That My Mom Did to Him

Cole Phillips

I was reroofing a shed in the backyard of my dad’s house because he was too old to do it himself. He’s not all that old but he’s had problems his whole life that have made him seem older than he is. He’s stubborn, and so he was helping me in ways that he was able.

            I was there in the first place because it was November, and my dad needed to get this done before the snow. He had started it over the summer, had ripped out about half of the roof before he got hit with a vertigo spell and had to get down. But he couldn’t get down, I guess. My sister told me he was trying to get down but he was too afraid to go down the ladder. He thought he’d fall. So he was up there for sixteen hours until the fire department came and helped him off of the nine-foot shed.

            I was pulling up roofing nails that had been in there for longer than any of us could remember when my dad finally came out. I’d had specific orders from my sister to not let him get up on the roof. When he first came out, though, he made it very clear that he wasn’t planning on getting on the roof. He said, I can’t get up there, have you got it?

            I said, Yes, I’ve got it.

            Have you talked to your mother recently?

            No, not in a couple of months.

            I was sort of dreading going home to get the roof done because, as much as I care about my dad, I’m convinced we’ve had every conversation the two of us could have. I went out with him for lunch over the summer, and I remember the silence between us in the car. But I knew he was too stubborn to just let me go out and do the roof myself. I was some parts excited about the prospect of coming down to do the roof because it would get me out of my apartment for a little while.

            He said, How is Sarah? How are you two doing?

            I was pulling up the last in a row of nails along the felt that I’d have to rip up. My fingers were pink and cracked-dry. There was a film of dust on them and they were scraped up where I had dragged them along the shingles.

            I looked down at my dad. His eyes were so filled with water that I could see the reflections of the trees that looked like hands coming out of the ground in them. It was overcast and his colors were muted.

            I said, Sarah’s okay.

            Do you want me to come up there? Because I can get up there if you need me to.

            I said, Did you ever feel like you were happier when you weren’t with Mom?

            All right, I’m coming up, he said. You’re doing this all wrong.

            Jesus Christ, I said. Stay where you are, old man.

            I started ripping up the felt but I couldn’t even feel my fingers.

            I looked down through the frame of the roof as the felt came up. The shed was almost completely full of the miscellaneous things of my mom’s that used to be in the garage. I’d had no idea there was anything in the shed. It had always been more or less empty. My only real memories of it from when I was a kid were of its mice.

            I looked down at my dad. He was unclear because the cold was hard on my face and on my eyes. I wiped my eyes, my hands dirty and coarse. My face was numb and like rubber.

            I said, Dad, what is all this?

            It’s all Mom’s.

            I had been on my knees and then I let myself fall backwards so that I was sitting. I sat with my arms extended out and held up by my knees.

            I looked away from my dad and the house—in the other direction out toward this marsh that his house is on. He owns a ton of land, all pale, muted yellow now. The trees arched up over the property trying to scratch at the sky. I was breathing in and out, clouds in front of my face.

            When I was a kid around this time of year we’d still have the Halloween decorations out. My younger brother used to decorate the whole property and my parents would let him turn our yard into a haunted tour and invite the people on our street. No one would ever come. He would ask for Halloween decorations at Christmas so that the year after he’d be able to make his displays bigger and better. He’d sit out there all night in costume waiting while no one came. He’d skip trick-or-treating and everything.

            I’m not really sure where his things ended up. When I first met Sarah I wanted to show her, but I couldn’t find any of it. She never believed me about how much there was. There were bits and pieces here and there now: orange crepe ribbons, black plastic spiders, and a broken fog machine. I could see, up on the roof, small wooden gravestones out along the tree line that were faded and degrading.

            I said, Dad, what’d you ever do with Michael’s old Halloween stuff?

            He was not looking at me and was not saying anything at all. The wind was pushing his wispy hair left and then right, it was so light and thin.

            He said, How are you and Sarah doing?

            Sarah’s been a little down lately, actually.

            That’s too bad.

            I told him she’d had her position cut at work, and I said, I know it’s selfish, but it’s been hard for me. She’s unhappy and all.

            He said, Are you still going through your depression stuff? And I said, I think we all are, Dad.

            He doesn’t mean to be insensitive when he talks about temperamental things—he just doesn’t know any better. My family is sort of selfish. No one thinks about how the things they say will affect others. My mom’s the worst—I still tell Sarah all the time.

