Professional Documents
Culture Documents
Kyle Bawot
Leah Cohen
Tristanne Davis
Jonathan Feudi
Samuel Kahler
Lizzy Karp
Ian Kelly
Roy Rotheim
Jon Sedor
Slepterkov
Cat Stewart
Michaela Stone
Skip Suva
Keely Thomas-Menter
Cover Art:
Woodcut, (Jon Sedor)
Conceived/Edited by:
Samuel Kahler
Celestial
bodies
hover
in
the
night,
far
away
Flickering
like
bioluminescence
in
a
dark
pool.
No
one
is
moving
faster,
us
or
them,
These
lights,
some
as
small
as
single
flecks
of
gold
dust.
Everything
else
is
coated
in
a
viscid
black
black,
In
the
galactic
gelatin.
One
has
a
feeling
of
being
miniscule,
An
imperceptible
sliver
in
a
sky
Endless
and
undying
as
amaranth,
And
shivering
like
a
swarm
of
ants.
Descent
into
a
thicket
of
clouds,
We
slice
our
way
toward
a
world
that
Pays
attention
to
things
like
gravity.
A
sea
foam
tide,
a
liminal
place.
A
cluster
of
red
breaks
through,
shy
at
first,
Then
expanding
gold
and
orange,
an
amoeba
growing
Outward
into
recognizable
shapes.
There
is
a
point,
before
we
reach
the
ground,
When
the
world
is
a
village
toy
set,
the
kind
perched
On
someone’s
mantel
at
Christmas,
carefully
constructed
And
lit
up.
Clumps
of
white
cotton
stuffing
are
placed
as
randomly
As
possible
around
the
buildings
and
in
the
streets
so
we
know
That
it
is
winter
in
this
miniature
scene.
Portrait, (Michaela Stone)
Bible Lessons is
nestled
between
the
valley
they
make.
Silk—red
silk—red
like
(Leah Cohen) fire.
Rub
faster.
She
can
have
no
power
over
me.
Yea,
though
I
walk
through
the
valley
of
the
shadow
of
death,
I
will
fear
no
evil.
The
heathens
mutter,
grumble,
sweat
to
themselves
as
the
Psalm
23.
bus
makes
its
way
through
the
customary
end‐of‐the‐day
stops.
Poor
girl.
Suffocating
in
sin.
Someone
should
show
her
the
No
good,
the
lot
of
them.
Work
makes
them
miserable.
They
do
way.
Someone
should
teach
her
a
lesson.
Someone
should.
She
is
not
know
what
I
know.
Work
hard
and
become
a
leader;
be
lazy
and
asking
for
trouble.
Begging
for
trouble.
The
scent.
The
skirt.
The
never
succeed.
Proverbs
12:24.
These
people
are
lazy.
They
slump,
silk.
Ask
and
it
will
be
given
to
you;
seek
and
you
will
find;
knock
think
dirty
thoughts,
do
not
fear
God.
They
are
as
stubble
before
and
it
will
be
opened
to
you.
Matthew
7:7.
She
leans
far
forward,
the
wind,
and
as
chaff
that
the
storm
carrieth
away.
Job
21:18.
I
rubs
a
finger
along
the
inside
of
her
shoe
where
it
cuts
into
skin.
place
a
protective
hand
over
my
pant
pocket.
My
work
is
never
Her
golden
hair
falls
in
a
veil
over
her
breasts,
but
I
can
still
see
done.
Always
people
to
be
shown
the
way.
Not
that
they
listen.
them
pressed
against
her
lap.
I
feel
the
splinters
on
the
cross.
Not
that
they
care.
Glutting
themselves
on
drink,
drugs,
No,
no,
no.
Must
not
touch.
Must
be
good.
Can
a
man
take
pornography.
Satan’s
playthings.
No
room
in
their
hearts
for
Him.
fire
in
his
bosom,
and
his
clothes
not
be
burned?
Proverbs
6:27.
He
And
then
the
bus
doors
open,
and
a
woman
climbs
up
the
goeth
after
her
straightway,
as
an
ox
goeth
to
the
slaughter.
bus
steps.
All
I
can
see
is
her
hair.
She
has
the
hair
of
the
Virgin
Proverbs
7:28.
Mary.
Shiny;
sun
hitting
yellow
stained
glass.
Sleek;
smoothed
by
Still,
would
it
be
wrong?
To
follow
her
when
she
gets
off
His
own
hands.
It
is
the
one
good
thing
on
the
bus.
It
gives
me
the
bus?
To
follow
her
home?
To
make
sure
trouble
doesn’t
find
hope.
