Musings

THE BOOK: Musings: 75 Short Stories

PUBLISHED IN: February 2023

THE AUTHOR: Don Tassone

THE PUBLISHER: Toerner Press

SUMMARY: This collection features 75 new short stories based on the author’s reflections, his musings, on real-life happenings. Most of these stories are very short. They’re organized into seven themes: mystery, discovery, fantasy, light, shadow, nostalgia and fun.

THE BACK STORY: Ideas for most of my stories come from real-life events. When I reflect on these events, themes emerge. Ordinary occurrences take on deeper meaning.

The 75 new stories in this collection come from my own musings about happenings in the world and in my life.

I hope these little stories show what pausing to reflect can reveal. I hope they might also invite a closer look at the passing parade of events through our daily lives.

WHY THIS TITLE: I came up with “Musings” once I pulled these stories together and realized they’re nearly all the result of my own reflections.

WHY SOMEONE WOULD WANT TO READ IT: I think many people these days are looking for books they can pick up and put down as time permits, books that are light but still nourishing. A novel is a meal. Sometimes, though, we just want to graze.

REVIEW COMMENTS:

“In Musings, Don Tassone slows us down to see the world anew, revealing unique ob-servations or twists. In so doing, he reveals his own deep humanity and abiding love of the human spirit.” — John Young, author of Getting Huge and When the Coin is in the Air.

“With bite-sized stories based on everyday themes, Tassone offers readers a chance to discover all that already exists but is often overlooked in the busyness of routines. These stories compel us to slow down and understand the profundity of moments like watching a sunrise and how they reflect the larger essence of our being.” — Sara Siddiqui Chansarkar, author of Morsels of Purple and Skin Over Milk

AUTHOR PROFILE: After a long career in the corporate world, Don Tassone has returned to his creative writing roots. Musings is his ninth book. The others are the novels Francesca and Drive and six other story collections: Collected Stories, Snapshots, New Twists, Sampler, Small Bites and Get Back. His novella, The Liberation of Jacob Novak, will be published in 2024. Don and his wife Liz live in Loveland, Ohio. They have four children and nine grandchildren.

AUTHOR COMMENTS: I hope readers find these stories both thought-provoking and entertaining.

SAMPLE STORY:

Let Go

Glancing at the latest headlines, Nick felt his chest tighten. The news was overwhelming. War, famine, inflation, protests, shootings, droughts, wildfires, viruses. Closer to home, his mother lay dying, his job was on the line and a fierce storm had just toppled a big maple tree in his backyard.

Nick’s heart raced. He felt dizzy. He had to sit down.

He closed his eyes and envisioned the troubles all around him, all the things that gripped him and were pulling him down. Then, one by one, Nick let them go, and they let go of him.

LOCAL OUTLETS: Joseph-Beth Booksellers

WHERE ELSE TO BUY IT: Amazon, Barnes & Noble

PRICE: Paperback $14.99, Kindle $3.99

CONTACT THE AUTHOR: dptassone@gmail.com, https://www.dontassone.com

Monthly Replay, March 7

This feature has a two-fold purpose: 1. To allow those recently added to our followers list to discover books they might have missed and 2. To make sure previously featured authors and their work aren’t forgotten. If you’d like to learn more about any of the books revisited here, simply click on the “Authors” page, then on that author’s name.

“WANDERERS,” BY EDWARD BELFAR.

Wanderers does not have an overarching back story. Instead, it has fifteen of them. The sources vary, with some stories having their origins in direct observations, experiences, or events that I have read about, while others are entirely made up. To cite one example, “Ashes” germinated from an article I read about two research psychologists who had such a bitter rivalry that one of them requested in his will that he be cremated and have his ashes thrown in the face of the other. I asked myself, “What sort of person would do a thing like that?” A picture of such a person began to take shape in my mind, and then I began to hear her voice and to populate her world.

“AFTER HOUSES,” BY CLAIRE MILLIKIN.

 After Houses is a book of poems meditating on homelessness. It loosely follows a narrative of a young woman’s journey through homelessness in the United States. But the poems are not straight ‘confessional’ style. Rather they are meditations on symbolic space, ultimately a confrontation with the limits of bourgeois codes of home and family. Here’s the publisher’s description of the book: AFTER HOUSES is an extended meditation on homelessness. In unflinching, raw poetry, poet Claire Millikin explores states of homelessness, and a longing for, even a devotion to, houses—houses as spaces where one could be safe and at ease. The poems move through an American landscape, between the South and the North, between childhood and adulthood, reaching toward a home that’s never reached, but always at one’s fingertips. Throughout this collection, Millikin draws from personal and family history, from classical mythology and architectural theory, to shape a poetry of empathy, in which some of the places where people get lost in America are faced and given place. AFTER HOUSES echo the voices of girls who have not quite survived, but who persist, intact in the way that Rimbaud insists on intactness, in words.

“THE OUTCAST ORACLE,” BY LAURY EGAN.

Set in 1959 on the shores of New York’s Lake Ontario, fourteen-year-old Charlene Beth Whitestone has been deserted by her parents, leaving her in the custody of her grandfather, C.B. Although he loves Charlie, he is a charming con artist, moonshiner, and religious fraud who inducts her into his various enterprises yet also encourages her dreams of becoming a writer. When C.B. suddenly dies, Charlie is left alone and must use her wits and resourcefulness to take charge of her life, all the while wrestling with the morality of continuing her grandfather’s schemes. When a handsome cowboy-stranger, Blake, arrives, he insinuates himself into C.B.’s religion business and into Charlie’s heart. Despite her resistance, Blake mounts a lucrative PR campaign, touting Charlie as an “oracle” and arranging for her to perform miracles.

“SUCCESS: STORIES,” BY DAVID A. TAYLOR.

 The stories give drama and perspective on the idea of success and how we view it in people’s lives. In the words of Publishers Weekly, the “14 lively tales…uncover gentle irony in the commonly held notion of a successful life.” StorySouth called the collection “Superbly-crafted tales…that explore the most vital crises of existence, when human emotions–desire and isolation, suspicion and jealousy–boil over… blooms in complexity every time the reader revisits it.”

“THE WRITERS” CIRCLE,” BY CLAIRE DEMAS.

From the Chicago Tribune: “(Demas) has the obvious bona fides to probe writers’ lives in her fiction, and the less superficially observable qualities of knowledge and first hand experience to be able to juggle a number of writers’ personalities in a narrative simultaneously….The exurbanite culture and cultured chums Demas evokes have a charmed staying power. A story isn’t over until it’s over, and the confederates of the Leopardi Circle have a shared knack for sparking the thought that they might be worthy of a second installment.”

“FINDING BLUEFIELD,” BY ELAN BARNEHAMA.

This book goes beyond lesbian fiction, as it is a universal story about love and acceptance – either from one’s self or society – whose central characters happen to be two women who want to share their lives together and be a family. From a historical perspective the book spans from 1960 to 1983 and you are taken back to relevant periods where the underdog is longing to be heard through civil right issues. Along with that, the book is a ride through southern and northern cultures, religious pondering, cancer, humor, food and wine. Amongst the underlying social meaning behind the story. Finding Bluefield, is about Nicky finding herself through her losses and love of her family. 



