford and I could not find a single one which was spawned from the mind of an American. This development helps show his lack of respect for American Literature which was riddled with Romanticism during his time period. In fact he was often noted to “[react] against Romanticism” (Brooker). Perhaps the numerous allusions he makes are in a sense a challenge to the contemporary writers of the era to change their style and become noteworthy enough to be made reference to in a literary work.

Arguably, the most interesting reference in “The Love Song of J. Alfred Prufrock” is made in the very beginning of the poem; it is a selection written in its original Italian from Dante's Inferno. This epic poem is but the fist in a three part masterpiece which chronicles a man’s trip though the various settings of the after life (Hell, Purgatory, and Heaven); the Inferno corresponding to Hell. After translation we find that the excerpt is that of a person in Hell telling Dante that no one returns from Abaddon (Eliot 677). The primary purpose for this opening line would seem to be to tell us as readers that we are already in the fiery pits even if we may not know it. But what is this Hades which Eliot wishes us to see and realize we are in? The rest of the poem would is centered on the social scene of the era with lines like “I have measure out my life with coffee spoons” (678). It is not unfathomable that Eliot might be saying that the communal environment of the time is very much like the dankest of abysses.

Yet another connection occurs in stanzas 5 and 7 in which Eliot some what mimics the biblical poem Ecclesiastes 3:1-8 by repeating the phrase “There will be time” and a pattern of listing two opposing acts such as “plant” and “uproot.” Following the allusion are various metropolitan aspects such as “yellow smoke” (smog) and “taking of toast and tea” (678). Here it is almost as if he is attempting to show us how venerated such facets of life have become, by comparing them in a biblical sense. Furthermore, he goes on to in the same list tell us of time to “murder,” an act which helps bring forth the darker connotation he seems to be going for. As it stands both these stanzas seem to cast light onto some of the “evil” areas of modern life (Brooker).

T.S. Eliot's style and life experiences give credence to the conclusion that “The Love Song of J. Alfred Prufrock” is a social commentary. “The Love Song of J. Alfred Prufrock” was the culmination of the first portion of his career, and was only preceded by a few poems titled respectively "Portrait of a Lady," "Preludes," and "Rhapsody on a Windy Night.” All four of these poems set themes that Elliot would revisit “time and time again.” This concept should be taken into account when we consider his land mark work, known as “The Wasteland” in which he “diagnosed” the troubles not only of his epoch, but of “Western Civilization” as well. His time spent as a literary critic is also quite telling as so many of his essays included “social and religious criticism.” His other works show that he has something of a predisposition for societal appraisal; it would stand to reason then that Prufrock could be thought of as a stepping stone to the greater annotations of his later career (Brooker).

T.S. Elliot has riddled this piece with social commentary galore. He has masterfully woven in many differing views on the way things were accomplished in the world then, and has managed to keep it applicable for today’s world almost a hundred years later. His primary overtone being that of reforming the dating system, we find him even going so far as to compare the dating pool to a circle of Hell. Some of his undertones use historical and biblical connections to show our dependency on rumors and ritual. He even, in a very round about way, goes so far as to make the assumption that American literature is not worthy, and that our educational system is in adequate. The surface of the brimming pot of social commentary has only been scratched, but even soaking in at this level leads me to believe that this is no mere souls lamentation of loneliness.

Works Cited

Alberge, Dalya. "Michelangelo was not gay, says scholar." The Times (London, England) (Feb 22, 1999): 8. InfoTrac Custom Newspapers. Gale. Cerro Coso Community College. 20 Nov. 2008 .

Brooker, Jewel Spears. Dictionary of Literary Biography Volume 329. Literature Resource Center. Gale. 2007. 18 Nov. 2008. Cerro Coso Community College.

Ecclesiastes 3:1-8, New International Version. BibleGateway.com. 2008. 18 Nov. 2008

Eliot, T.S.. “The Love Song of J. Alfred Prufrock.” Making Arguments About Literature. Ed. John Schilb and John Clifford. Boston: Bedford/St. Martins, 2005. 677-680.



