Midsommar // Danika Stegeman LeMay

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i.

I forget your name is cut from mine. You’re not as I remember you.

The cell is the fabric of the macrocosm. Cords couple the living and the dead. 

Bowing draws the notes taut. The snow falls and falls. Vomit encrusts their duct taped lips. Buckle and keen into their glassed eyes. The throat enters as violins to limn you like a portal. This is the end I asked for. 

It’s winter in my heart. Hey baby. How you feeling? Disengagement. Frames into other worlds speaking through mirrors. Who’s outside. The statement is a question. 

Birds dismantle a surfacing whale. We peer from its ribcage. Does a community of mutual indifference constitute a community? Your disembodied voice deflects, consumes the walls. 

Future I feel in my body. I try to give it words but my grief defies shape. The smoke grows inside you. The taste of earth on your tongue spreading. 

Your eyes are green. Mine are brown. Shovel of nesting, shovel of dirt.

ii.

We’ll arrive on the day of your birth. Gentleness is enough to coax a sob you won’t release. I translate your tongue without foreknowledge. The timing of my healing offsets a continuum of field. Everybody lay down. Taper the grass with your fingers. Fall through. 

It’s almost your birthday. Your hair is gilt. We were born on the same day. I lose myself in the embrace. 

Through a corona that doubles as a gate. Doubles as a frame. Doubles as a portal. Doubles as a crown. 

Fear blocks grief from exiting your body. Put it under your pillow and dream about its power. 

I braid your hair in a complex system of breathwork. This is the temple. This is the bear. This is the storyline of desire. June is the zenith. You’ll never be brighter. 

Drop the curtains. The day is unspeakable. 

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The Shower // Vi Khi Nao

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Only a cat teething could give someone’s skinned knee the color of laceration that appeared so painfully on Manuela’s leg. Manuela moved like a cat. Even when she took off a shirt she declared and acknowledged it as ugly, she was swift and feline-like about it. Her full sagging boobs had an appearance of two tanned, inflated Chinese dumplings. The kind that slid off a Julam bamboo steamer unjubilantly while Elise’s sexagenarian breasts may have spent their long life on a pancake grill. They were flat and antisocial. Nudity in film has casual (is that the right word?) exploitation written all over it. For instance, for a ten minute, independent film — is it worth the risk? To expose oneself to the infinite eyes of the camera? The actresses — terribly unpaid. Even nude models for an art class get paid more per hour for their short exposure. A film has an infinite amount of long exposure. The kind that lives a billion lives. If we view these actresses, pretending to be lesbians, to be cats, their nudity is just an exaggeration of them stretching into full form. And, what we view as nipples may just be hair? Right, in the shower — you can see that Elise is on the verge of a mental breakdown. The cat-she is prepared for anything. To fully love. In taking-the-cat-to-the-vet sensibility. In the I-will-let-you-in after you wander in the night solitarily.

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VI KHI NAO is the author of seven poetry collections & of the short stories collection, A Brief Alphabet of Torture (winner of the 2016 FC2’s Ronald Sukenick Innovative Fiction Prize), the novel, Swimming with Dead Stars. Her poetry collection, The Old Philosopher, won the Nightboat Books Prize for Poetry in 2014.  Her book, Suicide: the Autoimmune Disorder of the Psyche  will be out of 11:11 in Spring 2023. A recipient of the 2022 Jim Duggins, PhD Outstanding Mid-Career Novelist Prize, her work includes poetry, fiction, film and cross-genre collaboration. She was the Fall 2019 fellow at the Black Mountain Institute: https://www.vikhinao.com 

When A Stranger Calls // David Kuhnlein

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Puffy from goodnight kisses, lit silver by dreams of the screen, your lips pucker in anticipation of my pillow. It’s my turn to talk and you’re hooked. Sex, the most exquisite poison, a toxin to twist both ends of the film. You know the rules. We’ve had enough of your surname. No lie could impregnate you (in the guise of killing ninety minutes together) to eclipse my eye. Still, I jump backward in ten-second intervals to before your tubal ligation. Cutting off my lids in appreciation isn’t inconsonant with reducing your innumerable voyeurs by going blind. Don’t turn up the lights. I want you strangled behind blackout curtains. Admitting this to someone whose body’s a work of art would strip me of the upper hand, and the pillow beneath it, as your eyes go pop.

Hair as curly as telephone cords, stinking like burnt plastic, your mind whirs into overdrive from mere pleasantries. Nothing but dial tone behind the eyes. I also hope to gush through life like a forgotten popsicle. The dead are most desirable woven as the wrinkles on your face. I pray an ambulance will find you recreating our kiss behind a dumpster. No one can see me because I was never born.

