Three Poems by Randall Watson

Issue 91
Issue 91

Found in Willow Springs 91

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The Future of Nostalgia

 

 

Not your town but a town
by the sea, a little village, maybe, named
Clean or Bay Shore or

No Famine.

You’re a stranger there.

It’s raining it’s snowing it’s very hot.

You find it intolerable
though the people seem friendly.

A couple of clammers drink beer
in a flat-bottomed Sharpie.

The lineman for Suffolk Lighting
checks his tool box.

You’re eating a Happy Meal and yes, you’re happy,
that’s the point, isn’t it,

you’re a child,

a rank but comforting breeze
eases in off the bay,

the white belly of a dead blowfish bobs
sunward in the shallow end
where the short canal stops at the highway.

Morning, of course, is beautifully inhabited,
which is how it should be

3 kids in their mid-teens
race on stolen bicycles across the bridge,
a red tick settling into the groin or armpit or clutching
the hair of an eyebrow.

A street sign says: Stop.

A t-shirt says: Cui Bono.

And night—
like a big indigo berry
that began as an umbrel of poisonous white flowers—
is predictably dark.

It’s scary.

The unemployed hunch over their shot-glasses and darts
cursing the rich while wanting to be them.

The shuffleboard’s long narrow planks
fleck with sawdust.

A painted umbrella waits
to open.

It’s like a gift card with sound.

The ping-ping-ping of the wind chimes
from the restaurant next door
bubble over

each note as small and green and sour
as a strawberry that will swell and ripen
when spring ends
and the summer says ha.

And you’ve never liked that music before.

 

Little League

 

 

When I was ten, playing baseball for one of those leagues where the teams are

sponsored by banks and beer distributors

and the colors seem, repetitively, Celtic green, though not, I think, some sly,

symbolic invocation of ancestral pride

but simply a bright and pretty color—

 

our pitcher, Bobby, I will call him, southpaw, black, his fastball tailing away

from so much righthandedness, was good,

and we were in first place, at that time, ‘66, all that mattered,

pitcher and catcher bound, not just by effort or desire,

but linked in an orbit of speed and motion, a joy that moved, untroubled by

the world, naïve, immediate—

 

and one night I invited Bobby over to my house, my neat little segregated

neighborhood, with Jews and Catholics and depressed atheists you could identify

by the hazard of their uncut lawns, as though the landscape

were a kind of metaphysic—

 

and I recall the blend of excitement and unease I felt, a tension that went

almost unnoted, when he and his mother, who was somewhat large and old

and nearly gray,

pulled up in what must have been a car from the 40's, the lines of its hood

and fenders and roof all beautifully rounded—

 

and though I can't imagine now what it must have been like for him, just eleven

and black,

with all those white people standing at the door and smiling, my mother, my sister,

me, one thread-worn azalea on each side of the stoop, the front grass deep

in oak-tuft and maple, still bright from recent falling--

 

I think we were happy, glad to be there, shy, open, as boys are, or can be,

uncluttered, and we spent the night flipping baseball cards, matching

and mismatching sides, as called, the faces poised at the edge of action,

pitchers in mid-windup, batters peering out at us as though we hurried,

dangerously, spinning toward them,

the next day passing unmindful and content and curious, the world united

in its flush and blossom—

 

until a few weeks later someone complained to the league office, that Bobby,

it seemed, was born three days too late or early, and according to their

calculations,

red Mars casting its martial shadow across the path of Venus, he was too old

to play in the minors,

 

so they moved him, forcibly, mid-season, by rule and fiat, to another team,

which is when I learned what laws were made to do to those who hadn’t made them,

and the world became, in a day, more dense and weighted, as though summer

had thickened into a shadow

no one could pass through.

 

After that, after the tears and objections, the vague tribunal of league officials,

we would go, almost the whole team at first, the Sadowskis and Kramers and

Engelhardts and Jones,

to watch Bobby play, first baseman now, as the coach's son was a pitcher,

 

but eventually everything just went away,

disappeared, it seemed, into the oncoming heat of summer, the season’s end,

the way things can, and do, sometimes for good,

though who can hardly tell for sure,

and for me it all became a kind of vague regret and choler in the climax

of August,

a scar on a part of the body you cannot see

unless you try to,

 

until years later, in High School, when we met again—

blacks, whites, Bobby, me, recognizable, glad,

parked in our cars by the Great South Bay,

playing Clapton and Hendrix and Herbie Hancock on our eight-tracks,

smoking dope and drinking, and listening to Ralph Rivera tell us all

about this book by a guy named Castaneda,

who we had not read,

and how he'd learned the arts, Ralph said, passing the joint to the person

beside him, of another world,

where a man might forget his body and rise, unfettered, into freedom and power,

accompanied, depending

on the character of his soul, the depth of his wisdom,

by the dark, shimmering, light-filled, knowing

body of the crow.