Weather Report, March 6

(Photo from Volkovalrini).

Our currently featured books,  “Flint & Fire,” by Lisa Hase-Jackson; “Iola O,” by G.M. Monks; “Listen,” by Steven Cramer and “The Stopping Places,” by Amy L. George can be found by scrolling down below this post, or by clicking the author’s name on our Authors page.

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UPCCOMING ON SNOWFLAKES IN A BLIZZARD, MARCH 7-13

“LOST SIERRA,” BY AMANDA TRAYLOR.

Writes Amanda:”While I wrote Lost Sierra simply to tell an entertaining story, many issues of the day did come to the surface during its creation. The story revolves around a rural mountain town that while only a few hours from the wealthy, bustling San Francisco Bay Area, feels like a different country entirely. Daphne is a progressive, idealistic trust fund girl with romantic visions of what life in. Sierra Ridge will be like. The reality is that rural California, just like rural America in general, is facing serious hardships, from lack of medical care and jobs to growing anger, racism and feelings of desperation. The COVID pandemic hit while I was in the middle of writing the story and it changed my direction and tone as the world started to unravel.”

“MUSINGS,” BY DON TASSONE.

Writes one reviewer: “With bite-sized stories based on everyday themes, Tassone offers readers a chance to discover all that already exists but is often overlooked in the busyness of routines. These stories compel us to slow down and understand the profundity of moments like watching a sunrise and how they reflect the larger essence of our being.”

MONTHLY REPLAY

This month, we will revisit “Wanderers,” by Edward Belfar; “After Houses,” by Claire Millikin, “The Outcast Oracle,” by Laury Egan, “Success: Stories,” by David Taylor; “The Writers’ Circle,” by Claire Demas and “Finding Bluefield,” by Elan Barnehama,

Flint & Fire

This week’s other featured books, “Iola O,” by G.M. Monks, “Listen,” by Steven Cramer and “The Stopping Places,” by Amy George, can be found by scrolling down below this posat, or by clicking the author’s name on our Authors page.

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THE BOOK: Flint & Fire.

PUBLISHED IN: 2019.

THE AUTHOR: Lisa M. Hase-Jackson.

THE EDITOR: Nina Boudabin and Nancy Allen.

THE PUBLISHER: The Word Works. Since 1974, The Word Works has been a nonprofit literary and educational organization dedicated to the publishing and support of contemporary poetry and literature for the cultural enrichment of humankind.

SUMMARY: Poetry. Women’s Studies. Selected for the 2019 Hilary Tham Capital Collection by Jericho Brown. Like the prairies that populate many of these poems, life often must be burned back to make way for growth. Lisa Hase-Jackson strikes the flinty surfaces of living and ignites a fire that both clarifies and illuminates. Spanning divorce, single motherhood, individuality, and love, FLINT AND FIRE is a collection that burns with brave and honest beauty. Says Denise Duhamel, “Lisa Hase-Jackson’s poems are poems of survival—elegantly crafted testimonials,
gorgeously empathetic narratives. She pays wildly democratic witness to addiction, racism, mental illness, incarceration, women’s shelter pamphlets, and subsidized apartment complexes. An important, fearless, beautiful, wholly American debut.”

THE BACK STORY: Did I decide to write this book? I guess I decided to write each one of the poems in it and in so writing made decisions about form and content, sound and metaphor, line lengths and stanza breaks. I wrote in response to what was happening in my life over a span of about ten years, I wrote about the past, and I wrote simply to explore ideas, dreams, and images. After all that, I decided to collect what I had written into a manuscript and send it out into the world. I never knew for certain how all this writing would manifest, but I tried to follow where it led.

WHY THIS TITLE?: Flint & Fire refers to the Flint Hills of Kansas, particularly during controlled burns and the awesome spectacle of that annual seasonal event. Much of the poetry in this collection is informed by the Kansas landscape and its mythos.

WHY WOULD SOMEONE WANT TO READ IT? People often say they did not know that poetry could be like this; that when they read or hear my poetry, they become lost in the imagery and the narrative. These poems will appeal to anyone who has fallen in love or ended relationships, who has raised children and watched them make choices that, as a parent, are very hard to accept. It is about addiction and survival, poverty and simple pleasures, about joy and resilience, and always, always informed by place.

REVIEW COMMENTS:

“There is a burning intelligence and passion at work in these poems. Flint & Fire crackles and glows with a purity of lyricism we had no idea we’d lived without and now know we cannot.” —Rick Mulkey, author of Toward Any Darkness and Before the Age of Reason.

“This collection is a glorious quilt, drawing upon fragments of life and bringing them together in an artful, and meaningful way.” — Barbara Lawhorn, Assistant Professor at Western Illinois University.

“From the beginning to the end, this book is not shy about the need to question the ambitions put on us by capitalism and the assumed desire to join middle class America: ‘that we’ll catch up once we are happy, full, sated and clothed.'” –Jericho Brown, Author of The Tradition.

AUTHOR PROFILE: Lisa Hase-Jackson grew up in Kansas, Missouri, and New Mexico. After working several years as a paralegal, and surviving divorce, she returned to school to follow her lifelong dream of becoming a writer, believing an education would help in this endeavor. She earned her MA in English from Kansas State University and her MFA in Poetry from Converse University. Her work is informed by her observations of American culture and the promised pursuit of happiness that never manifests. Rooted firmly in place, environments and landscapes populate her poems as vividly as do characters. Now a resident of Charleston, South Carolina, where the sight of moonlit Spanish moss draped above salt marshes continues to mystify her, Lisa has completed a second collection of poetry and is seeking a publisher. Lisa is Editor in Chief of South 85 Journal.


SAMPLE:


Junk Mail

My new husband pulls the hood of his sweatshirt
over his head and jokes in that inappropriate way men
think so funny that I should come looking for him
if he doesn’t return from checking the mail.
My heart jumped that short space between my chest
and throat, but I didn’t laugh because it was dark
outside and all of our neighbors are white.
I worried every minute of the five he was gone,
recited the Serenity Prayer like a perpetual mantra
until he came back through the front door, keys
in hand, dragging a little of the night’s cool air with him.
In the pile of mail, a few sealed envelopes
from utility companies, a church flier, sheets
of glossy coupons – the kind you can’t recycle.
The evening passed as so many do: dinner,
reading in bed, goodnight kisses. When morning
came and my husband left for work, I watched
him drive out of the cul-de-sac as the sound
of the engine faded into sunrise, then went to his closet,
where he hangs all the clothes he doesn’t fold, and pulled down
every single hoodie he owns, even the Adidas we bought
in Korea, and shredded them to unwearable strips.

LOCAL OUTLETS:
Buxton Books, Charleston, South Carolina
Village Bookseller, Mount Pleasant, South Carolina.

WHERE ELSE TO BUY IT: Amazon, Barnes & Noble, Small Press Distribution, The Word Works.

PRICE: $18.00.

CONTACT THE AUTHOR:
Facebook: https://www.facebook.com/lisahasejackson/
email: lisahasejackson at gmail.com.

