Friday, May 23, 2014

Carol Rubenstein, a Poem



POSSESSION


                                    Carol Rubenstein                                                                    

Auctioneer, let the bidding begin!  All this is up for grabs—get some—
as the sweet stuff dizzies and falls gorgeously away.                                                                                                                                                
Bone fragments, splintered bits?  We toothpick them, twice incised,
for dislodging choice morsels and for twirling gums to panting health.

Knuckled knobs of bone ends?  Crack, suck out the sumptuous
marrow lode, next whistle it dry to summon up the double-headed dogs.

This stretch of skin?  Melting lids and lips?  Buyer, what’s to beware?
Crackle-roast it:  Rake.  A savor to the nostrils

rises, a rendering of fat as famished flames leap to lick and catch
each offering.  Sing the high-pitched song of the spitted turning swan.

The Three Ravens ask, with-a-down: “Where shall we our breakfast take?”
Then beak their punctual eyeball prizes.  And refrain goes down-a-down.

Flung, the marbled brains clack broken into shards of silence:  Such  
taken by law as assent.  To any queries as to reasons, answer you none.  

The jewels of vital organs spill lustrous through fingers—slip, soon
festooning the nude bowl of belly.  But wait, there’s an offal lot more—”offal,”

get it?  Ya gotta love it—all let drip within the feathered pubes!  This portrait,
“warts and all”, is matchless, of provenance unthinkable.  See the agent’s

deaf-and-dumb signals to snap up these bargains!  Prick, pop, shrivel, shred,
pouch to ash, sucked under the grate:  Just forget these assets?  Not on your life!

Note the going rate, all items tagged, look you take not one bite less.  Sold
for a song!  Lifetime guarantee.  Nothing known that cannot be possessed!

And repossessed—sold again, a whinny, a cackle!  Buyer, peering closer, reels
at issuing reek.  Now see in the beholder eye such beauty hollowing, pitted.

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Carol Rubenstein is a graduate of Bennington College and Johns Hopkins University, and has been a choreographer and a dancer with the Paul Taylor Dance Company in New York, and a member of the Saint Marks Poetry Series. She has received numerous grants and fellowships including the Ford Foundation, the National Endowment for the Arts, Columbia University and the Saltonstall Foundation. Rubenstein has also had many residencies such as the Virginia Center for the Creative Arts, the Millay, and Ragdale, in the USA, and Karoli in France and Bellagio in Italy. Her poetry has been widely published in journals and anthologies. Books of her poetry have been published by Ohio University Press, Graham Bash, Singapore, Tynron Press, Scotland and Unbound press. The poet currently lives in Ithaca, NY. 

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Thursday, May 8, 2014

Tish Pearlman: "Afterlife"

"In prose both direct and lyrical, Pearlman writes of what is fragile, what can be lost: a mother's hope, childish innocence. Lives. Her poems embrace the personal and the public,  from her own near-death experience to the national tragedies of AIDS and school shootings. She reminds us of what is precious,  what must be cherished. Her poems celebrate 'the lonely, proclaiming heart' and the possibility of joy and love amid the ruins. This newest collection is a treasure."
---- Jeanne Mackin,
Her most recent novel is "The Beautiful American"

From "Afterlife"

Mystery Arrives

No use trying to begin
At some starting point
The universe is on a
Flight pattern
Stars don’t even know
They are in retreat,
Or donning fine fire, burning
Toward oblivion
Nothing began, nothing ended
Arrival was instantaneous. You know this.
You kept your eye everywhere:
Inside where moist organs mouth
Consciousness
And when staring at  life
As it unfolds
We reach out for time, more time
As it evaporates
As we touch its arriving star dust
With empty hands

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Tish Pearlman is a poet, writer, broadcast journalist and community and political activist originally from Manhattan Beach, California. She is creator and host of the award-winning public radio interview show "Out of Bounds," which is produced in Ithaca, New York. In 2008, the program was awarded "Outstanding Public Affairs Program Series" by the New York State Broadcasters Association. She is the 2013-2014 Poet Laureate of Tompkins County, NY.

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"Afterlife"
a 72 page hand-sewn paper book with spine - $16.00.

