Soil, poem by Joshua Michael Stewart

She needs to get rid of the revolver
wrapped in the blood-splat­tered dress
tucked under­neath her driver’s seat.
She parks the Chevy on the shoulder

of a grav­el road, the engine ticks
in the morn­ing blaze while cicadas
drone their prayers. Jere­mi­ah sings
along with the radio. She steps out

of the car with the swad­dled gun
and a wrench snug against her chest,
hops a drainage ditch, and climbs
a barbed wire fence, care­ful not to snag

her skirt. There’re hors­es fur­ther in the field.
A stal­lion rais­es his head, twitches
an ear, and then low­ers his breath
back into the dew-drenched grass.

She hollers back to her broth­er: Jere­mi­ah,
you stay. I won’t be long. He waves her off
with a fat hand through the rolled-down
win­dow, annoyed that she’s interrupting

his song. There’s a rhyth­mic swish
as she clumps deep­er into the pasture.
Grass blades stick to her wet shoes, burs
cling to her cot­ton hem. She kneels down

behind a bosk, and thinks about the man
alone in the church pew, the way doom
stretched across his face like a prairie fire
leav­ing a land­scape of despair as she raised

the revolver a ruler-length from his forehead.
She yanks tufts of tall fes­cue out of the ground,
and claws at the black earth with the wrench.
She wedges the bun­dle into the nar­row hole

and bull­dozes the dirt over the shal­low grave.
She brush­es off her knees, and wades back
to the car glint­ing in the sun. Jere­mi­ah glares
as she plops her­self behind the wheel,

and clunks the heavy door closed.
Sor­ry Jere­mi­ah, she says, nature, you know.
She cranks the engine. The Chevy backfires.
Gun­shots crack against the walls of her memory

just as they did among cathe­dral arches.
As they pull onto the road, Jere­mi­ah cranes
his neck to watch trees, clouds and horses
fall into the abyss of the side view mirror.

Joshua Michael Stew­art has had poems pub­lished in Mass­a­chu­setts Review, Eupho­ny, Rat­tle, Cold Moun­tain Review, William and Mary Review, Pedestal Mag­a­zine, Evans­ville Review and Blue­line. Pud­ding House Pub­li­ca­tions pub­lished his Chap­book Vin­tage Gray in 2007. Fin­ish­ing Line Press pub­lished his chap­book Sink Your Teeth into the Light in 2012 He lives in Ware, Mass­a­chu­setts. Vis­it him at www​.joshuamichael​stew​art​.yol​a​site​.com

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'64 Suicide Lincoln, poem by RJ Looney

Dad­dy came home from work
one Wednes­day in July at 2 pm
smelling like beer
not talk­ing to anybody
after that he didn't stray too far away
spend­ing most of what would be his last year
in Mam-maw's old trac­tor shed
play­ing a Peavey Strat copy
through a beat up match­ing amp
he'd picked up at Pancho's Pawn & Loan

We could tell when he was on the Yellowstone
amp cranked up to 11
the neigh­bors up the hill
would raise hell at us on the party-line
to make him stop

August was hot as a malar­ia fever
and he wrote a whole catalog
of songs that didn't rhyme
with mean-sound­ing titles like

Burn Up World

'64 Sui­cide Lin­coln and

Mur­der­ous Bible

When Octo­ber rolled around
he took Uncle Junior's car trailer
to the junk­yard and returned with ten car fenders
most­ly GM products

Novem­ber afternoons
were spent in Old Milwaukee
with the lit­tle Sav­age bolt-action .22
shoot­ing them full of holes
or ping­ing in thumb-sized dents
with a 2 lb. ball peen hammer
oth­er times work­ing them over
with pit­ted leather work boots or gloved fists

In the gray of winter
he set to practicing
the trade he'd learned
at 17 in reformatory
skills acquired as payment
for a well placed
and equal­ly deserved shovel
deliv­ered to the face of his own Daddy
to sober him up
the patched met­al fenders
once again smooth as glass
primed and beg­ging to shine
with paint he couldn't afford

St. Patrick's Day
called to the neigh­bors up the hill
to light out for NOLA
so Dad­dy lib­er­at­ed some 20 odd gallons
of John Deere green from their shop
and sprayed his fend­ers with it
sus­pend­ed from the trac­tor shed rafters
like orna­ments on a brown Christ­mas Tree

I came home from a party
Sun­day morn­ing after he'd fin­ished them
still drunk on malt wine
and saw the light from the shed
a cold north wind
banged the open dou­ble doors around
those old fend­ers bumped each other
like bleached out cow bones
mak­ing hol­low thump­ing sounds
scratch­ing away their new coat­ing of stolen love
He was slumped down in a chair fac­ing them
one spent .22 shell on the con­crete floor
a blue dot between his eyes
flow­ing crim­son into open coveralls

We nev­er took the fend­ers down
and on days when I know
the wind is just right
I'll dri­ve out there
open up the doors and play
Daddy's two chord angry songs
through that fuzzy old amp
behind the hol­low bony beat
of his memory

RJ Looney has lived all but eight months of his life in Arkansas.  His poet­ry has been pub­lished both in print and online, most recent­ly in Pigeon­bike: Beyond the Bro­ken Bridge, Salt Zine, The Dead Mule School of South­ern Lit­er­a­ture, and Thun­der Sand­wich.

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The Smoking Ban, fiction by Caroline Kepnes

Han­nah missed the way things used to be. Now, if you want­ed to have a cig­a­rette at The Tav­ern, you had to walk out onto the deck. But it didn’t used to be that way. It used to be that every­one inside was smok­ing, flick­ing their ash­es, singing along to rock songs that nev­er got old, not here on the island any­way, where peo­ple weren’t expect­ed to grow up, where the old would get drunk and lament the fact that they nev­er got off this damn sand­bar and the young would balk, why would you even want to get off? The old would shake their heads and remind the young that they were young. And then some song would come on and they’d all want to dance and they’d for­get what they had been talk­ing about in the first place. They all chose to be teenagers, except the few who turned eigh­teen, hopped a fer­ry and returned only annu­al­ly, at Christ­mas, with heirs of con­de­scen­sion that only affirmed to the locals that stay­ing on island meant you were stronger, more whole of heart and more spe­cif­ic some­how, able to have all the expe­ri­ences you need­ed in one place. You were loy­al and you deserved to get drunk and pat your­selves on the back on a reg­u­lar and fre­quent basis.

Back then the smoke was a raft wide enough to hold them all. Smoke in a bar was an air­borne sea mon­ster, slow­ly drift­ing, watch­able as TV. The leather skinned old­er women hud­dled and puffed on ultra lights and whined about their hus­bands, cau­tion­ary tales for the young girls who sucked on real cig­a­rettes, Marl­boro reds, silent­ly swear­ing to quit so they’d nev­er look like that. The guys, hap­py guys, sad guys, drunk guys, guys who need­ed eight beers and a shot of Jack to get a buzz on, all of them slight­ly emas­cu­lat­ed by the fact that they were clear­ly only com­fort­able amongst famil­iar peo­ple, peo­ple they could iden­ti­fy, for the most part, by name. All shared a deep sus­pi­cion of out­siders, of strangers. And that meant even if you hat­ed some­one you loved them because you knew them and they served as a tar­get for some feel­ing you had, be it a good one or an igno­ble one. The lit­tle black plas­tic ash­trays were every­where, in the bath­rooms, on the tables, in the bars. But not any­more they weren’t.

Now here she was, stand­ing out in the cold, shar­ing a cigarette—imagine that, shar­ing—with Andrea DeWitt. They were out here because you couldn’t smoke in there any­more. It was cold. And they were women. And this was degrad­ing. Being out­side made smok­ing into an addic­tion, an affair, some­thing illic­it, which it wasn’t. They were cig­a­rettes for fuck’s sake. 

I said this thing’s genius.”

What?” Han­nah blushed. She hadn’t been pay­ing atten­tion to Andrea. Of course, she hadn’t been pay­ing much atten­tion to her since they were in high school, when Andrea became the girl she was now, talk­ing too much about noth­ing all of the time. Andrea nev­er had broth­ers. Maybe that was why.

The Butt Bin. These things are genius.”

