Darren Demaree

From The Field Party

The Field Party #1

 

in the feeder of ohio the fires burn with bodies as well as they burn with the furniture that once held the bodies it doesn’t matter if it’s summer & you can feel the heat from the two-lane the fires will be lit all night long we raise our children to track those gatherings to bring the drinks to those gatherings to bring the cord and the blood in the cord to not fear becoming part of that fire to know that the fire is ohio to laugh in spite of ohio as it masquerades as fate and then becomes fate in a twist once it has you on the bench by the fire staring at the fire feeding fall with the fire knowing that there will be no crisp without the fire without your body without your willingness to see at night far past the rational hours the midwest always claims to be all the hours

The Field Party #2

 

the guns are tucked into the field party they stare at us from the trucks the bikes the toyotas the regardless they’re always pointed at something which is always held by someone three times i’ve seen a bullet enter the fire & never return three times i’ve seen the casualty claim it wasn’t the bullet that entered their ribs we prefer the lie

Emily As We Let the Faucets Run

Teeth don’t sing,
but they know
all of the songs

& the rub
to vibration
of all of the songs

& since Emily
is only perfect
when she’s wasteful

I wait to hear
the water clear
the pipes in summer

for no other reason
than to displace
the music that runs

through my head
& echoes past my
teeth. All I want

is for her to give
me that dedication
of water

that we do not collect
that we do not use
except to quiet

my intentions for her.
She can erase me.
It’s an actual gift.

Emily As I’ve Offered

to bless each cheek swipe
as an ending

apparently, I’m not
to bury any part of her

it’s the sort of promise
that plants me with history

Darren C. Demaree is the author of fourteen poetry collections, most recently Unfinished Murder Ballads (October 2020, Backlash Press). He is the recipient of a 2018 Ohio Arts Council Individual Excellence Award, the Louise Bogan Award from Trio House Press, and the Nancy Dew Taylor Award from Emrys Journal. He is the Managing Editor of the Best of the Net Anthology and Ovenbird Poetry. He is currently living in Columbus, Ohio with his wife and children.

Editors’ Notes (Posit 25)

 

Here we are in September of 2020, with millions of people sick and dying worldwide as a result of the confluence of two deadly pandemics, one biological and the other political, even as great swathes of the United States are burning or flooding, and the nation careens towards one of the most consequential elections in its history (so please, please, VOTE). So we thought you needed a little gift. Putting Posit 25 together has been a bright spot in our days, when those have sometimes seemed few and far between, and we hope it will have the same effect on you.

In times like these, when “the fires burn with bodies” (Darren Demaree, The Field Party #1) and “the carnage is everywhere” (makalani bandele, unit_84), art may be a balm, but it is no frivolity. As contributor Hiroyuki Hamada has put it: “As our world continues to be subservient to the hierarchy of money and violence, I believe the exploration of artists to perceive the world reaching beyond the framework of corporatism, colonialism and militarism continues to be a crucial part of being human.”

Each of the stellar contributors to this very special issue may be at a different stage of their trajectory – from previously unpublished (Marije Bouduin) to rising star (makalani bandele, Thaddeus Rutkowski) to celebrated master (Erica Baum, G.C. Waldrep, Hiroyuki Hamada) – but, as you will see, each and every one of them is at the top of their game.

The free-jazz-inflected musicality of makalani bandele’s prose units supplants even as it illuminates the bankrupt elitism underlying conventional distinctions between the erudite and the colloquial. Glowing with a bold and breathless energy, these prose poems are playful as well as unflinching in their engagement with the racism baked into contemporary American life, in which “the carnage is everywhere” and “people say ‘no one’ all the time, when actually they mean ‘no one white.’” Having “located this tributary about a stone’s throw away from some postmodernity,” bandele’s prose poems “vibing in a landscape of contradictions” “economize form to go faster” until their “stories are flames.”

