E-ZINE ISSUES

  • Issue 1

    Issue 1

    Issue 1
    Issue 1
  • Issue 2

    Issue 2

    Issue 2
    Issue 2
  • Issue 3

    Issue 3

    Issue 3
    Issue 3
  • Issue 4

    Issue 4

    Issue 4
    Issue 4

Friday, 13 February 2015

                                                                  In my enthusiasms pages
                                                                  turn thick
                                                                  with ever-more-ecstatic markings. 
                                                                  He said
                                                                  no one can ever read a book 
                                                                  I've read.
                                                                  My hieroglyphics serve me well,
                                                                  though,
                                                                  and I hate the paltry margins
                                                                  of Kindle.
                                                                  More like you, they are, lost
                                                                  in the past,
                                                                  words raced by and gone back
                                                                  into mystery
                                                                  of thoughts come and gone into ether.
                                                                  My treasures
                                                                  require much pumping up to stay,
                                                                  fireworks
                                                                  on a darkened winter sky.


Carol Hamilton is a retired educator, having taught elementary school in Connecticut, Indiana and Oklahoma, community college and in the graduate writing program at the University of Central Oklahoma. She has published 16 books of poetry, legends, and children's novels.

Friday, 6 February 2015

           Today he was pacing back and forth, dragging his fingers in the dirt and glancing at the people.

           Last year, he'd sat there like a stuffed trophy.

           Jim, John and I yelled and threw peanuts, a handful of which sold for a nickel from a glass dispenser by the guardrails. When some of the nuts hit him, he picked them up one by one with a hand way too big for the job, but then he delicately picked off the shell with his fingertips, popped the nuts in his mouth, and ate them. Just like we'd do. John, Jim and I laughed real loud.

The gorilla looked at us, stood straight up, roared, and beat his chest with his hands, Whap! Whap! Whap!

           It scared me and all three of us jumped back. A man in a blue uniform with 'Cincinnati Zoo' embossed on a white badge came over. "Don't tease him, boys. He's an old man like me, a silverback.Have a little respect."

           King Tut snorted and opened his mouth so his gums showed. His teeth were yellowish and worn except for four big fang-like canines.

           Jim said, "I'm glad he can't get out."

           My brother John and I stared down into the gulf that separated us from the gorillas. A moat they called it, but it didn't seem nearly deep enough to me. I glanced at the ape again, but he was ambling away, showing his rear end to us.

           "Let's go somewhere else," I said, still shaking.

           Mom said like a joke, "He's your cousin. So are all the monkeys. You're related to them."

           Although I'd heard that before, it stuck in my mind this time.

           The rest of the visit was just entertaining, like we were watching cartoons on TV: the animals brought up close enough to see clearly. The floppy proboscis drooped over the muzzle. The huge claws of the aardvark. The big-eyed nocturnals, tricked into feeding by some kind of special light in a dark room. Animals so enormous they were hard to believe. Roar, hiss and howl of their calls. They were odd and interesting, but they seemed very different from us. They lacked something King Tut had.

           He looked so much like us, he bothered me. Our hair was like his thick fur. His long fingernails were like ours only bigger and stronger. His roar had seemed like a human scream of protest or complaint. All he could do was howl and act up. We could use words. Knowing he was kept in a cage made me think that a wildness like his was locked up inside of ourselves, and we were just as afraid to let it out as the zoo keepers were to let King Tut run loose.

Bill Vernon served in the United States Marine Corps, studied English literature, then taught it. Writing is his therapy, along with exercising outdoors and doing international folkdances. His poems, stories and nonfiction have appeared in a variety of magazines and anthologies, and Five Star Mysteries published his novel Old Town in 2005.

Friday, 30 January 2015


one day the ground crumbles
the streets of stability split and

separate you
and me
and we stand at different poles
not tethered by power lines or sewage pipes and i feel
alone
despite the enormous sea
the enormous city engulfing me
and i wonder what the weather’s like on your side
and i wonder what i’m missing out on because i crossed over
and crossed back to what i once left behind
where are you? where are we?
across, over, around the bend?
lefts and rights that don’t lead to ends
lefts and rights that lead to nothing
they lead to nothing
nothing


Melani Grace Tiongson is a twenty-something Filipino-American writer based in New York. Although her aspirations lie in law and philanthropy, Melani has loved writing from a young age, and looks forward to seeing how her career goals will shape her future works.