Han­nah looked at the Butt Bin and saw a giant black con­trap­tion, an inel­e­gant bas­tion of prac­ti­cal­i­ty; what a stu­pid thing. Why not just put out some nice stan­dard black plas­tic ash­trays? Butt Bins start­ed show­ing up like cock­roach­es when the smok­ing ban went through and now they were every­where. They were indus­tri­al, they were ugly and they announced them­selves with a pride Han­nah found obnox­ious; steel nametags nailed to each one that read BUTT BIN. As if we were all so stu­pid we didn’t know what they were.

I hate them,” Han­nah said.

Andrea huffed. “Oh, Han­nah, you’re fun­ny. Any­way, the bake sale.”

Han­nah sim­mered. She wasn’t fun­ny. She was smart. But she knew Andrea too well to be stung. Andrea was basic. She pre­ferred lov­ing things to hat­ing them. She was the type who’d get excit­ed for some lim­it­ed time ice cream con­coc­tion at McDon­alds, eat it every day for as long as they had it, then talk about miss­ing it for months until it was gone, until they were pro­mot­ing some new piece of spe­cial, fleet­ing junk. Andrea didn’t have a crit­i­cal bone in her body. If told to be excit­ed, she’d get excit­ed. She was deeply com­mer­cial that way. Maybe it was because of Buck­ets. In nurs­ery school Andrea was mad for her pup­py Buck­ets. Her father ran him over with the lawn­mow­er. Andrea cried for weeks, always say­ing she’d nev­er love any­thing that could be tak­en away ever again. Han­nah told her that she would, but Andrea always shook her head no. They hadn’t talked about Buck­ets in hears, but Han­nah thought Andrea nev­er real­ly stopped mourn­ing that dog. She just had a cycle, antic­i­pa­tion, plea­sure, mourn­ing, and begin again. 

She tried to smile at Andrea, “Don’t you miss smok­ing inside?” 

Heav­ens no,” Andrea said. “The stench. Yuck. So as I was say­ing, Skip and I may go to the Keys for a month.”

Han­nah stared at the butt bin. What a crude thing. You’ve had six drinks and you’re sup­posed to put the butt into this minis­cule slot? All that was miss­ing was a sign that said FUCK YOU SMOKER.

Hey I asked you a ques­tion,” Andrea said.

Oh,” said Han­nah. “Sor­ry.”

How did I man­age to hold onto Skip for thir­ty eight years?” 

I don’t know.”

I’m a great fuck. That’s how.”

Andrea didn’t talk like this. You didn’t sud­den­ly talk like this after forty-eight years of friend­ship. And Han­nah squirmed. “Well good for you.”

What are you good at, Hannah?”

Excuse me?” Han­nah stubbed her cig­a­rette on the deck, in protest against the Bin.

I just told you I’m a good fuck. Every­one is good at some­thing oth­er­wise nobody would keep any­body around.”

Well I don’t know.”

It’s the one thing I have no doubt. I. Am. A. Great. Fuck.”

That’s ter­rif­ic.”

Are you a great fuck?”

Han­nah reached for the rail­ing, but they were stand­ing by the butt buck­et. There was noth­ing to grab. “Maybe,” she said.

Andrea’s smile fad­ed. “Well, you must be good at some­thing else then.” 

It was time go inside. The next time they spoke, there would only be talk of the bake sale.

 

Nate drove, whistling, one hand out the win­dow. Dri­ving drunk, Han­nah thought. Nate is good at that. He was loaded, sure­ly, but in April there was no dan­ger in it. She couldn’t get Andrea’s words out of her head, plain as a prayer, I am a good fuck.

That was good times tonight,” he said.

Oh sure,” she said, try­ing. “I just hate hav­ing to stand out­side. I miss the old days.” I am good at miss­ing things, she thought.

You and Andrea were out there for an eon. She okay?”

She’s fine.”

She looks good.”

Han­nah didn’t agree or dis­agree. But it was true. Andrea’s hus­band was a fish­er­man and the nature of that lifestyle was extreme. A fisherman’s wife was either well fed with enough mon­ey in her pock­ets to clean out the clear­ance racks at Filene’s or she was drawn, drag­ging her feet and des­per­ate­ly in need of get­ting her roots done. They were island peo­ple in that way, Andrea and her hus­band, always in some extreme state, flush or broke. 

Han­ny, you want a cup of coffee?” 

The Dunkin Donuts loomed; a cop they knew leaned against his car out front, his head down, tex­ting away on his phone, prob­a­bly to some young slut on her way home from the Tav­ern. Was he a good fuck?

Not right now,” she said.

Nice get togeth­er, eh?”

Yes,” she said. She and Nate didn’t fuck very often. It wasn’t because they weren’t good at it. The first time they had sex, on a blan­ket on desert­ed Sea Street beach, she’d been twen­ty-one and it had occurred to her as she was tying the strap on her biki­ni that she could go on fuck­ing him for years and it would be fine. It worked. Their smells blend­ed. His hands under­stood her body. She didn’t have to tell him what to do or pre­tend to like what she didn’t. And he wasn’t annoy­ing, wasn’t talk­ing dirty about his cock or pulling her hair too hard. No, he pulled just right.

Well I sure as shit want a cup of cof­fee,” Nate said. 

 

Nate was on the toi­let for most of the night. Dunkin Donuts didn’t mix well with Jack Daniels. Nate’s diges­tive sys­tem had become their secret glue. It was a seri­al­ized sto­ry of cramps, inter­nal pipes askew sound­ing, vivid descrip­tions of his move­ments, his aches, his after­maths. Han­nah was good at being let into the stag­ger­ing hor­rors of old age, wear and tear. She let him talk about his trips to the bath­room like they were high school foot­ball games, sigh­ing at the bad news, clap­ping for the good. Usu­al­ly when he emerged, rant­i­ng about his sys­tem, swear­ing he’d nev­er drink again she took him in her arms. She let him make his promis­es and she nev­er ques­tioned him when he’d be yearn­ing for whisky a few days later.

Nate stepped out of the bath­room. “Now that was some­thing. You think those shrimp were all right?”

I’m sure they were.” She lit a cig­a­rette. Theirs was a house you could smoke in. Oth­er cou­ples, par­tic­u­lar­ly Andrea and her hus­band, made a show of smok­ing out­doors, even in win­ter. Dumb fucks, Han­nah thought, freez­ing their butts off, prob­a­bly get­ting the snif­fles, when they could just smoke inside. Han­nah liked a smok­ing house. 

She put out her cig­a­rette in her mother’s old ash­tray and slipped down under the cov­ers. Nate had got­ten fat over the years; this was true, but it was a sign that he loved her and didn’t long for a mis­tress. She laid a hand on his arm and stroked him.

He chuck­led, “I still say those shrimp were bad.”

Well sure,” she said, try­ing to make her voice go raspy, try­ing to tell him what she want­ed with­out telling him. “I’m sure those shrimp were very bad.”

Ten sec­onds ago you said they were fine.”

Nate, you know about those things more than I do.”

Well do you think they were bad or not?”

I trust you.”

He shook his head and laughed. “So, what did Andrea have to say? Skip said they might go down to the Keys.”

“She didn’t men­tion any­thing.” She didn’t know why she lied.

“Must be nice, able to just take off like that.”

“Well, then again, no job secu­ri­ty, always wor­ry­ing. Nev­er know­ing what’s run­ning when. I would hate it. I like know­ing what’s com­ing.” And that must be what she was good at: being com­fort­able. She didn’t get bored easily.

“Still, must be nice.”

Han­nah wait­ed it out. Nate got like this sometimes. 

“You know I real­ly hate those butt bins,” she said.

“Real­ly?”

“Every­thing used to be more fun.”

“I had fun tonight.”

“No, Nate. I don’t mean it that way. I had fun.”

“You sure looked like you were hav­ing fun. Andrea and you were talk­ing up a storm.”

“And we had fun. I had fun Nate, I did. I just was think­ing, years ago, when you could smoke inside, it was more-”

“We were kids. Course it was more.”

“It’s not just that.”

“She say some­thing that pissed you off?”

“I’m not mad about anything.”

He seemed to relax now, rolled over. “The butt bins are fuck­ing bril­liant, Han­ny. You know how many cig­a­rettes those things can eat? Dan­ny Toule, he sells em, he’s mak­ing a killing. Soon enough, he and Char will buy the Keys, the mon­ey they’re making.”

