What Rough Beast | Poem for December 16, 2019

Tyler King
Playing Phantoms in the Vampire Castle

The summer of 2014, tattoo ink dripping blood to hardwood floor,

I step into the ghost of a boy racing chemicals all the way to sunset, and come out the other side screaming

like hell,

all black, car crash, funeral heart beating reverie, strung out valentines on parade, Satan

speeds up on the turnpike, God is a railway car bound full tilt to supernova,

any moment the scales can tip, delicate balance shift, dialectical relationships unwound over radio static elegies,

they started lacing the shit and by March the death became a riot, a language of communion and massacre, we’re out here unlearning existing, violence as a door swinging off its hinges, step over the threshold, into unending longing

moments of silence, calm repose and anticipation, breaking down by numbers,

playing phantoms in the vampire castle, communing with the dead, shamans of infinite space and void, through the sunroof my disintegrating acid eyes observe the fire of heaven, heavenly bodies falling, I remember saying something like, the trajectory has come, we might as well draw futures from the ashes,

I’m getting fucked up off memory, the fragility of experience, it has been one Armageddon after another since we split the atom in our stuttering tongues,

like the gleaming teeth of empires, like the dope sick fever state,

weaponize history, and learn to get higher with less

Tyler King is an emerging writer whose work has appeared in Sonder Midwest. He is a student at Sinclair Community College in Dayton, Ohio, where he lives.

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What Rough Beast | Poem for December 15, 2019

Howie Good
The Death Row Shuffle

He said to me, “I am dying.” I said, “How is that my fault?” but sat down on the bed and held him and rocked him. Somewhere out there the lake was being strangled. I was frightened the fish would die, and that this would instigate the death row shuffle for everyone. The sound of endless wars in far-off places is still buzzing in my head. I stop, I look. The boy and the car are gone. It’s just crying and anger here, and farmers who make less than a dollar a day having an arm or leg blown off.

&

You open your eyes. The walls are covered in scribbled physics equations. You feel in the wrong just being there. Everything happens too fast, as if hurled in irrational anger by the hand of God, though it’s really fluid dynamics. You ask for pen and paper, but are given a slice of bread. I can’t explain it. I would need to Google you to find out.

&

Our 5-year-old daughter, Celeste, was singing to herself. She suddenly stopped and said, “Why do I always fart when I sing?” Then a French farmer while plowing on a hill uncovered a rusted revolver that may be the very one Van Gogh used to shoot himself. I looked at my wife, who was looking back at me. I can’t keep drowning, I can’t. There are little children living without parents in freezing tents in detention camps. The ancient Greek stoics maintain a complicit silence. I just want it to end. Every kind of music is meant to be played loudly.

Howie Good is the author most recently of Stick Figure Opera: 99 100-word Prose Poems (Cajun Mutt Press, 2019). He co-edits the online journals Unbroken and UnLost.

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What Rough Beast | Poem for December 14, 2019

Christine Liwag Dixon
L Does Not Stand for Ling Ling

i walk into first grade with a fistful of pencils,
my name written on each one in my mother’s tiny letters.

“what’s the ‘L’ for?” a cLassmate sneers, gLaring at my middLe initiaL,
“Little eyes?”

i am asked variations of this over the years —
“is the L for Ling Ling/Lucy Liu/Lumpia/Love you Long time/Long duk dong/Lo mein?”

untiL

i refuse to use my middLe initiaL aLtogether,
refuse to Let this right angLe sLingshot racism
at the name i inherited from my mother’s father,
a proud businessman whose name comes from the
tagaLog word “Liwanag” which means “Light” in engLish
but means “heavy” to a fiLipino american girL
whose heritage is a bitter weight upon her tongue
grown thick with american voweLs.

one day

i wiLL make them swaLLow not just the L,
but aLso the I that foLLows It,
defIantLy taLL LIke revoLutIonarIes fIghtIng off
three hundred years of coLonIzatIon;

I wILL make them savor the W,
tWIn peaks once raIsed to BathaLa
forced Into hIdIng but stILL standIng;

I WILL make them choke on the A
thAt ushered In A neW erA of coLonIALIsm,
the AbAkAdA dIspLAcIng the eLegAnt fIgures
We hAve forgotten hoW to WrIte,
Let ALone speAk

our tongues cLenched In our fIsts
LIke weApons in the hAnds of An AduLt
Who hAs LeArned to Love her WhoLe mIddLe nAme,
ALL the Letters,
from the L thAt does not stAnd for LIng LIng
to the G thAt noW GuArds her AGAInst peopLe Who Ask

“LIWAG? WhAt kInd of WeIrd foreIGn nAme Is thAt?”

the L And I And W And A and G rIse together
And fInALLy fInd the strenGth to sAy–

“Go to heLL.”

