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          <addrLine>Joyner Library, East Carolina University</addrLine>
          <addrLine>East Fifth Street, Greenville NC 27858-4353 USA</addrLine>
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        <date>2012</date>
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        <p>|The REBEL<lb /><lb />East Carolina UniversityTs<lb />Literary-Art Magazine<lb /><lb /></p>
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        <p>STAFF<lb /><lb />r<lb /><lb />Robert Glover<lb />Editor<lb /><lb />Daniel OTShea<lb />Art Director<lb /><lb />Luke Whisnant<lb />Associate Editor<lb /><lb />Katherine Blackburn Murphy<lb />Business Manager<lb /><lb />Susan Hull<lb />Circulation Manager/<lb />Proof Reading<lb /><lb />Alice Leary<lb />Secretary<lb /><lb />THE REBEL is published by the stu-<lb />dents of East Carolina University.<lb />Offices are located in the Publications<lb />Center on the East Carolina campus.<lb />Inquiries and contributions should be<lb />directed to The Rebel, Mendenhall<lb />Student Center, East Carolina Univer-<lb />sity, Greenville, N. C. 27834. Copy-<lb />right © 1977, East Carolina University<lb />Student Government Association. All<lb />rights revert to the individual authors<lb />and artists, from whom_ permission<lb />must be obtained to reproduce any of<lb />the materials contained in this issue.<lb /><lb />y,<lb /><lb />Note On The Cover<lb /><lb />This yearTs cover is by Dale Verzaal.<lb />oBirds #3? is illustrated in watercolor,<lb />colored pencils, and pastels. Dale is a<lb />graduate student in Communication<lb />Arts with a minor in painting. After<lb />graduating from ECU in 1973 with a<lb />BFA degree in Communication Arts,<lb />he went to work as an illustrator for<lb />Graphicsgroup, Inc. in Atlanta. While<lb />employed there, Dale did illustrations<lb />for Arrow Shirts, Dr. Pepper, McDon-<lb />aldTs, and National Geographic. Dale<lb />has also done several cover illustrations<lb />for The New East Magazine. As a<lb />graduate studio assistant, Dale should<lb />finish his MasterTs this year at East<lb />Carolina.<lb /><lb /></p>
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          <lb />CONTENTS<lb /><lb />r<lb /><lb />Creole -\omom sjiadavel-\e)<lb />Through the Crystal<lb /><lb />Dixie Cup ....5.; Archie Gaster<lb />Midnight 620.005.0555 S. Phillip Miles<lb />OW ev-MolestleleMe)ar-W w(-\aerciealere)<lb /><lb />Breaking ....2.053. Jeff Rollins ...<lb />Chrysalis. 4.05 065665. S. Phillip Miles<lb />A Gift Refused ....... Jeff Rollins ...<lb />bight Haiku 5... os a<lb />Brick Hunting ........ Jeff Rollins ...<lb /><lb />Exit at El Sepulcro ... Robert Glover<lb /><lb />Saran © 1-1 9-0 wo) |(-\ a<lb /><lb />eoceeeeee<lb /><lb />eocoeee ee<lb /><lb />WRITERST CONTENTS<lb /><lb />The Rabbit King .... . David Gerrard<lb />_Shoeshine Chair ..... Molly Petty ...<lb /><lb />SOIN ois la Luke Whisnant .......<lb /><lb />The Attendant ....... David Bosnick<lb /><lb />eec5eee eee<lb /><lb />eoeeeveee<lb /><lb />eoeoeoeeee<lb /><lb />eec5eeee ee<lb /><lb />eceoceoeeeee<lb /><lb />eoeoeeeeee<lb /><lb />eoeeoeeee<lb /><lb />eoeoeae ee<lb /><lb />The Digs (.. 3) ee cs Gene Hollar . . 20.5...<lb />Portrait oo. 6 ee, Sue Aydelette .........<lb />is o{-10)01 (0) 6 (fe) |) Ae Cele Carnes ..........<lb />The Rain is Not<lb /><lb />Stopping... 3.5.66). G. RK. Bryant .. 2. ...53.<lb />Surting 3 02s Walter H. Johnson ....<lb />Least Expecting ...... Allison Thompson .....<lb />Takeover .......60.5. Molly Petty: ....2...4...<lb /><lb />Composition in Red ..<lb /><lb />Allison Thompson<lb /><lb />eee ee<lb /><lb />Coexistence ......... S. Phillip Miles ........<lb />The Girl with a<lb /><lb />Packsack<lb /><lb />Full of Kazoos ..... Terry Davis on... 55s<lb />Lamina 2. es; \Y, FeVaa etc a\(-&gt;.¢1 0\e(") aun<lb />Wheat Field T......... Leigh Myers .........;<lb />Glass Falling ......... aim Kittrell . 2... ees<lb />Manikin .ossaeeseca Allison Thompson .....<lb />Shadow 5 oes. 4555 Sally Brett 2.2 ....43553<lb />ShuckinT i006 ses ens Bill Harrington ........<lb />Afternoon in<lb /><lb />Late May ...:.3.; Luke Whisnant ......<lb />LOOM Oh iesciccaieds Sue Aydelette ........<lb /><lb />An Account of Events Surrounding a<lb />Certain Day :<lb /><lb />in 1922 ose ccivens dim Barnes 5... 62.0<lb />{© Ye (-s Cole. 0s oh (00) (0) 0 MIPIM g?,?-1 0-101 01-1 01-112) (0 Ean<lb />Morning. 2.66.56 |5Xe) of -) 4 an ©] (0), | an<lb />Border State<lb /><lb />Churchyard ...... Eugene A. Brunelle ...<lb />For Theresa: .....;;. defi Rollins .........<lb />Meat noe eas Peter Makuck .......<lb />WritersT Biographies ... 2.65.3. s aii<lb /><lb />mB Onl] oO<lb /><lb />reas<lb /><lb />14<lb />19<lb /><lb />yAU)<lb />Zi<lb />22<lb />26<lb />27<lb />28<lb /><lb />45 "<lb /><lb />47<lb /><lb />49<lb />51<lb />52<lb />53<lb />54<lb />55<lb /><lb />56<lb />61<lb />62<lb /><lb />62<lb /><lb />67.<lb /><lb />69<lb /><lb />7<lb />74<lb />75<lb /><lb />76<lb />77<lb />78<lb /><lb />~<lb /><lb />co<lb /><lb />ARTISTST CONTENTS<lb /><lb />Birds #3 ...:.... Dale Verzaal .....,..<lb />Birds #3 .......: | BY: (a Vi 7 |<lb />Moondance ..... Lewis Cherry .......<lb />Hunting<lb /><lb />Instinct ..... .. Laura Jackson ......<lb />Untitled .....:. Johnny Hamilton ....<lb /><lb />illustration ..... | DY-V0\(2 im @ te) 0\-- ee<lb />Untitled ....... Roger Kamereen ....<lb />illustration ..... atclepaateyare| Brown ....<lb />OM ic-acelerzel<lb /><lb />Mano cc John Morris ........<lb /><lb />_ illustration ..... | BY Ve\(-) it © he) 9-7. ae<lb /><lb />Clinging<lb /><lb />Reptiles ...... Luellen Vernon .....<lb />Untitled ........ George Brett .....:.<lb />Untitled .-..2... OY-f0) g¢(- 8) ¢-1 |<lb />Untitled ........ George Brett .......<lb />Midnight<lb /><lb />Daydream #2 . H.A. Giles .........<lb />Untitled ........ George Brett .......<lb />Untitled ..2...., HL A. Giles... 605...<lb />Untitled. ........ TE. Austin 2... 2 is.<lb />Untitled .....,.:. 5-1-1 a OM goo (YAY.<lb />Untitied ........ H. A. Giles ......:..<lb />Celestial<lb /><lb />Shipwreck .... H. A. Giles .........<lb />Untitled .....08. Tok. Aust) . 32...<lb />Untitled .: +. .2.. D. Coler 5.<lb />Moondance ..... Lewis Cherry .......<lb />Birds #7... 4.4%. Dale Verzaal ........<lb />I Met That<lb /><lb />Little Man .... Raymond Brown<lb />Billiard King .... Richard Fennell<lb />Mr. America .... David McDowell<lb /><lb />Trained Ram ... Matt Smartt ........<lb />Untitled: ..-..... TE. Austin. . 32:25;<lb />Untitled ........ | 5-3-1 a wa sore (3-7 Al<lb />i elcoyactalu ate<lb /><lb />oe (10-1 ¢-\- DY 01 -) © hs) 0-7<lb />illustration ...... Fred Channey ......<lb />Untitled .......; Ed Midaett .......:.<lb />Untitled ......,; Johnny Hamilton ....<lb />illustration ...... Matt Smartt. ......%;<lb />lwo Jima #6 =.... HA. Giles ........;<lb /><lb />ArtistsT Biographies<lb /><lb />eeoeceer ere eee wee ee we ee<lb /><lb />cover<lb />inside cover<lb /><lb />|<lb /><lb />13<lb />~14<lb /><lb />18<lb />4s)<lb /><lb />KS<lb /><lb />RRR<lb /><lb />3/7<lb />37<lb />38<lb /><lb />39<lb /><lb />76<lb />back cover<lb /><lb />50<lb />eo)<lb />60<lb />6A<lb />70<lb /><lb /></p>
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          <lb />INTRODUCTION<lb /><lb />r<lb /><lb />As is usual with a publication of this nature,<lb />tel 1 -Mu el WM ol 1-10 cat-lelemel et-leter-ScM elm ose lene iitar-vele!<lb />point-of-view during the production of this issue<lb />of the Rebel. Our main concern this year has been<lb />to offer the Rebel as a public art form and thereby<lb />establish a greater sense of communication and<lb />involvement within the university community. The<lb />magazine received a great deal of individual input<lb />from many interested students before it went into<lb />final production in an effort to offer the students of<lb />East Carolina University a quality publication<lb /><lb />involved with the literary and visual arts. We<lb /><lb />Flat see}elere mm comr-l|(olttmr-\ Mee\-eelel-) e-Me) a telMbleluctessiay<lb />community, including all students, faculty, alumni<lb />FVeveU el (se-tcjtzre Miele) ole) ac-tacMr-le Me) eyeleyaablelintieCoWer-1i<lb />rete) te MUU 0M delice oy ae)(-\el Mile ey ce(-) an Coll ey cey-Yel(-10)<lb />foreyealeeleterl nem actclaceyercn<lb /><lb />We believe artists are a vital, integral part of<lb />society and their works function as agents for<lb />cultural development, as well as merely creating a<lb />space where there was not one. We feel it is<lb /><lb />bles) oy-4 e181 ce) ay ablo("selar-lal-jcca com ot-lU-i-lemelele(-ian (oye<lb /><lb />their work and it is their responsibility to make<lb />proper use of such outlets, even at the risk of<lb />attempting to act professionally in an amateur __<lb />environment. We also realize that for some students<lb />the Rebel as an art form will always be disappoint-<lb />ing. But for those who take the time to look and<lb />read their way through this issue they should see<lb />that these selections, individually and collectively,<lb />ro (-X1-y av Me onto) ecarel acta leleye Wm detclelsireyic-yelrell (o)ac-remm co)<lb />them by hasty and unenlightened critics. We were<lb />often reminded of a quote from the late Louis<lb />Armstrong: oIf you arenTt making mistakes you<lb />arenTt learning,? and above all, this publication<lb />represents a learning experience on every front. "<lb /><lb />The Rebel is particularly grateful to some<lb />local merchants who made our literature and art<lb />contests possible this year. Tom Haines, owner of<lb />the Attic, established the 1st Annual Attic Awards<lb />by presenting two lst place plaques and $150.00<lb />in prize money. Art and Camera contributed a<lb />$50.00 gift certificate and Silkscreens Unlimited<lb />Forey eis glolbli-xe Wt-Wn,Y40H 00 Mol 9 -Yol ail oloy del l-1e I Coy ar-lat<lb />awards. The Ist place Attic Award for literature<lb />and $75.00 went to Allison Thompson for oLeast<lb />Expecting.? A second place prize of $50.00 went<lb />to Sue Adylette for oLoom,? and third place with<lb />$25.00 went to Molly Petty for oShoeshine Chair.?<lb />The 1st place Attic Award for art and $100.00 went<lb />to Dale Verzaal for oBirds " 7.? A second place<lb />prize of $75.00 went to John Morris for<lb />oO Wretched Man,? and third place with $50.00<lb />1-40] an Col DY ofe) ¢-1 afm @xe) (1 an (o) ama ©) olela(-ce amas Wat ¢- :<lb />were four honorable mentions in art, each receiving<lb />a $25.00 prize: Matt Smartt for oTrained Ram? "<lb />SCe\Wpneteyare ls Bit e\uvererels s)coltue ts (oye M\y (iam Wotan Blae(-<lb />Man? " H. A. Giles for oCelestial Shipwreck? "<lb />Roxanne Reep for a copper bowl, (not shown in<lb />magazine) oContainer #1.?<lb /><lb />The EditorTs thanks are gratefully extended to<lb />Bill Bass " chairperson of Illumina, the art<lb />exhibition committee as a whole, Joyner Library<lb />Valois ecole siete oleeetelemeyam\y(tele(teletclllnsyibte(-teyt<lb />Center for making the 2nd Annual Rebel Art<lb /><lb />- Show a public event. The majority of the SGA<lb /><lb />legislatorTs and the entire SGA executive council<lb />should be heralded for being aware of this<lb />publication as a communicative art form and<lb />consequently allowing it to grow with financial<lb />support. I also wish to thank this yearsT staff, all<lb /><lb />involved artists and supporters, and the printer,<lb /><lb />Theo. Davis Sons, Inc. of Zebulon, whose<lb /><lb />qualities of expertise and patience are visually evident.<lb /><lb /></p>
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          <lb />a<lb /><lb />7<lb />ay<lb /><lb />Se<lb /><lb />Ae<lb /><lb />a<lb /><lb />aN a i<lb /><lb />A<lb />.<lb /><lb />_<lb /><lb />hag<lb /><lb />Hf<lb />At<lb />A<lb /><lb />Ni<lb />:<lb />ny<lb /><lb />~<lb />a<lb />a<lb />SA<lb /><lb />'<lb /><lb /></p>
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        <p>Johnny Hamilton<lb /><lb />SHOESHINE CHAIR<lb /><lb />It leans still<lb />threaded to the side of an unpainted house<lb />by webs of summer spiders.<lb /><lb />Cotton sacs fill gaps between the slats<lb />and wood has swollen around the nails,<lb />handmade nails, rectangular and rusty<lb /><lb />they barely hold the wooden footrest<lb />or secure four legs splayed under<lb />the weight of a massive back.<lb /><lb />The rough and grainy pine of the chair<lb />never painted or stained appears<lb />solid, a<lb /><lb />sunbleached survivor of the saturday rituals<lb />to town, barber shop, the tobacco farmers<lb />doling out a dime a shine.<lb /><lb />Dare to sit among the webs<lb />and notice despite careful construction<lb />it is not a comfortable chair.<lb /><lb />Molly Petty<lb /></p>
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          <lb />ve.. They ike O alia a cop sittingT right over tele ly ite: ~when<lb />"you come across dates bridge youTd better ee in youre ane | a ra<lb /><lb />oA éet ofrom an Bungie station. AY avererely out<lb />n Saturday nights i in small towns, , and<lb /><lb />rand the hard, grimy men bak oak heve(=se the faintly up ns<lb />ights.<lb /><lb /></p>
