Literary as hell.

Tag: furious gazelle (Page 3 of 8)

“Father Left,” a monologue by Tim J Brennan

Father Left (a monologue)

by Tim J Brennan

We leave one step at a time from many things:
the table after eating, a failing job, a disproved
belief, a broken argument of a home, one hand
against cold glass, the other on the key to the door.
It was like this at our house when I was a kid…
father would argue with mother about whatever
married parents have always argued about;
he would storm out of our small house and march
down the street like some kind of middle aged married
soldier; later, he would return and they would hug
and mother would cry like a little girl and things
would seem fine like the weather seems to be fine,
but one never knows the weather always, do we?
Sometimes we pretend the day is fine when it’s really
raining and the picnics we had planned for what seemed
like a thousand years are cancelled but we go on
to the next day with smiles on our faces and tomorrow’s
dreams on our beds anyway. Once, when I was maybe ten,
it was dark by five-thirty, and I was in the woods
and father came marching by and I called out to him
but he kept marching and I called out again
like a ten year old might when it’s dark out
and you don’t want anyone to know you’re afraid
of the dark, but he kept marching, crazy steps,
with wind clatter at his back, and me following him
as far as the big hill, the one that went up-and-down
and we all knew we weren’t ever supposed to go down
in the dark by ourselves, but father did that night and
even though I called and called he never did turn around
and acknowledge me; it was one of those times I didn’t know
my father, kind of like the time I went to his funeral but there
was nothing there but an urn and ashes and I was scared to call
his name for fear he wouldn’t answer me yet again.

 

Tim J Brennan’s one act plays have played in Bethesda MD, Bloomington IL, Rochester MN, San Diego, and other nice stages. Brennan lives in southeastern MN, a nice place to write about all kinds of stuff.

“A Brief History of the Marriage Vow” by Glen Armstrong

A Brief History of the Marriage Vow

The idea is to get the bride and groom to float toward each other, defying the layers of clothing they have rented. The idea is to obscure the idea with ritual, organ music and flowers, deifying the silence that, though brief, truly heralds their commitment. In this smallest of pauses before the ceremony, they have no idea. No lips. No history. No one breathes as a man trained in all things uncertain guides the trembling couple toward new uses for their mouths.

 

Glen Armstrong holds an MFA in English from the University of Massachusetts, Amherst and teaches writing at Oakland University in Rochester, Michigan. He also edits a poetry journal called Cruel Garters.

 

The Wake-Up Call by Roy Proctor

Click here to read The Wake-Up Call, a ten-minute play by Roy Proctor.

© Roy Proctor 2014

Roy Proctor, a native of Thomasville, N.C.,  has completed three full-length plays and 36 short plays since he turned to playwriting 2 ½ years ago after a 30-year career as the staff theater and art critic on the two daily newspapers in Richmond, Va. His plays have been presented in Cambridge, England; Cardiff, Wales; New York City; Washington, D.C.; Richmond; New Orleans, La.; and points in between. Short plays from his 12-play cycle of adaptations of Chekhov short stories were presented this summer in Richmond, Raleigh, N.C., and Edinboro, Pa. He lives in Richmond and is a member of the Dramatists Guild of America.

            Unlike Proctor’s other plays, “The Wake-Up Call” draws directly on his experience as a theater critic. “Phone calls to critics from irate, sometimes drunken, often verbally abusive actors in the wee hours are not uncommon,” Proctor says. “I usually put up with them to the extent that I respected the talent of the caller. I have a profound respect for actors as a group. They make financial and other sacrifices for the public good that I, as a journalist with a steady paycheck and other job security, would never have been willing to make.”

            Proctor can be reached at royproctor@aol.com to discuss rights for production of “The Wake-Up Call.”  

Poetry by Caitlin Johnson

Elizabeth R.

A redhead. A queen. A woman.

Yes, she is me, and no:

no one’s woman, someone’s queen, sometime redhead.

Power(ful)(less)(hungry).

Every day a society to conquer, a territory to annex.