Christine Liwag Dixon is a multiracial Filipino American writer and musician. She is the author of Barkada Tayo: Essays on Being Filipino-American (Amazon Digital Services, 2016) and From These Islands I Rise. (Independently published, 2018). Her work has appeared in Apocrypha and Abstractions, Foliate Oak, Marias at Sampaguitas, and Plum Tree Tavern.

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What Rough Beast | Poem for December 13, 2019

Diane Elayne Dees
Stockholm Syndrome

White woman, what is wrong with you?
You are Seligman’s dogs, no longer able
to see the obvious exit from a life filled
with constant jolts of oppression,
insult and control. You don’t even notice
oppression, insult and control anymore,
and if you do, you distract yourself
with rationalizations, deadlines, soccer
leagues, and yoga classes. Look around,
white woman: Others who are oppressed,
unable to stand it anymore, fight back.
They demand to be heard, and they demand
change. Look around some more; you’ll see
that even others who look like you fight back.
We are everywhere, running for office,
filing lawsuits, confronting sexist spouses,
bosses and institutions, and refusing to allow
the poison of oppression to be injected
into the cells of our children. When the Scary
Blackberry Kool-Aid is passed to us,
we Just Say No. You, on the other hand,
protect and defend your oppressors
at every turn, buy their products,
and even campaign and vote for them.
White woman, what is wrong with you?

Diane Elayne Dees is the author of I Can’t Recall Exactly When I Died (Clare Songbirds Publishing House, forthcoming), and another chapbook, Coronary Truth (Kelsay Books, forthcoming). Her poems have appeared in The New Verse News, Better Than Starbucks, Amethyst Review, and EcoTheo Review, among other journals, as well as in the anthologies Hurricane Blues: Poems about Katrina and Rita (Southeast Missouri State Univ Press, 2006), edited by Philip C. Kolin and Susan Swartwout; American Society: What Poets See (FutureCycle Press, 2012), edited by David Chorlton and Robert S. King; and A Walk with Nature: Poetic Encounters that Nourish the Soul ( University Professors Press, 2019), edited by Michael Moat, Derrick Sebree, Gina Subia Belton, and Louis Hoffman. Dees also publishes Women Who Serve, a blog that delivers news and commentary on women’s professional tennis throughout the world. Her author blog is Diane Elayne Dees: Poet and Writer-at-Large.

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What Rough Beast | Poem for December 12, 2019

Jared Pearce
Praise Band

I meant to play the guitar
last night, but instead read
the Koran, the verses
making their own song
thrum in me so someplace
that was me and not me
began to sing along,
the bass note of gratitude
and the tricky melody
of treble-clef cheerfulness.

I began to clap and shout,
happy as a tambourine
in the strict staves of commandment,
the fierce signature of covenant.

Jared Pearce is the author of The Annotated Murder of One (Aubade Publishing, 2018). His poems have appeared or are forthcoming in The Coachella Review, Xavier Review, Breadcrumbs, BlazeVOX, and Panoplyzine, among other journals.  Online at jaredpearcepoetry.weebly.com.

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What Rough Beast | Poem for December 11, 2019

Lynn McGee
Crush, 1

I think I would like you sleepy, staggering
into the kitchen, putting the Keurig pod into
the press and pulling down the handle to puncture
its plastic top. I am agitated because of you, fitful
in the workplace, careful to hydrate, both topically
and with bottles of water I toss easily into
the wastebasket a few feet away. There are
a dozen states between us. I play it cool
as the willowy end of a branch lightly scratching
the roof of your car. I sit up in bed cycling through
your photos. My windows are open and a jet
churns through the black sky, cars loud
as ball bearings on the parkway. I contain
myself. I wake in the night and check my phone
for evidence you have passed through. Your
indifference is powerful, like weather. I can’t get
out of its path. I doubt my sensory data. I swerve
around trees. I walk back up the hill.