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          <lb />I think: ThereTs no way to ever know. But Seth<lb />could have stopped there for gas that night. He<lb />could have eaten here, in this very booth, on this<lb />same seat. I decided that he did. The waitress comes<lb />and | tell her, otwo cheeseburgers, small Dr. Pepper.?<lb /><lb />When I finish eating itTs almost 8:00. I pay<lb />the one-armed man at the cash register and leave<lb />two dimes on my table. Outside, the wind has<lb />picked up; my car radio mentions otonightTs expected<lb />low, 28 degrees.?<lb /><lb />I take the four-lane boulevard through town,<lb />heading west. Nothing has changed since the last time<lb />I made this trip. I pass the Post Office and the volun-<lb />teer fire department. A long line of cars are parked in<lb />front of a tremendous white house with blazing flood-<lb />lights: the funeral home. The huge front door is open;<lb />two men and a woman in heavy winter coats are stand-<lb />ing on the porch.<lb /><lb />And now I am thinking of my mother: of how<lb />her face drained out of focus when the State Patrol-<lb />man called. How she forced herself into SethTs<lb />funeral, somehow accepting the heavy finality of a<lb />closed casket. And how my father held us and cried,<lb />and told us, oItTs alright to cry, go ahead and cry,<lb />let it out.? He paid for the funeral in monthly install-<lb />ments, and sold SethTs twisted blue Camaro to the<lb />city salvage company.<lb /><lb />As the boulevard narrows to two lanes I pass a<lb />sign that reads NOW LEAVING BURLESVILLE.<lb />The streetlights give out just past the city line and<lb />I push my headlights off and bump across the railroad<lb />tracks in nothing but first-quarter moonlight. I can<lb />see clear maybe half a mile down the tracks and<lb />right at the horizon thereTs a tiny green signal flare,<lb />right between the converging lanes of dark pines.<lb /><lb />Then ITm in the dark. I pull my lights back on,<lb />and wind through the gears until ITm taking<lb />curves at 50 and hitting 75 on the straights. No one<lb />taught me to drive like this. ItTs just the way to<lb />drive the last stretch when youTre going home; that<lb />last 15 miles you know every bump and crack in<lb />the pavement and if thereTs ever a time to let it out,<lb />thatTs it. | never saw Seth turn his Camero loose<lb />except on those last few miles. He was always careful<lb />with that car.<lb /><lb />I soar around another corner and pass an old<lb />Dodge pickup. It only takes a moment for the truck<lb />headlights to shrink into pinpoints in my rearview.<lb /><lb />I'm getting near the cut-off now. Highway 211<lb />dead-ends into 95 just before you get to our house.<lb />Slowing down for the turn I have to wonder what<lb />was going through his head. 211 runs east through<lb />nothing but pure swampland.<lb /><lb />And nobody understood that. oWhere was he<lb />going?? SethTs girlfriend asked me after the funeral.<lb /><lb />oHe was coming home from.the concert in Rock-<lb />ingham,? I said. oNext thing we knew they had<lb />found his car.?<lb /><lb />She already knew all that. She asked me again<lb />where he had been going on 211, and I told her that<lb />I didnTt know.<lb /><lb />oThereTs nothing out there for twenty miles,?<lb />she said. oWhy didnTt he just go on home??<lb /><lb />I couldnTt say anything.<lb /><lb />oWas there really a sixpack of beer in the car??<lb /><lb />oYes.? ItTs under my bed, now, gathering dust"<lb />an unopened six of Bud that I took out of the back<lb />seat. We live in a dry county. You canTt even buy<lb />beer.<lb /><lb />After the turn I have seven miles to go. I slip<lb />one of SethTs tapes"a ZZ Top"into my 8-track.<lb />Clouds have cut off the moon and itTs really dark<lb />now, this far out in the country. The land is flat with<lb />dense scrub and an occasional pine. I almost run<lb />over a family of possums trying to cross the road.<lb /><lb />And then I pick up the sign in my headlights<lb />and before ITm close enough to read it the pedal is<lb />floored and ITm doing 85 or 90 and screaming towards<lb />what the State Patrolman called othe worst curve in<lb />Benson County.? ItTs not so much a sharp turn, but<lb />the pavement is banked the wrong way and thereTs<lb />no railing between the road and the line of trees<lb />where Seth ended up.<lb /><lb />And I take it. I cut across the double yellow line<lb />and take the inside lane with the tires just wailing. For<lb />just an instant it looks like I wonTt make it, but I cut<lb />it hard and come out of the slide and then ITm past<lb /><lb />_the curve, fishtailing down the straight and gradually<lb /><lb />slowing down. Seth never got this far.<lb /><lb />I stop the car, turn around and head back<lb />towards the place my brother died: a twist on the<lb />map that I'll never know.<lb /><lb /></p>
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          <lb />ENT THT TILT TPN To x<lb /><lb />THE ATTENDANT<lb /><lb />l am the last man<lb />the woman shall ever see.<lb /><lb />The doectoris sone<lb />peeling his gloves like skin<lb />and his skin like gloves.<lb /><lb />I am left to watch the monitor<lb /><lb />blinking out her soft struggle.<lb /><lb />She is electicity:<lb /><lb />ent OVel.<lb />my mouth hollows to a kiss<lb />and I turn away.<lb /><lb />I am watching the beatings of<lb />both our hearts,<lb /><lb />There is so much I cannot do.<lb /><lb />y,<lb /><lb />David Bosnick<lb /><lb />IT<lb /></p>
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          <lb />12<lb /><lb />KEROUACTS BIRTHDAY<lb /><lb />the interior leaves run a trance to dancers<lb />there will be nihilistic mills on the milky way<lb />every dog must have its dog<lb /><lb />feints forward to search sins for satisfaction<lb /><lb />still she can be simply splayed<lb /><lb />take my answer to her question<lb /><lb />| gave her a stick to balance herself with<lb />but she thought i would use it to beat her<lb />so she held it between her legs<lb /><lb />hoping to take sons and searing grace from<lb />cold hands in the morning<lb /><lb />fancy felt time in a tempest once<lb />depilatory dreams of uneven leaves<lb />seams in the sole of dry riding tempests<lb />shakes to be born without dreams<lb /><lb />she fancied craning shoulders of a horse<lb />leaning for balance between the tempest<lb />and broken arms of acquiescence<lb /><lb />leaning once for pleasure now for leaves<lb />drunk reeling and low slumped avatars<lb /><lb />wait the advance of dreams from the ash cup<lb />gulp of the answer lies kelped with the dawn<lb /><lb />Gene Flollar<lb /><lb /></p>
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          <lb />os<lb /><lb />Roger Kamereen<lb /><lb />3<lb /></p>
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          <lb />ts Se<lb />= 6: 2 oO)<lb />ep) aD OS<lb />ee:<lb />oo &gt; = 0<lb />= 4. 6<lb />c :<lb /><lb />Se ey<lb />E252<lb />Se EES.<lb /><lb />7 @)<lb /><lb />day. §<lb /><lb /></p>
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        <p>~Then play a Hank Williams!?<lb /><lb />The woman turns back to the grill,<lb />forces bubbling steam from a patty of<lb />half-frozen meat, then peels three slices of<lb /><lb />heese from a saucer in the ice pack.<lb /><lb />The young man presses number<lb />ifteen, watches the spinning mechanism,<lb />listens to its hum. He sings along with<lb />osay heyyy, good looking . . . whaaat you<lb />got cooking ....?<lb /><lb />On the crest of a broad ridge, across<lb />the river from the cafe, a gray water<lb />tower, circumscribed by black letters<lb />that announce oSadalia Falls Mills?,<lb /><lb />during cool October:<lb /><lb />sunsets to warm her slow muscles on<lb /><lb />thick concrete slab, before the night air °<lb />gets a bite at her. ee |<lb /><lb />The dogTs master, a boy of eleven,<lb />is auburn-haired, husky, thickly-muscled,<lb />like his older brother. The boyTs new<lb />friend, David, perches beside him. David<lb />is frail, olive-complexioned, with small<lb />black eyes lost in deep cavities that<lb />appear strangely smutted.<lb /><lb />The two friends have just seated<lb />themselves. The larger boy peers down at<lb />the cafe through a pair of cardboard<lb />binoculars. He says, oThatTs DannyTs<lb />car. He got it after he got on at the mill.<lb />Just about everybody that gets on at the<lb />mill gets a new car. They got any mills<lb />in Newport News??<lb /><lb /></p>
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          <lb />16<lb /><lb />The frail boy was frightened by the<lb />climb. He has not looked down and will<lb />not look now to pick from the darkening<lb />landscape a 1953 black Ford. He will<lb />look only at his new friendTs face. In a<lb />quietly challenging manner, he answers,<lb />oThey got a shipyard in Newport News<lb />biggerTn any mill.?<lb /><lb />oYou ever see that shipyard from up<lb />this high??<lb /><lb />oNo.<lb /><lb />oYou want to see DannyTs new car<lb />through these binoculars??<lb /><lb />No.<lb /><lb />Yoon t scated up here, are your<lb /><lb />The small eyes close; the sharp dark<lb />face distorts; tears run from the smutted<lb />cavities.<lb /><lb />oOh, Lord, I reckon | better get you<lb />down from up here. Why didnTt you tell<lb />me you was scared??<lb /><lb />The part-collie bitch licks at the last<lb />of the dark boyTs tears. Relieved of her<lb />exertion, she stretches her fat neck<lb />across the frail boyTs lap and lets go a<lb />sigh.<lb /><lb />oBoy, ITm glad you was able to get<lb />down from up there. You had me scared<lb />to death too. You want to do something<lb />else??<lb /><lb />The owhat? was sullen, vengeful,<lb />yet sincerely curious.<lb /><lb />oWe can go down to the river and<lb />watch the dye run in. Come on; I know<lb />you'll like that.? The husky boy rises and<lb />motions to his new friend. oCome on;<lb />just follow me. LadybegoodTll go with<lb />us. Come on, Ladybegood.?<lb /><lb />The dye is violet, sensuous deep<lb />violet, speckled with the flaming reds<lb />and yellows of maple leaves and subdued<lb />by the browns of oaks. The sharp face<lb />brightens; the dark eyes widen; his new<lb />friend smiles.<lb /><lb />oThey run at least three or four<lb />colors out almost every day. Sometimes<lb />moreTn that"right about dark. We can<lb /><lb />come here all the time. See where some<lb />greenTs been put out already and run<lb />down the river yonder? There'll probably<lb />be more colors, but it'll be too dark to<lb />see them. LetTs go, anyway; I want to<lb />ride by the cafe and see if DannyTll buy<lb />me a hot dog. Come on: I'll bet heTll<lb /><lb />buy you one too.?<lb /><lb />Ladybegood trots behind the bicycles<lb />for a while, then turns into the woods,<lb />slows to her natural pace, and follows a<lb />familiar trail toward home.<lb /><lb />The cafe is empty; the music is loud<lb />"a spirited bluegrass piece without<lb />vocal. The two boys sit on tall wooden<lb />bar stools and watch the revolving beer<lb />clock, a brassy imitation of a gold pocket<lb />watch. The music ends; the larger boy<lb />pounds the bar with an empty beer can.<lb /><lb />A womanTs voice comes from the<lb />back room. oWho in the hell is that on a<lb />Tuesday??<lb /><lb />More music. The woman appears in<lb />an archway, buttoning the top button<lb />or her umiormn. Oh! ... Phiip Lee!<lb />Philip Lee! . . . what you doinT in here??<lb /><lb />o?'m looking for my brother,<lb />Danny.?<lb /><lb />oDenay! on! Danny Well<lb />Danny ainTt in here, Philip Lee. Danny<lb />was in here awhile ago, but he left. |<lb />think he must of gone up through the<lb />village. ProbTbly . . . probTbly on some<lb />little girlTs porch courtinT by now. You<lb />better gTon home now fore the mosqui-<lb />toes get you, Philip Lee . . . WhoTs at<lb />boy you got with you??<lb /><lb />oDavid.?<lb /><lb />oDonTt you know betterTn be bringinT<lb />no little boys in here with you? DonTt you<lb />bring nobody like him in here with you<lb />from now on; you hear me??<lb /><lb />oDavidTs from Newport News. He<lb />aint nO.<lb /><lb />oIT donTt care where heTs from; donTt<lb />you be bringinT him in here no more.<lb />What was you thinking of, Philip Lee?<lb />YouTre old enough to know betterTn Tat.<lb />Now get Tim out of here.?<lb /><lb />Philip Lee nudges David toward<lb />the glass door.<lb /><lb /></p>
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          <lb />oY'all ought not be wandering<lb />around after dark no way. Some Tem<lb />mosquitoes carries diseases.?<lb /><lb />David is first through the door. The<lb />woman calls Phillip Lee back into the<lb />cafe. She motions for him to lean across<lb />the counter. Her nose wrinkling into a<lb />smile, she whispers, oYou come in here<lb />tTmar and I'll fix you a hot dog and give<lb />you a grape. But donTt you ever bring<lb />~at boy back in here. I donTt mind,<lb />myself, but Mr. Thompson would have a<lb />fit. You come back tTmar now, okay??<lb /><lb />Philip Lee and David look the black<lb />Ford over carefully. oI know itTs DannyTs.<lb />Danny ainTt off walking when heTs got<lb />a car.? Philip Lee climbs on his bicycle,<lb />then looks back at the glass door. oJ<lb />wouldnTt even take no hot dog from that<lb />old liar. Danny would of bought us<lb />something if sheTd of told me where he<lb />went. Somebody might of come by<lb />and he went off with Tem.?<lb /><lb />David wants to go home, but his<lb /><lb />new friend easily convinces him to ride up<lb /><lb />the hill and through the village, along<lb /><lb />the new row of mill-owned, clapboard<lb />houses. oYou ainTt got to go home Tcause<lb />she told you to. She canTt tell us what to<lb />do.<lb /><lb />The streetlights, bare bulbs that dip<lb />from wires at irregular intervals, wash the<lb />wooden porch chairs and potted ferns<lb />with gray over gray. Withering blue<lb />petunias and curious yellow dogs<lb />give up their hue to the smoky<lb />shadow. oI should of known better<lb />than to listen to her. AinTt nobody<lb />going to be setting on the porch with<lb />the mosquitoes rising.?<lb /><lb />The boys coast back down the hill<lb />to the cafe. Philip Lee leaves his bicycle<lb />at the roadside and creeps across the<lb />gravel lot. He peeps through the door:<lb />the cafe is empty. The mosquitoes buzz<lb />around the place in an October frenzy.<lb /><lb />Philip Lee takes a flashlight from<lb />the back-porch shelf. He crosses the<lb /><lb />yard in darkness, then presses the red<lb />button. He kneels and aims the beam<lb />into LadybegoodTs shelter: her brown<lb />eyes sparkle. A lone mosquito circles<lb />in front of the light, then ducks inside<lb />the doghouse. Philip LeeTs feet feel the<lb />chill of the October dew; he races back<lb />to the house.<lb /><lb />He changes into his pajamas, spreads<lb /><lb />a quilt near the oil heater, and watches<lb />the Texaco Men dance and sing. He<lb />laughs as Milton Berle enters the studio<lb />from the rear, dressed in womenTs<lb />clothes, pursing his lips. Milton Berle<lb />keeps him laughing, makes him too<lb />alert for sleep.<lb /><lb />His mother calls from the kitchen,<lb />oPhilip, have you sprayed Philip LeeTs<lb />room yet??<lb /><lb />His father answers, oNo.<lb /><lb />His mother calls, oWell, you better<lb />do it; I want him in bed soon.?<lb /><lb />His father stretches out a yawn, then<lb />says, Son, get me the DDT.?<lb /><lb />Philip Lee brings his father the<lb />pump-sprayer from the back-porch<lb />shelf. oCan I spray it tonight?? the boy<lb />asks.<lb /><lb />His father answers, oNo, you better<lb />let me. Your mama wouldnTt like it.?<lb /><lb />99<lb /><lb />Milton Berle ends. Philip Lee is<lb />kissed tenderly by his mother, pecked<lb />at by his father, then sent to his room.<lb />He leaves the door cracked; the crack<lb />allows the odor to escape and fresh air<lb />to enter. He hears his mother talking:<lb /><lb />oPhilip, you know that family<lb />that moved into one of Willie Dunnin-<lb />gerTs houses last week"theyTre dark-<lb />skinned people with waxy-looking hair.<lb />Well, Philip Lee spent the afternoon<lb />playing with their boy. ITve been thinking<lb />all evening of ways we can discourage<lb />him without just forbidding him from<lb />running around with that boy. You know<lb />I donTt mind for myself, but people<lb />around here will look for any reason<lb />to talk. You remember what we did<lb />that time when Danny...?<lb /><lb />E/<lb /></p>
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        <p>John Morris<lb /><lb />MIDNIGHT<lb /><lb />go on.<lb />rail away<lb />Caustic witch.<lb /><lb />a lurking eye,<lb /><lb />keen as a knife,<lb />probes the night<lb />with red senses.<lb /><lb />lured to the wound<lb />like a stubborn<lb />demon,<lb /><lb />the double axe<lb /><lb />falls and falls.<lb />the sinew snaps<lb />in tough surprise.<lb /><lb />midnight is<lb />a stale triad.<lb />black void.<lb />creeping voice.<lb />kettle eye.<lb />ay<lb />S. Phillip Miles<lb /><lb />19<lb /><lb /></p>
