Marcellus Shale Issues in February Alone

Sayre Morn­ing Times file photo

Accord­ing to Steve Reil­ly at the Sayre Morn­ing Times, the hits are already here and will keep com­ing. I'll link the whole arti­cle, but let me just cut to the good stuff (emphases mine):

Sev­er­al inci­dents and fines relat­ed to nat­ur­al gas activ­i­ty, includ­ing notable a spate of arrests stem­ming from over­weight and over­size trucks, were report­ed in February:

• On Feb. 2, DEP fined Tal­is­man Ener­gy $3,500 for vio­la­tions at its “Cease” well pad in Troy Town­ship dis­cov­ered dur­ing inspec­tions in 2009. A Feb­ru­ary 2009 inspec­tion revealed that the com­pa­ny had not pub­licly post­ed the per­mit num­ber and oth­er required infor­ma­tion at the entrance of the well pad. Dur­ing a fol­low-up inspec­tion in June 2009, a DEP state­ment explains, “flow-back flu­ids — or the flu­ids that are used to break up under­ground rock and then return to the sur­face — were found dis­charg­ing into a drainage ditch, an adja­cent sed­i­ment basin, and even­tu­al­ly through a veg­e­tat­ed area into an unnamed trib­u­tary of the south branch of Sug­ar Creek.”

• On Feb. 3, Penn­syl­va­nia State Police arrest­ed and jailed four dri­vers employed by TK Stan­ley, a rig mov­ing com­pa­ny head­quar­tered in Way­nes­boro, Miss., for dri­ving a con­voy of over­sized trucks through North Towan­da Town­ship on U.S. Route 6.

• On Feb. 6, state police cit­ed three men employed by T.A.W. Inc. of Wysox for dri­ving trucks with weight, size and per­mit violations.

• On Feb. 7, Arthur H. Dawes of Bloss­burg, Pa., was arrest­ed and jailed after his over­weight and over­sized truck was involved in three sep­a­rate acci­dents as he trav­eled through Brad­ford Coun­ty. Dawes and his employ­er, Todd Bergu­son Truck­ing, received over $15,000 in cita­tions as a result of the incident.

• On Feb. 8, James Matusek of Shaver­town, Pa., and his employ­er, Latona Truck­ing, were fined over $31,300 after state police dis­cov­ered a truck dri­ven by Matusek to be 49.7 tons over­weight.

• On Feb. 23, Arron Wad­dy, an dri­ver for MARMC Trans­porta­tion of Cas­par, Wyo., was cit­ed with $24,089 in fines after state police stopped his vehi­cle on U.S. Route 220 in Albany Town­ship and dis­cov­ered it was 71,707 pounds over­weight.

To all the new gas-lease mil­lion­aires in Brad­ford and Tio­ga coun­ties: this is just begun. Nice job.  And before you say any­thing, I under­stand. If some­one dan­gled what seemed like free mon­ey in front of my nose, I'd like­ly take it, espe­cial­ly if I lived in these tra­di­tion­al­ly poor­er coun­ties still. But you're risk­ing turn­ing the way of life you so val­ue into a hor­ror-show. For those of you who haven't leased yet, please don't.

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Post-War Heat by Murray Dunlap

Slick with sweat, Sweets stops at the car­go train tracks to catch his breath and fan him­self with the Mobile Press Reg­is­ter.  He shuf­fles under the weld­ed arch of the main entrance to the Alaba­ma Dry Docks and a uni­formed guard directs him to the employ­ment office.  Sweets already knows the way.  He care­ful­ly choos­es a path through piles of rust­ing scrap and cross­es long, dark shad­ows cast by cranes.  Sweets repeats his qual­i­fi­ca­tions aloud over swollen lips.  Near the dock, he stops in front of the tug boat, Lit­tle Ben, and catch­es his breath.  The tug glis­tens with fresh paint and hand-rubbed teak.  The own­er of the ship­yard, Ben­jamin Kale, tags his dead son’s name to every­thing he builds. Sweets removes his hat and grips it to his chest.

Hey now, look at olé Sweets,” Wish­bone shouts. “Goin’ again!”

Wish­bone is lean and tall with hair cropped close.  He holds up his weld­ing mask with one hand.  His black tor­so swells with muscle.

The oth­er men look up. They clap and whis­tle at Sweets from a cracked oil tanker prop.  Wish­bone drops his mask and relights the acety­lene.  A cloud of sparks, soot, and steam ris­es from his torch, then van­ish­es into white hot sky.

Sweets resumes walk­ing, eyes focused for­ward.  At the back­door of the office, he tucks in his fad­ed blue work shirt and mops his face with a rag.  Inside, unem­ployed men work the maze, try­ing their luck at each glass win­dow.  Sweets rubs the foot of a roost­er between fin­ger and thumb in his pock­et. He slows his breath­ing to even, con­trolled breaths, then opens the door.

Hours lat­er, Sweets emerges from the build­ing. He sits on the first step. His hips and knees burn.  He strug­gles to breath. Sweets enters and exits by the back door every Mon­day.  The oth­er appli­cants sit out front.  Among them, a young man with smooth almond skin slaps his thigh. He says: No parades, no bond ral­lies, no jobs. Can’t even shuck oys­ters.  The oth­ers nod.  Some say amen.

At the back door, Sweets looks up to Wish­bone, black­ened with soot.  He sits down beside him. Both men drip with sweat.

I’ll get over to Dauphin Street,” Sweets says.

Kazoola’s might need you.”

Sho might.”

Ain’t no way to tell,” Wish­bone says.

Got damn,” Sweets says. “Maybe they’ll be havin anoth­er war.”

Ben­jamin Kale sits behind an ornate mahogany desk in suit and tie.  He swivels in his chair and watch­es Sweets and Wish­bone through the third sto­ry win­dow.  He watch­es Wish­bone move, shirt­less, and press­es his palm against the glass.  Wish­bone says some­thing, ges­tur­ing with his hands, and Sweets nods.  Cold air blows through new­ly installed air vents.  From this dis­tance, Wish­bone could be any man.  He could be white.  He is young and strong and vir­ile.  He might be a navy boy, home on leave.  Sweets might be his father.

Sud­den­ly, the air feels over cold and Ben­jamin clos­es the vent.  He opens the win­dow and leans out as far as he can.  He clos­es his eyes.  On the desk, a black and white pho­to­graph of his son lies face down against the wood.  In the pic­ture, Ben Jr. sleeps on a river­boat bunk, his arms crossed behind his head.  In anoth­er pic­ture, still upright, twin baby boys peek out from under blan­kets in a bassinet.  Ben Jr.’s wife will take them away.  She will take them to her fam­i­ly in New Eng­land.  They will be raised with­out a south­ern accent.  They will not know that Ben­jamin hired Sweets to dri­ve his pol­ished black car, despite the slide in rev­enue. They will not know that Wish­bone will use Sweets to break into the Kale fam­i­ly home.

