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

Thursday, 21 August 2014

I apologize for SLASH's hiatus over the past month - my residency at the campus environmental center unfortunately interfered with this column's upkeep. I hope that all of HASH/SLASH's readers have had an eventful and productive month! Additionally, I wish a productive and literary (!) school year to all students who are preparing to return to the classroom.

Here's what you can expect from SLASH as the column resumes its weekly schedule:

  • Next week, look for an interview with another member of HASH staff who experiments with the spoken word!
  • The following week, SLASH will present a piece about spoken word and activism. Stay tuned!
  • SLASH has established a tumblr presence to reach out to spoken word artists throughout the web. Check us out and follow us here!
And as always, please email me with questions/feature suggestions/etc. SLASH is a work in progress and I'd love to hear from you.



Abigail Rampone, SLASH Columnist
slashcolumn@gmail.com

Tuesday, 29 July 2014

We can’t be friends. We’ve been spoken for by the Universe, a power so knowing, so undeniable - it is beyond our combined scope. We can spend days by the ocean, skipping stones and flicking cigarettes but we know separation like we know regret; how inevitable it is, how looming it is.

The wind blows, a wave crashes and I turn to you, your body rich in color, irises the shade of emeralds, hair in a messy ponytail; a vibe so unfamiliar. I remember when I couldn’t look away.

“What do you think happens when we die?”

Sunlight hits your lens yet I can still see myself in the reflection, an orange tinge of a human being.

“Poof,” you say. “Nothing. You live and you die.” Your delicate fingers dance in the wind, hands intertwined above your head.

But that’s not true. You don’t believe that. We used to ditch parties and go to rooftops and stare at stars and point at the ones we’d like to come back as. I don’t faze you, you’ve grown too accustomed to these type of questions and musings.

“I feel sorry for you if you really think that,” I say and lay out, let the Sun scorch my skin, the beach towel the only thing between my bare back and specks of sand.

“Were you planning on doing something? You should do it soon.”

~

If I left it to you to explain, our story has no magic. It’s a moment. We met in a library, you needed a pencil, whatever. But when you hear me talk about the moment our eyes aligned, I can sense your awe, your sight following the words into the air, wishing you could gather this language and store it into a cauldron or a vase, decorate it with flowers, show it to your children. This fool fell for me one day. And he fell for me hard. Look how much he cared about me. Look at all the nice things he said about me.

“Our love is a facade,” you told me in privacy, two years later, cigarette in hand, eyes distant, cold, not there.

“A facade?”

“It’s not real. Nothing is real. We’re not here to do this, to live like this.”

“I love you.”

“How can you be so sure? What gives you the right to say something like that?”

“Just sit, let’s talk, can we talk?”

“I have to go.”

~

Why does the Woman cry? Why does the Man shout? If you leave, I’ll fall apart. I’ll disintegrate into the Earth, a lost memory, a facade of a human being, irrevocably ruined.

“I can’t do it anymore, I can’t take this shit.”

Your silhouette in the sun astonishes me. Its slender form, the way it moves, so smooth, so temporary. You know the type, the type of tears that sting to wipe away, to burn to release. If you leave, I’ll smoke a million cigarettes, drown in alcohol, call my mother, stare at space. We can’t be friends because we listened to Empathy together too many times in my backseat, in your bed, in my bed, in this lifetime. “I love you in a place where there’s no space or time.”

Sitting down next to me, your long fingers sifting through the sand, lighting a joint, I don’t think I could ever love again.

“This isn’t working. You’ve got to let me go, you’ve got to let me live.”

I could never be a surgeon. My hand trembles at your diction alone, my heart spirals into delusion. If you leave, I’ll go for a drive with the windows down, let the wind hit me. You always told me to remain unassuming, uncertain of the future. It’s a dice roll, a flip of a coin. It’s torturous. There's no year... just seasons.

"You need to love yourself first.”

I always knew it, I always knew love shouldn’t end in exhaustion, in repetition. If you leave, I won’t leave the house, tormented by what-ifs, goodbyes and no mores.

“If I leave, will you be okay?”