 

Losing the Self

 


It happens. Is happening. All the time.

 

Ask the young couple who’ve just returned from their honeymoon in

Montparnasse

shaking their suitcases out above the white sheet they’ve spread

on the hardwood floor of their new townhome.

 

Nothing.

 

Or the widow, just after Church, Easter, 2004, who’s convinced it’s somewhere,

the place that only exists if you never find it,

 

her truck just sitting there, week after week, grazing the driveway, adjusting

its shadow.

 

One day you wake up, your bowl filled with Kashi or cranberries, wrinkled

as wet walnuts,

 

and sense it, roaming the maze of the body, seeking an outlet,

rushing to your feet when you stand up, to your head

 

when you bend down to handsweep

a broken decanter.

 

Suddenly you’re anyone.

 

One minute it’s that boy trapped in a perpetual loop reciting the poems of

extinct insects,

another it’s the golden-haired botanist growing orchids in a swamp,

 

and yesterday you were that girl no one taught about measure.


It was sunny.

 

Just this morning, for instance, for about 3 hours, you were your neighbor,

20 lbs. overweight and balding, recently divorced,

 

dancing slowly, happily upon his porch, embracing the emptiness,

gazing coyly into her sunglasses,

whispering to God.

 

You recall it quite clearly.

 

Or someone does.

 

A small iridescent butterfly

clinging to the vine of the climbing jasmine,

which freshens the air,

 

a male grackle perched on an old antenna,

planted, like a winterized maple,

in the lawn.

“Manuél Sánchez. Seaquake” by Lis Sanchez

Issue 91
Issue 91

Found in Willow Springs 91

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Son of mine, little Borikén, butting
Your bloodhead along a blind chute, child who breaks
The saltwaters of your mother’s loneliness,
Cyclone spawn, spume and fury, with fins sawing
Your mother’s vulva, with eyes bulbing and mouth
Gawping, with seismic thrashing you push out,
Snag your mother’s cord. Your jaws snap
And with a flash that blinds her to her pangs—
And to me—you leap! into my hands, wriggling,
Perilous as sargasso weeds. Is it
I who dry your finlet ears, your fine
Barbel hairs? Till now I’ve touched nothing
As quivery as your skin, a current that drags
Me far from shore, closer to my drowning.

“A Tour of the Mural at the Merari Public Library” by Madison Jozefiak

Issue 91
Issue 91

Found in Willow Springs 91

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ON THE LEFT-HAND SIDE of the Western wall, painted waves roll towards us in swells of green and grayish blue. A lattice lace of foam breaks across the surface, while underneath, the ocean’s inhabitants coexist in harmony. It is the Beginning of Time, a mythological construct which defies logical reason, and yet, despite a lack of evidence, might very well have occurred.

As you can see, the Octopus is relishing a moment of solitude in a kelp forest. The pale green sickle of the Moray Eel, curling around a coral pillar, is joined just underneath by the Smooth-Hound Shark, whose curved gray body is reminiscent of a classic car. The tiger-striped scoop of the Nautilus’s shell drifts in open water above the rest, the big-headed Grouper lumbers at the sandy bottom, and the red bristles of the Rockfish’s fin emerge from behind a convoluted structure of the multicolored reef. All things underwater belong unconditionally to the vast, volatile ocean. They thrive off of its vitality as the ocean thrives from theirs.

Now let’s turn to the right-hand side of the Western wall, which transitions from the left with a change in the sky, a sunset gradient, to indicate a shift in perspective.

A lone woman is perched on the sea cliffs, bent over and draped in a dark blue fabric that shimmers with bronze, like the rust of shipwrecks accenting her clothes. This is the so-called sea witch who lives in caves along the rocky shoreline. There is a degree of self-righteousness in the way she stands alone, although the cliffs look bleak in comparison to the ocean’s abundance and diversity of life. Taken as a whole, the Western wall is a stunningly detailed, panoramic view from ocean to coast. It goes without saying that the artist has done a spectacular job.

