dm xlv—Oiseaux d’Histoire—TOMORROW!

Flights of poetic fancy!

Flocks of fiction!

The call of classics …

dm xlv

Oiseaux d’Histoire

~ Story Birds ~

♠ poetry fiction ♣ klassische

from

Mike Alexander – Charles Baudelaire – James Beach – Tom Bradley – Alan Britt – Joe Churchwell – Subhankar Das – J. de Salvo – Kane X. Faucher – KJ Hannah Greenberg – Steven Gulvezan – O. Henry – Adam Hogue – Ritu Monjori Kalita – Robert P. Kaye – William Keens – James Kendley – Gregory Kimball – Guy de Maupassant – Steven McClain – Valery Petrovskiy – Andrew Rahal – Meg Sefton – Sweta Srivastava Vikram – Marc Vincenz – Mercedes Webb-Pullman


Welcome the coloratura species soaring through the ether,

Inhabiting the eaves of your imagination …


dm xlv

Oiseaux d’Histoire

~ Story Birds ~

premieres

Fri 1 Apr

@ http://dansemacabre.art.officelive.com

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James Beaton THE INTERSECTION

THE INTERSECTION

James Beaton

If you saw someone murdered would you be able to tell me what happened?

Never before have I encountered such confusion in a busy city intersection.

Within minutes of an incident of gruesome violence, there was nobody who could definitively tell me what actually happened despite being witness to it. Let me tell you the accounts, to the extent that I can capture the horror.

I was downtown on foot running some errands. It is much easier to navigate walking as opposed to driving. I turned the corner to one of the busiest intersections in the city.

All traffic was stopped and the sidewalk was crowded as people gazed hypnotically into the middle of the intersection. I heard sounds of a couple people crying. There was a black sedan stopped diagonally in the intersection with its door open. Beside the car was a body lying on the ground. Well, from what I could see the body was a dismembered torso. Body parts were spread throughout the intersection. A thick coating of blood covered the pavement around the body. People were crowded around the scene but nobody was near the bloodbath in the middle of the intersection.

Sirens wailed in the background, no emergency vehicles had yet reached the scene—likely the result of the backed-up traffic. However, the presence of medical personnel wouldn’t have mattered. There were no lives to be saved. There was only the collection of arms, legs and a brutalized torso.

I did what many do when they arrive minutes after an accident scene. I asked people what happened. The people’s stories varied so much I still have no sense of what occurred.

The first man with whom I spoke was in his twenties. He possessed the look of an intellectual with his turtleneck and rimless glasses. He offered me this account:

“I heard screaming. The man in the vehicle in the middle of the intersection hurled insults at the woman. He called her “slut” and some other derogatory names I would rather not repeat. The woman stopped and stared at him with a look of pure hatred. I got the sense that she did not know who he was. She walked into the middle of the intersection. The man stepped out of his car.  In his hand he he had a hatchet. I thought he was going to kill her, right in full view of everyone.

“The woman said something to him I couldn’t understand. It was as if she had some sort of power over him. The man began chopping at himself with a tremendous force. He started with his left hand. He got on his knees screaming and crying and hacking at his wrist until his hand was amputated. Then he moved up his arm and took his whole arm off. He removed his pants and with a couple of swings his legs were gone. Finally, only his arm with the hatchet remained. ‘Let me help you with that,’ the woman said. She chopped his arm off. ‘There you go,’ she said and returned to the crowd on the sidewalk. Once on the sidewalk she disappeared. She was just gone.”

A woman overheard the man telling me the story and intervened in a rather aggressive manner. She asserted that it wasn’t the way it happened at all. “Were you even here?” she yelled at the man, glaring at him angrily.

She recounted what she saw.

“I was waiting for the light to change. I heard yelling in the intersection which is what caught my attention. A man with a hatchet was pulling at the man from the car. Within seconds the man was on the ground pleading for his life and other man started hacking him apart with the hatchet. ‘Please let me go,’ the man cried. He flailed violently and the man relentlessly chopped at his limbs. With each hit blood sprayed and a body part came loose. He would toss it aside and continue chopping until eventually, well, there was nothing left. The man stopped moving. Both men were completely coated in blood. He lay in the intersection as you see him now and he walked away holding the hatchet. Nobody tried to stop him. Everyone on the sidewalk was frozen.”

Now I might expect some minor variations, especially when people are trying to make sense of witnessing something extremely traumatic. This was no minor variation.

I wasn’t sure what to make of this. The man who told me the first story interjected when the woman finished telling me her account. While they argued what happened, I moved to the other side of the intersection and asked a couple of other people.

The sirens were growing closer. It seemed to be taking them forever or somehow time was altered in the intersection. It could be a possibility given what I heard from the next two people.

