Issue 146
Summer & Fall 2014
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Issue 146 opens with Brian Bouldrey's beautiful and devastating video essay "Dead Christ." Hans Holbein’s painting The Body of the Dead Christ in the Tomb (a detail of which also serves as the issue’s cover art) acts as a gateway for Bouldrey to explore death and grief, pain and suffering, love and hope. “You out there, watching with me, hear me in the dark, and remind me I’m alive,” Bouldrey says.
If there’s a unifying theme for Issue 146 it’s that pulsing desire to be heard in the dark. The fiction, nonfiction, and poetry in this issue are provocative and gut-wrenching, illuminating the trappings of existence in unique ways. Mystery, pain, grief, joy, love, hope abound.
Wherever you’re reading Issue 146, whether in bed or beside a stranger on the train, when you’re finished and you've exhaled, allow whoever’s near to wonder where you’ve been and how you’ve changed—come alive—after TriQuarterly.
Cheers,
Adrienne Gunn
Managing Editor: Adrienne Gunn
Assistant Managing Editor: Noelle Havens
Faculty Advisor: Susan Harris
Literary Editor: S.L. Wisenberg
Director of Planning: Reginald Gibbons
Film Editor: John Bresland
Fiction Editors: Carrie Muehle, Dan Schuld, Ankur Thakkar, Stephanie Tran
Nonfiction Editor: Karen Zemanick
Poetry Editor: C. Russell Price
Social Media Editor: Ankur Thakkar
Copy Editor: Lys Ann Weiss
Media Architect: Harlan Wallach
Technical Advisors: Alex Miner, Rodolfo Vieira, Nick Gertonson
Undergraduate Intern: Brooke Wanser
Staff: Ahsan Awan, Rebecca Bald, Jen Companik, Jim Davis, Jennifer Deeter, JL Deher-Lesaint, Aaron DeLee, Jesse Eagle, Jeshua Enriquez, Dan Fliegel, Dane Hamann, Ish Harris-Wolff, Beth Herbert, Alex Higley, Martha Holloway, Barbara Tsai Jones, Katharine Kruse, Jen Lawrence, Adam Lizakowski, Robin Morrissey, Marina Mularz, Troy Parks, Amber Peckham, Miyako Pleines, Lydia Pudzianowski, Nate Renie, Mark Rentfro, Paula Root, Caitlin Sellnow, Michi Smith, Megan Sullivan, Adam Talaski, Myra Thompson, Ted Wesenberg, Carol Zsolnay
Image from Dead Christ
Firing the M-1 Garand
In our backyard, my father,
who never talks about the War,
demonstrates the proper way
to use the sling on the .22 rifle
The Problem with Tarot and Online Dating
I draw three cards because I need to believe the fortune
has more weight than what I’m able to accomplish
in an afternoon. The ship is sinking or I am juggling
a hand holding the cup I’m going to refill now.
On the Day That He Goes, I Will
for Avery
think of you first.& then I will think of you again:
Your belongings—Stripey, a whoopee cushion—my heart,
stowed in secret—will lurchpitching, heaving, tumbling,
behind my breastbone,will stagger toward an image seared into
The Leach Pond
Sulphur saturates air by the ear
listening to gravel pop under truck tires
slow along the ring road, men surveilling.
On Getting Dumped by Mania in a Strange City
Each time skylines shivered
through the window, I’ll admit
I was a little rain-rust
and fire escape leap.
Chaos Non Sequiturs
Pour soft drinks into the ground and watch a forest of butterfly wings
descend—understory of veins and dust,
canopy torrential with scales, black and orange.
Onion Mountain Overlook, Blue Ridge Parkway, VA
where your brother’s remains
will be scattered, we light up and watch the ashes
fall into the valley. On lichen-rich
Parable of the Flood
A flood is coming, you know. The forest animals have fled.
The cattle, having broken the fence, are long gone.
Your hands float like the moons of two planets
As the Sickle Moon Guts a Cloud
a sickness grows inside the moonlight,
turns under the mud in the corral
the horse churns to fever.
A boy stands at the fence
and whistles to the horse, clicks
The Starship
What if you saw a starship?
If you went to a window and there she was.
The countless lights on her.
The endless night behind her.
The world dwarfed. You as well.
Untitled (Blue, Green, & Brown): oil on canvas: Mark Rothko: 1952
The TV said the planes have hit the buildings.
& I said Yes because you asked me to stay.
Maybe we pray on our knees because the lord
only listens when we're this close
to the devil.There is so much I want to tell you.
Enamel Eyes
Paris, 1870
Saint-Léon’s bright new ballet,
Coppélia, showed Peace routing War.
Then the real war hit like absinthe.
Louis, now Bismarck’s captive, lapped
Moloch Tells All
Maybe they had you read Paradise Lost or Howl.
OK, I’ve got this thing about money, wanting
lots of it -- no, all. So Heaven probably helped
me cope, but it was mainly the shits, flapping