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

Friday, May 09, 2008

Drumroll please!

The moment we've all been waiting for is here at last! The release of Metamorphoses 2007-08 is finally here!

Many apologies to those of you, if any, who have not yet given up on us and are still eagerly awaiting your copies. The change in funding and everything became a little more than we could chew... in a timely manner. Switching from being a school funded production to an independent project brought on many new obstacles that proved a bit much, but we have made it at last and are thrilled to present the culmination of our efforts.

To all of those wonderful individuals and businesses who supported our funding, as well as those who contributed all the great art, poems, and stories that make up this edition, we will be sending you a copy of the journal just as soon as we can get them all packaged and labeled. We thoroughly hope you can all be as proud of the first independent edition of Met as we are, knowing that it couldnt have happened without the support and contributions of people like you! Thank you for making Met what it is this year, and we hope you will join us to see the progress in years to come and know that it all started here.

For those who are not getting copies shipped to you, you can pick yours up at the Cerro Coso campus or online at http://www.cerrocoso.edu/metamorphoses/. As I understand, we are going to try to keep this publication free of cost to CCCC students, and for non students it will be $5 per copy (plus shipping for both students and non-students if you order online). Please continue to support by telling all of your family and friends!

Id like to congratulate our cover artist, Michael Batty, both on his awesome art work and on the award he recieved at the 2008 Awards Banquet at the Ridgecrest campus yesterday. I didnt get the chance to talk with him, but he recieved recognition from the Fine Arts department as the student of the year for that subject. I have to say just from seeing your work and hearing all the great things that were said about you that you deserve it! Keep up the good work, and were proud to have your work displayed as the cover of our very first independent publication!

Wednesday, February 20, 2008

"Met" Minutes

Greetings, all! I hope you're all doing well.
No, Met has not been published yet, but when I asked Gary about it today he said "March, March March!" so hopefully that means March...
In the meantime, I would like to give you a little bit of a preview of what is to come, and maybe my reviews of a few pieces.


Photobucket

This is "Pair of Feet" by M. Batty. He is a Cerro Coso student from Ridgecrest, and I absolutely love his work. We are featuring several of his pieces, including the cover piece, which you will have to wait to see!


Photobucket


This is "Rousing the Whirlwind" but Aunia Kahn. She is one of the non- Cerro Coso students we have fought to be able to feature. We are also featuring more than one of her pieces, and each one of the pieces submitted by her have a very unique statement. I like the way she expresses herself through her work.


Photobucket


"Desert Dreams II" by Jeani Sunday. I love this piece. Not many photographs of deserted buildings make me want to be in the picture, but I almost get a feeling of weightlessness looking at this. It's beautiful.


Photobucket
"Amusing" by Donna Fitch. I have taken art classes with Donna, and she does some amazing work. This is one of my favorite pieces of hers.