What they will know is this: A man known as Wish­bone split Ben­jamin Kale’s skull with a fire iron and only got away with his gold watch on a chain. He was nev­er found. My father will dis­cov­er the watch in a pawn shop thir­ty years lat­er. In thir­ty more years, he will die, and I will find it in his desk.  I’ve got it in my right hand, right now.  My name is Ben.  The watch does not keep time.

Mur­ray Dun­lap’s fic­tion has appeared in the Vir­ginia Quar­ter­ly Review, Post Road, Night Train, New Delta Review, Red Moun­tain Review, Silent Voic­es and Smoke­long Quar­ter­ly and oth­ers. His sto­ries have been twice nom­i­nat­ed to the Push­cart Prize and to Best New Amer­i­can Voic­es, and his first book, "Alaba­ma", was a final­ist for the Mau­rice Prize in Fic­tion. After very near­ly being killed in a ter­ri­ble car wreck, the writer uses this site to vent: http://​www​.mur​ray​dun​lap​.com/.

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Tenth Frame Spare, fiction by Timothy Gager

Ben­ji watched Kevin scratch his crotch with his left hand while he poked his meaty fin­gers into a 16-pound bowl­ing ball with his right. The semes­ter had just begun and the place was packed. “So how do I look?” he shout­ed. “I’m a big King Pin.” Mary turned away from his stu­pid fuck­ing stu­pid shit and drank from one of his left­over beers. “Fuel!” Kevin said drown­ing his words with a chug from a dif­fer­ent Har­poon pint.  Kevin stepped up and bulled down nine pins, almost stum­bling with the effort.

It’s like bowl­ing with my alco­holic father,” Mary said loud enough only for Ben­ji to hear. “We need to talk…”

Not sup­posed to drink out­side the bar area,” Ben­ji said to Kevin. “It’s the rules.”  Mary placed her beer out of sight.

169,” Kevin butted into Benji’s face. “You only need a mark to beat me.”

I knew this was a bad idea,” Mary said, her mousey hair tied in a pony tail which hung like a drip­ping faucet.

Yes, Benji’s way too seri­ous about these sil­ly lane rules,” Kevin added. “Come on Ben­ji, light­en up!” He reached up to high-five him but Ben­ji wouldn’t look at him as he walked past. Ben­ji had a slow­er approach on the lane. He hooked the ball into the pock­et and left only the ten pin standing.

I have you,” he said to Kevin qui­et­ly before retriev­ing his ball. His next shot was as delib­er­ate as the first and Ben­ji clipped the pin, knock­ing it up against the side wall. He pumped his fist in the air.

I wish you’d been this seri­ous about study­ing!” Mary yelled to Ben­ji as if she were urgent­ly warn­ing him about some­thing lying in the high­way. She was sur­prised by how angry she sounded.

I got a 2.7 last semes­ter,” Ben­ji protest­ed. He strolled down to the foul line and grace­ful­ly threw the last ball into the gut­ter to win by one.

It was a 2.66,” Mary responded.

It rounds up.”

Lazy, lazy,” Kevin said. “Make sure you do all your work in pen­cil first. Look at the score. You need­ed three pins on that last one to beat me! I claim total vic­to­ry,” Kevin chid­ed as Mary shift­ed uncom­fort­ably in her seat. Ben­ji looked hurt, not sure if she was with him or against him, but then he noticed for the first time her tak­ing a quick drink.

Mary, you shouldn’t be drink­ing!” Ben­ji asked.

I don’t want to talk about it here,” she said.

It’s OK,” Kevin said to him. “It’s real­ly OK. She’s not preg­nant any­more. We have plen­ty of time to have babies, right Mar? Shit, we ain’t even mar­ried. Maybe try again after.” Mary said nothing.

You can have anoth­er drink, hon­ey.” Kevin said.

Mary smiled, but her face fell after he left. She stared down at the score sheet and her eyes welled up. “I’m sor­ry, Ben.”

Ben­ji moved next to her and placed his hand on her knee. “What happened?”

I had a mis­car­riage. I’m sor­ry I should have called…Kevin has been here for two days. He wouldn’t leave. He want­ed to be there for me. He has no idea it’s ours.”

You know we could mar­ry if that’s what you want. You shouldn’t be so scared of that.”

Mary shook her head. “I’d like to get things right, first.”  Kevin came back with their drinks, almost falling down the step lead­ing to their alley.  He hand­ed Mary a gin and ton­ic. “I’m sor­ry if I need more than one,” she said.

Tim­o­thy Gager is the author of eight books of fic­tion and poet­ry. He lives on www​.tim​o​th​y​gager​.com, his home­page which promis­es to super­size you.

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Fried Chicken and Coffee and the Barry Hannah Memorial Competition

Bar­ry Hannah

I learned on Face­book tonight that Bar­ry Han­nah died. I have no con­fir­ma­tion officially–edit in, look here for con­fir­ma­tion– but I have no rea­son to dis­be­lieve my FB acquain­tances, either. After talk­ing it out and over with my love­ly and beautiful–and let's not for­get smart–wife,  here's what we want to do. FCAC and Heather Sul­li­van will pro­vide a pack­et of prizes for a com­pe­ti­tion in Bar­ry Hannah's hon­or. I'll think of a good name for it so it might even make the com­pe­ti­tion vita-wor­thy, like The Bar­ry Han­nah Memo­r­i­al Com­pe­ti­tion.

  • First prize: pack­et of Han­nah books,  Air­ships, Ray, Geron­i­mo Rex, a $25.00 gift card from Barnes & Noble
  • Sec­ond prize: Rose Met­al Press Field Guide to Writ­ing Flash Fic­tion and my book Break­ing it Down.
  • Third prize: Break­ing it Down
  • All plac­ing sto­ries will be pub­lished in Fried Chick­en and Cof­fee, and I reserve the right to choose oth­ers for pub­li­ca­tion out­side the com­pe­ti­tion para­me­ters, if I feel so motivated.

Here are the guidelines:

  • sto­ries must be between 2000 and 4000 words; This means 4001 is unac­cept­able, as is 1999.
  • sto­ries must be sent to this email address: hannahmemorialcomp@​gmail.​com
  • sto­ries must be sent before mid­night on Wednes­day March 31st
  • sto­ries must be in MS-Word or rich text for­mat and have no name or iden­ti­fy­ing marks  (please check your head­ers and edit-track­ing fea­tures) with­in them
  • final­ly and most impor­tant­ly, sen­tence by sen­tence, Bar­ry Han­nah was one of our best.  Be sure your sto­ry embod­ies his crafts­man­ship, espe­cial­ly the art of the pun­gent and rev­e­la­to­ry sin­gle sentence.
  • there is no sub­mis­sion or read­ing fee.

Heather will ren­der the sto­ries anony­mous if they are not already, pass them on to me and I will pick a win­ner. Prizes will be sent in the sec­ond week of April or soon­er. Ask ques­tions in the com­ments sec­tion. This post will also appear as a sta­t­ic page on the site, so you can direct peo­ple more effec­tive­ly if you share the news.

