Category: Issue #16

  • In Possession of a Moral Dilemma

    In Possession of a Moral Dilemma

    By Amanda E.K.

    Illustration by Lonnie MF Allen

    *This story was written with the prompt ‘My Hand Remembers’ as part of a series with the local Knife Brothers writing group

    $$$

    Your impractical satin sheets were the first sign—or should’ve been—that you were never exclusive. It’s not that you hid your reputation, I just couldn’t see past you and me, so I pretended I was your sole interest, or at least that I would become so.

    You stroke my hair until I fall asleep and make me breakfast in the mornings. I know I’m sharing you but I want you every day.

    I chase you tirelessly in my dreams, where you hide in crooked shadows. The theme is recurring but my strategy is never the same.

    Sometimes I hate that I’m like this. Never satisfied, always searching.

    $

    I’ve stolen from every job I’ve ever had. Twenty-dollar bills from cookie jars. A gold chain from a jewelry store. Books and food and recipes.
         I’m in possession of a moral dilemma.

    $

    I like the men who look for that certain something they can’t live without. A grace they’ve been in search of for years. Those elusive Audrey Hepburns of the world. Though I think it’s likely they enjoy the chase more than the catch.
         I think it’s likely I do, too.

    $

    “It can wait,” you said over dinner our first night out.
         “What can wait?”
         “Sleeping together. If you think we should get to know each other better before all that.”
         “I appreciate you saying so, but I’m not interested in waiting.”
         “All right then,” you said and took a bite of chicken. You chewed fast, with a bit of a smirk, then swallowed and said, “I knew I was irresistible.”
         I smirked back. “Not to mention smug as fuck.”

    $

    We met when I’d been recently hurt by an unfaithful partner. Maybe I thought I had something to prove—that I could play the other role—and you at least were aware of my reasons for wanting to be with you. But more than that I liked you, and the intent way you listened to every word. I could tell you anything, which equally thrilled and scared me.

    $

    The first thing I stole was a shiny pencil from the bedroom of a friend. It changed colors in the sunlight—sometimes silver, sometimes red depending on its angle.
         I hid it in my pocket when my friend went downstairs for juice. I was all sweat and nerves waiting for her to return. Her desk was a mess—a Lisa Frank explosion—and I figured she’d never notice.
         I felt a touch of guilt, but I also loved the rush of stealing, the high of taking something that belonged to someone else, and was surprised at how easy it could be done. What did this say about me? Did I lack excitement, or attention? Was I a product of the Devil who always watched me, waiting for me to slip?
         I figured I’d ask God for forgiveness to absolve what I had done.
         The pencil stayed in my drawer for years, unsharpened. Now and then I’d take it out and twirl it, debating whether to return it to my friend or keep it for myself. But I waited too long and eventually threw it out when I moved to college.
         There’s something rewarding about taking stock of one’s possessions.
         I wish I would’ve learned to apply this to relationships.

    $

    “How many women have you been with?” I asked you after our fourth date.
         “At what number will you not want to see me anymore?”
         “That many, huh? I guess I’ll take my chances.”
         “Good. Because I really like spending time with you.”
         “Good. I do, too.”

    $

    We fucked on every surface of my apartment, but at your place kept to the bedroom to avoid the cat. For this reason I may never own a pet. Their constant shedding highlights my stagnation.
         During our off weekends I wandered the city taking photos to sell to magazines. Freelancing never earned me enough to get by, and to fill in the gaps I shelved books at the public library, where I made friends with an eight-year-old named Elsie. I noticed her when the Magic Tree House series began to steadily deplete. I never told her I knew it was her, just kept recommending books I liked at her age.
         In high school my best friend stole Kerouac and Burroughs out from under the librarian’s bespectacled nose. His justification was that he’d share the books instead of leaving them unknown and hidden on the shelf.
         I only took things that passed under the radar. Overstocked and unnoticed.
         Even when told, “Help yourself,” I only helped myself in secret so I could get away with more.
         If it was food, I consumed the evidence. If it was money, I spent it quickly. Whether cheap or costly, the objects in my hand all carried a similar weight: Control. As a child I had low self-esteem. I fed off secrets that no one in my small town could discover—that no one in my small household would take note of.

