“Les fauves” – Jenna Jarvis

matisse_girls2

 

in 2014 sally hansen replaced its beloved pacific blue with a shimmery doppelgänger
of the original to the consternation of nail polish fans on instagram and makeupalley

that year a girl said jewel tones
couldn’t be smoky like
queer uniform wasn’t an oxymoron

a devoted winter i wore cobalt
wondered why women trusted
beauty guides insisting

via goethe that most people
of colour are winters but transitional
seasons get fucked anyway

now i’m supposed to choose a name
in chinese like it’s middle school
whether in language class

or on a forum roleplay
remember habbo hotel giggling
a room of 13-year-olds pretending

they’re just one & a little older
a dyadic encounter

when cyber meant tweens’
incumbent nomenclature

in 2004 burger king launched subservientchicken.com an early viral marketing campaign
featuring text commands hyperlinking to clips of a person in garters and a chicken suit

obviously we typed in sex
got a wagging finger not thrills
later summer basement laughter

stifled unlike the spread
thigh under that first skirt
black & baby-goth despite august

truth is the only
frying we did was vocal

 

these words by Jenna Jarvis were inspired by the work of Miza Coplin

“Checkmate” – Manahil Bandukwala

centaurette

You enter a room with a checkered floor, a chessboard sprawling outwards. Your side is just you; on the other is a jester, a devil and a centaurette with a gun. You have no weapons. You don’t know the rules. The game is stacked against you before it begins.

White starts. The jester advances forward five spaces.

Black’s turn. You feel behind you for the doorway you entered through, but it’s not there. The only way to move is forward. You brace yourself to run, and smack against air. Staggering back, you find yourself a space ahead of where you were. Only one square at a time for you. A bruise starts to form on your cheek.

White. The devil moves to stand on your left side, brushing your leg with its pointed tail.

Black. You take a step forward and the devil moves with you but doesn’t touch you. There is a window across the room, your only way out. You count the number of steps to the mountains outside. Three. If you survive even one more step forward, it’ll be a miracle.

White. The centaurette cocks her gun and shoots. The bullet flies between your legs and goes cleanly through the wall behind. She gallops forward and stops two squares in front of you, right in front of the window. Her smile teases you to come forward and take her crown; she knows all the rules to the game and you’ve only figured out one.

Black. You stick to your plan. One square forward—the devil moves too. The jester dances around outside confines of boxes.

White. Nothing. They’re waiting.

Black. The window is almost there, but the centaurette sits spread across the tiles.

White. A shadow belonging to no one flits across the wall. Everyone jumps in surprise, including the centaurette. The square in front of you is empty.

Black. You leap forward and jump out the window, falling past storeys until you hit the ground. Glass rains over you, cutting into your skin. You hear a faraway giggle echo through the trees. You are a lump of flesh lying in a bush on a riverbank. The river snakes through the landscape, washing your blood away.

 

these words by Manahil Bandukwala were inspired by the work of Miza Coplin

“I’ve got to make it show” – Jeff Blackman

Holy_Hell_WebV

The place we were reared in was a safe place
but we spoke hard words. We ached for war.
As for me: I was baser than that—I claimed a cause.
A teen brushing their mouth
of consensus, awe and doubt.

We place demands in our prayers
as if we place ourselves in G-d’s path.

Off rhyme of my joy and FML.
An off rhyme—that’s all.

Our rubbish mounts within a big frame
we colour key to pride and shame.
We fasten to the architecture
like a file that’s been saved.
We’re sure that we’re saved.

Our heaven may be a small heaven
but come now—the gate’s ajar.

In time you forget you’re faking it.
Resign. Be calm.

 

Miza Coplin‘s Holy Hell inspired Jeff Blackman‘s rough parody of Randy Newman’s adaptation of Peter Gabriel’s “Big Time”

“storytelling” – jesslyn delia smith

nicolas sanchez-Displace_JPG

i could not see it
before needing a mother,

again,

someone to reframe
a past

no one else
will remember —

there will be days where
you fear your reflection

in that aisle
where they keep frozen food

a parade
will pass
by

they will
all have his face

you will learn how to fold
your body in half

like a woman

let everything
roll down the strands
of your hair

your legs will not hold you
but you will

not need
them by then

these words by jesslyn delia smith were inspired by the work of Nicolas V. Sanchez

“Sammie, Cindy, Hen” – Natalie Morrill

EB_NEHERA_0621

You said you couldn’t remember the time we almost ran away. Do you really not remember? It’s funny how I assume you must. You were about six, I think, and Hen made me think we were going to do it. It was while we still all shared a room. Do you remember that?

