Categories
Issues

Deanna Whitlow


The Graceless Haze

 

When I was young, I used to want to rip my heart out. Whenever Mother would get angry with me, she would say that I had a “graceless heart”¾a rather morbid insult for a young child. On the days she yelled at me, I used to cry so hard I forgot how to breathe and imagined that I could rip my heart out and grow a new one¾a kinder, redder, more graceful one.

My life on the farm was dull. The same soft creaking of the old house and the same old breeze that blew by was familiar in the worst way¾any twinge of nostalgia was riddled with disdain. The skies surrounding the farm were always the same shade of hazy blue. They never shone that brilliant, ocean-like shade of blue¾there was never any depth. It was always covered by a layer of haze as if I were seeing through the lens of an old film camera. I didn’t know any differently at the time, but I somehow felt the brilliance underneath like it was an invisible force whispering my name and promising me “more, more, more.

My mother, Isadora, did everything in her power to make sure that I never craved anything other than that hazy blue that seemed to engulf everything around it. I almost never left the cottage that my great-grandfather had built. He’d left the house and the land surrounding it to my mother when he died. I was only a baby.

To my granddaughter, Isadora, he wrote in his will. It was scrawled in his perfect script that stayed immaculate until the day he died. I leave my house and my farm, so she may never want for anything.

My great-grandfather was an adamant farmer. I always remember seeing a photo of him on the wall in the kitchen where he was sitting on a tractor with a smile. He once owned one of the biggest farms in the state, using his acres of land to raise cattle and grow corn. Under my mother’s watch, the farm had dwindled to a mere half-acre of land, a garden, and the big red barn. I was in charge of caring for the animals in the barn (there was a goat, a pig, a cow, and a bunch of chickens), which I hated to no end. My mother refused to enter into the barn for some reason. Gathering eggs into a wicker basket before the sun comes up was certainly not my idea of fun, to my mother’s surprise. She did everything in her power to keep me from wanting more, which is why I was bound to the tiny oasis she’d created¾isolated from the world and its excess.

“Wanting more leads to sin, Florence,” she’d said one day when she was chastising me for asking to eat something else for breakfast. I was tired of the same old scrambled eggs and plain toast. I was thirteen at the time¾of course it was getting old. “Being unthankful is a sin.” Her voice was starting to get louder and louder, the way a train does when it gets closer to you. “Don’t have a graceless heart!”

But no matter how much she yelled at me or punished me, I was still that graceless girl with a graceless heart who didn’t want to eat those freshly scrambled eggs or sit underneath the hazy blue sky. I always found something to long for.

 

Every morning began the same clichéd way¾with the crow of the rooster. That meant I had about an hour before my mom was expecting a basket full of fresh eggs for breakfast. The sun would have just cracked the horizon, slowly turning from a soft pink to the blue I hated so much. The haze, the goddamn haze. It was relentless, or in my mother’s words, graceless. I always tried to get out of bed quietly, as to not disturb my cat who slept at the end of my bed.

I knew something was wrong when the rooster did not crow at daybreak. Rather, I awoke to the sudden jolt and shock of cold air caused by my mother ripping the quilt off of my body. I instinctively tried to yank the covering back, which certainly did not help my case against my already enraged mother. My eyes were still heavy with restless sleep.

“Florence!” she bellowed, eyebrows deeply lowered.

She looked distressed and sounded even more so. Her voice cracked when she uttered my name, and for a moment, I felt sorry for her. Sorry that despite her best efforts, I wasn’t happy. But that moment of tenderness was as fleeting as the spring, and the ever-present gnawing of disdain and resentment came to the forefront of my mind.

“The rooster didn’t crow,” I muttered, tugging at the sleeve of my gingham nightgown. No matter how angry I got, my default seemed to be timidity. I suppose that’s how my mother taught me.

“Get up, now!” she pursed her already thin lips, so they almost disappeared for a moment. “You have twenty minutes. Then, we will discuss repercussions.” She stomped out of my bedroom like a toddler throwing a tantrum. My cat was staring at me with his round blue eyes, confused by the racket. I pet the top of his head making him purr softly.

“Here’s to another day in the oasis,” I whispered. The words tasted bitter at the back of my throat.

 

I trudged my way out to the barn, tripping a few times over the hem of my nightgown. I hadn’t even bothered to change. It was later in the day, so the sky was already that shade of blue. The sun was warm, but the air was cold; almost unseasonably cold for the early fall. Nevertheless, I walked to the barn with my wicker basket in hand.

When I opened the doors to the barn, a rush of cold air hit me. The temperature was about twenty degrees colder than it was outside. I shivered but proceeded. I knew my mother would be expecting me in the next ten minutes. I started with the cow, pouring some feed into her trough.  I had to milk her later since I was under a time constraint. I fed the goat and the pig the same thing and even stopped for a moment to pet them. The air got colder and colder the deeper into the barn I got, and by the time I reached the chicken coops, my entire body was covered in goosebumps. I scanned the area, searching for the rooster that had caused so much trouble. I didn’t see anything except the strange way all the chickens were huddled to one side, clucking wildly. My hand began to tremble, and I clutched the basket so hard I could feel the pattern of the weaving pressing into my hand. I knew it would leave red indents for a few minutes after I loosened my grip. Something wasn’t the same, and I would know, all I knew was the same. The closer and closer I got, the more evident it became that something¾god, I couldn’t put my finger on it¾was very, very wrong. Still I proceeded, stepping over the bales of hay that kept the chickens in that area, to collect the eggs.

One egg in the basket. A gust of wind blew cold air into my eyes. It made them tear up.

Two eggs in the basket. I heard breathing. I looked at the huddle of chickens. I knew that there was no way that an animal would breathe like that.

Three eggs in the basket. I heard chewing—really loud, ill-mannered chewing.

The fourth egg almost made its way to the basket, but before it could find its home among the others, I saw a figure hunched in the corner shoveling something into its mouth.

I dropped the egg and felt the yolk splatter on my ankle. The figure was human-like; I could see the outline of every vertebrae of the spine on its back. I tried not to make any sudden movements, but my breathing was uncontrollable.