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        <p>THE SOUND OF A HARP-STRING BREAKING<lb /><lb />othe sound of a harp-string<lb />breaking?<lb /><lb />the near microscopic furze<lb />under a leaf,<lb /><lb />onearly all the mass of an atom is concentrated in the nucleus,<lb />which occupies only a trillionth the volume of an atom,?<lb /><lb />melody-less rain at three a.m.<lb /><lb />these things tend to thrill one.<lb />Any experience<lb /><lb />that takes one to the limits<lb />of his sensibility,<lb /><lb />(Let the blood sluicing<lb />from a calfTs jugular<lb /><lb />onto my brotherTs bare belly,<lb /><lb />March morning gusts blasting<lb />a pier over the Atlantic, |<lb /><lb />and the certain coming of an<lb />aresteia of mornings;<lb /><lb />all hideous beauty saved by<lb />a sense of drama,<lb /><lb />the dramatic urge being the bodyTs<lb />for the soul,<lb /><lb />and vice versa,<lb /><lb />be my singing.)<lb /><lb />intuitively convincing one<lb /><lb />of manTs not having quite evolved<lb /><lb />beyond his need for deep chant,<lb />something to be awed by,<lb /><lb />must be sought, be the salt<lb />of our days.<lb /><lb />A nose incensed by gods<lb />still seeks their scent.<lb /><lb />Jeff Rollins<lb /><lb />20<lb /><lb /></p>
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        <p>CHRYSALIS<lb /><lb />within this season<lb /><lb />| have wintered.<lb /><lb />hard against a low sun<lb />that jealous,<lb /><lb />gnaws at my hoard of<lb />summer heat.<lb /><lb />these moon-pale nights,<lb />while i curl like an insect<lb />behind dull panes.<lb />sleeping deep as the year<lb /><lb />shuts down a dying heart.<lb /><lb />the land<lb /><lb />flat beyond my<lb />silk-heat windows<lb />whites and fades<lb /><lb />in a single blossom.<lb /><lb />i feel the weather grow<lb />more desperate.<lb /><lb />now pouring over my<lb />bones like a madman,<lb />poking my cold flesh<lb /><lb />in fixed despair.<lb /><lb />this season probes the<lb />soft underbelly of my<lb />late sleep,<lb /><lb />feels the quickening,<lb /><lb />and grieves.<lb /><lb />S. Phillip Miles<lb /><lb />ai<lb /><lb /></p>
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          <lb />Ze<lb /><lb />ec A Gift Refused<lb /><lb />by Jeff Rollins<lb /><lb />Low hills covered with November<lb />sere grass gently undulated past the<lb />windows in only slightly varying<lb />monotony. Bare oaks, elms and maples<lb />interspersed their smoke-grey limbs with<lb />the dull green of pine and fur. It was<lb />difficult for James to tell if the sky was<lb />indeed grey, or if that color was suggested<lb />rather by the tinting in the bus windows.<lb />He could not read at sixty miles an hour<lb />so the young man had to content himself<lb />with the images the moving bus had to<lb />offer.<lb /><lb />Directly across the aisle, two pro-<lb />vocatively dressed black women spoke<lb />softly. Occasionally, one would sigh with<lb />resignation and humor, oOh, good God<lb />ATMighty.? James had no idea of what<lb />could have conjured such exclamation.<lb /><lb />The poor travel in perverse luxury,<lb />he noticed. In the back of the bus a rough-<lb />eared, old-seeming man lay on the double<lb />seat drinking whiskey from a plastic<lb />bottle. He was swearing to himself, or<lb />rather to someone not with him, answer-<lb />ing for good some long dead argument.<lb />Two seats in front of James an elephan-<lb />titic, and flatulent, old woman languor-<lb />ously delected a piece of cold fried<lb />chicken.<lb /><lb />Oh, it was all so ignoble! he thought.<lb />How disgusting were these people! It<lb />seemed that their dinginess had begun to<lb />sink into his coat, his spirit. Underneath<lb />the unpleasant feeling these people<lb />produced in him there ached the bitter<lb />disillusionment of the night before with<lb />Mary, and subsuming all, (Goddamn<lb />these grey windows, this nauseating ride)<lb />was a terror he had once thought he<lb />could contain. A sharp breeze of dark<lb /><lb /></p>
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          <lb />birds winced from a tree, then settled<lb />again, invisible.<lb /><lb />He could see Mary coming out onto<lb />the patio with two tiny glasses of Kahlua,<lb />as she did so often. They would have just<lb />eaten and he would be waiting outside<lb />while she straightened up. Handing him<lb />a glass, she would then kick her shoes off<lb />onto the grey, square tiles, curl up in a<lb />deck chair and sip the liquer. How lan-<lb />guorously they had spoken those long<lb />summer nights! She was much older than<lb />he and had taught him much. oAh,<lb />Proust!? she would coo, much as if the<lb />author reminded her of even balmier<lb />evenings.<lb /><lb />He had been deeply affected by her<lb />grace, and until last night, the young man<lb />had sought to save himself as she did,<lb />with the religion of house plants and<lb />poetry, the continuous searching for the<lb />ointeresting,? the odelightful.? Even the<lb />oshocking? was admitted into this house<lb />if it wore a tasteful suit. New books? He<lb />had eaten them like so many hors-<lb />doeuvres, but they had only sharpened<lb />his hunger. Several times, at dinner, when<lb />the others were gaily chattering, his cup<lb />had rattled too much against the saucer<lb />when he had set it down, and he had felt<lb />a deep rage and then a sadness. Still, if<lb /><lb />he could only learn the way to consciously<lb /><lb />avoid his fear, to construct a safety net<lb />of opinions and attitudes, to send his<lb /><lb />thoughts no deeper than those required by<lb /><lb />the conversation at hand, then perhaps<lb />life might not be so insufferable.<lb /><lb />It would be then that he would<lb />notice his glass empty, Mary would walk<lb />inside to get another, and he would stare<lb />at the darkening leaves thinking about<lb />ProustTs marvelous style.<lb /><lb />Between the small town in which he<lb />attended the university and the small<lb />town in which his family had lived since<lb />his thrice-great grand-father had moved<lb />there, he had a three hour layover in the<lb />capital of the state.<lb /><lb />The station was of moderate size.<lb />The middle and largest part was the<lb />waiting area, lined with temporary ren-<lb />tal lockers, pay telephones, pay tele-<lb />visions, ticket booths and baggage check<lb />counters. A small gift shop adjoining the<lb />waiting area advertised pocket watches<lb />for $4.00. Golden baroque statuettes of<lb />the Eiffel Tower, the Empire State Build-<lb />ing, and the Taj Mahal filled one of the<lb />shelves, another was laden with True<lb />Confessions, Detective Story, and Teen<lb />magazines.<lb /><lb />He walked into the thickly scented<lb />bathroom and nearly tripped over an<lb />old drunk sleeping on the floor. The man<lb />was wrapped in a heavy black wool<lb />overcoat and had a scarf around his<lb />head. He had drooled on the grey lino-<lb />leum. James looked at him with disgust,<lb />then fascination, and then with a horrid<lb />feeling too personal to be merely pity.<lb /><lb />He walked into the cafeteria, chose a<lb />corner table and sat down with a cup of<lb />coffee. He had just taken a book from<lb />his satchel when a very corpulent woman<lb />holding a bag brimming with groceries<lb />noisily and with much effort entered<lb />from the coldness outside and wedged<lb />herself into the seat opposite him. She<lb />sat wheezing, and for a few seconds<lb />simply tried to compose herself. Her<lb />inflated black hair had been disturbed by<lb />the wind to the point that the teased<lb />hair had broken through in several wispy<lb />eruptions, falling in strands from the<lb /><lb />23<lb /><lb /></p>
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          <lb />24<lb /><lb />blue plastic pin with which one would<lb />have imagined she had tried to contain it.<lb />Her lipstick was very red and overly<lb />applied, reminding James of lips drawn<lb /><lb />in red crayon by some elementary-school<lb />student in parody of a particularly fat and<lb />disliked aunt. She looked at James.<lb /><lb />oI donTt believe I know you,? he said,<lb />with what he hoped was noblesse oblige.<lb />The big woman jerked her head back<lb />with laughter.<lb /><lb />oNo, honey, I donTt believe you do.?<lb />She settled the bag of groceries into the<lb />seat beside her. He could see that she<lb />wasnTt a traveler; the groceries proved<lb />that.<lb /><lb />oAlways, always it hits me when<lb />I'm busy,? the heavily breathing woman<lb />continued, onever when ITm ready.<lb />Sheesh! My kids are gonna go crazy if<lb />they donTt get their animal crackers.?<lb /><lb />She began to struggle out of her coat. The<lb />cafeteria wasnTt at all crowded and as ©<lb /><lb />if to forestall JamesTs question the woman<lb />asked one herself.<lb /><lb />oWhat are ya readinT??<lb /><lb />oAlbert Camus,? he said flatly.<lb /><lb />oOh, well, never heard of him myself.<lb />I donTt really read that much, except the<lb />ReaderTs Digest.?<lb /><lb />James saw a dirty little blond boy<lb />with a sack of papers run his fingers<lb />through the change slots in the row of<lb />telephones. He remembered the whiskered<lb />man sleeping in the bathroom. Mary<lb />crying. Who is this stupid woman anyway?<lb />he wondered, and why did she have to<lb />sit here?<lb /><lb />oHey, I tell you what,? the woman<lb />interjected, owould you like a danish? ITm<lb />famished myself, havenTt touched a thing<lb />since lunch. ITm really proud of myself,<lb />lost five pounds last week.?<lb /><lb />oNo, thank you,? responded James,<lb />little caring what the woman did now.<lb /><lb />oTl be back in a jif,? and the large<lb />woman went to the counter for her pastry.<lb /><lb />He had called Mary yesterday morn-<lb />ing to ask her to join him for some tennis<lb />before lunch.<lb /><lb />oNo, James, not today, just not<lb />today.? She had sounded as if she had<lb />been crying, her voice was weak and her<lb />attention seemed elsewhere. He had<lb /><lb />resolved to visit her that night.<lb /><lb />When he turned into her driveway<lb />he became immediately apprehensive.<lb />Every light in the house was on, all the<lb />blinds were wide open, and, though the<lb />night was an especially chilly one, the<lb />windows were all open. He walked quickly<lb />into the house. Mary, her face buried<lb />in her folded arms, sat at the kitchen<lb />table in her nightgown crying softly. He<lb />touched her, oMary.? She made no<lb />response.<lb /><lb />And then he saw the glass and pot-<lb />tery laying in shards and splinters all over<lb />the carpet. He rushed through the house.<lb />The bathroom mirror had been shattered<lb /><lb />and the tap was gushing, there was a<lb /><lb />spatter of rusty blood on the porcelain.<lb />In her study, her typewriter and papers<lb />lay scattered over the floor, and a Johns<lb />original that had been given her looked as if<lb />it had been ripped by broken glass. He<lb />ran to the kitchen. She was still crying.<lb /><lb />oMary, ITm going to call the police.?<lb /><lb />She coughed, looked up at him, and<lb />in a voice as controlled as an electric<lb />current said, oNo, James, thereTs really no<lb />reason to call the police.? She began to<lb />whimper, oIt was me.? Breaking again,<lb />~loot so mad. -Leotildm t stand i, You<lb />donTt understand. I had to get out, needed<lb />fresh air. And then I cut myself, and,<lb />oh, James, ITm so afraid.? She dropped<lb />her head back into her arms, oITm so<lb />alraicd,, oh, Goa, lm so airaid.<lb /><lb />oHere we are. A danish for me and<lb />a bagel for you. I hope you like pump-<lb />ernickel.?<lb /><lb />Thank sou; but | said | didnTt care<lb />for anything.?<lb /><lb />oDonTt be so grouchy, you look thin.<lb />A bagel never hurt anybody.? James had<lb />little patience for the garrulous woman<lb />and her cliches. She must have sensed the<lb />way he felt. oOkay, okay, lemme explain,?<lb />she resumed. oThis is gonna sound crazy,<lb />I know, youTre gonna think ITm a weirdo,<lb />but itTs the truth.? She took a deep breath.<lb />oThereTs this power, this force, this, well<lb />[ donTt really know what it is, but every<lb />once in a while it grabs me, and I mean<lb />grabs me, and directs me to someone.?<lb /><lb />oAnd this someone is me, right??<lb /><lb />oYessiree. But hereTs the good part.<lb /><lb /></p>
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          <lb />I,"well, not me, but the force,"can give<lb />you anything you want.? The young<lb /><lb />man countenanced his disbelief. oItTs the<lb />truth, really!? The woman settled back<lb />into her seat and smiling said, oAnd you,<lb />-kiddo, are the lucky winner this time.?<lb />She began to eat the pastry.<lb /><lb />oAnd just what, if you'll pardon my<lb />skepticism, does my heartTs desire cost??<lb /><lb />The woman took a slurp of coffee,<lb />oNot a dime, kiddo, itTs absolutely for<lb />free. No strings attached.?<lb /><lb />At this the young man was silent and<lb />looked down onto the table-top. Of what<lb />strange gospel could such an unlikely<lb />apostle be? Something in him thought, the<lb />woman is obviously deluded; yet, very<lb />deep within him he craved to believe her.<lb /><lb />The brisk doctor had said after<lb />examining Mary, oShe has had what lay-<lb />men call a nervous breakdown. Uncon-<lb />scious conflicts eventually do manifest<lb />themselves somehow or another. She has<lb />some sort of anxiety neuroses. I imagine<lb />the psychotherapist will recommend<lb />lengthy treatment.? She had fallen<lb />through the safety nets. Her gods had<lb />deserted her. Friends, poetry, books,<lb />music, all of that conscious control<lb />evinced in her grace had not sufficed;<lb />matches dropped in a well. Literature, the<lb />arts are only man giving his ignorance<lb />humble melody. Art is a light, but she. had<lb />mistaken it for that which must be<lb />illuminated.<lb /><lb />oWhadaya say, sweetie, what will it<lb />be?? James looked away from her. He felt<lb />broken, had felt broken for a long time,<lb />like the pieces of glass and pottery scat-<lb />tered on MaryTs carpet. Could this mod-<lb />ern-day slovenly version of a Breugelian<lb />peasant woman actually be able to make<lb />a wholeness out of these pieces? He<lb />watched the lady mash crumbs onto her<lb />fork. Or perhaps that wasnTt it at all.<lb />Buddhism, Taoism, Christianity, Confu-<lb />cianism and all the other philosophies of<lb />man might only resemble insignificant<lb />little shoots growing in the direction of<lb />some fathomlessly vital sun.<lb /><lb />He was surprised that this woman<lb />had so easily already commanded his<lb />credence. Perhaps that was part of the<lb />force. The worry he might have felt at<lb /><lb />finding in himself such gullibility, though,<lb />was displaced by profound and excited<lb />anticipation. Elements in him were already<lb />stirring that even in his most arduous<lb />introspection he had never considered.<lb /><lb />oTt can be anything?? he asked. oAni-<lb />mal, vegetable, mineral or other??<lb /><lb />oAnything, sweetie. You want a Mer-<lb />cedes, itTs yours. The ~Love of Your Life?T<lb />You oor i<lb /><lb />The young man stared at the<lb />scratched formica. oI am lost,? he uttered<lb />so low that the heavy lady could hardly<lb />hear him. oI have nothing on which I can<lb />base a true and perfect belief.?<lb /><lb />oWhat does that have to do with<lb />anything?? asked the woman, who had by<lb />now taken a hand-mirror out of her<lb />pocketbook and was engrossed in<lb />coating her lips with their fifth layer of<lb />Wax.<lb /><lb />oTam torturously uncertain.?<lb /><lb />oPoor baby!?<lb /><lb />oT cannot even enjoy my Welt-<lb />SelmmenZ. |<lb /><lb />oYou should be a specialist.?<lb /><lb />oIT could stand the absurd, the tragic<lb />if only I knew why. Or even if ~whyT is<lb />a relevant question.?<lb /><lb />oPoor thing, Dovel co io church: ©<lb /><lb />The young man was silent.<lb /><lb />oSo you want to know why?? cheer-<lb />fully piped the lady, gaily rubbing her<lb />hands together. oWell, first time ITve ever<lb />been asked for that one.? The student did<lb />not speak. oJust say the word, and in a<lb />split second you'll know why the sun<lb />rises, why the waves rush to shore and all<lb />that stuff, and your poor, little heart can<lb />rest.?<lb /><lb />But the young manTs expression had<lb />changed. He looked into her eyes for a<lb />second, pretended to check his wrist-<lb />watch, and although he had an hour yet<lb />before his departure time, said, oITm<lb />sorry, itTs time for me to go. Thank you<lb />so much for the offer anyway.? He<lb />picked up his book, hurriedly placed it in<lb />the satchel with the others and left the<lb />amazed woman. Outside the cafeteria he<lb />walked slowly among the ignoble people<lb />and curiously felt that the life of the<lb />graceless, night-journeying strangers<lb />was somehow the only life he could know.<lb /><lb />29<lb /></p>