There wasn’t much to run away from, you’ll probably say. Our bedroom was pink and musty. We had a dresser drawer full of magazine clippings, mainly boy band members, and also some prayer cards with the pope’s face that one of us had probably stuffed in there while cleaning up. Hen had the wide bunk under mine, and I could slip down the ladder at night and lie spooned with her there if I didn’t wake her. Sometimes I’d find you with her already. I wonder if you remember that.

Your hair was very red back then. I was jealous of you for it and mean about it. You and I were the young ones, to my chagrin, but we pretended a lot together. Whenever Hen pretended with us, the game would become wonderful.

“We are in Arabia,” she told us once, as we made our slow ascent of the staircase, which was a sand dune that day. “We’re riding dromedaries.” I thought it was an animal she’d made up. I imagined something like a Chinese dragon. When my dromedary started to fly Hen said only, “He hasn’t had a drink in days, remember. Don’t let him wear himself out.” So I had him land and plod obediently behind her. It took us three hours to get up that dune.

You were sometimes a little behind in the games. I know we’d take that out on you. You wanted to know the rules but the rules kept changing. Sometimes I changed them on purpose to make you feel small. Sometimes Hen got sick of our smallness and left the game without warning, leaving me bewildered. I’d be cruel to you then, I think.

But I thought I always knew when she was pretending.

• • •

What happened was one afternoon I found her curled in her bed with her face to the wall. I lay down beside her and pressed a hand into her back. She sniffed hard and I understood she’d been crying. It all seemed very real.

She rolled toward me. Her face was very close, her eyes red. She said, “Cindy, we have to run away.”

Now that I write it I realize it was not so simple as I figured afterwards. Then I felt only that I’d failed to understand what was real and what was pretend. It made me feel stupid and little. But I wonder about it now. I think perhaps Mum and Dad had started fighting. Or there may have been something else. I always wondered if there were something else. Maybe you know.

She said, “We have to run away,” and my mouth went dry. I stared at her. I wasn’t altogether opposed to running away, as long as we were running toward something nice, but the seriousness of her face frightened me.

“Where?” I asked.

I don’t think it was the question she’d expected. It’s not the question I’d ask if I could go back and be eight years old again. She swallowed and looked at the ceiling for a minute.

“To the woods,” she said.

This made me feel a bit better. I loved the woods. I liked to imagine living there. The woods were just a block away and we’d built some forts in the bushes already.

I said, “Okay. Tonight?”

“Yes.” She took my hands. “Tonight. Don’t tell anyone.”

“Not even Sammie?”

“We’ll tell Sam. We’ll bring her too. But you can’t tell Mum and Dad. None of your friends.”

I wouldn’t, I promised her. But I was a bit disappointed about bringing you. For a moment it seemed like a wonderful adventure I was going to have with Hen, just the two of us, which was something that never happened anymore.

When I found you I took you to a corner of the den, made you stand right against the wall, and I told you, with hard low words, “We are going to run away.”

I saw you grow frightened, more frightened than I’d been. I thought you might cry and I put a finger under your nose. “Don’t you dare cry, or Hen and I will never speak to you again.”

Everything in me was grim. Everything in you seemed terrified.

“But why?” you asked me.

It was the question I should have asked Hen and I didn’t know the answer. So I said, without thinking, “We’re in serious danger, and everything depends on you being quiet.”

And you were quiet. You watched me all through dinner and hardly ate a thing. Hen stayed up in our room, I think. I don’t remember Mum or Dad saying much at all, but I was stuck in my own head that evening, wondering what would happen next.

Right after we turned the lights off in our bedroom that night, Hen got up and said, “I’ll be in the bathroom.” I watched her disappear, a silhouette cut out of the brightness through our door until it swung shut behind her. I couldn’t remember if this was part of the plan.

“Cindy.” Your voice out of the dark. “What’s happening?”