COMBING by ANDREW SHELLY
I.
Stilled dusk of washed-out louring light
rain-tense day silted down to a black line of cloud on the horizon
sense how everything goes quiet and freezes
just before the storm crumbles and boils over
cloud violently colliding with itself to crush and fracture the curdled light brighter
feel how everything goes silent just before the fall of autumn or that of night
see how a life goes still and turns in on itself at evening just before it ends
as if viewed through a soundproof screen of doom-tinted glass/shade-stained glaze
element stained to slurry with black ink
cloud-streaks of blue-black aquatint
whose sleek perspectives trailing back into the sky's past
converged upon us and trapped us standing there at an odd angle to each other
drawn across the landscaped page
with a paint-drenched brush pressed firmly to the surface
shot across the ether's sheet
or dashed angrily in savage black against the feverish background greys
held back beyond the dulled rim of the looming horizon ruthlessly planed down
flush with the pert cut scar of your flat prim mouth
slowly disintegrating like a jet's ragged wake
as torn tares into the close-heated thickness of afternoon-muted light
earth line brought so near as to be a gulch between us
by the storm-borne air of haze-saturated heat/waterlogged lead
heavy as tears in a pain-soaked skull-shell of scree and sand/sunburst earthhead
rimful of intimate distance brimming with unshed, grey theatre rain
yellow-purple bruise of sunset storm-sky just before it breaks in blood
low-humming of near-pent water muted ominous booming
threatening to bulge and burst out as the first or final flood
retreating and retrenching to silt over the parched terrain
to fresh growth teeming from black mud.
II.
Stiff, dry grass in the swamp-heavy air
combed obliquely back and forth between green and paler matte lime
I stood slightly slantwise on the uneven rain-thirsty plain
rigidly ruled into plots by cotton twined round short planted stakes
pock-marked with hollows and unburst shell-holes,
I untangled your hair, as your bare face wept
unraveled the knots in your clammy hair carefully
washed out the matted strands of your hair in the river water
pecked cloth-balls from your crummy clothes ruefully
your baggy rumpled skirt and wind-shocked top
while you cried, bare-faced,
while ineptly you wept, your bald face wet
a trickle of wincing tenderness seeped out through the cracks in our broken hearts
vulnerable pulp or sap to salve the knife-cuts in the tree's bark
which slashed our sticky initials into the fresh white wood flesh
such that they oozed glue but obstinately refused to adhere together
separated by a thin line like a joy division sign
like a flat cut pert mouth primly shut and silent
me over you doesn't go or leaves a remainder of precisely zero
flung an 0 echoing down the deserted street of days in the bleak light of spastic dawn
popped us like a plastic spit-bubble
pricked to the shape of a flame-burnt scar-tissue heart by a red-hot needle
hovering over our heads forever like a trembling speech-balloon
empty but for an exclamation that twists itself up to the shape of a question mark
or an illegible rune that bursts in a pretty tinkle of little spit-specks like a teardrop tree
and vanishes into clean air, into lean air.
I dried you, while you cried, your bare shame-face
turned up to the sky which dropped a fine
freckling of scattered rain-flecks upon the pale
sliver-of moon opal thumbnail of your face's plane,
my finger chucking you lightly under the chin
tilted the beaten-thin disc of your visage's skin
slightly to the grey light the grim sky
like a jagged diamond turned slowly between fingertips
in the hard light of exact appreciation,
precise pencil-beam trained seekingly upon the smooth of your round moon-face
fused first as pixel points of dense intensity
into the surrounding dawnrise silence
as you smiled a little in the hot pre-storm half-dark
shattered blue of your eyes' metalled crystal ovals
faint against the stark zinc light
like almond-facets of pastel quartz
touched into the neuter pre-downpour twilight
bleached colorless and drained off-white like strained rinds
by a blunt thumb's end dipped in stain.
We stood slightly bent towards each other-
I stood sagging in low-slung loose trousers at an awkward angle
one foot higher than the other and skewed shoulders slanting sideways
in the spitting pre-deluge drizzle
on the stumpy marsh-land studded with clumps of hard sod
crumpling into myself like a used tissue screwed up in a fat fist
having absorbed all the snot and sweat and filth of the world
you ran off over a fence, leapt like a lamb,
heavy space weighed me down, drooping greens
all around, early haze, pre-summer moist,
rain-freighted shale while
the vivid bright stile closed its colors.


This is another one of the people who submitted that we almost didn't get to publish. Andrew Shelley is from London, and I'm glad we are able to publish this work.


PUTTING DOWN MY RAKE, I TAKE A MOMENT TO THINK ABOUT GETTING OLDER by Shawn Aprill.
September leaves fall.
Beige hand holds brown—see myself:
Fragile. One more year…


Shawn Aprill is local but is not a Cerro Coso student. All the wonderful work we wouldn't have been able to use without all the fundraising we did!

Wednesday, February 13, 2008

Coleridge’s Contribution to Creativity

To go on a voyage resonates as something fantastic and breathtaking. The word “voyage” in itself brings to mind indistinct, exotic places. However, when one reads The Rime of the Ancient Mariner by Samuel Taylor Coleridge, an expedition conveys a completely different significance. In this narrative ballad, the Mariner discloses the harrowing account of his own unforgettable voyage. The Rime of the Ancient Mariner is regarded by some as Coleridge’s greatest contribution to poetry. This work took poems to a whole new level with meter, imagery, and the never-ending quest for penance. Though one can presuppose that Coleridge was at least moderately inspired by his addiction to laudanum, this literary scholar would prefer to concentrate exclusively on the poem—isolated from all outside influence. So, please--read this poem and post your thoughts here. Do you think the old Mariner ever attains peace? What do you think is the message here?

Thursday, December 20, 2007

Letters to Ebay Twisted and Hilarious

Here's a quick review of a hilarious book I've been making my way through this Christmas break.

If you're looking for something weird, twisted, and hilarious to pass some down time, then pick up a copy of Art Farkas' (pen name of Central Valley eBay enthusiast and author Paul Meadors) Letters to eBay.