Lynn McGee is the author of Tracks (Broadstone Books, 2019) and Sober Cooking (Spuyten Duyvil Press, 2016), as well as two  award-winning poetry chapbooks, Heirloom Bulldog (Bright Hill Press, 2015) and Bonanza (Slapering Hol Press, 1996). Here poems have appeared in the American Poetry Review, Southern Poetry Review, Ontario Review, Phoebe, Painted Bride Quarterly, Sun Magazine, and The New Guard, among other journals, as well as in the anthology Stonewall’s Legacy (Local Gems Press, 2019), edited by Rusty Rose and Marc Rosen. With José Pelauz, McGee wrote the children’s book Starting Over in Sunset Park (Tilbury House Publishers, 2020). She serves on the advisory board of the Hudson Valley Writers Center and co-curates the Lunar Walk Poetry Series with Gerry LaFemina and Madeleine Barnes. Online at lynnmcgee.com.

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What Rough Beast | Poem for December 10, 2019

Alana Hayes
Promise

Promise never to touch me
without my permission.
Promise.
Never make a broken promise.
I know a cursed jaw when I see one.
Many a man has unhinged his mouth
in an attempt to devour me.
Unsuccessfully.
I’m not sure if they’ve forgotten
how very human I will taste when they do that,
or simply forgotten how very human
they once were.

Alana Hayes is a graduate of the University of Maryland, Baltimore County,  where she received a BA in English Literature and another in Women and Gender Studies. Most of her poetry revolves around themes of Judaism, feminism, and social justice issues. Her work has appeared in Night Music Journal. Follow her on Instagram @womanasriot.

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What Rough Beast | Poem for December 9, 2019

Mary Ann Honaker
Hometown

If you drive far enough, the four lane
ends abruptly in a bulldozed heap
of fresh turned sod and broken limbs.

Turn right and you can descend
into a coal camp where tight packed
company shacks are mostly

still inhabited, curtains in the window,
plastic chairs on porches, laundry
swaying in the cluttered backyard.

Further still and the blasted peaks
of a strip-mined giant glisten nudely
in the fog-damped air, ghosts

rising in wispy clumps up slopes.
Crammed in a narrow valley
is a town from the fifties:

houses of brick and cut stone so close
you could reach out your window
to knock on your neighbor’s wall.

A red-bricked downtown, some stores
still open, others boarded over,
a single restaurant, a single gas station.

The streets are empty. Someone scoops
the town up in a sheet, lifts the corners,
ready to close it. That’s how tall, how close,

how sharp the mountains are.
Fountain after fountain ripples, gleams
down the walls of the canyon

cut to make a road.
I return home, my face splashed
and awakened by awe, washed clean.

*

My neighbors sit on the shaded porch
again, while a red sunset quietly burns.
The talk today is of a man near my age,

whose son has taken his prized
convertible Mustang. No one knows
if he’ll ever see it again. They’ll take

checks from your mailbox, tools
from your shed. Do you have an alarm?
You should have cameras. How much

are cameras? Last week the kid took
the groceries back to Walmart for cash,
was gone for days. He’s into it bad.

Once Howard was offered a blow job
in the automotive department. Betty’s kid
is on drugs too, and Howard’s stepson.

*

When I was a kid I’d take off
on my bike and ride for miles.
Stop by a roadside store

and buy Pixie Stix and Baby Ruth
bars, Dippin’ Stix and Fireballs.
On weekends we’d picnic in the park,

our only worry a profusion
of fat black ants. Yesterday a woman
was raped by two men on a bike path.

*

I like to walk along the rooftop
of the Gorge, peer down into that cut,
watch the hawks circle the sun.

But they tell me not to go alone.
I’m more afraid here than just outside
of Boston; I double-lock the doors,

don’t sit on the porch after dark.
Every day the landscape dips me
in beauty. What has happened here.

*

Help Wanted signs in every window.
No one can find a worker who’s clean.
At night the crickets tune their guitars,

by day the dial-up buzz of cicadas.
Sometimes I swerve when driving,
stunned silly by the roadside wildflowers.