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          <lb />26<lb /><lb />FIGHT HAIKU<lb /><lb />r<lb /><lb />Grandmom<lb />dusting the windowsill"<lb />a ladybug.<lb /><lb />Sharol E. Boyd<lb /><lb />Early morning screams:<lb />The solitary tractor<lb />followed by seagulls<lb /><lb />Molly Petty<lb /><lb />The withered petal<lb />Beneath the antique vase<lb />A brown reflection<lb /><lb />Vicki Jo Wells<lb /><lb />Night sky:<lb />a dark pine at the fieldTs edge<lb />aircraft lights drifting<lb /><lb />Luke Whisnant<lb /><lb />caged by black branches<lb />a restless yellow ochre"<lb />springtime song.<lb /><lb />Sue Aydelette<lb /><lb />Under the bridge"<lb />palms treading the concrete"<lb />chicken wire<lb /><lb />Michael F. Parker<lb /><lb />Dew outlines the lake<lb />boys, trousers rolled, long arched sticks<lb />White swans sail away<lb /><lb />Molly Petty<lb /><lb />The moon I look at<lb />is the same circle in Japan;<lb />where is my haiku?<lb /><lb />David Bosnick<lb /><lb /></p>
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        <p>BRICK HUNTING<lb /><lb />If you are young<lb />gather old bricks,<lb /><lb />the weak ones will have crumbled,<lb /><lb />the strong will still be strong.<lb /><lb />If one has clinging to it<lb />an antique spiderTs web,<lb /><lb />the dusty ruins of a<lb />dirt-dobber colony,<lb /><lb />or the papery, grey<lb />flower of a wasp-nest,<lb /><lb />that good brick is strong<lb />enough to do small jobs<lb /><lb />and will serve as well<lb />your greater purposes.<lb /><lb />Look for bricks that were<lb />once the walls of noble homes,<lb /><lb />of which important gates, fences<lb />and walkways were constructed,<lb /><lb />not for their glory, but rather<lb />because their history is deserved.<lb /><lb />Seek as well those fashioned<lb />for simpler hearth and sill,<lb /><lb />those with edges honed by<lb />pots or hinges<lb /><lb />or by the abrasions of<lb />many steps;<lb /><lb />men make well what<lb />they use themselves.<lb /><lb />If you are young<lb />gather old bricks,<lb /><lb />the strength of earlier houses<lb />can uphold your own.<lb /><lb />Jeff Rollins<lb /><lb />27<lb /><lb /></p>
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        <p>
          <lb />
          <lb />4 # 4 ~ E E ' :<lb />4 Wi a oa<lb />Raa a os * Las : a ~ :<lb />ee,<lb />hi ~ mi a eins «<lb />ne S's agian nin oR ses 3<lb />slant on sanennanerathronn manna oehuteue tenet ot ence<lb /><lb />by Robert Glover<lb /><lb />o*There must be some kindTa way outa here,T I watched a bead of sweat trickle<lb />said the Joker to the Thief, _ through the tumbled swatch of hair<lb />othereTs too much confusion, hanging limply in my face. I crouched,<lb />I canTt get no relief .. .T? still and silent, holding my breath as it<lb />(solo Biv Evel) reached the end of the longest wet strand<lb />ato Mel Utele Mm el-csiccvelamelSTLY-ValeCemmclerclacsatetel<lb />, , the light into colorful slivers before it<lb /><lb />28<lb /><lb /></p>
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        <p>
          <lb />
          <lb />became a tear of mud on my dust-caked<lb />feet. My head reared and my eyes<lb />squinted through the dry scrubble out<lb />across the baked beige earth. There was<lb />no sign of any life. The heat rose slowly<lb />in a haze so thick that all was obscure<lb />beyond a short distance. I was sure they<lb />were searching for me somewhere deep<lb />in the obscurity. I waited in the sweltering<lb />heat of noon; the only safe pocket of<lb />time in the desert.<lb /><lb />The afternoon had stretched into<lb />dullness when two men and three horses<lb />weaved their way through the heat. |<lb />struggled with numb legs as their shim-<lb />mering images grew crisper, clearer;<lb /><lb />I stood cursing their relentlessness. A<lb />moment of silence split thickly between<lb />us. I felt a twinge of defeat as they nudged<lb />toward me. My breath came in hot blasts<lb />as my tongue ran blindly over the layers<lb />of anguish that had dried in my mouth,<lb />and played frantically with the shredded<lb />skin of my lips. A sound like a green<lb />limb breaking ran through my body with<lb />every surge of blood through my veins.<lb />My last curse died in my mind as | fell to<lb />the ground clutching my knees to my<lb />chest.<lb /><lb />The hot leather saddle over which I<lb />was flung tore at my searing skin and<lb />salt from the horseTs belly peppered my<lb />blistered face. A single image welled and<lb />submerged in my brain: a woman was<lb />eating. A withered old woman with<lb />a mushy toothless face and very little<lb />hair. She was wrapped in rags and ate<lb />out of a garbage can, scraping the sides<lb />over and over again with a stick. The<lb />single image remained an island as we<lb />traveled sluggishly toward El Sepulcro.<lb /><lb />It was unclear to me how her actions<lb />related to me; was I supposed to admire<lb />her efforts? Nothing balances confusion<lb />quite as well as more confusion. These<lb />were my thoughts, my only thoughts, and<lb />even these ceased as we rode into the<lb />prisonTs quadrangle bathed in the hell-<lb />hot glow of sunset.<lb /><lb />I awoke in a cell under a pastel shaft<lb /><lb />of light that cut the darkness and illumi-<lb />nated a small crude cross chiseled in a<lb /><lb />stone of the cell wall. Some previous<lb />prisonerTs last minute attempt to quell a<lb />rising sense of mortality. Religion was<lb />vain like that. As a small child I had<lb />learned to avoid such queer experiences.<lb /><lb />As the stale scent of the old church<lb />drifted through the cold desert night I<lb />heard my leather shoes squeaking loudly.<lb />I moved across the worn wooden floor<lb />and hid in the shadow of the pulpit. A<lb />soft quiet embraced me as I crept up to<lb />the altar and opened the wooden box.<lb /><lb />It was there, lying in the box just like<lb />Alan had said. A gold cup flickered in<lb />the candle light and small bits of soft<lb />yellow light danced on the red velvet<lb />lining. I quickly closed the lid and went<lb />up the aisle with my treasure. Just think<lb />what Alan will say now when I show him<lb />what ITve got! ItTs got to be worth more<lb />than all his petty junk. HeTll be shocked<lb />that I really did it! HeTll be so jealous!<lb />The door swung suddenly open, break-<lb />ing my thoughts of grandeur, and a tall<lb />dark figure loomed in the frame of light.<lb />His calm voice sliced through my stormy<lb />excitement and confusion ran out from<lb />every shadow.<lb /><lb />oMy son, thatTs not the communion<lb />cup you have there, is it?? My chin<lb />cowered on my chest. The draped figure<lb />folded to the floor and a sinewy hand<lb />stroked the black hood from a gray head;<lb />I stared into the face of asperity.<lb /><lb />oDo you realize you have stolen<lb />from our Gracious Heavenly Father??<lb /><lb />oNo I didnTt,? I cried with sudden<lb />pleading grief. oPlease donTt hurt me.<lb />Please!? Fear was shaking my every<lb />word. oI found it! On that table up<lb />there on the stage!?<lb /><lb />oNow, now, my son,? he said chuck-<lb />ling. oNo one is going to hurt you. This<lb />is the LordTs house.? His arms stretched<lb />toward me like black wings.<lb /><lb />_ oHe wonTt catch me!? I screamed.<lb />The box hit the Father in the face and he<lb />recoiled in pain. The gold cup clattered<lb />onto the floor and rolled into the<lb />shadows of the pews as I ran out the door<lb />into the safe arms of a lazy afternoon.<lb /><lb />I sent a handful of dust billowing<lb /><lb />2g<lb /><lb /></p>
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        <p>
          <lb />
          <lb />30<lb /><lb />through the shaft of light as my fatherTs<lb />voice echoed in the shallow cell.<lb /><lb />oYou have disgraced this family<lb />beyond belief with this new little stunt of<lb />yours. ITve tried to be patient with you.<lb />God, how ITve tried! No one, absolutely<lb />no one, has tried as hard as I have to<lb />understand you. What have you got to<lb />say for yourself this time??<lb /><lb />I mumbled out a jumbled onothing?<lb />and retreated behind my dull eyes to my<lb />secret room where no one could get me.<lb />| was Safe.<lb /><lb />oNothing! Nothing!! Do you hear<lb />that, Wilma? Nothing. The thief has<lb />nothing to say.?<lb /><lb />oThief! My mother reproached.<lb />Tes only acne<lb /><lb />oThe thief never has anything to say,<lb />do you boy??<lb /><lb />oJohn, have you lost your mind??<lb />My motherTs eyes blazed as she stared<lb />at my fatherTs twisted face.<lb /><lb />oTins is tne last straw, Wilma. The<lb />boyTs getting to be a serious problem and<lb />itTs time we took some action to. curb<lb />such troublesome behavior.?<lb /><lb />oWell, calling my son a ~thiefT will<lb />solue everything, won't it?? A silence<lb />laced with gloom pressed against the<lb />walls of the room.<lb /><lb />oHeTs got to learn the difference<lb />between right and wrong.?<lb /><lb />oOh? And I suppose you can teach<lb />him the difference??<lb /><lb />oIT know what ITm doing.?<lb /><lb />odonTt think you do. You canTt<lb />punish him if he didnTt steal anything.?<lb /><lb />oHeTs as close to being a thief as he<lb />can get, Wilma. A common petty thief!?<lb /><lb />oOh, John,? she whispered desper-<lb />ately, owhat are you saying??<lb /><lb />oWhat on earth are you saying!<lb /><lb />He knew that cup wasnTt his to take. ItTs<lb />not a game any longer and he must<lb />redizetaat now 1 cant believe<lb /><lb />"ENOUGH, JOFIN- ENOUGH!!!?<lb />She jumped from her chair, shouting<lb />furiously. Her knitting fell absently onto<lb />the floor and the bright yellow knot of<lb />wool trailed out of sight under the couch.<lb />I watched the dust settling in the ensuing<lb />silence. 3<lb /><lb />oYou and I, John, and only you and<lb />I, are responsible for Johnny, and we<lb /><lb />will make the decision concerning what<lb />will be done in this matter later. That is<lb />iia, Jom<lb /><lb />oCareful, Wilma,? he gave my<lb />mother a hard cold look.<lb /><lb />oFINAL!? My motherTs voice shot<lb />through his hollow warning. She turned<lb />toward me, her eyes glinting in victory:<lb />oGo up to your room now, son. We will<lb />discuss this problem with you later.?<lb /><lb />oYes, mother,? I cried with glee as<lb />I raced past my father and bolted up the<lb />stairs under the veil of my motherTs<lb />reprieve. My fatherTs heels clicked sharply<lb />as he strode from the house. I watched<lb />him from my room, going into the night<lb />with his gray cloak flapping.<lb /><lb />I pressed my face against the rough<lb />stone and peered through the small slash<lb />in the wall of the cell. The view was a<lb />narrow strip: the top half a bright blue<lb />ebbing into another white-hot morning;<lb />the bottom half brown and cracked like<lb />a disrupted puzzle. There was nothing<lb />more.<lb /><lb />Two men pushed into my dark cell<lb />in a flood of light. They began to shackle<lb />my ankles with lead cuffs heated by the<lb />sun and joined by a heavy iron chain.<lb /><lb />It was peculiar that there was no rust. No<lb />moisture, no rust, I thought as my ankles<lb />swelled. One of the men leaned close to<lb />my face. I stared back, expressionless. |<lb />was looking into the depths of his foul-<lb />smelling mouth, through the rotting<lb /><lb />gaps in his teeth when he shouted the<lb />word oPeeg? and spat into my face. As<lb />the wad left his curled lips, I tried to<lb />divide the distance in halves so it<lb />wouldnTt reach me. I stared blankly<lb /><lb />ahead as the spittle ran down the bridge<lb />of my nose. Their hands jerked me to<lb /><lb />my feet and shoved me through the door<lb />of the cell. I stumbled in a flurry of dust.<lb />A bubble of pain burst in my right side.<lb />They grabbed the chain between the<lb />cuffs and drug me through the dirt. I<lb />surrendered to the cool peace of my room<lb />as dirt filled my ears.<lb /><lb />I awoke with a current of pain pounding<lb />through my body. I was bound upright<lb />in a wooden chair sitting before a table.<lb />A small dark man sat reading a sheaf of<lb />papers; the table trembled as he read.<lb />We were alone in the barren office. He<lb /><lb /></p>
        <pb facs="00062588_0033" />