    $

    “Have you ever stolen from a lover?” you asked one night, after I told you about my secret compulsion.
         I said no because I still didn’t know how many women you’d been with. Also, because it was true that I hadn’t.
         “What’s the biggest thing you’ve stolen?” you asked.
         “As in size, or cost?”
         “Whichever’s the most significant to you.”
         I thought about it while straddling your hips, running my hands over your arms and chest. Our deepest conversations happened while in bed.
         “My grandmother’s buttons,” I answered.
         “What makes them so special?” you asked.
         “They’re antiques, for one. But it’s because I took them after she died, at a time when my grandfather went into rages over the slightest misplacement of her things. I was worried I’d lose his trust if he ever found me out.”
         “Then why take the risk?” you asked.
         “I’d had my eye on them for years. My grandmother would sit, buttons splayed over her coffee table, and tell me the history of each hand-painted piece. They were small enough to keep with me all the time—tied on a string around my neck as a reminder that the things that last the longest are those that we keep hidden.”
         “And do you still have them?”
         “Yes. But when my grandpa died they lost some of their meaning.”

    $

    I think the real reason my grandmother’s buttons were my biggest steal is that they were the only one that didn’t have a practical purpose. It’s not like I used the buttons to repair a shirt. Even the gold chain I stole was a way of saving money on a gift.

    $

    Two months into our relationship I asked who else you were seeing. I asked it flippantly, wanting to play it cool about our arrangement. I liked you enough to want it to work, though I had my doubts that I could manage it long term.
         You said not to worry, that your sleeping with other people didn’t affect how you felt about me.
         I think that must’ve been the second (or third…or eighth) sign that I’d never have you as my own.
         They say we don’t look for the things we don’t want to see. And sometimes we hide what we’re afraid will make someone lose interest. I was naive enough to take the risk.
         Once I’d told you about my habit I was worried you’d see right through me—unveil my subconscious need to possess you. That you’d toss me away like I did my friend’s pencil, my purpose served for your fleeting gratification.
         I wonder: is it possible to steal what I really want, and still want you in the end?
         But if I don’t try to steal you, will I get you at all?
         Call it karma, or comeuppance. But I think that I’ve earned you.

    Amanda is a short fiction writer and educator originally from Iowa. She’s a member of the Knife Brothers writing group – a small collective of short fiction writers – who can be found occasionally haunting the Victorian halls of Lighthouse Writers Workshop. You can find her work in Suspect Press, Birdy, and Jersey Devil Press.
  • Organic

    Organic

    By Marie Conigliaro

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

    Marie is a vintage collage artist whose work has appeared in birdy, Cultural Dissection and Nue Magazine. Her juxtaposition of images aims to express the duality of day-to-day life, the feeling of existing within multiple realities with the capacity to encounter seemingly contradictory emotions, ideas or attitudes simultaneously. Marie currently resides in Denver where she works at an architecture studio. When she’s not working or creating, she enjoys going to shows, hiking, road-tripping and managing local post-hardcore band Muscle Beach. Marie’s work can be viewed on Instagram at @marieconigliaroart
  • Hair-O-Scope

    Hair-O-Scope

    By Cori Redford

     

     


    Cori Redford was born several years ago, and still has not lost her faith in humanity. She still thinks dick jokes are funny, and dresses like a toddler. You can probably find stuff she’s done all over the internet with a quick search, and maybe you’ll want to buy one of her t-shirts or zines. She hangs out with a bunch of groovy art kids, who battle with drawings instead of guns or dance like regular gangs. She is cool.
  • Green Sweater

    Green Sweater

    By Charly Fasano

     

    Illustration by Charly Fasano

     

    The girl in the green sweater
    sings along and winks at me.

     She plays air tambourine,
    dances like a robot,
    her hair looks amazing everyday.

     She calls brass knuckles “knucks”
    and whiskey neat a “sipper”.

