Post Road Magazine – Issue #03 | Spring/Summer 2002

FICTION:

The Sweater, The Pair of Shoes, and the Jacket, by Rebecca Curtis
Vegetable on the Hoof, by Chris Offutt
White Square, by Brian Evenson
The Museum of Speed, by Len Jenkinson

POETRY:

A History of Kansas + Scenic Overlook, by Jennifer Kronovet
From The Lichtenberg Figures, by Ben Lerner
Why Sleep + Ocean is a Word in This Poem Cate Marvin 44 Rabid Dog + Looking at Satan, by Sarah Messer
In A Certain Place, At A Certain Time + The Prince, by Kate Moos

THEATRE:

Responsibility, Justice, and Honesty: Rehearsing Edward Bond’s Saved Ken, by Rus Schmoll

RECOMMENDATIONS:

Karoo by Steve Tesich, by Thomas Beller
Bruno Schultz and Bohumil Hrabal, by Myla Goldberg
The Alphabet in the Park: Selected Poems of Adelia Prado Translated from the Portuguese by Ellen Watson, by Steve Orlen
O.Henry, by Michael Snediker
James McMichael, by Robert Pinsky
Five Essential Modern Short Stories, by Jaime Clarke
Dangerous Muse: The Life of Lady, by Caroline Blackwood,
by Nancy Schoenberger, by Liam Rector
Winton, Munro, Berger, by Frederick Reiken
The Book of Disquiet by Fernando Pessoa, by Anne McCarty

CRITICISM:

Why Baltimore House Music Is The New Dylan, by Scott Seward

ART:

Wildwood: Nelson Bakerman

NONFICTION:

My Word: Memoir’s Necessary Betrayal, by Lee Martin
Moving Water, by Kevin Holdsworth
Shouting Obscenities at George Bush the Younger, by Olisa Corcoran

ETCETERA:

Letters: Letters Home from the Pacific, 1944-46, Francis Arthur Flynn: Compiled and Edited by Rick Moody
Travelogue: What is the Color of Hope in Haiti? by Jason Wilson
Biography: Extending Harry Crosby’s “Brief Transit”, by Edward Brunner

Post Road Magazine – Issue #02 | Fall/Winter 2001

CRITICISM:

“Old Man Your Kung Fu is Useless”: African American Spectatorship and Hong Kong Action Cinema By Tzarina T. Prater

ETCETERA:

THE DEVIL’S DICTIONARY, by Ambrose Bierce
The Strange, Entertaining, and Sometimes Behind-the-Scenes Story of Cleo Birdwell and Don DeLillo, by Alan Smithee (Chuck Bock

From Daughters & Sons to Fathers: What I’ve Never Said, Compiled and Edited by Constance Warloe
Excerpts from Letters to My Father (4 different letters), by Pablo Medina, by Naomi Shihab Nye, by Dawn Raffel, by David Shields

FICTION:

Becky, by Courtney Eldridge
V. F. Grocery, by Ben Miller
Homestay, by Rachel Sherman

NONFICTION:

It’s Like Being Raised in the Wild, but with More Style, by Peter Bird
How To Reach Me: A Manual, by Jeremy Simon
The Aperture Between Two Points, by Kathleen Veslany

POETRY:

For you, a poem + I see my grandmother again, by Annie Kantar
River In Dusk + Shooting Star, by Joanna Klink:
Mamma Didn’t Raise No Fools + A good idea, but not well-executed, by Rebecca Wolffe
Birth Mark + Cock Robin, by Miranda Field
Indian Song + Urban Renewal ix. To Afaa Michael S. Weaver, by Major Jackson
Adjacent + Glancing At, by Frances Richard

RECOMMENDATION:

A Boy’s Guide To Drinking And Dreaming — Jonathan Ames
Who I was Supposed to Be: Short Stories by Susan Perabo — Rebecca Boyd
Blaise Cendrars — Martha Cooley
Books For Readers and Other Dying People — Will Eno
Mendel’s Dwarf, by Simon Mawer — Tara Ison
Italo Svevo’s “Confessions of Zeno,” — Ken Kalfus
Irena Obermannova — Ivan Klíma
Little Boys Come From the Stars by Emmanuel Dongala — Tom Paine
William Bronk — Victoria Redel
Great Books — Jim Shepard
Maurice Blanchot’s L’entretien infini (The Infinite Conversation) — Mark C. Taylor
W.G. Sebald — Charles Wright
Aaron Fogel — David Lehman

Post Road Magazine – Issue #1 | Spring/Summer 2001

FICTION:

