Quick Impersonal Update

I've updat­ed the FARE page (Den­nis Mahagin's chap­book from Red­neck Press due out 12/9/11). We have new work forth­com­ing from Math­er Schnei­der, Jeff Wal­lace and Kurt Taylor.

As well, I've updat­ed the inter­views and pub­li­ca­tions pages list­ed under my biog­ra­phy. Most­ly Red­neck is sell­ing well, thanks to all of you buy­ers and read­ers out there. You can get copies via Sun­ny­out­side, Ama­zon, Small Press Dis­tri­b­u­tion, and through me. If you'd like a signed copy use Pay­pal to send me $20 (rustybarnes23@​yahoo.​com) and I'll get one right out to you. If you need to send a check, email me for details.

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Ghost Teeth, by Dena Rash Guzman

My dead and buried
speak from the memo­r­i­al cards
inside my white Bible.

They com­mand through their
ghost teeth,

Again.”

Grace! There is no again.
The leaves turn red and turn gold.

I go old,
writ­ing softly,
pulling down inky words like
snuff spit into great-grandma’s tin can.

 

Dena Rash Guz­man is a Vegas born author and edi­tor of www​.unshodquills​.com. She lives on a for­mer lily plan­ta­tion, now an organ­ic pro­duce farm, out­is­de of Port­land, Ore­gon. Her work can be found online and in print, and she cur­rent­ly is at work on her first book of short sto­ries, to be print­ed in 2012 by inde­pen­dent Eng­lish lan­guage pub­lish­er Halit­er­a­ture of Shang­hai, Chi­na. On Oct. 7, 2011, she shares a Port­land, Ore­gon stage for a read­ing at Booty Call: An Evening of Lit­er­ary Smut,  with Steve Almond and oth­ers at the Blue Monk on Bel­mont Street.

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Hillbilly Handfishin'

What do you all think of this show? I like it, but I won­der if this isn't just anoth­er  'look at the weird stuff hill­bil­lies do' show.

Skip­per Bivins from Hill­bil­ly Handfishin'

 

On the oth­er hand, I first learned of noodling from Burkhard Bilger's Noodling for Flat­heads, a won­der­ful­ly inter­est­ing book about noodling and much more.

 

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The Bull: A Jack Tale, fiction by Jeff Wallace

Jack and Mrs. Jones stood in the foy­er of the Big House. Her half-blind, soupy eyes blinked, focused, and looked him over. He felt them range from his worn ten­nis shoes up his thin legs and thread-bare jeans and across his grey cot­ton t‑shirt. Her lips were pulled togeth­er in what, if she had been a much younger woman, would have been a pout. Pret­ty, even, Jack thought. “This won’t do,” she said, shak­ing her head. “We’ll get you to Hunt­ing­ton soon. Get you some­thing prop­er to be seen in.” Her hands flut­tered over him, mea­sur­ing him with the quick effi­cien­cy of a moth­er or a tai­lor. “I think some­thing of Danny’s should fit you.” She grunt­ed when she turned and walked away.

Jack had been giv­en the job on his four­teenth birth­day as a gift from his father and from the Jones fam­i­ly. His father, the estate’s care-tak­er, had asked Mrs. Jones if she could find any work for his son. Jack’s father told him that he’d had to beg the old woman to even con­sid­er him for any work at all.

She was a tyrant, his father had said. His father liked to use words like that to show he wasn’t as igno­rant as he seemed to think Jack thought him.  She’d ground up men all around her, he’d said. Her hus­bands (there’d been three), her son (she’d nev­er had a daugh­ter), and the men who worked for her in the mines. Oh, she ground those up, his father had said. Ground them up for the mor­tar that held that Big House togeth­er, he’d said. His father had been drunk or else he wouldn’t have spo­ken quite so open­ly with him. “It will be good for you to work for the woman,” he had said. “It’s an excel­lent oppor­tu­ni­ty,” he’d said, a lit­tle drunk­en­ly, accen­tu­at­ing the “x” and the “t” of those strange long words.

Mrs. Jones had cousins and nieces and nephews, but they were all gone. Off to school. Off to the east, out of the hills some­where that the coal mon­ey took them. Mrs. Jones was still there like a scare­crow in a corn­field long after the har­vest. “Make you a man,” his father had said. “Even if it is woman’s work.” Some­times his father said things by not say­ing them to show Jack that he wasn’t as igno­rant as Jack seemed to hope. In the foy­er, Jack wiped at the sweat that had formed on his fresh­ly shaven lip

Don’t just stand there. You’re here to help me—so help me,” Mrs. Jones said.

Jack hur­ried to her as she tot­tered to the grand stair­case in the mid­dle of the foy­er. He hunched to the old woman and offered his arm. She took it with thin, hard fin­gers, her nails on the out­side of his bicep bit­ing into the mus­cle. He felt the cold of her gold watch lying against the soft­er inner part. That’s real gold, Jack thought.

He’d lived on the Jones’ estate his entire life but he’d nev­er been inside the main house. His father even was always kept at a dis­tance, the dis­cus­sions of the gar­dens or the fences were always done on the porch or in one of the barns. The barns used to hold hors­es but had been con­vert­ed to hold­ing bull studs. What the Jones fam­i­ly had once owned in coal they now owned in meat.

It was a mon­strous­ly large home, eas­i­ly ten times the size of the caretaker’s cot­tage that he and his father lived in. The only oth­er deep wealth that he’d ever seen had been on tele­vi­sion, in flick­er­ing two-dimen­sion­al images. What was here, now, was dif­fer­ent. It had the feel of a muse­um, of objects that he could look at but nev­er touch. But here he was, guid­ing the old bird­like woman up the stair­case. Mar­ble, Jack saw, cov­ered with a blue Per­sian rug that poured down the cen­ter of the stairs like a water­fall. The rug was soft and a lit­tle worn with the hard­ness of the stone beneath it.

At the top of the stairs she led him down a dark hall­way. What had once been a large and open hall­way was now closed and nar­rowed. Box­es were stacked three-deep on both sides of the hall and rose from floor to ceil­ing. Large black let­ters were writ­ten on the box­es, non-sen­si­cal to Jack: “DWC” cried one, “AAC,” lament­ed anoth­er. As they moved into the hall­way, she hur­ried her steps and released his arm. He could no longer walk beside her but moved behind her and put his hands on her thin waist like one would a child on a bicy­cle. The two were soon in near dark but Mrs. Jones con­tin­ued for­ward with seem­ing­ly no wor­ry. The spiced smell of old card­board filled him as the dark­ness came in. He felt the need to sneeze but for some rea­son felt that this would be a car­di­nal sin to her and he fought it off. She stopped and turned left. There was the click of a lock and the cry of brass work­ings. He heard her moan and felt her body lean for­ward into what must have been a door.

Switch with me and push,” she said. “Some­thing must have fall­en.” She moved back towards him and gave him no room. He crushed him­self into the dark box­es and felt the insides of one move, some­thing drag­ging and grind­ing against some­thing else. Some­thing popped in the box and he felt bony fin­gers on his stom­ach. She pinched him hard on his stom­ach. He could hear her hiss­ing in the dark. “Those are Danny’s wed­ding dish­es in there, boy. If one’s bro­ken…” she let it hang in the dark like a noose.

It didn’t break,” he said. It was the first words since he’d intro­duced himself.

You’d bet­ter hope.”

Jack slid past her and up to the door. He leaned into it, push­ing with his legs, his ten­nis shoes slip­ping on the hard­wood. He leaned hard­er, his body a lever, and the door slow­ly opened inwards. The box­es hissed as they slid on the floor in front of them. Bright light shined through the crack in the door.

Far enough,” she said. “Crawl in there and move them. Stack them neat when you do.”

Jack scraped his way between the door and the fac­ing into the room. The win­dows in it were dusty but large and over­looked the south lawn of the home. Light came through, soft­ened by the dust but bright. Around the room were more box­es, how deep he wasn’t sure, but again stacked to the ten-foot ceil­ing.  The legs of a bed, the four posts as well, could be picked out on one side. Three doors were exposed oppo­site of the bed. Every­thing that wasn’t door or win­dow was locked away behind the boxes.