A deep but light-handed resonance underpins Erica Baum’s celebrated series, Dog Ears. Baum’s photographs of folded-down pages from unidentifiable books tease us with what they conceal as well as reveal, tempting us to infer what we cannot decipher while frustrating the urge to uncover what they have made inaccessible. The textures and typeface in these photographs only enhance our awareness of the tactile quality of the printed page, even as they place it definitively out of reach. The artist’s loving disruption of her source materials leads the viewer beyond the urge to resolve the ambiguities created by their fragmentation to embrace the new wholes forged by her juxtapositions and syntheses. Baum thus transforms her source materials into indelible artifacts whose effect is to offer and withhold at once, giving us no choice but to accept and build upon the ambiguous and fragmentary nature of communication itself. These powerful new pieces, incorporating references to “tragedy” “prescription” “zoomed” “mask” “spectacle” “dark” “wreck” “Washington” “post office” and more, speak directly to the experience of living in a pandemic that is “getting to all of us . . . facing danger / and the not knowing”.

Celia Bland’s sensual imagery and powerful prosody forge brilliantly unpredictable connections between such apparently disparate subjects as fish and human sexuality, familial and racial identity, horse racing and gun violence, turbulent landings and the assassination of JFK. In ringing and rhythmic language, Flounder’s eponymous narrator speaks not only for the fish “drifting off in the currents,” but for any “flesh” which is “foundered,” which is “blunder.” EX considers skin to explore what is absent, unsaid, or concealed, like the ethnically revealing “sheen of my grandfather’s arms . . . beneath his starched white shirt” despite the traces it leaves on “every armrest, on every tray table, with every scratch.” like bundles of shudders explores the very notion of arousal to forge a chain of associations from one mythos of excitement to another, from the sexualized “horse opera[s] written for the adolescent girl / in the reign of RPM” to guns, both of which are “heart bursting.” Terminaire’s very title evokes both death and flight, going on to link flight turbulence and the suit Jackie Kennedy wore when her husband was assassinated, exposing the ominous threat of “this authentic turbulence– / This Dallas.”

Marije Bouduin’s debut poems celebrate the elusive power of love even as they lament its loss. Ultimately, they evoke the loneliness and isolation of being itself. In a compellingly direct yet lyrical voice, these poems take off from Plato’s theory of the bifurcated hermaphrodites to lament the limitations of connection, even while “[t]he way your hips move impulses an orchestra to form.” In these “collective econom[ies] of variables and adverbs” the poet skillfully “appl[ies] stress to the structure and see[s] what follows,” enticing the reader to “play a game of poem string by string.”

Raymond de Borja’s haunting, gripping epistolary poem to “Dear Jean” posits a “moth-eaten world” — “After Music” — proffering a historical yet alarmingly present intimacy we share as “[t]his very evening, Jean, they are ripping the square apart.” In the world of these poems as in our world, “the riot is our figure and ground.” Like the speaker in We Requested for Some Relaxing Forest Sounds, we too want to plead, “oh please disemplot, one, someone, anyone, point by point from nature…” As this poet brilliantly reveals, even in music and art, “[o]ur mind is the silent ligature between the glass, the ornamental grass, and an idea of enclosure.”

In these powerful and disturbing prose blocks from The Field Party, Darren Demaree returns to Posit with a series of short but breathlessly urgent works about the contemporary state of the United States Midwest, in which “fires burn with bodies as well as they burn with the furniture that once held the bodies” and children are raised “to not fear becoming part of that fire” in which “guns are tucked” and are “always pointed at something.” Meanwhile, Emily As We Let the Faucets Run offers a tightly coiled tribute to the understated and sometimes paradox-infused beauty of domestic intimacy, in which the fact that Emily “can erase” the narrator is “an actual gift.”