The figure whipped its head around, throwing the long mess of tangled black hair in a rainbow motion. It looked up at me with murky eyes that showed signs of them once being blue. Its skin was so pale that it was almost purple; you could see its blood rushing through its body. The head was huge in comparison to the thin, willowy body that it was attached to. Its neck did not seem suited to uphold so much weight. Everything about its body read like a disproportionate drawing done by a child. The arms were just slightly too long, and the legs were a little too short. I stepped back, unable to break eye contact. The figure rose slowly to its feet as if not to startle me.

“You needn’t be afraid,” the monster said. The voice was a woman’s voice with an endless whisper. “My name is Delilah.” Her teeth were sharpened to a point¾every one of them. There was blood on them still, and I could smell the metallic scent wafting out of her open mouth. “I’m returning from a long journey. I must retain my strength before going home.” She circled me. Although she was walking on two legs, something about her gait made it seem like she was floating—flying. Her white dress was ripped and dirty at the ends, but clean on top.

“I can’t help you.” I turned to try to run away, but Delilah swiftly moved in front of me.

“Graceless girl!” she yelled in her whispery voice. She trailed my neck with a long fingernail. “I could slice you open right now.” She pressed her nail just hard enough to draw blood and let it drip onto her nail. She raised the drop to her lips and licked it off. “And my, my, wouldn’t you be delicious?” She cackled at the fear she saw in my eyes. She lowered her hand onto my shoulder. It was even colder than the temperature inside. I tilted my head down to hide my nose from the smell of blood and rotten flesh that continued to flow out of her mouth. Delilah grasped my face in both of her hands and brought it closer to meet hers. Our noses were touching. That scent was all I could smell. “You must help me. And I will make the world shine for you.”

“Wh¾wha¾ what do you need?” I barely squeezed those few words out. Delilah released my face and stepped back.

“Aha, I knew you would find your heart.” She made a noise that sounded like it was supposed to be a laugh but was more like an exasperated wheeze. “I need to feast. For five days. Every day, I need something fresh,” she grinned, exposing her pointy teeth, “to devour.”

She moved her skeletal hands rather theatrically.

I was momentarily mesmerized by the way her fingernails moved in a delayed wave as she gestured. The trickling of the blood from the cut on my chest snapped me out of it. I wiped it with the sleeve of my flannel, watching the deep red disappear among the pattern of the shirt.

“Well, we have a garden. I can bring you something from there.”

Deliah wheezed again. “No, child.” She moved close again. “I need a life!” All of her words were beginning to drag out more. “And I need blood!” She was so close to my ear that her breath made the side of my face burn. “There is always more.”

“Is there?” My gaze was still down, but Delilah raised my chin with the knuckle of her boney pointer finger.

“Un-bow your head, child.” She paused for a moment and took a breath. “I promise you,” she smiled. I wondered how her pointy teeth didn’t cut her lips. My mother used to tell me that one day I would cut mine on my sharp tongue. “There is more.”

I nodded and told her I would return the next day to give her something new to eat. I picked up a few eggs and put them in the basket as Delilah returned to the carcass.

For a moment, I looked forward to the next day. The hazy blue skies did not seem to haunt me.

 

Back at the house, my mother was stewing at the kitchen table. She cooked the eggs spitefully. I don’t know if it was the scent of the eggs or the thought that in only a few days things would go back to the way they always were that made my empty stomach lurch.

“Shall we pray?” my mother asked, already with her hands clasped together and elbows resting on either side of her plate. The steam from the eggs was fogging up her glasses. “Bow your head.” I dropped my neck but kept my eyes open. “Dear Lord,” she sighed. “Blessed be this meal that we are about to partake in. And let Florence remember what your word says¾‘God opposes the proud but shows favor to the humble.’ Forgive her. Amen.” She opened her eyes while her head was still bowed as if to avoid making any eye contact with me.

She chewed every bite of her breakfast slowly while staring at my plate. I stared back at her. I didn’t touch my breakfast, and she said nothing.

 

The first morning I woke up to silence was intoxicating. There was no rooster ringing in my ear singing the tune of rural prison bells. I pulled myself out of bed before the sun even dared to interrupt the stars. My cat, resting along my feet, looked up drowsily at me, his eyes shining through the darkness.

“Another day in the oasis,” I whispered in his direction as I pulled on one of my many long floral dresses that my mother had sewn by hand. I was doing everything as quietly as possible as not to wake my mother in the room across the hall. The thing is, whenever you’re trying to be quiet, everything seems ten times louder. The click of my boots against the hardwood floors sounded like an entire army and the creak of the front door felt like it echoed forever, but when I got outside, everything went silent. Not the sad kind of silence that made you feel alone, but rather the kind that meant you could fill it with whatever you wanted.

            

Delilah was waiting anxiously in the corner where I had found her. I caught a glimpse of the pile of dry bones next to her before she rushed to greet me.

“What shall I eat today?” She swirled around me once, rubbing her hands together ravenously.

I looked around the barn. It was just about feeding time and all the animals were already awake. Some of them wouldn’t be fed but become food for Delilah.

“You can eat the pig.”

Before I could even finish my sentence, Delilah had already made her way over to him. I looked away just before she impaled him, but not in time to cover my ears from the squeals.

 

The third day went the same.

I climbed out of bed before daybreak and headed to the barn to tend to Delilah. On that day, I let her eat the cow. My mother asked me why I didn’t bring any milk for the day.

“I’m tired of milk, Mother,” I said as I sat down to do my schoolwork. “Can’t you go into town so we can have juice or something?”

She did that thing where she tilts her head down and looks at me over her glasses instead of through them.

“Florence,” she sighed. “I pray that you talk to God and cleanse your heart of this ungrateful spirit of yours. I really do.”

I said nothing after that. And she did not speak to me for the rest of the day.

 

On the fourth day, Delilah finished off our animals when she ate the goat. It made me quite sad. He was a beautiful thing, with his black coat and perfectly spiraled horns, but he looked at me with a resolution that was almost comforting. If I didn’t know any better, I’d say he knew what was coming.

“My child,” Delilah began with a mouth full of goat flesh. I had become less squeamish about watching her eat. “What shall I eat tomorrow? On the final day.”

I looked around. I hadn’t thought of that. The barn was nothing but hay and bones at this point. Panic rose in my chest almost instantaneously.

“I¾I¾” I stuttered, trying to catch my breath that had suddenly run away from me. “I have no idea.” My voice trailed off. “There is nothing else.”

“You’re wrong, child.” She raised her head from the carcass only momentarily. “There is always more. You just have to search for it.”

