Concentric Circuits / CODA 𝑏𝑦 Dale Brett

Visions of a ripe split moon. Noxious clouds cleave salient sky. The atmosphere enclosing the city shimmers like a translucent image of ghosts. Reverberations from remembering yet to occur. Ambrose leans on a side-hucked vending machine serving SM-147 tabs to a pretty crag of adolescents. Boots rigid amid the darkening grey of tremulous lines. Acute provisions harbor genuine remorse beneath grids of dripping expressway beams. Tarnished clothes, pockmarked skin. Teeth reem in sockets like an Inuit high on the flesh of baby seal. Just like old times. Would like to ask, would like to try: ‘Could I get a dollar kid? How ‘bout a dime?’ Vaporous pens excite faces. Holographic flames lick subterranean space. Shadows hurl themselves on wet, glistening concrete like invocations of hallucinogenic night terrors. Tough luck endured by the participants at Omni’s radar station. Those unwitting lucky-enough-don’t-you-know-it bystanders tapping wearables against the cold metal interface desperate for a dose of midnight cardinal.

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CULT OF PROSTHETIC LIMBS 𝑏𝑦 Heath Ison

An orgiastic plethora of blinded intoxication. Fish out of water, suffocating in a masochistic dance. These are the occupants of Black Box. A place which can only be described, structurally, as how it sounds: it is a box, it is black.

The planet ends when one meets the walls, embedded with neon circuity fueling its energy. There is not a top surface on Black Box. The sky is exposed and the sky is always black due to the death of a sun. This phenomenon, the sun to ashes, happened on a day when time was realized and defaced.  Its hand dismembered and tossed down a rancid pit. The circuitry is the only source of light.

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Sacrificial Death and School 𝑏𝑦 Yitzhak

“You are not supposed to die at school”—an untrue statement. School kills you, but school kills you slowly. Children come in energetic psychotics, and (if the school succeeds) they come out depressive-neurotics ready to study the liberal arts, perhaps their hair has already been dyed blue: it’s a sad, slow death.

This is biopower: the State commands through its control of life and death, through the giving of gifts which place you in service (and debt) to it. The State was so kind as to gift you an education, itself a form of labor, and in return you give back years to pay off your debt, and for those however-many years, you are not to die—an easy deal, and, as you are told, a good deal! Education gives you the opportunity to perhaps be graced with other gifts, that is, other forms of service.

“[B]efore one signed pacts with the Devil to prolong, enrich and enjoy one’s life. The same contract, the same trap: the devil always wins” (211).

A simple deal, don’t die, and so the monkey wrench is simple: die. Not just any death can suffice, however, for death at this point is hidden in a linear path; death is always over there, always at an ever-increasing-away, pushed further and further down by drugs and doctors, hidden deeper and deeper in the closed rooms of hospitals and hospices and behind the glass window and curtains of the execution chamber—so long as death isn’t immediate, isn’t one and the same as life, the system keeps control.

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FERTILITY BELT 𝑏𝑦 Garett Strickland

 

In Golgotha, Wisconsin in a cabin in the freeze does this one labour over its grandfather furnace on the fate and nature of the fertility belt.

 

 

You better believe it.                        The                  You

 

The use tho that we put belief to in day in day out dynamism reveals its own trap –

can we never have too many pitfalls ? –

in the vanity of applied utility toward what it supposedly protects.

 

The wall that eats itself                      and its offspring.

Paranoia and all its cousins lined up like hor dourves.

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Father Fingers 𝑏𝑦 Guy From Kings Highway

three years had passed since my dad drank himself to death. my mom’s friend’s brother was visiting the United States. for two hundred bucks a month he slept on our couch. this guy snored and wore tight tank tops. they barely hid his gut. it was round but barely jiggled. his face looked wrinkly from years of smoking. there’d sometimes be pieces of drywall stuck to his eyebrows. he came here on a travel Visa and worked off-the-books construction jobs. i wanted him to bang my mom.

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≺/style≻≺/head≻ 𝑏𝑦 John Ebersole

I.

AND so it is the knife
is not a thing of dialogue

but soliloquy—talking believes
from head
and a face

and a man
and someone’s kin
scripted and casted in a saffron jumpsuit, trembling

tulip

or oriole
plumage

reciting transgressions
inside a camera phone:
saw and cut, and saw and cut sky sky

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A Desert of Dung, Preserving Insignificance 𝑏𝑦 Peppy Ooze

Seems like I’ve not typed for weeks. It’s cos work’s been a bastard but now it’s Friday and that means, it means: I can sit and think about Kafka. Everybody reads Kafka. But out of all the poets on the playlist it’s to him that I’m kind of most romantically attached, and so much so I printed the Warhol portrait, taped it to my door. Which is clichéd. Sod it though. It’s my fave painting. That neon is alive. And looking at the neon I think: Kafka and Warhol are overlapping opposites and a cable connects the diaries to the factory but dunno how. And I think: Kafka is a console game. And I think: Kafka polishes a crow whose wings are purple and blue. And I think: Kafka Cybernetic stockprice this morgen fell by 13 points. And I think: Kafka visits Artemis bordello. And I think: Kafka has a monopoly on the letter K. And I think: Kafka in a seedy letter asked Felice what she’s wearing. And I think: Kafka Zoo. And I think: Kafka in the 2nd-person operates in the 1st-person. And I think: Kafka taught art to those who teach me about art but I’m a bad student. And I think: Kafka is a kind of detective and his stories are kind of criminals. And I think: Kafka produced music in spurts of delirium. And I think: Kafka is a brand-name for pharmaceuticals, a benzo.

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