The box­es block­ing the door had tipped into the floor like a child’s blocks. One had rup­tured and had spilled a box of sil­ver watch­es, sil­ver tie-clips, and pearl cuff-links. They had scat­tered on the floor like dice. Jack knelt and put them into the small tin box they had come from. He remem­bered Mrs. Jones’ gold watch. The box­es rose around him. He looked at the cuf­flinks, how they seemed to glow in on the dusty hard­wood floor, he remem­bered pitch­ing pen­nies, the clos­est to the wall got to claim them, and how Mrs. Jones knew noth­ing of this box, of these links. He did not need them. He took them and placed them into his jean pock­et. He placed the watch­es and the tie clips into the tin box and back into the large card­board box that con­tained it. He moved eas­i­ly and quick­ly in this. Then, just as quick­ly and just as eas­i­ly, he stacked the box­es as he’d been told.

After­wards, when a path had been cleared and Mrs. Jones could enter the room, the two of them spent the day going through Danny’s old clothes. She would pull a pile of clothes out of the clos­et (it was behind one of the doors and was big­ger than Jack’s room in his home), and make him go through each piece. He had been shocked at first by what she expected.

He had gath­ered a shirt, a blaz­er, and a pair of slacks from the floor (she had picked out the set so that they would match—Jack wouldn’t know how, she had said) and told him to try them on. He’d picked them up and start­ed towards the clos­et to change but she had stopped him.

No,” she said. “Here, in front of me. It’s quicker”

Jack gripped the clothes in his hand, bunch­ing the shirt in his knuck­les “I’m not sure…” he said. He looked out the win­dow, the dust that cov­ered it, and then to the door. He felt the cuff-links in his pock­et. The box­es stretched up and seemed to reach over him.

Just change, boy. I’m too old to care about that. Your kind don’t care what a woman sees” She gave him a know­ing look.

Jack slow­ly pulled his t‑shirt over his head. He became aware of the smell of it, like wood and cig­a­rette smoke. The smell was on every­thing he owned, but it was so present that it had dis­ap­peared. Here though, the strange­ness of the smell and the way it cov­ered all that he had was plain. Soft light fell across him from the dusty win­dows. He undid his belt, get­ting the length of it stuck, fight­ing it. It then stuck in a loop. He had twist­ed it putting it on and had not known it. He felt a ris­ing in his stom­ach and a bub­bling in his chest, and felt the backs of his eyes go soft. His face red­dened. He looked sharply at Mrs. Jones, his face try­ing to screw itself into an embar­rassed apol­o­gy.  Mrs. Jones was look­ing at the box­es. Jack pushed down his pants, his pale and thin­ly-haired legs look­ing cold. Mrs. Jones still looked at the box­es. She seemed to be count­ing them.

With­out her eyes on him, Jack quick­ly dressed him­self in Mrs. Jones’ dead son’s cloth­ing. She ‘tsked’ when she saw how the white sleeves weren’t quite long enough. The black pants were tight around his mid­dle. She walked to him and, hook­ing her hard fin­gers into the front pock­ets, yanked them low­er on his hips. She looked into his face with anger. She gave him anoth­er set. Again, embar­rassed, he changed. Again, her eyes were not on him.

Final­ly, after hours of chang­ing, Jack had a gift of neat­ly fold­ed cloth­ing. He was told to wear these when he came to work. He also had the cuff-links for which he had no use.

***

No, god­damnit, the blue umbrel­las. Easter’s past. It’s the fourth of July next. I swear, it’s like you have no sense. None at all. It’s a won­der your father hasn’t run you off.” Mrs. Jones threw the yel­low  umbrel­la he had hand­ed her at him. Jack was able to block it, but the sharp met­al tip ripped through the thin cot­ton of his long-sleeved dress shirt and cut his forearm.

Go clean your­self. Don’t bleed on any­thing,” she said .

The par­ties were planned to the small­est detail. Every­thing had a pur­pose. Jack’s father, though the Fourth was still a month away, had spent weeks plant­i­ng red, white, and blue petu­nias all around the prop­er­ty. Patri­ot­ic bunting was hung around all the porch­es and from the eaves. Jack worked with Mrs. Jones. The upstairs por­tion of the house was sealed off. Jack, under Mrs. Jones’ watch­ful eyes, had draped thick vel­vet cur­tains at the top of the grand stair­case. Upon enter­ing the front door, the upstairs land­ing looked as if it were an emp­tied the­ater, the cur­tains wait­ing to be pulled back and for the show to begin. There was a gold­en rope that would tie the cur­tains closed the night of the party.

Jack left the aban­doned servant’s room and walked down the dark hall. His foot­falls were silent on the thick red car­pet, the sound dying there at his toes. The bath­rooms were scat­tered through­out the home and what­ev­er wing on the sec­ond floor they hap­pened to be on Jack would have the right door. He fum­bled in the dark­ness try­ing one door and then the next. Most rooms were filled with the box­es. So many things, Jack often thought, locked up.

After he had found a room to clean him­self in, dis­pos­ing of the waste paper by plac­ing it in his pock­et, he returned to her. She was asleep.

Often, when left alone in a room, Mrs. Jones would lie down on the bed of the room they were in—if there was a bed, if not there was cer­tain­ly a couch that she could recline in—and she would fall asleep. The first time it had hap­pened, he had wok­en her as gen­tly as he could, but it had only made her incensed. She had smacked him, scream­ing that she did not sleep well, not at night, nev­er must she be wok­en. He had nev­er wok­en her since. When this hap­pened she would sleep for hours. He would leave her there and search the house as he pleased. He would look through the box­es that filled the house and would take things, small but pre­cious things, from her. He would walk with them to town, pawn them, and then go shop­ping. He was amazed at how much some very small things were worth and how lit­tle some of the larg­er ones would bring. Mrs. Jones would keep a ring worth two hun­dred dol­lars next to a piece of cos­tume jew­el­ry, both of them wrapped in the same black vel­vet cloth and tucked away into the cor­ner of a large box of sil­ver­ware and china.

Some­times these sleeps would last all day. If she slept for longer than an hour, Jack would walk the grounds near the home. The lawn and the fence rows were all beau­ti­ful­ly kept by Jack’s father. The barns, too, were kept in a pris­tine sparse­ness, as if the house inhaled the clut­ter from the estate. She kept all the meat cat­tle off-site, in a large flat-land farm far­ther north. The Big House farm was now only a stud farm. She had men scour the coun­try look­ing for the next great bull. She only kept a few bulls at a time, nev­er more than five. This sum­mer she was down to one. The sum­mer before she had auc­tioned off all the rest. The one she kept had not sold at her auc­tion. Her reserve price had been set ridicu­lous­ly high, 5,000 dol­lars, for the Longhorn.

Jack left the house after wait­ing an hour for her to wake. He stood on the back porch and looked out over the farm, not­ing the blue, red and white petu­nias his father had plant­ed all along the house. There were more of them in hang­ing bas­kets on the cor­ners of the porch. From the porch Jack saw the side of the black barn, paint­ed in the spring by his father and some hired men. There was a neat grav­el road that ran to its front. The door to it was open. Jack won­dered how much an antique deal­er would give for hun­dred year old farm tools.

He walked from the porch and towards the barn. The sun was high. The hon­eyed smell of the petu­nias and the song of the cicadas lulled him. He walked care­ful­ly into the barn. He pulled the heavy wood­en door to. The sounds of the life out­side were cloaked by the oak boards, the scent of the plant­ed flow­ers dis­ap­peared into the smell of ani­mal sweat, dung and the sweet acid of hay. The dark­ness, after the bright of noon June, blot­ted his eyes. He lis­tened to the barn. He heard a fan tick­ing in the breeze that ran through the barn. He heard the creak of the boards. The grunt of the bull.

Slow­ly, his eyes returned to him. He could see the shapes of hang­ing leather straps. The long wood­en han­dle and slick met­al of a scythe. He went to it and picked it up. He swung it in the dark, feel­ing its length, the awk­ward motion of back it forced on him, and he heard the whis­tle of the blade. “This is how men used to work,” he said to himself.

That morn­ing he had plucked two ear­rings from a jew­el­ry box. They were small pink pearls. He had rolled them in his hands, the small sil­ver clasps on their backs stopped them from rolling. Impul­sive­ly, he pulled them from his pock­et and locked them onto his ear lobe, smil­ing slight­ly at the small pinch. He laid the scythe back in its place.  The bull grunt­ed again. In the cav­ern of the barn the sound echoed around him. Its hooves sound­ed soft, like a man’s foot stump­ing out a cig­a­rette. He looked as close­ly as the dim light would allow and saw noth­ing worth tak­ing. Again, the bull grunted.