“Shh.” My heart was thrumming. For reasons I couldn’t guess, I felt sick. I remember thinking faster than I’d ever thought. “We’re supposed to meet her outside.”

“How?”

I said, “We’ll climb out the window.”

It was something I’d often thought about but never done. The trellis reached almost to our window, after all. I got down from my bunk and wrested the sash open.

“You go first, Sammie,” I whispered.

I can’t believe you don’t remember that. I have never felt more outside myself than in that moment. I was pretending as hard as I could, as if believing it fiercely enough could make it real.

Though you were across the room, I could feel somehow your small body tense and shaking in the dark.

“Me?”

“You’re littler. You won’t break the trellis.”

Maybe you forget because it didn’t feel real. For me it didn’t feel real. I was watching a girl tell her sister to climb out the window and wondering what each of them would do.

You came up to the sill beside me. I couldn’t hear you breathing. I put my hand on your back and whispered, “Go, Sammie.”

And you went. Little body out the window like the wind had caught you up in its hands.

I was frozen for a moment, and then I leaned out. “Sam!”

“I’m here,” you said. You were only a voice. “I fell part of the way but I’m okay.”

Which meant, unfathomably, that I had to climb out too. If only that unreal feeling had lasted. Everything was much too real in that moment. But what could I do?

I remember the windowsill rubbing rough against my thighs as I swung my legs out, shaking. The paint must have been flaking off on the outside. I slid down on my stomach, arms stiff as death as I gripped the inside edge of the sill. One of my feet found the trellis and I thought, for a second, that this would be fine. I leaned my weight on it. There came the snap like stepping on a twig in the woods and then I was tumbling through the air.

I landed in a bush. Maybe you’d landed in it first. I remember the moment I realized I was not dead: it was the moment before I realized my ankle was broken.

My screaming brought Mum and Dad out, of course, and Hen. The rest of the night was cars and hospital waiting rooms, delirious cups of hot chocolate sometime around bed at four a.m. In the midst of this, naturally, our parents asked me what had happened, but before I could say anything, Hen told them she’d put us up to it. It was a game, she said. We were pretending to run away. Only she hadn’t realized how seriously her little sisters would take it—she felt sorry, she said, for seeming dishonest. She would be more truthful about our games in the future.

I remember the look on her face when she said it: she was like a medieval penitent, stretched thin by the pull of remorse. So what could I do but believe? I was an idiot; I was a child; I didn’t understand a thing. I fell asleep crying that morning, but only a fraction of it was from the pain in my ankle.

It was very soon after that that Hen convinced Mum and Dad she needed her own room. I don’t think she played with us much afterwards. I’d load you, as my donkey, with a laundry-basket saddle when we climbed the staircase, which was the Grand Canyon, but Hen would be locked in her own little room, doing I don’t know what. And of course not many years after that she left us, suddenly, for good.

• • •

It was kind of you to ask me about this. I’m glad I’ve thought it through and written it down. But I reach this point—and I realize I don’t know if you meant it when you said you couldn’t remember. Write me about it sometime, you said, as we left Mum at the hospital. But you had that look, too—I ought to have learned to notice that look. Did you want me to remember it? Did you want me to tell you my version of things?

I really don’t know anything, Sam. If I could slip down some ladder and cuddle into a warm musty space beside you, and beside our Hen, I suspect there would be less lie in that than anything I could write to you. And I don’t mean that we lie to each other, really. It’s just that the truth is a very hard thing to tell.

 

these words by Natalie Morrill were inspired by the work of Evelyn Bencicova

“pink” – Jenna Jarvis

evelyn bencicova_taste of leaving3

break plans like a scorpio
unto the skin
sagging cling
film by Hasselblad
caught the ersatz moon
landing
like this unboxing
a recession upside:
nothing for plastic
surgeries i envisioned teenaged
stranger yowls shaped brows
awaken faces unlike siamese
cats’ ecstatic sealed ones
cooled with breaths
vacillating
as though eyelids or testicles
in gemini ascendant

these words by Jenna Jarvis were inspired by the work of Evelyn Bencicova

“glass” – jesslyn delia smith

Sylwia Kowalczyk_Chicas_Fox

i can will what
will come
in here

where
i’m some
how better
left
to breathe

what remains
of air,

where the
time stops, where
we’re left to know the

season
only by the light

this room is cold
and i am cold
but it is
mine, the

coldness too,

and though the perfect
light is warm

it’s some
thing better
left
to burn

 

these words by jesslyn delia smith were inspired by the work of Sylwia Kowalczyk

New Poetry by Jeff Blackman: “Client-facing”

blow_13x9

Today called myself an idiot a lot.
It’s fine. I’m fine. They and we’re fine.

