Volume 4, Issue 4
MEMORANDUM
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"REFERENCES:
1. continents 2. water; or 3. the flight of birds depending on whether desire now roams insatiably; spills freely from a mouthed vessel; or batters the body like wind. Meanwhile, eternal stacks of un-cataloged shelves. On the floor, books are piled, spines cracked at penciled passages. On the shelves, insect carcasses dessicate in waves of dust.
A fly disturbs the novice raking gravel in that ascetic garden." [READ FULL WORK] |
POETRY (CONTEST WINNER)
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"When the favored horse finally falls,
it suffocates instantly under the weight of its ridiculous white teeth, gross bouffant, and bauble nails, while the gelding next door, four winters starved, keeps darling Death a dust cloud always, one long cough away." [READ FULL WORK] |
TRANSLATOR'S NOTE
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"It is a given in the archaeology of the mind that in the beginning there was an El of Abraham, an El of Isaac and an El of Jacob (See T. Gottlieb and R. Wainess). Indeed there were El’s in all the high places in the Holywood, most significantly in the Holywood Hills where the fabled Holywood Sign once stood and where sacrifices were made, some of them of the human variety (See J. Garland, although controversial), some of them possibly voluntary (See M. Monroe for a good account of this). "
[READ FULL WORK] |
ENDNOTES
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"12 To grasp this absence, we need only consult the failed ambition of killing time. Such a death wish gives but vain hope to the prospect of warding off this absence. Even the so-called “couch potato,” allegedly stabilized before the television, yields a gap that inspires the consumption of another empty substance: popcorn.
5 For Joyce’s Stephen Dedalus, history is a nightmare from which he is trying to awake. For Henri Bergson, the leftover of what memory cannot grasp is its burden. 16 Fantasy presents the very condition of possibility for the factual. 14 Further examples abound: The listener snaps her fingers to the pulse of the music, while choreography grafts movement onto the time of music. In the so-called “mirror stage” of psychoanalytic lore, the mirroring image that launches the human subject synchronizes the mimicry of the reflective doppelgänger and the ongoing drive to overcome its difference. The horological impulse is less chronometric than imagistic: In function, the clock first and foremost presents a motion picture of the diurnal passage. In prosody, rhyme and meter fold back on themselves the linear flow of words in order to synchronize language with itself." [READ FULL WORK] |
POETRY
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"A wounded lion.
A wounded lion who seems . . . Seems to have ingested a lamb. Ah, your imagination, of course. Yes, regard the mourning eyes. The part-lion-part -lamb lines." [READ FULL WORK] |
Customized illustrations for all published pieces are provided by Evgenia Barsheva.