        <p>removed his glasses and dug his fingers<lb />against his closed eyelids. His pudgy<lb />hands swept over his high forehead and<lb />flattened his sparse black hair. His eyes,<lb />heavy and red with fatigue, skipped<lb />over my face searching for the answer<lb />to his tacit question. I smiled at him<lb />broadly. He returned a weighty sigh and<lb />spoke in English.<lb /><lb />oWhat is your name, senor??<lb /><lb />we elereiet)<lb /><lb />oDo you know why you are a<lb />prisoner, Juan??<lb /><lb />Our words leaned flatly against the<lb />bare walls. I searched for the answer. The<lb />heat had erased my memory, but I was<lb />sure he knew why.<lb /><lb />oIT donTt remember. ItTs been so long<lb />Siice 1<lb /><lb />oSo long since you what, Juan??<lb /><lb />oT donTt know. ITve tried to remem-<lb />ber, I want to remember, but I canTt. I<lb />just Cant.<lb /><lb />The manTs patience broke over me<lb />like a wave.<lb /><lb />oYou killed someone didnTt you,<lb />Juan??<lb /><lb />oI"I donTt "?<lb /><lb />oYou killed someone three days ago<lb />in Guadalajara, didnTt you Juan? ThatTs<lb />what you wonTt remember, isnTt it?<lb />Answer me, Juan! You killed a woman!<lb />IsnTt that right!?<lb /><lb />A womanTs face flashed through<lb />my mind. A smile danced at the edge of<lb />her lips as her image dissolved into a<lb />gray mist. | had become bored with the<lb />manTs aimless voice. oIf I did, I donTt<lb />remember.? My pain renewed itself as I<lb />traced the lines in the cracked plaster<lb />just over his glistening head.<lb /><lb />He returned his glasses to his face<lb />and glanced over the papers on the desk<lb />before he spoke again.<lb /><lb />oJuan, you are charged with<lb />murder. I have read the evidence against<lb />you and if you have anything to say in<lb />your behalf, say it now before I pass<lb />sentence on you.?<lb /><lb />There was nothing to say. oNothing,?<lb />I mumbled. We stared at each other<lb />across the desk, but I no longer saw him<lb />or heard him. My fatherTs voice called<lb />from the dusty corners of the room:<lb /><lb />oWell, what have you got to say for your-<lb />self this time?? Nothing, nothing at all.<lb /><lb />oJuan, you are hereby sentenced"?<lb />The rope was cutting into my arms and<lb />chest o"to hang by the neck until<lb />dead"? I gently blew on the strands of<lb />hemp that had broken and jutted in<lb />every direction from the heavy coil of<lb />rope o"for the crime of murder.? |<lb />always got to sit on the yellow stool<lb />when mother cut my hair. oSentence<lb />will be executed"? her touch was like<lb />air around my ears and her voice sooth-<lb />ing, caressing o"at sunrise tomorrow.?<lb /><lb />I gently blew a part in the downy hairs of<lb />her loving arms.<lb /><lb />The afternoon sun broke through<lb />the narrow vent and spilled into the cell.<lb />The tin roof stretched loudly in the heat.<lb />The blue-green sparkle of the flies flashed<lb />as they passed back and forth through the<lb />gash of sunlight. Dull blue-green balls<lb />pulsated like bullets through my<lb />memory.<lb /><lb />I had not realized her thighs were<lb />so large and lumpy, pitted with fat and<lb />covered in blue-green bruises, until her<lb />hand raised the hem of her crumpled<lb />dress and unconsciously scratched at<lb />the back of her bare thigh. Her idle<lb />words knocked at the window as she<lb />stood staring through the grease-laden<lb />panes. I was preparing to leave Guada-<lb />lajara when she had barged into my<lb />room, demanding to know what I was<lb />doing. Her dark and sombre mood<lb />drenched the joyous commotion of my<lb />packing. My happiness sat in a dark<lb />corner like a deserted dog, while her eyes<lb />furtively searched the almost empty<lb />drawers and bureau top for some remains<lb />of herself. She used to leave things in the<lb />room as symbols of her possession, her<lb />Jewelry, pieces of clothing, and the sharp<lb />bite of her scent. These had long since<lb />vanished; sent away with the trash more<lb />than likely. She moved about the room<lb />like her words, her long fingers like thin<lb />brown snakes fondling my remains"bits<lb />and pieces of me not yet packed or use-<lb />less things waiting to be scrounged by the<lb />landlord when I left. She infected every-<lb />thing she touched with her pain. She<lb />looked at me from a distance as her<lb /><lb />31<lb /><lb />SEIT<lb /></p>
        <pb facs="00062588_0034" />
        <p>
          <lb />
          <lb />32<lb /><lb />aimless hand sent a shell sculpture<lb />shattering against the floor. It had been<lb />the last gift from my mother. The girl<lb />turned her shallow sorrow toward me,<lb />and fleeting delight darted through her<lb />eyes when she recognized the depth of<lb />my grief. My heart crackled like burning<lb />straw and her smile ripped through my<lb />patience like a thrown rock. As she was<lb />staring at her triumph, I moved behind<lb />her noiselessly and gouged her neck with<lb />a broken glass. The wound was ragged<lb />and red, her cold blood gushed and<lb />sputted as she wheeled in terror. Her<lb />mouth was open and raw. A scream<lb />gargled in her throat and her face<lb />exploded with shock as I heaved her<lb />through the window.<lb /><lb />The sun poured through the jagged<lb />window and lapped at my face with its<lb />warm tongue. I bent to watch the white<lb />shells floating like islands in a bright<lb />red sea. My reflection smiled back at<lb />me. Her blood dripped from my finger-<lb />tips as I gathered the broken pieces and<lb />dropped them out of the window where<lb />they fell like ashes, circling and spiraling<lb />until they rested on her mangled body.<lb />A crowd was gathering beneath my<lb />window, shrieking and shouting, pointing<lb />up to my window. My head began to<lb />throb and ache as if stones were pushing<lb /><lb />their way through the veins of my temples.<lb /><lb />My vision narrowed as I walked into<lb />my room and quietly shut the door.<lb /><lb />The sun had not yet risen when the<lb />priest entered my cell with two other<lb />men, his robe swirling in the dirt before<lb />me. He hovered above me, his fingers<lb />running randomly over the foreign<lb />words. His bland voice rolled through<lb />my mind like wooden barrels until I<lb />screamed at him in a wave of rage. He<lb />left with an air of piety that lingered at<lb />the door after he was gone.<lb /><lb />The two men led me through the<lb />prisonTs maze of cell blocks and nameless<lb />buildings before they left me in a small<lb />room. There was no meal, no cigar"<lb />there was nothing; a small shred of life<lb />all but lost to the vacuum that sur-<lb />rounded it and made it something.<lb /><lb />A guard entered wearing a sad smile<lb />and told me that it was time. I laughed.<lb /><lb />His tired and dirty uniform was already<lb />darkening with patches of fresh sweat as<lb />he bolted the door, crossed to the<lb />opposite door and knocked. With a<lb />deep breath I eased into my room. |<lb />smiled to myself. 1 have always been<lb />safe here. My piercing laugh cut into the<lb />guardTs back and he jumped with fright.<lb />He hurriedly dug into a grimy pocket<lb />and offered me a cigarette. I blew<lb />smoke at his sadness and stepped up<lb /><lb />to the opening that would lead me<lb /><lb />to my death.<lb /><lb />The room was dark, but it was a<lb />bright cold morning I stood gazing out<lb />on; the sun just breaking into the eastern<lb />sky with a bright orange glow. The<lb />gallows were etched on the orange-white<lb />ball and I was sure I would be dead<lb />before it cleared the horizon. A horse-<lb />drawn wagon, led by two men, pulled<lb />up in the shadows under the platform.<lb />There was a heavy silence in the square<lb />where the gallows stood, its wretched<lb />arm silhouetted against the rising sun.<lb /><lb />The sun was flooding through the<lb />doorway, filling the room, when the<lb />guard nudged me through the door way<lb />into the early morning light. I stood<lb />blinded, listening to the sharp click of<lb />heels striding evenly through the square.<lb />Leather soles padded up the gallowTs<lb />steps. Silence. The guard nudged me again<lb />and sadly whispered, oMay God be with<lb />you.? I spat and laughed as my feet<lb />quietly padded over the cool stones of<lb />the square. My toes gripped the back of<lb />the wooden steps as | climbed into the<lb />sun. I stopped short of the top step.<lb />Deep in the thin shadow of the gallows,<lb />the two men waited. A wooden box lay<lb />in the wagon and whisps of the green<lb />wood floated up between my knees. I<lb />flipped the cigarette butt into the box,<lb />listened to it hiss in the sap and took the<lb />final step. My laughter pealed through<lb />the silence as the hairy rope gripped my<lb />neck. I stared at the leather boots that<lb />had clicked across the square. A smile<lb />slowly spread like lava across my face<lb />and my empty eyes filled with laughter<lb />as they slowly raised. Death was wearing<lb />a gray cloak, a black hood-and had a<lb />quick hand.<lb /><lb /></p>
        <pb facs="00062588_0035" />
        <p>GALLERY<lb /><lb />i]<lb />|<lb />i<lb />.<lb />1<lb />|<lb />|<lb />|<lb />i<lb />|<lb />i<lb />|<lb />|<lb /><lb /></p>
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        <p>
          <lb />
          <lb />George Brett<lb /><lb />George Brett<lb /><lb />65)<lb /><lb />George Brett<lb />Luellen Vernon (p<lb /><lb /></p>
        <pb facs="00062588_0037" />
        <p>o&gt; 7<lb /><lb /></p>
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        <p>
          <lb />
          <lb />H. A. Giles<lb /><lb /></p>
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        <p>
          <lb />
          <lb />T. E. Austin<lb /><lb />Peter E. Podeszwa<lb /><lb />a<lb /><lb /></p>
        <pb facs="00062588_0040" />
        <p>x ee neg?<lb />= ue, wien<lb />3 Sa ews teak<lb />ate tte,<lb /><lb />et<lb /><lb />he Sk<lb />oe<lb />ae sah<lb /><lb /></p>
        <pb facs="00062588_0041" />
        <p>Spt "EOS MRSS SRE I SSS SIP NE IR RT A EE RI TG OIE NN ea OR ISSO<lb /><lb />T_E. Aastin<lb /><lb />H. A. Giles<lb /><lb /></p>
        <pb facs="00062588_0042" />
        <p>i<lb />i<lb />i<lb />i<lb />|<lb />i<lb /><lb />Deborah Cofer<lb /><lb />Dale Verzaal<lb /><lb />&gt;<lb />&amp;<lb /><lb /></p>
        <pb facs="00062588_0043" />
        <p>
          <lb />
          <lb />as<lb /><lb />Raymond L. Brown<lb /><lb />41<lb /></p>
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        <p>
          <lb />
          <lb />|<lb />|<lb /><lb />Richard Fennell<lb /><lb />42<lb /><lb />:<lb /><lb /></p>
        <pb facs="00062588_0045" />
        <p>
          <lb />
          <lb />
          <lb />
          <lb />i,<lb />.<lb /><lb /><lb /><lb />eee,<lb /><lb /><lb /><lb />a<lb /><lb />ae<lb /><lb />David McDowell<lb /><lb />Matt Smartt<lb /><lb />eee a<lb />oo a<lb /><lb /></p>
        <pb facs="00062588_0046" />
        <p>
          <lb />
          <lb />44<lb /><lb />iste DtGis<lb /><lb />Broken limbs in morning blue<lb />Open to dregs of cold<lb />The cretin impetus of flat training<lb />Dries to drive amaurotic<lb />And to open and gape<lb />Touch the small worn pocket and try for thanks<lb />Moisture rubs and relieves<lb />Under aimless and empty<lb />Folds the packet lies gaping<lb />For change and renewal with the breaking sad breaking<lb />Utter breaking<lb />Killed and obese the jaundiced eye breaks bleating for<lb />Emptiness to pursue the folds and catch and open and<lb />Remove pure packet from veins and rococco elbows<lb />fried in ancient fields<lb />open for concession<lb /><lb />Gene Hollar<lb /><lb />en<lb /><lb /></p>
        <pb facs="00062588_0047" />
        <p>
          <lb />
          <lb />PORTRAIT<lb /><lb />there is some gripping ache in all this<lb /><lb />his demands on me, my use of him:<lb /><lb />there is some seeping doubt that pulls, then pushes<lb />like our hands when we wrestle. and this battle"<lb />god, he lables it love in my neck at night"<lb />follows me each morning when i lightly leave him<lb />and grows like an evening shadow,<lb /><lb />tinting the blues on my pallette and hanging<lb /><lb />a weight to drag my brush down a<lb /><lb />canvas that holds my face so carefully devoid<lb /><lb />of me. until 1 wash out worryTs ashtray,<lb /><lb />pack my twisted paint and wander back to him.<lb />there is some tempting aroma in his shirt<lb /><lb />his warmth pressed lightly on my eyelids,<lb /><lb />then firm around my waist he pushes me back<lb />until 1 canTt but see his eyes and in them me.<lb /><lb />Sue Adyelette<lb /><lb />45<lb /><lb /></p>
        <pb facs="00062588_0048" />
        <p>
          <lb />
          <lb />+. E. Austin<lb /><lb /></p>
        <pb facs="00062588_0049" />
        <p>nebulous gray<lb />awakens out of folds<lb />gently reaching<lb /><lb />like baby paws<lb /><lb />from timid yellow<lb />turning flannel forms<lb />open day dreaming<lb />from inside<lb /><lb />to play<lb /><lb />on leafy memories<lb />that porch swing<lb />with light smells<lb /><lb />of mother food<lb />pleasing pampered mouths<lb />suckle honey wet<lb /><lb />in hush fringe<lb />shadow summers<lb />brown stained soft<lb />ice tea napkins<lb /><lb />soak breathy stories<lb />while sofa down<lb /><lb />and float lint pillows<lb />in candle moons<lb />where plowing lines<lb />curl in flesh sweat<lb />tobacco smiles<lb /><lb />Cele Carnes<lb /><lb />47<lb /><lb /></p>
        <pb facs="00062588_0050" />
        <p>
          <lb />
          <lb />ML ARK 0 we ee 44<lb />ee u u it, et tt4:<lb />A deed XY<lb /><lb />repre<lb /><lb />wages UA<lb />tte 444-404<lb />rere<lb /><lb />TAR reese<lb />waste Mert<lb />arar itt u Rn uu<lb />RURRAMERMM<lb /><lb />ale<lb /><lb />+e% pe<lb />a<lb /><lb />ase ci<lb />pattiritty<lb /><lb />- ob -<lb />.. ectataeseaeesesed renee a<lb />uae ee ee : : :<lb /><lb />a<lb /><lb />Peter E. Podeszwa<lb /><lb /></p>
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        <p>THE RAIN 1s NOT SIOPFING<lb /><lb />The rain is not stopping.<lb /><lb />The world outside my window glistens,<lb />And the crystal droplets<lb /><lb />Watching from the window panes<lb /><lb />Distort my view.<lb /><lb />Occasionally, the tableau is fragmented<lb />Like a completed puzzle<lb /><lb />When one of the beads bursts,<lb /><lb />And streaks to the wooden frame.<lb /><lb />The muffled monody of the rain continues.<lb />I stare pensively, reflectively,<lb /><lb />At the refracted world outside.<lb /><lb />The gray, monolithic clouds<lb /><lb />Move sluggishly across the sky,<lb /><lb />Ignoring the whip of the impatient wind.<lb />The rain is not stopping.<lb /><lb />The moroseness of the dismal day outside<lb />Softly strokes the strings of my memory;<lb /><lb />Playing a tune I thought I'd long ago forgotten.<lb /><lb />I must draw the curtain soon,<lb />Before I begin to remember the words.<lb /><lb />G. R. Bryant<lb /><lb />49<lb /><lb /></p>
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        <p>SURFING<lb /><lb />Hazed bent horizon |<lb />water walls stretch to dawnTs faint clouds<lb />faint red sun, blocked<lb /><lb />bronze hands dig water<lb />pulling with the crestTs shadow<lb />descending speed<lb /><lb />hiss of jet water<lb />fin slices vertical wall<lb />arms drop limp in crouch<lb /><lb />star dropped ribbons<lb />wrap the curling wall<lb />tube surrounds shoulders<lb /><lb />the shadowTs gut<lb />the brain of pitch black speed<lb />Bright white light!<lb /><lb />Walter H. Johnson<lb /><lb /></p>
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          <lb />52<lb /><lb />Beno! EXPEC liNG<lb /><lb />Least expecting<lb />To find hummingbirds at midnight<lb />Sipping pink blossoms"<lb /><lb />Bare feet on gravel<lb />Sharp scrapes and scratches. Then<lb /><lb />Cold, wet blades"<lb /><lb />Fencewalking over<lb />The cattle pond. Dizzying<lb />Ripples glide and glint"<lb /><lb />Finally, the swimming pond;<lb />Chilly, moonlit nudes find warmth<lb />In blankets of water"<lb /><lb />Allison Thompson<lb /><lb /></p>
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          <lb />TAKEOVER<lb /><lb />Mice move in the veins of this house.<lb /><lb />At night they scurry in nervous networks,<lb />scraping tiny nails on callous plaster,<lb /><lb />above baseboards, down chimneys, into<lb />cavities behind bricked-in fireplaces.<lb /><lb />I strip away the walls and see only<lb /><lb />a skeleton, pulsing with activity<lb /><lb />like an ant farm between two panes of glass.<lb /><lb />I restore the walls and allow the mice<lb /><lb />to go about their work. They distract me<lb /><lb />in their efforts to govern my house ...<lb /><lb />Once while I was gone, they insulated<lb /><lb />the space between the keys of my typewriter.<lb />In the ribbon chamber: four bright acorns.<lb /><lb />Molly Petty<lb /><lb />53<lb /><lb /></p>