A matted dog is chained in a driveway.
He barks and barks. No one speaks to him
but to scold him. I want to steal him,

give him a bath, let him lounge
in my bed. A short walk from here,
you can step from the road

onto a beaten path through trees.
There’s fire pits and boxes with blankets
in them, discarded dirty clothes.

Bottles everywhere: cheap wine,
rotgut liquor, diluted and bitter
brands of beer. I try to make a line

in my mind, pile the mountains
and flowers and hawks on one side,
the misery and filth on the other.

Mary Ann Honaker is the author of It Will Happen Like This (YesNo Press, 2015) and Becoming Persephone (Third Lung Press, 2019). Her poems have appeared in 2 Bridges, Drunk Monkeys, Euphony, Juked, Little Patuxent Review, Off the Coast, Van Gogh’s Ear, and elsewhere. Honaker holds an MFA in creative writing from Lesley University. She lives in Beckley, West Virginia.

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What Rough Beast | Poem for December 8, 2019

John Huey
The Divided Sky

The clouds from the West are running fast tonight while
in the East they are static and heavy.

It’s as if the sky itself is divided as is the land of my birth,
now with its parallel universes, filled with strange inhabitants
with fanciful creeds, inside the broken territories of OxyContin,
cheap liquor, toxic wine and cigarettes.

These are of the other land’s, now unknown to me though
some of those places were settled by my ancestors, those old
Huguenots running from Catholicism to a Protestant paradise
now turned dim and ugly by recessive generations.

The people out there seem like disembodied aliens, their
appearance, speech and manner stranger than some
of the tribes I knew out on the Soviet Steppe.
These new barbarians in our lands far more primitive than any
nomad, dangerous, superstitious, easily led.

Dazed sometimes, in the bloom of my 70 years, I awaken to days
unrecognizable, unnegotiable demands pouring out of contorted
mouths, a world with the veneers off, grasping hands dragging out
the most outrageous things from their deep, black-hearted recesses.

From my sickbed I tried to game it, tried to tell the kids that
all was well, that dad and their nation would be better soon.
But I fear, as this winter lies in wait, that I was buying my own
small heap of foolishness, wishing this away.

The sky moved to the deepest violet framing the drawn moon, the
darkest frame, the inner frame before first light, the tightness of a
longed for redemption drawn out of a septic wound that soaked
through our now ruined sheets, through the bed, through the
floorboards, out the door to the streets.

The rot we desired so intently forever in ubiquity.

John Huey is the author of The Moscow Poetry File (Finishing Line Press, 2017). His poems have appeared in Poetry QuarterlyLeannan MagazineSein und WerdenIn Between HangoversBourgeonThe Lost River ReviewRed Wolf JournalPoydras ReviewFlatbush ReviewMemoir Mixtapes, and Perfume River Poetry Review. His work has also appeared in the anthologies Temptation (Lost Tower Publications, 2016), edited by P.J. Reed; Unbelief (Local Gems Press, 2018), edited by Thomas Ragazzi and Marc Rosen; and Addiction & Recovery (Madness Muse Press, 2018), edited by Chani Zwibel. Online at john-huey.com.

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What Rough Beast | Poem for December 7, 2019

Chad Parenteau
Timely Tankas from the Resistance, Reel 6

Lev Parnas Jesus Tanka

Lev Parnas Jesus
has Devin Nunes screaming
I don’t know this man!
Rooster finally quits post
getting tired of this shit.

Kamala Harris Jesus Tanka

Two crucified beside
Kamala Harris Jesus.
One cries You’re a cop!
The other one cries All white!
The hopes we have left! All white!

#ToiletTrump Jesus Tanka

#ToiletTrump Jesus
says ten-to-fifteen flushes.
The first ten are for
each commandment, the last five
are saved for the rosary.
Do this in his memory.

Chad Parenteau is the author of Patron Emeritus (FootHills Publishing, 2013). His work has appeared in Tell-Tale InklingsQueen Mob’s Tea HouseThe Skinny Poetry JournalIbbetson Street, and Wilderness House Literary Review. He serves as associate editor of Oddball Magazine. His second full-length collection, The Collapsed Bookshelf, is forthcoming.

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