Han­nah wasn’t good at get­ting her feel­ings across. A dif­fer­ent woman would have relayed her nos­tal­gic woes in a way that opened the door and set the table and invit­ed the man inside. She didn’t feel like hav­ing a pity par­ty but she didn’t know how to stop him when he got like this.

“How’s your bel­ly now?” 

He looked at her, “No shrimp for a long time.”

He leaned over and shut off the light. He then put an arm around her and stroked her back in a go away way she knew well by now. She pulled at the sheets so their bod­ies could touch, at least. The smell of shit was there; the bath­room door was ajar. Her big toe found the back­side of his calf. He gave in to her; it was Sat­ur­day. They went at qui­et­ly in their emp­ty house and then it was done. She sup­posed she’d got­ten what she want­ed. Had he? 

Shit.” Nate leapt from the bed and stubbed his toe. He grabbed the news­pa­per. “Shit. Shit. Shit.”

I thought it passed.”

Damn shrimp. Tomor­row I’ll call Eddie and tell him.”

Oh, Nate.”

I’m going down­stairs. Sor­ry about the smell.”

You don’t have to do that. I don’t mind it.” 

But he was already gone. She felt stu­pid for telling him she didn’t mind the smell. Who didn’t mind the smell of shit? Even­tu­al­ly the toi­let flushed. She lis­tened to him pet the cat, open the refrig­er­a­tor door, close the refrig­er­a­tor door, scuf­fle across the linoleum, bid good­bye to the cat and pro­ceed up the stairs. I am a ter­ri­ble fuck, she thought.

You know, Dan­ny Toule said he can get us a butt bin, whole­sale,” he said, climb­ing into the bed. “Would be great to have here. For when we have peo­ple over, for when we’re on the deck. Danny’s a smart shit get­ting in on that. Every restau­rant needs one. Every sin­gle restau­rant with an out­door patio. Imag­ine the busi­ness. Smart shit says he just was out­side smok­ing one day and saw one and called the com­pa­ny. Cold called. Now he’s rolling in it. Smart guy, smart guy.”

Sounds great,” she said. 

He was soon asleep but her eyes wouldn’t close, not even when the sun crept in through the blinds. Soon, she would fuck some­one else and she felt ter­ri­ble about that. Maybe she was being sil­ly; peo­ple didn’t start run­ning around because of a butt bin, because their hus­band didn’t hate what they hat­ed. But maybe she was right; peo­ple start­ed run­ning around because of the stu­pid­est lit­tle things. Because they didn’t see some­thing that didn’t mat­ter the same way, which shouldn’t mat­ter, but did mat­ter, which made no sense, which kept her eyes from clos­ing up. Maybe she’d nev­er sleep again and she laughed. A lot of peo­ple prob­a­bly think that when they can’t fall asleep. She felt very uno­rig­i­nal, like she’d been wrong about her­self, like all her thoughts had been thought, like God prob­a­bly made her the same day he made many oth­ers which was true; lots of peo­ple were born on May 23rd. That’s true of every day.

By the time he woke her up the next day, it was near­ly one in the after­noon. He tick­led her chin and laughed when she sat up star­tled. “Fig­ured you’d want at least a few hours of day­light today, honey.”

He was leav­ing to go to work and she would nev­er sleep with some­one else. She would call Andrea back, who had called twice already and hear about the great deals she found at Filene’s. Then she would cook dinner—pork chops and corn—and see about cheap deals in Flori­da. When Dan­ny dropped by with the Butt Bin, she joined him and her hus­band on the deck and sang prais­es of the thing as if she didn’t real­ly hate it. Nobody, not even a genius, would have been able to tell that she was lying when she called the thing a great inven­tion. And she didn’t feel bad about it, not real­ly. Andrea was just kid­ding her­self; there’s no way she was a great fuck. There’s no way she knew that the way you know your eyes are a cer­tain col­or. If that were true, then oth­er peo­ple know it and would have talked about it and Han­nah would have heard that over the years. Andrea had got­ten around in high school, after school. And she didn’t have a way of ruin­ing her con­quests for oth­er women, that’s for sure. 

Dan­ny didn’t stay long and when he was gone Nate and Han­nah returned to the warmth of the liv­ing room where they smoked and watched the news. Her hus­band didn’t real­ly like that butt bin or he’d be out there play­ing with it the way he does with a new wrench. He was only amped up about it because he’d been drunk. Maybe it was the same with Andrea, going on about being a great fuck. Andrea’d had a few shots of Jaeger; it was pos­si­ble she’d been talk­ing out of her ass. But if alco­hol was truth serum, then maybe their drunk selves were their true selves in which case Han­nah didn’t have a secret, real self because she nev­er drank so much that she said things she didn’t mean. Her head was start­ing to spin and she put out her cigarette.

What’s wrong?” he said. He knew her moves well.

Noth­ing.”

You upset about the Andrea thing?”

What Andrea thing?”

Skip said she was going around telling every­one at the bar that I was the best lay she ever had,” he said. And he laughed and shook his head as if he was talk­ing about their daugh­ter, or rather, the way she imag­ined he would have come to talk about his daugh­ter if they ever had a daugh­ter, which they didn’t and wouldn’t. “What a crock, right?”

She had no rea­son to be mad. It wasn’t like she didn’t know that they’d screwed and she’d screwed Skip once, so they were even, and it was all before any of them were mar­ried. But to say Hannah’s hus­band was bet­ter at some­thing than her own hus­band was to imply that she’d rather have him than her hus­band. And that was for sure rude. But they weren’t in high school any­more. They were old, dry­ing up, out­grow­ing this kind of crap. If she were to get mad and not return Andrea’s phone calls, some­how she’d be the one act­ing like a baby because her bad behav­ior would be sober and delib­er­ate. She wouldn’t win. She couldn’t win.

Andrea has good taste,” she said. “You can’t argue that.”

And they laughed and went on watch­ing the news and talk­ing about some guy upstate who went and shot his neighbor’s dog and what an ass­hole he is and how he should fry. Some­how watch­ing the shoot­er get cuffed and dragged into the cop car made Han­nah feel bet­ter about her life, supe­ri­or, and she sup­posed that’s why they sat here watch­ing the news every night, not to find out about the goings on or form opin­ions about pol­i­tics, but to feel like they were doing alright, in spite of hav­ing lived such small and down­right inces­tu­ous lit­tle lives, like maybe, if they were here and not there, they had abid­ed the laws, even the sil­ly ones like the smok­ing ban. In some way, they had won.

Caro­line Kep­nes has been split­ting her time between her home in Los Ange­les, CA  and her par­ents' home on Cape Cod, MA. Her fic­tion has been pub­lished in or is forth­com­ing in The Barcelona ReviewCal­liope, Dogz­plotEclec­tica,The Oth­er Room and Word Riot. She spent the past few months writ­ing a young adult nov­el The Dig that's avail­able on all e‑book plat­forms. Her YA pen name is Audrey Hart. In her spare time she enjoys read­ing about meth lab busts, Florid­i­an crim­i­nal activ­i­ty and wild animals.

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Six Seconds, poem by Mike Lafontaine

what do you have to say for
yourself
you say nothing
what can you say
words will either
save your relationship
or doom it
but silence
is key
you say nothing
do you have
some­thing to say
to me
you don’t
you feel nothing
more than nothing
you feel ill
you feel like a child
want­i­ng to be left
alone
not interrogated
you say nothing

I hate you
she says
you look at her
you smile inside
you have been
giv­en an out
do you take it
though
will she haunt you
or could you be
with­out her
that’s the choice
you have and you have
exact­ly six sec­onds to
make it.

Mike Lafontaine has lived in the Unit­ed King­dom, Cana­da and the Unit­ed States. He has had a lot of crap­py jobs and some good ones; he seems to attract women with men­tal prob­lems. He has loved and lost; lost hope and regained it. He earned a (BA) Bach­e­lor of Arts in Dra­ma, Writ­ing and Per­for­mance and then a (MA) Mas­ters Degree in Cre­ative Writ­ing from Mac­quar­ie Uni­ver­si­ty. He cur­rent­ly lives in Syd­ney, Aus­tralia with his girl­friend and their dog Lloyd.