Friday, 23 January 2015

A tolerant democracy 
allows self-full, bloated poets 
to hide in a university 
sneering at the workings of the world,
secure in the protective cloak of tenure.
Once poets' voices raised the call 
for freedom, other great causes.
Now most wallow in comforts 
mumbling impotent objections 
to current events 
beyond their comprehension.


- Gary Beck
Tennis-playing, ditch-digging, salvage-diving writer with a penchant for poetry. Explore his impressive repetoire of poems, short stories, novels, plays, and other musings at garycbeck.com

Tuesday, 30 September 2014

by Alan Swyer

“When are we going to have lunch?” Nadia asks for the third time in the last ten minutes.
“We'll be leaving for dinner right away,” my father replies as he's done twice before, his patience clearly wearing thin.

We're seated in the living room of their apartment in Boynton Beach, Florida, a nicely decorated place that only mildly suggests that it's part of an assisted living facility.
“Why won't you let me have lunch?” Nadia pleads a moment later, her face showing signs of confusion rather than hunger.

I like Nadia.  Though technically my stepmother,  I've always preferred to think of her as my father's second wife, given that I was already married and had two kids at the time I was Best Man at their wedding.  But now I'm witnessing for the first time what my father never quite managed to explain during our cross-country calls.  The woman he's living with, with whom he has shared what have been- without a doubt- the happiest years of his life, is barely the same one he married.

Nadia's decline, I'll come to understand as I get more information, began with the death of her son, whose attempt to be three different people at once -- a biker, a hipster, and an attorney -- ended tragically, with a fatal overdose.  That was a shock from which Nadia never fully recovered, and it was followed by a bad fall, which further accelerated her departure from reality.

The result, I see all too clearly, is a situation with little chance of improving.  The good times together are now consigned to my father's past in the same way as the misery he endured with my mother.


During my childhood, my father and I were never close.  He worked ridiculous hours in an ongoing attempt to satisfy a woman for whom satisfaction was impossible, then distanced himself even further from family life because of migraines that disappeared only once he was widowed.  When prodded into some facsimile of what my mother called manliness due to what she constantly termed my “impossible behavior, my father would occasionally threaten physical violence, which failed to induce fear or obedience, especially once I'd discovered boxing.  At that point, after daring him to try what he called “getting tough”, the threats changed from hollow to nonexistent.

Yet despite the distance and differences between us, what I've come to realize is that, in a curious way, I started follow his example early on.  Like him, I did everything imaginable to stay out of the house as much as possible, then I topped him by running away on more than one occasion.

When, at the age of seventeen, I departed for good, my parents, too, relocated.  That led to a joke they never appreciated:  that their only mistake was in letting me get my hands on the new address.  But their move only reinforced my feeling of having no place to call home, since I knew no one in the Jersey suburb to which they moved, other than my mother, father, sister, and dog.  And only with the dog did I get along.


Though I have little interest in aphorisms, there's one that does apply to my mother:  “People don't change, they become more so.”  Never easy, she became, as the years went on, even more demanding, more difficult, and more impossible.  Thanks to a mental ledger she cherished of slights both real and imagined, over time she distanced herself from scores of friends and family members, diminishing not just her world, but my father's as well.

Not surprisingly, our relations were marked by periods of estrangement, which grew longer once I, having moved 3,000 miles away, was busy with a wife and kids of my own.   Even our sporadic ceasefires were short-lived, thanks to my mother's barbed criticisms of what she called “California child-rearing”, plus her one-sided comparisons between what she called my “poorly raised sons” and my sister's “little angels”.

When I got word, after a particularly lengthy period of silence, that my mother, a lifelong smoker, was hospitalized due to respiratory problems, I tried my best to put the past behind.  She was in Intensive Care by the time I got to Florida, fragile and frail, sustained only barely by an array of tubes and other devices. 