Using Masks as Tools of Self-Discovery

The Poems Of Vikram Babu
Poetry by Jesús Aguado / Translated By Electa Arenal / Beatrix Gates
Available: January 2009
Host Publications

Say not, “I have found the truth,” but
Rather, “I have found a truth.”
Say not, “I have found the path of the soul.”
Say rather, “I have met
the soul walking upon my path.”
For the soul walks upon all paths.
-Kahlil Gibran

There exists within every culture the desire to delve into the innermost workings of human nature and expose the conflicts and hypocrisies that divide every person from his or her Self. The poet has always served as a facilitator and mentor in this task, guiding those with the fortitude and desire for such a journey through the darkest passages of their own minds. The Spanish poet, Jesus Aguado, performs this sacred charge by adopting the guise of a seventeenth-century Indian mystic and basket-weaver called Vikram Babu. In his newest book of poems titled The Poems of Vikram Babu, Aguado presents the reader with dark scenarios and sometimes rather comical situations, and then poses questions that dare the reader to explore his or her relationship to the words on the page. But why does Aguado choose the persona of an Indian mystic? And why do the poems in this collection follow such a rigid pattern? While the specific reasons why Aguado imbues his poetry with these characteristics may not be known, it can be inferred that he uses the persona of an Indian mystic to create a sense of the student/teacher relationship between the speaker and the reader. This guise also allows Aguado to detach himself from his creation, giving the poetry in this collection a distinct personality that is not necessarily defined by the author’s own emotions and convictions. The rigid structure used by Aguado may be nothing more than an example of the way in which an Indian mystic may query his students, or it may be a way of inviting the reader to compare him or herself to the subject of the poem.

The persona has always been a standard tool of many of the greatest poets throughout history. Jeannine Hall Gailey, in her essay, “Why We Wear Masks,” writes, “a persona is the “I” of a narrative or the implied speaker of a lyric poem” (1). This is, of course, a rather text book definition for an element used in writing for as many different reasons as there are writers. But Gailey goes further by explaining that the use of the persona is “an exercise in empathy and analysis” (1) that frees the writer and allows the reader to feel what the speaker feels, and see what the speaker sees. In her poem, “Phantasia for Elvira Shatayev,” poet Adrienne Rich speaks through the voice of Elvira Shatayev, leader of a woman’s climbing team who died, along with the other women in her party, while climbing Lenin Peak during a storm in 1974. Addressing her husband, the speaker lists her reasons for undertaking such a dangerous climb, and explains the depth of comradery and love the women have for each other (4). Through this persona Rich is able to convey to the reader the struggle for validation and acceptance a woman in a male-dominated society must undergo, sometimes losing her life in the process. Many of Rich’s poems are written through the personas of real people with tragic stories, inviting the reader to view these individuals as being more than just media fodder, but real people with thoughts and feelings, hopes and dreams.

There are other ways that a poet can employ the use of a persona effectively in his or her works. Some poets pose riddles, enticing the reader to guess at what mask they have chosen to wear. Emily Dickinson does this with exceptional skill. She has been everything from an insect to a cloud, hiding behind clever metaphors and hints. Sylvia Plath’s poem, “Metaphors,” does essentially the same thing, although after reading the first line most will already guess the answer. When the speaker describes herself as “a riddle in nine syllables” (726), there is not much left to puzzle over for the reader. However, the riddle may not have been Plath’s main theme, but a vehicle to drive home another message.

Vikram Babu, the persona used by Jesus Aguado in his latest book of poems, is obviously not used in the same way that the previously mentioned poets choose to incorporate theirs. Instead, Aguado has more in common with Kahlil Gibran and his poetic masterpiece, titled The Prophet. Both Aguado and Gibran channel their inspiration through spiritual teachers who are sought out by those in need of guidance and instruction. Gibran’s persona, named “Almustafa,” (3) answers questions posed by the inhabitants of the city of Orphalese, where he has lived for the past twelve years. The narrative structure employed by Gibran works to draw the reader into the poetry, but more from the perspective of a bystander that is hearing, vicariously, the teachings of Almustafa to his followers. Aguado’s speaker is given no such background information or narrative context, and the reader must create for him or herself the conditions under which these poems are presented. This approach works well for Aguado, and I found myself reading the poems as if Vikram Babu was speaking directly to me, as we both sat meditating by the banks of the river. Both Gibran and Aguado, however, use their personas similarly, to create a textbook of sorts, to guide the reader on a path of truth seeking and self-discovery.

Through Vikram Babu, Aguado dissociates his Self from his poems, making it easier for the reader to claim ownership of the ideas they contain. He is also able to transcend the boundaries of time, religious belief, and cultural constraint by donning the mask of such a benevolent character. In comparison, Gibran’s persona runs a striking parallel to the character of Jesus Christ. Even the way in which Gibran’s speaker addresses his followers is reminiscent of Christ’s sermons. But while Gibran’s speaker is addressing the inhabitants of a fictional city, Aguado’s speaker seems to be posing his questions directly to the reader.