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New Stylings for the Chicken

I'm mess­ing with lay­out and things, as you no doubt have seen, hence the lack of new con­tent. I'm try­ing to migrate all my links and et ceteras from the orig­i­nal Blog­ger account, and I have to do it piece­meal. So I draw your atten­tion to those links on the right hand side. You may not have explored them yet or at all, and there are more coming.

edit in:  if you would like your jour­nal or orga­ni­za­tion or self to be rep­re­sent­ed in the links  (I know I missed some folks) com­ment here or send me some mail.

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Revelations, fiction by Tamara Linse

And the dev­il, who deceived them, was thrown into the lake of burn­ing sul­fur, where the beast and the false prophet had been thrown. They will be tor­ment­ed day and night for ever and ever. Rev­e­la­tions 20:10


Dan, Killer, and I are in the Kum & Go snag­ging some break­fast before head­ing off to roustabout on the Shoshone oil field.  My name’s Jim­my, Jim­my Shalin­sky, but most peo­ple call me Clit.  I got the name because I’m good with the ladies.  You know, smooth.  Dan may have the looks, and Killer may have the size, but I got the talk.  I always was a lit­tle on the small side, wiry though. Tough, you know—but I can make it with the ladies.

Killer is putting togeth­er some nachos. He mounds the chips, ladles hot nacho cheese, and then uses the tongs to try to fish out some jalapenos, but he gets tired of it so he grabs them with his fin­gers and plops them on top.  Then he slurps his fingers.

Dan apprais­es the bowl and says, “I think you can fit some more on there.”

Killer looks at the bowl and then at Dan and grins.  “Fire in the hole,” Killer says.

I’ll show you fire in the hole,” Dan says, glanc­ing over at the fat lady with the gigan­tic tits behind the counter.

They always have been a pair.  They played foot­ball at Last Chance High School and took us to the Wyoming state finals in Divi­sion 4A.  Dan was the quar­ter­back, of course, and Killer was a line­man.  Dan real­ly knew how to moti­vate the team, so I heard—I was a cou­ple of years behind them—and Killer was just that, a killer on the line.  He broke both legs of this guy from Tor­ring­ton.  The peo­ple from Tor­ring­ton got all hot and both­ered because they said it was a dirty hit—he was nowhere near the ball, they said—but the ref didn’t see it, so, hey, it might as well not’ve happened.

Dan’s still good look­ing, just like he was in high school.  Fit.  Blonde hair that makes him look like a surfer.  You wouldn’t think he was almost thir­ty.  I don’t know how he does it—his clothes are always neat and clean, even when we’re work­ing a rig.  Killer, though, has let him­self go.  He has this red beard that bush­es out above his con­sid­er­able gut, and he shaves his head but then wears one of the black Nazi hats with the gold braid on the brim and the eagle on the top.

I take my twen­ty-ounce cof­fee to the counter to pay.  The fat lady taps the reg­is­ter keys with her cocaine nails and says, “A lit­tle go juice?”  She’s got a ring on her fin­ger, and I won­der what ugly bas­tard would mar­ry her.

Yeah—I mean, no,” I say, push­ing my glass­es up my nose.  “What I mean is, I don’t need no go juice.  I’m all go.” I count out two dol­lar bills and flip them on the counter.

A runt like you?” Big Tits eyes me up and down.

Ain’t no cor­re­la­tion,” I say.  “Some guys got third legs, you know.”

She fin­gers coins out of the draw­er and drops them on the counter in front of me.  Two pen­nies roll off and away.

I don’t move to get them.

Lit­tle shits like you are all hat and no cat­tle,” she says, “and I’ve had more than my share of no cat­tle.”  She turns like she’s got some­thing to do.

I don’t know quite what to say, and just as I’m com­ing up with some­thing, Dan and Killer come up to the counter. In addi­tion to nachos, Killer’s got a sausage with mus­tard and cat­sup and a cup of cof­fee. Dan has a bot­tle of water.

Dan smiles at Big Tits as he lays a twen­ty on the counter for Killer’s food.  “The lady ain’t inter­est­ed in what you’re sell­ing, Clit.”

She would be if she knew what she’s miss­ing.”  I try to make it sound all hap­py, like an invi­ta­tion instead of the lame come­back it is.

Big Tits smiles at Dan.  “Ain’t you Dan McCoy?” she asks. He nods and slaps her with what I call his knock-em-dead, a smile that would make the aveng­ing angel him­self offer him Life­savers.  Then she launch­es into this long thing about her dad tak­ing her to all his foot­ball games.  “My dad was a huge fan,” she says.

That’s great,” Dan says.  “So, what’s your name?”

I’m Bet­sy, but every­one calls me Bet.”

That’s sure a pret­ty name, Bet.”

She smiles as she gives Dan his change.

Dan nods just a lit­tle as he glances at her hands—he’s thought of some­thing.  “You know what, Bet?  We’re hav­ing a par­ty lat­er, a keg­ger.  Want to come?”

First I’m hear­ing of it, but that don’t mean anything.

Her eyes widen and then nar­row.  She looks at Dan with­out say­ing anything.

Don’t be like that.  There’s a bunch of us—some peo­ple your age, too, I think.  What are you?  Twen­ty?”  Dan plays it well, as he always does.  She’s prob­a­bly at least twen­ty-two, and he doesn’t insult her by say­ing she’s eigh­teen because when you’re young you always want to be old­er, but she prob­a­bly just start­ing to want to be flat­tered as younger, so he runs it down the middle.

Well, I’m mar­ried,” Big Tits says, hold­ing her left hand and splay­ing out her fin­gers to show her ring.  Then her fleshy shoul­ders pop up and down, but her eyes stay fixed on his face.

Killer’s stand­ing there.  He grunts and takes his food and goes out to the truck.

Dan leans for­ward with his elbows on the counter.  He low­ers his voice to a grow­ly whis­per.  “Well, pret­ty Bet, don’t you deserve a night out with the girls?”

Her smile tips up at the corners.

Dan con­tin­ues, “You just tell your hus­band you need a night out.  What he don’t know, won’t hurt him.”

She shakes her head. “Tom—that’s my husband—ain’t too keen on me going out.”  She hes­i­tates and there’s silence as she con­sid­ers, but then her shoul­ders relax.  “But I have my ways to con­vince him.”  She leans for­ward too, her face cut­ting into the usu­al com­fort dis­tance between two people.

I won­der whether she’ll play the bitch card or she’ll have sex with her hus­band to put him in a good mood.  Then I get an image of those huge tits flop­ping up and down and up and down and my dick perks up.

Dan’s smile goes from daz­zling to fixed—he’s got­ten what he wants, and so he los­es inter­est in her.  “You tell your dad that Dan McCoy says hi,” he says as we turn to leave.

I get off at sev­en,” she says, her head cran­ing around the tall jerky jar.

Dan doesn’t reply.  We head out to the Dan’s brand new due­ly.  It’s fire-engine red with a shiny roll-bar and growl pipes.  In the gun rack, Dan keeps what he calls his fuck-stick—just hefty and long enough to fuck some bas­tard up—and a twen­ty-two semi-auto for hunt­ing coyotes.