He groped in the near dark towards the birth of the sound. There in a stall stood the bull, enor­mous and black. It had been born on the farm and Mrs. Jones had bred it numer­ous times. It shook its horns at Jack, paw­ing soft­ly at the ground. It moved towards him and brought its face close to him. It chewed its cud, its mouth mov­ing in a lazy cir­cu­lar motion. Jack looked into its watery eyes.

Behind him, the door to the barn start­ed to open. He heard his father’s voice loud­ly address­ing anoth­er man.

Well, some damn fool of yours sure as hell shut this door. You’re like to cook that mon­ster alive. Then we’d all have hell to pay.”

The oth­er man tried to answer back in a voice tinged with fear. The weak­ness in his voice, which Jack knew would only push his father far­ther, was evi­dent to even Jack.

Just shut your god­damned mouth and help me get this place cooled down before the old woman piss­es herself.”

With­out think­ing, Jack jumped into the bulls stall. It was large and clean. The hay trough ran along the side and Jack brushed passed the bull. It stomped and shook its head, nar­row­ly miss­ing Jack. He stole behind the trough and ducked into the hay on the floor. The men came through, his father lead­ing. His father stopped as the oth­er man con­tin­ued. The sound of an indus­tri­al fan came upon the man’s disappearance.

How you doing, you big bas­tard,” his father said to it. “You all right, sun­shine?” He cooed to it and held out his hand. The bull shook its head again and grunt­ed. It took two half steps and lunged with its horns. Jack’s father stepped back­wards laugh­ing as the bull’s body rammed the gate of the pen. “Mean all the way through.” He chuck­led again as he did at fools.

All right, Hoss, let’s get on.” His father shout­ed. “Behind as it is. God­damned par­ties.” He turned and walked from the stall. The sleek shape of the oth­er man trailed quick­ly behind.

The bull raged and stamped in its pen. It thrashed its horns, scratch­ing at the boards. Jack rose gen­tly from the floor. The bull qui­et­ed its motion. The bel­lows of its chest raged under the skin and mus­cle of its ribs. It turned and looked at him again. It turned it head to the side as if ask­ing him a question.

No,” he said quietly.

It turned its head again as if mov­ing the sound of the words from one ear to the oth­er, rolling them like a cannonball.

Jack moved gen­tly to its side. He could feel the air vibrat­ing from the pow­er of the bull’s lungs. It stepped clos­er to him. He could feel its wet sweet breath through his shirt. He reached out his hand and touched its horn gen­tly. Star­tled, it tripped backwards.

He moved past it quick­ly and lift­ed him­self over the edge of the stall. He land­ed soft­ly on the oth­er side. The bull was again gen­tly chew­ing its cud, the same placid look in its eyes.

***

Don’t daw­dle, ye hear me? You’re like to kill me with your slow­ness. Like an old maid,” Mrs. Jones said. She struck him at the back of his legs with her cane. There were to be guests from the east and from the south on the Fourth. It was a mid-week Hol­i­day and the guests would be stay­ing all week long. The box­es that he had moved ear­li­er he was now being forced to move again—what he had done in June no longer suf­ficed.  Mrs. Jones would have him clear one sec­tion to anoth­er and then have him clear that sec­tion by mov­ing box­es even deep­er and high­er into the house.

It was hot work. The Jones’ estate did not have air-con­di­tion­ing or even ceil­ing fans. Jack car­ried a box fan into every room that he cleaned. Mrs. Jones moved quick­ly from room to room, tak­ing stock of all the box­es, open­ing them and check­ing their con­tents and then, arbi­trar­i­ly, instruct­ing him where to take them.

Since the morn­ing when his father had near­ly dis­cov­ered Jack in the barn, Jack had gone sev­er­al times to vis­it the bull. He would sneak in before com­ing to the estate, dur­ing the cool morn­ings when the barn doors remained closed. The smell of the barn, the dark­ness, the hid­ing and secre­cy, drew him. He would wear the women’s jew­el­ry he had stolen from Mrs. Jones: pearl ear rings, thin dia­mond ten­nis bracelets, large jew­eled rings. He would go and stand next to the stall of the bull. It seemed to have no inter­est in him. It would watch him for a while, but when he made no moves towards it, it would go back to breath­ing and eat­ing. He would talk, telling it what he want­ed to do, where he want­ed to go: “Mia­mi,” he would say. “It’s sup­posed to be beau­ti­ful. I’ve seen pic­tures and movies. I’d like to go there for col­lege.” Oth­er days he would talk of Alas­ka: “It would be cold, but the men are sup­posed to out­num­ber the women by four to one,” he said, grin­ning, sur­prised at his own hon­esty and the delec­table nature of his fan­tasies. But these fan­tasies were short and he always knew that Mrs. Jones was wait­ing for him.

He car­ried the box­es silent­ly from one room to anoth­er, sweat­ing and grunt­ing with the weight and the heat. His back and shoul­ders, which at first had both­ered him of an evening after work, were now taut and sinewy, like his idea of a sav­age. He would stand in front of the mir­ror on the door of his room and flex his arms, tight­en his thighs, and smile at what he was becom­ing. His father had caught him squeez­ing his bicep while they were eat­ing din­ner. He’d smiled at him then.

Hard work is good for you, ain’t it? Get’s your head straight,” he had said. They were eat­ing in the cramped kitchen. The smells of sour corn­bread, bacon grease, and brown beans seemed to make the room hotter.

Yeah,” Jack had said. “I didn’t think it’d be as tough as it is. She’s pret­ty con­stant on me. And those box­es each weigh a ton.”

That’s how women are,” he said as he shov­eled in a spoon of brown beans. “Your moth­er was the same way. Always some­thing to do. Men are apt to do noth­ing when there’s noth­ing to do. Women will cook so they have dish­es to do. That’s why you got­ta choose care­ful when you get mar­ried.” He raised his eye­brows know­ing­ly at this and leaned towards Jack. “Now show them mus­cles you been work­ing on,” he said, grin­ning. Sheep­ish­ly, Jack flexed his arm. His father’s big hand clamped over it and squeezed.

Noth­in’ more than a knot, yet. It’s comin’ though. I knew you need­ed a woman to set you straight,” he said, and Jack’s heart had grown and lurched at once.

He was pulled from his remem­ber­ing by Mrs. Jones. “We’re almost done with this one.” the old woman said, smooth­ing her home-made apron and work dress.  She was sweat­ing heav­i­ly, her tight­ly pulled hair was com­ing loose in wisps around her face.  She too seemed to have become stronger. The springs in its frame squeaked from the sud­den weight. “Turn the fan up and go fetch some ice water.”

Jack did both hur­ried­ly, want­i­ng to fin­ish the rooms in this sec­tion of the house. He moved quick­ly and light­ly. He took a short­cut down the servant’s steps to the kitchen, fetched the glass­es from their spot in the third cab­i­net and filled the glass­es with ice from the trays in the freez­er and used the water from the fil­tered water tap. He hur­ried back up the servant’s steps and to the room. When he entered Mrs. Jones was asleep on the bed.  She had not fall­en asleep imme­di­ate­ly. Two small box­es which had been stacked were now on the floor by the foot of the bed. Both were opened and their con­tents were spread on the floor.

There were neck­laces made of pearls, heavy gold­en rings, ear­rings with dia­monds. Soft­ly, Jack stole towards the box­es and the trea­sure. He knelt before the box­es at the old woman’s feet. He set the glass­es down gen­tly beside him, one to either side, on the dusty hard­wood floors. He reached with trem­bling fin­gers to the jew­el­ry. He ran his fin­gers over the pearls. He fon­dled the ear­rings. He slipped all three pieces into his pock­ets. He picked up a watch and laid it over his thin wrist. It was a woman’s watch, light and fine­ly engraved. It glint­ed in relief of the angu­lar bones of his wrist. He snapped the clasp. The sleek fem­i­nine curves of it and its cold met­al on his sweat­ing skin made him chill. He wouldn’t sell this one.  Care­ful­ly, he unclasped the wrist chain of the watch the watch. He held it between clasped hands. With­out ris­ing, he moved the watch towards his jeans’ pocket.

I’d thought bet­ter of you, son” Mrs. Jones said qui­et­ly from above him.