Another important difference between Gibran and Aguado is in the way the poems are written. Gibran’s poems are free-flowing statements advocating a spiritual approach to everyday life, but Aguado’s poems are questions posed in the form of a simile, each one following a strict pattern of structure. Aguado deliberately uses the same format for all fifty of the poems in this collection, presumably to give a traditional voice to his mystic Indian speaker. But repetition is used quite frequently in poetry for a number of reasons. Some poets repeat significant phrases throughout their poems to help guide the reader’s interpretation. Others may incorporate the techniques of poetic meter to present their message in a more subtle way. Aguado’s use of repetition seems to be a way of connecting the poems to each other and to the reader. George Szirtes, author of an essay called, “Formal Wear: Notes on Rhyme, Meter, Stanza and Pattern,” says that patterns “can be the beginnings of religious vision” (5). Like the words a Buddhist monk chants in order to induce a state of pure meditation, the repeated structure in Aguado’s poems works to direct the reader’s gaze inward, until the message is completely absorbed into his or her consciousness.

One more definitive characteristic of The Poems of Vikram Babu is the use of simile found in every one of the poems. All of the poems begin with an almost identical format, such as, “Like the one who attempts” (Aguado 7). Using a Simile as structural support in these poems is a creative way of getting the reader to compare him or herself to the subject of the poem, even before the speaker asks the question, “you too?” (7). Although the use of the simile is by no means new to the poetic landscape, Aguado is able to incorporate this literary tool in such a way that the reader has no choice but to acknowledge the familiar aspects connecting him or her to the poem.

There are many different paths that lead to self-discovery, and some form of truth can be found through all of them. It is the poet’s task to create a map for the reader to consult in order to find his or her bearings in a world where society, like a thick fog, can sometimes bring fear and doubt to a confused and weary traveler. Through The Poems of Vikram Babu, Jesus Aguado has fashioned a map that will serve well the reader who decides to embark on this most serious of expeditions. The defining trait of a great poet is that “if he is indeed wise he does not bid you enter the house of his wisdom, but rather leads you to the threshold of your own mind” (Gibran 56). A debt of gratitude is undeniably owed to Electa Arenal and Beatrix Gates for translating The Poems of Vikram Babu, so that many more people around the world can now add a new and powerful tool to their inventory of indispensable equipment for the journey of self-discovery.

Works Cited

Aguado, Jesus. The Poems of Vikram Babu. Trans. Electa Arenal and Beatrix Gates. Austin: Host, 2008.

Gailey, Jeannine Hall. “Why We Wear Masks.” Poemeleon. 2008. 20 Nov. 2008.
http://www.poemeleon.org/gailey-why-we-wear-masks-essay/

Gibran, Kahlil. The Prophet. New York: Alfred A Knopf, 1994.

Plath, Sylvia. “Metaphors.” Perrine’s Literature: Structure, Sound, and Sense. Ed. Thomas R. Arp and Greg Johnson. Boston: Thomson Wadsworth, 2006. 726.

Rich, Adrienne. The Dream of a Common Language. New York: Norton, 1993.

Szirtes, George. “Formal Wear: Notes on Rhyme, Meter, Stanza, and Pattern.” Poetry 187.5 (2006): 416(9). Expanded Academic ASAP. Gale. Cerro Coso Commuity College. 20 Nov. 2008.
http://find.galegroup.com/itx/start.do?prodld=EAIM

Thursday, November 13, 2008

Met Meetings

Hi guys,this is your new blog editor Pliskin42. We have had two meetings on the KRV campus these past two Tuesdays and we came up to several difficult decisions during them.

In the first meeting we discussed very broad guidelines that we wanted to use when selecting which submissions we would want to make it into print. things that tend to denote amateur writers were to be avoided, such as overtly simple rhyme scheme.We also came to something of a agreement on how to weigh in the ratings on the number scale given already (two or more tens was defiantly worth discussion, ect). Then we eventually delved in, began judging the pieces, and weeded out those who it seemed did not to cut it. There are still a few pieces that are on the proverbial fence, so you editors who have not put in any input throw in your two cents.