Eminence by Gary Lutz
A Love Transaction by Maile Chapman
Austin by Kelcey Nichols

NONFICTION:

Yamba by Joyce Lombardi
Plan of a Story That Could Have Been Written If Only I Had Known It Was Happening by Gail Hosking Gilberg
The Man Who Wasn’t There by David Manning

CRITICISM:

“I said I’m not yr oilwell”: Consumption, Feminisms, and Radical Community in Bikini Kill And “Riot Girl” by Hillary Chute

POETRY:

Hiatus by Mark Bibbins
Amber + Statuary by Nick Flynn
Black Lemons by Kathy Nilsson
Barcarole by Larissa Szporluk
Untitled + Untitled by Karen Volkman
The Effects of Sunset by C. Dale Young

ART:

Catherine Anthenien: Photographs

RECOMMENDATIONS:

Douglas Bauer on Keith Scribner
Sven Birkerts on Various
Susan Breen on Robert Creeley’s Collaborations
Austin Flint on Eeva-Liisa Manner
Amy Hempel on Pearson Marx
Pete Hausler on From Hell
Kristina Lucenko on Jane Bowles
Rick Moody on Michael de Montaigne
Julia Slavin on Maile Chapman
Charles Smith on Dan Shea
A Postcard from E. Annie Proulx
Mike Rosovsky on Tom Franklin
David Ryan on Luis Buñuel
Charles Smith on Dan Shea

ETCETERA:

Translation: Angel Station, by Jachym Topol – Translated from the Czech by Alex Zucker
Profile: Desperately Seeking Pacino, by Jaime Clarke
Document: The Great Gatsby Contract

THEATRE:

Technical Drawing I + II by Rocco van Loenen
Directing Grand Guignol by Dawn and Marty Fluger
Composing for Grand Guignol by Marty Fluger

COVER ART: Detail of “Car – Cuba 1998” by Catherine Anthenien (image courtesy of the artist)

A Love Transaction

Maile Chapman

It takes us hours to get everything cleaned up.  I do the lighter jobs.  He does the heavier jobs.  He does anything with lifting, anything with twisting, anything that I can’t do because I am prone to having cramps around the baby-thing.  The entire area is sore, and lifting is bad, it provokes the pains down there.  I have never told him about my health condition but I assume he must have guessed that I am not completely normal.  I know he makes it easier for me, and in exchange I let him hurry me through.  He has a standing plan for after work.  It is probably a girl, I don’t know, I almost don’t want to know, I never ask and he never volunteers.

            If he wants to know about it indirectly, he can find out from the office manager.  She’s the only one I’ve told, and I only tell her about my situation when it affects my job.  Even then I don’t tell her everything, not too many details.  So far I have only told the minimum, that it pinches inside when I have to lift the metal gates and drag the hose out.  I told her about the pressure from the baby-thing and the problems caused by the partial bones, because although they are small, and soft, it’s uncomfortable when I have to bend down to do the gutters in the indoor runs.

            We can have him do it for a while, she says.  She seems sympathetic, but people don’t really want to know the private story.  I am sure it makes her want to go home and get away, get comfortable.  She’s got a husband.  That’s what she says, she likes to go home on time so that she can see her husband.  But sometimes she stays a few extra minutes to check in with us.  With me, since he’s usually already started on something.  He doesn’t talk at all during the first part of the shift.  He sweeps, then turns on the waxer and guides it away from her, pretends he can’t hear when she says it’s time to have a word.  So I listen.  She tells me whether there are any overniters in the back, how many, what the special needs are.  Someone puts a towel over their doors before we arrive so that we don’t upset them with the equipment.  We never even see them.

            She slips on her belted raincoat while she goes over the details.  She takes her purse out of the bottom drawer of the file cabinet, takes her keys off the hook.  She wants to leave in her high-heeled shoes before the floors get wet.  I have tried to get him to talk about her, I thought that maybe there was an attraction there, I thought maybe that’s why she made the point to stay around a little, to see him, to try to talk to him over the hum of the waxer.  When I brought it up he looked at me like I was crazy.  Which was an answer that made me happy.

            We have a pattern of activity together.  While he does the indoor runs and the floor I go out back and dump the small boxes of waste.  I take the outdoor broom to the fenced area and flip any stools into the bushes.  After a while he comes out to smoke and I stand there a minute because he might say something, now that the worst part of the cleaning is over.  Then I go inside to bleach the exam rooms and do a general wipe-down.  When I’m almost done he gets on the phone.  He has a conversation with someone, with whoever it is that waits for him every night.  When he hangs up he says, are you almost finished?  By then I am checking on the overniters.  He won’t have anything to do with that.  He won’t go near the berths, doesn’t want to get that close.  I put an ear to each, making sure I hear the breathing.  We get ready to walk out the door together.  He waits while I set the alarm, and then we’re done.