 

I was distracted all day¾the only thing I could think about was Delilah. Every time I remembered that I needed to feed her on the last day, my heart started to race. Things came to a head when I was sitting at the table doing schoolwork my mother had given me for the day.

“Mother,” I began, glancing up from my schoolwork. I had been staring at the same unsolved math problem for the past ten minutes. “There is something I need to speak with you about.”

Whenever I spoke to her, my voice took on a very formal cadence. It wasn’t a conscious choice. I suppose my subconscious just knew that to ensure survival, I had to protect my mother’s idea of me.

My mother looked up from whatever she was crocheting.

“What is it, Florence?” She sighed with an already disappointed tone. She was getting tired of me, I could tell.

“There is something strange going on in the barn,” I was trying to make it seem as minuscule as possible. “Something very, very strange.”

She looked at me, her beady eyes cutting deep even beneath her thick wire glasses.

“And there is nothing more,” I got choked up on my own words. I could feel the tears welling up. “There is nothing more I can do about it.”

I don’t know what I expected from her, honestly. I knew it would not be sympathy or care or anything of that sort. Perhaps more of this shameful indifference she had recently adopted. Anything, but nothing prepared me for rage. She paused.

“Florence, you are testing my patience!” She slammed her crochet needles on the table so hard it made me jump. “Your thanklessness sickens me! You may not say it with your mouth, but you say it with your actions.”

“Mother, there’s something in that barn!” I yelled.  I’d given up on trying to hold back my tears. They tasted bitter. “And I can’t make it go away!”

“Don’t you raise your voice at me!”

“Mom, please, listen!”

“I will not entertain your NONSENSE!”

I gulped.

“I did not raise you to be this way!”

“Mom, I’m sorry.” I was really crying then. My voice was cracking at every inflection. “I really am. I’m sorry that I can’t ever seem to obey the right way, and that I always seem to want more.”

She crossed her arms over her chest.

“I’m sorry! Please, forgive me! But I need you to listen to me!”

I was groveling at this point. There is truly nothing more shameful than having to beg.

“You make it difficult for me to be graceful,” she stood up and abruptly pushed her chair in. “And for that, I do not forgive you.”

She left me at the table, alone. Crying so hard I had to gasp for air.

 

The fifth morning of waking up without the crow of the rooster was not really waking up¾I hadn’t slept at all. The feeling of silence wasn’t as intoxicating anymore¾it was frightening. I stayed up all night trying to think of something for Delilah’s final day. I had considered going out and killing a squirrel. Or just begging her to eat something from the garden. But I wasn’t up to begging anymore.

I must have gotten too lost in my thoughts. The thing that snapped me out of my panic-induced haze was the sound of my mother opening her bedroom door and trudging her way to the bathroom. I whipped my head around toward the window. Sure enough, there were the early signs of daybreak. My heart instantly started to race. I wasn’t sure whether I was going to cry, vomit, or have a heart attack.

I jumped out of bed and began pacing around my room.

“There is nothing more, there is nothing more,” I repeated over and over again in my head. Or at least I thought it was in my head, but apparently, I was saying it out loud because my mother burst through my door. 

“Florence, what in the world are you doing?”

My cat finally awoke from his sleep when she spoke.

I was so panicked¾nothing she said really registered in my brain¾I was just fixated on my cat. His orange fur and blue eyes and the way he still looked a little drowsy and a little confused. My heart sank to my feet when my brain registered my thoughts.

“Florence! Answer me!” my mother yelled. She was no longer hiding her rage.

I ignored her and made my way to the edge of my bed where my cat was. I snatched him into my arms and brushed past my mother toward the door.

“Florence!” she called after me.

Her voice trailed behind me as I broke into a stumbly run, seemingly unable to move my eyes anywhere but forward. I was headed to the barn barefoot against the cold grass.

 

I burst through the doors of the barn just as the sun was beginning to come up. I didn’t even realize how much I was freezing.

“Did you find anything?” Delilah approached so frantically; she was almost running on all fours.

“I couldn’t find anything. There is nothing more!” my voice was shaky. A few tears fell down my cheeks as I clutched my beloved cat to me. “This is all I have left.”

My cat looked curiously in Delilah’s direction. He was just as mesmerized by her fluid motions as I had been on the first day. She moved her hands slowly to watch the cat’s eyes follow her to the left, to the right, and then back again. Suddenly, she closed her hand and lifted her gaze simultaneously. She was glancing, no, glaring, right over my shoulder.

She smiled as she brought her focus back to me.

“Don’t cry, child.” she cooed, wiping my tears with the rough pads of her fingers. Her long fingernails scraped my cheeks.  “There is always more.”

I shook my head and brought my gaze to the ground. “There’s nothing. I’m sorry.”

She placed the back of her hand under my chin and raised my head.

“Florence, my child,” Delilah breathed. “There is always more.” She looked at me with knowingness in her eyes, as if she was trying to send her thoughts rushing through my brain. “There is always more.”

She motioned behind me with one of her skeletal hands. 

There was my mother standing in front of the open doors. The way the early morning light was hitting her, she looked like a shadowy figure. I could only see her silhouette, yet I could imagine her facial expression: a distant stare with flickers of fear. She didn’t dare to move from her place, not to leave or to escape from Delilah’s beckoning. This was the one and only time I witnessed her speechless.

Delilah placed a hand on my bare shoulder.  It wasn’t as cold as it was the first day¾there was a humanlike warmth that permeated my arm. When my own eyes sparkled with understanding, Delilah brushed past me without hesitation.

More, more, MORE, I thought. It wasn’t a quiet thought this time, instead my mind screamed every syllable.

Delilah floated over to where my mother was and circled her once. The hem of her tattered dress followed a few seconds behind. I wish I could have seen my mother’s face. Would I have detested the fear in her eyes or savored it? I suppose I’m lucky that I didn’t see her face; that I didn’t have to learn of my own cruelty on that day.

Delilah sliced her chest open with a single swift motion. I could hear a slight sputter, but I was surprised not to hear the gush of blood and a loud cry.

I didn’t know that death was so silent.

I saw Delilah’s hand disappear, stretching the cut down my mother’s chest into a chasm. She grasped my mother’s still-beating heart out of its rightful place, the arteries rebounding and spraying drops of blood on my face. I didn’t bother to wipe them away. My mother’s heart beat three more times before it went still.

Th-thump. More.