Jack turned on his knees towards her, knock­ing the ice water over. The water spilled and flowed around him, wet­ting his knees. He looked up into the shin­ing white face of Mrs. Jones.

She rose from the bed and Jack stayed kneeled in front of her. She smacked him across the face. He stayed kneeled, still look­ing up her.

The room was filled with the sounds of their breath: her breath a high whin­ing whis­tle, the sound of train’s breaks, his breath the rat­tle of a near drowned man. Her body had straight­ened itself, her faced shone with right­eous­ness. She smacked him again.

Take it,” she said in a dead­ly whis­per. “Take it and nev­er let me see you again.”

Jack stood and ran from the room, grip­ping the watch. He ran down the hall­ways and out the back door. He could taste blood on his lips. He ran to the edge of the farm, to the hard­wood for­est that sur­round­ed it. His face glowed with the heat of Mrs. Jones’ hand.  He knew she would call his father. He knew he could not go home. He walked through the woods until he saw the hulk­ing shape of the barn. The dew of the evening was begin­ning to set­tle. Mos­qui­toes began to bite his arms. He still held the watch tight­ly in his hand. He clasped it onto his wrist.

He went to the barn door and pulled it open. He stepped into the black­ness and felt along the rough wall with an open hand to turn on the light. The light crack­led into the dark. The bull snort­ed at the sud­den day. The barn at night was not the same as the barn at morn­ing. The heat of the day lin­gered in the hay and the muck. The smells which had dis­si­pat­ed in the long cool night were thick in this ear­ly darkness.

Jack picked up the scythe from its place and strode to the bull. There it was, behind the high doors of its stall. It moved slow­ly, look­ing con­fus­ed­ly at Jack and at the scythe. Jack swung the blade, pen­du­lum like, over his shoes. He watched the animal’s mute face as it tried to pull itself from sleep. The sweep­ing curve of the bull’s horns, Jack real­ized, matched that of the blade he swung. He leaned it against the door of the stall. He removed Mrs. Jones’ dead son’s shirt. He put on Mrs. Jones’ ear­rings and pearls. He turned his wrist and felt the weight of the gold watch. He took off the dead boy’s pants and shoes, leav­ing on only his under­wear and socks. He took the scythe in his hand again. He opened the stall door.

The bull stood at the far cor­ner, stamp­ing its hoof. The sound of the run­ning fan came from far off and above them. Jack imag­ined slash­ing at the bull with the blade. He want­ed to cut at its face, to blind it, to knock off its horns. He imag­ined the strug­gle of his mus­cle against the bull’s, how its dark skin would feel as it, blind and polled, slammed into him. How he would turn under its hooves as they fell, died, togeth­er. He could see his naked­ness with its blood and hide.

He imag­ined instead of lead­ing it to Mrs. Jones home, rid­ing it across the mar­ble foy­er, up the mar­ble steps, and run­ning down the halls, gor­ing the end­less box­es with its horns, spilling the guts of them onto the floor like blood and water, wash­ing the home in all those things that were locked away and for­got­ten. Jack watched as the bull stood pas­sive­ly in its box.

He dropped to his knee in front of it and laid they scythe at its feet. He took off the ear­rings, the pearls. He turned the gold watch on his wrist, felt its love­ly weight and cool. He unclasped it as well and laid it in the straw.

He rose, near­ly naked, and walked away from it, leav­ing open the stall door. He left the light burn­ing and the barn door open as well as he exit­ed. The fan drew in the cool night air.  He walked from the place feel­ing the smooth and easy move­ment of the mus­cles of his chest, arms, and legs. The dew soaked his socks and he removed those as well, toss­ing them into the dark. He fought the youth­ful desire to run towards his father’s house, and he won­dered what his father would say to him in his nakedness.

Jeff Wal­lace received his MA in Amer­i­can Lit­er­a­ture and his MFA in Fic­tion from Indi­ana Uni­ver­si­ty. He is the author of numer­ous short sto­ries and has been pub­lished in mag­a­zines such as The Louisville ReviewAppalachi­an Her­itageKey­hole Mag­a­zine, Plain Spoke, and in such online jour­nals as New South­ern­er, and Still:The Jour­nal. He lives in Mt. Orab, Ohio with his wife Emi­ly, son Oscar, and mutt Mem­phis. He cur­rent­ly teach­es at South­ern State Com­mu­ni­ty Col­lege and is work­ing on his first nov­el The True Sto­ry of the Appalachi­an Revolution.

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Portrait of a Robot, fiction by William Trent Pancoast

He doesn’t know how he got this way. Crazy, that is. Most things, you think about them long enough, you come up with an answer. All he knows for sure is that he got to work this morn­ing in his Chevy pick­up, the laun­dry is done, there are ham sand­wich­es in his lunch pail, and that next Sat­ur­day he gets to see his kids.

The draw die booms at the front of the line and he switch­es on the con­vey­or. Pan­els come, and it’s load, hit the but­tons, load, hit the buttons.

It seems nois­i­er than usu­al this morn­ing. They’ve turned every­thing up a notch again. Air hiss­es like angry snakes at his feet, scrap clat­ters down the chutes, the floor vibrates: squeal­ing, clang­ing, grind­ing, scrap­ing, shear­ing, the hun­dreds of press­es going to war.

He reach­es for the but­tons and a tremen­dous explo­sion brings him off his feet. He starts shak­ing, can’t help it, and turns off the con­vey­or. A 40-ton die has just been dropped by a crane twen­ty feet from him.

Could get squashed like a bug in here, like old Hen­dricks on the door line, got his head caught in a welder. Said it was suicide…Ha! …some­thing spooked him and he fell in.

Then he sees the fore­man charg­ing along the press line. The boss don’t scare this guy any. “Get me the safe­ty man!”

Turn that con­vey­or on.” The boss’s eyes are blood­shot from his night­ly drunk.

He feels his shoul­der twitch. No. Hit­ting him again might get him fired. Felt good the time he floored him, though. The boss looks up to the ceil­ing and acts real sad, like maybe he’s got prob­lems, too. “What’s the deal?”

He points to the die. “Get the line going and I’ll call safety.”

He thinks of Granddad’s farm for some rea­son. When they lived in that coal camp he used to hike back to the home place to see Gramps. If only the old man could be here. He’d know what to do with this place—maybe plow it under and start over.

Get the con­vey­or on.” He feels his shoul­der twitch again and it scares him. Boss takes him upstairs, he’ll get time off, just get behind in child support.

The fore­man shakes his head and walks away. Guess he don’t need trou­ble either. He turns on his belt and loads the pan­els, hits the but­tons, sinks into the rhythm.

At break he heads up to the lock­er room with Al. He downs most of the Coke he bought at the vend­ing area. Al grins and fills their cups from his bot­tle of bour­bon. Al was in his divi­sion in Korea. Nev­er knew him there, but it’s a sort of kinship—that and the fact they grew up not ten miles from each oth­er in South­ern West Virginia.

They sit watch­ing the black smoke curl out of the stack at the pow­er­house. The drink goes down easy. “Cou­ple them kids went home already. Dou­ble time and all they can think about is get­ting out of here.”

He shakes his head. “Nev­er been hun­gry, I guess.” Dou­ble time, though? That’s right! Today is Sun­day.

Al laughs. “Lit­tle brats don’t know what work is. Like to get ‘em out in the fields for a day.”

Al pours him­self anoth­er one and holds the bot­tle out. “I’m good,” he says and in a minute they ride the esca­la­tor down to the press room. As they split up he thinks about what Al said about work­ing the fields. He nev­er mind­ed that, even the tobac­co cut­ting. Come to think of it, those days sort of shine out from all the rest of his life.

He sets his drink on the greasy die shoe and pic­tures Grand­dad, Uncle John, Dad and him and the oth­er kids out there. It was always sweet and damp in the morn­ing. They’d be hot by noon, sweat­ing and hun­gry, but there would be lunch of beans and taters and corn­bread. Good thing, in a way, Korea came along and he got out of there before he went in the mines.

The drink eas­es the morn­ing along, and the noise can’t get to him; but the building’s vibrat­ing now. He always won­ders why it don’t fall down.

He wish­es he knew how he got this way. Depres­sive neu­ro­sis, the doc­tor always calls it. This time he’s going to make it, though. Got the best job anybody’d want. Made good mon­ey the last cou­ple of years when he wasn’t sick. He was going to quit, but the doc talked him out of it.