     When we talk
    we glimpse
    over the rims of pints and shot glasses.
    Gulp on the edge of tumbling to slow the pace of things.
    Nod puckered
    toe tap to the baseline of Cure songs.

     I memorize our rattled chatter.
    Note that she likes when I wear
    my favorite brown shirt with black slacks.

     Make moves without making moves.
    Microbursts of flirts and eye contact.
    Gestures I could have created but controlled.

     Sips on the edge of tumbling
    to slow the pace of things, everything.
    A Memphis kind of
    comfortable,
    cool,
    slow,
    because.

     Music too loud to get close,
    to lean in
    tell her that she looks nice.

    Wish I was
    comfortable.
    cool.
    slow.
    because.

     

     

    Charly Fasano is a poet, performer, filmmaker and block printer, as well as a Westword-voted Colorado Creative. Fasano has read his poems with and shared the stage with bands like Lucero, Drag the River, Crime in Stereo, Madson Jones, Land Lines and The Queers. He is the founder of Fast Geek Press, Pretend You Can Reab audio zine, and As Well As Magazine. Fasano’s poems have appeared in Yellow Rake, Lubricated Magazine, Syntax Magazine, MovingPoems.com and Growing Strange Magazine. His book of poems, Next Analog Broadcast (2011) was published by Sunnyoutside Press, and was followed by a multimedia book and 7 inch called RETROSPECT/ED featuring the music of Lucero, released on Fast Geek Press in 2014.

     

  • Exit Laughing

    Exit Laughing

    By Dash Shaw

     

     

     


    Dash Shaw is a cartoonist and animator whose animated works include “Wheel of Fortune,” the Sigur Ros video and Sundance selection “Seraph” (co-written with John Cameron Mitchell), and the 2009 IFC webseries “The Unclothed Man in the 35th Century AD.” He wrote and directed the independent animated feature “My Entire High School Sinking into the Sea” (starring the voice talents of Jason Schwartzman, Lena Dunham, Reggie Watts, Maya Rudolph and Susan Sarandon). You can find his latest graphic novel “Cosplayers” and other recent books and art at dashshaw.tumblr.com.
  • Interview: Talking Economics with Meow Wolf

    Interview: Talking Economics with Meow Wolf

    By Josiah Hesse

     

    Meow Wolf House of Eternal Return

     

    There is an old cliche that “real” artists aren’t interested in making money. Or that if you are focused on making money, you must be a shit artist. Sometimes things do play out that way, leading to great talents being ripped off, and hacks making a killing on hotel room art. But it doesn’t have to be that way, says Vince Kadlubek, co-founder and CEO of the Santa Fe, New Mexico art collective Meow Wolf.

    Since its inception in 2008 as an underground music and arts venue, Meow Wolf has set a new standard for what artists can accomplish when they pool their resources and aren’t afraid of  playing a little footsie with capitalism. In 2016 the collective landed their first permanent space—a converted bowling alley owned by Game Of Thrones author George RR Martin—and there created the world-renowned exhibit, House of Eternal Return, which has hosted more than 400,000 visitors in less than two years.

    Kadlubek has had no qualms about monetizing the popularity of Meow Wolf, and in turn his organization has been turning some of that capital into grants for various organizations, not least of all Denver’s DIY arts community, who received a total $74,000 in the form of 20 different grants just this year.

    We recently spoke with Kadlubek about Meow Wolf’s upcoming plans for a Denver location,  what our arts community can learn about the success they’ve had in Santa Fe, and why getting along with business and government doesn’t have to kill your creativity.

    For those that don’t know, what is Meow Wolf?

    Meow Wolf is a creative company that grew out of an art collective. Our main product, the thing we like to create the most, are immersive exhibitions. We’ve done around 30 temporary exhibits, but we have a permanent one in Santa Fe.

    But we’re also in entertainment media, AR, VR stuff. We’re looking to do feature films, documentaries, merchandising, product development, whatever. Our aim is to keep the spirit of the artist collective alive and open to whatever people are passionate about.

    How much of Meow Wolf is an extension of Santa Fe and the arts culture down there?