You don’t wait for an answer. You stand, your shadow towering over me, joint dangling from your fingertips and keep walking, seemingly into the Sun as it sets, a lone figure, a soul departed, a love unrequited. We can’t be friends because our love manifests itself into a ghost, a hazy dream, an illusion. As I go my way, the assumed truth slowly dawns on me: however long the heart beats, it has beaten both for and by you.

Mustafa Abubaker is a 21 year old writer and student of Pakistani descent in Atlanta, Georgia. A self-proclaimed music-addict, he wrote this story inspired by a Dream Koala song of the same name. 

He says, "This story is for me. I want to look back at it years from now and feel something."



Monday, 21 July 2014

What if you could step into the shoes of one of your most beloved icons at one of those crucial moments in their lives that end up defining them forever? Adam Ashraf braves these murky waters, venturing into the mind of the eternally fascinating Truman Capote on the eve of one such moment... 

My publisher just hand-delivered a copy of my new novel that will hit the racks next week- In Cold Blood, by Truman Capote. Me – cold-blooded killer. Merely looking at the instrument I used for the murder – the murder of a man far better than I – makes me nauseous. I can’t bring myself to touch it, much less read it. I steal a look at the back cover and read, “On November 15, 1959, in the small town of Holcomb, Kansas, four members of the Clutter family were savagely murdered by blasts from a shotgun held a few inches from their faces. There was no apparent motive for the crime, and there were almost no clues. As Truman Capote reconstructs the murder and the investigation that led to the capture, trial, and execution of the killers, he generates both mesmerizing suspense and astonishing empathy. In Cold Blood is a work that transcends its moment, yielding poignant insights into the nature of American violence.”

Truman Capote. My name always comes with a little bio. In early days, I was called “Local Reporter”. Later, it was “Freelance Writer for The New Yorker”. “Best-selling Author of Breakfast at Tiffany’s” followed. Today, I get a new sobriquet. It is the most significant of them all.

I wrote a book that was of a new genre; a new style of writing. It is bound to become a classic and is probably going to be compared to the work of Hemingway. I am probably going to be put in the league of Dickens, Twain and Fitzgerald. I’m not just about to become the Manhattan literary toast of the sixties, I am about to become an icon. As the dreariest of thoughts pops into my head, I pour myself a glass of champagne and toast, “To the man who betrayed his friend!”

“Was it all worth it?” I wonder. In forty years, what will the world remember? The man who betrayed his friend or the man who wrote the best non-fiction novel of his generation? Am I going to be compared to Hitler or Lincoln? After draining my glass down in a single gulp, attempting to vanquish the guilt that refuses to let me go, I pour another drink. “To the man who will inspire writers in generations to come”, I say as I wait for my emotions to numb.
(continued below)

“Of course it was worth it!” the rational side of me attempts to calm it down- the guilt.

“They were murderers, Truman.” I remember, my best friend, Nelle Harper Lee’s words from right after the execution. They are words that never fail to calm me down. “They were murderers, Truman”, I repeat to myself. Those words are my calming lullaby. They soothe me and shelter me from my own self-contempt. They help me sleep at night. I slump into slumber praying that they will sink in once and for all even though I know they never will. They are laws. They are not the spirit of the laws. They are what bound the laws, but they had nothing to do with justice. They are not what bound me. I know better. Perry Smith was indeed a murderer, but he was no beast. Perry Smith was indeed a murderer, but he was no monster. Smith was my friend. If Smith was a monster, then who is not?! If Smith was a monster, then what am I?! And now he is gone. The pen is mightier than the sword. I would know - I used it to kill.

That champagne isn’t serving its purpose. I need something stronger. I gulp a gin martini and toast out-loud with the theatrical tendencies I shall forever be notorious for, “TO THE MAN WHO KILLED HIS FRIEND”. I scream hoping it will numb my senses because the alcohol is doing such a bad job.

