The Fallacy of Mankind – Patrick Hart

Through my nose,
I took everything I could
To make the ache
In my head stop

There were yellow whales
And pipers wearing polka dots
Pretending to be God
The devil held a sword
Like the archangel he was
And threatened the weather

Isn’t it something
When the thunder of a father
Is challenged by the tide of a son;
Yet free will bought mankind the moon?

I challenged traditional thought
By letting the animals in my stomach out
Vampires in white cloth told me my penance
Led to something called a blood clot
And every voice in the room
Sanctioned by love
Was suddenly divided
By their bindings to strength
Empathy
Or necessity

I learned
That color matters
And that humanity classified everything
Including the intangibles
So we could create crowns
For crowded rooms

But when we simplified faith
We lost his name
And now his face only shows
In the most Ungodly Place(s)

Give me happiness or death
But dammit, let love rest

 

 

[Like most of us, Patrick draws most of his inspiration from his history. Through his writing, he seeks to dredge bodies from the dark pools of his mind, as much as he desires to describe and define what life is.

Patrick Hart is a transplanted South Georgian writer who originally hails from Hampton Roads Virginia. He currently serves in the United States Air Force, as an air traffic controller.

If he had to use one word to describe himself, it would be cerebral.]

Find more of Patrick’s work on Instagram and grab a copy of his stunning debut collection War Paint, published by RadPress Publishing

To Quote Walt Whitman

by Mick Hugh

 

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Are there pastorals in a pixel?

I’ve heard it said so.

That a perfect moment holds life’s memories…

yet the playback waits for death.

 

No better than the world

in a meek man’s hands:

show me the roses growing naturally in the graveyard,

or a romance with a wick for the years.

 

We can get high enough

if we run the old Buick

with the garage door shut.

 

We can get high

walking the Lincoln Tunnel,

or gasping for breath

from a Newark overpass.

 

A thousand office faces

find their dreams in computer screens,

still glowing when the day shuts its lights.

Wither the aortic valve,

just from a lack of use.

 

Lazy eyeballs,

cataracts,

myopic Coke-bottle glasses.

The smoke-stacks in a Cezanne.

Mesothelioma

in the gold mines of a wedding ring –

are we done yet?

 

Febrile seizures on a death-bed

awaken his famous past:

canyons in the skin

that ran the red of roses.

 

He’d take his books for walks

till his legs got lost,

down by the waterfront,

down Washington Street.

 

The clamor of half-built high-rises,

soot of the tent towns

under the highways:

the fast clacking of sharp shoes on the sidewalks,

a briefcase to withstand the bullets.

 

Strange creatures that lurked down the streets,

mange and tendon and quiet whisper.

The dog with chopped ears

pawed the Plexiglass shell,

and whimpered,

as the clerks and the lawyers brisked past.

 

A daisy grew in a pavement crack.

A daisy grew and the seasons churned

on a playback twice as fast.

Stop.

 

Stuck at a stop in the traffic-thronged street was a truck,

hauling concrete to the next empty lot, being filled.

The driver could barely be heard:

the hum of idling traffic,

the overpasses rumbling above;

 

beneath the sounds of airplane thrust

and the debates of World News Tonight,

the truck driver,

red faced,

barely heard,

shouting out,

“I loafe and invite my soul, I lean and loafe at my ease observing a spear of summer grass!”

 


Mick Hugh is a writer for Sudden Denouement, and the groundskeeper at Mick’s Neon Fog.


 

The Logical Response – Stephen M Crow

The skyline illuminated
Bright razors against the night
Doing what cutters do
Finding humanity in pain
In emotional release

Pinballs crashing on the street
No eye contact to betray
Inch by inch we march
Hand in bitter hand
Into the belly of the beast

The wind picked up the message
Fall leaves blown asunder
Scrambled contrast across the moon
Throwing shadows
Signaling the end of peace

Burning our own homes in protest
Purpose with a side of death
Realizing we must tear it down
As we lay upon these flames
And go to sleep

[Stephen M Crow is a writer and musician who resides in Pasadena, Texas with his wife, Christy, and their children. Interests include cooking, watching horror movies, listening to music, and spending time with his family.]

Montresor/Down Vaults- Basilike Pappa

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Since I was born

I’ve been a point definitely settled

(Roses are eaten fragrant)

 

Was it the same with you, Montresor?

Immediate risk of disappearance?

(down vaults where the dead are)

 

Repressed grimaces, forced smiles,

baptised in delectatio morosa.

 (violins playing obsession).

 

I bet you wrote poetry once,

dreamt of being a highwayman.