Iola O

THE BOOK: Iola O.

PUBLISHED IN: 2019.

THE AUTHOR: G. M. Monks.

THE EDITOR: C. A. Casey, senior editor.

THE PUBLISHER: Bedazzled Ink Publishing. The company was founded in 2004 by Claudia Wilde. It is dedicated to publishing general and literary fiction, nonfiction, and children’s books that celebrate the unique and under-represented voices of women and books about women that will appeal to all readers.” They are located in Fairfield, CA, and publish 20 – 25 books per year.

SUMMARY: Iola O begins in 1931 in a narrow-minded village in rural Tennessee, home to Iola Boggs, who at her young age rejects its mean prejudices. She becomes enamored of airplanes, leaves home, and learns to fly. The story jumps ahead to 1941 where we meet Jim Lewis in Philadelphia. Iola has by now become a non-combat WASP pilot during World War II, although her job ends before the war is over. After the war, the two of them meet. Jim is a closeted gay man. He well knows the terrible risks he would suffer if he came out of the closet. They marry in Philadelphia and raise a family against the backdrop of the paranoid era of Joseph McCarthy.

Their marriage is held together by their love of their three children. Illicit liaisons and grief bring them life-changing insights. Part historical, part family saga, part love story, Iola O is about resilience, diversity, self-discovery, and acceptance. It’s about beating the odds. A reviewer on Goodreads said, “…The manner in which Jim is presented is as accurate and sensitive as the author’s portrait of Iola, and throughout the novel the story is related from each primary character’s perspective and perception. The result – a polished novel of depth and insight into motive and goals…”

THE BACK STORY: At an early age, I had an interest in literary fiction. In high school, I read Dostoyevsky. In my early twenties, I read Sartre, amongst other writers. I started to seriously write later in my life. I write because I enjoy it. Over a period of about ten years or more I attempted to write a novel. Although I did many other things also during that time. This included earning my BA degree, master’s degree, and then my doctoral degree in psychology, which entailed moving from one state to another to another. Within those ten years or so, I scrapped my first attempt and Iola O was then started. It took a ton of revisions and another bunch of years, while also writing several short stories and poems. It was written and published in California where I was born and raised. I now live in Pennsylvania.

WHY THIS TITLE?: While the book has two protagonists—Iola and Jim, Iola is the less conflicted of the two. Iola O is a nickname she is given by a pilot who has a ton of respect and love for her and thus a subtle hint of what is to come.

WHY WOULD SOMEONE WANT TO READ IT? Anyone who enjoys reading about diversity in its various forms, about feminist issues and LGBT issues of one sort or other. Anyone who enjoys reading historical fiction, who likes a good plot combined with a literary style of writing, combined with a family saga with humor, love and tragedy thrown in for good measure.

REVIEW COMMENTS:

“Taking place primarily in the mid-1950s, Iola O is a biting and forthright look at personal hopes and dreams, thwarted and received, within the framework of love, marriage, and family. After escaping small-town life to become a pilot Iola is briefly signed on to the WASPs but laid off at the end of the war. Jim is a thwarted chemistry major who forfeited his university savings to pay his sister’s medical bills. Now he lives with his mother, who never stops reminding him of his obligations to her. As if this weren’t enough, he is a closet homosexual who is dragging his guilt and shame around like a ball and chain as sadly many men in the ´50s had to do. When Jim and Iola meet, they don’t so much fall in love as fall in marriage. Three children follow. Life just happens throughout much of this extremely well-written novel told in short chapters in staccato-like stream-of-consciousness thinking/dialogue, alternating between Jim and Iola’s point-of-view. Jim comments that the marriage is held together by ‘kid cement’. Iola never gives up her dream of flying and is briefly rewarded, but the consequences are painful. She finally realises that Jim is gay (were the setting contemporary, I think this lightbulb moment would have come sooner) and asks him about it during a poignant moment, when they both admit to having had an affair. There are no recriminations, no need for forgiveness―just acceptance and relief. This is a rewarding account of the mundanity of life. It’s not historical fiction as I have come to know it, but the descriptions keep it firmly grounded in the ´50s. Monks has an acerbic wit and is unflinching in her portrayal of these deeply flawed individuals (and their observations of others) who love each other in their own way. Much to be learned here.” — Review by Fiona Alison of the Historical Novel Society.

“You’d have to search far and wide to find a voice as distinctive as that of G. M. Monks’, a character as unique and appealing as Iola O, or a sense of humor as quirky. This highly original story of women’s determination to fly planes and break out of the confines of prejudice will leave your own spirits flying.” — Celine Keating, author of Layla and Play for Me.

“Southern storytelling that will totally captivate you. In this page turner, the interactions of irresistibly flawed yet resilient characters shine through the darkness of prejudice and bias. — Alice Wilson-Fried, author of Outside Child: A Novel of Murder and New Orleans.

AUTHOR PROFILE: In addition to my debut novel, I also write short stories and poems. You can access links to several of my published short stories on my blog—gmmonks.blog. My short stories and poems have appeared in the Best of Choeofpleirn Press, The Militant Grammarian, L’Esprit Literary Review, Birdland Journal, The Hunger, Vine Leaves Literary Journal, The RavensPerch, Kansas City Voices, and elsewhere. Awards with publication include finalist in Ben Nyberg Fiction Contest 2022, finalist in the 2020 Breakwater Review Fiction Contest, and runner-up in the 2016 Big Wonderful Press Funny Poem contest. I was a finalist in the Arts and Letters 2020 Unclassifiables Fiction Contest. Two of my stories were nominated for Best American Short Stories 2023, one of which was also nominated for the Pushcart Prize. Iola O was nominated for the 2020 PEN/Hemingway Award for New Fiction. Some of my favorite writers include Anthony Doerr, Sandra Cisneros, Ernest Hemingway, James Herriot, Georgia Hunter, Barbara Kingsolver, Frank McCourt, Toni Morrison, Alice Munro, and Arundhati Roy to name a few. My favorite national parks are Yosemite and the Grand Canyon. My favorite cooking is Italian, but I do love French baguettes and macaroons and any dark chocolate.

AUTHOR COMMENTS: My best hope is that my novel inspires empathy in the reader for the human condition—the sorrows, the loves and joys, the successes, the failures, the comedies, the tragedies. We’re all in it together.

SAMPLE: You can read a sample on the book’s Amazon page or Barnes & Noble page.

LOCAL OUTLETS: Any neighborhood bookstore can order the book through Ingram. The ISBN number is 978-1-945805-0.

WHERE ELSE TO BUY IT: It is also available at Amazon, and at Barnes & Noble, either as a paperback or eBook.

PRICE: $17.95 paperback, $9.99 eBook/

CONTACT THE AUTHOR: gmmonks@aol.com, gmmonks.blog, @gmmonks

Listen

THE BOOK: Listen. https://www.stevencramer.com/books/listen/

PUBLISHED IN: 2020.

THE AUTHOR: Steven Cramer.  https://www.stevencramer.com/

THE EDITOR: Marc Vincenz.

THE PUBLISHER: Madhat Press.