Sit­ting on the open tail­gate is Killer, and he’s got his hand out to a mag­pie perched on the side.  The bird’s black-and-white-tuxe­doed body pos­es then jerks as it eyes Killer and then pecks at his fin­gers.  Killer’s small pig eyes are round and open.  When he sees us, he pulls back his hand and his face clos­es in.  The bird launch­es into the air.  Killer push­es him­self off the tail­gate and grabs his nachos.

Looks like Adam’s in the gar­den,” Dan says as he walks past him.

Killer doesn’t say any­thing.  He walks around to my side.  As I’m climb­ing into the cab, he says, “Clit calls the bitch seat.” What he always says every time.

Bet­ter a bitch than a fuck­ing ass­hole.”  What I say every time.  Gay­boy, I add silently.

Dan and Killer get in.  Dan starts the engine and the radio blares. It’s the news.  I reach to turn it down and Dan slaps my hand.  “Leave it.”  He shifts, backs out, and rods it onto the street while a woman with a deep monot­o­ne reports a one car rollover that killed a hus­band and wife from Col­orado and that the rig count is up.  Then the pro­gram switch­es to a slow-talk­ing cat­tle report.

I glance over at Killer and he’s look­ing past me at Dan.  Killer shakes his head.

Dan looks at Killer from the cor­ner of his eye and says, “They don’t report, uh, over­en­thu­si­as­tic sex.  Due to the sen­si­tive nature of the sub­ject.”  He flash­es a smile that doesn’t reach his eyes.

Lucky for me,” Killer says.

Besides, it’s old news by now,” Dan says.

What’re you guys talk­ing about?” I say.

Mind your own,” Killer says in a deep voice.

So I do.

We’re in the sec­ond week of our two weeks on.  Twelve-hour days.  Most­ly we work our ass­es off mov­ing equip­ment and sup­plies, clean­ing up garbage and spills, painting—shit like that.  It stinks to high heav­en, and grit gets into my every crack and cran­ny.  If my fin­gers ain’t black from oil, they’re black from get­ting whacked.  Some­times it’s so hot you could fry an egg.  Some­times it snows so hard it’s all you can do to keep your balls from freez­ing.  Dan’s almost charmed his way from roustabout to rough­neck, and he’ll take Killer with him.  I’m hop­ing he takes me along too.

It’s before sev­en, so we’ve got time to make it from Last Chance to the pad before our shift starts.  The black­top skirts along the wide shal­low reach­es of the Big Sulfur—named for the hot­springs that feeds into it—and in and out of stands of cot­ton­woods and fields of sug­ar beets and alfal­fa.  This time of year, the vegetation’s turned from bright green to deep green, and soon it’ll be shad­ing to brown where it’s not irri­gat­ed.  Or every­where if we have the drought like last year.  Dan down­shifts and turns onto the grav­el coun­ty road.  We thread up a ravine and onto the dry sage­brush bench­es that line the riv­er val­ley.  The air changes.  You can feel it com­ing through Dan’s cracked window—what was cool and moist turns hot, pun­gent, and dusty.  The radio says it’ll get up to a hun­dred and three.  The patchy sage­brush is inter­spersed with sand dunes.  The drought’s killed off enough of the veg­e­ta­tion that the wind scoops sand out of one place and deposits it in anoth­er.  It’s like the earth’s try­ing reclaim the whole countryside.

Maybe next year, they’ll hire us on as rough­necks,” I say with an eye toward Dan. “That way, I can buy my own trans­porta­tion, not have to hitch with you.”  Can’t hurt to give Dan a lit­tle more incen­tive.  What I real­ly want is to save up enough to get my mama into one of those pro­grams where they dry out.  It don’t work to have her in A.A.  She just gets tanked before she attends the meet­ings till they kick her out.

Skin­ny shit like you? No fuck­ing way,” Killer says as he push­es in the cig­a­rette lighter.  He pokes his fin­ger and thumb into his pack of cig­a­rettes and fish­es one out, zips the win­dow down, and when the lighter pops he press­es the glow­ing rings to the tip of his cig­a­rette and sucks in the air.  Then he sticks the lighter back into the ashtray.

Don’t wor­ry about it,” Dan says.  “World’s going to end this year.”

What?” I say.

Yeah, those crack­pots are say­ing 2010’s the end of the world.”

I don’t like telling Dan he’s wrong, but I say, “That’s 2012.  The end of the Mayan cal­en­dar.”  My mama digs things like that, so I know.

Well, I’m say­ing it’s 2010.”  He lets out a burst of air.

I shrug.

We pop up over a hill, the grav­el crunch­ing under our tires, and two deer, does, stand broad­side in the mid­dle of the road.  Dan stamps down on the brakes and the truck slides to a halt. Bil­low­ing dust engulfs us from behind and veils the sun. The doe in front stum­bles for­ward and then high-steps off the grav­el.  Once she reach­es the bor­row ditch, she bounds across the unmown grass and leaps the barbed wire fence on Dan’s side of the truck.  The oth­er small­er doe con­tin­ues to stand broad­side look­ing at us, like she can’t quite fig­ure out what we are.

I glance at Dan and Killer.  Dan’s head is cocked to one side, but Killer’s eyes have opened up again and he’s lean­ing for­ward, his beard detached from his chest.  Dan turns off the radio.  Then he twists side­ways toward me, his arms reach­ing over my left shoul­der, and I lean for­ward to give him room.  He’s pulling the twen­ty-two out of the gun rack.

Hey, Killer,” Dan says, “ever had veni­son backstrap?”

Yeah,” is all Killer says. He ducks as Dan tips the rifle over our heads and points the muz­zle to the floorboards.

What do you think?”

We’re going to be late,” Killer says.  I’m sure he knows how lame this sounds.

A clean kill, and we can be in and out in five min­utes,” Dan says. He lifts the rifle across my lap toward Killer.

We don’t need no backstrap.”

Ah, come on, Killer.”

Dan, we don’t need no venison.”

Sure we do.”

Well, if we need it so god­damn bad, you shoot it.” Killer’s face is turn­ing red.  He’s always had a quick tem­per.  I lean away from him toward Dan.

You’re the killer, Killer. What’s the mat­ter?  You chickenshit?”

I ain’t chickenshit.”

Bwock, bwock, bwo-ock,” Dan says.  Hold­ing the stock with his left hand, he reach­es past me with his right and slaps Killer on the chest with his palm.

He don’t want to shoot it,” I say.

Shut the fuck up,” Killer says to me.  He says to Dan, “You want me to fuck­ing poach a deer?”

Killer’s decid­ed to go all Gree­nie tree­hug­ger on us, Clit.  He’s a sen­si­tive new-age guy.”

Killer doesn’t say any­thing for a minute, and Dan doesn’t either, just leans for­ward hold­ing the gun and star­ing at Killer.

Eyes on the dash, Killer moves his head back and forth slight­ly. “Just give me the gun,” Killer says. Dan smiles, show­ing his teeth, and hands the gun to Killer.  Killer takes it, push­es open the door, steps to the hood, cham­bers a round, and leans for­ward, prop­ping the stock to his shoul­der and his elbows on the hood.