During my tours, I am often concerned with the level of appreciation I might expect from all of you, you with your sun-baked faces and bellies full of clams. You are not ocean people. You are beach people. You have spent the better part of the day flat on your backs, roasting, while the hyperactive children currently running figure-eights around your legs were left to drink blue slushie and build their sloppy sandcastles unattended. Still, I hold out faith. I believe in your potential.

If you were familiar with the town and its oral histories, you would know that this wall of the Merari Public Library is actually a one-sided love story. Note how the painted waves fall, the
down-curves like greedy and possessive claws.

The ocean is emotional and unpredictable. It is constantly shifting, intricate and deep, glowing aquamarine in the sun. The shore, on the other hand, is rigid and unspontaneous with unlovable rock structures. You might think that, for the shore, the ocean would be a catch. But the land here has always been mysteriously resistant to erosion. The waves pull endlessly at the rocks and beaches, tormented by unrequited feelings, disrupting the natural patterns of tidal movement.

I see that a few of you are chuckling behind your hands. It’s regrettable that I witness such behavior frequently, and yet I am encouraged by the fact that you’re trying to conceal your amusement. Apparently, you understand I take my tours very seriously.

It is no laughing matter that the sea has fallen in love with the land, and that the land does not return the sea’s affections. It has wide-ranging implications for the ecosystem. We will explore this further as we turn the corner, but first, I’d like to pause for questions.
Are there any questions regarding this first wall of the mural?

Yes, you.

 

HOW LONG HAVE I BEEN A TOUR GUIDE? This question has nothing to do with the mural. But I will tell you: seven years. Any more questions?

 

DO I DO THIS FOR A LIVING? Of course not. I am merely a dedicated volunteer, striving to bring one of the most cherished stories of our community to life for those passing through. Often it seems that I am met at every turn of these library walls with nothing more than the glassy-eyed stares of the tourists who, after barely five minutes of introduction, are curious about little else aside from where their next meal is coming from. I am driven on, nonetheless, by the undying conviction that someone, one day, will step away from my tour and see this place and its people in a different light, just as I did when I first began to investigate historical evidence that speaks to the validity of the legend.
Another question?

 

DO I . . . HAVE ANY restaurant recommendations? Hahhh. Alessandro’s on Main street is the best. Tell the server that Christopher was your tour guide today, they’ll send out a free
appetizer.

Moving on. No more questions, people! Contain yourselves. There will be time later.

The posterior wall of the Merari Public Library is the largest and most eventful section of wall-canvas. On the left-hand side, we see that the sea creatures have absorbed the sea’s yearning and find themselves drawn to the shore. It would be impossible for the fraught land-sea dynamic not to affect marine life, after all.

Octopus leads the way with the vine-like ends of her tentacles outstretched. Nautilus, Moray Eel, Rockfish, Smooth-Hound Shark, and Grouper follow behind her. Most of the children (and, indeed, adults) of Merari will claim this section of the mural as their favorite, as the artist has done an exquisite job of depicting the personality of each creature.

Note how Octopus assertively extends her many arms towards the water’s surface, the cerebral yet commanding look in her horizontal-slitted eye. Nautilus speeds after her, a whimsical dream-frill of tentacles propelling it forward. The lines of Moray Eel’s body call to mind a sarcastic smirk, while the bristling of Rockfish’s fins conveys impatience, frustration. Smooth-Hound Shark weaves his way around the others with a dignified and detached expression, while Grouper’s expression is sheepish and slightly hopeful as he drifts at the back of the pack.

Each of our main characters is in the midst of something that they have never before experienced: a relentless desire for a world that is not their own, a world that they cannot even breathe in. They converge at the feet of the sea witch, beneath the wide windows of the Library’s upper floor. She leans forward to address the orange bulb of Octopus’s head as it breaks the surface, her abundant hair falling to hide her face.

The witch, Meraria, is a complicated figure in our town’s history. Some historical accounts go to great descriptive lengths to have us believe she was loved by all, exceptionally talented, tremendously intelligent, the center of attention at every party, and very, um . . . physically . . . well-endowed. But knowing that the author of these accounts is most likely Meraria herself does call their validity into question.

