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SEX:coverTwenty-five years ago, I was a frustrated, angry writer.

I’d assembled a “Best of…” collection of tales and spent more than a year trying to find a publisher for it. All of the stories in that collection, titled Sex & Other Acts of the Imagination, had been previously published, some in pretty prestigious publications. A couple had aired on CBC Radio and I’d even received a generous grant from the Canada Council that helped pay for writing part of the book.

Didn’t matter.

See, the widely held view is that single author short story collections, regardless of the stature of the writer, just don’t sell. Sadly, I can tell you from personal experience that this is not an urban legend, for some reason contemporary readers shun the short story format. God knows why. Regardless, publishers tend to shy away from anthologies and such and my little offering was no exception.

“These stories are well written but as you know in today’s marketplace short story collections do not attract significant sales, etc….”

Heard that one a number of times.

But, curiously enough, the one sentiment repeated over and over again was this:  good writing, exciting plots and themes, but we don’t publish this type of thing.

What exactly was “this type of thing”?

My own bizarre concoction, a spicy stew of science fiction, horror, fantasy and mainstream, literary prose. A mash-up of every genre under the sun, defying categorization and safe niches. Which didn’t help matters. As far as Canadian presses were concerned anything with the slightest taint of genre was out—more than one Canuck editor gave me the impression that my stories weren’t, well, Canadian enough, didn’t conform to some weird, unwritten cultural checklist.

And as far as the Americans and Brits were concerned, I was a young, emerging writer, no following, and while my work showed originality and creative spark, it wasn’t worth risking a significant investment of time and resources.

So my book was effectively dead in the water.

But I couldn’t help thinking about a fellow I’d heard about out east, a guy who’d made it his mission in life to stick a pin in the Canadian publishing industry and, in general, make a nuisance of himself. Crad Kilodney’s best stunt, in my view, was submitting classic stories by Kafka and Hemingway and others to a national literary contest and then publicly embarrassing the judges and administrators for failing to recognize their literary merit.

Crad, understandably, found it difficult to place his work so he started publishing it himself and selling it as limited edition chapbooks on the streets of Toronto. My wife brought me back a copy of one he dubbed Bang Heads Here Suffering Bastards in the late 1980’s and I was immediately impressed by the author’s chutzpah and creative passion.

When my Sex collection was passed over by every publisher north of the Rio Grande, I recalled Crad and his fuck you, DIY mentality and thought to myself, shit, I can do that too.

It took me months to put it all together, find the right cover art, a printer and bookbinder, and the final price tag was (gulp) just over $3000 to print 500 copies. Money I did not have.

Fortunately, the entire print run sold out in about five months.

It was astonishing.

I think my old chum Mark Ziesing sold at least 70 copies through his small mail order company alone. The Regina bookstore I worked for at the time also moved a lot of copies and every time Sherron and I travelled somewhere, we always took a box with us, nabbing consignment sales in Vancouver, Edmonton, Calgary and Toronto.

There were no returns.

The crowning moment was when our bookstore staff had dinner with Canadian literary icon Timothy Findley. Once he heard I had a new book out, Tiff generously asked to see it. After reading it, he sent me the most beautiful blurb possible. I was unable to use his kind words on that edition of Sex and promised him I would never employ them on any other title except the one for which they were intended. And so when I re-release Sex and Other Acts of the Imagination on its 25th anniversary early next year (2015), it will finally feature Tiff’s warm praise:

“This is a book of hot dreams and frozen nightmares. It floats on a plane few writers achieve, where the imagery is raw but the insights are tender. The people in these stories will stay with me for a long time to come.”

Thanks, Tiff. You dear, sweet man.

I’ve published a couple of short chapbooks and a collection of novellas (Righteous Blood) through other small presses but I have to say none of those experiences came close to the joy I felt writing, editing and publishing my own work. No middle men, no editorial interference, no bullshit. Controlling all the creative and aesthetic decisions, right down to the choice of font and margins.

I was hooked.

I released books through my imprint, Black Dog Press, in 1994, 1995, 1997…but that last title (another short story collection!), The Reality Machine, cost me close to $7000 and put a serious strain on our finances. It took us awhile to recover and then I embarked on a 3 1/2 year odyssey that became, eventually, my occult thriller So Dark the Night.

The completion of that novel coincided with the arrival of print-on-demand publishing, the biggest change to the book biz since Joe Gutenberg opened his first copy shop in Mainz.  Thanks to POD, publishing on a smaller scale has become much more affordable, plus I now have access to the international marketplace I’ve always coveted. Physical book or digital version, it’s up to my readers.

Since the 2010 publication of So Dark the Night, this press has released 5 more titles, each of them professionally designed and formatted, featuring eye-poppingly gorgeous cover art. You’ll find them in my bookstore and, I think you’ll agree, they look as good as any offering you’ll come across in your favorite book store. The writing isn’t bad either.

So that’s the story behind Black Dog Press, my eccentric little publishing venture. Twenty-five years  and eleven titles later (two more in the pipeline), and we’re still going strong.

