From “Anne Has A Thing, Makes Her Crazy,” by Sarah Strickley:
“It’s worth saving,” I told Lee. He pointed a finger at me. “You only think it’s worth saving because you need it to be,” he said. He wasn’t talking about the floor then. And this is where the story begins, this is the place it all comes back to.
From “Stranded at the Top of a Ferris Wheel with Judy Long, County Fairgrounds, April 7, 1982,” by Scott Yarbrough:
Could be this is fate’s way of making up for the lack of height and proper bone structure, the acne, myopia, and crooked teeth (being straightened as we speak by the very Union Pacific of oral gap-bridging steel ultra-gauge orthodontry, not to mention head-gear to wear when sleeping that virtually eradicates the ability to sleep, a mask-like face-dependent mobile that would have made the Marquis de Sade himself proud). Could be.
From “The Firecatcher’s Sister,” by Jensen Whalen:
Speed is really important in the beginning because it’s not like he’s going to be able to help himself. When you’re running around naked in your back yard until you catch on fire, someone else’s help is what you need.
From “Shank,” by Kevin Curran:
Hello friends, this is Mickey, I’m in a tight spot. Through very little fault of my own, I’ve become sandwiched between the storefront of Cepeda Santana’s corner market and the aluminum covering which recoils in front of the shop.
So that we’re perfectly clear – I’ve mentioned two separate objects – I’m in the middle of them. As I type, my backside is flattened by the glass storefront while my nose and toenails press against the corrugated thin-metal-guard-covering. I apologize for not having the proper name for this object – but you do realize what I’m talking about, right? It rolls down each night after closing, it protects the store from abuse . . .
Lee Klein’s Photographs from the 215 Festival.
The annual poetry issue of Oyster Boy Review is out.