The big­ger doe is long gone, but the small­er doe is in the bor­row ditch bound­ing back and forth along the fence­line try­ing to get up the courage to jump.  Killer doesn’t wait for her to stop.  One report, then two more in quick suc­ces­sion.  The doe leaps like a rab­bit and then falls down onto her front knees and col­laps­es for­ward then onto her side, her head bent back over her shoulder.

Dan pulls open the glove box and retrieves a big Buck knife.  He push­es open the door and gets out, glances both ways down the road, and then walks quick­ly over to the kick­ing doe.  I stay in the truck.  Killer doesn’t even glance Dan’s way.  He clears the car­tridge and uses his thumb to keep the next round from enter­ing the cham­ber.  He comes back to the cab.  He’s care­ful as he lifts the gun over my head and places it back in the rack.  He gets in and shuts the door.  Dan’s over at the ani­mal.  He doesn’t bleed her out or any­thing.  He just slices through the hide on the back, peels it away, and then cuts along the back­bone and ribs on each side to remove the back­strap, lay­ing the first one on the grass while he cuts the sec­ond.  He flips the knife shut, picks up the meat, and comes to the truck.  He opens an emp­ty gun­ny sack on the tail­gate and wraps up the meat and tucks it up next to the cab.  He wipes his hands on his jeans and then comes up and gets in the truck.

We’ll start a fire out at the pad,” he says.  “Roast them for lunch.”  He starts the truck, glances in his rearview, and then peels out, his bloody palm twirling the steer­ing wheel and his head bob­bing like he’s lis­ten­ing to his own inner music.  Killer just stares forward.

We spend the morn­ing clean­ing up the pad.  That’s our job for the day.  Our boss—his name is Rick but we call him Rick the Dick—told us to do what’s nec­es­sary.  He thinks the inspectors’ll be out next week.  We pick up the sand­wich wrap­pers and soda cans.  We slop paint over rusty met­al.  We dump emp­ty fifty-five gal­lon drums all into one big pile. We smooth out places where oil has spilled and cov­er them over with more dirt and sand from the reserve pile—they shouldn’t soak through till after the inspec­tors have come and gone.

Late in the morn­ing while Killer rolls drums and I slop paint, Dan gath­ers dead sage­brush limbs and some larg­er pieces of drift­wood washed by spring storms into the gul­ly that skirts the pad.  He starts a fire.  Then he con­tin­ues to work but stops every once in a while to pile wood on the fire, so that it all burns down to orange and white coals.  Around noon, he pours water over the back­straps and lays them over the bed of coals.  Soon the smell of cook­ing meat makes my stom­ach growl.

You bas­tards ready to eat?” Dan says.

Killer and I go over to the tail­gate where he’s cut­ting off chunks of meat.  We stand around and eat with our fin­gers.  It’s a bit grit­ty, but the char of the sage­brush adds to the fla­vor.  Killer seems to have for­got­ten where the meat came from, as he doesn’t even hes­i­tate.  Between the three of us, we pol­ish off both hunks.  Killer sits down on the tail­gate and licks his fingers.

This is the best veni­son I’ve ever had,” I say to no one in particular.

Clit’s a veni­son vir­gin?” Dan says with a bug­gy look on his face.

I have to think for a minute.  Then I say, “No, I said it was the best, not the first.”

Yeah?  So Clit’s had veni­son, but has he had a woman?”

I’m think­ing not,” Killer says.

I have too,” I say.  It’s none of their fuck­ing busi­ness if I have or haven’t.

So Clit’s not only a vir­gin, but he’s a liar,” Dan says.

You guys are so full of shit,” I say.

Admit it,” Dan says and takes a step toward me.  “Come on, say ‘I’m a lying vir­gin.’  Come on, say it.”

I take a step back­wards.  Killer hops down from where he’s sit­ting on the tailgate.

Say it, Clit,” Dan says. “‘I’m a lying vir­gin.’” He takes anoth­er step toward me and Killer walks up beside him.

There’s no way I’m going to say it.  No fuck­ing way.  But Dan’s gone squir­re­ly and Killer’s back­ing him up—they’re not going to stop until they make me say it.  I’ve seen it before—they’re like a cou­ple of wild dogs once they fix on something.

I glance through the back win­dow at the rifle, but I can’t get to the front of the truck, jerk open the door, pull out the rifle, and jack a shell before they’re on me.  I glance around.

Say it,” Dan says.  “Say it.”  He and Killer are walk­ing for­ward and I’m step­ping backwards.

You’re going to fuck­ing say it,” Dan says.

I turn and take off run­ning.  I don’t look back—I know they’re right behind me.  Killer’s enough out of shape I’m not wor­ried about him, but Dan’s got stick and the sta­mi­na to back it up.

Ahead of me I see the fire, and pok­ing up from it is a good-sized branch.  As I run past, I lean down and snag it and then take a quick jog right.  Then I spin and huck it hard as I can at Dan’s head.  Dan ducks side­ways and the branch sails past him.  I turn to run but then Dan’s on me.  I trip and land on my face and he’s on my back grab­bing for my arms.  It knocks the wind out of me and my glass­es go fly­ing, but I’m strug­gling to keep my arms free and push­ing against the ground, try­ing to get to my hands and knees.  He man­ages to wrench my left arm behind me and up to my shoul­der blade.  The pain shoots through it and into my shoul­der.  I try to twist side­ways to release the pres­sure, but his weight on my butt keeps me pinned.

You’re noth­ing but emp­ty talk, Jim­my,” Dan says, “and the only woman you’ve had is your drunk-ass mother.”

Fuck you,” I say and jerk hard as I can.

You’re a worth­less piece of shit.  I want you to say it. Say it, you fuckhead.”

I’m not going to say it.  There’s no way I’m going to say it.  If I say it, they’ll let me go, sure. Yes­ter­day, I would’ve.  But not today.  Today, my mama made me eggs for break­fast. She got her­self out of bed and made me eggs.  That ought to be worth something.

My arm is released, and I think, okay, but then his grip wraps around my throat.  His hands are warm and moist and the pads of his fin­gers dig into the soft parts of my neck.  My adam's apple jams flat. I have to cough but I can’t. At first it’s like when you hold your breath. Not too bad.  I pull my arm from my back, try to push myself up. Dan’s weight’s in the mid­dle of my back, though, can’t do a pushup with that mon­key on my back. He rat­tles me, and my head snaps back and for­ward, back and for­ward. There, a smidgen of breath, but then he clamps down again. My lungs strain, try to pull in air.  My heart thumps, thumps, thumps.  Try to mus­cle it and then wild­ly squirm and push.  Almost.  He’s lean­ing for­ward and I knock him off bal­ance, my body halfway out from under.  But air, air, air.  Fwoop, the sens­es shut down.

Noth­ing.

You kill him?” It’s Killer’s voice com­ing from above and to the left.

My throat.  It hurts.  I cough.  I cough again.

There’s silence.

I push myself onto my back. My arms ache and my neck and my back where I twist­ed it.  I crack open my eyes but it’s so bright. I slam them shut and pull my arm over my face.

Killer:  “You fuck­ing lost it, man.” His voice is more urgent, high­er, than I’ve ever heard it.