Th-thump. More.

Th-thump. More.

Stillness. Everything.

A sick smile broke across my face as I relished in the feeling of that soft haze fading from the sky. I knew the brilliance would be revealed to me in only moments more.

________________________

Deanna Whitlow is a fiction undergraduate at Columbia College Chicago. She was a staff writer of the digital publication Affinity Magazine; and she founded SameFaces Collective, an online literary and art magazine where she is both editor and a regular contributor. 

 

Categories
Book Reviews

Lauren A. R. Masterson


Love of the Sea

 

Review by Elijah Abarabanel

Lauren A.R. Masterson’s Love of the Sea is a young adult, fantasy, romance novel about Asrei, the headstrong, exiled crimson-haired mermaid-princess of Sulu, who is determined to retake her kingdom and Cormack, the reluctant crown-prince of Paradine. Cormack possesses a profound love and curiosity for the world beneath the waves, a love and curiosity that his father and temperamental cousin, Peter, worry takes precedence over his princely position. Cormack has turned away every princess that his father has brought before him, but when he finds Asrei washed ashore, he is immediately enchanted. As he falls in love with her, he begins to wonder whether he is more loyal to his kingdom or his heart’s desires.

A blatant rejection of the tropes that Hans Christian Anderson’s The Little Mermaid established, Masterson (a.k.a Little Alice) takes her corresponding characters, Asrei as the little mermaid and Cormack as the prince, and effectively turns them on their heads. No longer is the mermaid a lovesick maiden of the sea; she’s a conniving woman willing to do anything to get what she wants. No longer is the Little Mermaid the one who must consider giving up everything to be with their beloved, this burden now falls upon the prince. The sea-hag is no longer a temptress or a devil to bargain with.

It’s in this aspect of role reversal that Love of the Sea finds success.

The medieval setting is handled well by comparison, perhaps being one of its best features besides its main characters: rich in detail but never excessive. If Masterson introduces history, it always has a reason to exist­­­, other than adding a pointless backdrop. Pieces of folklore that are discussed early in the book will appear sporadically and in ways that are always relevant to the plot at hand. It’s well handled.

Love of the Sea seeks to subvert tropes of fairy-tale romances. For readers who enjoy a nice twist on a classic fairy tale will surely find some joy in this novel.

 

Publisher Info:
Published by Ink Smith Publishing on June 7, 2018
ISBN: 978-1-947578-12-8
261 pages

 

#YoungAdult – #fantasy – #genreFiction – #Romance – #Fiction – #genre – #mermaids – #Fairytales – #LaurenARMasterson – #InksmithPublishing – #tropes – #LoveoftheSea

Complete Book Review archives can be found on Allium, A Journal of Poetry & Prose‘s website.

Categories
Issues

Colson Whitehead

The Nickel Boys

Review by Benjamin Peachey

Pulitzer Prize-winning author Colson Whitehead is an expert on creating stories that exist in and comment on the racist history of America, as seen in his previous works like The Intuitionist and The Underground Railroad. The Nickel Boys is his latest to delve into the evil of racism, and face it head on through its characters. What sets this work apart from his other novels, is the juxtaposition of the brutal and the hopeful. That fight is present from the first sentence, even more so by the novel’s close. 

In the beginning of this novel, we are introduced to Elwood Curtis in segregated Tallahassee. A bright and inquisitive student, he listens to the records of Martin Luther King Jr.’s speeches which were “a vivid chronicle” of the history of racism in America. Elwood becomes a victim of bad circumstances and ends up in the Nickel Academy, an academy for reform, in name but not practice, where the boys are sexually abused, beaten, and sometimes murdered by the staff. Elwood must traverse this new world with the help of his fellow Black inmates. 

Whitehead creates Elwood and his story from real accounts of the school that the Nickel Academy was based on. This is never clearer than when Elwood is beaten, the descriptions so specific, so real, that they must be from first-hand accounts. 

Elwood longed for a world of equality and was ready to fight it anyway he could. “No money at all. They laughed because they knew the drug store didn’t serve colored patrons, and sometimes laughter knocked out a few bricks from the barricade of segregation, so tall and so wide.”

Even in the worst of situations, the boys in this story still see the hope of a world that could be. Martin Luther King Jr. inspires the characters throughout; his exact words appear in the novel. “He lugged his words like an anvil in his Nickel-issued pockets. Darkness cannot drive out darkness, the reverend said, only light can do that. Hate cannot drive out hate, only love can do that. . . . Is this what it felt like? To walk arm in arm in the middle of the street, a link in a living chain, knowing that around the next corner the white mob stood with their baseball bats and fire hoses and curses.”

Whitehead does not create his characters to live in despair and brutality, but to show the journey of how they overcome it. Learning from our past mandates us to confront our present. Whitehead portrays injustice and dares us to look away from the truth he writes. 

 

Publisher Information: 
Published by DoubleDay on July 16, 2019
ISBN: 978-0-385-537070
210 Pages

#TheNickelBoys – #ColsonWhitehead – #DoubleDay – #fiction – #historicalfiction – #Race – #JimCrow – #MartinLutherKingJr – #CivilRights 

Categories
Issues

Jodi Picoult


Small Great Things

 

Review by Alison Brackett

Writer Jodi Picoult did more than a small, great thing with this novel. Known for her books about love, family, and relationships, she surprised all with this take on race in America. Small Great Things tackles profound issues such as race, prejudice, and justice. It’s the a story of Ruth Jefferson, an African American nurse at battle with a white supremacist couple after their baby dies in her care.

Picoult chose the title of the novel from the words of MLK: “If I cannot do great things, I can do small things in a great way.” This is one of many quotes that inspired the story. Picoult used quotes to form and carry her story; words from a variety of great influences, who once took a stand, lead the story chapter by chapter.

Each section of the novel is marked with a specific title alongside a quote that holds deep significance to not only the text, but our world as we know it. Picoult begins the first section with a quote by Benjamin Franklin: “Justice will not be served until those who are unaffected are as outraged as those who are.” This quote is small but mighty, and alone it can give readers a glimpse into the content that Small Great Things holds.

While this story may merely be fiction, there’s more truth to it than one may think; this story is fabricated, but within holds the stories of thousands of others without a voice. Through characters and story, Picoult uses these to portray the real injustices faced everyday by the African American community. She portrays it especially well through the main character, Ruth.