(Each laughing mouth a wound)

 

Into that hidden maze –the lifelines on your palm–

I kept myself a secret

(down vaults where the dead are)

 

movement – a measure of how long

until I turn myself into

(walls between a man and the Carnival.)

 

 

a weaver of grand jests,

the echo of rich laughter.

(Down vaults where the dead are)

 

Us: the smirk of a god.

We grew to be nightshade,

(loose teeth in the mouth of the earth)

 

but roses? Never.

We were eaten fragrant.

(we’ll stay awake and play.)

 

So be it, Montresor:

Let’s take them by the hand

(Come jingle all the way)

 

through corridors –our mind canals–

and whisper in their ear

(down vaults where the dead are)

 

tales of stone and mortar

below the river’s bed

(a little song called murder).


Basilike Pappa lives in Greece. She likes her coffee black, her walls painted green and blue, her books old or new. She despises yellow curtains and red tape. She can’t live without chocolate, flowers and her dog. Places she can be found are: kitchen, office, living room. If she’s not at home, I don’t know where she is. You can find Basilike up late with a notebook in the Silent Hour.

Ita and Tom-Jimmi Campkin

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The town surrounds the hill like a doughnut, and we are the hole.  We lay side by side, staring at clouds like nature’s Rorschach.  Here are warriors with spears and here are fucked up dolphins with five tails.  There is a strand of DNA being broken apart with pliers and there is a dick with three balls.  Three balls.  She observes it dispassionately and says, dryly; enough to give anyone a stomach ache.  Then she claps her hands a few times and shakes her head.

We endure below the waterline with the scum and the fools, but on this hill we can exist, and stroke the feet of angels.  She tells me to splay my fingers out wide and to comb them through the clouds, to feel divinity in the webs.  I half-heartedly swat at thin air and she stubs a cigarette out onto the back of my hand.   Raising one shoeless foot she traces out her name, lets out a fart with a wince and demands another cigarette.  I feel my phone vibrate but this hill has rules.  No technology.  No distractions.  No unnecessary conversation.  I wish I could live my life the way I live on this hill, staring at frozen water and being burned alive.

In the nearby churchyard she has a favourite grave.  A young Italian couple died on the same day over thirty years ago.  The tomb is expensive but forgotten – once pristine marble now dirty, a bunch of rotting artificial flowers in the honeycomb vase, slowly sinking into the ground head first.  I ate her out on the cold stone, looking up at that glorious landscape – the round thighs, the scarred rolling tummy and through the gap in her tits to that gasping, eye-rolling face.  But then my eyes lingered on their names, rusting and bleeding onto the off-white slab… names chosen by parents for children, and I couldn’t muster any enthusiasm anymore.  Rolling off, I told her I had a sore throat and she didn’t speak to me for a week.

This is all memory to me now.  She sleeps somewhere beyond where angels and demons sleep, a special place where she connects to the planets in far off systems and keeps them turning.  The hill is no more and the hole is filled.  There are no clouds, and I swipe my hands through a vacuum.  I try to make shapes out of the nothingness, and I just end up trying to marry specks of dust into sculpture.

Just before the end, we lay in a trembling embrace.  She hadn’t stood under clean water in three weeks and her hair stuck to her skin at every opportunity.  I would do the same.  She looked at me through gelatinous eyes.  I’m just so tired… and she smiled sadly.  I’m terrified because I’ve never seen her cry before.

A few years ago the town planners bulldozed the church and built a supermarket over the graveyard, the dead trapped under the aisles.  I hate it but I tell myself; it’s just the next logical step.  God creates Man.  Man creates Walmart.  Walmart destroys God.


Jimmi Campkin is a “Writer, photographer, creator of SANCTUARY. 16bit child, INFP with clinical nostalgia and red wine for blood.” You can enjoy more of his work at jimmi campkin.com.

Strike a Match-Basilike Pappa

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Some are atheist to thorns / star-crossed / easy pure hope / hurl quotes at you / colorful futures / white-bearded universe / prophets without a clue / no fishnet can hold the sea

Gods / distant spies / needle makers / cracked open jaws / highway wolves / gaping / smoke up curses / under a ripe moon / the world is potbellied

Impressive projects / dead lines / scrape the sky red / thundering ornaments / refrigerator romance / our darling forests turned into floors / not our feet over flowers

Waves of chlorine / bleached urban legends / army civilization / vengeful magazines / isolated mouth / words lost in time difference / return from the dead like a bad smell

Suits drive bright machines / exquisite oysters / indulged / emptied / lean legs / pants glittering / for want of soul or sex / this life tastes like sleeping

To wake is to watch / so scare off all rhyming / be fast / abrasive / tight fist / and amnesiac/ most of our loves are strangers now

Be heart-wrought doubt / no reassurance / be that diamond you’d devour / take extract from a wild summer / and strike a match


Basilike Pappa lives in Greece. She likes her coffee black, her walls painted green and blue, her books old or new. She despises yellow curtains and red tape. She can’t live without chocolate, flowers and her dog. Places she can be found are: kitchen, office, living room. If she’s not at home, I don’t know where she is. You can find Basilike up late with a notebook in the Silent Hour.

