Categories
Poetry for mojo13

Cassie Garison — Ode to Callon

first recorded sex reassignment surgery in Ancient Greece


Daybreak: sparrows evaporate,

twist and wrench mechanical

into nothing. Ships fall
off every horizon. Lay down

your loom shuttle, Callon—
dissemble alphabet and disrobe

skin no longer yours. Drape
cloak over shoulder-bone, tendril

collar covered in fabric, robes
metallic as sky before

storm. Tell them not that these
were Homer’s clothes, woven

from moon shard and star
spindle, chiffon debris

and black hole. Tell them not
that you can make sun hit

all of Greece like rain-
water, that himation

hides spine trailing
behind, hollow acoustic

bone barely attached
to corpus.

Categories
Contributors for mojo 13

Issue 13 Contributors

Michael Apinyakul is a Wichita based singer-songwriter who also writes poetry and non-fiction.  Much of his non-fiction is about what he’s eaten, when it was eaten, how the air felt, and who sold him the food.  His songs are about the heart trying to describe itself without naming itself, and his poetry is sometimes about bicycles or his girlfriend or his girlfriend riding a bicycle, but mostly about other things.

Salvatore Difalco’s work as appeared in a number of print and online journals. He is the author of The Mountie at Niagara Falls, a collection of flash fiction. He splits his time between Toronto and Sicily.

KFG is a nonbinary poet, educator, & mental health advocate.  As a travelling artist based in Michigan, KFG has facilitated workshops, mentored youth programs, lectured at universities, & featured at mental health conferences across the country. They are currently on a nationwide poetry tour centered around mental health called, “The Unpacking Tour” & have forthcoming publications in Reality Beach & Open Palm Print. For booking or to get in touch with KFG about future collaborations: kfgpoetry@gmail.com

Cassie Garison studies English and Classics at Franklin & Marshall College. She has poems forthcoming in River Styx and Nimrod International Literary Journal, and recently attended writing workshops in Greece.

Henry Goldkamp has lived along the Mississippi River his entire life. Recent work appears in CutbankSLANTBridge Eight, Blood Orange ReviewCRAG, and Permafrost. In 2017, his work was nominated for a Pushcart and two Best of the Nets. His public art projects have been covered by Time and NPR.

Luis Lopez-Maldonado is a Xicanx poeta, playwright, dancer, choreographer, and educator. He earned a Bachelor of Arts degree from the University of California Riverside in Creative Writing and Dance. His poetry has been seen in The American Poetry ReviewFoglifterThe Packinghouse ReviewPublic Pool, and Spillway, among many others. He also earned a Master of Arts degree in Dance from Florida State University, and a Master of Fine Arts degree in Creative Writing from the University of Notre Dame, where he was a poetry editorial assistant for the Notre Dame Review, founder of the men’s writing workshop in the St. Joseph County Juvenile Justice Center and the Recipient of the Sparks Summer Fellowship 2016. He is currently a co-founder and editor at The Brillantina Projectwww.luislopez-maldonado.com  

Grant Gerald Miller was born in Memphis, TN. He currently lives in Tuscaloosa, AL with the writer A.M. O’Malley and their son Max.

M.K. Rainey is a writer, teacher, and editor from Little Rock, Arkansas. She is the winner of the 2017 Bechtel Prize at Teachers & Writers Magazine and the 2017 Lazuli Literary Group Writing Contest. Her work has appeared or is forthcoming in The Collagist, 3AM Magazine, Atticus Review, Fiction Southeast, and more. She co-hosts the Dead Rabbits Reading Series and lives in Harlem with her dog. Sometimes she writes things the dog likes.

Benjamin Soileau is from south Louisiana. His fiction has appeared in Prairie Schooner, Louisiana Literature, The Monarch Review, Gemini Magazine, Bayou, and many other journals, and has been nominated for a Pushcart Prize. He lives in Olympia, Washington with his wife and son. Reach him at bsoile2@gmail.com.


All images in mojo 13 are © 2017 Zachary Worth and are used with permission.