            I asked my dad to hand me the roll of felt on the ground that I needed to lay over the frame of the roof. He tried to hand it up to me, but I couldn’t quite reach and he couldn’t quite reach, so he did take a few steps up the ladder. He was uncomfortable on it and his arms were shaking as he held up the felt.

            I said, Be careful.

            He said, Of what? There’s nothing to be careful of—this shit’s light as hell.

            He did get it to me but he landed awkwardly coming off of the ladder. He said, Jesus Christ.

            I said, You know, I’m worried about you.

            Worry about your mother—I’m fine.

            How can you still be worried about her?

            Sarah had asked me a few nights earlier how long my parents had been divorced and I told her seven years. And she asked with this tone that seemed presumptuous. At least it felt that way to me. Sarah and I come from pretty different backgrounds. She doesn’t always understand or act very understanding.

            He said, Well, Jesus Christ, I have to be. And he said, She’s taking all of my money. And he said, Hang onto that Sarah, she’s a good kid.

            I said, I guess so, and I rolled out the felt.

            I could hear him clearing his throat time and again. He wouldn’t look at me.

            I said, Do you want to know something, Sarah’s been reminding me of Mom lately. I told him I’d been resenting her for every little thing. I said, Sometimes I feel terrible about it but sometimes I don’t.

            You need to take care of her.

            Why?

            Because you don’t want to end up like me, that’s why.

            I had the felt rolled out over the frame. I was balancing on the thin slats that were all I had to cross back and forth over the length of the roof. I took the roofing nails I had that were in a small glass jar with a faded label beside me. I was nailing them in and hoping I wouldn’t hit my fingers because I could hardly feel them in the first place. My hair was blowing all over, and I could see the burning tip of my nose when I focused from the inner corners of my eyes.

            I said, It wouldn’t be so bad to be you, you know. I told him that she screwed it up, not him.

            He said nothing but he cleared his throat again.

            I started hitting nails in more quickly. I drew the collar of my coat up hoping it would keep me warmer. It was getting darker.

            I said, She did terrible things, Dad. It’s okay to blame her.

            He said, She does a lot for us.

            Then where is she?

            All right, he said, I’m coming up because you don’t know what you’re doing with those nails.

            He grabbed both sides of the ladder and planted his feet heavily each time. It creaked and rocked.

            I said, Get down, you’re gonna get stuck up here.

            I’m coming up before you ruin the whole roof.

            I started hammering very quickly. I thought if I could get all of the nails in before he got to the top of the ladder then he’d just go back down. But I saw his stubbornness, and it made me think about Sarah, because I’d be lying if I said it didn’t. I’d be lying if I said I wasn’t worried that Sarah would’ve done the same thing to me that my mom did to him.

            I was crawling on hand and foot to the last row of nails and I looked back and saw his hands grab onto the edge of the frame.

            I said, Are you insane? You’re going to fall through.

            He said, At least if I die I won’t have to see how bad you’ve fucked up my roof.

            Did she throw away Michael’s Halloween stuff, Dad?

            No.

            Did you let her throw away his shit, Dad?

            It had to go.

            I stood up on the roof and turned to him. I was struggling across the length of it over to him, trying to stay balanced on the slim bits of the frame underneath the felt. He was standing on the top rung of the ladder, trying to get the courage to step up onto the roof.

            I said, How could you do that?

            What, did you want a bunch of pumpkins all over the house for the rest of our lives?

            I said, She made you. I said, She made you do it.

            No, she didn’t.

            Yes, she did, and Sarah’s going to do the same thing to me if I’m not careful, isn’t she?

            He was getting a little emotional and between that and his trying to get onto the roof, the ladder was swaying on and off of the building.

            Hold onto her, he said, she’s a good kid.

            I’m not sure I should take your advice on women.

            Your mother needs us.

            I said, Do you remember when she left us, do you remember? And then the ladder fell backwards and a rung grabbed his ankle and took him to the ground.

            I saw him moving around and I knew he was OK. He was cursing and flailing, but he was OK. I was sure he wasn’t strong enough to push off the ladder.

            I said, Hang on, let me get down.

            I’m fine, finish the roof.

            You can’t get the ladder off.

            I can get the ladder off, I can move the ladder. I’m in control of it.

            He said, Don’t lose your damn girlfriend because you’re like me.

            I sat on the edge of the roof and I watched him struggle under the ladder. His breathing was heavier than I’d heard it in a long time, but he got it off. He just lay on the lawn for a little bit looking up at the sky, breathing heavily. I looked back out away from the house and I looked at the grass that hadn’t been mown but was too cold to keep growing by itself. I looked at the trees and the marsh and the tiny smudge of sun behind the gray pane of sky that wouldn’t let it through.

