Zeke Jarvis

Las Vegas

The bum approaching the businessman is covered with grime. He’s wearing an awful lot of clothes for this heat, but everyone knows that bums like to layer. The bum smells terrible. It could be sweat or puke or garbage, knowing the bums here. The businessman that the bum’s approaching looks towards this wretch with his eyes only, keeping his face turned towards the other side of the intersection. The bum mumbles something about spare change, and the businessman shoots back, “Get a job!”

The bum straightens himself. “Look Buddy, I’m a Viet Nam vet. I fought for my country and now they fucking spit on me. You all fucking spit on me! Spit on me and shit on me and leave me to die.” The bum whirls around, pointing at nobody in particular. “I can’t get a job, they won’t let me get myself together. What am I supposed to do?” His voice breaks and he falls to the ground.

There’s silence. Then the businessman laughs and a family a little way down the sidewalk applauds. “Shit is a word you shouldn’t say,” the mother says to her son, but she smiles and gives his shoulder a little squeeze.

The bum rises, smiling, and bows to the family. The businessman hands the bum some money and the family sends their child over with a dollar for him. The bum thanks them both and wobbles a little bit for the child. He belches, softly, and the boy laughs.

“That was good,” says the businessman. “Were you really in Viet Nam?”

The bum folds up the money and stuffs it into a pocket of his innermost shirt. “Nah, it was a little before my time, but I did have an uncle who fought there. Terrible business.”

The businessman nods. “You pulled it off well. Do you have any cards?”

“Cards?”

Just then, the mother from the family interrupts. “Excuse me. Do you think our son could get his picture taken with you?”

“Sure,” the bum says, smiling. “Do you want me to look defeated or menacing?”

“I have to go,” says the businessman, “but I enjoyed your work. If you had a card… or a website, even, I could hook you up with some clients or coworkers who are in town at conventions.”

The man smiles again. “Vegas is a wonderful town for that. I don’t have a card, but I generally work around this casino.”

The businessman nods. “Good luck.”

“Thank you, Sir. Now was that menacing or defeated?”

“Oh,” says the mother, “menacing, please.”

The bum leans in over the child and glowers. The child begins to moan and whimper. The bum relaxes a bit. He points to his shoes, from which his big toes stick out. He wiggles the toes and the child smiles. “Sorry,” says the mother, “We’re from Wisconsin; he’s not used to this.”

“That’s fine,” says the bum, looking now only slightly threatening as the mother takes the picture. “That’s just fine.”

Zeke Jarvis is an Associate Professor at Eureka College. His work has appeared in 4 Chambers, Petrichor Machine and Moon City Review, among other places. His books, So Anyway… and In A Family Way were published by Robocup Press and Fomite Press.

Editors’ Notes (Posit 8)

 

Welcome, readers and viewers! We’re delighted to ring out the end of 2015 with the extraordinary poetry and prose we’ve gathered for this issue of Posit. It’s an honor to publish such a rich mixture of innovative verse, short fiction, and poetic prose by literary masters at all stages of their careers, to wit:

Doug Bolling’s Scalapino-esque “…words carried from a valley a stream a mountain / just to be there cherished, fondled” by gorgeous metaphors creating “a poem of unknowns / a Magritte refusing all margins;”

Susan Charkes’ wry compendia on Practicing Panic (“adopt aroma of freshly cut cucumber” and “elude infinity”) and Unreachable Planets such as the PLANET OF CONSTANT DOWNDRAFTS (“Gravity: not an issue”);

Norma Cole’s ferociously beautiful narrative fragments of a fraught nation kept together and apart by the ‘Surface Tension’ of an iconography of sentiment and violence, in which golden angels and grandchildren eating butterscotch sundaes give way to women sleeping on sidewalks, Halloween “or some / other masks beheading,” and “the mortars again;”

Christine Hamm’s magnetically surreal texts, in which “You said the antlers in the bucket were part of you, asked me if you should burn your necklace, the one with someone else’s name;”

Zeke Jarvis’s masterful short story about art, artifice, and free enterprise, Las Vegas style;

Halvard Johnson’s disturbing ode to The Art of Deference with its haunting last line, complemented by the resonant compression of 14 Interventions, in which “poem grenades,” like “old leaves,” “turn to / reservoirs of life;”

Carlos Lara’s virtuosic excerpt from Several Night, a “monologue of another destroyer” “ready for whatever’s next play” and populated by “numinous projectile clouds” as well as “music looping the dream archer of dreams;”

Anna Leahy’s “exacting forms” “pregnant / with possibility of motion” mirroring the beauty and menace of nature as well as “the spark of brazen imagination;”

Christina Mengert’s mind-meld with Spinoza, yielding remarkable hybrid philosophical/poetic ‘Definitions’ “by virtue of mental trampoline, / bouncing into idea as a consequence / of grace” via a collaborative “intelligence / conceived through something / more itself / than itself;”

Carol Shillibeer’s magnificent “loyalties to worlds, words and their pleasures…” posing the question, “What work has there ever been but perception?”

Danielle Susi’s brilliant juxtapositions, in which “Volume sleeps on my tongue today / because teeth can sometimes look / like pillows,” provoking us to wonder “When two sides of an abrasion stitch / back together, what do they say?”

and Derek Updegraff’s haunting and suggestive story Café, “about him and her. That’s all” although it somehow manages, in 350 words, to open itself to the far reaches of the universe.

As always, thank you for reading.

—Susan Lewis and Bernd Sauermann

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It is my pleasure to introduce another wonderful selection of painting, photography, sculpture, and video in this issue of Posit.

Meryl Meisler has been taking photos since she was a teenager, chronicling her youth in Long Island and young adulthood in NYC in the 70’s and 80’s. Her keen eye has captured moments that are funny, moving, and offer wonderful portraits of an era.

Helena Starcevic’s carved and fabricated sculptures reflect a distinctly modernist sensibility. Cool and stripped down to their essence, these are elegant objects. Working with a restrained palette, she conveys the beauty of the form, using the contrast between matte and shiny surfaces to allow light to caress the contours of her sculptures.

The haunting videos of Pierre St. Jacques delve deep into the psychological realm of human relationships. The Exploration of Dead Ends, from which we present an excerpt, as well as still photographs and video installations, is a beautiful portrait of a man caught in the endless cycles of his life. The result is visually stunning and deeply moving.

The sweeping gesture of Heather Wilcoxon’s hand can be seen in all of her energetic and evocative paintings. Strong and committed markings typify these works. Human and animal forms live harmoniously amidst swirls of color and form in compositions dreamily reminiscent of a life lived near the sea.

The sumi ink drawings of Katarina Wong are bold, thrilling and often a bit frightening. She brings us face to face with an Inferno of emotions that swirl and whirl across the page. Recognizable human and animal features emerge and then sink into the energetic darkness.

I hope you enjoy!

—Melissa Stern