SUMMARY: Listen is my sixth poetry collection. The first of its four sections, provoked by a prolonged period of depression, contends with the mind-state that Emily Dickinson called “an element of blank” which “has no future but itself.” The opening poem is titled “Bad,” and the title poem ends the section somewhat above sea-level. The second section concerns the erotic life and two of its inevitable outcomes — offspring and death!—and honors various deep attachments: children, long-term marriage, and the absences and presences of a diminishing family of origin. Poems in the third part wrestle with the social world’s impingements on the interior life, especially inside the State of Trumpistan. Finally, there’s a group of poems that, by and large, name beloved writers and mentors, through adaptation and homage. I hope the book has a through-line: from the (under)ground up. Listen is also unabashedly literary; throughout, the act of reading constitutes a subject embraced without apology.

THE BACK STORY: Many if not most books of poetry aren’t so much written as gathered together. Listen was a peculiar collection to assemble. My previous book, Clangings, comprised a single poem in forty-eight sections (with a coda), and it came quickly in 2010. The earliest poems in Listen date back to 2004, the most recent come from 2019. It took time, and help from friends, to figure out how such differently aged poems could talk to each other. A long period of not writing—or at least not finishing—also made a contribution, as did the toxic national atmosphere from 2016 to 2020.

WHY THIS TITLE?: Once written, the title poem seemed to announce itself as a title poem. It can be read at On The Seawall. On reflection, “listen” feels like an especially rich word—in denotation, connotation, and the varieties of tone it can communicate: impatient, scared, plaintive, awed. Listening to another mind speak is a great antidote to chronic gloom.

WHY WOULD SOMEONE WANT TO READ IT? Because they like poetry, I hope! But I also hope that anyone who’s undergone depression—or cared for someone who has—might read the first section and nod, and maybe even feel somewhat less unaccompanied. I’d like to think that an imaginative involvement with the larger issue of mental health comes through palpably both in Listen and my previous book, Clangings (spoken in the idiom known clinically “clang association”).

REVIEW COMMENTS:

“In his sixth collection of poetry, Steven Cramer, founder of the Lesley University MFA program, looks at and through the fogs of memory and depression. In Listen, Cramer tries to distill a “bedlam of thought.” He is, by turns, matter of fact, nailing the sometimes-funny sometimes-sad absurdity of the world, as in “Costco”: “enough Reynolds Wrap to foil an asteroid, / Eros in particular. Who’s not aroused / by sales?”
And warmly sensual: “when he comes, the game beats / in his heartbeat thumped by the wallop of her heart / beating against his; and like a spider tumor, spins / webs in his brain, in love now with how it’s played.” — Nina McLaughlin, The Boston Globe.

“Incisive and various in its approaches, Listen deploys blank verse, tight quatrains, prose poems, and adaptations of international poets in the service of a full heart and open mind. The speakers of these poems, while serious, often resist taking their speech too seriously: So much of our lives we live over our heads! captures the book’s irreverent affection for our so-called selves.” —Ploughshares, Editors’ Shelf.

“Listen is Steven Cramer’s users’ manual for attentiveness, enacting the salvific (my word, not his) power of listening, of paying attention at all times to the worlds within and the worlds without.” —Andrea Read, Plume.

AUTHOR PROFILE: I’ve found that writers tend to hide behind their resumes, as I’ve done below. Some think that poetry is among the most personal of literary forms, and I imagine that my poetry reveals aspects of my personality. Although everybody knows that a poem’s speaker is not necessarily the poet, many neglect the importance of “necessarily” in that formulation. I could never have “made up” the depression that resulted in—and was in part eased by—the poems in Listen’s first section. On the other hand, those poems seem to me no more—and perhaps in some ways less—personal than others in the book. If asked whether a poem of mine represented something I am or something I made, I’d opt for the latter. I’m happy enough not to be asked.

My previous books include Dialogue for the Left and Right Hand (Lumen Editions/Brookline Books, 1997), Goodbye to the Orchard (Sarabande Books, 2004) — winner of the 2005 Sheila Motton Prize from the New England Poetry Club and named a 2005 Honor Book in Poetry by the Massachusetts Center for the Arts the Book—and Clangings (Sarabande Books, 2012). My poems and essays have appeared in The Atlantic Monthly, Kenyon Review, The Nation, The New Republic, The Paris Review, Ploughshares, Poetry, and other journals, as well as in anthologies such as The Autumn House Anthology of Contemporary American Poetry (Autumn House Press, 2005 and 2011) and The Book of Villanelles (Knopf Everyman’s Library Pocket Poets Series, 2012). I’ve written chapters for Simply Lasting: Writers on Jane Kenyon (Graywolf Press, 2005), Touchstones: American Poets on a Favorite Poem (Middlebury College Press, 1996), and Until Everything Is Continuous Again: American Poets on the Recent Work of W. S. Merwin (WordFarm, 2012). Recipient of fellowships from the Massachusetts Cultural Council and the National Endowment for the Arts, I founded and now teach in the Low-Residency MFA Program in Creative Writing at Lesley University.

SAMPLE: My website provides links to poems here. https://www.stevencramer.com/writing/.

LOCAL OUTLETS: Porter Square Books

WHERE ELSE TO BUY IT: Amazon, Barnes & Noble, Bookshop.org.

PRICE: $19.95/

CONTACT THE AUTHOR: scramer@lesley.edu.

The Stopping Places

THE BOOK: The Stopping Places 

PUBLISHED IN: 2018

THE AUTHOR: Amy L. George

THE PUBLISHER: Finishing Line Press

SUMMARYThe Stopping Places is a collection of poetry that addresses the everyday moments of life, with all of its seasons. Interwoven within these themes are poems that deal with nostalgia, spirituality, loss, and finding one’s place in the world. Introspection and reflection play key roles in my poetry, as does the main goal that I want to write poems that are accessible for readers. (Poetry can be an intimidating genre.) 

THE BACK STORY: This collection was borne out of my own deep gratitude for the richness of living; we have so much to be thankful for if we just pause and think about it.  There are so many people that our lives intersect with, and each impacts us in various ways (whether short or long-term). We can be so busy in our society of hustling and doing that we forget to stop and remember that we are human beings. 

Also, Finishing Line Press published my second chapbook, Desideratum, and I loved their work so much that I submitted this collection for their consideration. 

WHY THIS TITLE: My husband and I both love to travel, and I ended up writing a poem about how we have different “stopping places” or lookout points along life’s journey, and that the most important part of these moments is the people who get to share them with us.

WHY SOMEONE WOULD WANT TO READ IT: I try to write “poetry for non-poets,” in that my poems tend toward the narrative than anything that might be seen as either extremely structured or too abstract. My goal is to have poems that are restful and contemplative, rather than tragic or self-indulgent.