The following two stories accounts didn’t involve a man and a woman at all.

I spoke to a young woman, perhaps in her mid twenties.

“I saw the man, the guy who is now dead, stop in the middle of the intersection in his car. I didn’t notice it at the time but there were no other cars which was strange. He stepped outside of the car yelling at someone but I wasn’t certain who.

“Then the strangest thing happened. Everything slowed down like time itself was crawling. It looked like another person came out of his body, as if he split from himself. The second person moved in front of him. Each step appeared as if was in slow motion—like a lifetime passed with each step. Waves of something, perhaps sounds, emerged from the second person’s mouth distorting the air around him. The first man fell to his knees, albeit very slowly. The waves mutilated his face. Then the second person ripped him apart with its hands. Streams of blood hung in the air. The air was misty with blood drops creating a red filter to everything. Once the man was dead, the second person turned to blood and pooled in the street, as if he melted.”

The sirens grew louder. The emergency vehicles were very close.

I asked one more person hoping that one of the three stories would be corroborated.

An older man who spoke like a preacher told me that he saw it all.

“It is the beginning of the end. Good. Evil. The battle has come to Earth. Look at these people, confused, uncertain, afraid. It all happened here. They saw it but they have no idea what it was. It was the ultimate the manifestation of Good and Evil—a sign of what is to come. The man in the car stopped in the middle of the intersection. He flung his car door open, exited the vehicle. Lightning shot from his hands. A man on the sidewalk yelled that the Devil had come. The man on the sidewalk identified himself as a priest and walked out to the man in the intersection. He laid his hand upon the man from the car and screamed, ‘Begone you filthy Beast.’ Then the man from the car started shivering and shaking and blood poured from his skin. The next thing he was on the ground as you see him. Good prevailed!”

The man heaved as he spoke, prophesizing the coming apocalypse and how the forces of good will prevail.

The ambulance and police were in sight, trying to manoeuvre between a bus and a taxi. Nobody ever moved out of each other’s way in this city.

The police were going to be asking people what happened. There were at least a hundred people standing around and I doubted there would be any clear resolution to what happened in this intersection on that sunny day.

I felt something wet land on my hand. Blood.

I left.

James Beaton lives in Toronto, Canada with his two black cats. He is relatively new to the world of fiction writing. He likes to explore the absurd, horror and dark fiction through the themes of psychological tensions, the supernatural and the bizarre. He has a couple of short stories forthcoming and is working on a novel.

Victor Godot POESIA

Exhausted pal

too comfortable down the town
sit rich-witchy
just conferring
to yourself —

your mind is occupied.

Oh, Big-Cheeky-Teardroppy
drama-sized, your medley
might easily break decency
from its tie.

It’s up to yup, just to
pop up in the band
to whistle loud
the news that
this is
Johnny’s known-how.

Yum-Yum & that chicken thing

I’d love to say things
Yum-Yum & that chicken thing
I’d appreciate them on lawn
I respect things I don’t own

Show you up at my funeral, pimp
Priests still busy on their pinching
glasses — how could I know —
I respect things I don’t own.

It’s thai magics and the doom
It’s car-parking on booze
White in shadows as a balloon
Lunar mental on the loom.

Books are piling up, and Death’s
a moron I talk with, ’bout being
in love, and the grunting and
the snorting, ya just pick hats off.

Victor Godot lives in Modena, Italy. He writes poetry in English and Italian and has published a poetry collection
titled
Dramatic Frogs available here.

Anthony Verouhis I TOOK THE LAST EXIT

I TOOK THE LAST EXIT

Anthony Verouhis

Through fog and filthy city puddles I pass
On walks back home that both frighten and put me at ease.

Spiritual deprivation lives in my bed and always welcomes my return.
The comfort of an empty hug gifts me with sleepless nights
and visions of ghosts and madmen that live in the shadows
of the room I call a home.

With this monster next to me I sit in the dark and write letters,
To lovers and friends, to enemies and strangers
And then feed them to the beast with my fingers.
When it finally digests and defecates my words and spiritual absence
I use it for manure from which the most majestic lotuses and orchids blossom.
And as the flowers grow the monster slowly retreats
Yet out of hunger it continues,
My songs and sonnets to eat
And I continue to feed them to him.

My letters lengthen,
My fears shrivel,
The monster shrinks
And my flowers grow and grow in anticipation of a funeral.

Anthony Verouhis: “I am a 32 year old poet and English teacher living in Athens, Greece. I was born and raised in Queens, New York and have recently moved to Athens in order to be closer to family and friends.  I have had three poems published to date in small literary magazines in the States (The Old Red Kimono, Black Book Press, Soon Quarterly).”

