After Jennifer S. Cheng 1: the sea captured in a glass 2: a homophone for having enough for leftovers, a synonym for abundance 3: the fish, who have already forgotten you. It’s not personal 4: where memory fails, there’s still imagining 5: you. Not as an ocean but outside 6: glass and/or acrylic
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* Voltage-gated pathways are depolarizedand pore-forming membrane proteinsallow calcium influx from adjacent solutions. (Cell insides become saturated) Excitation is mossy fiber runningsouthbound head-stems and paired shootsthrough once-relaxed tissue. * You’ve established rules,preventative
What separates us from our lives / is a see-through thing. /
Brenda K. Marshall’s first novel, Mavis, was published in 1996 (Fawcett-Columbine), and
1. at cracked marrow of the double yellow line extraction crane buckles down bare fork prong crookless end of
each morning, spangling the loton sidewalks, at crosswalks, across the new campusas if grackle stanchion, as if
Rylan won’t change the lightbulb in the living room. She won’t sit down to read, watch a movie or play scrabble there, and it’s all because of the heads. She doesn’t say
I didn’t stop to take the snapshot and now I can’t: the gas station’s mansard roof has been peeled off as part of a renovation and gone are the letters, painted over
It’s 1982. She’s a junior in college, an English major, spending the spring academic quarter studying art and literature in England. The cuisine is awful: gloppy meat pies, mushy peas, Marmite, treacly-sweet
Honestly, there was nothing to see — just two women, mother-daughter-friends on a mid-summer day, tangled hands on summerhouse cushions, pinked apple blossoms drifting — I must have been dreaming of the sweet
Cleave With a mother so sweet and easy to please, I had little opportunity to exercise obnoxious contrariness. She would usually say “dikkatli ol” and then let me go my American way.
Scratches in the celluloid / show a frame-rate / his mind shown / in the quick tilt of his head / as he observes a painting / the black-and-white print of his
where you’re –so– worn out ⠀⠀⠀you won’t mind ⠀⠀⠀being wiped out; ⠀⠀⠀hell, you’ll even thank the tsunami for ⠀⠀⠀flicking you off ⠀⠀⠀the face of this ⠀⠀⠀flaming planet far far away ⠀⠀⠀from that
Flow for Mihaly Csikszentmihalyi On learning of your passingI’m shot back in timeto the discovery of your booksand concepts, to teachingmyself how to enter that alteredstate of concentrationwhere creativityspills into spontaneityand
