Brother With Ruger 10.22

I, too, have seen the ancestral photographs,

square grandfathers squatting

against a deer, rifles on their thighs.

The carcass propped up by it’s belly,

a preamble to dinner. Last night,

I dreamed my brother was as glistening

and blond as a wasp. Instinctual.

A murmuring scripture for slaughter.

His eyes, a cluster of tiny

bullets, simmering and dull all at once.

He got his first gun at thirteen.

A whisper of metal, melting into the coils

of his limbs. It is a thing I find all too

nimble. Glassy like the threads of a wing

pinched between my thumb and trigger

finger. A nameless, swooping curve of muscle

braced for the crescendo of a bullet.


EMMA CAMP is a seventeen-year-old poet from Birmingham, Alabama. Her work has been featured in or is forthcoming in Moledro Magazine, SugarRascals, Al.com, Rookie, The Blue Marble Review, Alexandria Quarterly, Venus Magazine, Hermeneutic Chaos Journal, and Glass Kite Anthology. Her work has also been honored by Hollins University, Gannon University, The Alabama Writers Forum, and the Jane Lumely Prize.

Interiors

There’s something honest in old walls of pine,

the winding lines, hard knots and shades of gray,

broad streaks of sun-baked orange and dandelion.

I’ve heard some say they wouldn’t change a day,

not one minute of an hour—the walls know better.


LELAND JAMES is the author of four books of poetry and a book on poetry craft. He has published over 200 poems in journals and magazines worldwide including The Lyric, Form Quarterly; Rattle, The South Carolina Review; The Spoon River Poetry Review; New Millennium Writings; HQ The Haiku Quarterly, and The London Magazine. He was the winner of The UK’s Aesthetica Creative Writing Award, The Little Red Tree International Poetry Prize, and the Writer’s Forum short poem contest. He has received honors in many others competitions and was recently nominated for a Push Cart Prize. www.lelandjamespoet.com

Stop Clicking Around

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‘Stop Clicking Around,’ Mixed Media, 2016


 j4 is a collective of four persons, all given names beginning with j, who are compelled to explore transindividual composition

Three Photographs

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‘Drizzle and Mist at Eagle Lake,’ Photography, 2017

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‘Morning Mist at Eagle Lake,’ Photography, 2017

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‘View of Oconaluftee River,’ Photography, 2017


JOHN CHAVERS enjoys working as a writer, artist, photographer, and general creator. Most recently, his writing and artwork have been accepted at The Kurt Vonnegut Memorial Library – So It Goes 2016 Annual Literary Journal, Cream City Review, Blueline Magazine, The William and Mary Review, Camas Magazine, and The Ogham Stone, among others. He has a fascination for the diminutive, works of art on paper, and the desert. This September he will be the artist in residence at Hot Springs National Park in Arkansas. 

Nostalgia

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Photography, 2012

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Photography, 2012


LI DAI is a landscape architect and photographer based in China, USA and Denmark. She is currently pursuing her post-professional degree in landscape architecture at Rhode Island School of Design in Providence, USA. She has always been trying to focus on Asian social and cultural identities through her works. More information can be found on her website – http://lidai.sxl.cn/ 

The Evolution of Wings

Years ago, when we got bored during study hall and Googled “Thayer Stokes,” we discovered his dad was a rich-ass tech entrepreneur with his own Wikipedia page. We all found that to be varying degrees of completely hilarious, since Thayer made the local news in ninth grade for getting high as a kite and crashing Daddy’s BMW into a stoplight. I let him cheat off me in Geometry because his hands were big enough to cleave me in half. When, one night, he slipped Xanax into a girl’s cheap beer, the rumors ricocheted into our collective consciousness and lodged somewhere between our knife-thin ribs. Our entire grade held our breaths, waiting for the cops to show up with handcuffs so shiny and stiff they’d hurt our teeth.

So when Thayer disappeared for days, we thought he’d for sure gotten his ass hauled to the Rosendale Youth Center, a pretty name for juvie. All of us except one agreed. Sammy Holwell, whom we called “dumbass” affectionately, swore that he one-hundred-percent-for-sure saw Thayer turn into a bird. We just laughed at him and figured he must’ve been tripping too hard.

****

 A few weeks after Thayer’s disappearance, Charlotte Beryl’s cluster of church choir friends came in all frantic with dangling tongues and mascara oozing down their cheeks. Their voices dovetailed into one story: they’d been eating lunch on the front lawn when Charlotte’s face twisted in a way faces shouldn’t. She fell to the ground as her hair sizzled into wreaths of rose-gold smoke. Brown mottled feathers julienned her skin into shreds.

The one stupid thing they couldn’t agree upon was the goddamn species. One girl thought sparrow. Another insisted finch. Maybe wren, someone else said.

Afterwards, I couldn’t get this grotesque image of Charlotte out of my head. I kept thinking of feathers unfurling from her eye sockets. Her painted lips puckering and pulling into a beak. A mesh of honey-blonde corkscrew curls, ripping out by the roots. Her French manicure calcifying, claw-like. An eternal scream of horror caught in her throat, languageless.

****

This is what I remember most about Charlotte Beryl: In seventh grade, Charlotte came over because we had to write a report on the Chinese Exclusion Act of 1882 and since I still spoke with misplaced emphases and thickened syllables, nostalgia for home as a slipstream of wine-red silk, she decided I was yellow enough to be her essay partner.

When we finished, we were about half a page too short, so I showed her how to Ctrl+H to replace all of the size-twelve punctuation with size-fourteen. “You are such a supergenius,” she kept repeating, and even though I shrugged my shoulders in modesty, her words made me feel like I was a Pretty Big Deal.