            He said, Do you remember when she left?

            And I said, Yes.

            Well, I do, too.




Cole Phillips is a writer and English educator from coastal Maine. He is currently an MFA candidate at New England College. He is the fiction editor for The Henniker Review.

Pennsylvania School of Ballet Closes Due to Snow +  About Girls Standing on Steps

Marie Gray Wise


Pennsylvania School of Ballet Closes Due to Snow


No! Let them stand En Pointe
at 12th and Race
in snowflake tutus
and pink satin toe shoes
decorating Philadelphia 
with Swan Lake en masse


Let them cross into New Jersey
over the Benjamin Franklin Bridge
in grand-jetés of elegance
that imitate that great expanse


Let them pirouette the highways
to back roads and barren tomato fields
plant arabesques on strong stems
fluttering arms of bud-like gems


Please place three on my front lawn
to balancé around the house
crunching lively toe-points
into the white quiet ground


Let them sparkle dreary winter
and cheer us into March
with hope and beauty
and poise


About Girls Standing on Steps


This morning in semi-sleep
a T. S. Eliot poem
sprang from my subconscious


In that half-dreamy state
the fore-brain recited automatically
word by word, then line by line


I checked the web
and found I’d remembered
most of the first two stanzas
and vowed to never forget them again


because the girl on the stairs weeping
with flowers in her arms
is a gem of feeling
as well as artistry
no matter what Tommy Stearns said


I memorized it in my hopeful scholar days
not realizing I’m not scholar-material
being too impetuous and random
in temperament
too wide-spread and eclectic
in interests
plus not valuing
the prize of poetry enough
and not being capable of the steadiness
necessary for mastery


All day I rolled the poem and that yearning
in my head and even when it wasn’t
noon or midnight
those glorious words
sang of that other life I never lived
while reminding me
how their beauty
does not have to be absent
from the one I live now




Marie Gray Wise’s writing has appeared or is forthcoming in Tipton Poetry Review, English Journal, U. S. 1 Worksheets, The Café Review, Naugatuck River Review, Grey Sparrow, and The Paterson Literary Review. Retired from teaching, she lives in Mount Laurel, New Jersey where, besides creating poetry and substitute teaching, she is writing a novel. 

Clarification + Scar

Manuel Iris

Clarification

It’s a lie that trees
do not know the world.

A tree travels by virtue of its birds
and also travels inward
when sinking its roots.

It all makes sense:

Nothing is more fixed to the earth
than a tree,

nothing moves more through the air
than a bird

(It is a fruit
that flies)

and poetry is the fact
that they need each other.


Aclaración

Es mentira que los árboles
desconocen el mundo.

Un árbol viaja por medio de sus pájaros
y también viaja hacia adentro
al hundir sus raíces.

Todo tiene sentido:

nada está más fijo en la tierra
que un árbol,

nada se mueve más en el aire
que un pájaro

(es un fruto
que vuela)

y la poesía es el hecho
de que se necesiten.


Scar

My mother has a scar
that goes through her left wrist.

She doesn’t hide it
but we never mention it.

I have not asked if that happened
while I was a child
or before I was born.

I have not asked how she saved herself.

I do not ask why.

Sometimes
silence is a scar.


Cicatriz

Mi madre tiene una cicatriz
que le atraviesa la muñeca izquierda.

Jamás la oculta
pero no la mencionamos.

No he preguntado si aquello sucedió
siendo yo niño
o antes de mí.

No he preguntado cómo se salvó.

No pregunto por qué.

A veces el silencio
es una cicatriz.



Manuel Iris is a Mexican poet living in the United States and the current poet laureate of the City of Cincinnati. He received the “Merida” National award of poetry (Mexico, 2009) for his book Notebook of Dreams, and the Rodulfo Figueroa Regional award of poetry for his book The Disguises of Fire (Mexico, 2014). In 2016, three different anthologies of his poetic work were published: The Naked Light, in Venezuela; and Before the Mystery, in El Salvador, and Traducir el silencio/Translating Silence, in New York. This book won two different awards in the International Latino Book Awards in Los Angeles, California, in 2018.