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        <p>COMPOSITION IN RED<lb /><lb />Soak liquid red<lb /><lb />That your tongue can only sickly mimic<lb />Into a shiny wet brush until<lb /><lb />Crimson is seen between<lb /><lb />Each black bristle<lb /><lb />About to slip<lb /><lb />From the slendered end<lb /><lb />Facing your echo<lb /><lb />Eyes intent<lb /><lb />Let the tickling liquid find<lb /><lb />Your mindTs lines until<lb /><lb />Scarlet streaks bar your image from<lb />Reflection<lb /><lb />And someone else is captured<lb /><lb />In crimson cobwebs<lb /><lb />Allison Thompson<lb /><lb />54<lb /><lb /></p>
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          <lb />COEXISIENCE<lb /><lb />i call upon you for<lb />a final release.<lb /><lb />it does not come.<lb />you curl with the<lb />smug indifference<lb />of a cat.<lb /><lb />the inner workings<lb />subtle and gapped,<lb />hidden from the<lb />casual glance.<lb /><lb />this evening takes on<lb />the stuffed coils of<lb />summer,<lb /><lb />though we carry the<lb />damp back of December<lb />to its cold conclusion.<lb /><lb />lover?<lb /><lb />It is NO use.<lb /><lb />the word rattles<lb /><lb />and repeats like<lb /><lb />a pebble in a tube.<lb />a strange sound.<lb />out of sync with<lb /><lb />the still-warm stares.<lb /><lb />this divides us with<lb />slow madness.<lb /><lb />| file each ~loverT<lb />with the others i<lb />have used in love.<lb />the display case<lb />grows soon crowded,<lb />a constant bickering<lb />for air.<lb /><lb />but<lb /><lb />your words touch me<lb />as sharply.<lb /><lb />they trail a stain<lb /><lb />that congeals and<lb />grows ghastly.<lb /><lb />as our effort to give<lb />withdraws in growing<lb />feebleness,<lb /><lb />i fine meow that | have<lb />sold too much to live<lb />alone.<lb /><lb />for you,<lb /><lb />the pitch we live<lb />Is perfect.<lb /><lb />for me<lb /><lb />It wears too much<lb />the old face of my<lb />troubled sleep.<lb /><lb />J<lb /><lb />S. Phillip Miles<lb /><lb />50<lb /><lb /></p>
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        <p>ELE<lb />~ cea ~ : ~<lb />~ . Te y ve ~ co<lb />- AN ae a "<lb />a ce " \ "<lb />o : : oe o co a<lb />ee ~ : \ eo : ce re<lb />~ o ae \ vod a : ce oe . SS a<lb />~ : o ca ae ee co<lb /><lb />CAN ~<lb />Ce<lb />"<lb /><lb />a<lb /><lb />Aas<lb /><lb />OS :<lb />_ o : " Ta<lb />RAC iN ~ SRE SANG<lb />Ss ae<lb />ae Se<lb />x<lb /><lb />~ aa if<lb />a<lb /><lb />ce<lb />ot<lb /><lb />ae \ \ : 4 ee ave : : aa<lb />a . : Ms Ea : un eee<lb /><lb />ae<lb /><lb />a a<lb /><lb />aaa<lb /><lb />.<lb />e<lb /><lb />aN \<lb />~<lb /><lb />A<lb /><lb />- a<lb />va<lb /><lb />o<lb /><lb />"<lb /><lb />Va<lb />ae<lb />a<lb /><lb />ce<lb />cae a :<lb />Aca : Shee<lb />ae cee<lb />: eS<lb /><lb />ee<lb /><lb />a ee<lb /><lb />ossy<lb /><lb />The ride int<lb /><lb /></p>
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        <p>music and he hasnTt met a soul. All the<lb />same, driving in he canTt help feeling high<lb />on the possibilities.<lb /><lb />At the age of thirty-one Hanlon has<lb />realized a kind of loneliness. He spent<lb />his young life in books and music and<lb />films, closely following his friends in<lb />sports and going along with whatever<lb />was happening at school, as long as<lb />whatever was happening didnTt require<lb />a date. Now, after eight years teaching<lb />American History in a small high school<lb />in the Cascade mountains, happy with<lb />his courses, happy with his students and<lb />his colleagues, Hanlon has found him-<lb />self vaguely unhappy. He has found his<lb />life incomplete.<lb /><lb />Just a little thing started it off. The<lb />old rock musical oHair?, which Hanlon<lb />had never seen, was being revived by the<lb />Seattle Repertory Company in early<lb />September. Hanlon told his senior stu-<lb />dents about it and offered to drive a car-<lb />load of them in to see it. None of the<lb />students said anything about wanting to<lb />go, so the day before the opening Hanlon<lb />asked them again. Nobody said anything.<lb />Then a girl named Sue Sillman said this:<lb />oMr. Hanlon, I think that play is proba-<lb />bly pretty passé. I mean everybody lives<lb />like that now.? ,<lb /><lb />oMaybe so,? replied Hanlon. oMay-<lb />be so.? Later he gave much thought to<lb />what Sue Sillman might have meant by<lb />olike that?. He began to view the students<lb />through wider eyes. Of course, there was<lb />nothing to see that Hanlon had not seen<lb /><lb />before: taunt nipples through a T-shirt<lb />ona chilly morning; boys and girls to-<lb />gether on weekend ski trips to Snoqualmie<lb />Pass; the last ardent tokes on a half-<lb /><lb />time joint behind the bleachers. Hanlon<lb />never was able to put his finger on what<lb />Sue Sillman meant by olike that?, but he<lb />did conclude that whatever it was he had<lb />missed it.<lb /><lb />Hanlon takes the 85th street turnoff<lb />and rolls through the university district.<lb />Right off he spots a place with a rough<lb />log front. On the roof is a huge plywood<lb />foot across the toes of which is written<lb />oPaulTs Bunyan?. In the window is a sign<lb />saying ocountry band?.<lb /><lb />He pushes through the door and<lb />is greeted by the jukebox blasting rock<lb />and roll from his college days:<lb /><lb />ITm the friendly stranger in the<lb />black sedan<lb /><lb />WonTt you hop inside my car?<lb /><lb />P've got pictures, cotton candy"<lb />I'm a wonderful man,<lb /><lb />Let me take you to the nearest<lb />Sian.<lb /><lb />oVehicle?, Hanlon says to himself,<lb />by the Ides of March. ItTs augury. ItTs an<lb />omen.<lb /><lb />He takes a table for two by the big<lb />front window. He sits facing the door,<lb />back to the bar. He watches the people<lb />going by outside and he watches the<lb />people coming in. The place is only about<lb />half full, but the air is already thick with<lb />smoke. Hanlon fantasizes briefly about<lb />Opening a tavern for non-smokers.<lb /><lb />D/<lb /><lb /></p>
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          <lb />58<lb /><lb />WouldnTt it be ironic, he thinks, to wind<lb />up with emphysema or the big C from<lb />breathing other peopleTs smoke?<lb /><lb />A barmaid arrives and Hanlon<lb />orders a beer. He asks when the band<lb />comes on. She is dressed as a lumberjack.<lb />Hanlon looks up at her wide black sus-<lb />penders. oIn a few minutes,? she says<lb />without looking down at him.<lb /><lb />Two girls sit alone by the jukebox.<lb />Hanlon wonders if they have come in<lb />hopes of the same simple adventures he<lb />seeks: meeting people, the plesant surprise<lb />of the friendly stranger, the germ of<lb />romance. He knows he should think of<lb />them as owomen?, but he has a hard time<lb />of it. Even now he canTt stop thinking of<lb />women his age as ogirls?. He vows to<lb />work on it.<lb /><lb />The place is beginning to fill up.<lb /><lb />Each time the door opens Hanlon lifts<lb /><lb />his eyes in expectation. Generally, he is<lb />ignored. The people who do catch his<lb /><lb />face, so primed to smile, note unself-<lb />consciously that his hair is too short, his<lb />manner too stiff, that he is out of place.<lb /><lb />A guy just out of the service, maybe. A guy<lb />who has been away a long time.<lb /><lb />A wave of color rolls by out the<lb />window. Hanlon twists his face to the<lb />glass. ItTs a giant serpentine of students<lb />on their way to the football rally. They<lb />yell and laugh. Arms around each other<lb />they sing, they hoist their signs. ooWe<lb />banged the beavers, we'll . . . the ducks?<lb />reads one great banner. Hanlon doubts<lb />Washington will beat Oregon. I give the<lb />Huskies six points, Hanlon thinks. Ten<lb />points tops with Sixkiller graduated. Just<lb />then a young woman riding a ten-speed<lb />bike winds her way up the sidewalk<lb />against the flow of people. She sees<lb />Hanlon staring as she parks her bike in<lb />front of the window. She smiles and sends<lb />him into fantasy.<lb /><lb />What a winsome waif through the<lb />window, leaning bicycle against the tavern<lb />front, slinging packsack over shoulder,<lb />pushing a path through the door.<lb />Moonface shining in the smoky dark,<lb />grannies precarious on the nip of her<lb />nose. SheTs Benjamina Franklin come to<lb /><lb />fly me in a storm, Natalie Bumpo break-<lb />ing ground in the wilderness of my heart.<lb /><lb />The young woman moves toward<lb />some people she knows who sit around<lb />the little stage. Hanlon follows her with<lb />his eyes. Hanlon has always been good at<lb />games as long as they took intellect or<lb />imagination rather than physical coordi-<lb />nation. Such skill involves a degree of<lb />detachment from oneself, a willingness to<lb />let things float, to let things ride on a few<lb />more rolls of the dice, a couple more<lb />cards.<lb /><lb />She makes camp among the pony-<lb />tails. Amenities transpire. She knows the<lb />tribe. She is tall, slim, like a smiling<lb />flannel flute.<lb /><lb />Everywhere Hanlon has turned his<lb />head the past few months everything and<lb />everybody has seemed teamed or mated.<lb />The battleship North Dakota, old and<lb />salt-streaked, seems to gloat in the Brem-<lb />erton Navy Yard, smugly tucked along-<lb />side its comrade ships. The Monorail<lb />glides along, glowing as it does, and even<lb />if not one of the people inside knows<lb />another, Hanlon imagines that some-<lb />how, before the end of the line, the<lb />guys and girls meet. He sees them walk-<lb />ing through the mist of the fountain in<lb />Seattle Center on their way to little tap-<lb />estried apartments.<lb /><lb />Some nights Hanlon drives down<lb />Pike street to watch the prostitutes. Once<lb />or twice a month the Seattle police roll<lb />by in the paddy wagon to round them up.<lb />The girls seem so casual about it all. They<lb />are slim as reeds, Hanlon thinks. They<lb />wave like eel grass in the neon glaze.<lb />Their strawberry hair makes him see<lb />cheap wine. He wonders if any of them<lb />secretly yearns for salvation in a simple,<lb />quiet man. In their suppleness, he won-<lb />ders, could they tolerate a man with a<lb />paunch. And then Hanlon laughs at<lb />himself. If it were only as simple as the<lb />old films, he thinks. But heTs glad itTs<lb />not. His new self-consciousness has<lb />brought him some pain, but itTs brought<lb />him a new amazement too.<lb /><lb />As the little tavern has steadily<lb />filled with people, Hanlon has become<lb /><lb /></p>
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        <p>increasingly aware of the club-like<lb />atmosphere of the place and of his non-<lb />membership. People yell each otherTs<lb />names across the room, the bartender flings<lb />his stocking cap at a young man in an<lb />immense fur coat who appears to be imi-<lb />tating a bear on the little stage. Someone<lb />turns on the microphone and bear sounds<lb />emerge from the corners of the room. The<lb />young man pretends to eat the bartenderTs<lb />stocking cap. From HanlonTs point of<lb /><lb />view it looks as though the young man<lb />actually does eat it. Various animal<lb /><lb />sounds erupt. Coyotes, a dog, a bull,<lb />several pigs and a horse join the bear.<lb />Hanlon reminds himself that back in col-<lb />lege he used to do a very good chicken. If<lb />anybody in the dorm had any chicken<lb />jokes to tell theyTd always come get me<lb /><lb />to do the sound effects, he remembers. He<lb />restrains himself now, however.<lb /><lb />The bear lumbers off the stage and<lb />joins the girl with the packsack and her<lb />friends who account for most of the<lb />noise. Hanlon, who has been steadily<lb />watching the airl, is captured for a<lb />moment by the loose, good spirit of the<lb />place. He grabs his beer and his sport<lb />coat and walks briskly to the only vacant<lb />chair near the stage. He nods a brief<lb />smile to the people whose table he has<lb />joined. Embroiled in laughter, they do<lb />not acknowledge. Lost once again in a<lb />game of fantasy, Hanlon notes only their<lb />laughter.<lb /><lb />The familiar xenophobian cackle! I<lb />move self-consciously, conspicuous as a<lb />double-knit lute among woodwinds. Just<lb />a table away now she spies me and takes<lb />me for a bell jar.<lb /><lb />The bartender steps to the jukebox<lb />and turns it off. The noise level lowers<lb />slightly as the four musicians step up to<lb /><lb />the stage. They bring fiddle, acoustic gui-<lb />tar, string bass, autoharp and dulcimer.<lb />Requests are shouted before they finish<lb />tuning. oDo ~Cripple CreekT, you guys!<lb />Hey, Lenny, how Tbout ~Dim Lights,<lb />Sweet SmokeT! ~Santa RosaT! someone<lb />hollers from the doorway. The bass play-<lb />er waves out through the darkness.<lb />oWe'll get Tem all in,? says the fiddle<lb />player into his microphone.<lb /><lb />Hanlon tips his chair back against<lb />a post. He has ordered a pitcher of beer.<lb />Hanlon is as relaxed as he can be ina<lb />public place. He has finally stumbled on<lb />the kind of music he enjoys, and for that<lb />he feels fortunate. Leaning back against<lb />the post he is able to watch the girl with-<lb />out turning his head. She is just beyond<lb />armTs reach. Her mouth is quite small<lb />and her lips are thin, but the smile that<lb />plays there gives a richness to her face.<lb />What a pretty girl, Hanlon says to him-<lb />self. Then he turns his eyes away.<lb /><lb />The band is beginning its fourth or<lb />fifth tune. Hanlon has never heard it<lb />before, but everyone else seems to have<lb />been waiting for it. Applause erupts<lb />everywhere. Some people sing along,<lb />others stamp their feet and howl. Out of<lb />the corner of his eye Hanlon sees some<lb />commotion at the agirlTs table. He turns.<lb />She is standing, handing something from<lb />her packsack to each of her friends. Be-<lb />cause of the dark and the smoke and the<lb />flinging of arms and the rearing of heads,<lb />Hanlon canTt make out what it is until<lb />she turns to him and invites him to play<lb />along. And that is just what Hanlon does.<lb /><lb />From her packsack obscurely she<lb />distributes small pipes. I reach across the<lb />darkness. Lightning flashes. I glow. I<lb />join the communal symphony, touching<lb />my lips to her proffered kazoo.<lb /><lb />59<lb /><lb /></p>
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          <lb />
          <lb />Aa<lb /><lb />~i<lb />|<lb />A<lb /><lb />Sh<lb />_<lb /><lb />me<lb />" vo ce<lb />a y _<lb /><lb />i<lb /><lb />a<lb /><lb />"<lb /><lb />:<lb />a<lb /><lb />a Ly<lb />_. _<lb /><lb />"<lb />ao<lb />~i<lb /><lb />\ A<lb />a :<lb />co ~<lb />NY<lb />"<lb />A<lb />"<lb /><lb />a<lb />a<lb />.<lb />~<lb />|<lb />~ ce<lb />ae<lb />.<lb />.<lb />\<lb />\<lb />\ _ )<lb />- _. o<lb />7 ~<lb />\ ' '<lb />| |. "<lb />oa \<lb />_ : ~~ a<lb />: \ a<lb />' ~<lb />: ce<lb />|.<lb />'<lb />-<lb /><lb />.<lb /><lb />- e<lb />.<lb /><lb />|.<lb />ae<lb /><lb />a<lb />a<lb /><lb />ae<lb />~ n<lb /><lb />wy<lb />. oa<lb />_<lb />a<lb />a<lb />7<lb /><lb /></p>