Wish­es he was still mar­ried. But it don’t do a bit of good to think back all them years to how it was. It’s him being crazy that did it. She and the kids just moved out one day while he was at work. All he ever done was try to make a living.

The doc fig­ured it was from Korea, some sort of delayed reac­tive neu­ro­sis. Guess so, but he is nev­er able to come up with any­thing real bad that hap­pened there. All he remem­bers from the last few months of being mar­ried is he was real tired and fell asleep in his chair every night.

Well…least he can retire in 12 more years. You work hard, you get what’s com­ing to you. Don’t know what he’ll do all day, though. Don’t do noth­ing now when he has a day off.

The lunch whis­tle blows and he shuts down the con­vey­or and press. All there is now is this loud hum from all the 440 elec­tric motors wind­ing down. He checks the meter—only eleven hun­dred more pan­els and they’re fin­ished. He grabs his lunch pail, buys a Coke, and heads upstairs to the lock­er room.

He’ll call the kids on the phone when he gets home today—that’s what he’ll do—make sure Tom’s keep­ing his grades up. Ain’t every­body can afford to send their kids to col­lege. He hopes Tom knows that.

William Trent Pan­coast‘s nov­els include WILDCAT (2010) and CRASHING (1983). His short sto­ries, essays, and edi­to­ri­als have appeared in Night Train, The Righteyed­deer, The Moun­tain Call, Sol­i­dar­i­ty, US News & World Report, and numer­ous labor publications.Pancoast recent­ly retired from the auto indus­try after thir­ty years as a die mak­er and union news­pa­per edi­tor. Born in 1949, the author lives in Ontario, Ohio. (more infor­ma­tion avail­able at williamtrent​pan​coast​.com)

 

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Frank Bill's Hardcore Stories: Crimes in Southern Indiana

Far­rar Straus Giroux made an interesting—and exciting—choice when they pub­lished Frank Bill's linked col­lec­tion Crimes in South­ern Indi­ana. Nev­er known for hav­ing crime fic­tion or indeed for hav­ing books about any­thing oth­er than upper class lit­er­a­ture or lit­er­a­ture in trans­la­tion, this first selec­tion of their new fic­tion line, Orig­i­nals, fair­ly screams its dif­fer­ence from the rest of their list.

Frank Bill lives in rur­al Cory­don, Indi­ana and sub­scribes to—among oth­er things—a fair­ly well-known sub­genre of South­ern lit­er­a­ture called grit lit. Asso­ci­at­ed at first with Har­ry Crews (and per­haps trac­ing its roots a lit­tle far­ther back to Flan­nery O'Connor) and count­ing among its mem­ber­ship these days a geo­graph­i­cal­ly diverse group of writ­ers includ­ing some Appalachi­an and oth­er regional/rural and crime lit­er­a­ture, this ad hoc group is long on place and char­ac­ter and often short on plot. Not so with Frank Bill, whose inter­est in and love for crime fic­tion and plot shine through­out Crimes and give his sto­ries a whip-crack sharp­ness and for­ward move­ment many lit­er­ary writ­ers ought to emulate.

From the first para­graph of the first sto­ry, "Hill Clan Cross," Bill ham­mers at a reader's atten­tion immediately.

Pitch­fork and Dar­nel burst through the scuffed motel door like two bar­rels of buck­shot. Using the daisy-pat­terned bed to divide the deal­ers from the buy­ers, Pitch­fork buried a .45 cal­iber Colt in Karl's peat moss uni­brow with his right hand. Sep­a­rat­ed Irvine's green eyes with the sawed-off .12-gauge in his left, pushed the two young men away from the mat­tress, stopped them at a wall paint­ed with nico­tine, and shout­ed "Drop the rucks, Karl!"

The first sim­i­le of many to come, those two bar­rels of buck­shot begin to clear away any rogue expec­ta­tions one might have about what crime fic­tion bol­stered by a healthy dose of the lit­er­ary looks like. Bill also has a curi­ous habit of drop­ping sub­jects from his sen­tences, which at first con­fus­es, but becomes a sort of on-the-page stut­ter one can read through and count on to break up the nor­mal rhythms of the sen­tence and ready a read­er for the often jagged plot movement.

It must be said as well that mechan­i­cal­ly, these sen­tences, and thus some of the sto­ries, can be a rough ride. Some­times clunky metaphors and descrip­tors adjoin and sep­a­rate seem­ing­ly at ran­dom, and oth­er­wise per­fect­ly use­ful sen­tences are cut up and refash­ioned to Bill's pur­pos­es of angu­lar­i­ty and sud­den­ness. From "Amphet­a­mine Twitch", we see "The bot­tle of Jim Beam met his lips.  Erod­ed his guilt." Not a bad pair of sen­tences by any means, but a styl­is­tic quirk that begins to wear after three or four stories.

Anoth­er more humor­ous quirk includes writ­ing in the nomen­cla­ture of every firearm a char­ac­ter uses, and there are many. Arma­ments in Cory­don are prop­er­ly diverse, I'm hap­py to say, as with many coun­try set­tings, and with those guns the crim­i­nals move the arc of the col­lec­tion inex­orably for­ward one shot­gun blast at a time. I'm just sur­prised and dis­ap­point­ed nobody drove up in a fuck­ing tank. Despite that short­com­ing, and the fact that the awful crimes in the book do occa­sion­al­ly pale when com­pared with what the news brings dai­ly, Bill makes his char­ac­ters feel the effects of these guns and those crimes and beyond that, man­ages to inject his character's sto­ries with an inevitable fate that can, if one is lucky, be kept at bay, but every drug deal gone bad, every jack­light­ed deer, every sense­less mur­der or hor­rid sex­u­al crime feels like a small and prob­a­bly tem­po­rary release of the pres­sure rur­al life often brings.

Often, in the mid­dle of a rur­al nowhere (remem­ber it's always somewhere for the inhab­i­tants, though) there's noth­ing to do but drink and drug and make up dra­ma. And shoot guns. It's just that Bill's peo­ple shoot them in crimes instead of plink­ing or shoot­ing wood­chucks for a quar­ter apiece. And that sense of the coun­try sur­round­ing the char­ac­ters actu­al­ly feels more than inevitable; place is a great weight on all of these char­ac­ters, and crime is the way Bill's peo­ple work off that weight, their means, maybe, of get­ting atten­tion when the news­cast­ers for­go their jobs and con­cen­trate on the coasts rather than that oft-ignored fly­over zone called 'the rest of the country.'

Frank Bill's Indi­ana is a place I feel deep in my skin now, not for the crime nec­es­sar­i­ly, but more for the atti­tude of the char­ac­ters and the place that claims them, the land where they live. There but for the grace of God go I, pret­ty much, run­ning slow­ly in place for my next turn round the earth, some­where rur­al with lit­tle cul­ture, lit­tle desire, and no oppor­tu­ni­ty to make any­thing good hap­pen, a place you run from, not to. Close your eyes. Imag­ine a place like that, and you'll prob­a­bly remem­ber Able Kir­by and Moon Flisport and Knee High Audry, and the oth­er unfor­tu­nate folks revealed for our edi­fi­ca­tion and enjoy­ment so well in Crimes in South­ern Indi­ana.

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The Rack, fiction by Mather Schneider

I need­ed to make a rack for the back of my old green truck, so I bought these 2 X 12 boards, treat­ed cedar, from the lum­ber yard. I was from Chica­go, new to Arkansas, but I was learn­ing my way around. We had been in those back­woods for a year, me and Clare and the two kids. Clare and I were fight­ing again, and she was pissed off at how expen­sive the lum­ber was. We were so iso­lat­ed out there. A mil­lion things need­ed to be done and mon­ey always need­ed to be found. I want­ed to kill Clare some­times, but I nev­er so much as slapped her. The kids either.

We had bought two young pigs when we arrived, and in that year’s time they were ready for the butch­er. When we first brought them home we car­ried them in the cab of the truck. The kids held the piglets in their laps like babies. I warned every­body not to get too attached to them, because they were not pets. We were rais­ing them for one rea­son. The kids knew what that rea­son was. They were old enough—my son was 10 and my daugh­ter was 8—to know.

