Archive

Phillip Lopate describes the shape of Manhattan Island as‘a luxury liner, permanently docked, going nowhere’. This feeling of being tethered to the land, unable to get to sea, was a feature of New York life for much of the twentieth century. New York was an island without a coast. The West Side piers that once welcomed the Lusitania spent most of the twentieth century crumbling or behind barbed wire, while the East Side’s coves and points were cut off from pedestrians by six lanes of the Robert Moses-designed Franklin Delano Roosevelt Drive. It wasn’t much easier to reach the shores of Brooklyn, Queens or the Bronx, either: with a few exceptions, they were largely reserved for municipal or industrial use, and easiest to see from the Staten Island Ferry (en route to the borough with the most beaches). Now, slowly, the city is reclaiming its shoreline, with some spectacular results.

["There was a young man from the Netherlands..."] by Anthony Madrid and Mark Fletcher



Anthony Madrid lives in Chicago. His poems have appeared in Best American Poetry 2013, BODY, Boston Review, Fence, Lana Turner, LIT, and Poetry. His first book is called I AM YOUR SLAVE NOW DO WHAT I SAY (Canarium Books, 2012).

Mark Fletcher is an illustrator and cartoonist. He designed the cover for Anthony Madrid's book I AM YOUR SLAVE NOW DO WHAT I SAY. Mark earned his BFA and BA in Art History from the University of Colorado. He lives and works in Colorado Springs, Colorado. 

Three Poems by Kristin Maffei


Portrait of the Artist as a Headless Dutch Boy

I carried pails of water once, too.
Seawater, up along the shoreline
to dryer sand.  I picked out seaweed and shells.                   
I do not pour my buckets
into troughs     feed cows         plant bulbs,
but I work in my own way.
I thought
I was a tulip once,
but now I think clearer,                       and I understand you,
small porcelain figure.
We are the same in our way.
White, bloated skin, you are cold and drowned.
Washing up you wanted                     some new life in a cabinet.
Painted smooth,                                  someone thought of art,
stability,          sent you on your way.
Your work is done. Now rest.


 Family-Portrait as Ellis Island Ferry

Call it demolition by neglect.
Call it how cruel can you be when you’re gone
if you’ve gambled that your wife will die
before you or that she won’t but
you won’t be able to care when you’re gone.
Call it my grandmother vomiting
into her bowl, two meals ruined:
the ship over before they flipped
her two eyelids over with buttonhook.
Call it the way my grandfather lost his boat:
low-tide went out and slipped
the bow under a dock. Crushed sails.
Rowing out to the middle of the early morning lake
steam rising off our wake, we stare straight
down in the brown glass-water, strain to see
the Dewdrop, old hotel ferry in our old hotel town,
call it what it is: sunken.


 Portrait of the Artist’s Father as Dentures & Toothbrush

You can get anything you want in Manhattan,
you raved, coming home with your new teeth
just in time for a family vacation to Florida.
Your teeth were like mine – soft, cavity-prone –
when you had them.  Lots of root canals
and bloody floss, but straight and small and white.
When the doctor took them all out, your mouth
swelled up like a drowned, red body. You gagged
until they cut away the back of the false teeth.
Then, you left them around the house tucked
into napkins at dinner or in the car cup-holders.
No one ever wanted to find them.
And when you lost them for good, just before
our trip, you called in sick to work and for $800
you bought a new set, rush delivered, in the city.
And when we came home, and grandma said
she’d found them, under the bed, next to the dog toys,
didn’t we all laugh at the dog wearing your dentures?


Kristin Maffei is a graduate of Sarah Lawrence College and a first-year MFA student at NYU.  She is an Associate Editor at Oxford University Press and co-founder of the collaborative literary ‘zine Call & Response (www.callandresponsezine.com). Kristin's poetry has been featured in qarrtsiluni, The Little Jackie PaperIn Flux, and on a few buses in Oxfordshire. Her nonfiction work has appeared in a variety of newspapers in Putnam County, NY, and she once wrote a book on horses.

Dutch Boy by Bridget Talone


 

Dutch Doors open disjointedly: a dark Cartesian dream. Say hey: the head swings here without the body. While down below, a body beasts beneath the head: wild as the waters, beating its chest. All brawn: bah dum bum dum bum dum.

Open the top door: I want to tell a story: (a bee walks its weeping seams, getting his black gams gummy). In the beginning, to be headed anywhere was to be alive: believing in the here to there: the better to best soft traps along the taffy path.

In the beginning we lived in the city. In the end we died inside a child’s drawing of the water: impaled on the sharp Vs that spelled out our oblivion. I thought I’d shell the story: I thought I’d seek its secrets in the soup: a pilgrim: I would trouble it like a fork.

Treading open water, I tried to yell the story: Helicopters, help me not! The command came down anyway, choppered: Try using I statements. But the trick to Dutch Doors is togetherness: one without the other and you’ll never keep the weather out:

you’ll never batten down. In the end, the only way to quell a story is more story. Truth truth truth truth truth truth: I slapped at it, trying to stay upright. You took my precious head with you— But what does it matter: Disengage: the bottom door is mine.

I’ll be all we swallowed: be figurine and miracle: be pregnant with the dregs. Who lives headless inside the word until: whose feet scrape together: a rusty obsessed song—And Still.


Bridget Talone has an MFA from the Iowa Writers Workshop. She lives in Philadelphia and is an Assistant Editor for Saturnalia Books.