Somehow, I got it in my dumbass head that we were friends after this, so the next Monday lunch, I walked over to her table, a cluster of white girls with matching sparkly barrettes, and summoned up the bravery to ask, “Can I sit here?”

A few of Charlotte’s friends eyed me and giggled. Their laughter jangled and clinked.

Charlotte couldn’t, wouldn’t look at my face; just dipped her fork into ranch dressing and shoved iceberg lettuce into her mouth.

Nobody said anything. I wanted to leave except I couldn’t. Couldn’t do anything except stand there, wishing to puncture and deflate like an abandoned balloon. I felt less real than these girls who had mothers and church on Sundays and last names that teachers could pronounce. I was a silkscreen silhouette with an accent I couldn’t unhook from my teeth.

“Ummm,” Charlotte finally said, which was somehow worse than saying nothing at all.

I laughed with my eyes wide open and said never mind.

****

In Mama’s urn, I store all my Beijing memories. A lightning storm with teeth. Afterwards, the sky wrung itself out, dripped peroxide. The Communist Youth League named me a Youth Pioneer so I wore my honglingjin, red scarf, to school daily. Sticker advertisements enameled over whitewashed apartment walls. Knotty sidewalks, knottier fruit. Mama’s lullabies until her throat ripped out of her voice. In the ocean-belly of summer, the cicadas sang instead, in oscillating chirps. Mosquito kisses. Shards of afternoon light winnowing through Mama’s jade pendant when she died. Later, Baba walked in on me blue and spasming, my honglingjin cradling my neck too tightly.

****

Afterwards, I dreamed of funeral pyres, a heaven I didn’t believe in. Sometimes rosary beads strangled me instead. Even when I was awake, swirling angels and paper corpses drifted past my eyes like mirages. I stopped wearing my honglingjin to school and got kicked out of the Young Pioneer battalion. Whatever–they were smarmy boot-licking motherfuckers, anyways.

In the days before Baba and I left for the United States, I spent hours practicing English, searching for the words to describe a longing for beak-faced boys with zits, or skies that swung open like switchblades, or myths where everything incinerated to bone. Anything to preserve the laws of gravity.

****

After Charlotte Beryl’s metamorphosis, the inevitable exodus swept through and left only  air so quiet it choked on its own silence. Shop owners boarded up their windows and skipped town without retrieving their security deposits. Before they sped off, our neighbors gave me their daughter’s pink Barbie bike, even though I was about a decade too old for such a thing.

Only children and adolescents turned into birds. Half of my history class was gone by spring break. In the early mornings, the sky a milky rose, mothers tiptoed in the lonely streets, desperately searching for the children they’d lost to the skies and the trees.

Finally, we reached a consensus on the breed: song sparrow.

During gym class, Sammy Holwell collapsed on the basketball court, spine convulsing into a question mark. Someone muttered “fucking dumbass” and usually that’d be a riot, but this time nobody could muster a chuckle.

An entire sixth grade class went on a field trip and never came back. Our schools slowly emptied until they shut down altogether.

I held my breath for years, waiting, always waiting, but never felt bright crackling underneath my skin, never woke up with a mouth filled with feathers. Our town became a suburban conglomerate of guano and fading memories. I couldn’t remember if I wore a fire-embroidered cheongsam on my twelfth birthday. Eventually, I could no longer hum the melodies of Mama’s lullabies, the jasmine-tea songs that made me yearn for places I’d never been and people I’d never met. Even Mandarin bled off my tongue. When I said home in English, I felt the word reverberate on my lips, but it clattered like all hollow things do.

Every so often, I would see a bird soar over a sprawling orchard or plunge through the foaming twilight sky, and I was almost certain it had Thayer Stokes’s stocky body, or Sammy Holwell’s nervous twitch.

I wondered if the sparrows had forgotten their names, their families, their past lives. I wondered if they still remembered how to speak in their first languages, or if those words had been etched away by the incessant chirping and cawing. I wondered if they still searched for home, a light smudged on the endless horizon.


RONA WANG is an eighteen-year-old freshman at the Massachusetts Institute of Technology, studying mathematics with computer science. She has won five Scholastic national medals and was published in The Best Teen Writing of 2016 and 2014. Her writing has also been recognized by the Sierra Nevada Review, the Claremont Review, and the Adroit Prizes. When not writing, she is involved with activism and the art of cat video appreciation. She is originally from Portland, Oregon.

Two Pieces

Artist Statement: “My work reflects my interest in the private/public domains of the home. Using the daily routine as an inspiration, my paintings are intended to be scenes of comfort. While they are familiar scenes, they lack clarity. Using rapid application, drawing, or keeping the board or canvas visible, I want my paintings to represent candidness as well as the idea of fleeting memory. Creating diary-like works on Mylar, I am cataloging the inner thought that goes on behind every day. The home is associated with the feeling of comfort and being safe. I want these paintings to reflect that while targeting themes of anxiety, restlessness, and the anticipation of change.”


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‘Mr. Justin,’ Oil Paint, 2017

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‘Zzzzz,’ Oil Paint, 2017

 


ALISON KRUSE was born in Princeton, New Jersey. Alison Kruse is graduating from Queen’s University with a degree in Fine Art. Her work reflects her interest in the private/public domain of the home. Using the daily routine as an inspiration, her work is intended to be scenes of comfort while still hinting at underpinnings of anxiety, restlessness, and the anticipation of change. Heavily inspired by Nordic art, her style is expressive Impressionism.