    It’s kind of based on Santa Fe in that it’s a psychedelic, weird, cyber-spiritual, culty, new age kinda thing. There’s a lot of Santa Fe influence on Meow Wolf, but there’s also a lot of national aesthetics we’re pulling from. We’re just doing what we’re doing.

    Meow Wolf House of Eternal Return

    In this age of income inequality, Meow Wolf seems to be pursuing a new economic model for artists and collectives. What can other artists communities learn from what you’re up to?

    I think artists getting comfortable with business-minded people—and business-minded people getting comfortable with artists—is very important. That needs to happen if we want to have the arts and creativity survive in this economic climate. Artists need to apply some business-type thinking to their work.

    Art exhibits get a lot of traffic, they’re an event that’s cultural and important and people want to be there. And yet it’s considered totally wrong to charge admission to an art exhibit—that mentality needs to change. I could have four thousand people lined up outside the door to see my paintings, but if no one’s buying them and everyone just wants to be there at the event, then I need to rethink this and consider charging everyone five bucks. Because there’s a valuable exchange happening there.

    In addition to a distrust with the business community, in Denver the DIY community has a strong apprehension toward working with city officials. Do you think it’s possible for underground communities to have a good relationship with the city without losing the culture, politics and lifestyle that make them what they are?

    I don’t see it as a need to balance to strike, or compromise. What you’re seeing in Denver is an issue with fire codes: An inspection from the city on DIY spaces finds that they’re not up to code and everyone gets kicked out. The honest truth of it is that artists don’t want to live in spaces that aren’t up to code, and the city doesn’t want to kick artists out—so there is some common ground there.

    From my perspective, the conversations and progress happening in Denver on this issue are far beyond most any major city in the country. Denver is having the most upfront, honest attempts on both sides to make this situation right.

    Rumors have been circulating for some time about a permanent Meow Wolf instillation in Denver. What can you tell us about that?

    Denver is at the top of the list of cities that we want to go to. We’re still working it out. We’re trying to find a large piece of real estate where we can do a badass exhibit, and real estate in Denver is complicated and expensive. I think we’ll have a space locked in soon, but there’s a lot of work to do even after that. We’d like to announce something in November.

    How can ambitious art projects like Meow Wolf serve as an antidote to all the damage that gentrification has wrought on the Denver arts community?

    When money pours in from the tech industry, or marijuana industry, or whatever, artists can’t keep up, they get priced out of their own neighborhoods, and their art spaces get turned into high rise condos.

    But it’s not going to be solved by slowing the economic growth of a city. Artists and creative industries need to be able to keep up with the economic growth curves, so that artists aren’t poor. And that’s the problem here: artists don’t have work. The world doesn’t value artists, businesses don’t value artists, and cities don’t value artists.

    So our hope [with Meow Wolf] is to show the economic value of artists. And hopefully artists can start to represent themselves in ways that produce value. And new businesses can be developed that are dedicated to supporting creatives. So hopefully artists can start getting bigger paychecks. And with bigger paychecks they can keep up with the economic growth curves of the city.  

     

     

    Author of the psychological horror novel Carnality: Dancing on Red Lake, and regular contributor to VICE and The Guardian, Hesse aims to blend journalism and the arts within the pages of Suspect Press, making it both a reflection of our time and an innovative force of creativity.
  • A Sword of Fiery Blade

    A Sword of Fiery Blade

    By Arna Miller

     

     

     

    Arna began screen printing in 2008, eventually becoming one of Denver’s most technically proficient and innovative manual screen printers, constantly pushing boundaries, and experimenting with new techniques. Her illustrations always have a narrative element, sometimes playful, sometimes dark, sometimes mysterious, and often involve the everyday struggles of small mammals. Find more of her work at https://www.treasure-prizes.com
  • Albatross

    Albatross

    By RJ Walker

     

    *For anybody else that has been bullied or abused and considered violence

    OK, so
    Albatross is
    perched
    outside my window
    At all times.
    He has a voice like a schoolboy
    Stop Hitting Yourself
    Stop Hitting Yourself
    Stop Hitting Yourself