Jerome Brooke LAST BULLET

LAST BULLET

Jerome Brooke

Reload, seven more left, six for them,
In the shadows there.
Ivory, ivory was the lure, price our lives,
Calling us here,
Spears and arrows, our compense, horrid land, our flesh their prize,
On this day.
Our courage to be gained, thru our still beating heart,
So they say.

One more bullet gone, as the sun sets, then they will try;
My men all fled.
My fate unknown, on the coast, the ivory trade goes on,
Only one more trader, dead.

Jerome Brooke was born in Evansville, Indiana. He now lives in the Kingdom of Siam. He has written Our Lady of Silk and many other books.

Rod Peckman UPON REALIZING I MAY NOT DESERVE THIS

UPON REALIZING

I MAY NOT

DESERVE THIS

Rod Peckman

The steps of the temple were strewn with flowers
as the great marble hall stood empty, impregnated
by an absence that made one sick in the morning.
In the high rotunda my voice echoed
like the sad voice of the beggar in the square,
who receives nothing now the novelty has worn.
It is persistence inside of grief that I have come
to wash my feet in the fountain, now dry
like a brook in the hottest days of summer.
What can I do but imagine a goddess to rise
and take it away? This shame and sallow
want of shame. There are no devotees
and the flowers, I forgot to mention,
are dried and beyond identification.
A tomb for those who once believed, like I hoped
I might believe. I hoped I might assuage
this tongue in the gut that speaks with a foreign accent.
Are we all born to this? I thought I might be the one.
Lost and feeling like a child after 30 years
to realize I am grown.


Rod Peckman has been published in many online and a few print journals. His favorite poems have apeared in Juked, Barnwood,The Foundling Review, Babel Fruit, Ghoti, The Tonopah Review, and Silenced Press.

satnrose THE SINGER FROM THE STANDPOINT OF THE ORCHESTRA

THE SINGER

FROM THE STANDPOINT

OF THE ORCHESTRA

a troped poem

by satnrose

as for opening area of the singer from the standpoint of the orchestra
where that kind of oxygen is larger than 4 and the soprano chorus is
altogether is strong in ku but the convocation is rare meanwhile three
with the pomp as one piercing when or so simultaneously due to the f-
act that we act separately from us we want well because it is revolution
of fear of necessity in the edge outside as for the conductor of the pro-
phet which the soprano to thrill more the conductor has can there be an
actual thing which is in love simultaneously and has used the audience
there is a conductor whom you think that we want that which is shown
depending upon the auditorium of the hole audience then we who look
at the large auditorium with their storage capacity necessity and infield
4th and are for the presentation the present audience where we are ar-
ranged and but you think that we want the staff maestro between if the
belt attaching efficiency we want the belt attaching wound around the
end being the singer in order to open the amateur the purity which aint
understood and as for the medical surface to which anyone who can re-
ceive audition gives the conductor the song which perhaps does the side
being that as for the hippodrome around the couple the condition which
it has or as for the bassoon you look at the art band as its own song with
someone who is the short piccolo where you march to hundred soprano
saxophones but using the necessary height the baritones are in SYNC as
just the time singer of all will it give with some chorus between the very
ALTO time of the action which whether in many of Sawayama’s portion
is energetically displayed eagerly and transferred first is and the flutes are
another everyone assuming that memory of the best policy where there is
a piano is all excited all conductor all the time but those of us who are not
attached marched to work writing poems on the morn bus to the beautiful
soprano a poem does not do to that soprano justice and that outside of the
carbon the symphony is better to the audience movement of the necessity
which two oxides you can do rather possibility of the mob from the hole
that excessively or really because it is emergency time we need something
everyone being seated the lead from the lead which the reed for the mouth
makes before ardently perhaps in desertion and to sing perchance to dream
so as for his rage will be a function of the will which that it can make high
with the show section track/truck which is produced and opened it inserts
for an encore: with the crowd plural perhaps it raises four range amateur
conductors who are as it were there is a symphony of storing the singing
which leaves the movement the audience whom it is seated is the plural
which is with yell from time to time and with a certain respect to profit
with the conductor of time the empty perhaps possibility is many a not
certain front part with the ring and it is possible tandem tempo if it goes
well, 1st perhaps this master there where the stay which we do is large
and at one o’clock it seems excessively to reach leaving only one clue
almost it is there but can’t say for sure only the feeling of it dies and or
remains and think it is large to the remainder of the door that 3 sees and
2 wants the room of the people who are approved is the box power
of several levels for advancing the ambulance for the second time
success of the opera and the conductor so with some efficiency the
amateurs are led off the stage and the show must go on even though
the concert was wholly dependent upon them for energy and excite-
ment the orchestra will follow the lead of the conductor into hell