When the aquatic creatures describe their land-longing to Meraria in this section of mural, she offers them a deal. She promises to provide each with a human form capable of walking on land in exchange for their knowledge of the ocean’s riches. It seemed to be a straight-forward transaction: Octopus and the others must have been aware of the value that humans place on certain minerals and various curative or poisonous substances from the sea. But they had no way of knowing what the witch really wanted.

If we take a look at history, witches are not generally popular. Meraria was no exception. Having been cast out of society on account of countless exploitative schemes involving sorcery, she was ultimately forced into a life of solitude on the sea cliffs. What the witch wanted most was not wealth or power, but a community and a sense of belonging. Although she wouldn’t turn down wealth and power either, given the opportunity.

As we turn to the mural’s next scene, a couple years have passed. The town of Merari is in the process of being built, with its first inhabitants setting up their shops and homes.

Take this man, standing outside the establishment that seems to recall the town’s present-day Café Coral. What do you notice about him? Pale green eyes. Something fluid in the painted lines of his arms as he sweeps the entranceway. The trademark smirk, a hint of irony, as if he’s about to make a sarcastic comment. This is the Moray Eel from the previous ocean scenes.

This one is Grouper, with his recognizable hopeful expression, giving out small business loans at the bank. Moray Eel was likely the recipient of one of them, as was Rockfish, with her fiery hair and red-tinged skin, shown here in the process of establishing the town tavern. Here is the dreamy-eyed Nautilus, opening an art gallery. And here is Smooth-Hound Shark, dressed in gray, with new scholarly glasses, establishing the town’s first school.

Octopus is featured prominently at the top of the wall: a woman with long tendrils of hair that curl vine-like at the ends. She is speaking urgently with Meraria, doubtlessly in an endeavor to gain support for her next scientific venture. This relentless pursuit of knowledge and funding is said to have led to the foundation of the Marine Research Center associated with Merari University.

The town on this wall is painted in more subdued tones compared with the rest of the artwork. It looks almost pastoral after the intense, saturated colors we encountered early on. You may be wondering which of our aquatic ancestors established the Merari Public Library—I wish I could tell you. It is lost to history, as is the identity of the artist behind the mural.

In any case, we can see now that each town member has been transformed as Meraria had promised. But the sea witch did more than provide them with legs and lungs to satisfy their longing for the land. She also erased their memories of the ocean. Wiped blank, dependent upon the witch for survival, the sea creatures-turned-humans were pliable servants, susceptible to whatever she told them.

Meraria’s first order of business was to have her subjects build the town, which they named after her. They also built her a castle on the high cliffs, the seat of power during her reign, of which today nothing remains but the wave-battered remnants of old stone walls. According to historical accounts, Meraria was a generous ruler, extremely popular with the people due to festivities she sponsored and hosted. Again, we have to take bias into consideration, owing
to the fact that all such accounts originated from her own royal court. But even while reliable evidence of Merari’s economic and political situation during this period can be hard to come by, there is enough to suggest that the townspeople had given rise to a fairly self-sufficient community. It’s possible that they instinctively developed networks of interdependencies that bore similarity to their former, flourishing underwater ecosystem.

Before we move on to the Eastern wall, I’ll pause for questions again. Questions related to the mural. Ok? Yes, you.

 

WHAT I DO FOR A LIVING. Didn’t I answer this before? I see—all I said was that being a tour guide for the public library mural was not my occupation. In actuality, I teach history at Merari Public High School, where the head of the department has not yet given in to my requests for a unit on the town’s history and legends in the syllabus. Other questions?

 

I SEE. So Alessandro’s does not have enough five-star reviews for you. And you’re looking for a view of the ocean? In that case, how about the local ferry, headed to one of our neighboring towns? I have been informed that they have food on board.

Moving on.

As we turn the corner to the Eastern-facing wall, the picture darkens. Shadows sweep down from the cliffs against which the tormented ocean repeatedly crashes, forming a circular frame around the image that depicts the untimely death of Meraria. The sea witch is lying on her bed in her castle, bloated to four times her size on the previous two walls. Candied fruits and other delicacies from around the world crowd her room. A huge, deflated wine skin rests in her lap.