I
remember
the
light.
I
remember
the
overwhelming
beauty
her?
And
then
to
rub
against
the
fire
silk,
and
to
smooth
her
hair.
of
His
suffering
for
us.
But
then
a
waft
of
sickly
sweet
perfume
But
stop
before,
before
any
screaming,
yes,
stop
before
any
blows
to
me
from
this
woman,
and
I
cannot
believe
I
have
screaming.
It
wouldn’t
be
wrong.
She
needs
this.
It
would
be
compared
this
scantily
clad
strumpet
to
the
Virgin
Mary.
teaching
her
a
lesson.
Teaching
is
a
light,
and
the
corrections
of
She
sways
towards
me,
sits
across
from
me,
spills
her
discipline
are
the
way
to
life.
Proverbs
6:22‐24.
And
someone
perfume
into
me.
“Devil
juice,
Devil
juice,
Devil
juice,”
I
whisper.
should
teach
her
a
lesson.
Someone
should.
She
stiffens,
turns
her
head,
stares
at
me.
Is
the
Devil
here?
I
shove
my
hand
in
my
pocket
and
wrap
it
around
the
wooden
cross
living
in
the
dark
there.
It
is
sturdy
and
hard,
and
I
rub
it
smooth
with
my
thumb
as
I
tighten
my
fist
around
it.
It’s
ok.
It’s
ok.
Shhh,
it’s
ok.
A Kiss
No
God‐fearing
woman
would
wear
the
skirt
clinging
to
her
(Slepterkov)
hips,
begging
to
be
touched,
stroked,
held
against
a
cheek.
Fingers
twitching
now.
Across
from
me,
a
spiked
heel
arcs
through
the
air,
Such
an
odd
thing
to
do,
pressing
the
lips
together
and
closing
the
and
before
one
naked
thigh
slaps
on
top
of
the
other,
I
can
see
what
eyes.
Autopsy
(Samuel Kahler)
Colours
au∙top∙sy
(n.)
(Ian Kelly)
In
the
event
of
the
death
of
a
well‐known
hero,
it
is
often
the
heart
that
is
first
to
catch
static.
The
aorta
becomes,
I
am
composed
of
aureate
memories:
first,
a
drinking
straw,
and
next,
a
periscope,
for
such
people:
Flashes
of
colour
recall
me
of
architecture
(a) Who
expect
to
identify
the
innermost
secrets
of
such
a
popular
figure,
Beneath
an
azure
sky
in
November
(b)
Who
remain
excitedly
stuck
to
an
adhesive
loam
resting
actively
at
the
floor
of
or
some
colder
winter
month
a
violaceous
trench
constructed
from
endless
barriers
of
desperate
compensation,
it
seems,
(c)
For
whom
each
morsel
of
sustenance,
is
a
Glancing
at
leaves
pirouetting
from
a
tree
bitter
reminder
of
mediocrity,
(d)
Who
nurse
gangrened
extremities
with
Graced
by
autumn's
great
bellows,
gauze
and
scalpel,
and
again,
gauze,
until
what
remains
is
a
loose
pile
of
wet
scabs
and
they
transcend
time
in
front
of
me
red
cloth
and
a
masochist’s
reinterpretation
of
M.C.
Escher’s
Drawing
Hands
that
cuts
and
then
i
dream.
through
the
air
and
against
the
current,
(e)
Who
foolishly
wish
to
apply
blasphemous
science
to
figures
of
legend,
to
drag
the
departed
back
to
earth
as
punishment
for
an
orbital
life,
elevated
above
the
rest,
(f)
Who
hope
to
profit
from
these
exploits,
(g)
Who
cannot
resist,
which
is
why
this
ritual
is
aptly,
and
far
too
encouragingly,
named
“autopsy.”
in and around the old house
(Slepterkov)
in
and
around
the
old
house,
the
evening
is
dark
and,
well,
the
porch
is
slanted
and
we
no
longer
understand
each
other—
the
night
is
vacant,
the
stars
are
not
there.
and
this
town
is
too
sleepy,
we
leave
the
milk
out
to
sit
and
thus,
spoiled
milk
sits
on
the
counter
the
trash
has
been
neglected
for
days
and
the
summer
fruit
flies
take
their
rotten
mouths
to
rotten
fruit
and
makes
the
fruit
more
rotten
still
a
bee
does
his
dance
on
the
windowsill
and
leaves
behind
a
trail
of
dead
copper
to
mark
his
place‐‐
that
is
all
inside
and
outside,
in
the
cold,
despairing
night,
the
porch
leans
and
threatens
to
crumble
into
the
silt
and
drown
in
the
dirt
the
night
is
clouded
and
gray
and
brown
and
ruinous,
still,
motionless.