“Did you ever think our misfortune is directly related to your good fortune? Maybe the house your parents bought was on the market because the sellers didn’t want my mama in the neighborhood. Maybe the good grades that eventually led you to law school were possible because your mama didn’t have to work eighteen hours a day, and was there to read to you at night, or make sure you did your homework. . . .”

Ruth continuously educates readers throughout the novel. She continues in saying:

“How often do you remind yourself how lucky you are that you own your house, because you were able to build up equity through generations in a way families of color can’t? How often do you open your mouth at work and think how awesome it is that no one’s thinking you’re speaking for everyone with the same skin color you have? How hard is it for you to find the greeting card for your baby’s birthday with a picture of a child that has the same color skin as her? How many times have you seen a painting of Jesus that looks like you? Prejudice goes both ways, you know. There are people who suffer from it, and there are people who profit from it.”

Through Ruth, Picoult works to not only shed light onto the injustices faced throughout the country, but also to prejudice that each holds within. Ruth’s words are not only a reminder, but a lesson to those reading.

“You say you don’t see color . . . but that’s all you see. You’re so hyperaware of it, and of trying to look like you aren’t prejudiced, you can’t even understand that when you say race doesn’t matter all I hear is you dismissing what I’ve felt, what I’ve lived, what it’s like to be put down because of the color of my skin.”

Ruth hits readers with an important wake up call; Picoult, being white herself, showcases internal prejudices that one may not even notice. Her words carry reminders that some may often forget unless you’re a part of the community. 

Through this work of fiction, Picoult works hard to break down barriers that our society has spent decades building up. She strives to educate, break the stigma, and raise awareness around the real life issues that continue to sweep through our country.

In the words of Ruth, Picoult leaves us with one important ending reminder: “It just goes to show you: every baby is born beautiful. It’s what we project on them that makes them ugly.”

Published by Ballantine Books on October 5th, 2016
ISBN: 9780345544971
528 pages

Categories
Issues

Bill Donlon & Dennis Foley


We Speak Chicagoese

 

Book Review by Clayton Crook

If someone had never been to Chicago before, what would they think of the city? The experience of a tourist is vastly different than the experience of a resident. If I hadn’t been to Chicago, it would be hard for me to imagine what it would be like to live there. We Speak Chicagoese, published by Side Street Press in 2016,delivers Chicago from a different perspective. It offers anecdotes about the city that many of us may have never experienced, or, if we’ve lived here, we may know all too well. As Bill Donlon and Dennis Foley – the book’s editors – state in the introduction, the book is not an anthology of Chicago authors, but it is more of a sampling that “gives the Chicago voice its due.” The authors speak “Chicagoese.” 

One of the most interesting aspects of the book is its diversity. The collection would have to be categorized as multi-genre because of the many different stories contained within the book, their subject matter, and the different tones in which the stories are told. Most of the work aren’t about the city itself, but rather they are set in Chicago, or allude to the city. Not only did I enjoy the spontaneity of the stories, essays, and poems of the book being put together in a purposeful format, but I also enjoyed how different each piece was from another. The organization doesn’t take away from the piece either, I think it actually serves the overall structure better, because it allows the reader to keep themes in mind as they read the stories, essays, and poems. 

Included are character portraits, and others are coming-of-age pieces. Some are metaphorical, and strongly so. Either way, for the fictional stories and prose poems, the characters were relatable and compelling. Some pieces, whether fiction, nonfiction, or essay-form, have a narrative distance from the characters or authors looking back on their lives. There are prose poems, poems with multiple parts to them, long poems, and short poems. The occasional picture also acted as a sort of subjective art piece. Some of the pictures seem metaphorical, like the barbed wire after Gary Johnson’s “Marquette Park, 1976,” or the Hispanic mural before Thomas Sanfilip’s “Imperium.”

If I had the job of categorizing this work, I would consider it a thematic collection, because of the themes that span the stories and poems. Some themes that recur throughout the book are race, ethnicity, and culture. Some of the stories related to race and ethnicity are compelling character portraits, such as Eric May’s story, “A Secret’s Life, Mrs. Motley of Parkland, Chicago,” which tells the story of a African American woman who has lived her entire life in the same neighborhood. John Guzlowski’s “Looking for Work in America” is a prose poem that serves as a character portrait, describing a father’s experience finding work in America, but it also tells of the effects of war, in only three parts and three pages.

The book is teeming with poetry by Black writers and poems that allude to power struggles. There are also stories that either directly involve a racial or ethnic struggle, or are filled with cultural references. Gary Johnson, in his story, “Marquette Park, 1976,” shows a Chicago plagued with racial tension – Black people march on the streets while Neo-Nazis incite violence. John Guzlowski, in his short prose poem, “Looking for Work in America,” tells about his father’s immigration from Germany to Chicago, and in his poem, “Chicago,” touches further on his German heritage. Thomas Sanfilip has a story in which the conflict isn’t directly related to race or ethnicity, but it is a major theme within his story, “Imperium,” in which a Puerto Rican woman struggles getting by as a sex worker while trying to support her children. However, in the nonfiction piece, “How a Muslim Feels about 9/11,” her looking back, and forward, is painful rather than nostalgic.

We Speak Chicagoese shows another kind of Chicago that we don’t see on the news. I really enjoyed the familiarity of it after having lived in the city for the past few years. I especially enjoyed how I was able to read about taquerias, different neighborhoods of the city, and the city before there were lots of high-rise apartment buildings, and a part of rural Illinois outside of Chicago. Many of these stories are told with nostalgic voices. In Joe Meno’s story, “Absolute Beginners,” I strongly related to the story about two students living in a ramshackle apartment in the suburbs. Patty McNair’s “Back to the Water’s Edge” features a group of high school girls who make an adventure to the city from the suburbs to meet some boys at the beach. I particularly enjoyed the over-arching sense of seventies nostalgia that I’ll never know. In Sherwood Anderson’s “Brothers,” we find a man living twenty miles outside of Chicago in rural Illinois, questioning a Chicago murder case and an odd neighbor.

Another theme of the book that is worth mentioning is that of poverty and financial struggle. Cris Mazza and Frank Norris, like Patricia McNair, have stories involving characters who come to Chicago from other parts of the country. In Cris Mazza’s story, “They’ll Shoot You,” a woman struggles to make ends meet with her job in Cincinnati, while owning an apartment there and in Chicago, and runs into trouble with some locals. In Frank Norris’s story, “A Deal in Wheat,” he expresses the darker side of the wheat farming business through the eyes of Sam Lewiston, a wheat farmer in southwestern Kansas. 