Masthead

Editor in Chief | Katie Amundsen

Assistant Editor | Chance Swaim

Poetry Editor | Aaron Bristow Rodriguez

Fiction Editor | Annie Woods

Nonfiction Editor | Mariah Perkins

Web Editor | Becca Yenser

Categories
Contributors for mojo 12

Issue 12 Contributors

Juan “Moncho” Alvarado was born and raised in Pacoima, California. He has appeared in the Northridge Review, Chaparral, and Acentos Review. He got an honorable mention for the Rachel Wood award and has won the Academy of American Poets prize for his poem “Pacoima Corrido.” Moncho is in his second year for his MFA from Sarah Lawrence College, where he was awarded the Thomas Lux Scholarship for his dedication to teaching, demonstrated through his writing workshops with youths in Sunnyside Community Services. He is currently working on his first collection of poetry.

Tyler Atwood comes from a long line of subsistence farmers, but knows very little about the planting or harvesting of crops. He is the author of one collection of poetry, an electric sheep jumps to greener pasture (University of Hell Press, 2014). His poems have appeared in Columbia Poetry Review, Hobart, The Offbeat, Atlas and Alice, Profane Journal, Palaver, 1001 Journal, Word Riot, and elsewhere. He lives and works in Denver, CO.

J. Bradley is the author of The Adventures of Jesus ChristBoy Detective (Pelekinesis, 2016) and the Yelp review prose poem collection Pick How You Will Revise A Memory (Robocup Press, 2016). He lives at jbradleywrites.com.

John F. Buckley and Martin Ott began their ongoing games of poetic volleyball in the spring of 2009. Since then, their collaborations have been accepted into more than seventy journals and anthologies, including Barrow Street, Drawn to Marvel, Map Literary, Rabbit Ears: TV Poems, Redivider, and ZYZZYVA, and gathered into two full-length collections on Brooklyn Arts Press, Poets’ Guide to America (2012) and Yankee Broadcast Network (2014). They are now writing poems for a third manuscript, American Wonder, about superheroes and supervillains.

Jodi Lightner completed her MFA degree at Wichita State University in 2010. Her studio practice has included exhibitions nationally and internationally, including juried and invitational shows. Her work has been seen in Angle Gallery, Seattle, the AIR Gallery, New York City, and the Cocoon Gallery, Kansas City as well as other locations throughout the United States. She has participated in artist residencies focused on studio practice at the International School of Painting, Drawing, and Sculpture in Montecastello diVibio, Italy, and the Vermont Student Center in Johnson, Vermont. Lightner was an emerging artist in residency at Penn State Altoona and currently teaches painting and drawing as an Assistant Professor at Montana State University-Billings. Her work is represented by Kim Weinberger Fine Art in Kansas City. Find her online at http://www.jodilightner.com/ 

Jonathan May grew up in Zimbabwe as the child of missionaries. He lives and teaches in Memphis, TN. He recently served as the inaugural Artist in Residence at the Memphis Brooks Museum of Art. Read more at https://memphisjon.wordpress.com/

Jean Seager, a graduate of the University of California, Berkeley, is working on a short story collection about Jewish immigrants to America in the early twentieth century. The collection includes authentic recipes from immigrant families. One of her stories will be published this spring in the anthology A Year in Ink, Volume 10. A California native, she lives in San Diego.

Amber Stene completed her MFA degree at Wichita State University in 2008 after a full career as an award-winning Graphic Design professional. Since switching careers, she’s exhibited in galleries in Seattle, Portland, Wichita, Tucson, Phoenix, and as a guest artist at Kim Weinberger Fine Art in Kansas City. Stene was a graphic design instructor at Northern Arizona University until moving to Portland in 2010. There, she taught foundation art at Art Institute Online, and water media at Portland Community College through 2014. Her studio practice centers on the figure in a surreal setting. Find her online at www.amberstene.com. 


All images in mojo 12 are © 2017 Jodi Lightner & Amber Stene and are used with permission.