Putting on a smile as best I could, I entered her room with a bouquet of flowers, told her I was pleased to see her, and announced that I would try to round up other family members who, like her, had migrated south.  But when I mentioned one particular cousin from her generation, my mother grimaced. 

“What's the matter with Sylvia?” I asked.
“Everything!  She's a monster!” my mother sneered with as much force as she could muster.
“She's always been a sweetheart,” I replied.
“Shut up!” my mother snarled, her countenance radiating a kind of venom I hadn't seen in ages.
I studied her angry face for a moment, then left the room without another word.
“Why are you leaving?” I heard my father ask when he stepped into the hallway while I was headed toward the elevator.
“Want the truth?”
“Okay.”
“Because I want to remember her in character,” I explained. 
My father took a moment to let my words sink in.  Then, to my eternal surprise, he nodded knowingly.


That, to my surprise, was the beginning of a new and infinitely better relationship between my father and me.  With my sister caught up in her own private melodrama of mourning and grief, alternating crying fits with expeditions for spa treatments and new handbags, it was on me alone that my father relied.  I was the one entrusted with the task of making arrangements at a mortuary.  Then, once he made the decision to have the burial in Florida instead of in the family plot in New York, it became my job to find a cemetery.

And it was to me that my father expressed his dismay once everything was over and done with, wondering why so many women - some who were known to him, others total strangers - showed up at the funeral, bringing containers with coffee cakes and danish, which they thrust into his hands, plus phone numbers, which they stuffed into his pockets.

“What do they see in me?” my father asked when we were alone that evening, munching with little zeal on turkey sandwiches with cole slaw and Russian dressing. 
“You're a great-looking guy,” I replied, willfully overstating the case.  “You're bright, good company -”
“That's not enough,” my father protested.
“Are you kidding me?”
“What's that mean?”
 “Dad, you're alive, you're male, and you've got a valid driver’s license.”
“So?”
“In the land of widows, you're king.”
My father pondered that thought momentarily, then surprised me with a chuckle.

My sister was aghast when, after a difficult few weeks of being alone, our father actually called a couple of the women who had given him numbers.  “What would Mom say?” she complained when she broke an extended silence between us.
“The way I see it, there are three choices.”
“Okay -”
“Worry about Mom -”
“Or?”
“Move to Florida to be with Dad.”
“Or?”
“Watch him die of loneliness.”

Once it became clear that Nadia had become first among the many, my sister went into overdrive.  From that point on, it was nonstop belittling, mocking, and knocking, all of which, to her chagrin, backfired.  Instead of heeding her negativity, my father did what he never dared do with my mother, turning a deaf ear to the badgering and bullying.  More than ever, he took to relying on me when he needed advice, or help, or simply someone with whom to do something new for him: shoot the breeze.


But that was when life was good, and Nadia was Nadia; when she and my father had a future that seemed, if not lengthy at their age, at least reasonably bright.  Now I'm in Florida, and their life together seems hopelessly grim as we're led to a table in the dining room at their complex.

Immediately my father tries to take control of a world that, for him, is otherwise falling apart.  “Every night there are three specials,” he takes pleasure in informing me, “a meat, a chicken, and a fish.”

Grabbing the sheet of paper listing those choices, he peers at it for a moment, then looks up with a quizzical look on his face.  “What's Rigatoni Bolognese?” he asks, struggling with the pronunciation.
“Tube pasta with a meat sauce.”
“Couldn't be.”
“Whatever you say.”
An awkward silence falls over us until my father flags a busboy.
“What's Rigatoni Bolognese?” my father asks, pointing at the words on the sheet.
No se, senor.”
“Could it be meat?”
Quizas,” answers the busboy with a shrug.
“What's that mean?” my father asks me, never having picked up the slightest bit of Spanish.
“Maybe.”
“See that, Mr. Know-it-all!” he exclaims triumphantly.  “A meat, a chicken, and a fish.”

Aware that my father desperately needs any victory he can possibly get, I take a deep breath, then feel eternal gratitude when Nadia bails me out by changing the subject.
“Am I ever going to get lunch?” she asks plaintively.