I may never get rich but at least my work is out there, available to readers who seek prose that veers from the familiar and mocks the very notion of consensual reality. In this era of corporate publishing, a profit-mongering environment that encourages the proliferation of sub-literate, derivative fiction, independent presses like mine offer hope and inspiration to those of us who revere the printed word and refuse to kowtow to the mediocre and witless.

Thanks for your support over the years.

The best is yet to come.

Write on…

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Vacuum FlowerFinally a warming trend around here. February in Saskatchewan has been a spine-stiffening experience; the one saving grace, there hasn’t been massive snowfalls to add insult to injury.

But according to the forecast, the temps will hover around -6 or -8 for most of the coming week. Balmy weather, compared to what we’ve been enduring up ’til now.  Frankly, I always feel better once the first of March rolls around—I can practically hear the crocuses stirring, even under four feet of packed snow.

A flurry of e-mails and communications after my last post and I guess I should have known better. Even by alluding to my novel-in-progress I was opening a can of worms. Now everybody wants to know details about the plot, genre, etc.

Now, you folks ought to know me better than that. I know some writers talk about their on-going projects, post excerpts, furnish plot details and teasers, seeking feedback from fans and readers.

How nice.

How not Cliff.

Kids, not even my wife knows more than the absolute bare bones of my current project. I keep my books, stories, poems under wraps until I’m ready to release them to the world. I want her to be surprised, amazed at my audacity (or, just as likely, dubious of my sanity). I seek no editorial input until a project is very near completion…then I’ll pass it on to Sherron and let her pick at it for errors, oversights or continuity problems. As much as I respect my small cadre of dedicated readers, they have no say in any aspect of my work…nor will I make adjustments to a book or story with the aim of pleasing them (or anyone). I don’t write Choose Your Own Adventure” books, y’know?

Here’s what I will tell you:

My novel is tentatively titled Based on a True Story and it will clock in at around 220 pages (60,000 words). About the same length as my western, The Last Hunt. Genre? Mainstream, crime fiction (of sorts), an old mystery coming to the surface. No fantastic elements whatsoever.

Let’s see, what other questions have people been asking…

Is it a personal project?

Huh? All of my work employs my odd, personal take on things. And while much of it might contain incidents from life, very little of my writing is strictly autobiographical. Characters and situations entirely the product of my fertile and perverse imagination. You wanna write about yourself? Start a fucking diary…

Is it another case for Zinnea & Nightstalk?

No.

Will there eventually be another Zinnea and--

Yes. When it’s time and I clear some of the other stuff off my desk.

Other projects? Like what? Can you give me an example?

Aha. Good for you. Not a chance.

Why do you take so long to release your books?

Because I want to get them right.

Why are each of your books so different?

I don’t want to get stuck in a rut. Look, my own tastes are wide-ranging and eclectic and I want to see that reflected in my literary efforts. I disdain writers who author the same book over and over again or explore the same universe in a ridiculously long and convoluted series, milking their invented world for all it’s worth. That’s why I’m not pounding out one Zinnea & Nightstalk mystery after another, even though, God knows, that would delight many people out there. I’m not a hack, I’m a creative artist who wants to challenge himself, push the limits of a very finite and modest-sized talent. That’s the way I’ve approached literature for the past thirty (30) years and I don’t see that changing any time soon.

Is this latest book cinematic like the others? Your stuff always seems like it could easily be adapted into movies.

Hmm. Yes, definitely. I see what you mean. And a number of my efforts have been optioned…but it never seems to go anywhere. Last month a film-maker contacted me about one of my novellas and it ended badly. I wrote about it over on my RedRoom blog. It isn’t pretty. Hope it serves as an object lesson to other writers out there who might be going through the same thing. Stand up for yourself and remember: until you sign that contract, you hold all the power. Do your homework and work your ass off to get the best possible deal. Don’t get screwed because you’re humble, shy and/or dislike confrontation. People like that get eaten alive.

*********************************

That’s it for now. Still have a full day of editing ahead of me. Should be finished this latest run-through (draft #3) in the next three or four days. Then some time off (it’s been 32 days straight of 10-12 hour writing sessions), do some background reading and research and then…on to draft #4.

Write on…

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I posted a roster of my favorite reads of 2013 for the benefit of my LibraryThing group, thought I’d reproduce it here. Most of these books aren’t new releases…and as I compiled this year’s list, I quickly realized I read more non-fiction than fiction, hardly any genre stuff, almost no “commercial” fiction.

Fascinating how my reading has changed over the past decade…

Fiction:

WEREWOLVES IN THEIR YOUTH (short stories) by Michael Chabon
I AM A BEAUTIFUL MONSTER by Francis Picabia
THE BLUE OCTAVO NOTEBOOKS by Franz Kafka
HANGOVER SQUARE by Patrick Hamilton
TENTH OF DECEMBER (short stories) by George Saunders

Non-fiction:

LEGACY OF ASHES by Tim Weiner
THE GREAT WAR FOR CIVILIZATION by Robert Fisk
AN ARMY AT DAWN: THE WAR IN NORTH AFRICA by Rick Atkinson
EVERY STORY IS A GHOST STORY by D.T. Max
NIXONLAND by Rick Perlstein
KAFKA: THE DECISIVE YEARS by Reiner Stach

Have you assembled your “Best of…” list for 2013 yet?