Like a good little final girl, you drag your balloon-like dungeon above. Call it heaven, superego, whatever sentiment I experience as your pistol-shaped persuasion. Between your grip and me, the equal and opposite reverberation of silence grants each ring its squeal. From this exterior shot, it’s hard to imagine your palpitations. How many cross fades till we’re codified inside our skull? Imagine the internment of overgrown eyelashes, blinking prison bars.

Your anticipation of my phone calls, the black hole you deliberately open by answering, marries my need to pathologize blood flow. How many finger joints will vanish? Will the wound be cavernous enough to pack?

Nightgown torn to thin strips, I twist the tourniquet around your disembodied arm instead. Voice like uncooked spaghetti, I breathe through the handheld: Nobody can hear me. I assume the bruise across your temple, the remainder of our ten-digit exchange, is indicative of a craving too sinister to solo. The only babysitter we’ll ever know is a scream so loud it casts a shadow. The shadow itself is difficult to confront, much more so than a stranger, and it’s always a stranger, on the phone.

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The Devils // Nick Greer

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[Harvest Spoil]

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We come upon a town in the midst of a frenzy. Gaunt men, hands gnarled from a lifetime of labor, swing their scythes at smoke rising from a tyrannical fire in the town square. A handsome square, finely cobbled with troughs to carry waste to the outskirts. Women kneel at these channels as if they were pews, hands clasped around the gathering filth. They collect it in their smocks and convey it to the fire so they may fling handful after handful at the flames. Their children are nowhere to be found, replaced by dogs that bark savagely at the conflagration. 

The fire feeds on the skeleton of a stage, out of which three stakes pierce skywards, their offerings charred. The fire needs no tinder, but the men stoke it all the same, forking heaps of bedeviled grain, giving the smoke its woaden complexion. It rises in decadent folds up to the balconies overlooking the square. The homes of merchants and usurers, out to enjoy the afternoon’s entertainment. These patriarchs waft the smoke towards expectant faces, their nostrils luxuriating in it as if were from one of their resins imported from Anatolia. They indulge until their eyes flutter white, their daemons silenced while their wives and daughters are incensed by the odor. They claw at one another, ripping lacework and corsetry. A bodice peels away like armor, revealing the chastened buds of a middle daughter. The father, his peruke askew, leans over to lap at this milk while the mothers call for more, more.

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SÁTÁNTANGÓ // Matthew Kinlin

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SÁTÁNTANGÓ [OR A CASTLE MADE OF COW SHIT, OR THE COLLUSION OF PLANETS IN THE TOTAL ANNIHILATION OF LIFE]

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The circle encloses around us like a golden thread. The spider takes his time to weave a web. His weapon is invisibility. Everything beautiful in nature is suffocation.

[MRS. SCHMIDT LOWERS HER HEAD BENEATH THE TABLE IN THE BAR. SHE BREATHES IN THE SMELL OF DEAD EARTH.]

Two clocks on the wall show the wrong time. A portrait on the wall of a faded bureaucrat. Irimiás will have returned to the village by morning. The endless sound of rain. 

[MRS. SCHMIDT DRINKS A GLASS OF CHERRY LIQUOR ALONE AT THE TABLE. SHE CONTINUES TO STARE FORWARD.]

White smoke moving through the trees. A diagram of an alleyway between a dilapidated house and stable. A map of the planets on the wall. Their orbits circle each other.

[FUTAKI AND SCHMIDT PLAN TO SPLIT THE MONEY BEFORE THE RETURN OF IRIMIÁS. MRS. SCHMIDT PUSHES THE MONEY INTO HER BRA AND LEAVES FOR THE BAR.]

It won’t stop raining until spring. Winters are shorter in the south. There will come a time when there is nothing left to say. A fly moves across a faded newspaper. 

[MUSIC BEGINS TO PLAY. HALICS KEEPS TRYING TO DANCE WITH MRS. SCHMIDT. THE VILLAGERS ARE DRUNK AND HAPPY.]

We are unable to replicate the innocence of animals. A child is born sick and cruel. Humanity has to learn to love and it learns this from the animal.

[ESTIKE, A SMALL CHILD HOLDING A DEAD CAT, BEGS THE DOCTOR FOR HELP OUTSIDE THE BAR. THE DOCTOR FALLS INTO THE MUD, CURSING. ESTIKE RUNS AWAY.]

A child eats a handful of rat poison and smooths the creases of her dress. She tidies her hair and awaits the angels. Everything that happens is good.