That night, as I lie in bed trying to sleep more than a few minutes at a time, I can't stop my mind from racing with the strangest combination of thoughts, memories, notions, and fears.  For no reason that makes any sense to me, I find myself first remembering, then pondering, the fact that my father has always refused Novocain at the dentist's, no matter how serious or painful his condition.  And I think back on how peaceful our apartment would seem when I was young on those mornings when my mother was ill or visiting relatives, which meant that it was my father who made breakfast. 

I go on to recall how shattered I was the day I finally gave up playing the piano, due to my mother's insistence that I only practice immediately after school, which meant no sports or fun with other kids, and that I only play her kind of music, not mine.

Those memories lead to recollections of lying in bed with a radio tucked under the covers, escaping from the world of my parents into one peopled with the likes of Big Joe Turner, Big Maybelle, Dinah Washington, and Little Willie John.

Tossing and turning in a futile attempt to quiet my mind and get some rest, I finally give up in frustration, then wonder why it is the world knows so little about people like Slim Harpo and James Carr, and why it cares even less. 

Then I ponder why it was that my father was so incapable of standing up to my mother. And how in the world he'll manage to survive if Nadia's deterioration continues.

Still finding few answers, I start imagining what the world will be like by the time my kids are grown.  And what kind of place, within that world, they'll make for themselves…  And whether they'll be happy, and have satisfying lives, and perhaps even kids of their own.

By that point it's 3 A.M., and I'm drenched in sweat.  Almost in a frenzy, my mind drifts into a vision that's haunted me forever - one in which I'm old, lonely, unwanted, and unloved, with everything I've accomplishment, and all sense of personal history, completely obliterated. 

And I can't wait for the night to end.


With family waiting for my return to California, and work calls mounting, I'm back on a plane a day later, feeling that I should make more - and more frequent - trips to see my father, rather than simply doing so when I have business in Miami.

What I don't know then is that a next trip will never come - at least not while father's still alive.  Instead of being left alone with a fading and failing wife, my father will keel over suddenly several days later while peering at the sheet of paper listing the evening's choices of a meat, a chicken, and a fish.  Instead of declining slowly, he'll be the victim of a fatal heart attack that spares him the indignity and suffering of even a short hospital stay.

The funeral will be short, sparsely attended, and completely misunderstood by Nadia, who will repeatedly call his name, wondering when she will finally get lunch.

Then I will again leave Florida, thinking about things my father and I said to each other over the years -- and more poignantly, the volumes that went unsaid that went unsaid.
  
Alan Swyer is an award-winning filmmaker whose recent documentaries have dealt with Eastern spirituality in the Western world, the criminal justice system, diabetes, and boxing. Though American, he also writes regularly for a British music magazine called "Blues & Rhythm." His fiction has appeared in Ireland, England, and in several American publications.

Saturday, 6 September 2014

Artwork by Michael O 
(featured on www.hashthemag.tumblr.com)


Clay-eyed and metal-skinned executioners

breaking the body of the earth,


machinery rattling through the night,

workers aged by the wars of profit.


One man stands alone,

dreaming of an ending.


It’s happening, 

all around.

-Janelle Rainer
Janelle Rainer is a 24-year-old poet and community college teacher living in Colville, Washington. Her work has appeared in Harpur Palate, Steam Ticket, Script, Sugar Mule, and elsewhere. She earned an MFA in Poetry from Pacific University in Forest Grove, Oregon.​

Tuesday, 26 August 2014


Welcome to the featured poet series at SLASH! In this series, we interview spoken word artists of any age, any background, from anywhere in the world. We feature established poets alongside students and writers who are just beginning to hone their spoken word skills. Read on to learn about a brilliant writer and member of the HASH staff, Ariel Chu!


photograph by Sam Jeong
Name: Ariel Chu
Age: 18
Location: Eastvale, California


1. How did you first get involved with spoken word?


Though I've loved poetry since elementary school, I didn't get involved in spoken word until  college. A confluence of forces helped me to fall in love with the medium: my involvement in theatre, an impulsive decision to join my school's spoken word club, and the fortune of meeting other writers who had experience in the field. Before then, my only exposure to spoken word was through YouTube videos and the occasional high school poetry slam. It took me a while to realize that I could be an active participant!