While looking back is a common narrative tool used in this book, one of the things that some of the authors look back on is war, particularly the Vietnam War and World War II. Carl Richards and John Guzlowski are two poets who touch on topics surrounding World War II. John Guzlowski writes about it through his father’s recollection in his prose poem, “Looking for Work in America,” and Carl Richard’s prose poem, “Hitler’s Moustache,”is about Hitler. In Tony Serritella’s nonfiction piece, “Coming Home,” a different kind of Chicago is shown, through the portrait of a family. Victory gardens and stars in windows give life to a Chicago that Serritella’s nostalgic voice tells so expressively. Dominic A. Pacyga’s short piece is written through the perspective of a Vietnam veteran, and is written in second person, in which the reader is “Paco.” I enjoyed this piece because the whole story takes place in a room where the reader is drinking with the narrator, but the narrator is telling war stories, and stories about his friends he knew in Chicago who did and didn’t go to Vietnam. In Ben Reitman’s essay, “Conscription,” he expresses his disgust with America during the Vietnam era, and talks about other countries’ conscription laws compared to America’s at the time.

Not only is We Speak Chicagoese a diverse book, but it has diverse writers, from many different places and times. Some of the writers are very well-acclaimed, and others are not as well known. It’s a book with many different kinds of people, places, sensations, and memories, and most of all, it’s accessible enough for anyone to read. I believe that Dennis Foley and Bill Donlon succeeded in putting together a short anthology of voices that speak “Chicagoese.” 

 

Publisher Info: 978-0-692-65885-7
Social Media tags: https://www.facebook.com/sidestreetpress/

 


Clayton Crook is from Belleville, Illinois and lives in Chicago. They like to spend their time running, meditating, and trying not to spend too much time on the internet when they aren’t working or writing. They most recently had a couple of author interviews published in Columbia College Chicago’s The Lab Review blog.

Categories
Issues

Farrah Penn


Twelve Steps to Normal

 

Review by Janae Iloreta

The inner strength we all need in Twelve Steps to Normal

Trust. It’s an important core value for healthy relationships, and defined by Merriam-Webster Dictionary as the “assured reliance on the character, ability, strength, or truth of someone or something.” According to 2007’s Do It Now Foundation’s Children of Alcoholics: Getting Past the Games Addicted Parents Play,it’s a value many children of alcoholic parents have difficulty with, and one that sixteen-year-old Kira Seneca wants the most with her father in Farrah Penn’s debut YA novel, Twelve Steps to Normal.

One year ago, Kira, the daughter of a recovering alcoholic father, left her hometown Austin and everything with it—her school, friends and (now-ex) boyfriend—to live with her Aunt June in Portland while waiting for her dad to seek help in getting sober. Now, her dad has completed his latest rehab treatment and Kira is forced to move back home with him right before she begins her junior year of high school. 

 As she settles back in town, Kira attempts to bring things back to how they used to be the last time she was in Austin. Using one of her dad’s past methods to recovery, the “Twelve-Step Program,” she creates a list of her own. Throughout trying to: 1. Forgive Dad, 2. Learn how to be a family without Grams, and fulfill eight other steps in recreating her old, normal life, Kira ends up realizing her goals have changed; that there is no such thing as “normal,” and that’s OK. 

 Told through a first-person narrative, Twelve Steps to Normalnot only resonates with children of parents suffering from alcoholism, but with any teen who has ever wanted a fresh start in life. In the author’s note, Penn mentions she grew up with an alcoholic father like Kira’s character as well, but “didn’t want to explore the negative aspects of [the] horrible addiction, [which is] hard to relive in any context.” Instead, Penn “[chooses] to focus not only on Kira’s journey, but on the hopefulness of her father’s recovery,” and on the small ways the its influence affects the life of a teenager coping with an alcoholic parent.

 Kira’s character comes off as mildy bothersome when the story begins, with her desperation to conform to high school society and the way she occasionally behaves querulously with the people in her life. It’s clear that Penn’s portrayal of the immature aspects of a young adult’s mind isn’t included to simply “fit in” for a young adult novel, but is incorporated for a reason. Penn shapes Kira’s character to react and grow in a way any human possibly would during this time of their adolescent life, given similar circumstances—angry and frustrated.

 The novel’s characters serve as important role models for others with similar familial struggles. They allow readers to recognize flaws as a natural part of being human, and are not something to be ashamed of or avoided. Readers come to understand that flaws—from Kira’s father, her friends and even her own self—can be seen as a tool to learn how to love unconditionally and handle life in a stronger and more mature way.

 Not only does Twelve Steps to Normalbring the uplifting spirit readers look forward to, but also exhibits the normalcy in characters of color, as the race and ethnicity of Kira’s friends—Asian, Black, and Mexican—are not conspicuously introduced. Instead, her friends are simply described through the actions and voice of any other teenager we see today: as Kira’s friends who all support each other’s struggles. Twelve Steps to Normalsucceeds in illustrating the optimism and strength others may pull from complex situations. Readers will walk away with the courage to fight through uncomfortable but necessary changes in life. They’ll understand the importance of acceptance and forgiveness in order to thrive and move forward.

 

Publisher: Jimmy Patterson, 2018
ISBN: 978-0316471602
384 Pages

Facebook: @AuthorFarrahPenn
Twitter: @FarrahPenn
Instagram: @farrahpenn

Categories
Issues

Tillie Walden


Review by Lily Reeves

Tillie Walden’s On a Sunbeamis the lesbian space epic you’ve been waiting for—


on a sunbeam2.jpgon a sunbeam2.jpg

The first time I read Tillie Walden’s On a Sunbeam, when it was a recently completed webcomic, I stayed up all night to read it in one sitting, crying my eyes out. The second time, when it was released as a physical graphic novel, I did the exact same thing.

On a Sunbeamis a tender gut-punch of a science-fiction romance. It tells the story of Mia, a young woman fresh out of high school, who joins up with a small, spacefaring, building restoration crew. It also tells, in flashbacks, the story of her freshman year, and how she fell in love with her mysterious classmate, Grace. As Mia grows closer to the crew, and more comfortable with her new life, you learn more about her past, and how it led her to this point—and how everything is more connected than it seems.

