In a time of deepfakes and alternative facts, we often ask ourselves what is real anymore, how can we trust our own eyes? Chris Campanioni chimes in on our collective existential crisis with his latest book of hybrid works, the Internet is for real in which he proposes, as the title indicates, perhaps the most sure thing in our world is that which is simultaneously everywhere and nowhere. As if cutting and pasting a Pinterest of poetry, memoir, and essays, Campanioni invites us to join him through a pastiche of pop, pulp, and philosophy as he analyzes the internet and its impact on intrapersonal and interpersonal relationships, as well as identity within individual and cultural contexts.
Amy Lemmon’s book of poems, The Miracles, is a meditation on life after loss, and its themes are motherhood, love, and aging. Lemmon writes, “The structure of the book was inspired by Leonard Bernstein’s Prelude, Fugue and Riffs (1949) for solo clarinet and jazz ensemble.”
I sat on the basement floor of the courthouse reading through old death records. Outside the afternoon sun blasted the streets and sidewalks of the small Kentucky town. But down there it was cool and humid. Whitewashed stone walls glistened and streaked with dirty moisture. An air conditioner rattled in the only window, blocking out the sun.
I got the results from the paternity test and an offer for a new job on the same day. The paternity test was positive; I was the father. The new job was cutting meat at Chives, a specialty grocery store in Boulder. On my lunch break I texted my twin sister Maria that I wanted to share two things with her on Skype. I told my coworker, Lance, the news after work at Hank’s, our regular bar.
Another surly October morning on Rathdangan Farm, the name of our rocky little homestead in the foothills of the Sugarloaf Range, and Mother Nature was in a nasty mood. Her swirling wind bossed the sycamore leaves around the farmyard, and wisps of her clammy fog still clung to the steep mountain peak in the distance. My mother—we called her Mammy— was a whirlwind of work, as usual: milking cows, feeding calves and pigs, washing clothes, holding it all together.
My wife and I are into season 3 of Victoria, the Masterpiece Theatre series that seems as long as the queen’s monarchial reign. It’s a slow-moving narrative in which a tea cup is picked up, put down. Then, for dramatic tension, the camera pans to a terrier that, on cue, lifts a hind leg to squirt on the carpet—a barbarous display in the palace household.
Winnie’s 350-square foot studio that she called home resembled a submarine, she liked to say to strangers, to offer them a quick image of what it was like to live in small spaces. A submarine was dark and hollow, challenged by gravity. Her apartment was on the top floor of a walk-up tenement building in downtown Manhattan, and got afternoon light. But at night she could squint and conjure the resemblance. Not that she’d ever set foot inside of a submarine.
The image evoked by the title, The Fire Lit & Nearing (Indolent Press, 2018) is both micro (a match flame inching towards your fingers), and macro (a forest fire jumping the fireline). It also summons the spark that lights up when we are about to fall in love. You know you can’t stop it; you know it will damage you; and there’s not a thing you can do about it. Like folks who rebuild on fire-prone land, this is not the first time you have been burnt and won’t be the last. So why? Perhaps it is so we can make art of it.
It is believed that the arrow that caused Ötzi the Iceman to bleed out on a mountain in the Alps had been used to kill two other people, probably by Ötzi himself since there’s murderous evidence on his knife as well, and I’m sure there’s a moral here or a handy metaphor, but what really fascinates me are his 61 tattoos. CT scans have shown he must have suffered physical pain, and the black line tattoos were an early form of acupuncture and meant to treat his ailments, ashes of old fires turned to ink that could draw his pain to the surface of his skin.
Not long ago, I wrote an essay reflecting on the many forms delusions can take that included some snippets from my childhood that I’d more or less suppressed for years. When I shared the essay with some other writers, I knew they would tell me that it was great. That I was great. But they didn’t. Nearly all of them wrote in the margin by the passage about my father, “this isn’t enough, go deeper.” I knew it wasn’t enough, hence the suppressing. But their pointing it out meant I had to do something about it or bury it for good.
We danced as if the booze had made / the hips of me the all of me / and no one had ever told me no. / We danced, the cheesy DJ crying out
Want to Submit Your Work?