Gold in my eyes, on my fingers, in my coffers.

 

Storm Season

Summer nights so hot even the rain

can’t cool us down, & steam radiates

from the asphalt, like the fog

we get in winter, yet more sinister

somehow, billowing the way it does.

All we want is bare feet, but we

can’t risk burning our toes. I don’t know

how the toads survive it, their tiny

bumpy bodies absorbing what the sun

left behind before the clouds rolled in.

Thunder keeps rumbling.

 

Susannah, I’m Sorry

I couldn’t be your mother.

The specter of you follows me

through unexpected doorways,

like when I look at the man I wanted

as your father & am tempted to say,

“Go ahead. Knock me up.”

But I promise it’s better for you

that you’ll never be born

or incubated

or even conceived.

You see, Susannah, I wouldn’t be able

to love you, because I would be too afraid

a mysterious impulse would float

into my brain, begging me to make a ghost

out of your tiny, breakable, pale-skinned body.

At best, I’d have to abandon you,

leaving you to be raised by anyone

other than me.

At worst–well, let’s just say

you and I would be buried together.

Susannah, it’s not your fault.

I want you & your sister Dominique.

I do. But what I don’t want

is the haunted look I’ll see in my own eyes

in the mirror, the face of a woman

who still feels like a girl & is just selfish

enough to contemplate disappearing

so I can go live the life I planned,

& then I’ll be an apparition of the mother

you deserve: wandering the roads at night,

asking to be spirited away

to escape your midnight howls.

 

Caitlin Johnson holds a Master of Fine Arts in Creative Writing from Lesley University. Her work has appeared in Boston Poetry Magazine, Clare Literary Journal, Eternal Haunted Summer, Fortunates, Momoware, Pembroke Magazine, Vagina: The Zine, and What the Fiction, among other outlets, and is forthcoming in Baseline Literary Arts Journal and Stoneboat Literary Journal. She can be found online at cateismilesaway.net.

 

Halloween Contest Finalist – Pumpkin Ice Cream

This poem is one of the finalists of the Furious Gazelle’s Halloween contest. The contest’s winner will be announced Friday.

 

By Twiggy Munford

Pumpkin Ice Cream

This is crazy – I mean

buying pumpkin ice cream

and having it drip from the cone

onto my fingers, sticky,

licking as fast as I can

before the big melt down.

Glass slipper beware!

Orange pints on shelf scream

this new flavor of the month.

Never heard of pumpkin ice cream.

Is this your idea Peter Peter?

Pumpkins are meant for knife attacks –

holey faces carved, seeds chunked,

guts stewed for witches’ brew,

pie-in-the-face pumpkin. Splat!

Candle inside lights hollows –

smile frown, square teeth chunks, triangle eyes.

Go feed witches and war mongers

pumpkin ice cream.

Have it drip on weapons and brooms.

Have them turn into rusty relics.

Will make pumpkin face smile.

Is this crazy?

Dining for One by Brian Doyle

Click here to read Dining for One, a new short play by Brian Doyle.
Dining for One will be produced by the Midtown International Theatre Festival’s Short Play Lab Series on October 25 and 26 the Roy Arias Studios, 300 West 43rd Street, 4th Floor, in New York City.
It will be directed by John Camera and will feature Guy Ventoliere, Destiny Marie Shegstad and David Wetter.
More details may be found at www.midtownfestival.org.