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Innings, essay by Jim Parks

I came by it hon­est, this busi­ness of writ­ing up cour­t­house wars.

It was what was going on that sum­mer – forty sum­mers in the past — in the heat of cot­ton season.

They had dis­barred the DA; the Sheriff's race was dirty, hate­ful; the Democ­rats were even­ly split between the Dirty Thir­ty fac­tion in the Leg­is­la­ture, Gov­er­nor Pre­ston Smith and his cronies in the insur­ance biz, and the con­ser­v­a­tive banker can­di­date for Gov­er­nor, Dolph Briscoe.

The boss was a booz­er from Chica­go, Kansas City — points mid and west – an old time Hearst man with ties to liquor, guns, women — and cars, flashy, fast, long, low-slung cars.

All the stuff no well-round­ed man of the world would think of leav­ing home without.

The war was car­ried out in the court­rooms, the coun­cil cham­bers, schools, hos­pi­tals and per­son­nel offices – all the places where small town prairie dwellers meet, greet, and then haul off and kick the shins of the com­pe­ti­tion in a good-natured exer­cise of the Amer­i­can dream.

Sec­ond place is first los­er, and the prize for that lack­lus­ter per­for­mance is a set of steak knives.

Ouch.

But the old Yan­kee knew a sto­ry when he saw one, and the idea was to sell newspapers.

Any­body accus­es you of just try­ing to sell news­pa­pers, you agree with them most hearti­ly. Tell them 'Thank you, sir,' and urge them to write that down.”

He took a sip at that sour mash he drank, and added, “Offer to let them write it in your note­book.” Stashed the jug back in the bot­tom desk drawer.

Black Irish­man grown old, the kind with two jet black eye­brows that looked like cater­pil­lars crawl­ing over thick, black horn­rims, a red pota­to nose, and a full head of fluffy white hair.

Like most who hail from the west side or the neigh­bor­hoods Back of the Yards, he said he was from “Chi-caw-go” — not She-cah-go – Chi-caw-go.

Dude knew how to write a sto­ry, too. He put it this way.

This is a sto­ry news­pa­per. Hey, nev­er let the facts get in the way of a good sto­ry, guy. It just isn't done that way around here.”

Around here.

Black land cov­ered with cot­ton that looked like some­one spilled an even coat of pop­corn across the land­scape. Gaudy sun­sets, moments some­what sub­lime on fog­gy morn­ings when you catch a mama fox and her pups nos­ing their way out of the woods along the creek bot­tom or a hawk cir­cling lazy and rap­tor-like in a sky so blue it hurts to look at it.

In the after­noons, the sun passed its merid­i­an with a vengeance and began to bake the brick veneer of the old build­ing; the only breath of air stir­ring was that of the old ceil­ing fans in their lack­adaisi­cal, slow turning.

And then Mr. Bob came in the door and called my name where I sat beat­ing on a cast-iron man­u­al type­writer, try­ing in hun­dred-plus degree heat to make sub­ject, verb and mod­i­fi­er agree in tense and con­ju­ga­tion at a grimy old oak desk with the dust of near­ly a hun­dred sum­mers worked into its grain.

"Jim­bo!"

He knew me.

The High Sher­iff, he was, the one who made Ray­mond Hamil­ton give up in the woods near Jack's Branch when Bon­nie and Clyde came to break him out of his jail – back in the bad old days, when there was no mon­ey and peo­ple got a secret kick out of read­ing all about a bunch of badass­es raid­ing the cof­fers of the ones who fixed their wag­ons and dried up the money.

Wore a spot­less sil­ver bel­ly Stet­son square on his sil­ver head like a crown, its brim turned up all the way around like Mr. Sam, Tru­man or John­son – or Big John Connally.

Wore a suit and nev­er car­ried a gun. Said he didn't need one. Made his “boys” wear suits and keep their hog legs inside their jackets.

Think of the news pic­tures of Capt. Will Fritz or Chief Jessie Cur­ry on Novem­ber 22, 1963.

He held out his check­book the way the old timers used to do it, said, “I need you to fill out my check for anoth­er year's sub­scrip­tion to the paper, Jimbo.”

Wait­ed while I filled it out, then signed the check with a flour­ish while I wrote out a receipt.

I thanked him.

You didn't know Willie and I were next door neigh­bors for 40 years, did you?”

I knew that. Knew it well.

Willie. My grand­fa­ther — farmer, mechan­ic, mer­chant – drove a Lin­coln limo with a V‑12 in it, chewed cig­ars, played dix­ieland blues on clar­inet. Squint­ed out of pho­tos with a well-chewed cig­ar and a news­pa­per fold­ed up and thrust into a side pock­et of his jumper.

Willie.

We nev­er had a harsh word, me and Willie,” he said. “I think he'd want me to tell you what I'm fix­in' to tell you, boy.”

I nod­ded, looked him right straight in the eye.

"You don't put your feet on high­er ground – son – you're going to the pen…"

Held up his hand and arched his brows to stave off any remark – the one I would in no case have dared to make – and continued.

Right or wrong, son. That's just the way it's done. You shook these peo­ple up, and they will have their innings.”

Innings.

The expres­sion brought back the crack of the bat, the moan of the crowd fol­low­ing the fly ball through the sky, the chat­ter of the infield, the hus­tle and pop of the ball sock­ing into the pock­et of a well-oiled glove.

Innings.

Then he told me the strangest tale. The most elec­tri­fy­ing and impromp­tu inter­view I have ever been given.

You can't out­do the law, hoss. Just can't be done.”

Said he didn't want any of this print­ed until he was long gone and for­got­ten, but he want­ed me to remem­ber what he was going to say.

This bird named Bar­row? They caught him a'stealing cars in Waco when he was about 14. He wasn't big as a minute – nev­er weighed much more than 135–40 pounds. Shoot, he wasn't much big­ger than his girl, Bonnie.”

As the sto­ry devel­oped, it became very appar­ent what the old time law­man was talk­ing about. He was explain­ing what clas­si­fi­ca­tion of pris­on­ers in jails is all about, and how it is used as a weapon – for good or evil.

Like the clas­sic Jim Thomp­son char­ac­ter in “The Get­away,” “It does some­thing to you – in there – It does some­thing to you,” said Carter “Doc” McCoy.

They put him in a high pow­er tank down there at Waco – on one of the floors where every­body had been in the pen before…It was hard times, Jim­bo. Mighty hard times.” He let that sink in. “And he wasn't but 14 years old. Get it?”

So Clyde Bar­row went back to Cement City and the West Dal­las world of Sin­gle­ton Avenue wreck­ing yards with a new moniker. They called him School Boy – from then on – in the under­world of cops and robbers.

You know what those old boys did to him in that jail house, Jim­bo. He nev­er was right – after that. The girl was just for show, you hear me? They always trav­eled with anoth­er young man.”

Anoth­er mean­ing­ful silence.

>When they killed Lloyd Buch­er, I said I was fed up. I said he was going to have a seat in that elec­tric chair, and I was going to be a witness.”

Then he told the sto­ry about the rob­bery and killing of the pawn bro­ker, jew­el­er, and sus­pect­ed fence who had a shop out in the coun­try on the old Ft. Worth high­way – Lloyd Bucher.

The Bar­row gang always trav­eled as if they were string band­ing, play­ing at dances in hous­es and halls and blind pig beer joints. They had gui­tars and fid­dles – Clyde had a saxophone.

They came in the mid­dle of the night and told Mr. Buch­er they need­ed gui­tar strings. He didn't believe them, but final­ly they per­suad­ed him to let them in, accord­ing to his wife.

Some­thing went wrong, once he got the safe open. Crouched down, going through the mon­ey and valu­ables stashed there, he may have strug­gled, or he may have gone for a hide­out gun he kept in the safe.

It was the Bar­row gang's first killing, before the deputy at Ato­ka, before the two high­way patrol motor­cy­cle offi­cers near Grapevine – the first one, before any of the rest.

Mr. Bob Wilk­er­son, then Chief Deputy, had thrown down the gaunt­let. Clyde Bar­row and Ray­mond Hamil­ton would face execution.

He passed the word.

When School Boy heard it, he said there was no way he was going to just haul off and take a seat in Sparky. He would fight to the finish.

It was on.

