Kary Wayson

The Lives of Artists

 

I’m a nuisance on my route, an imposition

in the alleyway, just past the house of
shared custody: glass clock in the window like a ticking
terrarium. I manage like a mother
with a daughter who looks just like her father
and I am almost up to here

where once, in an alcove
of myself, I lingered in a stand of birches. Here
my mind gets shy
as if I’d asked my daughter to say hello
to a stranger. I don’t have a daughter. But crossing the street,
I jerk her little arm.

There is a joy in talking through an open window with a friend

on the sidewalk below. My mother understood it, with her
underwater tea parties on the bottom of the swimming pool.

Map for me my walking route and I will walking go.

It is new to be beautiful

and unseemly to say so. I manage
many paintings of the same Catholic saints, each
family holy according to another —
and then we get to the Caravaggio.

It’s new to be beautiful
and boring. It’s like counting to two
and turning around
and counting to two again.

But I was good! I was good! I let

the offer lie there like I’d rent
an empty room: the one electrical outlet,
the sink in the corner, the pull-out, the sofa.

I took how many tenants through.

The only clothes I’m wearing now
is the dress on the bed beside me –

And I am to bed like the station to the train:

to the bed headed
by the street below it. I mean
I am the station. There is the train
like a river
deranged by colors of cargo.

I go to the river
to read red books
and reason —

I sit with the sky. I go for a walk
to visit this direction:
really there’s no need to rhyme.

 

 

“The Lives of Artists” was previously published in Crazyhorse, and the winner of the Linda Hull Memorial Prize, selected by James Tate.

 

Kary Wayson’s poems have appeared in Crazyhorse, Poetry Northwest, Alaska Quarterly Review, The Nation, The Journal, FIELD, Filter, The Best American Poetry 2007, and the 2010 Pushcart Prize anthology. Kary was a 2003 Discovery/The Nation award winner, and her chapbook, Dog & Me, was published in 2004 by LitRag Press. Her first full collection, American Husband, won the Ohio State University Press/ The Journal Award in 2009. Kary lives and works in Seattle.

 

Doug Nufer

Lounge Acts

 

Doug New and the Fur
Rob Roy and the Nightcaps
Colt Fore and the Tee Fives
Gib Lee and the Frescas
Jim Beam and the Royal Crowns
Gar Nish and the Twists
Mick Surr and the Swizzle Sticks
Pop Off and the Grenadines
Red Dye and the Mariscinos
Dick Cull and the Jewel Lips
Miss Stir and the Boss Stun
Ray Near and the Shots
Black Jack and the Daniels
Barb Back and the Pour
Butch Mills and the Rocks
Dee Tease and the Squeezings

Honey Castro and the Bee Feeders
Dina Martina and the Stemware
Harvey Danger and the Wallbangers
Philip Glass and the Binge
Ivy Poison and the Coasters
Mack Jigger and the Riling Steins

Mark Curse and the Make
Al Roy and the Keyer
Ape Pee and the Eye
Key Turk and the Wild
Fire Salve and Bay Bomb
Tan Hat and the Man
Neat Teen and the Mar
Kane Rick and the Her

Moe Hee and the Tow
Ray Most and the Fizz
Jane Bee and the Bar Flies
Mal Beck and the Swill
Mess Gal and the Posh
Bart Thyme and the Stool
Mel Lure and the High Life
Scott Land and the Balvenie
Hy Ball and the Vat 69
Bound Sir and the 86ed
Seve Finn and the Seven
Graham Sport and the Six Grapes
Clare Rhett and the Five Crew Class A
Bea Girl and the Four Roses
Mack Way and the Triple Sec
Tzar Mash and the Doubles
Scott Shore and the Single Malts
Doe Zahg and the Brute Zero
Ry Plonk and the Well
Rod Gut and the Dive
Jay Surr and the Knock-backs
Mick Finn and the Pick-ups
Jen Mill and the Last Call

 

Doug Nufer writes fiction, poetry, and pieces for performance, favoring “formal constraints,” such as in his most recent novel Never Again, in which it is said that no word appears more than once. Other novels include On the Roast and Negativeland (both published in 2004 “although I finished them over a 15-year period”). He has also been published in the Washington Free Press, Art Access, The Stranger, American Book Review, and The Nation.

Doug Nufer will be part of “Lit Crawl” Friday, March 30.

 

Michael G. Hickey

The Cage Door
(for Stephanie Hallgren 5/21/11)

 

Know this:
for every phony from Catcher in the Rye
revered by applauding saguaros, player pianos,
& accolades standing in line,
there is an antidote in a long white dress with strawberry hair.

I know ballyhoo & people famous with a small “f”
whose peanut is more like a shell
or the two rodent parts per million
allowed in canned chili. I’m ashamed to admit
I sometimes beg them to tattoo my scars

with their approval. But it is a lucky sleep indeed
to dream of you, or at least the idea of you:
the leap second to correct atomic clocks,
blue mountains in love,
the whisper of hands praying in supplication.

On the day the world is scheduled to end,
the only revelation I see is a river running with hope.
Because haven’t you heard?
The eye of the storm is myopic.
The door of my cage has been lifted.

 

Michael G. Hickey is a tenured creative writing professor at South Seattle Community College. In addition to being an award-winning teacher, labor leader, and political activist, he has volunteered as a creative writing instructor for children at bereavement camps, prisoners at the Monroe Correctional Complex, and juveniles at King County Youth Detention. In 2009, Hickey was inaugurated as Seattle’s eighth “Poet Populist”. His community project was entitled “Seattle Writes” in which residents of Seattle and King County were encouraged to submit a poem on the theme of “Neighbors.” There are over 200 poems on the site to date including submissions from the kindergarten class of the New Discovery School as well as some of the finest poets in the region including Elizabeth Austen, Martha Clarkson, and Tatyana Mishel.

Nico Vassilakis

Artist, poet, and writer Nico Vassilakis’s books include the poetry collection Disparate Magnets (2009) as well as the visual poetry book staring@poetics (2011).  Vassilakis edited  Clear-Cut: Anthology: A Collection of Seattle Writers (1996)  and has served as coeditor of Sub Rosa Press. In 1994, he founded the Subtext Reading Series in Seattle, where he currently lives. His visual and video poetry is composed of letters and phrase fragments that are swept or cut into shapes emphasizing their structural qualities and ephemeral nature. Referring to Vassilakis’s visual poetry as “less a work of grammar and words than an experiment with typography,” the Stranger critic Paul Constant observed how he “works at the words, shoving them together and seeing what they do to each other when placed in close proximity.”