How exactly Meraria met her end is unknown, although suspected causes include heart failure and cirrhosis of the liver. Having grown accustomed to a life of deprivation, she hurried to embody the opposite extreme—excess—from the moment her fortunes changed. Accounts from those present at her nightly feasts and twice-monthly festivals are surely just a sampling of what had become commonplace for the witch-ruler.

Due to the lavish lifestyle that decimated her health, Meraria died earlier than might have been expected. From the moment that her eyelids shut and the last of the life energy ebbed from her body, the townspeople began to recall memories of their ocean lives.

The next scene of the mural depicts the sky split open and the town stopped in its tracks. The artist has layered images on top of each other like stripes of sediment. Octopus stands beneath the pouring rain on the cliffs with her long hair drenched and her back turned to the viewer. Underneath, Smooth-Hound Shark and Moray Eel mutely stare into glasses of amber liquor at Rockfish’s tavern, while she leans towards the window, watching rain ricochet off the awning. Grouper is having a smoke outside the door and staring at the pipe in his hands, probably wondering if this is doing irreparable damage to his gills. Below this, Nautilus is in a darkened studio, surrounded by the torn canvases of underwater scenes they always felt so strongly compelled to paint without knowing why, their face pressed into their hands.

It is the scene of a community-wide identity crisis. You can imagine the level of chaos and despair. Are we people? Are we fish? Are we both, or neither? With the death of the sea witch, the spell weakens just enough to allow for some flexibility of form. Here and there, the artist has painted glimpses of people waking up with fins instead of arms. Scales, shells, and spines take the place of skin and hair. When people get tired or lazy, maybe they find themselves reverting back, gills surfacing beneath their clothes.

“War Poem” Translated by Andrew Wachtel

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СТИХИ ВОЙНЫ

BY ANZHELINA POLONSKAYA

 

Ты так далеко,
что не доплывают
смоленые лодки,
и плечи мои
от тяжёлой работы
натерты,
и вёсла мои.
И рыба, которая шла за кормою
в неравном скитании,
однажды вернется домой.
Осталась звезда в терновом, далеком
созвездии звёзд.
Но всюду меня покидали
и компас, и кормчий -
кто путь этот не перенёс.
Ты так далеко,
что мир заточенья неважен.
Не суть,
что в лодках смоленых великое знание,
и что эти плечи несут.

War Poem

TRANSLATED BY ANDREW WACHTEL

 

You’re so far away
that the tarred keels
can’t reach you
and my shoulders
and oars
are worn out
from hard work.
The fish that has followed the rudder
in its random wanderings
will simply return home.
Only a star remains, in a thorny
far-off constellation.
But my compass and the helmsman
who couldn’t endure the voyage
have abandoned me.
You’re so far away
that the prison of this world is irrelevant.
No one cares
that tarred keels are filled with deep knowledge
or what these shoulders are carrying.

 

“Advice from a Dog” by Adam Scheffler

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I Piss expressively.

Detect the aura of seizures.

Judge objects first by movement,

then by brightness, then by shape.

Impersonate a helicopter

when reunited with a person you love.

And when you hear an ambulance

try to instigate a mass keening.

If worms grow in your heart,

call their number

the ‘worm burden.’

But have someone who loves you

administer a pill,

so each month the

worm burden is nil.

Get mugged by a cat,

and be able to smell cancer.

But smell also the worms coiled up in

the human heart, thousands.

A ‘wyrm’ is a serpent or dragon.

A ‘burthen’ is the capacity of a ship.

Picture their heart as an

aircraft carrier

covered in dragons.

Then, offer your condolences:

Lay your head on their feet.

Opportunistically lick their toes.

Have Bella be your most popular name.

Willow Springs 91

Issue 91

Willow Springs 91

Winter 2023

Poetry

 

EMMA AYLOR

Self-Portrait as Miniature with Mica Overlays

 

BRUCE BOND

in conversation with David Keplinger

Note Left at the Far End of the Street

Note Left in an Echo of the Note Before

 

KERRY JAMES EVANS

Casserole Island

Mississippi Snow

 

RAY GONZALEZ

La Frontera

 

HENRIETTA GOODMAN

The Repetitive Bird

 

HEIKKI HUOTARI

How the Mayfly Got Its Megaphone 2

 

JENNY IRISH

Lupine in Jardin des Plantes

 

DAVID KEPLINGER

in conversation with Bruce Bond

Note Left on the Back of an Antique Mirror 

Note Left in the Hubble Telescope, 1990

 