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        <p>LAMP<lb /><lb />Useless till the sun goes out,<lb /><lb />the lamp begins its shaded glow;<lb /><lb />she worms into their cold wide bed,<lb /><lb />attempts to read till he comes home.<lb />The half-full bed is lighted up,<lb /><lb />the bulb supplies no husband warmth;<lb /><lb />resentful, she rejects her book<lb /><lb />and rubs the lamp for instant dark.<lb />Once asleep, she runs in dreams,<lb /><lb />grabs the lamp as for escape<lb /><lb />when driven hard to nightmare cliffs<lb /><lb />where near the edge she jerks awake.<lb />And later while she sleeps again,<lb /><lb />the drunkard stumbles through the door<lb /><lb />and opens her eyes like another bad dream<lb /><lb />to pieces of glass across the floor.<lb /><lb />Martha Alexander<lb /><lb />Ed Midcett<lb /><lb />61<lb /><lb /></p>
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          <lb />WHEAT FIELD<lb /><lb />Walking parts<lb />the wheat<lb />like a shadow<lb /><lb />the shafts<lb />bend and fall together again<lb />like a ruffled feather<lb /><lb />touched yet unchanged<lb /><lb />Leigh Myers<lb /><lb />GLASS FALLING<lb /><lb />Silver sharp curls<lb /><lb />Of clear spun stars<lb /><lb />Slide toward the edge,<lb />Slipping, breaking,<lb /><lb />| Whole house awakening;<lb />| Silver sharp crystals<lb /><lb />| Of clear slivered sand.<lb /><lb />|<lb />| Jim Kittrell<lb />|<lb /><lb />| 62<lb /></p>
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          <lb />MANIKIN<lb /><lb />Your painted lids peer through<lb /><lb />A slit in your sheet of hair<lb /><lb />Where your face is supposed to be"<lb />Uniform lashes<lb /><lb />All equally apart<lb /><lb />All in black coats<lb /><lb />All perfect"<lb /><lb />The angle<lb /><lb />Of your freshly-combed hair<lb /><lb />Tells me you're looking down at<lb />Yourself again<lb /><lb />Making sure your hair drapes<lb /><lb />Your small breasts<lb /><lb />So they aren't seen through<lb /><lb />Your see-through"<lb /><lb />Your neatly-colored nails smooth<lb />Down hair, taking care that they<lb /><lb />DonTt touch anything<lb /><lb />Like when you hold objects<lb /><lb />And bodies"<lb /><lb />Teetering on<lb /><lb />Top of your high-heel boots<lb /><lb />Under all those silver circles and turquoise<lb />Chokers<lb /><lb />And still youTre able to stand and<lb /><lb />Make your neatly predictable, uncertain steps that<lb />Carry your accessories across the floor.<lb /><lb />y,<lb /><lb />Allison Thompson<lb /><lb />63<lb /><lb /></p>
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        <p>ann ae<lb />ae<lb />Se<lb />oo ae<lb /><lb />ae a ae<lb /><lb />Soe<lb /><lb />aN cae a<lb />.<lb /><lb />oF<lb />aa<lb /><lb />oh a<lb />oe * i : eee<lb />" Ses ee ae a<lb />: Sees ~<lb />aN oe ae re<lb />- a See ah oe<lb />i AN a hee<lb />"  : : : ae<lb />aa a<lb />" ae  a<lb />ae ae :<lb />~ e o<lb />cae<lb />".<lb /><lb />cs<lb /><lb />ae<lb /><lb />So<lb />A ae Ae oh<lb /><lb />" A oe<lb /><lb />i ae oe a aa eee<lb />: a " es cone<lb /><lb />\ oe ee<lb /><lb />a See \<lb /><lb />~ See a as o<lb /><lb />- " ae ~ - a<lb />oe 7 . o \<lb />_ ae ah<lb /><lb />ane<lb />a<lb />ei<lb />ce<lb /><lb />ce<lb />~i " a<lb /><lb />" 7<lb />" | .<lb />-".<lb />: : oS<lb />Ae Aa Mh a . aN<lb />.<lb /><lb />A<lb />. na<lb /><lb />Ay " a<lb />a<lb /><lb />|<lb />Se<lb /><lb />a<lb /><lb />as " cae<lb /><lb />"<lb />- ie<lb /><lb />a a _ -<lb /><lb />"<lb />ee<lb />co<lb /><lb />= a aoe<lb />- - ae<lb /><lb />aa<lb /><lb />ce<lb /><lb />aa<lb />es<lb /><lb />ho aaa A<lb />AUN Sa<lb /><lb />~ ~ .<lb /><lb />cae<lb /><lb />a<lb /><lb />Shae is<lb /><lb />_ Se a a<lb /><lb />- oe aii os rm<lb />a<lb /><lb />.<lb /><lb />Aika<lb />oie<lb /><lb />~<lb /><lb />_........<lb /></p>
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          <lb />
          <lb />SNe<lb /><lb />rc<lb /><lb />by Sally Brett<lb /><lb />|e om otcleMneal"toln coms cjc-jeMmolelanetmet-ve!<lb />watched instead her eyes, and the wispi-<lb />ness of her hair shining in the lamplight.<lb /><lb />es (ham atclianttyclowm ifeial@mescelyuelr-lelems itet"m<lb />wispy in a way that some people liked<lb />and some people"like herself"did not<lb />like. He had always liked it, liked es-<lb />pecially the way it clung to her head like<lb />sleepiness to her eyes when she awoke<lb />Tel Ge(cimeelevaalierecy<lb /><lb />But it was her eyes that he liked the<lb />most. They were what he had first seen,<lb />in that jumble of people and voices the<lb />Holdens liked to call a party. They were<lb />intelligent eyes, and he had seen that and<lb />been glad for it, among those glassy and<lb />chatty and wandering eyes everywhere<lb />else in the room. He had watched her and<lb />those fine eyes for a long time before he<lb />had approached her. It had not been<lb />false, that intelligence. And it was her<lb /><lb />eyes that he had learned to watch always,<lb />after he had loved her and married her<lb />and brought her here where he taught<lb />Slauve(seecmcoml-lereyannu lve ilet ie (ceielemely-e<lb />their words. |<lb /><lb />It was her eyes that told him tonight<lb />that he should listen to what she was -<lb />saying. And so he had, putting down the<lb />paper he was grading and watching her as<lb />she looked at him and said the things he<lb />had not said to himself but had known<lb />for a long time.<lb /><lb />He had known. He had to say that<lb />now, and not be surprised. How long<lb />had he known? How long had he seen<lb />and not seen the restlessness, the<lb />moments when her eyes saw nothing that<lb />was him, or her, or them, or even where<lb />they were? What did she see in those<lb />peateyea\-evecPanlans) e(cMmctcluvarclalidaltevemrel ar) | ta w (=<lb />did not know that. Perhaps she did not<lb />either.<lb /><lb />65<lb /><lb /></p>
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        <p>What exactly had she said? Blame .. .<lb />there was no one to blame. They had<lb />tried and they had had so much. Could<lb />he say he had known they had lost some-<lb />thing? She said they had. Had she given<lb />a reason? No. She only wanted to go<lb />away. For a while. No more. Did he under-<lb />stand? Did he? Yes. And no. He under-<lb />stood that she looked at him with gentle-<lb />ness, but it was a gentleness for a<lb />stranger, not the loving gentleness he<lb />sometimes felt in her when they made<lb />love.<lb /><lb />The first time they had made love<lb />they had laughed. He had liked to remem-<lb />ber that, often, sometimes in the middle<lb />of a class, when students were taking a<lb />test and the silence in the room and the<lb />curve of some airlTs shoulder reminded<lb />him of her body curved above his that<lb />night. The light from the streetlamp had<lb />shone in the room and made patterns<lb />on the sheets, on their skin, patterns from<lb />the ivy growing on the windowTs screen.<lb />Her body had been shadows and light,<lb />hollows of darkness, curves of light. He<lb />should have noticed more, kept more of<lb />the moment. But he had not realized it<lb />would be so important to remember.<lb /><lb />She knew a great deal. She knew him<lb />in a way that he did not always like, a<lb />superior kind of female knowing that<lb />grated sometimes and made him wish to<lb />be away from her . . . with some woman<lb />who did not know so well all that he<lb />was. When she went away she would<lb />take all of that knowing with her.<lb /><lb />Would, then, some of himself go, too?<lb />Would she leave some of herself? He knew<lb />it was not that married anger that made<lb />her want to go now. He had to say it was<lb />more than that, more than that anger<lb /><lb />at being known by someone else when you<lb /><lb />wanted most of all to be unknown even<lb />to yourself.<lb /><lb />What was it? Had she told him and<lb />he had not heard? He had tried to listen.<lb />But he had watched instead her eyes, and<lb /><lb />the wispiness of her hair shining in the<lb />light.<lb /><lb />What would she do? What would he<lb />do? Who would he be, without her? He<lb />had thought of that before, had tried to<lb />be without her before, by being with<lb />someone else.<lb /><lb />She had known that, too, had said<lb />to him quietly without any voice at all<lb />except the sound, oYou went to bed with<lb />her, didnTt you?? And he had been sur-<lb />prised and said yes, without wondering<lb />if he should or not. It had not mattered;<lb />she had been almost pleased. In the<lb />end, if there had been one, her pleasure<lb />had made it her moment and not his<lb />own. He had not known what to do about<lb />it or how to say that he was angry. It was<lb />almost as if she had taken something<lb />from him that she knew was not hers to<lb />take, not hers to know. But that had been<lb />a long time ago.<lb /><lb />So he did not know what it would be<lb />like, being alone, without her. If he had<lb />said, stay, would she have? He did not<lb />think so. He knew that much about her.<lb />There was a darkness about her when she<lb />knew herself most clearly, a darkness<lb />that kept her apart from him, did not<lb />acknowledge him. She would not have<lb />heard him. Or, would not have answered<lb />him. Once, before he had known the<lb />darkness behind the light of her hair and<lb />her fine eyes, he had tried"something he<lb />could not remember"and he had felt<lb />that darkness. It was, he sometimes<lb />thought, the same darkness that came<lb />when they made love, interrupting the<lb />light.<lb /><lb />Down the hall, she was moving<lb />about in the bedroom. He tried to think<lb />more about what it was she had said,<lb />coming to him and waiting until he knew<lb />she was there. He wanted to remember.<lb />Why was it hard to recall, if he had<lb />known, really known, before?<lb /><lb />He had tried to listen, but he had<lb />watched instead her eyes, and the wispi-<lb />ness of her hair shining in the light.<lb /><lb /></p>
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          <lb />SHUCKIN:<lb /><lb />Hold the oyster down left-handedly.<lb /><lb />Admire and examine it to find<lb /><lb />The perfect place to thrust<lb /><lb />The knife with the forefinger pointing the way.<lb />Push the blade so that its gritty incision<lb /><lb />Sounds on the bottom shell<lb /><lb />Like glass underfoot on a wet sidewalk.<lb /><lb />Pick up this punctured oyster and cup it<lb /><lb />In the palm of your left hand,<lb /><lb />Take the weathered handle of the knife<lb /><lb />(Its blunt blade protruding from the oyster now<lb />Like a tight-lipped patient might hold a thermometer)<lb />Shake the swallowed blade from side to side<lb />Freeing the meat from the hold of its lower tendon.<lb />With the blade slid as far into the hinge<lb /><lb />Of the shell as it will go, you are almost there<lb /><lb />A motorcyclistTs twist and the top shell is off<lb />Exposing the naked fruit of saline labor<lb /><lb />Gently cut the under tendon and<lb /><lb />Eat.<lb /><lb />Bill Harrington<lb /><lb />67<lb /></p>
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          <lb />68<lb /><lb />Pe pemNOON IY LATE MAY<lb /><lb />I walk in a wind of musk<lb /><lb />behind two women in cotton dresses.<lb />One is barefoot. A light sweat hangs<lb />along her calves. I match her steps.<lb /><lb />Pedestrians are gazing at the sky: uncertain<lb />granite-colored clouds gather to the west;<lb />strong sunlight confuses weather-predictors;<lb />but I know this spring will change<lb /><lb />to summer; this love to lust.<lb /><lb />A haltered, small-hipped blond wheels by,<lb /><lb />bent over handlebars, graceful little bumps<lb /><lb />down the line of her backbone"a frisky, skinny filly.<lb /><lb />Too much. I climb four flights,<lb /><lb />two stairs each step, legs slow,<lb /><lb />thin and buckling like a love-struck<lb />stork. The physics lecture: Properties<lb /><lb />of Color: oThree subtractive primaries"<lb /><lb />yellow, magenta, cyan"are blends<lb /><lb />of the additive colors. Your eye sees the average<lb />frequency. Green light starts at 5000 angstroms;<lb /><lb />this ruby laser?"lancing across the darkened room"<lb />oaround 6500.? Everything vibrates. I want to know<lb />what frequency of light reflects from the tanned<lb />Caucasian girl beside me: what makes her skin<lb /><lb />so round and heavy? I would like to take her<lb /><lb />to my room, take her shirt away,<lb /><lb />tense her nipples with both hands, tracing circles<lb />with the hollows of my palms.<lb /><lb />And then weTd sleep. That would be enough:<lb /><lb />a slanting sun against the wall, a sigh of breath,<lb />no grim need to test our best techniques ...<lb /><lb />I dream until the lab lights flicker on.<lb /><lb />Outside, wind soars between buildings. I cross<lb />the street, dodging pintos, mustangs, a US Mail truck.<lb />Traffic lights shift to 5000 angstroms;<lb /><lb />barometric pressure drops;<lb />tornado warning in effect til 4:00 PM.<lb /><lb />Luke Whisnant<lb /><lb /></p>
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          <lb />LOOM<lb /><lb />intricate lacings<lb /><lb />of polished wood and stainless steel<lb />flicker and click<lb /><lb />the heddle pushes<lb />and lifts a thousand strands of brown<lb />taunt and ready<lb /><lb />quick weaverTs hands |<lb />cross under brown and over some shade<lb />of charcoal grey<lb /><lb />one thread<lb />canary color, loose between<lb />the bars<lb /><lb />the heddle drops<lb /><lb />the weaver pulls, and his machine<lb />beats thread into thread<lb /><lb />on some great wall<lb />straight and solemn and perfect<lb />a bankerTs tapestry<lb /><lb />the only missing strand<lb />is gold to hold SarahTs hair<lb />through hopscotch<lb /><lb />Sue Adyelette<lb /><lb />69<lb /></p>
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          <lb />STAR<lb /><lb />oa<lb />a<lb />AAR<lb /><lb />a a<lb /><lb />:<lb />4<lb /><lb />See<lb />ie mS Ss.<lb />4, ese<lb /><lb />sa<lb />ane<lb /><lb />ae A . ¥ ~ 3<lb /><lb />e 8<lb /><lb />I had just settled into my second-<lb /><lb /><lb /><lb />class chair on the boat bound for Mon- , Thad brought along for my lunch of<lb /><lb />treux on the lake cruise. I preferred the salami, fontal and bread. Children were as<lb />second-class booking, for unlike first- running around the boat, fascinated by - ay<lb />Class, the open deck gave me the quiet the legion of gulls which were following | i<lb />joy-0f being on the water, if only for a _ our path across the lake, swooping from te<lb /><lb />short time. ;<lb /><lb />e<lb /><lb />~~ Some days, especially ee ital ones, them by the passengers. It occurred to :<lb /><lb />I would take the extended cruise past<lb />Chillon to Vevey and see the castle of<lb />ByronTs. poem. It was, all in all, a most<lb />refreshing way to travel the short dis-<lb />tance from Geneva, take the air, and<lb />gain a respite from the trains.<lb /><lb />~ But today there would be no time<lb /><lb />for the castle. I had to be on time for a bread, I noticed a yellowed bit of paper,<lb /><lb />business appointment in Montreux, an<lb />obligation which I could hardly appre-<lb /><lb />ciate on suchT a beautiful day. The lake<lb /><lb />was a shimmering blue, its surface dis-<lb /><lb />turbed only. by the path of the boat and Geneva paper in the year 1922 detailing _ :<lb /><lb />an occasional whip of breeze. The sun<lb /><lb />glistened on the vineyards which angled | | :<lb />up the hillside; the mountains were bold: _ clipping before I knew (or guessed that |<lb /><lb />against the sky. All considered, it was<lb />nothing short of a marvelous day, and<lb />resolved to enjoy it as fully as possible<lb />before my duties pulled me into shore;<lb /><lb />a " ao : Se<lb /><lb />not unlike a fish struggling on a line for<lb />the freedom of the water. = =~<lb />= A slight wind was playing over the ~<lb /><lb />deck as I opened the bottle of wine which<lb /><lb />time to time to catch bits of bread thrown 7<lb /><lb />- me thaf since the war, [had been seeing © =|<lb />more children around, or perhaps just<lb />noticing them, I donTt know which.<lb /><lb />As I was watching this scene play<lb />before me, my bread slipped fram my | a<lb />lap and fell between my chair arid the yg<lb />one adjoining. Reaching down for the !<lb /><lb />folded many times over, wedged between _ . :<lb /><lb />_° the chairs. Naturally given to curiosity,<lb /><lb />, I picked up the paper and began to unfold sits<lb />it. It was a quite lengthy article from a<lb /><lb />the tragic derailment of a Zurich express.<lb />I had only to read a portion of the<lb /><lb />7 knew) why the person who had lost the. =<lb />I clipping saved it in the first place. Aside<lb />from a detailed report of the incident, it oo<lb />consisted of portions of adiary found ""<lb /><lb /></p>