These hogs were now huge, and I knew I need­ed a good sol­id rack on that old truck or they would just bust their way through it on the way to the butch­er. I had some 3 X 3 posts and stuck them in the holes in the walls of the truck bed. Then I took 6 inch bolts and put them through hand-bored holes and fas­tened the 2 X 12s onto them. The rack was 5 boards high, stacked one on top of each oth­er like a fence, with an inch of space between each board. It was almost 6 feet tall when I was done, tow­er­ing over the cab. It was heavy, very heavy, and not some­thing that could be tak­en on and off eas­i­ly, but I’d be damned if those hogs would make a fool of me.

When we first moved to Arkansas, we came with our best friends, Bill and Sharon, and their two girls. We camped out at first, had no elec­tric­i­ty, bathed in the creek, and tried to tame the land with our mow­ers and chain saws. The idea was to live togeth­er and raise our kids togeth­er, have some ani­mals and a big gar­den, live off the land, help one anoth­er. It was like a commune.

One day not long after we arrived in Arkansas I stum­bled upon Sharon while she was bathing in the creek. Sharon was a knock-out. We had had a fling, years before, right after we were both mar­ried. To this day I won­der if their old­est girl is mine or Bill’s. She has my eyes. Sharon and I dove into each oth­er that day at the creek. I remem­ber being wor­ried my boy was out there in the woods some­where, watch­ing us. It kind of spooked me, and I hur­ried and got dressed afterwards.

Life was fun for a while with all of us sit­ting around the camp­fire at night, while the chil­dren played down by the creek or caught fire­flies, but soon ten­sions began to devel­op. It seemed, after a few short weeks, that Bill and Sharon were just wait­ing for an excuse to give up on the com­mune and go back to Chicago.

They left one night after they dis­cov­ered my son on top of one of their girls. I didn’t see any­thing wrong with it, she was the same age as him, and any­way they weren’t actu­al­ly hav­ing sex. But Bill and Sharon didn’t think that made a dif­fer­ence. They packed up their stuff and went back to Chica­go to stay with her mother.

There was a big barn on the Arkansas prop­er­ty, and in the fall we moved into the loft. I planned to build a log cab­in, com­plete­ly by hand, on the hill at the oth­er end of the prop­er­ty. It was the hard­est place on the prop­er­ty to get to, but there was a hell of a view. Tree cov­ered moun­tains over­lapped and fad­ed away into the dis­tance. You could only see one man-made build­ing from up there, off to the south, if you real­ly looked for it.

I don’t know when it was exact­ly that I real­ized my job back in Chica­go had been a decent one. I hat­ed it at the time and want­ed noth­ing more than to leave, leave the job, leave the city, leave the house we lived in, leave every­thing. But in Arkansas I looked back and that life in Chica­go didn’t seem so bad after all. If I would have done some things dif­fer­ent­ly. If I just would have told my co-work­er Jill that I had to go home that night, and not gone to have a beer with her. If she just could have let things lie, instead of call­ing me all the time, instead of lying to me and telling me she was pregnant.

We left our fam­i­lies up there in the city. Our par­ents couldn’t under­stand why any­one would be tak­ing such risks. They didn’t see the appeal. The clean air, the mag­ic of the woods, the self-reliance. Clare’s par­ents warned us of the dan­gers we would face: scor­pi­ons, snakes, cougars, spi­ders, razor­backs, skunks, coy­otes, red­necks. We were warned of every dan­ger except the one that got us.

When the rack was fin­ished it was time to load the hogs. I backed up the truck to the hog pen and the hogs imme­di­ate­ly sensed doom. They squealed and ran to the very back of the shed we built for them. Pret­ty soon the whole fam­i­ly was down there in the mud try­ing to wres­tle these 200 pound hogs up the ramp to the truck. The rack loomed above and the hogs had very low cen­ters of grav­i­ty and were as strong as lit­tle oxen and we didn’t make any progress at all.

We gave up and sat down in the grass to think it over. I decid­ed to take the boy and dri­ve up to see Old Man Robin­son who was our near­est neigh­bor a cou­ple miles up the grav­el road. We need­ed some advice from a long time Arky. We drove on down to see him. Old Man Robinson’s place was like an antique junk yard. Old cars, dor­mant farm imple­ments, ancient and rusty bicy­cles, anachro­nis­tic tools, etc. lay scat­tered about the place. He lived alone in a two sto­ry dilap­i­dat­ed frame house that had once been white. He was 81 years old and extreme­ly skin­ny. His dirty over­alls hung off of him and he smelled ter­ri­ble. His skin was falling off. He was like an old snake get­ting small­er instead of big­ger each time he molted.

Hiya, Mr. Robin­son,” I called as we got out of the truck.  He waved but was too old to call out.

Hi'uns,” he said as we got closer.

How ya doin Mr. Robin­son?” I said.

Jes' fine,” he said, “thank'ee.”

It was not very hot out­side but I was sweat­ing. I always sweat­ed. I sweat­ed more than any­body I ever knew. Some­times the sweat would pour off my nose, not drop by drop like most peo­ple, but in a steady stream.

Boy,” Mr. Robin­son said, look­ing at me, “if sweatin was sin­nin, I reck­on you’d be the dev­il hisself.”

Mr. Robin­son, I’ve got a prob­lem, I’m try­ing to get my hogs onto my truck and I can’t seem to…”

Thas­s­er mighty fine rack you got there,” Mr. Robin­son said, look­ing at the truck.

"Thank you.”

You know some’uns would just make a flim­sy rack,” he went on, “some­thin that’ll fall apart in a windstorm.”

That’s true,” I laughed.

But that’s a good­en strong rack,” he said.

"Well, yes, but I have this problem…”

Heavy?”

Oh yes.”

Kind­ly burns some fuel don’t she?” he said.

That too,” I said. The cost of gaso­line was one of the things Clare and I argued about. “But, the thing is,” I went on, “I have these hogs and I have to take them to get butchered.”

Whyn’t you jes' slorter em yer­self?” he said.

I would,” I said, “but, well…”

Every­thing I knew about liv­ing out there, about home­steading, I learned from books. We had already tried to butch­er a small goat and it turned into such a bloody mess my girl still says she has night­mares about it, although I don’t real­ly believe that. The whole scene was pret­ty grue­some, though, I have to say, with that damn bil­ly goat scream­ing and kick­ing and whin­ing. Jesus.

A mat squea­mish?” the old man said, this time to the boy. The boy just looked at him. He was a strange kid. He nev­er talked much. He spent hours, whole days some­times, run­ning around in the woods by him­self. He would come home wild-eyed, like an ani­mal. Even­tu­al­ly he would calm down and some­thing human would return to his eyes, like when Clare offered him some toast with home­made goose­ber­ry jam. I always feared he would go off one day and nev­er come back. Some­times, though, I almost wished he wouldn’t come home. It’s hor­ri­ble what goes through your mind. I can’t explain it. One less mouth to feed, one less mouth to com­plain, one less set of eyes to judge you.

I just don’t have the time to butch­er them,” I said.

Wayell,” the old man said, “yer rack looks like she’ll hold.”

But we can’t get the hogs into the truck.”

Hayell, son,” the old man said, “they don’t want to die no more’n you.”

They’re strong bastards.”

Ah done heard.”

He stood up slow­ly on his cane and head­ed for his screen door. “You’uns won’t some lemon­ade?” he asked.

No thanks,” I said. I was thirsty but I had tried Mr. Robinson’s lemon­ade before. We wait­ed for a few min­utes. I stood there in my shorts and work boots. An old chick­en came up behind me and took a hunk out of my calf. I turned around and tried to kick it. It flut­tered away with that dis­ap­prov­ing gur­gle, cock­ing his head this way and that.

Mr. Robin­son didn’t come out so I walked to the screen door and yelled inside. “Can you help us Mr. Robinson?”

Watcha need?” the old man squawked from inside, “I’m kind­ly busy makin’ lemonade.”

He came out with his glass and sat back down.

Do you know how,” I said, “to get those hogs onto the truck?”

Wayell,” Mr. Robin­son said, “no, not right­ly. Nev­er had any hogs mis­self. Nev­er could stand the smell.”

I walked with the kid back to the truck in dejection.

I didn’t want to go back right away so I pulled the truck off onto an old log­ging road and went up to a lit­tle place I knew. I had no idea whose prop­er­ty it was. There were no fences out there, no signs, nobody liv­ing any­where, just occa­sion­al deer paths and old log­ging roads from 100 years ago. I parked the truck where there was a lit­tle view of the moun­tains. I turned to my son.