No Title, (Jon Sedor)
and
tomorrow
will
be
stiller
yet.
(continued)
(continued)
And
the
moon
is
crying
far
away
from
her
beloved
ocean
the
waves
once
rocked
next
to
us
as
we
cast
our
empty
wine
bottles
into
the
expanse
of
black
water,
blanketed
by
the
night.
the
swigging
is
over,
not
a
drop
of
grape
venom
left
to
throw
down
our
throats‐‐
and
finally,
the
sea
drops
in
on
the
shore
to
say
to
the
sand:
‘
til
high
tide
I
will
see
you
not,
again
until
high
tide.
Rumbling,
passing
through
Autumn's
fickle
pastures
Silence
from
the
coast
And
silence
from
the
coach
Where
the
man
sits
staring
At
the
miscible
colours
on
fields
Where
atlases
had
subtly
Prodded
and
pinioned
the
landscape
He
is
dead.
And
no
one
remarks
of
him
Concerning
his
pallor
The
train
continues
through
the
valleys
The
man
sleeps
in
billows
of
gold
light
like
grain
A
pale
iridescent
saint
against
the
sun
The
passengers
laugh
and
cheer
as
He
seeps
into
another
winter.
The Marionettes
(Leah Cohen)
Dickon
said
he
learned
to
read
palms
from
gypsies,
and
we
believed
him
because
when
we
didn’t,
he
lost
his
temper
and
turned
as
animal
as
his
da
after
the
Saturday
night
shows.
That’s
Disconnect, (Jonathan Feudi) how
we
came
to
be
standing
in
a
circle
outside
the
music
hall
while
Dickon
read
the
lines
on
my
hand.
“An
‘M,’”
he
said,
showing
my
palm
to
the
four
other
kids.
“That
means
you’ll
get
married.”
“I
will
not!”
I
shouted,
my
cheeks
growing
hot.
The
O’Casey
kids
weren’t
allowed
on
any
account
to
let
“You
will!”
said
Dickon,
pushing
me
towards
the
girls
in
the
anyone
play
with
the
marionettes,
but
after
Dickon
grew
tired
of
circle.
“And
probly
to
Mary
Burney
since
you’re
off
together
so
reading
our
palms,
he
threatened
Daniel
that
if
he
didn’t
let
us
play
bleedin’
much.”
with
them,
he’d
tell
Emily
Keating
that—and
then
he
whispered
I
had
to
keep
my
mouth
shut
because
Mary
was
right
something
into
Daniel’s
ear
that
made
his
eyes
go
all
big.
Sure
behind
me.
If
I
said
I
only
felt
sorry
for
her
because
of
her
lazy
eye,
enough,
Daniel
led
us
down
to
his
da’s
dressing
room
and
opened
she’d
never
teach
me
how
to
eat
and
smoke
underwater
like
her
the
green
leather
trunk
where
the
marionettes
were
kept.
mum
did.
Dickon
grabbed
the
marionette
on
the
top
of
the
pile.
It
“That’s
a
rubbish
way
of
reading
palms,”
said
Daniel
was
Charles
Blondin.
He
practiced
pulling
his
strings
while
we
all
O’Casey.
“We’ve
all
of
us
got
‘M’s.
Look.”
and
he
held
his
palm
out
watched,
making
him
walk
along
the
edges
of
chairs
and
tables
like
to
Dickon.
they
were
tightropes.
Then
he
ran
back
to
the
trunk
and
grabbed
“Nuh
uh,”
said
Dickon,
grabbing
Willy’s
hand
instead.
“Willy
another
marionette.
ent
got
one.
He’ll
end
up
like
his
mum.”
It
was
the
Devil.
He
was
the
newest
marionette
in
Mr.
Willy’s
mum
had
never
married
as
far
as
we
knew.
It
O’Casey’s
act
and
still
smelled
like
paint.
He
had
a
red
cloth
body
might’ve
been
bad
for
business
if
word
had
got
out,
but
she
drew
in
with
cloven
hooves,
goat
horns,
and
a
black
face.
I
couldn’t
see
his
such
a
crowd
with
her
songs
and
stories
from
the
West
Indies,
that
eyes
for
his
bushy
eyebrows,
and
the
big
smile
carved
into
his
no
one
ever
talked
about
it,
and
she’d
died
a
year
ago
without
ever
wooden
face
made
me
go
all
cold
when
Dickon
put
it
next
to
telling
who
Willy’s
da
was.