Dan: “Shut up.” He’s to my right.

Killer: “I’ve nev­er seen you that pissed off.”

Dan: “Just shut the fuck up.”

Killer: “No, you real­ly lost it.  You were going to kill him.”

I feel Dan loom over me and I curl to pro­tect my stom­ach, but he doesn’t touch me and instead I hear the scuf­fle of dirt as Killer steps back.

You let that piss-ant get to you,” Killer says softly.

Dan steps over me and I hear an oomph. I crack my eyes in time to see Killer on his ass in the dirt and Dan stand­ing over him.

This has nev­er hap­pened before.  Something’s been broke.  Killer’s always been the hands to Dan’s body.

From beyond us, there’s a dis­tinct whooomp!  I don’t know what it is.  I hear Dan say, “Shit,” and then after a bit he and then Killer walk over toward the sound.

I care­ful­ly stretch to see if I’ve bust­ed any­thing.  Don’t seem to.  I cau­tious­ly push myself up and teeter to my feet.  I don’t even look for my glasses—I can see how it is well enough with­out them.  I walk up behind Dan and Killer but keep my dis­tance.  Dan’s shoul­ders are back, his head cocked.  Killer’s off to one side and hun­kered a bit, his arm across his stomach.

They’re stand­ing in front of the pile of bar­rels, which is engulfed in flame.  The flames aren’t just orange. They flare up in patch­es of blue and then green.  They flick and weave.  We stand and watch, but the heat ris­es and soon we’re forced to take a step back.  The flames con­tin­ue to climb high­er, straighter now, more fran­tic, grasp­ing up to heav­en like the north­ern lights.

Then, a weird thing.  The bar­rels start to bulge.  The sides warp and round out­wards.  There’s a creak­ing, met­al stress.  I have a split sec­ond to think, get the fuck out of here, and then the whole thing explodes.  I see flames engulf Dan and Killer and then they’re on me.  I’m sur­round­ed by flames, I feel the pres­sure of their blast, but there’s noth­ing, no pain.  I mar­vel at this.  I back away, and still the flames cocoon me.  It feels like all the air’s been sucked away—I can’t breathe, I pull and pull but there’s no air, my shirt is burn­ing and my pants are burn­ing and the acrid odor of burned hair reach­es my nos­trils and some­thing else, like cooked veni­son, I glance down, my right hand is black but still in the shape of a hand, large pieces of skin hang from my left hand, I won­der what my face looks like, I should be in pain, but I don’t feel any­thing, I think, you know what, I’m going to die, yep, that’s it, it’s the end peo­ple don’t sur­vive some­thing like this wait that fire­man who lived but then nobody could look at him not just because his flesh was shape­less like a pota­to but because he car­ried him­self all stiff and twist­ed like the flames deformed his insides that house fire in Last Chance where the kid burned to death I’m wait­ing for the pain to come what hap­pened to his mama? no pain what does that mean? the flames sur­round me I’m the kid not the fire­man fall to knees we’re all gonna

Hav­ing grown up on a ranch, Tama­ra Linse appre­ci­ates indoor plumb­ing.  She lives in Wyoming, where she writes short sto­ries and nov­els. To sup­port her writ­ing habit, she also edits, free­lances, and occa­sion­al­ly teach­es.  Her web­site is http://​www​.tama​r​alinse​.com.


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Fracking Good/Fracking Bad

natural gas fracking drilling Pictures, Images and Photos

This first arti­cle, basi­cal­ly a rehashed press release if you ask me, gives you the gas com­pa­ny per­spec­tive, as well as the web address of the Mar­cel­lus Shale Coali­tion, a group of (wait for it–not gov­ern­ment reg­u­la­tors, not com­mu­ni­ty mem­bers, not EPA reps) gas com­pa­nies (oh, we can trust them, big busi­ness has nev­er screwed over rur­al com­mu­ni­ties) who assure us through their pret­ty web­site that every­thing is A‑OK, and boy,  isn't this a great oppor­tu­ni­ty for Penn­syl­va­nia. Entire arti­cle follows:

Gas industry responds to flowback concerns

Pub­lished: Wednes­day, Feb­ru­ary 10, 2010 3:54 PM CST, in the Wells­boro (PA) Gazette

The Mar­cel­lus Shale Coali­tion issued the fol­low­ing state­ment Feb. 4 regard­ing water use and flow­back water man­age­ment in the devel­op­ment of nat­ur­al gas from the Mar­cel­lus formation:

Penn­syl­va­ni­ans deserve to get the facts about water man­age­ment for Mar­cel­lus shale devel­op­ment. We need to put an end to the sup­po­si­tions that could threat­en our state’s abil­i­ty to cre­ate jobs and invest­ment here at home.

Reg­u­la­tions gov­ern­ing the use and man­age­ment of water need­ed to drill a Mar­cel­lus shale well in Penn­syl­va­nia are among the most strin­gent in the nation, and ensure the pro­tec­tion of the commonwealth’s water resources. Water with­drawals from streams and rivers must be approved, includ­ing the with­draw­al loca­tion and amount of water required for each well, as well as detailed stor­age and treat­ment plans.

The indus­try cur­rent­ly treats or recy­cles all of its flow­back water. Recy­cling accounts for approx­i­mate­ly 60 per­cent of the water used to com­plete Mar­cel­lus shale wells, with greater per­cent­ages pre­dict­ed for the future. There are more than a dozen approved water treat­ment facil­i­ties avail­able to treat flow­back water, with plans for addi­tion­al capac­i­ty in the future.

Com­pa­nies are work­ing with inter­na­tion­al water qual­i­ty experts and are fund­ing research and devel­op­ment projects to devel­op mobile and per­ma­nent treat­ment tech­nolo­gies such as evap­o­ra­tion and crys­tal­liza­tion. These efforts will enhance the commonwealth’s over­all water treat­ment capa­bil­i­ties, while bring­ing more com­merce into Penn­syl­va­nia. We’re also research­ing and devel­op­ing deep under­ground injec­tion well tech­nol­o­gy, which is a proven, safe dis­pos­al method in oth­er regions of the country.

Claims about ele­vat­ed lev­els of Total Dis­solved Solids (TDS) in the Monon­ga­hela Riv­er from nat­ur­al gas devel­op­ment have been refut­ed by stud­ies that attribute a min­i­mal amount of the total TDS lev­els to Mar­cel­lus shale drilling activ­i­ty. In fact, his­tor­i­cal mon­i­tor­ing shows the vari­abil­i­ty of TDS lev­els in the Monon­ga­hela and oth­er rivers to be a cycli­cal phe­nom­e­non over the past 30 years.

The indus­try is com­mit­ted to the use of Best Man­age­ment Prac­tices in all aspects of its oper­a­tions, includ­ing sig­nif­i­cant invest­ment in advanced flow­back water treat­ment capa­bil­i­ties and recy­cling technologies.”

The Mar­cel­lus Shale Coali­tion is com­prised of dozens of drilling and ser­vice com­pa­nies who work in Pennsylvania’s oil and gas indus­try. Its Web site is www​.pamar​cel​lus​.com.