            Depending on his mood he will let me give him a ride somewhere.  He likes to get out at a certain intersection midway between the clinic and where I live.  He points and I pull over.  At the intersection are a gas station, a tavern, and a dark apartment complex.  He waits until I pull away before he starts walking.  I’m sure he goes into the apartment complex.  It is a poor-looking place.  I think there’s a girl in there, waiting.  I know that he thinks I’m spoiled because I have the car.  He doesn’t understand the necessity.  I can’t do the walking that he does.  I try to tell him this while we drive but I want to keep it vague.  I always hope that when we talk he won’t ask openly about my health.  Saying too much about it would give the wrong impression, especially under the circumstances, he and I alone together in the darkness of the car.

            I have appointments I need to get to, I say.  I have to drive.  I can’t do the walking, for my medical reasons.  I really can’t.

            He looks away out the window.  He says, that’s probably not any of my business.

            I hope he won’t make me say more.  The best I can do is to think about my situation as hard as I can, and hope he picks up on it.  I picture the proteins, the spotty tissues all sealed together.  The baby-thing with hair and teeth comprising twenty percent of it.  I think about how much I don’t want to describe it to him just then.  How much I want to be natural and not suggestive with my details.  And he has mercy.  I think he sees how it is with me.  I think he knows that it isn’t my fault, that it was a sterile happening, and that despite everything, I’m still a very nice girl.  By this I mean that I have a good heart, and could be helpful.  He could ask me for anything, and I’d give it to him.

            The office manager waits and talks to me in private.  First she asks about my health, and I tell her that none of the doctors is telling me anything new, that it’s going to be surgery eventually.  Even though I don’t want to take the time off.  She says that I can cross that bridge when I come to it.  Then she asks how it’s working out to have both he and I doing our shifts at the same time.  I say that it works well.  She asks whether it isn’t too distracting and whether it isn’t taking us too long to finish.  Distracting?  Did he say that?  I am careful to be neutral.  I ask her whether he has made any comments about me.  Her kindness wavers and I see envy in her face.  Not in so many words, she says.  He’s concerned with getting out on time.

            We always get out on time, I say. 

            We’ll talk again later, she says, getting ready to leave.

            But I know that something is going on.  He’s been thinking it through on some level or he wouldn’t have said anything about me, one way or another.

            I stay out of his way, to make him wonder, to make him notice my absence when he goes out back to smoke.  In the exam rooms I listen for him.  I know that he is right there.  I know that he is being careful not to think about me.  My heart expands.  The baby-thing shifts with excitement so that I have to stop and steady myself against the stainless steel table.  I am almost sick with all of the possibility, all of the potential for happiness.

            Nothing changes for several days, except that I avoid him.  I find myself taking more time with the overniters.  Adjusting the draping over the recovery area, repositioning the green mesh over the heatlamps.

            Then I arrive and he is smoking outside in the parking lot.  When I walk in he follows and goes into the back.  The office manager is waiting.  She says, he won’t listen to me.  Can you make sure that he knows there’s a leak in the big room?  He simply won’t listen to me.

            Runoff water is coming from somewhere.  I can hear it hitting the floor.

            She says, for god’s sake get it mopped up.

            The concrete walls are painted white.  Water runs down them like glaze.  I hear him turn on the waxer in the back.

            He’s going to be electrocuted, she says.  I tell her that I will take care of the water.  I promise.  She wants to leave, and I want her to leave, to go home to her husband, to leave us alone.

            When she is gone I bring towels from the utility room, dirty towels from the bin, I’m touching them with my bare hands but I don’t care.  The water slowly accumulates in the corners.  I need more towels.  Just leave it, he says.  I’ll do it.

            There is a chill from the seeping water.  I listen to the overniters and check the controls on all of their heating pads.  I turn them each up by one setting.  Not too much, otherwise the overniters who can’t move will become dangerously overheated or even burned.  Sometimes they are too weak to shift themselves off the pad.  I hear him in the next room, moving towards the phone, making his usual call.  I don’t look under the toweling but I can hear stirrings behind the bars when I pause outside each berth.

            He is on the phone.  He says, did you find out?

            There is nothing but the sound of water, and then he says, I don’t believe it.