In Connor Fisher’s rich, tactile imagery of time present and past, the properties of memory and the distance between what we remember and what we are become something almost concrete, a “strange object.” Although the narrator of Autobiography III observes that “[e]ven shepherds” — whose work is calling as well as duty – “lose their sheep,” this poet’s rare and frank attention to the world he sings puts him in no such danger. An artist of the physical and tangible (“the body [which] smells a bit off,” the ewe and her “fatty, / sweet milk”), Fisher’s calling is to “join together the small pieces of whatever strange object you chose to muster up. . . an article, a partridge, the sweat built up under your arms, a child, the image of the moon in water.” In these poems, “[t]here’s always a rhythm” in which the observation that “the sun’s down” — “[l]ike all the rest” is all we know, and all we need to know.

Gloria Frym’s unique and provocative prose works function as both conceptual meditations and modern morality tales fueled by the author’s unflinching insights into human nature. In Sense, the elusive and persistent question of ‘what is to be done’ is considered from a psychological as well as moral point of view. Whereas the character who doesn’t “sense what needs to be done” and therefore doesn’t “do the thing that needs doing” remains stuck in the same vacuous and inert occupation from which he could not be bothered to budge, the proactive path of the person who knows what needs to be done leads them to a love story “that begins the rest of two lives.” In Recycle, the temptation to betray the narrator’s principles (against treating books with disrespect) gives rise to recursive rationalizations likely to become “the gateway to further moral lapses.”

Situated, by his own description, in a contemporary sociopolitical context of “corporatism, colonialism and militarism,” Hiroyuki Hamada’s imposing and mysterious sculptures are in some respects reminiscent of missiles and bullets, warships and fortresses. However, like ‘swords into ploughshares,’ the freshness and complexity of Hamada’s refined and polished conceptions incorporate these ominous elements into balanced, yet whimsical structures reminiscent of biomorphic forms and even flexible states of matter, like liquids and gels. These are painstakingly crafted sculptures of profound emotional as well as cerebral resonance, as compelling as they are serene.

Working in an extraordinary range of media, from drawing to sculpture to installation to video, Jean Jaffe draws on her interest in psychology, anthropology, literature, and cultural history to create new realities that are as recognizable as they are strange, as beautiful as they are disturbing. This enticing sampling of her output includes clips from her live-action animations of Alice in Wonderland and A Tribute to Tesla, her graceful yet distressing biomorphic sculptural chimeras, her delicate and moving drawings, her whimsical installations inspired by literature such as Remains of the Day and T.S. Eliot’s Four Quartets, and her disturbing reimagining of the tale of Little Red Riding Hood from the wolf’s point of view. No matter the medium or subject, Jaffe’s work is informed by a probing interest in what it means to be alive, imbuing even the most whimsical of her creations with depth and resonance.

Whether working in dry pigment or acrylic and oil, Suejin Jo creates canvases of jewel-like beauty. Working with an intensely saturated, vibrant, and harmonious if often unpredictable color palette, Jo makes use of a wealth of lines, marks, and shapes which range from the geometric to the organic. Exuding a unique combination of order and energy, Jo’s dense canvases are at once serene and immensely dynamic. With their simplicity of composition and richness of detail, these paintings variously evoke nature and artifice, water and light, land and architecture, forging a sense of connection between the viewer and the artist’s quest for the beauty and meaning of what it is to be alive in this world.

Lesle Lewis is a poet of the physical and concrete, miraculously conjoined with the whimsical, like “bottle tipsy . . . sailboat muses . . . and miracle bambinos”. In these poems, teemingly alive in image and movement, the myriad contradictions of our lives are distilled: “I turn the heat on and off a thousand times. I make anti-gravity moves,” and the myriad things of the world need no explanation or irritable reaching: “Let’s let these things be by themselves, not goose-to-goose, duck-to-duck, dog-to-dog, person-to-person, civilization-to-wild, open-to -sanctuary.” Acknowledging the universal if impossible yearning “to float in an infinite present,” Lewis wisely counsels that we “talk about this now before it’s too late and two hour wars become three hundred years.”