It's a damned good thing the US Supreme Court recent­ly grant­ed 'per­son­hood' to cor­po­ra­tions. These new­ly made Adams can now spend all the mon­ey they like sup­port­ing their favored can­di­dates, and we can look for­ward to more of this PR tripe even out of elec­tion sea­son. This is how the busi­ness con­glom­er­ate-per­son speaks, as if it has no per­son­al stake nor respon­si­bil­i­ty. In vapid, Orwellian PR-speak, it pays lip ser­vice to the idea that it sup­ports the peo­ple it's bend­ing over a chair and screw­ing. For all those quo­ta­tion marks in this piece, not one is attrib­uted, and there­fore no one is respon­si­ble for its verac­i­ty. Just this new­ly-made 'per­son': the gas companies.'

capped well, Spring Lake, Brad­ford Coun­ty PA

Here's anoth­er per­spec­tive from Lau­ra Shin's blog on http://​www​.solve​cli​mate​.com, dat­ed 9/29/09:

Last week, three spills of poten­tial­ly car­cino­genic haz­ardous chem­i­cals at a nat­ur­al gas drilling site in Penn­syl­va­nia prompt­ed the state’s envi­ron­men­tal pro­tec­tion agency to sus­pend Cabot Oil & Gas's oper­a­tions in the county.

The spills were just a small part of a larg­er phe­nom­e­non — acci­dents at nat­ur­al gas drilling sites that have imper­iled the drink­ing water of near­by com­mu­ni­ties in states from Penn­syl­va­nia to Wyoming and that have no gov­ern­men­tal oversight.

They call it the “Hal­libur­ton Loop­hole” — an exemp­tion for oil and gas com­pa­nies to inject haz­ardous mate­ri­als direct­ly into or near under­ground drink­ing water sup­plies in a process called hydraulic fracturing.

Hydraulic frac­tur­ing, com­mon­ly called “frack­ing,” is used in nat­ur­al gas wells to push flu­id and sand at very high pres­sure into rock for­ma­tions to release gas. Frack­ing flu­id can con­tain chem­i­cals that are haz­ardous and car­cino­genic. Hal­libur­ton, a pio­neer of the tech­nique, says 35,000 wells are fracked each year.

As more acci­dents are report­ed at wells being “fracked” (under­go­ing hydraulic frac­tur­ing), both hous­es of Con­gress are con­sid­er­ing leg­is­la­tion to close the Hal­libur­ton Loop­hole, so nick­named not just because Hal­libur­ton devel­oped the tech­nique but also because for­mer Hal­libur­ton CEO and ex-vice pres­i­dent Dick Cheney urged the cre­ation of the exemp­tion in 2005. More than 160 com­mu­ni­ty and nation­al groups have signed a let­ter of sup­port for the bills in Congress.

We think every­body deserves to have their drink­ing water pro­tect­ed. It’s pret­ty sim­ple,” says Amy Mall, senior pol­i­cy ana­lyst at the Nat­ur­al Resources Defense Coun­cil, who has blogged reg­u­lar­ly about frack­ing acci­dentsCon­tin­ue read­ing.

Some oth­er links of interest:

http://​un​-nat​u​ral​gas​.org/​w​e​b​l​o​g​/​t​a​g​/​h​y​d​r​a​u​l​i​c​-​f​r​a​c​t​u​r​i​ng/

http://frackmountain.wordpress.com/2010/02/04/educate-yourself-7-minutes‑2/

http://​www​.don​nan​.com/​M​a​r​c​e​l​l​u​s​-​G​a​s​_​H​i​c​k​o​r​y​.​htm

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Bottom Dog Press's Appalachian Working-Class Fiction

I should have known about these folks long ago, yeah? Some­where along the line I found out about them and for­got until recent­ly, when Charles Dodd White told me about an anthol­o­gy he'd be edit­ing with Page Seay. More on that at the end of this post. What I found most intrigu­ing was this list of char­ac­ter­is­tics of Appalachi­an work­ing-class fic­tion. Have a look:

Com­piled by Lar­ry Smith, BGSU Fire­lands College/ Bot­tom Dog Press

(With thanks to Edwina Pen­darvis, Lau­ra Bent­ly, Ann Pancake,
Mered­ith Sue Willis and  Phyl­lis Wil­son Moore for suggestions.
We are look­ing at adult fic­tion here. )

Gen­er­al Char­ac­ter­is­tics of Work­ing-Class Writ­ing and Art; not designed to be cri­te­ri­on but characteristics.

1) The writ­ing is based on lived expe­ri­ence and shows char­ac­ters as human per­sons in a lived space, depict­ing their dai­ly life includ­ing their actu­al phys­i­cal work.

2) The writ­ing cre­ates space for peo­ple to speak and rep­re­sent them­selves, includes speech idioms and dialects, curs­es and blessings.

3) The writ­ing is com­mu­nal in nature. The indi­vid­ual "I" is speak­ing for the col­lec­tive "We."

4) Read­ers can rec­og­nize them­selves in the writ­ing; it gives val­i­da­tion to their own sto­ries and culture.

5) The writ­ing gives lan­guage to human suf­fer­ing and grief. Eco­nom­ics forces are rec­og­nized thus giv­ing val­i­da­tion to deep feel­ings often ignored by main­stream art.

6) The writ­ing (art) has agency in the world, is useful.

7) The writ­ing includes forces of social and polit­i­cal his­to­ry and their impact on human relationship.

8) The writ­ing chal­lenges dom­i­nant assump­tions about aes­thet­ics… It breaks rules or con­ven­tions of form in favor of ver­i­ty of experience.

9) The writ­ing builds con­scious­ness of class oppression.…denial of rights, exploita­tive mar­ket­place, etc. and may lead to rebellion.

10) The writ­ing takes sides…"Which Side Are You On?" it asks and then declares.

[Source: Devel­oped in col­lab­o­ra­tion with Janet Zandy and her Hands: Phys­i­cal Labor, Class, and Cul­tur­al Work (Rut­gers Uni­ver­si­ty Press)]

Addi­tion­al Char­ac­ter­is­tics of Appalachi­an Work­ing-Class Writing

1) The writ­ing reveals a deep appre­ci­a­tion of folk habits and cus­toms, fam­i­ly rituals.

Music, alco­hol and food are a major part of the life ritual.

2) Fam­i­ly extends back his­tor­i­cal­ly and in a neigh­bor­ly way to community.

3) Themes of sense of place abound; most are not about ‘escap­ing’ the work­ing-class cul­ture but of going out for edu­ca­tion yet return­ing home to help. “Stay­put­ters,” "ground­ed," not mobile. "This is the sto­ry of a land shaped by the peo­ple, and a peo­ple shaped by the land,"-The Appalachi­ans (film)

4) Eth­no­cen­trism is present in fam­i­lies, towns, coun­ties. Dis­trust comes first till one is revealed as “one of us,” then wel­come is extended.

5) Often reli­gion is strong, emo­tion­al­ly and phys­i­cal­ly intense…fundamental yet often giv­en indi­vid­ual or fam­i­ly interpretation…"Free Willers."