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          <lb />le<lb /><lb />on one of the bodies the authorities were<lb />at a loss to identify. In hopes of identi-<lb />fying the dead man, portions of the<lb />diary had been printed in the newspaper<lb />in hopes othat some reader might recog-<lb />nize through it a friend, relative or busi-<lb />ness associate who might have been<lb />traveling on the Zurich Express this<lb />Thursday past.? The children and gulls<lb />receded in my mind as | found myself<lb />caught up in this clipping as the boat<lb />pushed steadily toward Montreux.<lb /><lb />oThe portions printed (the article<lb />said) were those left undamaged and in-<lb />telligible by the fire which broke out<lb />subsequently on site of the derailment.<lb />These highly unusual circumstances<lb />necessitate the co-operation with authori-<lb />ties in hopes of the identification of all<lb />the passengers on the train.<lb /><lb />17 February, 1922 (here the<lb />wording is singed by the fire and<lb />begins in mid-paragraph,<lb />apparently)<lb /><lb />She had a great need of newsprint<lb />for the type of etchings which she<lb />was showing at that time, and she<lb />developed the practical habit of<lb />buying the Sunday Times in order<lb />to supply herself with the necessary<lb />paper. As an amusing result, she<lb />picked up an enormous amount of<lb />parenthetical information osmoti-<lb />cally, as it were, from casually<lb />looking now and again at the news-<lb />paper she would use. So it wasnTt the<lb />least bit unusual for her to mention<lb />some fact or other that none of<lb /><lb />our circle would ever have known,<lb />but nonetheless found interesting,<lb />either as topic of interest or mere<lb />distraction.<lb /><lb />As for myself, it consisted of<lb />information which I would rarely<lb />if ever need, unless jammed in at<lb />one of those dreadful teas at which<lb />time I could always turn to the<lb />stranger to my right (they are all<lb />strangers at these gatherings) and<lb />say: oThe Velusian (or something)<lb />penguin, long considered monog-<lb />amous may, in fact, have three or<lb />four mates during life. Greater num-<lb />bers have been reported.? It is in-<lb />variably easier to then walk away.<lb /><lb />* 4 eye<lb /><lb />The cold which has: plagued my<lb />winter attacked full force this morn-<lb />ing. All draughts notwithstand-<lb />ing, my only salvation shall, I fear,<lb />be a headlong battle of endurance.<lb /><lb />Trawich posted today to tell me<lb />that he did not like the turn the serial<lb />was taking; thinking, as usual, in<lb />his uninspired mediocrity. It is turn-<lb />ing dark, black even; but that is<lb />the tenor of the story, the tenor of<lb />the times. This shall be my last<lb />encounter with serialisation.<lb /><lb />17 March<lb /><lb />Lunching with T. W. today, I<lb />had a fleeting memory of a day spent<lb />in Central Park some years ago<lb />with P. and one of her friends from<lb />the gallery. It was dull and overcast<lb />as today, but I met the weather then<lb />with a cheerful rally which somehow<lb />today I could not muster. | felt an-<lb />noyed at the sky; no matter how |<lb />understood the hopelessness of the<lb />position, I could not rid myself of<lb />it. | was caught upon a wheel of<lb />memory, looking back as a helpless<lb />spectator.<lb /><lb />The luncheon proceeded quite<lb />well as I remember, but I was no<lb />more of that meeting than margi-<lb />nally, my thoughts constantly. escap-<lb />ing to her face appearing in sudden<lb />flashes from across the table. .. .<lb /><lb />I was becoming increasingly depressed<lb />with the article. I was beginning to feel as<lb />if | was looking over someoneTs shoulder,<lb />Or rummaging around in a desk drawer. We<lb />were at mid-lake where only the<lb />heartiest (and hungriest) gulls follow,<lb />and the sky was growing slightly over-<lb />cast. I uncorked the wine, drank fully<lb />and continued with the clipping.<lb /><lb />22 March<lb /><lb />This afternoon I met N. at the<lb />cafe and read his latest poetry, as<lb />he in his inflated and hopeless way<lb />treasures my opinion as an author.<lb />As many times as | insist to him<lb />that the time is past, that there will<lb />be no more oeuvres, no more mots<lb />justes, he tells me of gifts eternal<lb />and the shame of memory, etc., etc.<lb /><lb />I found the poetry, as usual, in-<lb />adequate; N. writes of things un-<lb />known to his experience, and thus<lb />fails to leave that vital part of him-<lb />self upon the printed page. There was<lb /><lb /></p>
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          <lb />ODE TO AN EIDOLON<lb /><lb />|<lb /><lb />| He wanders pale in a lonely vale of sorrow,<lb />| lost and forlorn with nowhere to turn,<lb />| in a land where there is never, yet always a tomorrow,<lb />| wondering emptily if were no better to burn<lb />| in a hell, than to ache in this timelessness,<lb />/ entrapped by mountains of grey and black,<lb /><lb />bounded by rivers fed not by forgetfullness,<lb />| but by the misery of knowing there is no turning back,<lb />| nor looking forward to a new rebirth.<lb />|<lb />|<lb />|<lb /><lb />| Strange creature, of what space do you belong<lb />| that you were taken from life, yet death not given?<lb />| Is this waste land a punishment for some earthly wrong?<lb />| Or is this the end result, regardless of how youTve striven?<lb />| Shall I, too, be thrown into this bleak and dismal hole,<lb />to wail and lament for all eternity?<lb />Better I should spend my days in hunger and cold<lb />| on earth, and then at death be set free<lb />into the blissful ignorant void<lb />of knowing neither pain nor joy.<lb /><lb />But wander on, O Eidolon,<lb /><lb />| in your hideous, hellish hole,<lb /><lb />in that condemned land that carries on<lb /><lb />the fear that such is the fate of souls<lb /><lb />of humans. For never shall I see<lb /><lb />the dank, putrid river of the Styx<lb /><lb />| nor a passenger of Charon ever be,<lb /><lb />| since I shall not succumb to those earthly tricks.<lb />I know full well where dwell your kind"<lb /><lb />in the deep recesses of fear in the mind.<lb /><lb />Karen Blansfield<lb /><lb />74<lb /><lb /></p>
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        <p>MORNING<lb /><lb />There is a statue in the garden:<lb />Saint Francis with a bird.<lb />A tawny web sags and stretches;<lb /><lb />Oval mirrors shimmer on folded flowers.<lb /><lb />Fresh pine caught on a whisp of wind;<lb />A black cat bats a bug.<lb /><lb />Robert Glover<lb /><lb />75<lb /></p>
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        <p>MEAT<lb /><lb />]<lb /><lb />Your grandfather<lb /><lb />in his old-country beard<lb />blessed himself<lb /><lb />under the barn-beam<lb />under pully and rope<lb />by a steaming tub<lb /><lb />and the eyelevel pig<lb />twisting, before he lifted<lb />that autumn knife<lb />shaped like a ritual squeal.<lb /><lb />II<lb /><lb />The cowpoke squints<lb /><lb />(his cheek a tumor of tobacco)<lb />and electrically prods<lb /><lb />the endless steers<lb /><lb />up a wooden ramp<lb /><lb />to the first specialist<lb /><lb />on the disassembly line<lb /><lb />of this long factory.<lb /><lb />They call him othe killer?<lb />and armed with electrodes<lb />he shocks the bellowing<lb />beast to its short knees<lb /><lb />and the metal floor flings open<lb />and end over end it falls<lb />into avernal light<lb /><lb />where a hoister chains<lb /><lb />a hind leg and up kicking<lb />wide-eyed and upside down<lb />it takes a clanking<lb />overhead tram to the gum-<lb />chewing throat-cutter. See<lb />how he uses the special tool<lb />to get that bright spurt<lb /><lb />and spray on rubber boots<lb /><lb />and apron. See how the white-<lb />suited slitters joke<lb /><lb />and wait for bellies<lb /><lb />while stropping their blades<lb />how the cavity men lean in<lb /><lb />to unpack that hot rank case<lb />root with the sharp right hand<lb />and turn with armfulls<lb /><lb />of gutflop: lungs and liver<lb />kidneys, glands<lb /><lb />and the still-wincing heart<lb />mucus, silver plop and slither.<lb />See how the conveyor men<lb />earphoned against clank and roar<lb />watch a football game<lb /><lb />in four tubes along the line<lb />and let their hands<lb /><lb />go out and down and in:<lb /><lb />a Pattern. of cut and jit<lb />sometimes a squint at the tripe<lb />that might have been swallowed.<lb />But on to the saw men<lb /><lb />who make the sides<lb /><lb />(with a high motorized whine)<lb />the skinners, drapers<lb /><lb />heavers and haulers<lb /><lb />inspectors (okay so far?)<lb />heapers of hides<lb /><lb />boilers of gristle<lb /><lb />packers and shippers"<lb /><lb />God loves them all<lb /><lb />as He does<lb /><lb />the ears and tails<lb /><lb />boilings and tryouts<lb /><lb />crimson tides on the floor<lb /><lb />the drain-suck<lb /><lb />the bone, the shit, and the bristle.<lb /><lb />Peter Malena<lb /><lb />79<lb /></p>
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        <p>ARTISTS<lb /><lb />T. E. AUSTIN is a graduate student<lb />in the ECU geography department<lb />who is presently working on his<lb />MasterTs thesis. He has three pho-<lb />tographs in this issue.<lb /><lb />GEORGE BRETT is a local craftsman<lb />of fibers and metals who has a spe-<lb />cial interest in science fiction and<lb />photography.<lb /><lb />RAYMOND BROWN graduated from<lb />ECU in 1972 with a B.S. in Act. He<lb />entered graduate school here in 1974<lb />and is presently working towards an<lb />M.F.A. in printmaking with a minor<lb />in painting. He has appeared in the<lb />last three issues of the Rebel.<lb /><lb />FRED CHANNEY is from Satellite<lb />Beach, Florida. He is majoring in<lb />Communication Arts with a minor<lb />in printmaking. He plans to pursue<lb />interests in liquid mediums in vari-<lb />ous latitudes.<lb /><lb />LEWIS CHERRY is a senior prnt-<lb />making major. His work centers<lb />mainly on the combination of pho-<lb />tographic image with intaglio prints,<lb />the results being an imaginative<lb />creation of ohappy accidents.? This<lb /><lb />is his second appearance in the<lb />Rebel.<lb /><lb />DEBBIE COFER was the third-place<lb />winner in the Rebel Art Show this<lb />year. A senior printmaking major,<lb />Debbie has exhibited her work in<lb />various museums across the state.<lb />After finishing her B.F.A. degree,<lb />she plans to attend graduate school<lb />in Texas or Colorado.<lb /><lb />RICHARD FENNELL is a senior<lb />double-majoring in painting and<lb />printmaking. He is able to support<lb />himself on the sales of his own art-<lb />work.<lb /><lb />H. A. GILES graduated from the Col-<lb />lege of William and Mary in 1972.<lb />He is a first year graduate at ECU,<lb />majoring in painting with a minor<lb />in Communication Arts. Andy has<lb />become increasingly interested in<lb />photography and many of his pho-<lb />tographs appear in this issue.<lb /><lb />JOHNNY HAMILTON is from Clin-<lb />ton, North Carolina. He has been<lb />interested in photography for about<lb />ten years. John ran the photography<lb />workshop at Nosotros Fine Arts<lb />Workshop from 1971-1975. He also<lb />taught photography at Sampson<lb />Tech in 1976. He is now studying<lb />printmaking at ECU.<lb /><lb />-LAURA JACKSON is a printmaking<lb /><lb />mejor ar EeU. This is her first ap-<lb />pearance in the Rebel.<lb /><lb />ROGER KAMEREEN is a_ junior<lb />painting major from Swansboro,<lb />N. C. This is his first appearance<lb />in the Rebel.<lb /><lb />DAVID McDOWELL is a candidate<lb />for a M.F.A. in printmaking. He<lb />received his B.A. from Pembroke<lb />University in 1974 and his A.A. de-<lb />gree from Southeastern Communi-<lb />ty College in Whiteville, N. C. David<lb />now has a two-year teaching fellow-<lb />ship at ECU,<lb /><lb />ED MIDGETT is a senior printmak-<lb />ing major with a minor in commer-<lb />cial art and a strong interest in pho-<lb />tography. This is his first appearance<lb />in the Rebel.<lb /><lb />JOHN MORRIS graduated from<lb />ASU in 1974 and is now enrolled as<lb />a graduate student in painting with a<lb />minor in drawing. JohnTs work in-<lb />corporates the figure and negative<lb />space in equal proportions. He feels<lb />this gives his drawings an extra di-<lb />mension. His piece, oO Wretched<lb /><lb />Man? won second place in this yearTs<lb />Rebel Art Show.<lb /><lb />DANIEL OTSHEA is a first year grad-<lb />uate student in Communication<lb />Arts. He is also working as a graphic<lb />designer for Silkscreens Unlimited<lb />in Greenville. He has been art direc-<lb />tor of the Rebel for the past two<lb />years.<lb /><lb />PETER E. PODESZWA is a pheteg:<lb />rapher for the publication board<lb />who hopes to major in Communica-<lb />tion Arts. Peter has spent several<lb />years abroad. This is his first ap-<lb />pearance in the Rebel.<lb /><lb />MATT SMARTT is a graduate stu-<lb />dent in printmaking. In addition to<lb />winning first place in last yearTs<lb />Rebel Art Show, Matt has shown<lb />work in several shows including the<lb />North Carolina ArtistTs Exhibition<lb />at the Museum of Art in Raleigh.<lb />Matt likes to work representation-<lb />ally, but feels that many of his goals<lb />and attitudes can be expressed more<lb />uniquely through a_ non-literal<lb />idiom, such as the character and<lb />strength of surface phenomena and -<lb />mark quality.<lb /><lb />LUELLEN VERNON is a senior print-<lb />making major at ECU. This is her<lb />first appearance in the Rebel.<lb /><lb />DALE VERZAAL won first place in<lb />the Rebel Art Show. His biography<lb />is found on the inside front cover.<lb /></p>
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