When wise, I delete my posts
but generally settle for clever. At work

I’m perpetually perfecting an expression
that affirms I had nothing to add. I joke,

“Whaddya mean end-of-fiscal? My
calendar says it’s March thirty-fourth.”

I colour code what’s to be done.
My white noise play list skips.

“Whaddya mean end-of-fiscal? My
calendar says it’s March thirty-sixth.”

 

these words by Jeff Blackman were inspired by the work of Kelsy Gossett

“View From the 20th Floor,” by Jo-Ann Zhou

widok_1200px

content warning: abusive relationships

When the tiny rays of light were desperately grasping at the sky, when almost all the lights in the city beyond had turned black—that was when he came alive. His wine-stained teeth, the colour of dried blood caked into the crevices, would start to quiver as finally his lips moved at a rapid pace. At last, I would think. At last he is here. Here was the version of the man I liked and knew: interesting, articulate, prone to philosophical rants about metaphysics. He shone so much brighter than the version of himself with clean teeth—the version that only appeared when the sun was up, when the sky was too blue and bright—timid, uncertain, unwilling to express much more than the occasional nod by way of emotion.

I don’t know what drew me to him. Maybe it was because he was smart in ways that I wasn’t, and a few years older, and so completely unlike anyone I had ever met. I might never have met him if we hadn’t lived in the same building. He was funny: witty funny, laugh-out-loud-and-snort-with-laughter funny, but only in private when his teeth were stained from wine as we watched the sunrise from his window on the 20th floor. Sometimes when we were with his friends he was funny, but that was after three pitchers of beer, when the bar floors were sticky. As everyone else’s words began to slur and grow fuzzy, his would grow sharp.

In the daylight, we didn’t talk. He avoided me. He didn’t know how to talk to me without a glass in his hand. I don’t know what the view looked like from the 20th floor under blue skies. He would message me after his first glass in the evening, still not quite the version of himself that he would become a bottle later, but loosened up enough to ask for my presence. I probably should have known then that the bottle wouldn’t just make him funnier and louder and more confident.

I probably should have foreseen that after the first bottle, his hand would start reaching for the stapler, or the lamp, or the phone—knuckles white, hand shaking—as his wine-emboldened voice told me to get out or else. I don’t remember fighting. I just remember feeling utterly bewildered as we went from one moment chatting calmly and looking at the view of the sunrise to another where I was running out the door, wondering if the stapler might make contact with my head once my back was turned.

I’m glad I didn’t stay. We never really talked about why. Sometimes, after it was all over, I found myself back on the 20th floor. I would stand in the doorway with a million unasked questions—but then I would turn around and take the elevator back down to my apartment on the 5th floor. His door remained un–knocked upon and my questions all unanswered. Then I stopped going to the 20th floor entirely.

After I moved out of the building, I would look up to the 20th floor every time I walked past. I would think about how happy I was that I never found out what the view looked like from that window over the city when the sky was blue. A few years later, they built a new, taller building right in front of his window, so I suppose that view is gone. No one else will ever see the way the lights twinkled just so when the sun was coming up, glinting on his teeth stained the colour of dried blood.

these words by Jo-Ann Zhou were inspired by the art of Marcin Wolski

“hotel,” new poetry by jesslyn delia smith

why-it-show-case-03

if i sift with my fingers
through fabrics, not
look away, be
domestic

lift and carry the 
weight of old skin
before it can rise 
from the floorboards

arrive in one piece
and then
stay

grow a garden to nowhere at all

beneath a white flame
with my mother,
her mother,

dig for
reflections
we’ve buried
for years in the sand

what’s left is a body,
skin tethered to bones,

grown but from
nothing
at all:

the

small of
my back
just a space
for your hand
to announce
when it wants to be heard

these words by jesslyn delia smith were inspired by the art of Pasha Bumazhniy