To read another poem, the introduction, view the cover of the book or to order:
http://foothillspublishing.com/2014/id80.htm

To order through mail send total price plus $2.50 Shipping and Handling 
for each address sent to. 
(NYS Residents please add $.80 Sales Tax per book) 

Send orders to: 
FootHills Publishing 
PO Box 68 
Kanona, NY 14856 

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Sunday, April 27, 2014

Authors Guild v. Google

The Anti-Google Mass Book Digitization Campaign Goes Global
Authors Malcolm Gladwell, J.M. Coetzee, Michael Pollan, Margaret Atwood, Peter Carey Support Lawsuit Against Google’s Theft of Books Through Digitization
New York, NY- Prize-winning authors, international rights organizations, and legal experts Monday joined the Authors Guild in fighting what they call Google’s dangerous and unprecedented violation of copyright law. They filed eight stinging friend-of-the-court briefs in support of the Guild’s appeal in Authors Guild v. Google, agreeing that Judge Denny Chin’s decision in the case should be overturned.

“Google’s ambitions respected no borders,” said Authors Guild president Roxana Robinson. “Millions of copyrighted books by authors from every major country were swept in to Google’s scheme. As the new filings demonstrate, not just authors but also photographers, visual artists, songwriters, and publishers around the world find it particularly galling that a wealthy American company would try to find a way to use their creations for free.”

Authors from Australia, Canada, and South Africa joined one brief, including Margaret Atwood, Thomas Keneally, J.M. Coetzee, Yann Martell, Peter Carey and Michael Frayn. In a separate filing, an array of international rights organizations warned that if this massive expansion of “fair use” is allowed to stand it turns the United States into a rogue nation, in violation of international norms of copyright.

Copyright experts, including Marybeth Peters, Former U.S. Copyright Register, Jon Baumgarten, Former General Counsel, U.S. Copyright Office, and professor Raymond T. Nimmer, filed briefs as well.

American authors Malcolm Gladwell, Michael Pollan, Karen Russell, Ursula K. Le Guin, Ron Larson, Taylor Branch, Tracy Chevalier, Lawrence Hill, Diane McWhorter, Robert Christopherson and Tracy Kidder submitted a brief that highlights how Google has left little room for authors and publishers to develop partnerships and licensing opportunities of their own.

And fifteen U.S. groups, representing textbook authors, songwriters, visual artists, illustrators and photographers, filed briefs of their own. These organizations collectively represent thousands upon thousands of individuals dependent on copyright for their livelihoods. Their conclusion sums up the strong case against Google: “One group cannot simply be allowed to take from creators and give works to the public for free with impunity. This undermines the very purpose of copyright law and ultimately of fair use.”

The Authors Guild first sued Google in 2005, citing “massive copyright infringement” in developing its Google Book Search database. The Guild filed its brief on April 11, 2014 with the U.S. Court of Appeals for the Second Circuit Court in Manhattan.

This message was provided by The Authors Guild, 31 E 32nd St, Fl 7, New York, NY 10016  

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Friday, April 11, 2014

Foozler Runs, a review


In Stephen Poleskie’s literary world, every male protagonist is named John. The former Cornell professor’s latest release, Foozler Runs, is no exception, as it details the late-life crisis of golfer and one-hit wonder rocker, Johnny Foozler.