Masthead

Editor in Chief | Nicole Byrne

Assistant Editor | Abraham Fitzpatrick

Poetry Editor | Jeremy Richard

Fiction Editor | Rhiannon Scharnhorst

Nonfiction Editor | Katie Amundsen

Web Editor | Jesse Allen

Categories
Poetry for mojo 12

Juan Alvarado — Fuji Apples

Para Guadalupe

Around the end of fall
Memo would come see me
bringing a carton of bruised apples

he had tattoos of eyes on his forearm
looking
               left    right
               up     down

It was summer everyone
went to the pool or the mall
except me and Memo
he was packing     getting ready to head upstate again

I asked him about Nietzsche     about the prison house of language

He said
                this pen
                this skin
                this ass

I kissed him
I didn’t know I could do that
Jesus never kissed his disciples
on the lips
nor did men kiss in history books
or Disney movies
never seeing anyone in public
                                      hold hands
                                      hug each other
                                      say I love you

we were both naked in bed
I asked him about the apples
the bosses gave them away for free
brown bruises means unsaleable

we smoked herb from one that night
showed each other how to handle
how to hold
how to shift
how we can both eat
an unsaleable

Later in summer my parents started calling me by names

sin vergüenza
joto
mariposa
maricon

I bought pens     a notebook
started drawing a point
                   started to curve around
                   going farther away
                   until I was at the edges of the paper

I gave it to Memo’s father     told him to mail it to him
A letter came a month later
                                    I opened it
            saw an illuminated eye
drawn on the back my drawing

Categories
Prose for mojo 12

Jonathan May — Obscene

*

In my child’s mind:

I set out of the town, satchel in tow, not stopping until after I pass through the glinting tin-roof shantytown of Cowdray Park. Behind me, the orange sunset unfolds like a huge petal through the darkening sky. My mother frantically calls all of my friends’ parents. Have you seen him? Have you seen him? Have you

 

*

Zimbabwe, 1990

My father left seven days ago, headed towards several small villages between Bulawayo and Beitbridge. He often took trips like this, packing up a generator, petrol, water, and sleeping bags, and heading out into the wild, sometimes with one or two Ndebele men, sometimes alone. Rarely was he gone seven days.

 

*

The child’s dreams possessed him ever since his father left. All night he twisted beneath the blue ceiling and felt the hand of God, cold like the million-starred sky, pressing down onto him. Oftentimes the child would wake, choking on his tongue, his mother running into the room from the noise and screaming as he turned purple. Doctors prescribed phenobarbital, describing his symptoms as “seizure-like.” Hating the way they tasted, the child fed the pills to the enormous turtle in the yard and watched as it swooned and fell suddenly asleep.

 

*

God called my parents to serve as missionaries sometime around 1983. My sister Jennifer had just been born. My parents clasped their hands together in prayer for hours, their joints stiff in the language of supplication. They wanted God to tell them where to go, what place in all of time and history was apportioned for his purpose through them. Though I can admire their faith, and I too consider myself a Christian, I could never be as devout as my parents; I like to know, not trust.

 

*

I was born in November of 1985. My brother Steven followed three years later, when we left for Zimbabwe. I cannot accurately describe the bewilderment of my father’s parents; they simply could not see why God was sending their son and his wife and their three grandchildren to darkest Africa. I’m still not sure if my grandfather ever forgave my parents for their decision.

 

*

In my child’s mind:

As I leave the town, I see the head of a dog. Ants have ravaged its tongue. I imagine crawling inside of the mouth seething with ants to find my father. I can almost feel the ants telling me yes, yes my father is inside, please do come in. Already I am thirsty and the ants look so cool in their shiny, liquid husks, like water at midnight. I imagine the water engulfing me until I am black. The water creeps up, inch by inch, tingling between my legs as it rises. I know this must be a mistake, I can’t let the water cover my mouth. I see the ants’ little heads, their antennae touching the calyx of my eyelid. The ants don’t have eyes; their little heads are smooth and twisting. All around me, they crawl, the great river of them fed from the dog’s open mouth. I open my mouth to scream. The ants rush in and flood me. My skin bustles with black water.

 

*

Shifting forward a few years in the chronology of things, my parents are both fluent in Ndebele and Shona, the two Bantu languages of Zimbabwe. We have a house and six dogs. Everyone is very happy. My father’s parents come to visit.

Hydroxychloroquine is the name of the anti-malarial medication we take. It treats lupus as well. My grandmother, Jonelle, begins the course of medication two weeks before coming to visit, as is standard. Fatigued from the flight, she sleeps a lot the first day. The fatigue lasts their entire two week stay. She takes the medication every day, as directed. Still she has time for her grandchildren; she takes us on walks. We name every tree along the way.