REVIEW COMMENTS:

“There’s a road on every tombstone,” begins Amy George’s gentle and dulcet journey through her seasons, measured and soft, yet rich in imagery and delicate speech. After reading, I want to stretch out on a hammock and try to remember all I’ve missed in my hustling, frenetic day. If you like to be calmed and yet led toward substance, reassured, yet brought to crossroads amidst the movement and pulse of our condition, then this book is for you.  “I learned how to paint joy, rest, serenity… and when the time came, farewell.” We get to read the poems, but  The Stopping Places provides all the richness and variety of three-dimensional, visual art.: —Edward Nudelman, Author of Out of Time, Running and What Looks Like an Elephant

“Memory, dreams, and seasons changing— layered voice of introspection, looking back on “the travel of the lines”— learning what the natural world gives, is the experience to live wholly, without regret or apology, for this one life. George’s lyric poems moved me unexpectedly, making me pause and take notice of the elegiac undertow that pulled me closer to knowing the ‘you,’ who is a braid of three persons— self, loved one, and ultimately, God. It’s this ‘you’ whose identity becomes legacy in The Stopping Places.” M.J. Iuppa, Author of Small Worlds Floating (Cherry Grove Collections, August 2016) and forthcoming, This Thirst (Kelsay Books, September 2017).

“Reading The Stopping Places by Amy L. George, one hears two voices from American poetry:  Robert Frost in “Stopping by Woods on a Snowy Evening”: “But I have promises to keep/And miles to go before I sleep” and Walt Whitman in “Song of Myself”: “All goes onward and outward, nothing collapses/And to die is different from what anyone has supposed, and luckier.” Like them, George is a poet of balances:  of joy in life and death, of experience and what may be lost (except to memory) and what is gained through loss, of spirituality and sensuality, to name a few.  In the prefatory title poem, the first line tells us “There’s a road on every tombstone.”  George takes us on that road. Along the way, she tells us: “I forget the sound of the clock/ticking in its impatience….” (in “Focus”), “The right words will be right behind us…. (in “Burn the Chaff”), “Your absence has transformed me….” (In “Propulsion”), and “I paid attention to the correct way/to paint the sound of journeys….”  (in “Ideogram”).  In poem after poem, she certainly has paid attention:  one sure word and image after another.” –Antonio Vallone, publisher, MAMMOTH books and poetry editor, Pennsylvania English

The Stopping Places by Amy George exudes quiet charm, a reflective search for identity while straddling two cultures. George draws on her Korean heritage in delicately painted landscapes, “To teach me our mother tongue, / language of brush and ink,…Because of your hands, /I learned how to paint joyrest, serenity…/and when the time came,/ farewell.”  Her lyrical narratives are deeply contemplative as language and memory tug at the boundaries of emotion.  Occasionally a wistful tone recalls the ambivalence of displacement, “the homeland/that only remembers me /as its acquaintance/ and not as its child,” and as she tries to make peace with this, George is unflinchingly aware of the distance traversed “There’s a road on every tombstone./ A journey is traced / in a single dash.” At the heart of these poems the reader will find a captivating authenticity. Most of all, The Stopping Places is a testament to the human spirit. – Ami Kaye, Publisher & Editor, Glass Lyre Press, Publisher & Editor, Glass Lyre Press/

AUTHOR PROFILE: I love words, largely due to the influence of a wonderful teacher I had in the fifth grade, then my creative writing professor in my undergraduate studies, then a fantastic thesis mentor for my MFA. I have been privileged to have many encouraging wordsmiths in my life. I blame an encounter with Percy Bysshe Shelley’s “Love’s Philosophy” when I was 13 for drawing me to poetry specifically. I’ve been blessed to have my poems in various journals such as Kyoto Journal, Pennyslvania English, WestWard Quarterly, and a couple of anthologies, including First Water: The Best of Pirenes Fountain and The Working Poet: 75 Writing Exercises and a Poetry Anthology by Scott Minar. My poem “Pocket God” was featured by Verse Daily in 2022. My poem “Broken Tongue” is slated as one of the poems for Philadelphia Contemporary’s 2023 Healing Verse Poetry Line.

Currently, I teach creative writing courses (including poetry) at a private university in Texas. 

AUTHOR COMMENTS: As a poet, I believe that one of the gifts of poetry is to encapsulate universal experiences in a way that makes people think about their own lives, so I wanted this collection to be able to synthesize a number of themes to represent our multi-faceted human experience. I also wanted to have some poems that would be reflections on the beauty of the diverse kinds of people we meet in life and the mysterious ways our paths cross at different junctures. 

SAMPLE: Here is the title poem, published in Paddock Reviewhttps://paddockreview.com/2018/01/22/a-poem-by-amy-l-george/

WHERE TO BUY IT:  Amazon or from the publisher:

PRICE: $14.99

CONTACT THE AUTHOR:

Amylisageorge@gmail.com     Facebook: Amy L. George

Weather Report, February 27

(Flint Hills, Kansas: Photo from the Bohemian Lens).

Our currently featured books, “Our Shadows’ Voice,” by Douglas W. Milliken, “The Superior Act of Showing Your Teeth to Strangers,” by MD Marcus and, “Time is Always Now,” by Rebecca Starks, can be found by scrolling down below this post, or by clicking the author’s name on our Authors page.

————————————————————— 

UPCOMING ON SNOWFLAKES IN A BLIZZARD, FEB. 23-MARCH 6.

“FLINT & FIRE,” BY LISA HASE-JACKSON.

Like the prairies that populate many of these poems, life often must be burned back to make way for growth. Lisa Hase-Jackson strikes the flinty surfaces of living and ignites a fire that both clarifies and illuminates. Spanning divorce, single motherhood, individuality, and love, FLINT AND FIRE is a collection that burns with brave and honest beauty. Says Denise Duhamel, “Lisa Hase-Jackson’s poems are poems of survival—elegantly crafted testimonials, gorgeously empathetic narratives. She pays wildly democratic witness to addiction, racism, mental illness, incarceration, women’s shelter pamphlets, and subsidized apartment complexes. An important, fearless, beautiful, wholly American debut.”

“IOLA O,” BY G.M. MONKS.

Writes the author: “At an early age, I had an interest in literary fiction. In high school, I read Dostoyevsky. In my early twenties, I read Sartre, amongst other writers. I started to seriously write later in my life. I write because I enjoy it. Over a period of about ten years or more I attempted to write a novel. Although I did many other things also during that time. This included earning my BA degree, master’s degree, and then my doctoral degree in psychology, which entailed moving from one state to another to another. Within those ten years or so, I scrapped my first attempt and Iola O was then started. It took a ton of revisions and another bunch of years, while also writing several short stories and poems. It was written and published in California where I was born and raised. I now live in Pennsylvania.”

“LISTEN,” BY STEVEN CRAMER.

From one reviewer: “Incisive and various in its approaches, Listen deploys blank verse, tight quatrains, prose poems, and adaptations of international poets in the service of a full heart and open mind. The speakers of these poems, while serious, often resist taking their speech too seriously: So much of our lives we live over our heads! captures the book’s irreverent affection for our so-called selves.”

“THE STOPPING PLACES,” BY AMY L. GEORGE.

From a review: “There’s a road on every tombstone,” begins Amy George’s gentle and dulcet journey through her seasons, measured and soft, yet rich in imagery and delicate speech. After reading, I want to stretch out on a hammock and try to remember all I’ve missed in my hustling, frenetic day. If you like to be calmed and yet led toward substance, reassured, yet brought to crossroads amidst the movement and pulse of our condition, then this book is for you.  “I learned how to paint joy, rest, serenity… and when the time came, farewell.” We get to read the poems, but  The Stopping Places provides all the richness and variety of three-dimensional, visual art.”