Told in a style vaguely reminiscent of John Irving, the book opens with Foozler reluctantly and resentfully managing the driving range his dead father bequeathed him. It is readily apparent that the main character is simply not a nice person; he’s snarky in the meanest of ways, condescending, and generally cocky. Nonetheless, as Poleskie starts to introduce us to all the unexpected things that have cropped up in Foozler’s life to bring him to his current state of discontentment, we begin to feel sorry for him. He basically spends his days caring for a golf range he detests, making fun of novice golfers, sleeping with high school flames, avoiding his wife, reminiscing about past drug use and his fleeting fame as a rock star, and hating his life. 
Then, the action skips ahead a few months and we find that Foozler’s wife and mother have both died and he has sold the golf range and decided to leave town for destinations unknown. It seems like a promising start for Foozler’s reinvention of himself. Unfortunately, things don’t quite work out that way. Things get weird pretty quickly—but in a totally enjoyable way.
One thing that may stand out to feminist readers is the sexual objectification of the book’s female characters. Early on, it becomes apparent that the female characters exist primarily to have sex with Johnny. In the first couple chapters I feared that the book would turn into Fifty Shades of Foozler, but fortunately there is more depth to the book than that. Nonetheless, I was curious about the proclivity of the female characters for promptly throwing themselves at the protagonist almost immediately upon meeting him. When I asked him about it, Poleski said that the sexual objectification is not restricted to female characters in the book because the protagonist is, at times, little more than a sex object. He added, “Poor Johnny isn’t much more than a piston himself.” 
Outside of the main character’s active sex life, the book deals with themes of aging and regret. Poleski explained, “The main theme is basically that sons want to destroy their fathers. [Foozler’s] father was a very successful golfer, but he didn’t want to do what his father was doing and the sadness becomes that he fails—kind of—as a rock star and then he ends up at the driving range, and he’s become what his father was.”
While some authors pour themselves into their protagonists, Poleskie said, “I have nothing in common with him, but I do kind of feel sorry for him.” He added, “I do have in common that in my life I too have tried many things that I have been successful at and then abandoned them and gone into something else.”
Although Foozler Runs was released just a year after his previous book, Poleskie says that he actually started the narrative 12 years ago. Then, one day when he was going through boxes in his garage, “I brought out this collection of short stories and I said, ‘Oh my god this story is the beginning of Foozler.’”
Foozler Runs is Poleskie’s sixth novel, although he has also written one novella and countless short stories. His first book, The Balloonist, was published by a traditional publisher, but after that work Poleskie chose to begin self-publishing. He explained, “I published one novel with a publisher and that took me five years to get it out. When you’re 76 you just can’t wait that long. You just kind of run out of time for doing things.”
Now, he self-publishes through a small publishing house that he runs with editor Sidney Grayling, called Onager Editions. One meaning of the word “onager,” he explained, is an ancient catapult used in warfare. It’s from that meaning of the word that the publishing house derived its name, “Because we’re a little kick-ass publisher that knocks down the walls of the establishment.”
Although he doesn’t do much marketing or publicity, Poleskie will be reading at Buffalo Street Books on May 3 as part of the store’s Spring Writes event. •

To order Foozler Runs on Amazon click here.

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Wednesday, March 26, 2014

TOO EARLY FOR SCHOOL

The author and a painting of him and his mother

Stephen Poleskie
a short story

UNTIL HE WAS three years old, John’s mother had dressed him like the daughter she always wanted: long hair in curls, and white outfits with short pants, embroidered collars, and knee socks. But then, when his sister was born and shortly after his father was called up for military duty, John became his mother’s “little man,” wearing tiny versions of grown men’s suits that his mother made for him, and enormous, striped neckties that belonged to his father.

When it came time to enroll in first grade John went off to school by himself. His mother had to stay at home with his baby sister. As there were no school buses in his small town, John waited on the corner until a group of students passed by and followed them the mile or so to the school. John tagged along, carrying his lunch in a brown paper bag, lagging slightly behind the group as they seemed unwilling to let him join them. He had spent most of his first five years in their small, second floor apartment with his mother and sister, playing by himself, rarely going outside. The pages of John’s youth had not been filled with friends.

Waiting anxiously in line to register, John noticed that he was the only child there without a parent; some were even accompanied by both of their parents. When his turn came John stepped up and presented his documents to the lady seated behind the cluttered table. The woman looked down at his papers, frowned, and shook her head.

“You are only five years old, that’s too young,” she announced. “You can’t start first grade until you’re six.”

John was confused—he had not expected to be challenged. He had begged his mother to send him to school a year early, and she had consented. “Yes Ma’am, I know I am only five now, but I will be six before the school year is over,” John said, preparing his young self for the possibility of rejection. Pleading his case, he went on, “and I can already read and write, my mother taught me, and I really want to go to school so I can learn a lot of new things.”

“But you won’t be six until June third, and school ends on June ninth, you have got to be six for at least half of the year. Are you sure you’re supposed to be here? Where is your mother?” The woman behind the desk looked stern and intimidating. Even seated she was almost twice as tall as John was standing.

“She’s at home with my baby sister and can’t come. . . .”

“Then why didn’t you bring your father?”

 “He can’t come because . . . because. . . .”

John was positive that if he told them his father was away in the army serving his country they would let him in school, but his timid attempt to address this woman, who so towered over him, had caused his lips to quickly succumb to confusion. As a consequence, John was sent home from school on his very first day.

Once outside of the massive building John began to cry. Too embarrassed to go home and tell his mother what had happened, he decided to go to his grandmother’s house and spend the rest of the day with her.