 

Brian Leahy Doyle
Brian Leahy Doyle is a director, dramaturge, writer, and teacher of theatre. Brian received his undergraduate training at the University of Wisconsin at Platteville, where he majored in English and minored in theatre with an emphasis in dramatic literature. He earned his MFA in Theatre, with emphases in Directing, Dramaturgy, and Voice, at the University of Utah. While at the University of Utah, he was the first resident dramaturge of the Pioneer Theatre Company and was largely responsible for initiating this position. After graduate school, Brian moved to the East Coast and worked as a dramaturge for the George Street Playhouse and the Whole Theatre. He then began an active freelance directing career, staging plays in such regional theaters as the Whole Theatre, Cincinnati Theatre Festival, and Louisville’s Classics in Context, and such off-Broadway venues as the Irish Arts Center, Riverside Shakespeare, the Open Eye, the 92nd Street Y/Makor, and the New York premiere of composer Aaron Jay Kernitz’s The Four Seasons of Futurist Cuisine at Weill Recital Hall at Carnegie Hall. As a writer, his articles have appeared in New Hibernia Review, The Steinbeck Review, Theatre History Studies, and Didaskalia, His book, Encore! The Renaissance of Wisconsin Opera Houses, published by the Wisconsin Historical Society Press, focuses upon the renovation and restoration of historic theaters in Wisconsin and has received a National Indie Excellence Award, a National Best Book Award, a ForeWord Review Book Award, and the Theatre Historical Society of America’s Outstanding Book of the Year Award. He currently teaches at Mercy College and is serving as lyricist and book writer on on a musical adaptation of George Bernard Shaw’s Mrs. Warren’s Profession with Michael Dilthey. An evening of his one-act plays will be presented this fall at the Players Club in Manhattan.

Excerpt from Love Poems

The Furious Gazelle is continuing to serialize Charles Bane’s new book of poetry, Love Poems. You can find more of his poetry here.

You A Certain Chord

You a certain chord or
movement of a dance as
you crash in a tide and spill
like music or drugs into blood
and we down onto sheets,
your hair in kapok roots and
I think what bird is this, with
wings outspread, crying under
me?

When I Despair

When I despair, I hold
to you, the you that
cannot imagine floes or
among the masses one sees
everyday pained in
newspaper photos, the loss
of all. What can’t be
endured is separation.
I write, but you are my
religion too and I think
if the world could only glimpse
one face, all would be remade.
Is this not so? Can we walk with
all the population on the boulevards,
and lay all together with our
hands across our chests, looking
at the stars?

Charles Bane, Jr. is the American author of The Chapbook ( Curbside Splendor, 2011) and Love Poems ( Kelsay Books, 2014). His work was described by the Huffington Post as “not only standing on the shoulders of giants, but shrinking them.” A writing contributor for The Gutenberg Project, he is a current nominee as Poet Laureate of Florida.

“Untitled” from “Love Poems” by Charles Bane

The Furious Gazelle is continuing to serialize Charles Bane’s new book of poetry, Love Poems. You can find more of his poetry here.

Untitled

Let it cut deeper
love, until it flows
inside the blood

It Flows Unstopped

It flows unstopped
into waters I have never
seen; into a father’s arms
holding you when you sleep
or a panther drinking as your fingers
rake my hair. It is rockets
over skies and buds unseen,
and the cloaks of night arching as
a life is put away and another
dawns and spills in ink.

Charles Bane, Jr. is the American author of The Chapbook (Curbside Splendor, 2011) and Love Poems (Kelsay Books, 2014). His work was described by the Huffington Post as “not only standing on the shoulders of giants, but shrinking them.” A writing contributor for The Gutenberg Project, he is a current nominee as Poet Laureate of Florida.

The Measure of a Man, by H. Rossiter

My shoes are old and frayed around the soles. A lot like me. Frayed soles, frayed souls, my granny used to say. She noticed a man’s shoes before she noticed anything else about him, his eyes or his suit or even his hair. When I was young, I wore cap toe oxfords, spit polished. Now I wear whatever I can find in the church charity bin.

I’m proud of my hair, though. You got worth if you got good hair, is what I always say. I’m not one of those old geezers who comb a few leftover wisps of sad gray over a bald skull. Not me. I’ve got a full head. Thick and strong. It’s steel gray and been that way since I was twenty two. Haven’t felt a woman’s hands in my hair since…let’s just say it’s been a long, long time. But I see them look at it, the meals-on-wheels ladies, the district nurse. I see their fingers aching to stroke it. Until they look down and see my shoes. Continue reading

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