During the latter meeting we came to the conclusion that since the Graphic design class is not in session this semester, and we had in the past worked hand in hand with them for art and layout design, it would most likely be best to push back production of this years Met in order make use of their services. This decisions holds a two fold benefit, the first being the aforementioned use of the classes on campus, and the second being that we can now open for new submission and hopefully flush out the few areas where we were seemingly lacking ( for instance we only had a single art submission.) As such we had to go back and come up with new deadline dates. February 28 is now the last day we will be taking submissions for this upcoming Met. March 16 is the deadline we set to have all the submissions that we have chosen in the order we wish them to appear in our final cut. March 31 is our final due date, this is the day on which we must have everything edited as well as ordered and then sent off to the Digital Imaging class for lay out and construction. After Deciding on dates we then discussed how we could foster more support. We came to the conclusion that we needed to advertise more around the various campuses here in Cerro Coso and that it could be done both by word of mouth and by creation of posters. Additionally to foster a greater following with our web based community, the ideas were thrown out to promote the blog with more contributions from the various members of the creative writing community. So all you creative writing community members who want to help make this blog great come on forward! lastly we created a couple new positions in the club, the first being the blog editor (that would be myself) and the second was that of calendar editor ( which went to Margret).

If there is any more questions, concerns, or comments feel free to let us know!
-Pliskin

Wednesday, August 27, 2008

Buffalo Carp Flash Fiction Contest

BUFFALO CARP
Quad City Arts’ Literary Magazine

*GUIDELINES for Buffalo Carp’s FLASH FICTION CONTEST*

-Prize is $250 USD, plus five copies of Buffalo Carp, Volume 6. All entries will be considered for publication.

-Send no more than three (3) flash fiction stories, each one being no longer than 600 words. ONLY unpublished flash fiction stories may be submitted.

-Entry fee is $10 for each submission of up to three (3) flash fiction stories; please make checks payable to “QUAD CITY ARTS”. All entrants will receive Buffalo Carp, Volume 6 (winning story will be published in Volume 6) with paid entry fee.

-Email submissions are accepted, but will NOT be processed until the $10 entry fee is received.

-Please include a SASE for notification and cover sheet with all contact information (name, address, phone #, and email), title of all stories submitted, and a brief bio. Name and contact information should NOT appear on the stories themselves.

-Judging will be done by the editorial staff of Buffalo Carp.

-Simultaneous submissions are accepted, as long as you notify Buffalo Carp immediately should your work be accepted elsewhere.

-Deadline for submissions is January 16, 2009. Winners will be announced February 2009.

Please send entries to:

Flash Fiction Contest
Buffalo Carp
Quad City Arts
1715 Second Avenue
Rock Island, IL 61201

OR email submissions to: buffalocarp@gmail.com

If you have questions, please contact Ryan Collins: (309) 793-1213 ext. 107, or email: rcollins@quadcityarts.com

Tuesday, August 05, 2008

Camp Shakespeare

This may seem like an advertisement, like I'm being paid to say such glowing things. But I assure you I've got nothing at stake here. This is pure love!

I've just returned from a week-long, ultra-intensive and very fun week of Camp Shakespeare at the Tony Award winning Utah Shakespearean Festival, and words, words, words can hardly describe the experience. I feel like I've just woken up form a strange dream--a dream that an Elizabethan English playhouse had been magically transported to the red sandstone mountains of Southern Utah, that Shakespeare fans and students of all ages were now traveling to Utah in droves to see stellar performances of the bard's plays, that actors and audience members alike were partying after hours in cabarets, that world renowned scholars and directors and stage designers were drawn inexplicably to Cedar City to create some of the best Shakespearean theater in the world ...


(Slide show photos by Gary Enns, Gary Graupman, and Michael Flachmann)

If you have never been to the Utah Shakespearean Festival, then you are in for a shock. There is not much that seems regional about this regional theater. For forty-six years, Fred Adams and USF supporters have been building this festival into something spectacular. The festival grounds now boast three stages, indoor and outdoor lecture spaces, concessions, and a center with bookstore and gift shop. The USF produces nine--yes, nine--plays per year. Needless to say, Southern Utah is now a magnet for professional actors, directors, and other drama professionals. For its excellence, in 2000, The USF achieved international attention when it won a Tony Award for Outstanding Regional Theater of the Year.

The Adams Memorial Theatre is the crown jewel at the USF. An open-air theater designed in the spirit of Shakespeare's Globe, it's the space of choice for traditional period productions of the plays of Shakespeare and his contemporaries. For musicals, contemporary plays, and non-traditional productions of Shakespeare, the USF utilizes the beautifully gilded indoor Randall L. Jones Theatre.