Our Shadows’ Voice

This week’s other featured books, “The Superior Act of Showing Your Teeth to Strangers,” by MD Marcus and “Time is Always Now,” by Rebecca Starks, can be found by scrolling down below this post, or by clicking the author’s name on our Authors page.

————————————–

THE BOOK: Our Shadows’ Voice.

PUBLISHED IN
: 2019.

THE AUTHOR:  Douglas W. Milliken.

THE EDITOR
: Marc Estrin conducted the final round of edits, but the manuscript definitely benefited from the feedback of more than a dozen early readers, especially my partner Genevieve Johnson, poet Megan Grumbling, and painter Justin Woollard.

THE PUBLISHER
: Fomite.

SUMMARY: A young boy internalizes the burden of responsibility for his best friend’s unstoppable death. A sister molds herself into a living memorial to her brother, becoming both mystic and pragmatist, ascetic and sensualist. A mother, through rituals both musical and spiritual, counterpoints herself between feeling too at home in her grief and wishing her son’s ghost will finally leave her alone. And at the center: Joshua Sams, alive and then dead in the fall of 1982, linchpinning together the lives of those who loved him most as they struggle through the visceral permutations of regret, denial, and resignation, the desperate reach toward spiritual rebirth and the failure to be reborn.

THE BACK STORY: In the ten years between its conception (an outline scrawled on the blank back page of a horticultural catalog) and its eventual publication, the story of Our Shadows’ Voice grew and matured and changed shape in countless profound ways. My initial interest was a simple exploration of friendship and sexuality and the sometimes-messy, sometimes-profound overlap of the two. Over time I began (consciously or otherwise) folding in more and more personal experiences of grief and loss. My longtime interest in spirituality led to months of research into Jewish mysticism and ritual, which ultimately manifested in the novel as a sequence of letters written by the mother to her dead son. Joan Didion’s Blue Nights and Denis Johnson’s Already Dead gave me the courage to dive deep into the confusing, aching, sometime ugly aspects of mourning and death, and the films of Gus Van Sant were my guides in how to not look away, to maintain an unflinching gaze no matter how intense and painful the events might proceed. Some of the earliest passages were written in a 17th-century church in Moretta, Italy. The last pages were written at my kitchen table in Portland, Maine.

WHY THIS TITLE?: Not many days after composing the first few scenes of the novel, I found myself in a bookstore in the nearby town of Saluzzo, Italy. I did not then and still do not speak Italian, but had quickly discovered after arriving in Piemonte that I could partway read simple Italian text. So while my companion earnestly sought out reading materials, I browsed the books laid out on the display tables and tried to decipher/guess what their titles might mean. This was more play than earnest scholarship. But I eventually came across a particular book that stopped me short. I can’t remember the actual title now, just that it contained words resembling nostrum and sombra and voci, which I reflexively interpreted as Our Shadows’ Voice. I knew my translation was wrong, but I was struck by what these incidental words might mean, suggestive of something unifying from within the darkness, a thing that makes us all equal even when we refuse to or simply cannot see. The idea felt more than a little germane to the story I had only just begun to craft. It’s the only title I ever seriously considered for this book.

WHY WOULD SOMEONE WANT TO READ IT? 
Nick Cave (the musician, not the sculptor) once wrote in a letter that “like love, grief is non-negotiable.” Regardless of the type of love—for a friend, a lover, a child, a cat—that love is tied inextricably to the eventuality of grief. Yet our culture by-and-large only focuses on the one, producing endless books and movies and songs and TV shows about love while getting real wily and scarce when the topic of grief inevitably arrives. I think this is a disservice to all of us, those who are lost and those who remain. It’s a denial of reality, and it hurts us in myriad ways. Grief is complicated but can also be beautiful, and despite all of the pop-psych lingo about closure and moving on, it is in fact something permanent once it arrives. It changes you, but you have agency in that change. If you agree with any of these statements, then maybe this is a book for you.

REVIEW COMMENTS:

“Words and images rise in Douglas W. Milliken like water from a spring, and he attends them with a watchful heart. Light-handed, far-seeing, a painter in words, Milliken carries us back and forth between the sensuous pleasure of place and the inner life of his characters, each essential to the story as a star to its respective constellation. Douglas W. Milliken, himself a fresh star I believe will find a place among constellations of revered writers, highlights how we live daily at the fringe of mystery.” —Martin Steingesser, author of Yellow Horses and Portland Maine’s Inaugural Poet Laureate, 2007-09

“Milliken is a master of leveling the field of experience and revealing the things we all carry with us—awe, insecurity, nostalgia—whether we’re looking up at the stars or about to be swept out to sea.” —Celia Johnson, Creative Director, SLICE Literary

“There’s such a satisfying alchemy to Milliken’s sentences—rhythms, textures, and resonances that magic our day-to-day idiocies into almost hilarious beauty. And by beauty, I don’t mean some transcendent feeling or deliverance from our isolation, but something much deeper and stranger: the extraction of an inner warmth we always hoped was there.” —Meghan Lamb, author of Failure to Thrive

“Beneath the lucid, serene surface of Milliken’s prose lie disturbing realities. His immersive fiction takes us to places where we may be afraid to look and invites us to celebrate the beauty of unsettling mystery.” —Nat Baldwin, author of The Red Barn

AUTHOR PROFILE: I am the author of two novels­—To Sleep as Animals (Pilot Editions) and Our Shadows’ Voice (Fomite)—the collection Blue of the World (Tailwinds Press), several chapbooks and uncategorizable texts, the collaborative immersive-theater piece [STORAGE], and two forthcoming books: the novel Enclosure Architect (West Virginia University Press) and the family history Any Less You (Fomite). I’m also a horticulturalist, orchardist, visual artist, and a founding member of the post-jazz chamber septet The Plaster Cramp, wherein I compose, produce, and occasionally am allowed to play an instrument or two. While I have lived nearly all my life in the state of Maine, parts of upstate New York, Nevada, South Dakota, Mexico City, and California’s Central Valley are also integral aspects of my idea of home. I’ve garnered awards from Glimmer Train, the Maine Writers and Publishers Alliance, and the Pushcart Prize, among others, and live in some sort of unlikely coexistence with my partner, the interactive artist Genevieve Johnson.

 AUTHOR COMMENTS: With previous book projects, I toured and gave readings as frequently as time and circumstance would allow, often inviting artists of various disciplines—from theater to music, video to gastronomy—to create unique (often nonce) performances centered around the text. Because Our Shadows’ Voice was released in the winter months immediately preceding the COVID-19 pandemic, this novel received none of that attention. Which, in many ways, makes this feel like an orphaned work to me, a book that’s close to my heart that did not get the public life it deserved. Hopefully its inclusion in Snowflake in a Blizzard will to some tiny degree remedy that sense of loss.

SAMPLEhttps://www.amazon.com/Our-Shadows-Voice-Douglas-Milliken/dp/1944388834/ref=sr_1_1?keywords=douglas+w+milliken&qid=1572359986&sr=8-.