Thaddeus Rutkowski’s tale of an evening bicycle ride has the depth of a life cycle and the velocity of the ride itself. Its brilliant, beautifully spare, and precise description reveals the inner and outer life of a narrator physically sure of himself as he navigates city traffic on his way home, avoiding a startled pedestrian who tells him to either “get a light” or “get a life.” Although he knows he does not need the former, he is not so sure about the latter, since even at the end of his journey, “when [he] pass[es] through the last obstacle, [he] will be more or less home.” On the way, near-accidents, misunderstandings, and a police stop chip away at the rider’s spirits, building a dysphoric atmosphere that functions as a subtle commentary on contemporary life – one expressed by the graffiti he notices, declining in hopefulness from “Sarah2 Marry Me” to “sadder words” like “Entropy,” “Self-Obsession,” “Mediocrity,” “Boredom,” “Conflict,” “Revolution.”

Tony Trigilio’s ornate, surreal, and witty prosody makes virtuosic sport of narrative and the language by which it is conveyed. This is the work of “an aesthete whose sacrosanct / observance prickles the highest vanes of clamor.” And yet his pastiche worlds have much in common with our own, on levels both personal: “the desperado inside my Outlook calendar,” and cultural: “The first budgets of the twenty-first century: the poke, the nub, their neo-liberalism.” Dare we hope for a time when “the dominant social group exhausts itself” — even as conditions become more dire, and “’Spontaneity’” [is] replaced by “constraint” in ever less / disguised and indirect forms, in outright police measures”? Even in a possible future world where “[f]rugal parents from Soviet Florida bicker in fumy saloons,” as Trigilio reminds us, “[w]e should’ve known swindlers can pose as subterraneans.”

G.C. Waldrep’s chiseled and luminous ruminations on the work of Jean Dubuffet and Cy Twombly offer a glimpse of their aesthetic affinities with one another, as well as with the poet himself. A potent blend of humility and sophistication comes to mind, as does a demonstrated faith in the power of the artifact to speak for itself. By considering what Dubuffet “could have said” in painting (and titling) Exodus, Waldrep elucidates the richness of suggestion inherent in the image, even as he highlights the painter’s choices: using his notoriously pedestrian materials when he “could have crushed pearls into powder;” depicting exile and displacement when he “could have said light-bearing roof / beneath which a house crouches.” In Twombly, Waldrep’s incorporation of a haunting phrase by Friederike Mayröcker recalls the painter’s search for what he referred to as “the phrase,” and Waldrep’s spare and cryptic lines nod to Twombly’s trailing lines and indecipherable text. By deploying language even while silencing it, Waldrep’s final lines suggest, might Twombly’s inscrutable and often asemic “insatiable little gardens” enact as well as reveal culture’s propensity to “hold the tongue / by its root?” Finally, by invoking the flames lit to remind the faithful to pray for the souls of the poor, Poor Souls’ Light makes its own apt and solemn offering of faith and value to all of us so sorely in need of “secret solace” in these harrowing times.

Stay safe and well, and please VOTE as if your life depends on it — it does.

with love and hope,

Susan Lewis, Carol Ciavonne, and Bernd Sauermann

Editors’ Notes (Posit 9)

 

Welcome to Posit 9!

We love this first issue of 2016, which makes us think, in a number of different ways, about the expansive potential of artistic innovation. First, there is the incorporation and re-appropriation managed by the procedural poetry of Carlo Matos and Travis Macdonald, offering glimpses of the erased and remixed words of writers like Simone Muench, Mark Lamoureux, and Paul Killibrew. In addition, there is the implicit dialogue between new and previous work by returning contributors — in this issue: Darren C. Demaree, Howie Good, and Travis Macdonald. All of which reminds us of the extent to which art is, by definition, about incorporation and re-imagination, whether it is Anis Shivani’s Great Wall, Howie Good’s tornado, Robert McBrearty life story, Eileen Tabios’s litany of wonders and horrors, or the alchemical transformation of source material aced by every artist (visual as well as literary) featured in this exciting issue. So, it is with great pleasure that we invite you to peruse:

Darren C. Demaree’s spare, suggestive, “quiet, lowered /. . . roaring/ . . .& ecstatic” probings of identity, intimacy, and the quest for grace;

Samantha Duncan’s smart, tightly-wound, vivid constructions tracking a paradoxical “graduation from the gradient” via “veins that listen” to her extremely telling “curl/ of words;”

Raymond Farr’s wistful prosody, revealing “the sublime the ironic like a 5 o’clock shadow” where “love is a man ruled by the sun & not the itch in his bones” and “even this sad yellow paint has seven shades of itself;”

Howie Good’s somber prose poems populated by “a new god seated on a throne of razor wire,” “gray gulls, their shrieks like symptoms of dementia,” and “words, some bandaged, others still bleeding” mercifully leavened by irony, imagination, and even love;

Maja Lukic’s quietly intense evocations of cityscapes furnished with “gutted wind” and a sky which “promises to rain / money bags and emoji,” or offers snow like “cracked glitter, paw imprints in new dustings, / effigies of our old breath, frozen in the air;”

Travis Macdonald’s compelling remixes of poems by Killibrew and Lamoureux, demonstrating “how all true/going is taking” and raising intriguing questions about the relationship between vocabulary and voice;

Carlo Matos’ haunting erasures of Simone Muench’s Wolf Centos (themselves reconfigurations of other poetic texts), troubling our assumptions about center vs periphery, absence vs presence, and the loud voice of the unsaid, “when tenderness/nestles down/with her she-mask” — “sans teeth, sans/you;”

Robert Garner McBrearty’s impossibly compressed microfiction, in which the task of writing his companion’s life story deteriorates to stunning effect;

Cindy Savett’s intriguing invitation to follow her on “a trip where the babies lie flat/ tracing resistance with their fingertips” leading us careening “down the middle in an instant of delight,” only to stand speechless wondering “how do I sing of white lilacs and pine?”

Anis Shivani’s virtuosic bricolage of allusive musicality and aphoristic insights nailing “art, the fleabite to time,” transforming “partial manuscripts signed/ by the angels of detritus” into “experimental gardens . . . [imbued with] the nuance of musicality;”

Eileen R. Tabios’ masterful litany of all that could never again be forgotten, once she “composed this song that would turn you into ice, so that you will know with my next note what it means to shatter into tiny pieces the universe will ignore;”

and Leah Umansky’s inspired revelations of the “satisfaction in seeing the day as something clear for landing or for sending off” where “once, there was the falling of night and I was alone with its steepness, and . . . felt I was a pooling of light; a door-sliver and golden beam.”

Thank you, as ever, for reading.

Susan Lewis and Bernd Sauermann

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And welcome to the visual art of Posit 9!

Keren Kroul’s complex and beautiful paintings evoke maps of imaginary countries or the pathways of the brain. The individual sections stand strongly on their own, but conjoined in the large grids presented here, they make a statement that is simultaneously bold and intimate. The sum is as beautiful as the parts.

The mixed media sculptures of Sydney Ewerth turn our expectations about space and materials topsy-turvy. Her play with the object and its painted shadows confounds our expectations even while her materials and colors delight the eye. Her aesthetic is clear and the work masterful.

Don Porcaro choreographs an elegant dance between the two- and three-dimensional pieces presented here. It is evident how his work in one medium reverberates into another. His colorful and almost playful forms belie the serious artistic concerns that underlie this evocative body of work.

The lyrical paintings of Sarah Slavick are reminiscent of the movement of water, wind and sand. The rhythm and dynamism of her patterns are mesmerizing, with light and color moving through and around them, underscoring their complexity.

Mariah Karson presents a fascinating vision of landscape, whether it be the interior landscapes of abandoned school buildings or the poetics of isolated buildings in desolate settings. The solitude in her photographs is profound, and perhaps a little lonely. However, she frames this vision with a clarity that is elegant and precise.

Cheers!
Melissa Stern