"I’ve been want­i­ng to talk to you about some­thing,” I said. He looked straight ahead. I could tell he was ner­vous, we didn’t talk much. But Clare had told me I should have a talk with the boy about sex­u­al matters.

I know you’re get­ting to that age where you are think­ing about girls,” I said, look­ing off into the moun­tains and rolling a cig­a­rette. “When the time comes and you think you want get mar­ried, I want you to promise me some­thing.” I looked at him. It’s strange look­ing at a child and know­ing he’s yours, know­ing he came from you. “I want you to promise me before you get mar­ried you’ll take at least ten years to think it over, to real­ly think the sit­u­a­tion through.”

He didn’t say any­thing. “I want you to promise me,” I said.

The kid gave a laugh and then looked at me. “Ok, dad,” he said.

By the time we got home Clare had made a dis­cov­ery. If you put an emp­ty slop buck­et over a hog’s head, in an effort to get out of the buck­et the hog will walk back­wards wher­ev­er you guide it, even right up a ramp onto a truck.

Instead of try­ing to bust through the rack the hogs just set­tled down into the straw we threw in for them. They looked at us like they knew some­thing was going to hap­pen but there was noth­ing they could do to stop it. I could have made a rack out of clothes­line and it wouldn’t have mat­tered. All four of us piled into the cab of the truck. It was a 5 speed and the gear shift shot up from the floor about 2 feet. The boy sat next to me and when I shift­ed gears I hit him in the knee. Clare and the girl were both cry­ing. Those hogs had become like fam­i­ly, no mat­ter that we knew from the begin­ning the pur­pose for their exis­tence. I myself felt about like those hogs. It seemed very clear in that moment that noth­ing was going to work out like I want­ed it to.

It was a thir­ty mile dri­ve to the butch­er. We hadn’t gone more than a few hun­dred yards when we met a black snake crawl­ing across the grav­el road. It was so big it stretched all the way across the road like one of those hoses that dings at the gas sta­tion. Black snakes are the friend­ly kind, not like the cop­per­heads and the moc­casins and the rat­tlers, but still, the whole thing just seemed like bad luck. I stopped the truck and we sat there while the snake crossed. It took a while. He was slow and looked like he’d recent­ly eat­en. We were all hun­gry. I let the truck idle for a few min­utes until Clare glared at me, reached across the kids and turned the engine off. And then it was just real qui­et while we sat there.

Math­er Schnei­der is a 40-year-old cab dri­ver from Tuc­son, Ari­zona. He is hap­pi­ly mar­ried to a sexy Mex­i­can woman. His poet­ry and prose have appeared in the small press since 1993. He has one full-length book out by Inte­ri­or Noise Press called Drought Resis­tant Strain and anoth­er full-length com­ing in 2011.

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Mountaintop Removal Myth: a summary

moun­tain­top coal min­ing oper­a­tion in West Vir­ginia. Pho­to­graph: Man­del Ngan/AFP/Getty Images

From Beth Welling­ton at the Guardian.

CNN cor­re­spon­dent Soledad O'Brien's recent piece on moun­tain­top removal (MTR) in the Appalachi­an moun­tains has the trou­bling title, "Steady job or healthy envi­ron­ment: what [sic] would you choose?"

How about we choose both?

In any case, MTR does not, despite indus­try claims, deliv­er employ­ment to off­set its envi­ron­men­tal dam­age. It's sim­ply a win-win for Big Coal and its polit­i­cal sup­port­ers, and a lose-lose for ordi­nary peo­ple who live inmin­ing areas. What­ev­er the indus­try would have you believe, bas­ing an econ­o­my on coal is not a sus­tain­able devel­op­ment plan. A study by the Appalachi­an Region­al Com­mis­sion not­ed the effects of min­ing on employ­ment in Cen­tral Appalachia:

"As employ­ment in Cen­tral Appalachia's min­ing sec­tor has declined over time…many coun­ties that were already typ­i­cal­ly expe­ri­enc­ing rel­a­tive­ly poor and ten­u­ous eco­nom­ic circumstances…have been unable to suc­cess­ful­ly adapt to chang­ing eco­nom­ic conditions."

Michael Hendryx and Melis­sa M Ahern found sim­i­lar results when they inves­ti­gat­ed the region: "The heav­i­est coal min­ing areas of Appalachia had the poor­est socio-eco­nom­ic conditions."

In addi­tion to the neg­a­tive impact on employ­ment, moun­tain­top removal has ter­ri­ble effects on the land. Rob Good­win of Coal Riv­er Moun­tain Watch recent­ly said of the land around South­ern Appalachia:

"South­ern Appalachia is unique. Because there were no glac­i­ers here, the top­soil is some of the old­est in the world and that's why there are ramps, gin­seng and mol­ly moochers [morels], among oth­er valu­able species. What you are doing here on this mine site is destroy­ing the 10,000-year-old species that, regard­less of what you do, will not grow back."

More.

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Poems by Dennis Mahagin

Blues For Bil­ly C

I'm used
to being fucked
but it's not what
you think;

flip me a cou­ple bucks?
I won't trip, I don't

drink.

A show­er
of vio­let misty
steam feels
good.

Costs four bucks at Pilot
truck­stop banya cedarwood.

It's cool

in the morning
you don't look like a saver.

I be wan, at John's Landing,
kills me, begging
favors.

Nine­ty two degrees, now you wonder
why I shiv­er? What­ev­er, whatever
cash you can spare. I get over

the under­pass,
you won't see me
make it

there.

De-Press Star You Got More Options

You have reached
the offices of medical
plaza

one…hold on
think of times
when you really
had some

fun:

Miche­lin
pendulum
hung above

the swim­ming
hole, made
sticky love

with Made­line
in tenth grade!

We prac­ti­tion­ers
are gone with partners
on the back nine,

free

to shoot bogeys and chew
on our argot, with pink
tees, with élan; think
of stogeys

by Lee Van Cleef. Hang 'em
high, patient you are not
going to die. If this be

a med­ical emergency,
then why you
still hear
me?

Ever won­der
about those sirens on
the BBC? So very different

from ours, take you
right out

of your­self.

Slug it
down cold, a breath
inside bel­ly on

hold; like
I told you
already

about med­ical

plaza one:
God is with you,
now my message

is done.

Den­nis Mahagin's poems and sto­ries appear in Juked, 2opus, Exquis­ite Corpse, Stir­ring, Absinthe Lit­er­ary Review, 3 A.M., Night Train, PANK, Sto­ry­glos­sia, and Smoke­long Quar­ter­ly, among oth­er pub­li­ca­tions. He's also a staff edi­tor at Frigg mag­a­zine. Den­nis lives and works in east­ern Wash­ing­ton state.

Look for his chap­book of sex poems, enti­tled "Fare," com­ing lat­er in 2011, from FCAC in con­junc­tion with Red­neck Press.

 

 

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Interview with Verless Doran

Ver­less Doran lives and writes in the hills of East Ten­nessee. His works have appeared in The Smok­ing Poet, Hero­in Love Songs, Lit Up Mag­a­zine, The Suisun Val­ley Review, Prick of the Spin­dle Press, Dogz­plot Lit­er­ary Jour­nal, and Riverbab­ble Jour­nal. His first col­lec­tion of short sto­ries, Saints and Angels, is avail­able now online and in select bookstores.

 

This first ques­tion is the easy one: why self-pub­lish?

I know the term “self pub­lish” is a bit of a dirty phrase for some writ­ers, but it has nev­er seemed as such to me. To me it is no dif­fer­ent from a painter buy­ing his paints and can­vas­es and then sell­ing them on a street cor­ner, which most artists and writ­ers regard with a kind of Bohemi­an rev­er­ence. “Wow, look at him all poor and hun­gry,” we say, “sell­ing his art on the street for scraps of bread. He must be a real artist.” A writer friend of mine, whom I shall leave unnamed, who has been “tra­di­tion­al­ly pub­lished” said to me once, “There is noth­ing more pathet­ic than a writer sell­ing books out of the trunk of his car.” I believe there is noth­ing more beau­ti­ful. Espe­cial­ly after said writer has put in a full day at work at his reg­u­lar job. I love to see any­one believe in what they do that much. And that’s all pub­lish­ing boils down to, get­ting some­one to believe in what you do. And at the end of the day it might be only you that believes in it. Van Gogh was for­tu­nate to have had one oth­er per­son to believe in him, and that was his broth­er. Stephen Crane, James Joyce, Mark Twain and many oth­er great writ­ers chose to self-pub­lish because no one else believed in what they were doing. But like them I did not come to the con­clu­sion to self-pub­lish hasti­ly. I went the “tra­di­tion­al” route for 15 years, lick­ing stamps, stuff­ing envelopes, address­ing return envelopes, run­ning down to the post office, col­lect­ing rejec­tion let­ters. I have been pub­lished here and there, but I have nev­er earned a liv­ing at writ­ing, and I do not expect to earn a liv­ing by self-pub­lish­ing. The impor­tant thing to me was to get the work out there. To me, the work was what was impor­tant. I think too many writ­ers are con­sumed by try­ing to be the next Stephen King or John Grisham and not con­cerned about get­ting the work into the hands of read­ers who can appre­ci­ate it.