Post Road Web Exclusives


Kevin Bertolero—Three Poems

Ali Raz—Spaghettification

Eric Buechel—Medication

Peter Markus—Three Poems

Marston Hefner—My Mother Caught On Fire

Sam Fishman—Living with Molly

Elizabeth Ellen—Three Poems

Ryan Ridge and Mel Bosworth—Three days from The Weird Years

Michele Zimmerman—Breadcrumbs to Home

Garielle Lutz—Cheap Night

Oliver Zarandi—Continue to Live

Guillermo Stitch—The House

Christopher Kang—Durée

Elle Nash—Ideation

Tom Laplaige—Some Manors

Vanessa Stone—In A Sentimental Mood

Ashley Mayne—Three Stories

Babak Lakghomi—The Rat Man

Lincoln Michel—Tawny

Glen Pourciau—Ringer

Raegan Bird—Four Stories 

Mark Halliday—Frugality 

Gregory Spatz—Mermaid 

Jon Lindsey—To DM a 🔥 

Basie Allen—Psychic Cartography

Allie Rowbottom—Two Against One

Nathan Dragon—Display

Trevor Creighton—Poker

CC BY-SA 2.0

Joanna Novak—French Antarctica

Lauren Hilger—Two Poems

Max Halper — Other Moons

Seeking the Sound of Cobalt Blue—Paintings 2016-2018:

Ellen Hackl Fagan

Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue, Lemonade (installation documentation), 2018, Image courtesy of ODETTA, Photograph courtesy of Max Yawney Photography

Ellen Hackl Fagan builds connections between color and sound using installations, interactive games, and collaborative projects that combine color-and-texture-saturated paintings with music and digital technologies. Each installation invites viewers an opportunity to explore synesthesia for themselves.

            A self portrait can take many forms. Empirical evidence of one’s life in the form of construction materials left in the garage from renovation projects around the house and garden are a source material for Fagan. Blurring the boundary between painting and photography, Fagan uses paint to capture the everyday objects around her home and life, almost like a photogram.


Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue, Glazed Blue (process documentation), 2018, Image Courtesy of ODETTA

            Working wet on wet, Fagan places her objects on soaked paper, and applies pigments after creating a pattern with tiles, asphalt shingles, jars, and plastics. As the large museum board gets covered by the layering of objects, the process blinds Fagan from seeing what is happening at the surface level, inviting chance. Equal parts conductor and choreographer, Fagan works flat on tables or the floor. A visceral communication with the painting develops from head to toe. The surface becomes a stage where molecules of pigment and fluid expand and contract while drying.

            By showing the ghostly view of the former objects, feelings of loss and memory emerge from the interplay of light and dark. Finding that the patterns created with mass-produced materials are similar to musical structures, the geometric, repeating patterns, contrasts, and nuances feel melodic. Like a life—moments of darkness and solitude, confusion, and bliss. And echoing life’s chaotic beauty, her sources can be linked to pop music, kitsch, Rimbault, Jungian psychology, Minimalism, and the decorative arts.

            Balanced between randomness and intention, Fagan’s art, like jazz music, continues to reveal limitless possibilities for improvisation. Saturation, accident, and the nature of the materials impose their own voice. Color seduces, the Siren’s call, in jewel tones.

The Reverse Color Organ—New Genre/Interactive Digital Media/Web Apps:

Ellen Hackl Fagan’s interactive digital projects explore the nature of synesthesia by pairing color to sound. In collaboration with programmer Joshie Fishbein the Reverse Color Organ is an interactive web app that viewers can download to their iPhones or Droids. Their phones are transformed into a synesthetic tool, enabling them to explore their own unique opinions about the sounds of colors.

            For the project “What Does Blue Sound Like?,” at the Mid-Manhattan Public Library (2017), passersby approaching the library entrance saw two windows saturated with color—one blue, the other red. Through a QR code they logged onto the Reverse Color Organ and began playing with the sonic palettes, keyed in to the same colors as the windows.


Ellen Hackl Fagan, What Does Blue Sound Like? (installation documentation), 2017,
Image courtesy of ODETTA

            Once they submitted their pairings, their color/sound selections were added to the Reverse Color Organ database. Through the website, visitors can choose to investigate the full breadth of the Reverse Color Organ, comparing and contrasting the color-sound pairings among different groups of people. It is Fagan’s theory that, as humans, we instinctively feel similarly about the sound of colors which may transcend cultural differences.