By the time they were fin­ished, it was Bon­nie and Clyde 13 – nine of their vic­tims were police offi­cers – and The State of Texas 2.

Ex-Ranger Frank Hamer and a posse of Dal­las deputies of Sher­iff Smoot Schmid, the Harley-David­son deal­er in Big D, gunned them down with Brown­ing Auto­mat­ic Rifles at Arca­dia, Louisiana, for the killing of the rid­ing boss at East­ham Prison Farm the day they broke Hamil­ton out of that joint.

Mr. Bob fin­ished his sto­ry this way.

"The night they exe­cut­ed old Hamil­ton, I had a word with him. I said, 'Son, have you got any­thing you want to tell me before it's too late?'"

He said, 'The one who done this killing isn't here tonight.' That was all he would ever say. I asked him for that name, but he wouldn't give it up.”

Bob Wilk­er­son turned on his heel, put one well-pol­ished wingtip ahead of the oth­er, and walked away.

It was the last time we ever spoke to one another.

Jim Parks is a news­man, deck­hand, farm hand,  ram­blin' man and truck dri­vin' man. Keep him away from the fire­wa­ter and  don't mess with his food or his woman.

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Interview with Michael Gills

Michael Gills was McK­ean Poet­ry Fel­low at the Uni­ver­si­ty of Arkansas and Ran­dall Jar­rell Fel­low in Fic­tion in the MFA Pro­gram at the Uni­ver­si­ty of North Car­oli­na-Greens­boro. He earned the Ph.D. in Cre­ative Writing/Fiction at the Uni­ver­si­ty of Utah. His work has appeared in McSweeney's, Oxford American,Verb 4, Shenan­doah, Boule­vard, The Get­tys­burg Review, The Greens­boro Review, Quar­ter­ly West, New Sto­ries From The South and else­where. Why I Lie: Sto­ries (Uni­ver­si­ty of Neva­da Press, Sep­tem­ber, 2002) was select­ed by The South­ern Review as a top lit­er­ary debut of 2002. A 2005-06 Utah Estab­lished Artist Fel­low­ship recip­i­ent, Gills is a con­tribut­ing writer for Oxford Amer­i­can and a board mem­ber for Writ­ers @ Work. He is cur­rent­ly a pro­fes­sor of writ­ing for the Hon­ors Col­lege at the Uni­ver­si­ty of Utah, and is pro­mot­ing a sec­ond col­lec­tion of sto­ries, THE DEATH OF BONNIE AND CLYDE, and a nov­el GO LOVE.

Do you see any cor­re­la­tion between fish­ing and writ­ing? I say that because I remem­ber you and Dale Ray Phillips tak­ing some time off dur­ing Writers@Work so you could take Dale to a decent fish­ing riv­er, which I thought was a cool thing to do for a guy in mid-con­fer­ence mode. 

Writ­ing has every­thing to do with fish­ing. My grand­fa­ther, Wel­don Tread­well, was sort of a famous guide out of Shangri-La Boat Dock on Lake Oua­chi­ta in Arkansas. Morning's, he'd rise hours before light, lis­ten to radio weath­er for the Ohio Val­ley to the Deep South, have us on a school of large mouth at day­light, cast­ing six-inch Devil's Tooth­picks at the fuck­ers, lim­it­ed out by 8 a.m. At the clean­ing sta­tion, huge bass named Big Arkie and Beelze­bub and Buck­et mouth would drag our fil­let skins down into the deep where they glowed like hands. Write before day­light, use lures no liv­ing being can resist. Cast and cast and keep cast­ing until you can hit what you aim at, the sil­ver line singing. Learn to work your lure, jerk jig until *bam*, come home to dad­dy. Don't ever for­get there's images down in the muck that can take your head off. Reach into the deep for such. Turn off your mochine by 8 a.m., drink cof­fee, hard to fuck up a day like that. For the record, Uncle Dale's the finest cast­er I know, can hit a five-gal­lon buck­et at forty yards five times in a row. Once, this woman left her panties at his house over by Brenda's Big­ger Burg­er in Fayet­teville. He cut the crotch out, tied the four cor­ners around a razor sharp tre­ble hook and hooked a five pound chan­nel cat from Otto Salassi's canoe over at Bud Kid. I'm swear­ing to god–there's no bet­ter sto­ry than a fish story.

Where did your nov­el 'Go Love' come from? Its style seems free to me, open to just about any­thing in those short sec­tions. Not that you or your style are ever ret­i­cent, but this is different. 

GO LOVE was writ­ten in one year of straight­for­ward writ­ing on an IBM Selec­tric type­writer. Those morn­ings before light, for four hun­dred pages or so, I nev­er looked back. When one of the met­al bands broke, I wrote by hand, just like my best men­tors. There was this ener­gy about that first draft, and I tried not to mess it up in revi­sion. A dozen drafts lat­er, a good bit of the fire's still there. I put every­thing I had in that book.

Ye gods. A dozen drafts? That's impres­sive. Does every sto­ry of yours go through as lengthy a process? Go Love seemed to me to not only burst with ener­gy, but almost writ­ten in con­crete. I'm going to be one jeal­ous SOB, I think. I guess what I'm say­ing is the seams don't show. Did Bon­nie and Clyde require that kind of Her­culean effort as well?

I don’t think of it as a Her­culean effort. That’s just how I work–doesn’t every­body? B & C is eleven sto­ries, each draft­ed until they seemed right, then sent out until they were tak­en and pub­lished, and each one was sub­se­quent­ly nom­i­nat­ed for the Push­cart though none won. The title sto­ry, which won South­ern Human­i­ties Review Hoeph­n­er Prize for best sto­ry pub­lished there in 2010, once had this whole long sec­tion on ship­wrecks of the Out­er Banks–fifteen pages or so that dragged it down. After that was cut, the pace picked up, but I’ve got this killer riff on ship­wrecks now if anybody’s inter­est­ed. I work from hard copies, mark the Jesus out of them, then revise and do it all again so each sto­ry sits about four, five inch­es tall when it’s said and done. Richard Bausch once saw a pile of sto­ry drafts (“Fool­ish­ness to the Per­ish­ing,” my first pub­lished sto­ry, Greens­boro Review, no. 45, Win­ter 1988–89) and said, “Can I have a look at that novel?”

What writer is most indis­pens­able to your own writ­ing work? 

There is no “writer” indis­pens­able to my work, though plen­ty of reg­u­lar folk are. To tell the truth, except for a cou­ple of writers–like Uncle Dale or Rick Camp­bell, both fish­ing buddies–I’d just as soon steer clear of them. My wife and daugh­ter keep me straight for the most part, as does a spring and sum­mer gar­den and real hard work under the sun. That said, Fred Chappell–I heard he got up every morn­ing at 4:30 to work, and I once sat out­side his house and I’ll be damned if the lights didn’t come on at 4:30. When work­ing, I try to do like­wise until it’s routine.

How does liv­ing in Utah feed the writ­ing you do about the south? Is there an exchange of ener­gies some­how, with Utah stand­ing in some­times for anoth­er place you'd rather be?

I live in Utah because it’s kick ass to look off my front porch and see Neva­da one way, these eleven thou­sand feet tall moun­tains the oth­er, with flat out wilder­ness with­in a half hour’s walk from my back door. Alta Ski resort’s twen­ty-five min­utes away. My daugh­ter and I ski Sun­days in season–our church. I love my teach­ing job. There’s no oth­er place I want to be. This all makes a great back­drop to turn my inner-gaze south and east. Where my roots remain, though I’ve just pub­lished a piece called “Last Words on Lonoke” and I think I bygod mean it…

Usu­al­ly I can get at least an inkling about the sources from which a writer's mojo comes, but your books mys­ti­fy me in that sense. I see Faulkn­er some­times, Bar­ry Han­nah oth­ers, even Lar­ry Brown, but most­ly I see what I think is your own true voice, paid for in blood, I imag­ine. How long ago in your career did you final­ly think to your­self, 'ok, this is the real work here, I'm doing it now?'