While Mia is the clear protagonist, Grace and the restoration crew—the methodical captain, Char, her hot-tempered wife, Alma, the larger-than-life Jules, and the enigmatic Elliot—have their own storylines as well, and they all tie together beautifully. In fact, Walden gives every minor character that shows up in the comic so much personality that you feel like you know all of them. 

On a Sunbeamis the type of book that science-fiction gatekeepers love to hate. This is not a story filled with lore and hard science. Rather, it seamlessly blends the fantastical with the science-fictional in a way reminiscent of Madeleine L’Engle’s A Wrinkle in Time.Small plots of land that look like they were scooped off of contemporary country roads float untethered in space. Foxes made of vapor traverse a poisonous moon and are worshipped by human settlers. Every spaceship is a giant metallic fish, gracefully swimming through the stars. No, there are no explanations for these things, no concessions to the demands of logic. They just are, because they’re lovely and atmospheric and help tell the story.

Some people may also take issue with the lack of men in the story. (Let’s be honest: it’s probably the same people.) There are no male characters in On a Sunbeam:no side-characters, none in the background, none even mentioned by anyone. Nothing suggests that this is a sci-fi universe in which men have gone extinct though—Mia and Grace attended Cleary’s School for Girls, which would be a useless distinction without other genders, and the restoration crew own a male cat named Paul—they just never come up. So if you’ve been waiting for an epic space romance with only female and non-binary characters, this is the book for you.

Tillie Walden has crafted a beautiful love story, for every definition of the word “love.” Love for your friends, your family, or your outer space high school girlfriend—love that drives you to sacrifice yourself, to save yourself, or to travel to the edge of the known universe just to see someone one last time. Every aspect of the book, its story and its art, upholds its core function: to tell the story of how Mia learns to love life.

 

Published by First Second on October 2nd, 2018
ISBN: 978-1-250-17813-8
544 pages

  

Social media: 
Twitter: @TillieWalden
Facebook: @tilliewaldencomics
Instagram: @ tilliewalden

Categories
Issues

R.F. Kuang


The Poppy War

 

Review by Aja Todd 

A Gritty Coming-of-Age Fantasy Novel for All Ages

The Poppy War by R.F. Kuang is a fantasy adventure novel unlike any other. Re-telling and fictionalizing old Chinese history (centered on the 1937 Raping of Nanjing), it focuses on the story of a fourteen-year-old girl named Rin, a poor orphan from a southern province in Tikany. She is constantly abused by her foster parents, working for their store with no rest or pay, while criminalizing herself by involvement in the sales of opium. When these parents decide to marry her off to further their business and profits, Rin decides to study for an elite exam called the Keju. It is a test only the most talented, prestigious, and determined students can take and succeed, children who have spent years studying. When she aces and makes it to the top of her class, she is sent to the most elite school in the Nikara empire — Sinegard. Through this, she shocks the world. No one expected a war orphan to have the brains or will to pass the dreaded Keju. 

And although a novel could be made out of her journey and ambition through her studies in Sinegard, this story instead tackles several different issues at once and pushes the story further. As a dark-skinned, poor southern girl, she is ostracized from her entire class. She has to prove herself — past colorism, classism, and sexism — that she has a right to be at the academy. Even though teachers attempts to thwart her advances, she pushes through them with her own means and grit. When she finally shows her potential to her peers and teachers, she learns that she is meant for even greater things — to end war itself, through her innate abilities of old shamanism. 

 R.F Kuang crafts the story of Rin with a careful eye and unabashed intensity. While some authors may have dialed back on their brutality of war and its practices, Kuang shapes her world around it and in Rin’s classroom. When Rin reaches the capital for her military schooling, she immediately witnesses harsh poverty, crazed merchants, and a child being run over by a cart within a blink of an eye. At the academy, she is put through rigorous training of complex courses, martial arts, and gruesome fights. What’s more, Kuang also has complex characters within the school, from Nezha — the son of a warlord who lived life with a golden spoon in his mouth, to Kitay — the person she befriends who, despite his history, doesn’t judge Rin by her background. It’s hard to not look at the parallels Kuang paints in this story to Chinese history, and in fact, the world. The social issues Rin faces, as well as her tackling grander and more difficult feats in the political spectrum, The Poppy War, the first book of a fantastical trilogy, becomes more than just a good read. It’s a book that frankly doesn’t even need its fantasy elements of shamanism and old Gods; however, this aspect makes the story even larger and more purposeful, creating a third leg to Kuang’s writing. 

 And this novel isn’t for the faint-hearted. It deals with torture, abuse, sexual violence, and genocide. However, to quote the author herself about why she writes grueling fiction, Kuang writes on her website: 

“I’m not interested in writing utopias. I don’t like writing the alternate histories where gender equality is taken for granted. I love readingthem — I understand why some like to write them and I understand their importance — we must be able to envision alternate futures for ourselves if we can shift from the present.

But healing comes only after a stark analysis of the past. And as long as these women’s stories are elided, disputed, ignored, mocked–we can’t heal.”
[To read more, go to https://rfkuang.com/

In summary,The Poppy War is an intense, intelligent, and well-crafted debut novel by R.F Kuang. It’s a wonderful yet dark tale that brings diversity into the fantasy realm; it grants an asian girl the spotlight of a future trilogy, while also bringing in discussion of China’s past. Although the contents are grim, what comes forth from it will be nothing but extraordinary. 