LOCAL OUTLETS

Sherman Books (multiple locations throughout Maine): https://www.shermans.com/

PRINT (Portland, Maine): https://www.printbookstore.com/

WHERE ELSE TO BUY IT:

Indieboundhttps://www.indiebound.org/book/9781944388836

Amazonhttps://www.amazon.com/Our-Shadows-Voice-Douglas-Milliken/dp/1944388834/ref=sr_1_1?keywords=douglas+w+milliken&qid=1572359986&sr=8-1 

Barnes & Noble: https://www.barnesandnoble.com/w/our-shadows-voice-douglan-w-milliken/1134585500?ean=9781944388836

Apple Bookshttps://books.apple.com/us/book/our-shadows-voice/id1486937614?ls=1

PRICE: $15 paperback, $4.99 e-book

CONTACT THE AUTHORwww.douglaswmilliken.com

The Superior Act of Presenting Your Teeth to Strangers

THE BOOK:  The Superior Act of Presenting Your Teeth to Strangers

PUBLISHED IN
: 2021

THE AUTHOR:  MD Marcus

THE EDITOR
:  Ericka M. Arcadia

THE PUBLISHER:  April Gloaming Publishing is a nonprofit independent press based in Nashville, TN that aims to capture and better understand the Southern soul, Southern writing, and the Southern holler.

SUMMARY: In this gripping memoir, we walk alongside MD Marcus as she follows orders, stands in line, and bides her time during a couple stints at a mental health facility. In the halls, she witnesses what it is that those who are deemed “crazy” or “unsafe to themselves or others” are subjected to undertake: group therapy, announcing ridiculous delusions-lying to make it seem like they are ready to go home. Unable to get her shoelaces back until she asks, MD Marcus then lets us into her mind’s deepest, darkest secrets. A place that may be too real and honest for some readers to stomach, especially when her mental state becomes most challenged by her sister’s cancer diagnosis. But in the truth lies healing, and in healing lies a way forward. By the end, we are ready to travel home with her, at long last, and continue forth, anew and enlightened.

THE BACK STORY
: My memory does not always serve me well, so I am a chronic note taker. I am also an extreme introvert, so while I silently observe my internal world and the world going on around me, I pay particular attention to all the odd happenings some folks might miss. As I found myself in and out of mental hospitals, in and out of therapy, and experiencing the profound sadness from my sister’s illness, I also found myself surrounded by words; sticky notes in my purse, a few lines jotted down on a scrap paper, quotes written in a notebook, and so on. Collecting all these stories and documented events, I pieced them together to give them sense and order. As a working, single mother of 3, trying to get another degree, in and out of a mental hospital (I mentioned that already), my time and mental energy to spend on writing was limited to a sweet spot in the late-night hours right after my kids went to bed and right before I crashed out. Due to these time and life constraints and adding a little extra for the tough emotional processing, writing this book only took me 10 years.

WHY THIS TITLE?: This is actually the title of a poem of mine that is not related to my memoir at all. While he was a freshman in high school, my son’s very best friend in the world was hit by a train and killed. I remember going to a clothing store trying to find something for him to wear to the funeral, and I felt utterly lost. I barely knew how to pick out clothes for a teenage boy period but dressing him for this occasion felt like an out of body experience. While I went through the motions of digging through racks of clothes, making room for other people walking the aisles, standing in line, and checking out, I remember the effort it took to just operate as a human. What stood out to me most notably was feeling obligated to offer a societally expected politeness to each person I came into contact with. Smiling at them, aka presenting my teeth to strangers, truly felt like a superior act that day. I think the same concept lends itself to my struggles with mental illness and grief, so I borrowed the title of the poem this experience inspired and gave it to my memoir.

WHY WOULD SOMEONE WANT TO READ IT? “I used to think I was the strangest person in the world but then I thought there are so many people in the world, there must be someone just like me who feels bizarre and flawed in the same ways I do. I would imagine her and imagine that she must be out there thinking of me, too. Well, I hope that if you are out there and read this and know that, yes, it’s true I’m here, and I’m just as strange as you.” — Frida Kahlo.

REVIEW COMMENTS

“It takes courage to face our own deepest wounds, to look pain and loss right in the eye and refuse to blink. Perhaps more courage than most of us ever muster. And yet, in her debut book, MD Marcus does exactly this. In what proves to be as much a poignant, poetry-laced memoir as it is a permission slip for the rest of us to disbelieve our worst circumstances are the last word, Marcus is never glossing—and never without hope.” –Steve Daugherty, author Experiments in Honesty

“MD Marcus’ unflinching memoir bravely examines the intersection between depression, single parenthood, anxiety and grief, culminating in a beautiful story of loss, and love.” — Cinthia Ritchie, author of Malnourished: A Memoir of Sisterhood and Hunger and Dolls Behaving Badly

“This memoir is a brilliant balancing act of storytelling. Not only does it balance time, it balances prose and poetics, openness and control, and the reciprocal relationship between writer and reader. The writing moves with an honest intentionality. It is not a giving over of a narrative. It is a welcoming into a space we get to be exposed to but that is still undoubtedly the writer’s. We are grateful for the invitation and thankful for what we gain from the experience. We leave excitedly waiting to be invited back again sometime soon.” — Dasan Ahanu, author of Freedom Papers, Everything Worth Fighting For: an exploration of being Black in America, and Shackled Freedom

AUTHOR PROFILE: I’m a mother, a poet, a lover of Jesus and the color blue, I collect keys and tattoos, I may or may not be obsessed with Dolly Parton and Freddie Mercury, and I hope to speak French someday. My poems and essays can be found on my website (mdmarcus.com) which stays *mostly* up to date. But I especially enjoy visiting other people’s visual worlds and connecting with them through mine on Instagram (@md.marcus).

AUTHOR COMMENTS: On the whole, I write of mental illness, motherhood, poverty, racial injustice, and the universal experience of love lost. In telling my stories whether through poetry, essays, or my memoir, my hope is and has always been to make other people feel less alone.

SAMPLE: Copied below

LOCAL OUTLETS

Barnes & Noble

Quail Ridge Books


WHERE ELSE TO BUY IT

April Gloaming Publishing

Amazon


PRICE:

$16.99

CONTACT THE AUTHOR:

www.mdmarcus.com

https://www.instagram.com/md.marcus

https://www.facebook.com/MDMarcusWriter

mdmarcuswriter@gmail.com

SAMPLE

To enter the hospital, you must walk through a double set of glass doors. Upon going through the first set, you are required to wait in a glass box until the receptionist sitting across the room behind more glass presses a button on her desk that unlocks the second set of doors. You’ll understand this security precaution is more essential from the reverse side of that door. Ensuring that if a crazy manages to get through the labyrinth of the hospital, out of all the other locked doors, and somehow finds their way down to the first-floor lobby, there is still one last barrier protecting the public from them.

Obviously, my mom had to take me on this trip. I was a minor and her presence and consent would be needed. The drive and wait in the lobby were as uncomfortable as an extra smedium wool sweater. But we both did what we had to, signed in, and then sat waiting until an Intake Specialist would see us.