My first writ­ing teacher, Bud­dy Nor­dan at U. of Arkansas, walked me out of work­shop, down to the Arkansas Press and intro­duced me to Miller Williams who sat far across a big room at a desk. He liked my first poem, called “Night Dreams in Log­ic Class,” about meet­ing this girl in a barn where “eyes of hoses shone from buck­led straw.” Thing was “hoses” was a typo, it was sup­posed to be “hors­es” only he loved that I’d thought of “hoses,” said it was bril­liant. So my first poet­ry when I was a sopho­more in col­lege won a grad­u­ate writ­ing prize from the MFA pro­gram at UA, which I won again, and then won fic­tion too. Eudo­ra Wel­ty said she wrote because she was good at it. I won’t pre­sume to use Miss Welty’s words, but that ear­ly praise buoyed me and still does.

What are you work­ing on these days?

I have a book of essays, WHITE INDIANS, under seri­ous con­sid­er­a­tion at a press, and a 3rd book of short sto­ries, THE HOUSE ACROSS FROM THE DEAF SCHOOL, about three quar­ters of them pub­lished, ready to mail out. Any­body wants to see it, say so. GO LOVE has turned into a quar­tet, and I’m about 100 pages into the first book, EMERGENCY INSTRUCTIONS, with the oth­er two mapped out. A 4th book of sto­ries, EARTH’S LAST NIGHT is tacked up (the title sto­ry appeared in The Wasatch Jour­nal which, before they went under, paid real good mon­ey) on my wall and I’ve got a col­lec­tion of poet­ry await­ing revi­sion. I have a nov­el in sto­ries draft­ed, sort of a red­neck Can­ter­bury Tales called TALES FROM THE HUNT. So I’ve got plen­ty to keep me busy for a while.

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Lawless: Hillbilly gangster flick offers wild, violent ride

This sounds like a hell of a good time to me. Any­one see it yet?

I've got many weeks of con­tent to get on the site, but you'll have to bear with me for a bit.

 

LAWLESS

Jay Stone

Galaxy Rat­ing 3 ½ out of 5

Moon­shine, fast cars, guys get­ting their throats slit, oth­er guys get­ting impor­tant parts sliced off, and guns, guns, guns: it's all there in Law­less, a rootin' tootin' hill­bil­ly gang­ster film that has just about every­thing you might want, with the pos­si­ble excep­tion of a point. As often hap­pens in these projects, bru­tal vio­lence, strong lan­guage and nudi­ty become their own reward.

Law­less was made by John Hill­coat and Nick Cave, the direc­tor and writer behind the hyper-vio­lent Aus­tralian film The Propo­si­tion. They have not lost their taste for blood or for evoca­tive set design: Law­less takes place in the wild and wool­ly Appalachi­an Moun­tains of Vir­ginia, cir­ca 1931, a loca­tion awash in vin­tage Fords, gang­sters with Tom­my guns and dusty moun­tain towns with signs for Chester­field cig­a­rettes, Kist bev­er­ages and (my favourite) the Fire Proof Hotel.

Read more: http://​www​.lead​er​post​.com/​l​i​f​e​/​H​i​l​l​b​i​l​l​y​+​g​a​n​g​s​t​e​r​+​f​l​i​c​k​+​o​f​f​e​r​s​+​w​i​l​d​+​v​i​o​l​e​n​t​+​r​i​d​e​/​7​1​7​1​3​4​0​/​s​t​o​r​y​.​h​t​m​l​#​i​x​z​z​2​5​8​R​o​s​zcS

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Book Review: Hillbilly Rich, by Jeff Kerr, reviewed by Graham Rae

Whilst con­tem­po­rary tech­nol­o­gy-over­loaded soci­ety may have cre­at­ed a vapid and tran­sient instant­ly-obso­lete fad-app-and-gad­get obsessed age, the human heart in con­flict with itself is an eter­nal and unchang­ing part of life and lit­er­a­ture. This is tru­ism is acknowl­edged by writer Jeff Kerr, whose fine, poet­ic, inter­net-and-TV-free tales in this vol­ume evoke a more human and con­nect­ed and inter­est­ing time and tide of human existence.

Hill­bil­ly Rich show­cas­es six short sto­ries set in the Appalachi­an moun­tains on the Ken­tucky and Vir­ginia bor­der. The book’s cov­er neat­ly rep­re­sents the major over­ar­ch­ing themes of the fic­tion inside: alco­hol and mon­ey and pills and south­ern dis­com­fort. Kerr pop­u­lates his writ­ings with sin­ners and win­ners and losers and life abusers and drug users and brawlers and bar-crawlers, effort­less­ly and poet­i­cal­ly evok­ing his char­ac­ters in his half-dozen utter­ly human tales of weary-cum-ener­gized woe and mur­der and sui­cide and redemp­tion and damna­tion. If this sounds grim, it’s real­ly not: the por­traits paint­ed here are life-affirm­ing and dis­arm­ing in equal mea­sure too.

That old crime reli­gion is invoked a few times dur­ing the sto­ries, and there is a kind of qua­si-reli­gious feel­ing to some of the work (hard­ly sur­pris­ing giv­en the geo­graph­i­cal region it hails from), but not of a preachy kind. Self-taught Kerr’s writ­ing is almost anal­o­gous to the sketch of an ex coalmin­er in the pages, a man who hears the soft mov­ing call of his God to make him cre­ate beau­ti­ful works of art in cel­e­bra­tion of all existence.

The writer tells us in the fas­ci­nat­ing sev­enth and final piece in the short book, an auto­bi­o­graph­i­cal piece explain­ing the title (‘hill­bil­ly rich’ is a phrase that means you are not finan­cial­ly sol­vent but have enough to get by), that his work is a cel­e­bra­tion and lay­ing down of fam­i­ly lines by some­one not born into a tra­di­tion­al book­worm fam­i­ly: “Peo­ple like me aren’t meant to be lit­er­ary peo­ple. My dad drove a fork­lift in a ware­house and my moth­er worked in a plas­tics fac­to­ry. Both of my grand­fa­thers were coal miners.”

So Kerr’s work mines rich black gold coal­burst­ing seams of harsh­ly-and-vibrant­ly-burn­ing fam­i­ly fos­sil fuel to feed a bright blaz­ing pure-heart con­fla­gra­tion sto­ry mosa­ic: a man seeks to redeem him­self by releas­ing a cap­tive wolf that will car­ry his image “in the hard run of a red wolf’s mem­o­ry.” A truck­er com­mit­ting inad­ver­tent infi­deli­ty has to defend him­self against the hus­band of the man whose wife he was unknow­ing­ly sleep­ing with. A washed-up coun­try and west­ern star (and all his creator’s sto­ries would make a fine C&W tune, drip­ping blood and whiskey and pain and emo­tion­al chaos) decides to take dras­tic action in a painful mar­i­tal mat­ter. And, in the sto­ry that is, to my mind the best in the col­lec­tion, two socio­path­ic teenagers point­less­ly shoot hors­es in a cor­ral just for the sick and evil and despair­ing fun of it.

The last line of the lat­ter tale (appar­ent­ly unfor­tu­nate­ly based on a true occur­rence) also neat­ly encap­su­lates a com­mon con­stant thread of Kerr’s prose: home­spun honky­tonk wis­dom mixed with beau­ti­ful poet­ry. “There’s a lot of mean­ness in the world and you can’t trust fences to keep it out,” he intones, in a per­fect suck­er-punch­line to the hor­rors that have just pre­ced­ed this piece of sim­ple philo­soph­i­cal truth. The coun­try singer has a “rat­tling up all night and repent­ing in the morn­ing” voice. A child scared by an appari­tion basks in famil­iar fam­i­ly safe­ty of “unspo­ken love that chained through gen­er­a­tions of blood and strug­gle to keep the shad­ows from becom­ing hard­er and more dan­ger­ous things.”

In the tit­u­lar essay, the writer tells us that his grand­fa­ther would tell him “tales involv­ing ani­mals and their mys­te­ri­ous ways, strange myth­i­cal hill beasts, ‘hants and vio­lent events torn straight out of the death bal­lads my Paw-Paw would tell me. Oth­er sto­ries were told by my par­ents, uncles and aunts on boozy evenings.” It seems thus that Kerr’s tales are just his way of extend­ing his 180-proof moon­shin­ing fam­i­ly oral tra­di­tion beyond unfa­mil­iar famil­ial gath­er­ings and inject­ing it straight into the blood­stream of sedate lit­er­ary Amer­i­ca, often using ani­mal sim­i­les to do so; peo­ple are com­pared to rac­coons and fox­es and snakes, with the cru­el mys­ti­cal beau­ty of nature in all its red-in-tooth-and-claw gory glo­ry play­ing just as an impor­tant part in the tales as the char­ac­ters themselves.