    He has a voice like a father.
    Stand Up For Yourself
    Stand Up For Yourself
    Stand Up For Yourself

    He has a voice like an older brother.
    Fight Back
    Fight Back
    Fight back

    My god, he is a republican.
    Stop Being A Victim
    Stop Being A Victim
    Stop Being A Victim

    You’ll stop getting bullied
    when you
    stand up for yourself
    fight back
    stop being a victim
    stop hitting yourself
    stop hitting yourself

    “Ok… Ok…”
    I tell Albatross
    “Here. I want you to have this.”
    And I shoot him through his goddamn guts
    with a crossbow made of my fists.

    I grab Albatross by the heart
    and punch him
    until he resembles a mass of dirty red shirts.
    Until he resembles a bloody mess
    Until he resembles me
    and all the corpse he has made out of me.

                 Not like that!
    Squawks Dead Albatross
                 Not like that!

    Oh, but Albatross.
    I have stopped hitting myself
    and I have started hitting you.

    Oh, but Albatross
    I am standing up for myself
    on top of your neck.

    Oh, but Albatross
    I am fighting back
    see all this blood?
    it ain’t mine this time!

               But you’re still a victim
    Says Dead Albatross

    Oh, but Albatross,
    So are you, now.
    So you will be always.
    And now hell is a place for both of us.

    You have loved making a monster
    out of me, Albatross.
    And so you have earned my teeth.
    You sharpened them yourself, Albatross.

    When the world finds me
    I will have 2 broken hands.
    I will be covered in bloody feathers.
    They will see the dead Albatross
    and despair
    “what have you done?
    Why have you killed
    such a beautiful bird?
    Only a monster would do such a thing.”

    And they are right.

    And they will crucify Dead Albatross
    to my collarbone and shoulders.
    I carry Albatross everywhere I go
    A tattoo of a dead friend.
    Heavy as the ocean
    And all the things it has swallowed.
    Albatross has become part of myself now
    and I can’t stop hitting myself.

     

     

    RJ Walker is a spoken word artist from Salt Lake City. He is the host of SLC’s longest running open mic event at The Greenhouse Effect and operates Salt City Slam. His work has been featured on Button Poetry, Write About Now, and Voicemail Poems. He lives a half-life, a cursed life, a good life with three cats.
  • Musique

    Musique

    By Matthew Allison

     

     


    Matthew Allison is a Denver based artist whose self-published comic,
    Cankor, has been running for over 5 years and will be collected in 2018. He’s also had work published by Dark Horse, Image and Black Mask Studios.
  • The Degenerate

    The Degenerate

    By Jake Fairly

     

     

     

    Jake Fairly oozed forth upon the Denver comics scene from the catacombs of the Rocky Mountain College of Art and Design. Be it comics about Neil Armstrong’s corpse, or generally being metal AF, Jake is a guy with considerably hefty night moves. He’s had work published in periodicals such as Westword and the Denver Public Library comics newspaper, and has been labeled a “street artist” by Westword magazine.

     

  • for national poetry month, i

    for national poetry month, i

    By Harper Russet

     

    unwrapped another rejection email
    from another magazine, then
    unwrapped the poems trying
    to find the disease
    that made them glow radioactive
    in the eyes of poets
    better than me;
    couldn’t find it, only
    saw a hurt i’d worked so hard on
    and a hurt i didn’t have to try for
    at all, just came naturally,
    and i think maybe i sent the wrong hurts
    to the southern indiana review.
    maybe i left the poems about trees
    and clouds
    and airplanes
    and all that good and dry shit,
    that shit real literaries love,
    that shit that don’t scare no one –
    i left it on the table
    and mailed the bodies
    of every bad day i’d ever had,
    dressed them up in my baby clothes,
    and let them wail
    right into the editor’s ear:

     please, don’t print this.
    please, don’t let anyone look at me.

     

     

    Harper Russet is a 24-year-old butch poet and novelist from Utah. Everything she writes is an argument with God.