Amazon.com lists the book's key phrases as "happy bidding," "lint rollers," "deer jerky," and "depression glass" - fitting for this farcical, oftentimes obsessive, exploration of the virtual world of online consumerism.

Farkas' basis for the book is simple. According to his blog, he began "firing off crazy questions and seemingly far-fetched scenarios to eBay vendors concerning their items mixed in with a dose of TMI (too much information)." His crazy questions along with the oftentimes serious (and thus hilarious) replies from the vendors creates the core of this book.

Letters to eBay is one of those books that's just plain good to have around when there's a possibility of a few moments down time. The letters/answers are quick reads and can be taken in small doses. Farkas knows how to shape an incredibly ridiculous question with just enough detail and earnest tone to make it believable. And the unsuspecting vendors bite, responding here with good natured sincerity, there with exasperation. The questions - funny; the real-life responses - even funnier!

Keep this book around - it's worth a big laugh a day.


Tuesday, November 06, 2007

"Met" Minutes

Well, here we are, just after midterms, and still worrying away about the well being of Metamorphoses. Well, believe it or not, Met is indeed still alive and kicking, and is expected to be released (better late than never!) in December.
The fundraising went better than we ever expected it to, and thanks to all of the friends and supporters of Met, this issue will feature artists and writers from all over the world.
Despite an abundance of complications and delays, this is proving to be the best issue of Met that we could hope for!
Our publication this year will be a little bit edgy, featuring collages from an amazing artist in London, as well as some very thought-provoking work from the Cerro Coso student in Ridgcrest chosen to be featured on the cover. Our literature choices include a few pieces by the imfamous Sterling Warner, and Bakersfield's own Melinda Carroll as well. There are some really amazing writers, artists, poets, students, teachers, and dreamers being featured in this years Met.

Saturday, November 03, 2007

INDEPENDENCE DAY SUPPER, FIREWORKS AND HIGHWAYMEN part 4 by Leo F. Kohl

I now present to you the final installment of Leo F. Kohl's INDEPENDENCE DAY SUPPER, FIREWORKS AND HIGHWAYMEN.


Marty and Francois rose at dawn the next morning, while Louisa prepared them a brief breakfast and coffee, which they ate hurriedly, then went out to meet with the picking crew, which had gathered outside the main entrance to the winery. Francois, accompanied by Marty
and the members of the picking crew, walked out to the first block of grapes Francois desired to be picked first; these were the Dr Chaunac variety and the sugar content was at a high enough
level to be harvested.

“The grapes in this block should take from several days to a week to harvest and be
crushed,” Francois told Marty. “When they are through with this block, start the crew in harvesting the largest block; the ‘Catawba’ grapes!”

“Will do!” Marty replied, then asked, “When’s the winery crew due to arrive?”

“Anytime, now!” Francois answered. “Have them get the steam up in the boilers and the rollers started, so when the first vineyard wagons pull up to the hopper, they can be unloaded and the grapes started to be crushed!”

Everything proceeded smoothly until late in the morning. The winery crew had crushed the first load of De Chaunac grapes, and was ready to start on the next, when Sheriff O’Leery
and three Deputies came by the winery and were met by Francois and Marty. After shaking
hands all around, and following introductions of the Deputies to the two men, O’Leery shook his head incredulously as he exclaimed to Marty, “Don’t know how you did it, Allhoff, but you were right on the mark as to that being their hide-out!”

Marty replied, “Remember Tim! I was trained by one o’ the top Plainsman there are, Jack Lord!”

“And in that regard, you’re right on the mark as well!” O’Leery exclaimed, then went on to describe what had occurred. “We went to r Longworth’s Winery first, and he was completely bowled over when I described last night’s happenings to him! He asked me how you managed through all that happened, Francois?”

Francois replied, “Like myself, mon ami, he too, is not accustomed to violence happening so close to one’s person!”

O’Leery continued, “Anyway, we checked out the premises and found no one around or near the place. It was totally deserted! Had the warrant, but in the long run, it wasn’t needed. Searched the house an’ barn thoroughly an’ found a considerable amount o’ valuables stolen by the two in previous robberies! For a while, there, guess they had a picnic! Anyway, the folks who
had reported being robbed by the pair, will be asked to identify the bodies, and claim their property, if it’s still available and in our keeping! Have to inform the newspapers ‘bout what had happened, but as much as I can, I will not divulge your names, nor how either of you became involved!”