John did not reveal to his granny that he had been to school and put out, but said his mother had made him a lunch and sent him over to visit, which she often did. His grandmother lived alone. A coal mine explosion had taken her husband from her six years ago. He had immigrated to America from Poland where he had worked in a shipyard and gone on strike, and not been rehired when the yard opened again.

The little boy passed most of the day talking and playing checkers with his grandmother in the shade of her grape arbor. The vines still bore fruit. The purple clusters hung down with a sweet ripeness, attracting the busyness of bees that swarmed in the warm September sun. Unable to concentrate on the game, John retreated into his thoughts. He was happy here. Why he had wanted so badly to start school after all?

When John saw the other children coming down the hill from school, he said goodbye to his grandmother and headed home.

“How was your first day at school my little man?” his mother asked, kissing John on the forehead as soon as he came in the door. “Didn’t they give you any books?” she asked noticing his empty hands.

“No.”

 “Did you meet any new friends?”

“No.”
                     
“Did you like school?”
                   
“No. It was boring. I already know all I have to know . . . I don’t think I want to go back again tomorrow . . . or ever.”
                   
After that brief display of lies and bravado, John broke down and cried, telling his mother all that had happened. How they told him he was too young to start school, and that he should first go to kindergarten. And how they thought he wasn’t supposed to be there because he didn’t have a mother or father with him, and all the other children had someone. And how he wished his father wasn’t away in the army.
                   
His mother cried because John was crying. She told him that he couldn’t go to kindergarten because this cost money, which she did not have, but she would go back with him tomorrow to the public school, which was free, and try to get him in.
                   
Standing in front of the desk, with the baby she had carried the mile up the hill on her arm, John’s mother begged to have her son enrolled even though he was too young. The principal, a large and kindly woman, was impressed that John could already read and write. His mother had also brought some of his drawings to show, which the principal said were very accomplished. After a short discussion with the first grade teacher, John was allowed in school. A little bird had fallen from its nest, and been picked up and put back.
                     
John’s mother walked down the hill carrying his baby sister, proud and happy for her son. But the damage already had been done. All through the boredom of that first year, which John spent mostly relearning things that he already knew, he would be taunted by his classmates as the little boy who had been sent home on his first day.

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Biography

Stephen Poleskie is a writer and artist. His writing, fiction and nonfiction, has appeared in many journals in the USA and D'Ars, and Spazio Umano, in Italy, Himmelschrieber in Germany, In Other Voices: Merida in Mexico, The Criterion in India, and Imago in Australia. He also has short stories in two anthologies, Being Human, and The Book of Love from W. W. Norton, and been nominated for a Pushcart Prize.  He has published six novels.  His artwork is in the collections of numerous museums including the Metropolitan Museum, and the Museum of Modern Art in New York, and the Victoria and Albert Museum, and the Tate Gallery in London. He has taught, or been a visiting professor at twenty-seven colleges and art schools throughout the world, including: MIT, Rhode Island School of Design, the School of Visual Art in New York and the University of California, Berkeley. He is currently a professor emeritus at Cornell University. He lives in Ithaca, NY with his wife, the novelist, Jeanne Mackin. Web site: www.StephenPoleskie.com/

This story, Too Early for School, appeared in the June 2013 issue of The Criterion, an English language magazine published in India.



Thursday, February 6, 2014

RIP PSH

a poem for Philip Seymour Hoffman

by Mike Foldes

All it gave, it took away.
Look what we have left,
ash of filmdom,
echo of smack,
a name, a face,
another day to think,
look back, and ask
“Could he have done
without it?” Or, “What
could he have done
without it?” All it gave
it took away and look,
look what we have left:
Philip Seymour Hoffman
off the hook.He’s not
the first, won’t be
the last, but fuck it all,
what’s the matter
that he couldn’t play
that out on camera,
instead of in a room --
alone, perhaps -- listening
to an inner voice declare,
“Cut! That’s a wrap.”