            There are jerky movements in the last recovery berth, the sound of nails against stainless steel.  I move the toweling a little.  I make larger movements than necessary, to catch his eye and remind him that I am here but he doesn’t notice.  He stares straight down at the phone.  He says, are you sure?  His voice gets lower; are you sure? Okay, he says finally.  Okay, but stop.  If you’re sure then crying won’t help now.  He hangs up.  I repeatedly adjust the toweling.  It is light pink, frayed around the edges.  I tuck it more securely around the frame of the door.

            I keep my back to him.  I am giving him the chance to make up his mind about something.  My fingers are between the bars for a long moment during which I hear nothing from him in the room behind me.  I try to maintain my calm.  I hear the nails again faintly and I am afraid that the overniter is about to touch my fingers.  Maybe bite my fingers.  But I know they are all delirious, not even aware of me.

            He pulls the waxer away from the wall.  Pauses.

            Can you give me a ride somewhere? he says.  It is the first time he has had to ask.

            Of course, I say.  Inside I feel a mounting pressure.  I slide my fingers further into the cage.  Labored breathing.  Delirium.

            He puts the equipment away, the floors undone.  He lines the corners and baseboards with rags to catch the seepage.  He is on his knees.

            I do the exam rooms, fast.  He is waiting.  He is nervous.  He can’t stand still and goes outside.  I step out of the building, lock the door.  Set the alarm.  Push the buttons.  He throws his cigarette into the gravel and we get into the car.

            I drive him to a cash machine where he withdraws the maximum allowed.  Then he asks me to take him to another cash machine nearby, where he attempts to make another withdrawal.  He has reached his daily limit.  He reads the screen, appears not to understand.  He tries again but can’t take out any money.  He gets back into the car, waits, and then asks me to drive him to another cash machine.

            By now it is dark out.  I tell him it’s no use, that no machine will let him take more.  He says he has to keep trying.  He won’t look at me.  I know he is thinking that I don’t understand, that I can’t understand the frustration.

            How much? I say.

            His hand twitches on his leg.

            I don’t know, he says.  Anything.

            I step out of the car with my purse, take out my debit card.  It slides neatly into the machine.  My fingers feel swollen when I press the numbers.  I know what kind of gesture this is.  I would take it all out, if it weren’t for the limit, and so I go that far, and will give it to him in crisp new bills.  I get back into the car and sit beside him.  Breathless.  My hand touches his when he takes the money.  His eyes look shiny and red.  I feel a pulsing everywhere, a throbbing even in my throat, because now I know that eventually I will have him.  Now I know that the girl in the apartment complex will be easy enough to forget, it will only take money to fix that situation.  And I never even had to bring up the baby-thing.  All of that has been left undescribed – there is still all of the telling to look forward to.  I’m thinking about the patience he will have to have, and the secret things he will do for me when we are alone together in a safe place.  I have to sit and hold it in for a second before I can drive, before I can even turn the key, because of the movement, the excitement, the hidden cartilage twisting in anticipation of him.

MY FIRST REAL HOME

by Diane Williams

In there, there was this man who developed a habit of sharpening knives. You know he had a house and a yard, so he had a lawnmower and several axes and he had a hedge shears and, of course, he had kitchen knives and scissors, and he and his wife lived in comfort.

Within a relatively short time he had spent half of his fortune on sharpening equipment and they were gracing his basement on every available table and bench and he added special stands for the equipment.

He would end up with knives or shears that were so sharp they just had to come near something and it would cut itself. It’s the kind of sharpening that goes beyond comprehension. You just lean the knife against a piece of paper.

Tommy used to use him.  Ernie’d do his chain saws. 

So, I take my knives under my arm and I drive off to Ernie’s and he and I became friends and we’d talk about everything. 

“I don’t sharpen things right away.  You leave it – and see that white box over there?” he’d said.  That was his office. It was a little white box attached to the house with a lid you could open and inside there were a couple of ballpoint pens.  There was a glass jar with change.  There were tags with rubber bands and there was an order form that you filled out in case he wasn’t there. 

He wasn’t there the first time I came back, at least I didn’t see him.  

I went up to the box and those knives were transformed. 

As I was closing the lid, he came up through the basement door that was right there and we started to chat and he has to show me something in the garden, so he takes me to where he has his plantings.  It’s as if the dirt was all sorted and arranged, and then, when I said he had cut his lawn so nice, he was shining like a plug bayonet. 

All the little straws and grass were pointing in one direction. 

“I don’t mow like my neighbor,” he said. 

Oh, and then he also had a nice touch — for every packet he had completed there was a band aid included.  Just a man after my own heart.  He died. 

I was sad because whenever I got there I was very happy.