April 23, 2018
Published by HARPER Voyager
ISBN: 978-0-06-266256-9
527 Pages 

 

R.F Kuang’s Social Media: 
Instagram: Kuangrf 
Twitter: @kuangrf

Website: https://rfkuang.com/

Categories
Issues

Table of Contents


Summer, 2020

 

Kaitlyn Lucille Palmer

  • I Heard a Black Man Say

  • Burning Sage and Cooking Grits

  • The Girls in the South Wear Booty Shorts

  • Jazz is a Black Man in the Library

  • The Most Beautiful Postmodern Sunday

Gabriela Everett

  • Portrait of a Borough Boy, New York

Tina L. Jens

  • Just a Song and Dance Man

Katie Lynn Johnston

  • Mother Saint

Ben Peachey

  • Poor Little

Alison Brackett

  • Portrait of a Half-Empty Girl

Sabrina Clarke

  • The Pills

Margaret Smith

  • Transitions of the Day

Re’Lynn Hansen

  • All the words in your head you could not say

Sam Weller

  • The Circumference of the Glare on the Patio

RS Dereen

  • The Recessionists: Chapter One

LS Beveridge

  • Winterlines

K. Uwe Dunn

  • No Code

Gabriela Everett

  • To the Coast

Katie Lynn Johnston

  • Heaven

David Trinidad

  • Freewrite after Breathing, Last Class, 12/11/18

  • Anita

  • Memoir

  • Ray Donovan

  • Winona Ryder

Categories
Issues

Kaitlyn Lucille Palmer


I Heard a Black Man Say

 

she’s essence
her mardi gras is my celebration
I dip in her chocolate
under the magnolia tree, we chill
I kiss her arms and
wait for girl giggles
her mouth poundcake
her lips jolly rancher

she’s bible
she’s fried chicken
biscuits, gravy
her voice is my mixtape
I drink her juice
she is dance
to John Coltrane
in a sentimental mood

dancing in the morning
the color yellow
sun on a good day
she is jumping double dutch, no hands
her is gold hoop earrings
a Salt-N-Peppa asymmetrical she is 90’s rhythm
Justice and Lucky in the mail truck

her is my coffee shop
she helps me find my keys
cornrows, snap peas, Brooklyn, theater
golden arches, rib, pink matter
beads, a sunflower field, blueberry muffin
she tastes bubblegum

merry go round me milk me have mercy, on me.

 

The Girls in the South Wear Booty Shorts

 

so short they make all the boys say
what you doing girl with all that
it pokes from the back-causing a
distraction at the workplace, in the
church, and on the way to run
Saturday errands that booty be like
gumbo, a wonder bread kind of thick
decorated in dimples and a roadmap
if you smack it, it’ll talk to you
that big ole booty follows
the country girls around and around
causing frenzies
mama be like, she ain’t here
come back later
a country girl booty makes ‘em
stay in the street looking for that bouncy
let me pounce on it thang
juicy fruit booty working overtime
walking Naomi in those cut off shorts
he say he will sin – gin if only a chance
to see it wiggle jiggle do aerobics
how it looks, that way, in the air, stretched
pulled every night before bed the country
girls say their prayers

they pray for cooler summers 
their brothers to come home
and a love, to come down

 

Jazz is a Black Man in the Library

 

His beard turning the pages scratching vinyl echoing jazz
we wake up to get our cake up afro sheen in lemon green
as we rim shot with our bass guitars in our laps we pop
art in our pop style he teaches me how to pop that thang
we watch money fall from apple trees as we spaceship to Venus
dancing Zulu nation down the aisle our spaceship gold

the ocean’s behind us if we have time we can dip our feet making
a splash  I 100 – yard dash to you country ace boon gimme gimme that
shot gun touch drunk, funk city sticky waking up to get our cake up
dripping plums shooting blue gangsta souls in two piece suits our
bullets bee sting off the Riesling there is nothing better than red wine
movie nights in this postmodern black bone

I remember meeting him in the library rhythm got off the pages
oh na na na we bowl with coconuts he’s so speakeasy
Simon says kiss on the lips we gold chain and Reebok classic

driving in Memphis our Memphis in May
Riverside drive we park near the ocean in a Chevy sitting on 44’s,
I met in the library his jazz, so June.

 

Burning Sage and Cooking Grits

 

Juke parties in the basement, a summer gala
in the kitchen where we press our hair
snap the peas, cut the peaches, fry the hog

a sweet potato breakfast
I want some fat in this life
a butter biscuit a creole blend

a fish that’s fried
okra, cornbread
some gravy on the side

a mango
salmon croquette, rice, and syrup
that only my daddy can make

he cuts the onions so fine
I rub the leftover butter on my body
beginning at the heels of my feet

in grits we put pepper, salt, and butter
the men in my life kiss me cayenne
they teach me how to get my hands dirty

we burn sage after sex opening the windows
our orange peels fall tattooing themselves
on the corner

caught juking, mama burns sage
she slaps our hips
we are the fast girls

we grind the muscles of
gizzards between our teeth
we want the milk and the money

mouths sweet with sin.

I crave grits, sun, and
you.

 

The Most Beautiful Postmodern Sunday

 

I post up in my post
modern cotton mouth candy

I once loved and 
kissed a man like they do in the movies
he was slick a black man with a 
beard and big feet

we merry go ‘round at the
midsouth fair our cotton candy 
hands tangled the sun sitting on
our shoulders it’s a good idea to 
stay in the house until the sun goes 
down, the mosquitos feel like bees 

and still we sit under the peach tree 
I cut the flowers from his nose 
another autumn in the south 
where trees put you in a post sentimental mood 
men smile at the Ms. Fat Booties 
their gumbo biscuit asses

the way they stick their feet in the Mississippi 
river then girl giggle before running 
to sit on the hood of the Chevy the back of our 
thighs hot my titties are Jamaican mangos 
it all started out at the football game, his love and mine
I sat near the field drinking soda pop 

smiling at his touchdowns pointing my 
rifle at anyone who tackled him 
us, the girls and I sat legs crossed 
college sweaters and sweet potato pie 
they urged me to pull the trigger 
so much that we begin to climb electric arches 

flames making our ankles hot 
I sing the blues in my post contemporary 
kitchen that is all white
he walks up behind me and kisses me on my neck
I’ve always wanted a functional kitchen 
a home that looks like a cottage 

my red Chevy parked outside 
the rims big and shiny 
shiny gold teeth and chains 
are high art, post modern
cornbread and cabbage 
rolling dice seven eleven

I sunbathe my skin 
shine my gold teeth sparkle 
wearing white in winter 
kissing his beard in autumn 
I post up, in my post modern 

cinnamon Chevy my lips are maple 
syrup tasting new moons, moon rocks 

I once loved and kissed like they do in the movies.


Kaitlyn Lucille Palmer is a Memphis, TN native and second-year graduate student with a focus in poetry. Through her writing, Kaitlyn aims to tell the stories she imagined throughout girlhood, growing up in the colorful south. Kaitlyn’s work intertwines intellect and visceral experiences. Kaitlyn’s poetry is a celebration of black femininity that is unapologetic, vulnerable, and conscious of space and time. Kaitlyn’s art challenges, encouraging her audience to dream in color.