She loves us terribly, she says. We ask why love is terrible. She hurries us home.

At night, she makes strong, black coffee and lets me drink from her mug. My mother disapproves, but Jonelle says that it’s nothing, and I like it. She pulls me onto her lap. She whispers into my ear that I’m her favorite, which means, I love you more than anything.

A little-known fact about hydroxychloroquine is that in the rarest of instances, the allergy to it disguises itself as fatigue without any other symptoms. The medicine, taken as directed, builds up in your system and eventually dissolves, releasing the potent aid against malaria slowly, every day for eight weeks.

 

*

In my child’s mind:

The police stop me at the border of Bulawayo. They ask for my papers and I present them.

Where are your parents?

I’m looking for my father.

Come. We must take you home.

Their automatic rifles gleam and are almost white all over in the sun.

I know I have lost.

I will never find my father.

 

*

My father never went missing. We worried endlessly, of course, when he was gone. He ventured out to small villages hundreds of miles from phones, electricity, potable water. I don’t know how my mother handled not knowing. Trust, not knowing.

 

*

We receive the first phone call late at night. Jonelle is in the hospital in Memphis, her kidneys failing. Pray, my grandfather begs. Pray. My parents don’t say a word to us about it and send us off to school. Jennifer, Steven, and I are called to the principal’s office mid-morning. A family friend picked us up and drove us home. When we opened the door, my father looked up from the floor, where he knelt. He tried to get up, but his knees were stiff from hours of praying. A terrible thing has happened. All the sunshine in the room gathered in his face, his fever eyes.

 

*

My mother and sister found the girl’s body on their nightly walk through the neighborhood. Her muscles, leached of blood, lay rank in the dust. All of her skin had been peeled off and the internal organs removed. The skin and organs are used to make muti, or medicine. A dog ambled up to the corpse, and my mother shooed it away.

 

*

My parents hired a housekeeper the next week. Edna was an Ndebele woman, very tall, thin, muscular. She took the three of us to a witchdoctor for muti and didn’t tell our parents. The witch-doctor was thin, except for a stomach swollen from liquor. His breath stank of hot milk and his yellow eyes held the opaque trappings of glue. He coughed over three muti amulets in exchange for the chicken and handful of my parent’s money Edna had brought. We wore the swinging amulets beneath our clothes, and Edna kept them for us when our parents weren’t around. Muti kept the bad spirits away, but it required blood sacrifice to make. Blood spilled in place of your blood. My sister hated wearing the charm; I think she always thought of the other girl, the one who was killed so others could keep on living.

 

*

Those idiots, my father said.

He and I drove in the lorry toward the ice-cream shop at the outskirts of the dusty Matsheumhlope district. They had all the best flavors: Black Mamba, Green Mamba, Hippo Ice. In front of us was another lorry with three blacks dancing in the back. I could hear their music in my teeth. They stopped. A girl in a red skirt was jolted from of the lorry-bed onto the pavement. Her head split open on the road, and she shook and frothed at the mouth while a pool of purple liquid steamed around her head. My father jumped out and knelt next to her, yelling at the blacks for their stupidity. Even the driver was drunk. Praying over her, my father gathered her shaking hand into his as she died. We waited for the police to come, and after a while, my father gave a report. The others from the vehicle ululated loud into the night, as is custom for the Ndebele. They fill the heavens with their grief in hopes that it will rain down and better the soil. My father, trying to make the best of the evening, still drove me to the ice-cream shop. I licked at my Green Mamba; sweet mint filled my mouth. I kept looking at the sky in hopes of rain.

 

*

Chronology is just another way of ordering what is normally in-orderable. Sometimes, looking up from my desk to my front yard in Memphis, I see baobabs, savage, heat-ridden. The tulip poplars blink into focus, and I’m simply unable to do anything afterwards. I saw a psychologist during my first year of college, and he said maybe I had repressed much of my childhood to the point of spillover into my life now. Everything is baobabs and pangolins and soldiers and rationing. Chronology has no place in all of this. My life interrupts itself constantly with its past; nothing holds.