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In The Earth // Charles J. March III

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Ritualistic sacrifice folk spirit of the woods,

conceived from a blaringly eldritch,

new wave research,

necromancer montage,

Now an altered state / possessed, monolithic cyclops Ancient sorcerer

Born of a druid voyeur,

 desperate to connect with the other,

Via strange clothes,

Sedatives,

 And a psychedelic pink cloud

as old & sick as time

She/It speaks to you,

Looking for something more

From a radically isolated, ambient soundboard

Giving way to a digital hatchet job

With caustic chemicals as the only way to stop the mycorrhiza

gangrene-bleeding

Aspirated network mist from the

sole-worn fungal spore (Robert Plant)

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Saint Maud // Madelaine Culver

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[succubus]

folding into

opening

a humming

leads her into

prayers, morbidly quiet

her name

becomes a burden

unsettling disgust

a climax of agonies

self-harming interiors

she can’t save

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Madelaine Culver is a writer and poet currently based in Newcastle upon Tyne where she’s studying for a practice-based PhD on British horror cinema and intertextual poetics. Her work appears in various places online and in print, including ALIENIST3:AM Magazine, and Seen as Read: an anthology of visual, asemic and photo poetry. Find her online at www.notesfromthetower.info.

Critters // Ah To

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I went to this

nauseated

middle tych of her Italian thing

<

do Critters regression-taste big screen, bleed out green IQ?

are Basket Case femme?

>

Femme and Demme

>

[Unbeknownst to them, Critter eggs can be seen in the barn inside a chicken’s nest, apparently ready to hatch]

<

sewer verisimilitude gum important to working class krites

but also skew Tron

<

can’t think in this yukata

purchase fur

<

Phar-Mor

trying ho hard to Heinrich

<

goo-ul

imposed upon

^

box of cartoon rage man coat in Kristeva lair

vivid giant O

^

thought same barn teeth cum skeleton head but

essential

is M

ne?

^

[Ug departs in a new spacecraft, still wearing the guise of Charlie]

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Re-Animator // Evan Isoline

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INHUMATION OF THE PROTOZOON

after Re-Animator (1985)

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» Inhumation, at a distant and achingly absolute beyond > anything > this fly head will inspect the code > of a nameless content: I am to turn myself into a » human solution to this > crime: forced murder at a distance > feeling > of the sun > up ahead it would be for > a second > make like we are throwing ourselves from the bridge, this shall be for > beauty, for > itself >

» A noose of light around the frame > my humanity a living structure to animate what the > machine designed to eat > will eat in all eternity > mankind > to represent itself in its intention to be the machine > in order to be voracious for the repetition > of death > this charade > what would I wear > this body in this moment of the sun > a bat meat in the high voltage > grid > you will forgive me if > I am the object of my own labor > and eat the sun >

» Doctor, > would you advise injection? > I beg you, have a little mercy. > What? No, no. You’ll do it! You’ll kill him! >

» Doctor! I think he’s comatose, Doctor. I don’t see any signs. > Come, let’s go. > Doctor, his pulse’s failing! > Doctor! How long will he be like this? > Is he dead? > Doctor! > What were you researching?>

» Death >

» The invention of language > became a vehicle for immortality > then it became a prison and I would take this > device and find a means to escape > from the body > in which language imprisoned me > so I asked for a new material to live in >

» The theory is not new >

» My reagent is >

» I knew then and know now > we were in a zone > a pocket of absolute horror > cold feline tongues > add to that the homicidal sex drive of the sun > the protozoon had already walked > within > the molecules of my being, I knew > what I had to do >

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Daisies // Joshua Martin

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[harpooning a jar of pickles]

on Věra Chytilová’s Daisies

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^ ** ^   m/e/c/h/a/n/i/c/a/l    h,i,n,g,e    POLKA DOT bomb bOMb BOMB   [s]   , , , , , fruits (of paradise ??? that’s the NeXt TrIcK) , , , , flywheel MaRiE    mArIe   the motion set adrift strafing : :  creak   creak   creak   creak   creak   creak   creak  : : may AS well AS spoiled AS why not    ] while the muck away the time [   , , ,   worn  & worn   &   worn   &  all spoiled to the de(con)structive   > > > >    a dance that reverts the types the [dis]illusions CRACKING subversive states :

‘a necrologue about a negative way of life’ – – –

inverted   > > > >    ANTI!    ANTI!    ANTI!     > > > >

an overplayed HAND dealt of stereotypical regimes ] food for thought [ food for advantage [ food for weapons [ . . .

mOcK    mOck   Mock   MOCK  &

ViViD

TrAiNs

OF CoLoR

flash

: B&W   :   Reds   :   Greens   :   Blues   :    cut in/out /

figments of privilege | flutter flutter flutter of an overstated lash |   – – – thick pointed layers of black around the eyes  – – – flap

flap

flappers   , , ,   the disruptive chaos (invoked MaRx [brothers, et al.]) , , , perfected , , ,

, delusions of a systematic purpose,

a JUMP

a HOP

hop

HoP . . .

if a philosophy is a farce   – – –  the GAS (heart) left on is NO good   ] a window [ a waste [ the body butterflies , , , ,

declarative clichés

, he [they]who CANNOT see beyond charades / facades / mockery / the phone speaks without understanding

CUT-UP!

CUT-UP!

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