Most
everyone
knew
Dickon’s
da
had
Blondin’s
sweet,
painted
smile.
fancied
her,
but
Willy’d
come
out
just
as
dark
and
small
as
his
mum
“I
dunna
think
we
should
be
doin’
this,”
said
Emily,
backing
had
been,
so
it
was
impossible
to
tell.
And
it
ended
up
being
towards
the
door,
all
nervous
now.
Daniel’s
family
what
took
Willy
in
last
year,
anyway.
“Blondin’s
goin’
to
make
a
pact
with
the
devil
to
be
the
best
Willy
snatched
his
hand
away
from
Dickon.
“I
have
too
got
tightrope
walker
in
the
world!”
said
Dickon.
“Who’s
goin’
to
be
the
an
‘M,’”
he
said,
his
voice
all
quivery
like,
but
we’d
already
seen
he
Devil?”
hadn’t,
and
he
wouldn’t
show
his
palm
again,
not
even
after
Dickon
Daniel
made
to
grab
the
Devil,
but
Dickon
stopped
him.
threw
three
of
his
marbles
at
him.
“No,”
he
said,
“Willy
should
do
it.
He
and
the
Devil
are
both
as
black
as
sin
itself.”
Most
everyone
knew
Dickon
was
jealous
of
the
O’Caseys
We
shoved
Willy
forward,
and
Dickon
thrust
the
marionette
because
Mr.
O’Casey
did
the
marionette
act.
All
Dickon’s
parents
into
his
hands
and
told
him
where
to
stand.
We
stood
transfixed
as
did
was
dance
and
sing,
and
not
very
well
at
that.
His
da
used
to
he
raised
Blondin
and
made
him
approach
the
Devil,
but
before
he
spin
plates,
but
all
he’d
been
doing
for
the
past
year
was
break
made
Blondin
speak,
he
put
him
down
again.
them.
“This
‘ent
right,”
he
said.
“There
should
be
Hell
smoke.”
He
ran
to
Mr.
O’Casey’s
cigarette
box
sitting
on
the
table
in
the
corner.
It
glinted
all
bright
silver
in
his
hand.
He
pulled
one
cigarette
out
and
stuck
it
in
Willy’s
open
mouth.
He
searched
through
his
pockets,
found
a
match,
and
struck
it,
but
before
he
could
light
the
cigarette,
Emily
let
out
a
shriek.
Somebody
was
opening
the
door.
It
happened
so
quickly.
Dickon
fumbled
and
dropped
the
match
onto
the
Devil,
which
caught
flame
right
as
Mr.
O’Casey
burst
into
the
dressing
room.
Dickon
threw
himself
on
top
of
the
Devil
to
try
to
put
out
the
flame
and
hide
the
marionette,
but
Mr.
O’Casey
pushed
him
aside
with
this
ungodly
roar.
It
was
too
late
for
the
Devil,
though—the
match
had
singed
a
hole
right
through
to
the
stuffing
in
his
chest.
“Run,”
shouted
Dickon,
and
everyone
except
for
Willy—
who
sat
frozen
under
the
grip
of
Mr.
O’Casey,
the
cigarette
shaking
between
his
lips—broke
for
the
door.
We
didn’t
stop
running
until
we
got
to
London
Bridge.
Gasping
for
breath,
Dickon
crumpled
to
the
ground,
and,
dears
God,
started
in
crying!
We
tried
not
to
look
at
the
clean
streaks
the
tears
made
on
his
dirty
cheeks.
Finally
Mary
spoke
up.
“Dickon,
what’s
the
matter?
You
got
away.”
“It
got
me,”
Dickon
sobbed.
“It
got
me.
Right
in
the
heart.”
He
sat
up,
and
we
saw
a
singed
hole
in
the
center
of
his
shirt
showing
an
angry
burn
on
his
chest.
“D’ye
.
.
.
d’ye
think
it
means
anythin’?”
asked
Emily,
crossing
herself
all
superstitious
now.
We
stared
down
at
Dickon,
mouths
open.
He
looked
from
one
face
to
the
next,
waiting
for
Private Stock, ( Samuel Kahler )
someone
to
say
something,
then
his
eyes
got
all
stony,
and
he
pushed
his
way
through
us.
“No,”
he
said,
heading
towards
his
place.
“No,
it
don’t
mean
nothin’,”
and
he
crossed
his
arms
over
his
chest
to
hide
the
burn,
[the quietest animals… make the biggest noises.]
but
it
was
too
late—we’d
already
seen
it.