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man seeing being all shades of green nostalgic memories eight year old wedding fresh fruit ripening to teenage lust college white boy racism mexican exits school reconnects digging fields heads of lettuce bleeding green sacrifice of the soil tattoos hiding scars she cuts into herself rabbit and his hat on her shoulder Valentine’s heart on her chest Gothic cross above her right breast Aztec sun on her wrist rosebud on her hip serpent on her stomach each covering the wounds he left behind No Choctaw medicine woman, Catholic priest, or Rabbi could exorcise the Pawnee, Oklahoma Wal-Mart banshee full circle daddy drowning his daughter she doesn’t know how to swim five stages of loss plunged in muddy lake cursing, gum-chewing mermaids traveling with her to heaven even heaven is bureaucratic she works as a counselor in The Office of Near Death Experiences In the poems, there is silence, and dancing—always a road willing to take you between state lines and small towns of Kansas, Louisiana, Texas, but especially Arkansas— always Arkansas, where Mc Dougall has collected each joy, each grief, each simple human feeling, and built a home from the living and the dead.(book number six of t thilleman’s longpoem Anatomical Sketches).

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In each drawing, an identifiable vein of color and movement runs through the center of the page and fans upward.

This vein is the flue, the passage of “heat and smoke” that represents thilleman’s allegory of how “Now” becomes “(k)Now”.

The reader is left with a sense of floaty transparency, both understanding everything and understanding nothing at all, that reflects the mystical realism and “Cloud and Fragment” that this book exudes. Speaking of his intentions for the series, Lawrence Ferlinghetti writes, “I had in mind rather an international, dissident, insurgent ferment.” Consistent with this philosophy, the new 60th Anniversary Edition of the includes not only the familiar names associated with a particular San Francisco literary scene (Ginsberg, Kerouac, Ferlinghetti himself, others), but writing and writers from across the years and oceans. Locklin here explores love, sex, and relationships, with prose that reads like poetry.

Readers possessing only anecdotal familiarity with City Lights Books will find an unexpected breadth of artistic sensibility within the Anthology, and no doubt several fine poems by previously undiscovered writers. His work is humorous, irreverent, sometimes surreal, and always human.

Toad Suck Review is an award-winning national/international literary journal published by the Department of Writing in the College of Fine Arts and Communication at the University of Central Arkansas.

Its mission is to publish the most cutting-edge works of poetry, fiction, creative nonfiction, translations and reviews in the Universe.

The eight vignettes explore a neighborhood of the city, and we get to see this equal parts difficult and defiant community through different citizens’ eyes: a young woman’s nostalgia and longing during Mardi Gras as she remembers her lover who left the town behind; another woman who yearns for her man who she only meets behind locked bars; a boy encountering mortality first hand as he tries to save a lizard and watches it die; the murky mysteries of a deep sea welder; a girl seeing fragments and artifacts of slowly fading lives as she videotapes random people trying to sell their remaining treasures; an Indian kid “storm-wrecked” but standing “fierce and righteous” against the waterlogged waste—these lives are all captured vividly.

Brad Johnson’s poems deal with life in all its messiness with short bursts of humor and dark tragedy.

Essayist Abigail Greenbaum reminds us in “Notes from a Nonnative Daughter” how one can yearn to belong within a community, but remain at odds with the politics and culture of the people comprising it.

In photography, Andreas Franke overshadows with her project The Sinking World, the eerie underwater gallery of wrecked ships animated by ballerinas, boxers in a school of fish, a teenage boy watching television—all unfazed by their distinctly blue-green underwater stage.

And each chunk of words can be a collage itself: as with “easy spiced avocado love pouncer-red-skin-sucker,” and “leaves slipped into each star skirt rapier mass.” The language is that of an abstract artist.