Jerry Hunt: Four Video Translations

At the age of twelve, Jerry Hunt founded his first church, using a friend’s lithograph machine to print tracts, which he then sent to followers who responded to notices he had posted around suburban Dallas, Texas. In the pamphlets, Hunt combined lectures on alchemy with devotional exercises, simplified yoga, voodoo and the rituals of the pentagram and hexagram. Each month he answered letters from devotees who would send money to a post office box address, asking for additional informa- tion, none aware that they were dealing with just a kid. Which in a sense wasn’t true anyway. From early on Jerry Hunt seems greater than his years. in this case he meant everything he wrote, and responded to each letter with complete earnestness. The church was no scam; it was some- thing he believed in. His interests were in persuasion, and he believed he could help these people. Money had little to do with it. Already a member of every Rosicrucian order that existed at the time, he eventually attained initiate status–again, though he was underage.

He’d also shown a prodigious talent for the piano by then. Years later he studied music formally at North Texas State, and then pursued a career as a pianist, eventually experimenting with extended playing techniques, feeding into them his developed knowledge of electrical engineering and computer programming. He began building the appa- ratus for his performances when none existed to achieve the result he wanted.

It seems evident, going back to the mail order church, that his interest in music was simply an extension of the genius and devotion he held for religion, magic, alchemy, secret orders, electro-magnetic prop-

erties, the discourse of computer code. . . the vibration of the piano’s harp tapped by a row of coordinated hammers, invoking a certain combina- tion of vibrations per second, entering the air, and then the ear, altering processes in the brain. Sound is just another transmutation, yet another persuasion.

With this oversimplification we might approach the mind and art of Jerry Hunt: A general fascination with interaction within and without a system, of a presence one can’t always see, but must know, or at least believe, to exist. An orchestration of impulse. And then a million impossible specifics.

The following video stills are taken from Jerry Hunt’s Four Video Translations*–the only video release by the composer, and a late docu- ment of a remarkable, if far too brief, creative life. The stills serve as weak proxy to the actual video, maybe even irrelevant, given the sonic, choreo- graphic, and kinetic qualities offered on the video itself. Hunt’s composi- tions mutate with electronic, motion triggered sound, his intended acci- dents merging with the orchestrated score. Unpredictability was part of the event. The human ‘element’ in each of these–Hunt in solo, paired up, or reduced to a head on an Elizabethan collar, are each set against a black backdrop. Objects fly in and out of frame as his body convulses, twitches, spins, and inspects. When Hunt speaks, his prayers, invocations, non- sense, duologue, and poetic fragments seem both entirely off a point, and completely on. In the manner of the best surrealists (and religious practi- tioners), the unconscious mind of the work responds with an undeniable logic, even as it denies our identification of its surfaces.

In the first piece, Birome [zone]: plane (fixture), Hunt plays homunculus, using various objects to help‘dance’ to the music while his convulsing, entranced body plays off the ‘plane,’ responding to stimula seen and unseen, as in tropism.

Talk (slice): duplex, the second piece, is a duologue between Hunt and Rod Stasick—in essence a string of interruptions, whose length is determined by the slapping of a clave; occasionally a continuum of thought is created.

Third, in Bitom [fixture]: topogram Hunt plays a kind of sci- entist/investigator/exorcist to the subject/prisoner/victim, Michael Galbreth. Galbreth holds a metal grounding plate while Hunt probes his body for electrical conductivity with a device that simultaneously con- trols the pitch of a dominating whine, throughout.

Fourth, Transform (stream): core, severs Hunt’s head onto an Elizabethan collar, as with all the other sets, against a black backdrop. The head inquires from its platter, cocks, its eyes scan up, down, as Hunt’s vocal manipulations are answered from something from out of view.

Too weird, too transcendent of the usual and obvious, too ambiguous and too powerful to be denied a rightful place in the ongoing flux of contem- porary art, I hope the snapshots that follow are better than nothing. I can’t decide whether it is sad or fortuitous that this lifelong Texan’s most visible moment in the public sphere was probably his induction into the 1990s’ Forbidden Four. It brought him attention, as it did Karen Finley and the others. But today the reality of where it has brought us–the encampment of the religious right into a devolving squatter’s rights government, and the attendant glower on honest thought and expression–seems to have overwhelmed the initial, unintended consequence of simply turning the public on to a group of controversial artists.

And yet, for this reason alone, it is refreshing to see such a mind and its high regard for the billion impulses of potential in a single

–David Ryan, December, 2004

*(Available from oodiscs.com—catalog listing: videoO #1)