The Effortless Brass-Jimmi Campkin

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I’d known The Boy about six years before I realised he had feelings.  Until then, I’d assumed he was like a dead tree – enigmatic and interesting to look at but essentially hollow and lifeless.  The Boy only made sense on drugs – taken by himself and his audience – but in that narrow alleyway of lucidity there was a path to reaching him.  Like those on the fringes of death who witness the long path to the bright light, if you were willing to get as fucked up as he could and did, you’d find windows where he made sense.

I remember lying on the floor, smashing my teeth on a brick, convinced it was a stale piece of bread, and seeing him standing above me, upright, without the usual hunching of the shoulders.  His voice clear and concise, not broken and wavering.  I crawled in the general direction of his shoes, blood dribbling down my chin and spitting bits of tooth and gum out onto the concrete floor.  I grabbed a handful of dust and rubbed it into the smashed remains, feeling the first burning embers of pain even this far gone.  He looked down on me with an expression I didn’t think he was capable of; pity.

He said; She smells like a spring thunderstorm.  A spring thunderstorm.  That was exactly what she smelt like, what she sounded like, what she essentially was.  A storm in a fruitful season.  He crouched onto his haunches and I met his eyes, but they moved too fast for me.  Curling into a foetus, I began to violently spasm, kicking and dragging my body in a circle.  He told me later that the retching created petal splatters of blood around my head…. like a scarlet daisy. 

*

The Boy’s earliest memory was watching a fox with a broken leg trapped in an old oil drum, slowly starving to death over a period of two weeks.  Every day that summer he’d clamber through thistles and nettles taller than him to find the poor beast inside the metal coffin, rattling and whining.  Initially he would sit apart from it terrified and fascinated, as the animal crashed and groaned, trying to free itself from its prison.  But as it became weaker, the noises died down to a soft howl, gentle as the wind through a keyhole.  Towards the end, he would push a crate against the drum and peer inside, looking down at the fox as it looked back up at him….breathing heavily but with a look on its face of utter serenity.  No noise, no whining or struggling, just two damaged lifeforms staring at each other – one at the beginning of its life and one nearing the end.  He once told me; the fox went to sleep, and I kept going back to see if it would wake up.  But something ate its eyes, and it didn’t move no more. 

*

I still go to the old oil drum, now rank and loathsome, filled with black muck and vague glimpses of rib and snapped femur.  I throw my old cigarettes inside, hoping one day I’ll feel bad about it, but I never had the depth of feeling that The Boy did, with or without drugs.  I take enough blotter acid to wallpaper most family homes, but the sun still looks normal and the trees don’t sing anymore.  I push through the thistles and weeds, remembering the pain this little child went through to experience feeling.  How he’d return home covered in little white nettle bumps on his arms, legs and face.  How he’d never cry, even as he slept on a mattress damp from beneath the floor.  Born to indifference, raised in a slum; just a product of bad decisions and post-industrialisation, both parents dead in a public toilet cubicle.

I buried The Boy in a quiet corner of the wasteland.  I picked the spot especially; surrounded by nettles guarding what they could not harm, within sight of the drum and blasted by the rays of the noon sun.  He rests under his little barrow mount, like ancient kings, away from all the troubles of the world.  And that is what haunts me; leaves me so helpless and jealous – not that his troubles are now over, but that nothing ever troubled this simple, stupid Boy in the first place.


Born in November 1983, I have been writing in some form or another for most of my life, but I began to take it seriously as a career around 2003/2004.  Since then I have produced a novel, a novella and a series of short stories some of which are loosely linked into an overarching anthology.

Most of my stories come under the wide umbrella of ‘general fiction’, but I have experimented with genre pieces.  My short stories tend to be bittersweet, nostalgic, sometimes melancholic and (on occasion) examine the darker side of human nature and obsessions.

I welcome you to my site Jimmi Campkin, and I hope you find something here to please you.  If not, below you’ll find a big picture of me to scream obscenities at.