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Mike Foldes is the founder and managing editor of Ragazine, an online literary magazine.

editor@ ragazine.cc 
http://ragazine.cc
ragazinecc/Twitter
ragazineccblogging@blogspot.com
Join Mike on MySpace & Facebook
Mike is also the author of Sleeping Dogs, A true story of the Lindbergh baby kidnapping
Download at www.Smashwords.Com and www.Amazon.Com
Purchase the paperback at www.splitoakpress.com

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Like ·  ·

Tuesday, January 28, 2014

An Onager Encore

WHAT FICTION ASKS US TO REMEMBER

By Jeanne Mackin

Think of history as narrative. Think of historical fiction as expanded narrative, history with all the trimmings, with cause and effect, speculation, personalization. Think of expanded narrative as the story teller reaching out to you, saying, ‘pay attention. This is important.” Or as novelist Jeanette Winterson repeats over and over in The Passion, ‘Trust me. I’m telling you a story,’ and then as she relates a Napoleonic narrative of a Venetian woman who walks on water, you do believe her even as you know she is lying through her teeth, because that is what novelists do. But this important: you don’t believe that Venetian women necessarily walk on water (though it would be a convenient skill, considering global warming and the state of Venetian canals) but you do believe Winterson’s message that love changes us, that war changes us and that war is not conducive to happy endings, because that is what her story is really about.

We best believe what we remember, and narrative is about memory: giving memories in the form of stories, receiving memories and adding them to our personal stores. But historical fiction, as memory creation, asks us to do the impossible, to remember experiences we can’t possibly have had, to ‘remember’ the smell of the rosebush growing outside Hester Prynne‘s jail in Hawthorne‘s The Scarlet Letter, to remember crouching in darkness outside the mead hall, the perpetual outsider, as John Gardner’s Grendel does; to remember the sensation of the earthquake that begins the action of Richard Hughes’ A High Wind in Jamaica; to remember the wild vines strangling the decaying plantation in Rhys’ Wide Sargasso Sea. All of those things were before our times; yet having read them, we remember them.

There is a relationship between memory and freedom, asserts Dr. Chris Nunn, author of De La Mettrie’s Ghost: the Story of Decisions. Nunn examines free will and the decision making process and ultimately concludes that “stories…are the mediators of free choice.” He argues that people whose ‘memories are more malleable should, other things being equal, be less prone to conditions like milleniarianism “{belief that the world will end on a given date simply because of the date} and other forms of private or mass delusion. People with flexible memories are less gullible…“thanks to its intimate relationship with the memory process, consciousness can to some extent determine its own future.”

Call me an idealist, but perhaps fiction can prevent us from making even bigger and more dangerous idiots of ourselves than the species already has. Perhaps historical fiction keeps our memories malleable by constantly recreating and adding to those memories; perhaps there is a connection between fiction, memory and freedom. Gardner’s Grendel can be read as an early eco-novel, among other things: “They {man} hacked down trees in widening rings around their central halls and blistered the land with peasant huts and pigpen fences till the forest looked like an old dog dying of mange.”

In Jean Rhys’ post colonial devastation in Wide Sargasso Sea, the destructive misery of failed empire comes home to roost in a suicidal conflagration: “I got up, took the keys and unlocked the door. I was outside holding my candle. Now at last I know why I was brought here and what I have to do. There must have been a draft for the flame flickered and I thought it was out. But I shielded it with my hand and it burned up again to light me along the dark passage.”

Richard Hughes’ incredibly convincing narrative of the connections between entitlement and violence in A High Wind in Jamaica reveals how a lack of self-responsibility so easily leads to murder and how that violence estranges us: “Mr. Thornton made no attempt to answer her questions: he even shrank back, physically from touching his child Emily..Was it Conceivable she as such an idiot as really not to know what it was all about? Could she possibly not know what she had done? He stole a look at her innocent little face, even the tear-stains now gone. What was he to think?”

Murdered pirates, decaying plantations, mead halls, Napoleon’s roasted chickens…artificial memories bestowed by historical fiction, but who’s to say that an artificial memory is less meaningful than mundane ones? De La Mettrie argues that memories become encoded in neurons and have physical properties, so why can’t the memories acquired in a reading of fiction matter as much as the memory of today’s first cup of coffee and who poured it for you? Read, and remember. Is it possible to also understand something from what is given us by the memories in fiction? “The pastis the present, isn’t it? It’s the future,too. We all try to lie out of that but life won’t let us,” Eugene O’Neill tells us in Long Day’s Journey into Night. Perhaps what fiction most asks us to remember is that memory keeps us human, and if we remember enough and remember well, we can add an e to human.

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Jeanne Mackin is the author of several historical novels including The Sweet By and By and The Frenchwoman.  She teaches creative writing in the MFA program at Goddard College.  Her latest novel The Beautiful American is forthcoming in June of 2014. You can read about it on her web site: JeanneMackin.com


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