For anyone even remotely curious about the Shakespeare and the theater, Camp Shakespeare is a fantastic introduction. In five intense days, you see six plays (three of Shakespeare's and three by other playwrights and/or composers), attend seminars and classes and workshops on all things theater, and eat extremely well in SUU's beautiful and elegant Great Hall. Lodging and all meals are included. World renowned Shakespeare scholar and official festival dramaturg Michael Flachmann heads up the camp, wearing several hats--host, teacher, party coordinator, and general fun guy. And if you are a student, valuable university undergraduate and graduate credit is available through SUU and CSUB.

The 2008 Summer season that I just attended includes The Two Gentlemen of Verona, Othello, The Taming of the Shrew, Edmond Rostand's Cyrano de Bergerac, Moliere's The School for Wives, and Bock, Harnick, and Stein's popular musical Fiddler on the Roof. The highlight for me was Rostand's play directed by David Ivers. The chemistry between leads Brian Vaughn and Melinda Pfunstein was first rate and brought great pathos to this melodramatic play.

For more information on Camp Shakespeare options (including Mini CS and CS for Seniors), visit Camp Shakespeare Online. Hopefully I'll see you in Utah for Summer 2009!

Monday, July 21, 2008

Aeron's Review: Down to a Sunless Sea by Matthias Freese

Down to a Sunless Sea was a challenging and emotional read, but one I took on with interest and intensity. I saw reflections of myself, turned this way or that in the glass of the book, responding to the pictures that are so sharply and courageously drawn of people in inescapable pain, some of whom who seem to be mourning or experiencing deep anguish or torment. It was as if the book were a pool of dark water that revealed a hall of mirrors as I broke the surface in my dive into the deep.

I very much like Freese’s title for this collection, and saw it interlaced throughout the book in the deep and disturbing nature of the stories he tells. I felt drawn to many of his characters, fascinated in a tender way by their dark, even sad, yet striking portraits. To say that I felt their struggles resonating within me would be an understatement. The experience of reading the book may have been heightened somewhat for me by a recent personal loss, but even without fresh pain, reading Down to a Sunless Sea will strike in most readers that common chord of humanity, as they see so clearly before them the desolate, and yet recall the undying hope so many of us carry within.

Matthias Freese’s writing is sensitive, yet starkly illustrative of the sometimes frantic, sometimes muted angst of mental illness and emotional turmoil that his work reveals to readers. It’s as if, at certain moments, I felt the author’s voice as well as hearing it, and I responded with an array of feelings – from anger to compassion, and everything in between.

Every now and then, a turn of the phrase would capture me and take me to another level in my life as a reader. For example, in the story “Unanswerable,” the phrase “…the dead are alive in us…” really struck me – and not simply due to my recent loss, but more because “…that memory is as present as time itself…” I could feel the pain of distance and disappointment, of fear and loathing, mixed with love and confusion and loss in this story, for both the child and the man. As an anthem to numbness, I resonated with the words “…he had no there in him.”

I cannot name a favorite from among the stories; they are each unto themselves unique, and yet that golden thread unites them all and I did not find it difficult to transition from one to the other. Instead, I seemed to want more. I tend to put a book down and then pick it up again, and, true to form, I did that with this collection of stories – the natural breaks from one to the other making my habit fit easily within its covers. Still, I would find myself thinking about the last story I had read and anticipating, not in a voyeuristic fashion but in a sense of being drawn to, the next. I would pass by my study and see the book on the arm of my chair and find myself stopping in when there were other things to do.

I plan to spend more time with Freese’s stories, and encourage especially those who are interested in the mind and in exploring in more detail the inner lives of human persons to read his work. I have recently read The i Tetralogy, and found it a welcome arrival when I was ready to move on from Down to a Sunless Sea. I admit that I was not altogether willing to move on, but after a time of self-reflection, found my footing and did so, eager for more of the rich descriptions to which I had become accustomed. The i Tetralogy did not disappoint, but I did find myself wanting to revisit the intensely personal worlds of Down to a Sunless Sea.

I noted some typographical errors in the printing (errant punctuation such as a comma and period residing in the same location), but – even with my perfectionistic bent as an editor – simply wished them away. Usually, those items of housekeeping distract me when reading, and, were I to be completely honest, they did here – but they did not detract from my overall experience of this read and may have, in some spiritual way, been fitting. My attention was certainly not taken at any point from the sometimes jarring but somehow tranquil journey through the landscape of emotional and mental life, and I dare say that I came away from the reading with a new place opened up inside myself – yet another tender access to my already captivated mind and willing heart.

I congratulate Matthias Freese on a challenging work expertly done.

Aeron Hicks, reviewer
Crossfield Consulting Literary Agency
©2008