You and I share an affin­i­ty for the work of the late Lar­ry Brown. What do you find in his work that you can't get any­where else?

There is a rough, edgy truth to his words, that I have sel­dom found in oth­er writ­ing. And that truth reveals itself to all man­ner of read­ers, not just those from the south. Peo­ple all over the world know what the truth is, and it doesn’t mat­ter into what ver­nac­u­lar you place it. Per­son­al­ly, when I dis­cov­ered Brown it was a com­plete rev­e­la­tion to me. I had long tried to be the next Faulkn­er, Dick­ey, or Con­roy, fill­ing up page after page of beau­ti­ful pas­toral set­tings and elab­o­rate heart-wrench­ing emo­tions and peo­ple would read my work and say, “There is a south­ern writer.” The first book I read by Brown was “Joe.” And I remem­ber think­ing, “Wow, peo­ple real­ly write like this? Peo­ple real­ly just say what they want to say, the way it needs to be said?” I was amazed, and renewed spir­i­tu­al­ly, because I knew I could write like that. Not nec­es­sar­i­ly in his style, but from the same place he wrote from. He also taught me that being where you are from is not a thing to be ashamed of, in the real world or the “aca­d­e­m­ic” one.

In the doc­u­men­tary Rough South of Lar­ry Brown, both Brown and his wife admit their mar­riage and his fam­i­ly life suf­fered because of his writ­ing. It's unclear if they ever made peace with that before he died. Could you com­ment on this, as I know you’re a fam­i­ly man as well? How do you keep the bal­ance between writ­ing and fam­i­ly, or what­ev­er takes up most of your time in oppo­si­tion to writing?

I think in the doc­u­men­tary there nev­er was a real peace between Brown and his wife, per­haps a cease-fire. A 38th par­al­lel drawn in the sand. Both sides came to accept what could and could not be changed. I under­stand this com­plete­ly, as any­one does who has a par­tic­u­lar pas­sion and a fam­i­ly, espe­cial­ly when said pas­sion is not putting food on the table. I think every­one comes (or should come) to a point in their lives when they learn to pri­or­i­tize. I decid­ed to have a fam­i­ly, and that for me had to take pre­em­i­nence. Part of hav­ing a fam­i­ly entails pro­vid­ing for that fam­i­ly mon­e­tar­i­ly, so my job has to come sec­ond. I write in what time is left over. I have stayed up many nights, till dawn writ­ing, and then gone on to work that morn­ing, because it was the only time I could find to do it in. I have nev­er been a writer who has had to be “moved” to write. Though I have felt inspi­ra­tion to write, I don’t have to have inspi­ra­tion, per se, to write. I have been blessed with a nat­ur­al ten­den­cy to write, not a nat­ur­al tal­ent, but a ten­den­cy. It has just always seemed like a very easy thing to do. So I can arrange my writ­ing sched­ule around all the oth­er activ­i­ties going on in my life.

"A Day With­out Rain" posits a day in which noth­ing seems to be going right for its nar­ra­tor, who has a num­ber of issues work­ing his brain and is not get­ting very far with them. Yet the sto­ry, which ends in love­mak­ing, out­lines just how des­per­ate his/their sit­u­a­tion is: they have each oth­er, and they have a momen­tary break when they can for­get real­i­ty, and that's it. You can see anoth­er day rolling along soon in which noth­ing much will change. I may be read­ing too much into this or not enough, but the sto­ry kicked me in the teeth. How do you see the sto­ry? Uplift­ing or depressing?

That is one of my favorite sto­ries, and it made my heart glad to write it. I believe it is a very uplift­ing sto­ry. I actu­al­ly wrote most of it while on the phone with Sharon. We were engaged to be mar­ried, but for the time being she was all the way in New York and I was in Ten­nessee, so most of our courtship was done over the phone. I was try­ing to write her a sto­ry of what I imag­ined our mar­ried life to be like, and this sto­ry is what came of it. In this world you only have what you can hold in your hands, and at the end of the day if it ain’t the ones you love, you ain’t got noth­ing. Each new day is a mys­tery filled with pit­falls and joys, and you just have to keep hold­ing on to each oth­er through it all.

In the sto­ry "Lyrics," two pris­on­ers take their plea­sure from one another—hard to call it just fucking—in a bit of hard­scrab­ble romance using song lyrics to com­plete their indi­vid­ual fan­tasies. It's unex­pect­ed­ly ten­der and care­ful­ly writ­ten, but again seems hope­ful for the char­ac­ters, where­as the read­er knows things aren't going to change. It's a neat bit of sto­ry, and I won­dered how much you worked on the tone, on how to keep it real­is­tic with­out being prurient.

Anoth­er of my favorites. I’ve always felt a lit­tle uncom­fort­able writ­ing about things of a sex­u­al nature, in explic­it terms and such, pos­si­bly because I don’t speak that way, and right or wrong, I always write how I speak. But for this sto­ry in par­tic­u­lar, I didn’t want any­one to get caught up in the act itself, but in the fact that these two men, in this cir­cum­stance, were doing what­ev­er they had to do to feel the human touch that they need­ed. The sto­ry itself came from a flash fic­tion exer­cise inspired by our mutu­al friend Heather Fowler. We were to write a sto­ry under the theme, and I don’t remem­ber if it was this exact­ly, but it was some­thing like “Lyrics of Love’s Fad­ed Reminder.” I just got to think­ing about how music con­jures up so many mem­o­ries for us, what if I applied that to a sit­u­a­tion where mem­o­ry is everything.

How does your occu­pa­tion affect what you write?

I come up with so many sto­ries on the job that if I had the mon­ey I would hire a stenog­ra­ph­er to take down every­thing so I don’t for­get it. Con­struc­tion work is such a human occu­pa­tion, it’s all sweat and sto­ries and jokes. I’ll take a piece of a sto­ry I heard here, or a thing that I’ve seen there and even­tu­al­ly make a com­plete sto­ry of it. It can also be a very monot­o­nous job, doing the same thing over and over again to where you can let your mind drift, though you have to be care­ful not to nail your­self to a roof or cut off a limb while you’re “pre-writ­ing.”

I know you also write poet­ry. Who are the poets you look to for inspi­ra­tion, both big press and small press?

I sup­pose my favorite poet would be Bukows­ki. I like his stripped down, unortho­dox style. I am real­ly into Clay Matthews now, a local writer from Greeneville, TN. And of course my wife’s poet­ry. And I’m not just say­ing that so I’ll get fried chick­en instead of beans tonight, she real­ly is one of my favorites. I have sel­dom met a truer writer of words. It’s one of the things that made me fall in love with her.

Do you feel it's a gift or hard­ship, being a south­ern writer and try­ing to pub­lish large­ly rur­al material?

It can be both, I think. I think some peo­ple not from the south might look at a book from a south­ern writer and think it can’t apply to them. But I think in gen­er­al, if it’s good and if it’s true, it will find a way. The truth always finds a way.

What are your plans for your pub­lish­ing future? Any new projects on the horizon?

I have anoth­er col­lec­tion of short sto­ries in the works. And a col­lec­tion of flash fic­tion. A book of poems, and two nov­els I am cur­rent­ly work­ing on.

Can you rec­om­mend some music for me and the madding crowd? I'm tired of every­thing I'm lis­ten­ing to these days.

I know how you feel. Music is almost as much a part of my life as read­ing and writ­ing. And once I get into an artist, I tend to dri­ve it right into the ground till I’m sick of it. Right now I’m lis­ten­ing to a lot of Choco­late Genius. He’s kind of a black Tom Waits.

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