6) The writ­ing reveals peo­ple find­ing ways of “get­ting by,” “mak­ing do,” “Do-it-your­selfers.”

7) Those liv­ing in pover­ty are not clear­ly sep­a­rate from working-class.

8) The writ­ing is marked by an inti­mate sense of community—though respect­ing unique­ness of char­ac­ter, it most often por­trays an inter­de­pen­dence of rela­tion­ships includ­ing home, fam­i­ly, town, work, and the land­scape and nat­ur­al world.

9) Rebel­lion comes when fam­i­ly or land is vio­lat­ed, prop­er­ty rights must be respected.

10) Unions play a major role in the life and writing.

11) In the nar­ra­tive there is a fond­ness for mul­ti­ple points of view, either through many narrators

or the use of sub­nar­ra­tors, typ­i­cal­ly in authen­tic dialect.

I can't find much to argue with, as this apt­ly sums up what kind of work I'd like to see here at FCAC. Check Bot­tom Dog Press out, buy their books, and shout out to Lar­ry Smith for build­ing that incred­i­bly help­ful website.

And as I promised here's the details again on that anthology.

From Hill to Holler: Sto­ries of Con­tem­po­rary Appalachia
From Bot­tom Dog Press Inc.

Huron, OH

http://​smith​docs​.net

From Hill to Holler is an anthol­o­gy about what it is to live and strug­gle in Appalachia today. The short sto­ries includ­ed will be sharp, vivid evo­ca­tions of a place and a cul­ture, fic­tions that chart new ter­ri­to­ries between the moutains, its val­leys and the peo­ple who inhab­it them. We don't want sen­ti­men­tal treat­ments of Grandaddy's rock­ing chair. Think instead of the “mud, the blood and the beer” of the area—realistic, unspar­ing por­tray­als. Both North­ern and South­ern treat­ments of the Appalachi­an theme are encour­aged. Any style is accept­able, as long as it serves the sto­ry and the audi­ence. Send us your top draw­er stories.

Edi­tors: Charles Dodd White and Page Seay

This book will be pub­lished as part of Bot­tom Dog Press's Work­ing Lives Fic­tion Series

Specifics:

Length: between 3,000 and 6,000 words.

Sub­mis­sions are open now. The read­ing will be ongoing.

Dead­line: July 1, 2010.

Email sub­mis­sions only. Send attached .rtf or .doc file to: fromhilltoholler@​hotmail.​com and make sure the word “Sub­mis­sion” is some­where in the sub­ject line.

Pay­ment: $50 and two copies

Reprints are accept­able in some cas­es. Please let us know where it’s been pub­lished and if the pub­li­ca­tion was print or online.

Simul­ta­ne­ous sub­mis­sions are okay as long as we are noti­fied imme­di­ate­ly if your work is accept­ed elsewhere.

No mul­ti­ple sub­mis­sions, please. Pick your best sto­ry and send it forward.

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Ringlets, fiction by Jim Parks

Rosalie's hair is glossy and black, as glossy and black as a raven's wing. It hangs down over her sun-bronzed shoul­ders and back in ringlets she makes with a curl­ing iron.

She reach­es up and back to grasp a sheaf of these ringlets and there is the brisk metal­lic sound of a spring-loaded hair clip snap­ping closed. Her arms and hands briefly form a cir­cle. She fin­gers a bright­ly chromed nip­ple ring, throw­ing back her shoul­ders, smiles into the mir­ror, blows me a kiss.

There are col­or­ful and lady­like tat­toos, ivy wrapped around a tri­dent on her right shoul­der blade, a fish burst­ing from a mul­ti­col­ored dial on the small of her back where a linen robe is pud­dled around her hips where she is perched on the lit­tle van­i­ty stool.

She glances at me in the mir­ror as she wets a fin­ger­tip and smooths the seam in a joint she just lit, hand­ing it to me, then blot­ting her lip­stick with a tis­sue in one motion before she glances in the mir­ror over her shoul­der and smiles at our lover lolling naked on the bed in an evening breeze com­ing in through the screens from the sleep­ing porch.

It's a secret woman to woman glance, a brief smile with no nod from one to anoth­er whose repro­duc­tive and neu­ro­log­i­cal chem­istry is syn­chro­nized through proximity.

Their skin tex­ture is so sim­i­lar one can hard­ly tell the dif­fer­ence with eyes closed in the dark stroking gen­tly and lov­ing­ly along the lines of smooth mus­cu­la­ture and swoop­ing lady sub­cu­ta­neous mys­tery over hips strong enough to birth, fight, flight, bear and kick, climb and run for cover.

I have mas­saged them dai­ly now for a fort­night after yoga and med­i­ta­tion in the morn­ings, eyes closed, smooth­ing in the oil and cocoa but­ter. I know every tick­lish spot and rough­ened area where straps and elas­tic take a hol­i­day in their nudity.

We are togeth­er, Ros­alie, Gwen and I, try­ing to for­get the win­ter and the approach­ing end of spring.

We loaded and cleaned the pis­tols and a shot­gun, gassed up the car and got ready for the run for the harbor.

Tomor­row at dawn we will learn what we wait­ed for.

We smile, feel­ing our puls­es quick­en. We will do it just the way we planned, the boat, the load, the mon­ey, the get­away, as sim­ple as that.

We smile once more. One, anoth­er, amid the Span­ish moss in the old oaks, we smile once more.

Out­laws, out­side the pro­tec­tion of the law, we wait the time.

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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A Milk Jug Birdhouse, poem by Helen Losse

A Milk Jug Birdhouse

My mind rejects
what my eyes can see. A girl—
using a phone book for a boost­er seat—
sits at a table in the yard, beside

an aban­doned clothes dry­er. She’s
carv­ing a bird­house from an emp­ty milk carton.
A suit of armor and a plas­tic pineapple
are under a lon­gleaf pine, where drops of rosin

glue sword to fruit. The fields near­by lie fallow,
and in the dis­tance, as far as I can see. There’s
a sta­tion that used to sell gas, where two roads
make a T. The road that ter­mi­nates is

full of pot­holes. Some­one paint­ed one pothole
the same blue as the uncloud­ed sky here.
And on the roof of a rust-red barn—
just past the fall­en pile of bro­ken yel­low bricks,

the world’s largest CB anten­na, (home­made),
and next to the smashed brown dog-igloo—
Jesus Saves / S & H Green Stamps
is fad­ed but legible.

first pub­lished in Ada­gio Verse Quarterly


Helen Losse is the author of Bet­ter With Friends (Rank Stranger Press, 2009) and two chap­books, Gath­er­ing the Bro­ken Pieces and Paper Snowflakes and the Poet­ry Edi­tor of The Dead Mule School of South­ern Lit­er­a­ture. Her recent poet­ry pub­li­ca­tions and accep­tances include Iodine Poet­ry Review, Main Street Rag, Heavy Bear, Hob­ble Creek Review, The Wild Goose Review, and Blue Fifth Review.  Edu­cat­ed at Mis­souri South­ern State and Wake For­est Uni­ver­si­ties, she lives in Win­ston-Salem, NC.

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