My demons will haunt me for life. I know that. I know that my editor, Shawn, is a stranger to the truth. He will lie to save himself the guilt. “You didn’t kill them,” he would tell me with the most plastic of smiles on his face. “You simply did not help.” Nothing is further from the truth. The whole jury probably read In Cold Blood’s excerpts before the final verdict was made and the sentence was uttered. I practically tied the noose around Smith’s neck with my bare, filthy hands, to land myself a bestseller. No, no, no – I did it to make myself an icon. I need more gin. Straight, this time.

“To the biggest writer of the twentieth century! TO THE BIGGEST FRAUD OF THE TWENTIETH CENTURY!” I toast in my sharp voice as I turn around flamboyantly.

What is happening to me? Why am I thinking like that? This is the book that millions around the world are waiting for! Millions around the world are chanting my name! I can’t pull the plug now. It’s too late. I’ll open a charity in Smith’s name. It’ll be redemption for his sins. “And yours too,” my demons remind me with a condescending look on their faces. I don’t know what they’re talking about – I haven’t done anything wrong. Everything will be okay. In one week, I’ll be the biggest household name in New York. I’ll be the biggest household name in America! I’ll attend all the fabulous galas and parties. Life will be good. It will be good. I’m sure it will be.

“It ought to be, right?” I mutter over another glass of gin.

-Adam Ashraf

Thursday, 10 July 2014

Hello, spoken word poets! Here’s SLASH’s very first spoken word prompt. In the coming weeks, you’ll see more in-depth features about identity, activism, and spoken word. For now, I’d like to offer a quick prompt to make you think about how you can use the medium. SLASH is an educational column and it should be a conversation among readers and performers, so I want to see what you can do.

Spoken word’s immediacy and vitality allow spoken word artists to make very personal performances. It’s essentially storytelling and storytelling can be a very effective form of activism. It might not initiate widespread policy changes, but it affects individuals. To change one person’s mind feels very concrete and genuine. You can do that by telling your story. That story doesn’t have to be the sum of your entire life, though. Moments are just as important.

When you tell your story, you can draw the reader in with intense concrete imagery. For example, sentiments like “love conquers all” or “do unto others as you would have them do unto you” may be shared among many people, but we’ve all heard it before! Those lines are dry with overuse. When you use specific examples to make a universal emotion feel nitty gritty and personal, you remind your reader that the idea is still real. It isn’t lofty or romanticized - it belongs to a real person! Your story has unique details. It may involve emotions that many people feel, but it’s something they’ve never quite heard before.

So! Here’s the challenge:

1. Pick a moment from your life that you associate with a specific emotion.

2. Make a list of concrete images to describe that moment. What did you smell? Taste? Feel? Hear? I want salt, strangely tinged skies, strawberry juice, dirt, the sound of firecrackers, or sun shining on glass. 

3. Write a poem of images that make up that very specific moment. Convey emotion without ever using “feeling” words (no “happy,” “sad,” “angry,” etc).


4. Read it aloud. How does it feel? Which words stand out? Which words do you stumble over? Practice emphasizing different lines. 

5. If you’d like, make a recording of your moment poem. Send it to SLASH to be featured in the coming weeks!

Here’s my example:

1. Moment: the Fourth of July parade in my hometown after a storm. Emotion: nostalgia/sadness.

2. Images: children playing in mud puddles, chilly, muddy gravel, cars going the wrong way, a six-legged dragon, overcast sky, hot sugar, gray boards, white T-shirts, children singing, my uncle clapping, dirty flipflops, horns blaring...

3. Write:

children splash in mud puddles in the road,
throw rocks at the holes in the cement.
cars turn around and drive where they shouldn’t go.
today the dragon is coming, the dragon is coming
down from the cloudy sky.
the horns are out of tune.
children sing. my uncle jumps up and down.
yesterday, the hurricane ripped through again
and knocked the trees on rooftops,
flooded the lakes out into town,
piled the power lines like spaghetti.
the dragon is coming from the sky
into the gray morning.
he chases the rain down the road,
brings back the heat.


4. Record (sound or video!):



As always, please email me with questions/feature suggestions/etc. SLASH is a work in progress and I’d love to hear from you.


Abigail Rampone, SLASH Columnist
slashcolumn@gmail.com