With a grim expression on his face, Marty told O’Leery, “Francois, I know, would very much appreciate not being involved from a local business standpoint, an’ I had enough o’ news- papers after what had happened this past Halloween!”

When O’Leery and his three deputies departed the winery, Francois and Marty continued to work with the harvest crew.

Marty had written down all the various steps and procedures he had been required to learn and carry out under Francois’ tutelage. When all that had been completed, Francois exclaimed to both of them shortly after the harvest season had ended, “All you need to know now is the bottling and tasting techniques to ensure you have developed the best vintage you can.
Over the next few weeks, I will teach you how to sample wine, determine the proper sugar content and select those casks that will be ready for bottling!”

True to his word, Francois had Marty sampling the wine, determining the sugar content in other wine vintages and learning the proper techniques required in the bottling and corking of wines. By mid-September, Marty had completed all the training that Francois could put him through, and according to Francois’ very high standards, he was considered to be an accompli- shed vintner.

About a week before Marty and Louisa were to leave Francois’ winery, Sheriff Tim
O’Leery and two of his deputies showed up at the winery and Francois asked them what they had on their minds.

“Not much!” O’Leery answered. “Heard a rumor in town that Marty an’ his wife’re gon-na be leavin’! That true?” he asked Francois.

Francois replied, “Mais oui! Yes, that is true! They will be leaving me in about a week, and head for Oakwood to be with their families for two weeks, then travel back to California, where Marty hopes to start a vineyard and winery in Coloma, where, from what he has told me, he has already purchased the land!”

At that moment, Marty and Louisa stepped out of the winery, saw O’Leery and his deputies and waved at them. When the couple approached closer to them, O’Leery commented to them, “Heard you’d be leavin’ soon, so wanted to confirm it with you! That right?”

Marty answered, “Right as rain, Tim! Headin’ home to be with our families for a couple
o’ weeks, then it’s off to California for us!”

O’Leery asked them, “How you gettin’ there?”

“Same way my brother an’ I came home!” Marty exclaimed. “On a special Wells, Fargo wagon train that carries supplies to various forts an’ outposts along the Oregon an’ California trails! In fact, our wagon train’s waitin fer us in East St. Louis!”

“That so?” O’Leery responded. “We’ll sure miss you ‘round here! Anyways, have a safe journey an’ say hello to Jack Lord for me, will you?”

“Marty replied, “Sure will! That is, if and when I get to see him!”

At that moment, Francois told O’Leery, “Mon amis, my many thanks for letting Marty in on those two road agents he shot recently, as well as keeping us out of any adverse publicity in
the local newspapers! On behalf of Pinaud’s Winery, allow me to present you with a bottle of champagne to show my thanks and gratitude!” From a case of champagne just inside the winery door, Francois removed a bottle of champagne and presented it to O’Leery. Turning, he asked the two deputies, “You like champagne?” Both men responded with a loud “Yes!!” So, Francois gave both deputies a bottle of champagne. All three thanked Francois for the champagne and shook his hand to show they were grateful. Then O’Leery shook Marty’s hand and bade he and
Louisa goodbye, and lots of luck!

In a few days, they left the winery and Francois drove them to the Railroad Depot in the Winery Carriage and Porters placed their trunks and luggage in the loading area reserved for Springfield. Marty had already purchased tickets on the stagecoach from Springfield to Oak- wood. He presented the train tickets to the Ticketmaster, who saw all was in order. The train came chugging into the station, wheezed and came to a stop in a cloud of steam, as they bade their host and employer the past five months, a very fond goodbye and wished him the very best in his winery operation.

Francois exclaimed to them, “Au revoir, mon amis! Goodby, my friends! I will miss you both! Maybe someday, I might be able to come out to California to see how you have prospered in your own grape production endeavors! Anyway, Au revoir! I wish you all the best in the
world, my friends! Marty, thank you for bing such an adept and knowing apprentice! Goodbye!”
Francois called out to them as the “All Aboard!” was shouted by all the conductors.

“Goodbye, Francois!” they called out to him as they hurried to their railroad car.
“Goodbye and good luck!”

The conductor helped Louisa up the steps, as Marty stepped on board and waved
goodbye to Francois upon entering the railroad car. The conductor escorted them to their seats, and they were no sooner seated, than the car lurched forward and they were underway back home to their families and Oakwood.

REFERENCE SOURCES.
1. McCabe, James D., Jr. “GREAT FORTUNES AND HOW THEY WERE MADE.” 1872. San
Francisco, CA, B. Hannaford & Company.