REBECCA LILLY

Lights Out

 

JULIA MCDANIEL

On a Walk with My Beloved, We Pass a Gingko

Eulogy for a Summer Evening

 

SANDRA MCPHERSON

The Minerals We Are Made of Are Beautiful

Dental Music

 

LIS SANCHEZ

Manuél Sánchez. Seaquake

 

ADAM SCHEFFLER

Advice from a Dog

 

RICHARD SPILMAN

Island of the Beginning and the End 

Tennis with Gulls

 

KAREEM TAYYAR

Request

 

MARC VINCENZ

Fire Tattoo

 

RANDALL WATSON

The Future of Nostalgia

Little League 

Losing the Self

 

J. P. WHITE

Fig & Elephant

Directions in the Northeast Kingdom to a Stand of Wild Apple Trees  

There’s a Problem in the Third Act

 

Poetry in Translation

 

ANZHELINA POLONSKAYA

TRANSLATED BY ANDREW WACHTEL

Стихи войны  

War Poem

Fiction

 

PAUL FARWELL

Meet Me at the Alacaster

 

GARY FINCKE

From the Heart

 

MADISON JOZEFIAK

A Tour of the Mural at the Merari Public Library

 

JEFFREY J. HIGA

The Boy, the Carpenter, and the Risen

 

BEN MILLER

A Slush Lover’s Homily

 

Nonfiction

 

CAROLINE CHAVATEL

American Museum

Interview

Issue 91

Willow Springs 91 features prose and poetry from Bruce Bond, David Keplinger, and more. Plus, an interview with Brandon Hobson.

Issue 91: Adam Scheffler

Adam

About Adam Scheffler

Adam Scheffler grew up in California, received his MFA from the Iowa Writers’ Workshop and his Ph.D. in English from Harvard. His first book of poems – A Dog’s Life – won the 2016 Jacar Press book contest. His second book of poems – Heartworm – won the 2021 Moon City Press Prize and just came out this winter. His poems have appeared in The Yale ReviewThe American Poetry ReviewNarrativeVerse Daily, and many other venues. He teaches writing and about hell and the underworld in the Harvard College Writing Program.

You can buy his new book Heartworm here.

His website is adamscheffler.com.

You can find more poems by him here, here, here, or here.

A Profile of the Author

Notes on "Advice From a Dog"

Well, I’d just reread Amy Gerstler’s fantastic poem, “Advice from a Caterpillar” and I loved the conceit of presenting a bunch of super specific things caterpillars do as advice (“Spin many nests,” “Alternate crumpling and climbing”). I liked how sometimes these pieces of advice from the caterpillar sound like aphorisms (“Don’t get sentimental/about your discarded skins”), but often don’t, and how overall this strategy allows for a kind of playfulness and weirdness that's also very matter-of-fact. So I thought I’d try that out as a writing prompt with my poodle-mix Bee Gee.

I started making a list of dog-specific “advice,” but then got slightly derailed or sent off on a (hopefully fruitful) tangent when I got to the moment about giving Bee Gee heartworm pills. Dog owners have to give their pets regular medicine so they don’t develop parasitic worms in their hearts, yet we also often seek “treatment” of a sort from our pets for our sadness and anxiety. It seemed to me that “heartworm” might also provide an apt image or metaphor for the poison and bitterness that can build up in the human heart over time, and for which I at least often turn to animals and the natural world (not just to dogs) for relief.

In doing some research, it also turns out that the technical name for the number of worms in an animal’s heart is “the worm burden” – which seemed like a fantastic phrase to me, since it speaks to what we all carry with us as mortal beings.

 

Music, Food, Booze, Tattoos, Kittens, etc.

You know how goats eat almost anything? Well, I tend to like almost all music no matter how “good” or “bad” it is. I have a true ignoramus’s bliss when it comes to music in that I don’t know anything about how it works, and am constantly being delighted by it. For instance, I finally & belatedly discovered Leonard Cohen and have been devouring his music, but I’m also very fond of Taylor Swift and Carly Rae Jepsen. I used to be embarrassed about my lack of discrimination, but now luckily I’ve read Susan Sontag’s essay on camp and Frank O’Hara's line about wanting to be “at least as alive as the vulgar,” so I have a fancy sounding defense of what I would like to be doing anyway.