satnrose is a well-known antiquarian bookseller, and formerly a not-so-secret messenger in the innermost depths of Capitol Hill and K Street. He has been published in a number of literary magazines, but since his reincarnation as ‘satnrose’ last year, he has been published in EVERGREEN REVIEW, ICONOCLAST, DANSE MACABRE, COUNTEREXAMPLE POETICS, wtf.pwm,  OYSTERS & CHOCOLATE, APPARATUS, GLOOM CUPBOARD, ESCAPE INTO LIFE, MAD SWIRL, METAZEN, THE NOVEMBER 3RD CLUB, STRAY BRANCH, THE CITRON REVIEW, THE COPPERFIELD REVIEW, THE HELL GATE REVIEW, THE BLUE JEW YORKER, MASTODON DENTIST, FULL OF CROW, ROSE & THORN JOURNAL, THE MAYNARD, NEFARIOUS BALLERINA, COUNTERPUNCH, deadpaper, theviewfromhere, MAVERICK, CALLIOPE NERVE, THE BATTERED SUITCASE, etc., etc.

A.J. Huffman A MATCH MADE…

A MATCH MADE…

A.J. Huffman

I saw the shroud.
Shimmering black.
Slinking at my heels.

It moved with me.
Liquid as shadow.
And incredibly patient.

I tried to touch it.
But it was gone.
Moving sideways.
To hover.
Between his feet . . .

I saw my shroud.
Shimmering black.
Swarming behind his eyes.

And when he smiled.
I called him.
Death.

A.J. Huffman is a poet and freelance writer in Daytona Beach, Florida.  She has previously published her work in literary journals, in the U.K. as well as America, such as Avon Literary Intelligencer, Eastern Rainbow, Medicinal Purposes Literary Review, The Intercultural Writer’s Review, Icon, Writer’s Gazette, and The Penwood Review.

Kaylie Hudek BLACK EYE

Part I

Stare into my one black eye,
In its gaze you’ll be transfixed.
Your life will flash before you,
You’ll feel joy and terror mixed.

Revel in the beauty,
The simplicity of blank stares,
And know my eye is watching you
From the line of its crosshairs.

Feel the stillness all around you,
Know that nothing can be done.
And be certain when my eye blinks
That both of us have won.

Let the hair stand on end on your frightened neck,
Let your wide eyes fill up with their tears,
In that black gaze there is no question that you
Are nearing the end of your years.

There’s nothing to do but wait until
You can feel that swift gust of cold air.
Even though I know you are afraid now,
Pretty soon you won’t even care.

See the fire burst forth from the blackness
Of my one deep and knowing black eye.
Let your body be buried in curtains of red,
And know that it’s your turn to die.

Part II
Curl my lips around my one black eye,
Feel it gazing down my throat.
And know that when I taste that fire,
I’ve sung my final note.

Hear my heart beat its rhythm inside my brain
As I watch your blood spread through the room.
Every minute that eye waits expectantly
To see me acquaint myself with my tomb.

Remorse?  I can’t tell if it’s present.
All I know is that I lost your trust.
Let the sorrow wash over my weary mind;
I will soon be mere fragments of dust.

I can’t stand this, I know that you hate me,
But what’s worse is I now hate myself.
My black eye provides me a remedy:
It bears the warm promise of stealth.

I don’t know where I’m going tomorrow,
All I can hope for is all to be black.
I want to numb all the pain that’s inside me,
I want to earn back the trust that I lack.

I prepare to set sail on a journey.
My black eye is my vessel of choice
Say goodbye to this life as I know it,
May my actions engulf my small voice.

Sense the power that flows from my finger,
Know that soon I will feel this no more.
Close my earthly eyes to welcome the darkness,
I get ready to settle the score.

Kaylie Hudek: “I am 22 years old.  I write poetry by imagining myself in situations I may or may not have ever been in before, and I try to add an emotional element to all poems, even those based primarily on sensory detail.  I currently attend St. Cloud State University in Minnesota, and will soon be graduating with a degree in Psychology with a minor in Biology, although I plan on working for a Masters of Fine Arts degree before continuing on to medical school to become a psychiatrist.  One of my favorite pastimes is attending metal shows in the Minneapolis/St. Paul area, because I love the complexity of the music and feeling completely anonymous as those around me beat on one another. “

Wayne Russell LONE CHURCH ON A HILLSIDE

LONE CHURCH ON A HILLSIDE

Wayne Russell

The old wood sided church
bearing Celtic cross aloft,
wind battered;
on lone hillside standing,
for one hundred years
or more.
A sickly pale yellow hue,
paint peeling off
and no one cares,
this “bride of Christ”
seems to have been abandon
long ago.
God must be in a state of lamentation,
peering down upon her
so alone;
weeping gentle in the breeze.
Solemn edge of muddy earth
mere feet from her doorstep
crumbles away,
a bit more each day…
as gravity beckons her down.