These intake people are tricky. I had no idea then, but I know now that it’s best not to be completely honest with them. I used to think it was counterproductive to not have full disclosure about your mental health, but it’s too dangerous to be absolutely honest or forthcoming. This makes their job much too easy. The intake person was responsible for writing that big fat lie in my file that stated how I wanted to run my car into a tree when I came there looking for help the second time around. Just in case I hadn’t been clear before, I NEVER said this! 

Anyway, back to my first rodeo, the main entrance, reception desk, and waiting area are all in one small section off a short hallway full of doors on either side. Whatever rooms or offices lay within these doors must have all been tiny because the number of doors to hallway length ratio made is seem quite impossible that all of them could actually have a working function.

We were called to enter one of these doors, and indeed the room was a tiny square. The tiny square contained a rectangular table filling most of the space. Surrounding the table were three burnt orange vinyl and dark wooden chairs. There was a heft to their look that said they could not have been easily lifted. We took our seats, and with all things essential to the preservation of the human condition, began the paperwork.

Some questions were easy like; Do you find that you cry easily and often? Yes. Do you sleep more than normal? Yes. Do you hear voices? Um, No. Do you fantasize about hurting yourself or others? Myself, Yes.  Others, No.

Others were slightly more complicated. Do you feel an overwhelming sense of guilt? Do you have difficulty falling and staying asleep? Have you had weight loss or changes in appetite? Hopelessness? Loss of interest? Hear or see things others do not? Feelings of worthlessness? Difficulty concentrating? Making decisions? Do you believe others are plotting against you? Have you considered suicide?

Unsurprisingly, there were enough Yeses for me to be admitted.

After going back to the waiting room and sitting for a short period, I was collected to be escorted into the interior of the hospital. I discovered the admitting section was like the small mound of crumbly dirt atop an ant hill. All the real action was further inside. It took place deep within two solid wooden double doors. These two doors, the color of a number 2 pencil, were the gateway to this nucleus. One side had a big metal bar across it that must be pushed for it to be opened. But a person’s strength wasn’t the only thing needed to enter. There was a small black plastic rectangle mounted to the wall next to the door that had the push bar. There was a credit card like slot running vertically through it, and a small light shone a constant red at the top of it. Stop. Do Not Enter.

The sentry began to break apart. Like Charon silently ferrying towards Hades, they were opening to collect a new soul.

Though there weren’t many people in the room, everyone who was there, including the receptionist, stopped and turned their heads towards the doors. They continued to swing open at the same time but in opposite directions. A man dressed in tan scrubs a couple sizes too big for him walked out and went down the hall. After gathering the necessary information and papers, he called my name.

My mom looked tired as she left the hospital. I wonder now how much she slept that night.

I walked to the man in the baggy scrubs, and he offered me a smile. I suppose it was meant to be a smile that told me not to worry, everything would be okay. But instead it told me he was tired and was just going through the motions. There was somewhere else he’d rather be than chaperoning crazy kids around this place, and it showed in the parenthesis punctuating his lips.

Having swiped his badge through the credit card slot, the double doors ceremoniously opened again beckoning me in. I would be going through them this time, and I’d have no way back out, at least not tonight.

The hallway through the doors was long and winding. I’d imagine it’d be really disorienting walking through these passages alone.  There were many doors and elevators and adjacent hallways, none of which we took. The lights inside these doors were off because it was the middle of the night when people ought to be asleep, and the lights above our heads glowed a dim yellow casting everything in a sickly haze. It could have easily been the setting for a scary movie, and I hated scary movies. After walking what felt like a half mile, we came to another elevator and went up to the third floor.

Stepping off the elevator we entered a unit shaped like an ill formed upper-case T. The line going across the top was proportional in either direction and consisted of patient bedrooms with each door wide open. A nurses’ station sat where the line perpendicular to the horizontal top line should began to come down. But the vertical line shooting off from it was too squat and short to form a proper letter T. This severed would be line contained a room full of chairs, a couch, a love seat, a TV mounted high on the wall, and a large conference table.

Even through the gloomy lighting, the primary colored painting above and around each doorway, which served as a border throughout the unit, could be easily made out. It was the same color scheme found in most daycares.

Like the rest of the hospital, the floors here consisted of large plain laminate tiles that captured the sound of footsteps and made them almost disappear. Unless of course you happened to drag your feet when you walked and then the noise was all squeaky like the screech of sneakers on the hardwoods of an indoor basketball court.

Without a word, my guide left me with the same distant smile with which he had received me. Perhaps now he would get to physically go wherever he had already been mentally.

The nurse who reviewed my intake forms went over some safety provisions with me. This is when I lost my shoe strings. When she was finished checking my pockets, she led me to a room two doors down from the central location of the nurses’ station.

The inside looked like a cheap motel room but was considerably smaller. When you entered, there was a tiny bathroom immediately to your left. It was all white with no additional décor or coloring. There was a small sink, toilet, and shower/tub combo. The only thing worth noticing about this bathroom was that there was no mirror above the sink and no lock on the door.

Inside the room were two twin beds. In the bed nearest the door a girl lay asleep. I didn’t want to disturb her, less from the worry of interrupting her sleep and more because I had no desire to meet her or talk to her. Quietly I went passed her bed and sat atop the comforter of the second which was nearest a large window looking onto the street where I entered the hospital. It’s probably a safe assumption that the window contained a particularly reinforced type of glass.

Staring out of this window, I made a mental note to remember the tree that was directly below. It was a tall tree between the street sign and a small bush with tiny white blooms. It lined the street of the main entrance to the hospital. Hundreds of people must pass that tree every day and fail to notice it, but I would always see it. I promised myself that I would always give it a small internal recognition if I happened to pass by. It would serve as a sort of symbol or a personal monument. It would serve as a reminder of a time I vowed never to forget. Probably couldn’t forget even if I tried.

Sometime between my making promises to trees and the sun rising, I had fallen asleep. Now, I was being woken up much too early by an unfamiliar woman. She was standing over my bed and softly calling to me. It was time for breakfast and meds. All I wanted to do was go back to sleep. I didn’t want to have to talk to anyone I didn’t know. I didn’t want to have to meet other crazy kids. I didn’t want people staring at me.

I got up to use the bathroom and could think of only one thing. Facewash. Man, I wish I had my facewash.  I despised the thick sheen of a dirty face. It made me uncomfortable like I was dirty all over. Now a greasy, stinky, shiny oil coated my skin like a layer of film atop a cooling soup. They didn’t have any facewash there, so I had to use bar soap which is horribly drying and counterproductive. But beggars can’t be choosers and the grease had to go. No makeup either, it wasn’t allowed. Not that I wore much then, but I did like to fill in my asymmetric eyebrows especially the left one with the triangle shaped scar where hair no longer grew. This scar was a gift from a childhood friend who accidentally swung her green plastic National Geographic box (which held informational cards about various animals) hard landing right above my eye. I remember screaming “I hate you!” as I ran bleeding inside my house.

Besides filling in my scar, I liked to wear mascara sometimes too, but there was nothing to be done about that now. I stepped out into the unit common area raw.