The sto­ries in Hill­bil­ly Rich seem almost anachro­nis­tic in a way; they could have been writ­ten any­time over the course of the sec­ond half of the 20th cen­tu­ry, pret­ty much. But that’s just the point here: peo­ple are peo­ple, and great sto­ries about the human race scratch­ing and claw­ing itself and draw­ing con­fused not-coag­u­lat­ing moun­tain-run­ning blood will be around for the rest of the human race’s exis­tence. Kerr is a fine, emerg­ing tal­ent; his sim­ple, direct, pure, hon­est, seem­ing­ly effort­less­ly-honed tales could teach many a more expe­ri­enced writer what a true sea­son in exis­ten­tial hell or dazed prose heav­en is like with­out break­ing a sweat.

PURCHASE:

Gra­ham Rae is a Scots­man now liv­ing in Chica­go. He has been pub­lished for over 25 years in venues includ­ing Amer­i­can Cin­e­matog­ra­ph­er, Cine­fan­tas­tique, Film Threat, 3am​magazine​.com, and Real​i​tys​tu​dio​.com. He had a nov­el pub­lished in 2011 by Cre­ation Books, Sound­proof Future Scot­land, and he will nev­er see a pen­ny from it. He’s not bit­ter. Bit­ter is for lemons.

Jeff Kerr cur­rent­ly lives in Mil­wau­kee, WI. He has deep roots in the south­ern Appalachi­an moun­tains of the Ken­tucky and Vir­ginia bor­der coun­try. His work has appeared in Appalachi­an Her­itage, Now and Then, Hard­boiled, Plots with Guns, Hard­luck Sto­ries, Crim­i­nal Class Review and oth­ers. He has been a fea­tured read­er at Book Soup, San Quentin Prison among oth­er venues. His short sto­ry col­lec­tion, Hill­bil­ly Rich, can be ordered direct­ly at JeffKerr1965@​gmail.​com.

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Interim Fun at FCAC with a Larry Fondation interview

Lar­ry Fon­da­tion is nei­ther Appalachi­an nor rur­al, but I find his fic­tion about the urban poor and dis­ad­van­taged a wel­come ton­ic when I get tired of rur­al lit. He is LA all the way, and the author of four novels/short sto­ry col­lec­tions, some of them in col­lab­o­ra­tion with visu­al artists. He's  the real deal, and I rec­om­mend any of his books unre­served­ly, though my favorites by far are Com­mon Crim­i­nals and Angry Nights. His takes on the home­less and down­trod­den are more pow­er­ful than Carv­er ever thought of being. It's icepick-sharp min­i­mal­ist fic­tion, and can't be talked about enough. The fol­low­ing excerpt is from an inter­view Fon­da­tion did for William Hast­ings and the Indus­tri­al Work­er.

1: What is most strik­ing about your books is the style, your com­pres­sion of line and event. Where­as many real­ists go for the long line, the expan­sive book, you have moved in the oppo­site direc­tion. And yet, real­ism is nev­er lost. How did your style come about? There are echoes of Algren, Far­rell, Borges, Dos Pas­sos, but its always you.

Stream-of-con­scious­ness went for the flow of the mind, of thought; I am try­ing for the flow of action, of events. I don't think most of us – espe­cial­ly in this "Infor­ma­tion Age" – live our lives in a smooth and con­tin­u­ous nar­ra­tive arc. Par­tic­u­lar­ly not the poor – peo­ple with­out pow­er who must react to the actions of oth­ers, rather than have the oppor­tu­ni­ty to ini­ti­ate. So my style has emerged from how I see and hear and expe­ri­ence street life, as it were. The influ­ences you cite are def­i­nite­ly there, but also Sel­by, Genet, Mary Robi­son (among con­tem­po­raries), Guy­otat, Ice­berg Slim, Beckett…I think we need a kind of "street Beck­ett" to reflect life as it is lived now…

Also, I am high­ly influ­enced by the visu­al arts. The pho­tog­ra­ph­er Hen­ri Carti­er-Bres­son talked about cap­tur­ing life at "the deci­sive moment." The idea is to evoke a broad­er, more com­plete sto­ry at a giv­en moment in time….

Final­ly, when I was a punk ass kid in blue col­lar Boston, our lives on the cor­ner were marked by long stretch­es of bore­dom, punc­tu­at­ed by short peri­ods of intense action – sex, violence…I think that's the way it goes down for most people….action is a cure for boredom…

2: You say that we lack a nar­ra­tive arc, or at least a smooth one, in our dai­ly lives, espe­cial­ly the poor. How much of this is pur­pose­ful­ly imposed upon us? Is it to the ben­e­fit of oth­ers that our lives lack narrative?

Rich or poor, I don't think any of us have a "nar­ra­tive arc." That's in a sense imposed on all of us. For one thing, it's what sells. Though some­times, I think a nar­ra­tive arc, a three-act struc­ture, what­ev­er, works for some sto­ries and in some ways. It can help shape how we think about sto­ry, give it meaning…Having said that, what the poor are deprived of is the oppor­tu­ni­ty to tell their own sto­ry, smooth or rough. That's the injus­tice. And the imbal­ance of that pow­er is why "free speech" per se – espe­cial­ly as the Supreme Court defines it – is such bull­shit. The bul­ly pul­pit, unfor­tu­nate­ly, belongs to those who own the microphone. 

Con­tin­ue:

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Spite and Malice, fiction by CL Bledsoe

After Tom­my took the PCP, KT told him to calm down three times; each time, she made a point of stand­ing clos­er and clos­er to the shot­gun, the first, mov­ing across the room near it, the sec­ond, with her hand on the bar­rel, and final­ly, hold­ing it, point­ed dead at his gut. Each time, he laughed and called her a name her moth­er would’ve killed him for, but she hard­ly blinked. Final­ly, after the fourth time of him push­ing her down, rub­bing her face in the car­pet so her skin was seared red from the burn, she wait­ed till he went out­side to piss on his car tires, let him sit back on the couch, and asked as calm­ly as she could muster, if he was going to calm down.

Fuck you, bitch,” he mumbled.

So she shot him with bird­shot. She tried to step back but didn’t want to go back so far it dis­persed beyond that hard gut of his. He looked down at his gut, dot­ted with red marks like a gar­den of red flow­ers, KT couldn’t help think­ing (she was a lit­tle stoned her­self) and just shook his head.

Damn,” he said, more laugh­ing than surprised.

Well I’m sor­ry,” she said. “But I told you.” She set her jaw and gave him angry eyes.

You can’t go shoot­ing a man in his own house,” he said.

I know,” she said. “But you brought it on yourself.”

He shook his head again and tried to rise to his feet. She put the gun down (well away from him) and helped him up and then helped him over to the phone. It took him a sec­ond to dial.

My bitch wife just shot me,” he said. She punched him in the arm. “Well hell, you did. Y’all need to send a ambu­lance pron­to.” He hand­ed it to her to give direc­tions and went back to the couch.

KT put her hand over the receiv­er. “Don’t go to sleep, Tom­my,” she said. She nudged him with her foot.

Well hell, let’s play cards till they get here,” he said. She hung up and dealt out two decks.  “You always cheat,” Tom­my grumbled.

No,” KT said with a smile. “You just don’t know how to play worth a shit.”

The kids got back from school to find the house emp­ty. There was a note from KT that said she’d be out on bail in the morn­ing, so they made them­selves cere­al and watched TV like usu­al until Joey went to his job at Piz­za Hut. Chy­na usu­al­ly slept until he got home, and then went on her paper route, but this night Joey came in late, red-faced, hold­ing up a ticket.

Tags,” he said. “Almost took the car.”

She read over the tick­et, which told her noth­ing use­ful, while Joey relat­ed the sto­ry of how he’d passed a cop on the way home, turned off on a side road when the cruis­er appeared behind him, but was ulti­mate­ly pulled over.

Cop want­ed to impound the K‑car,” he said. “Cause we got no tags or insur­ance, but I con­vinced him to let me take it home.”

Good job,” Chy­na said, which made Joey smile.