I also recently read Rax King’s book Tacky: Love Letters to the Worst Culture We Have to Offer which opens with an un-ironic defense of Creed. I’m not quite brave enough to defend Creed myself, but I’m happy to have Rax in the vanguard protecting us more vulnerable philistines.

I would add that I really love it when ‘serious’ musicians do covers of pop songs as in the band Postmodern Jukebox which does jazz age covers of “All About That Bass” and Selena Gomez. I also heartily recommend the whole Folksy Covers section on Spotify, particularly the Carolina Chocolate Drops’ cover of “Hit ‘Em Up Style.”

And I can’t stop singing the praises of Amanda Palmer’s “Ukulele Anthem” which quite seriously suggests that silly joyous creativity might not only be a survival technique, but also prevent people from becoming murderers.

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“Witness” by John Hodgen

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Predictable to some degree that a man with a red and white striped stick-on umbrella hat

and a portable public address system bullhorn would be working the heart of Bourbon Street

in the name of the Lord. Telling all the jesters, masquers, Red Death revelers, that God

will not be mocked, that His patience is running out, that He sees us all, unblinking.

Predictable as well, perhaps, that his sidekick, his long-suffering Fortunato, would be hauling a life-size cross up the street with him on the Via Dolorosa, the road to the Superdome.

 

Less predictable the college kid, clean cut, a Chuck Palahniuk Fight Club type,

having to be restrained, pulled away by his friends, physically lifted off the ground,

his feet moving in mysterious ways. Screaming at the Jesusers that they don't belong here,

that this is our holy place, our last sanctuary, that this is where we come for the sole purpose of getting away from Jesus, that this is where we worship, that we should be free to mock God whenever we want, that someone could get hurt tripping over a cross like that in the street,

that we should just be left alone, that we are all being crucified each and every day.

His friends haul him away, John the un-Baptist, God's true warrior in sackcloth and ashes, His burning bush, His voice in the French Quarter wilderness, blessed troublemaker,

not to be mocked, not to be saved, crown of thorns messiah of the way things really are.

“How to Say, ‘I Was Scared of Fire as a Kid'” by Michael Martin Shea

Issue 69
Issue 69

Found in Willow Springs 69

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Last night, I dreamt I was shot in the head. I still had
six hours to live, but there was nothing I wanted to do.

I tell this while we're in bed together, while you're stroking
my chest with your free hand and propping your head on the other,

or maybe I don't tell you this, because you're still having nightmares
about your friend who lived that dream in reverse,

and her painting of the lake reflecting the tree still hangs
above our bed, so maybe I tell you something funny,

like, I dreamt we adopted a dog, one that had been beaten or trained
to kill, and we kept it in our elevator, but you don't laugh. You say,

That's not funny.

You say, That's not funny at all. Are you joking? and I tell you, yes,
I'm joking, or no, no I just had this dream and I can't help it,

and then you tell me about a dream you had, one where you're a kayaker
with kittens duct taped to your paddle, like you're giving them a bath,

which actually is funny, so maybe the difference between dreams
and nightmares depends on how much duct tape is involved,

duct tape being

inherently comedic, which would make that dream I had about

dropping acid

with my father and robbing a bank in Madrid only a dream

as long as we duct tape up a hostage or two or as long as no one gets shot
or paints dreary scenes where one thing reflects the other

the way they do in dreams, as if a parked car could dream

of being stollen

which I tell you and you laugh and your breasts shake

but then you sigh, as if you almost believe it, as if you believe
that a tree can dream of a lake, or a lake can want to wake up

from its dream of being a tree. So later we have sex and it's great
and all that, but I can't stop thinking about those kittens

gasping for breath like us, so when I finish I kiss you on the mouth
as if to say, here, take this. You can believe this.

Issue 90 Virtual Release Party

wms90launch

Willow Springs magazine virtual release party Friday, Oct 14th at 6:00 pm PST

 

Join us for readings from issue 90 authors Joan Murray, Denver Butson, Jason Graff, Greg Byrd, nicole v basta, Aran Donovan, Melissa Studdard, and Elizabeth Tannen. The readings will be followed by a live Q & A session, during which our authors will talk about craft, publishing, life, and more. Please feel free to share the following links with family and friends!

 

Shareable Zoom link: https://ewu.zoom.us/j/98398749146Shareable Youtube link: https://youtu.be/F7M8yVzmKyk