Ellen Hackl Fagan, The Reverse Color Organ, Data Screenshot, 2018,
Web application on phone, Image courtesy of ODETTA


Ellen Hackl Fagan, The Reverse Color Organ, Screenshot, 2018, Web application on phone, Image courtesy of ODETTA


Ellen Hackl Fagan, What Does Blue Sound Like? (installation documentation), 2017, Image courtesy of ODETTA


Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue, Winter (detail), 2017, Ink and acrylic on museum board, 108 x 60 inches, Image courtesy of ODETTA


Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue, Studio Floor (documentation), 2018, Image courtesy of ODETTA


Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue, Beach Walk (Detail), 2018, Ink and acrylic on museum board, 108 x 60 inches, Image courtesy of ODETTA


Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue, Blue Glaze, 2018, Ink and acrylic on cotton rag paper, 40 x 32 inches, Photograph courtesy of Max Yawney Photography


Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue, Yellow Static I, 2018, Ink and acrylic on Arches paper, 160 x 44.5 inches, Photograph courtesy of Max Yawney Photography


Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue, Yellow Static II, 2017, Ink and acrylic on Arches paper, 62 x 44.5 inches, Photograph courtesy of Max Yawney Photography


Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue, Winter, 2017, Ink and acrylic on museum board, 108 x 60 inches, Photograph courtesy of Max Yawney Photography


Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue, Beach Walk (detail), 2018, Ink and acrylic on museum board, 108 x 60 inches, Image courtesy of ODETTA, Photograph courtesy of Max Yawney Photography


Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue, Grasslands 1, 2018, Ink and acrylic on museum board, 108 x 60 inches, Photograph courtesy of Max Yawney Photography


Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue, Fence Capture, 2016, Ink and acrylic on museum board, 108 x 60 inches, Photograph courtesy of Max Yawney Photography


Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue, Space Craft, 2017, Ink and acrylic on museum board, 108 x 60 inches, Photograph courtesy of Max Yawney Photography


Interpreting the Passage + Of Course

Sherry Cook Stanforth


Interpreting the Passage


A train interrupted the poem
I was writing near the river
wall.  I heard vireos calling,
then that deep stir of old track


woven inside yellow compass weed. 
I could not go back to the page. I had
to cast aside my task of writing grief
(a woman carrying a sheet to cover


the face of a mantle clock)
into lyrical, storied sense. I raced
over the rain-cut hill to watch
boxcars.  Their rattling jarred


my teeth, sped up my heart in such
a way as to make my eyes tear.  I knew
the rarity of this passing—so few trains
ran these days—and I recalled the girl


I once was, standing too close to the rails
pulling nectar from honeysuckle
with the tip of my tongue, imagining
my life, ticketed and then tucked into


a journey of blurred cedar trees, hoboes.
Smoke plumes curled into a long-
whistled wail.  Chicory and grasses lifted
in the wind as blown pages, and I believed


the low hum in my bones was proof that
magic still existed along the boundaries.
I stood there, believing, while miles bent
toward the darkest part of the text: sections


bearing centuries-old coal with covers stamped
CTCX, UTLX and AMOX…something pressurized  
in white tubes.  PROCOR segments in green
bundles, steel cold pipes ready to pump


fluids into prepped earth-holes,
plus rounded tubs marked VELX,
and sulfuric acid waiting to flame
into petroglyphs. At the end, no


caboose—just two cars sporting
an artist’s grafitti—Catelin loves A.J.
scrawled beneath I AM BOSS in block letters,
sprayed with precision in primary colors.


I thought this might echo some story
I’d heard, but I struggled to translate
the folding grasses and that loud rush
of air with no words following.


Of Course


the tides will turn for you,
and for me—miracles shine
in the scaled faces of fish,
simmer inside geologic
fissures made hot by
the earth’s breath.
Every cell works
to become the body.
Territories form cities,
then expand to universes
holding wonder or
defeat.  We come to know
our place by reading
tree lines or map legends
or posted signals, following
designs for what is home,
or not-home. How alive is
the mind when naming
what is ours, or raising things  
(flags, guns, hungry children)
or burrowing deep down
for sleep! This matter now
depends on perspective:
the face of God appearing
as a burning white plume,
a thinning coyote, or an eye
ghosted on the window pane.
Perhaps one day we will
wander into light, surprised
by the beauty of arpeggio.
Or, we will keep pressing
on to meet up with our event
horizon, that final singularity.




Sherry Cook Stanforth is founder/director of Thomas More University’s Creative Writing Vision/MFA program, co-editor of Pine Mountain Sand & Gravel and managing editor of the river anthology Riparian (Dos Madres Press, 2019). She designs/produces the Express arts event series and performs in a 3-generation Appalachian family band, Tellico.  She is also the author of Drone String (Bottom Dog Press, 2015).