What are we going to do? Ticket’s going to cost $400 plus we got to get tags and insur­ance,” Joey said.

Chy­na thought about it. “We’ve got to ask mom, I guess.”

 

KT came home the next morn­ing and found the kids wait­ing for her. She didn’t think to ask why they weren’t at school, and they didn’t tell her.

Where’s Tom­my?” Joey asked.

Hos­pi­tal.” KT explained the events of the day before while Chy­na scram­bled eggs for every­one. “They let me out, even though I’m a felon with pos­ses­sion of a firearm. They tried to get me on attempt­ed manslaugh­ter. If I want­ed to slaugh­ter some­body, he’d be slaughtered.”

Why’d they let you out?” Chy­na served the eggs on mis­matched plates. She gave the Christ­mas one to Joey since it was his favorite.

Cause I agreed to do a lit­tle some­thing for the City Pros­e­cu­tor,” KT said as Chy­na sat the only actu­al porce­lain plate they had in front of her.

KT cel­e­brat­ed her free­dom so hard that by the after­noon, she was in bed sleep­ing it off, which set Chy­na in a fury.

She gets lone­ly when Tommy’s gone,” Joey said, by way of apol­o­giz­ing for his mother.

Hell, he’s got it bet­ter than we do. He’s get­ting that good hos­pi­tal food, got a com­fy bed,” Chy­na said. “Prob­a­bly on mor­phine, know­ing him.”

We can’t pay the tick­et,” Joey said.

I know,” Chy­na said.

They sat on the couch lis­ten­ing to their moth­er snore in the oth­er room.

We have to go,” Chy­na said. She rock­et­ed to her feet.

They’ll know we’re not her,” Tom­my said.

Chy­na shrugged. “Who gives a shit?” She went back into the bed­room and shook KT until she regained some­thing approach­ing consciousness.

Where’s the meet?” Chy­na asked. “Mom! Where’s the meet?” KT mum­bled some­thing incom­pre­hen­si­ble. Joey brought in a cup of water and offered it to Chy­na. They exchanged shrugs and dumped it on KT. She sput­tered and woke mum­bling curses.

Where’s the meet?” Chy­na asked.

I just need a minute,” KT said.

That’s okay, but where is it?” Chy­na asked.

House on Levesque. Pack­age.” She gave the address only after Chy­na shook her fiercely.

Then what?” Chy­na put her ear to KT’s mouth as the woman mum­bled some­thing. She went to KT’s purse and pulled out an envelope.

 

They pulled up to the house twen­ty min­utes lat­er. Chy­na ran up to the door and knocked while Joey stayed in the run­ning car.

You’re an hour late,” a voice said from behind the cracked door.

Sor­ry. Traf­fic,” Chy­na said.

Traf­fic? Shit,” the man said. “You got it for me?”

Chy­na gave him the bulky enve­lope from KT’s purse. “What’s this?” The man exam­ined it suspiciously.

Fuck if I know,” Chy­na said. “Give it up or I take it back.” She put her hand on the enve­lope and the man snatched it inside. The door slammed. She heard the sounds of him tear­ing the enve­lope open and then noth­ing. She banged on the door. “Come on!” It jerked open and anoth­er enve­lope slid out.

You tell him it was a plea­sure doing busi­ness,” the man said. Chy­na put her hand on the enve­lope and he snatched it back inside. She reared back and kicked the door hard so that it slammed into him. He yelped in pain, and she grabbed the new enve­lope and glared at him as he held his head.

Like­wise, I’m sure,” she said.

Back in the car, Chy­na hand­ed the enve­lope to Joey, who had it open before she could say word one.

What is it?” she asked.

Pic­tures.” He showed her. “That’s two guys,” he said.

There were sev­er­al pic­tures and a roll of neg­a­tives. There were dou­bles of some of the pictures.

Black­mail,” Joey said.

Good plan,” Chy­na said.

The drop off spot wasn’t far. They passed a police car on the way.

I think that’s the same one,” Joey said, turn­ing to watch it as they passed. “What’ll we do if he gets us?”

Give him a pic­ture,” Chy­na said.

 

She pulled over at anoth­er house on the way to the drop off.

How we going to remem­ber this one?” she said as she maneu­vered beside the mailbox.

Joey looked around. The house looked like all the oth­ers except there was a bush under the win­dow that sort of looked like a heart. “Love bush,” Joey said, point­ing. He rolled down his win­dow and opened the mail­box and stuck some of the pic­tures inside.

 

The drop off was at anoth­er house.

I want to go this time,” Joey said.

What if you get shot?” Chy­na asked.

It’s not shoot­ing I’m wor­ried about him doing to me.”

Chy­na laughed. “Suit your­self.” She turned the car off. They went up and knocked. A man opened the door. He looked tired, wor­ried, unshaven, which wasn’t unusu­al for the kids to see, but it seemed unusu­al on him. He ush­ered them inside and then stared out the peephole.

You couldn’t park on the street?” He asked.

Peo­ple like us get towed if we park on the street in neigh­bor­hoods like this,” Chy­na said.

He looked at her. “Young,” he said. “What’s your name?” She told him and he laughed. “Hon­ey, you were doomed. What was your mom­ma thinking?”

I fig­ure she was think­ing of some­place far away from here,” Chy­na said.

He nod­ded thought­ful­ly. “So where is it?” Chy­na hand­ed him the pack­age. “You didn’t look inside it, did you?” He glanced in it and then stud­ied both of them.

No sir,” they both said.

Well, as I under­stand it, your com­pen­sa­tion has been tak­en care of already.” He paused as Joey cleared his throat and held up the tick­et. “What’s this?”

I need my car,” Joey said. “Can’t get to work with­out it.”

So pay the tick­et.” The prosecutor’s mouth curled into a sneer.

Can’t,” Joey said.

The pros­e­cu­tor shook his head.

Sir,” Chy­na said. “We don’t mean to impose on your hos­pi­tal­i­ty, but I believe you are a good man, a man who knows what it’s like to be judged and treat­ed unfair­ly. We just need help so that we can help our­selves. That’s all we’re ask­ing. Not a handout.”

I’m not a police­man. This is beyond my jurisdiction.”

Nice guy like you, I bet you have a lot of friends,” Chy­na said, smiling.

 

After­wards, they went to three mail­box­es before they found the right one.

Hell, he didn’t even search us,” Joey said.

Bet it was his first time,” Chy­na said.

With a girl,” Joey said, laughing.

Chy­na stuck the pic­tures down between the seats of the car.

What are we going to do with them?”

Keep them,” Chy­na said. “Just in case.”

In case what? Couldn’t we get some mon­ey for them or something?”

I don’t know,” Chy­na said. “Thing about mon­ey is it comes and goes. Come on, let’s stop at Son­ic and get some food while we think about it.”

Real­ly?” Joey’s eyes lit up like the child he used to be. It made Chy­na smile. The future was bright and full of tater tots.

CL Bled­soe is the author of the young adult nov­el Sun­light; three poet­ry col­lec­tions, _____(Want/Need)Anthem, and Leap Year; and a short sto­ry col­lec­tion called Nam­ing the Ani­mals. A poet­ry chap­book, Good­bye to Noise, is avail­able online at www​.righthand​point​ing​.com/​b​l​e​d​soe. Anoth­er, The Man Who Killed Him­self in My Bath­room, is avail­able at http://​ten​page​spress​.word​press​.com/​2​0​1​1​/​0​8​/​0​1​/​t​h​e​-​m​a​n​-​w​h​o​-​k​i​l​l​e​d​-​h​i​m​s​e​l​f​-​i​n​-​m​y​-​b​a​t​h​r​o​o​m​-​b​y​-​c​l​-​b​l​e​d​s​oe/. His sto­ry, "Leav­ing the Gar­den," was select­ed as a Notable Sto­ry of 2008 for Sto­ry South's Mil­lion Writer's Award. He’s been nom­i­nat­ed for the Push­cart Prize 5 times. He blogs at Mur­der Your Dar­lings, http://​clbled​soe​.blogspot​.com Bled­soe has writ­ten reviews for The Hollins Crit­ic, The Arkansas Review, Amer­i­can Book Review, Prick of the Spin­dle, The Pedestal Mag­a­zine, and else­where. Bled­soe lives with his wife and daugh­ter in Maryland.

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