2. What themes commonly feature in your poetry? How do you use the medium to express identity?

Poetry is a place of heightened emotion for me, a medium where the feelings I internalize around others finds a sort of cathartic expression. As a result, the subjects I end up writing about are dramatic to the point of being somewhat overwrought. There's the typical young adult angst--love, insecurity, idolizing people who are irresistibly toxic. But spoken word also provides an ideal platform for talking about problematic issues and making them resonate with an audience, and I've recently found that it's a great outlet for talking about my identity. As an Asian-American woman, I've faced no shortage of doubt about my ability to write well, engage in creative work, and succeed in the performing arts. I've grown to use spoken word as a platform not only for sorting through emotions, but also for addressing and dispelling some misconceptions about who I am. As a result, my work has turned a bit more political lately, dealing with the barriers that I've had to overcome as someone who doesn't fit the preconceived notion of who a "writer" should be.


3. How would you describe your style?

Having been involved in both writing and theatre, I love that spoken word is a chance to merge the best of those two mediums. Most of the poetry I write follows a rhyme scheme, and spoken word is an ideal platform for conveying the sense of rhythm, momentum, and musicality I enjoy. I'm also working on bringing elements of theatricality and storytelling to my performance--time will tell how that works out! Overall, I'd like to say that my works have a sense of flow and rhythm to them, a kind of sing-songiness that delivers unexpected, emphatic punches.


4. What sets spoken word apart from other forms of writing and performance?

Writing and most performing arts seem to hold the audience at an arm's length--authors speak to their readers only through words on a page, while actors and dancers have to exist in a world apart from the people watching them. But spoken word doesn't shy away from human interaction so much as it thrives off of the dialogue between the poet and the audience. A poem becomes a conversation, and a performance becomes inclusive. It's a much more personal and vulnerable form of art.


5. What inspires you?

I'm inspired by passionate emotions, thought-provoking conversations, social justice, powerful people, and larger-than-life beauty. I'm particularly enamored by the romance of deep space, the sea, and the desert.


6. Who are your favorite spoken word artists?

I've recently discovered a fondness for Franny Choi--"Floating, Brilliant, Gone" is beautiful both when read and performed. I admit to being new to the larger spoken word scene, though, so I've yet to discover a definite favorite.


7. Anything else you'd like to share about your experience? Any advice?

Don't allow others to stifle your inspiration or discourage you from your ambitions--if you can't believe in your own work, there's no reason to expect that anyone else should. Instead, use the doubt of others as fuel for your dreams. Success is the greatest revenge, and your persistence can inspire an entire slew of young poets who are in a similar place of self-doubt.



AMERICAN INVENTION by Ariel Chu

My name is Ariel.

I'm a tiny, fragile thing. My skin reeks of the color
Of anemic, washed-out sunshine. My roots are LA,
but still they ask me, "You're from China?" So I turn to them and say
That I am, and always will be, an American invention.

I spent most of my childhood adhering to convention.
When they value you for perfect grades and give you vast attention
Just for being nice and quiet and a paragon of silence
Then you learn to shut your mouth and give up all creative license
So they like you.

Yes, my mom said "people like you
Don't get work published in bookstores; no, your last name is abrasive
And the media erases
all the people with our faces
There are never special cases when it comes to people like you."

And I wondered if she's right, too.
Since I've always had to fight to
Justify my need to write to
Almost everyone I meet.

But I'm no precious fortune cookie:
Yellow and brittle, harmless and little
Break open the middle and read what you like
Protract all my sweat while you retract my rights.

And I'm not a dead white man
And I am not your Amy Tan
And I am not the robot chemist mathematician people think I am.

My name is Ariel.

My claim to creativity is no point of contention.
That is, and always will be, an American invention.


[audio coming soon]


Abigail Rampone, SLASH Columnist
slashcolumn@gmail.com