If you have, let’s hear it…

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Check it out:

Exceptions:cover

(Click on image to enlarge)

Cover art by Joslyn Cain

Cover design by Chris Kent

(Release date: June 15, 2013)

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Just posted a new tale, bit of a brain-teaser, over at Scribd.

The story is called “The 1001st Night” and clocks in at around 1450 words. Very odd, but I like it. The way it weaves back and forth, exhibiting multiple points of view and perspectives and yet somehow coalescing into…well, see for yourself.

I’ll be adding it to my “Stories” page here (eventually) but Scribd has racked up some impressive numbers for me since I signed up and I thought I’d give them first dibs.

If you’re a real completist, you should probably subscribe to my Twitter link too because I’ve been known to post little snippets and Twitter-verse there and nowhere else. Just to keep everyone on their toes.

Glad to be offering new work for your perusal.

Hope you enjoy “The 1001st Night”.

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This weekend, I completed final edits on my latest book, a collection of short stories titled Exceptions & Deceptions.

The title is derived from a quote by Francis Picabia: “The unknown is an exception, the known a deception”.

The collection features 19 stories, including a novella titled “Second Sight”, which is previously unpublished. It’s my first book of stories since The Reality Machine (1997) and, needless to say, I’m ecstatic to see these tales finally in print.

I’ve settled on a cover but I’ll keep it under my hat until our mate, Chris Kent, designs a mockup for us to post.

This is going to be a bee-you-tiful book.

Projected publication date of mid-June.

Stay tuned.

* * * * *

By now you’ve probably heard the rotten news regarding the health of one of the literary greats, Iain Banks.

Fifty-nine years old.

…and suddenly all the little foibles and annoyances in my own life seem pretty feeble.

If you haven’t already, make sure you seek out and read one of his fine books. The Wasp Factory, maybe the best debut novel I’ve read, and two truly magnificent science fiction offerings, Consider Phlebas and Excession.

I’ve said it before, I’ll say it again: it’s an honor sharing a universe with the likes of Iain Banks.

His work is a tribute to the power of imagination, that very human capacity to envision and describe impossible worlds…and make the faraway and exotic come to life.

Thank you, Mr. Banks. For every word you’ve committed to paper, the dreams you’ve willingly shared.

* * * * *

A wonderful surprise in my virtual mailbox this past week. Yury Sabinin, an industrious chap now residing on Canada’s west coast, has taken it upon himself to translate some of my better known works into Russian. It initially started as an exercise for a non-English speaking friend overseas but now Yury has completed a couple of translations, “Apocalypse Beach” and “Invisible Boy”, which I offer for free reading/download.

My gratitude to Yury for granting his permission to reproduce those translations here.

Just click on the links below:

Apocalypse (Translation)

Invisible Boy:Translation

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feed2I was one of the invited guests at the launch of the second installment of the Battlefords’ only homegrown arts magazine, Feed the Artist. I contributed a brief essay to this latest issue and was impressed by the quality of the work (prose and visuals) I found throughout. It’s quite gorgeous; make sure you check it out.

Congratulations to everyone involved with Feed the Artist, the editors and artists who worked so hard to bring a dedicated arts and culture publication to the citizens of this region.

Here’s what I said to the sixty or so people who assembled at Crandleberry’s to give the magazine a grand send-off.

Thanks to everyone who attended. It was a magical evening.

* * * * *

I think it’s appropriate that we’re launching the new issue of “Feed the Artist” here, in a very public venue as opposed to a more formal setting.  While there might be benefits to holding events in clean, well-lighted places, featuring all the latest bells and whistles, there’s also something cold and antiseptic and, let’s face it, increasingly corporate about these fancy-shmancy new galleries and performing arts centers.

Some of you either participated in or were witnesses to the “Tree” piece that was conceived and created around a locale in Battleford. The natural setting became an important element within the performance. I’m also thinking about the “Flash Mobs” that have broken out in this region of late, people congregating in public places and singing and dancing while startled spectators try to take everything in.

All of this is happening outside the rarefied air of institutions and brick and mortar facilities. Because art, after all, is portable, not confined to designated areas and “safe” zones. Why not utilize non-traditional locations to tell stories and highlight the rich history and culture of this region?

Time for artists to escape museums and galleries and theaters and bookstores and re-enter public spaces, remind the citizens of our communities that we have something to say about life, the universe…and the human condition. Something essential, something they need to know if they’re to stay sane in an increasingly frantic and chaotic world.

Lawrence Ferlinghetti’s “Populist Manifesto” addressed some of these points nearly forty years ago, so I’ll conclude by reading an excerpt from that work (what’s an arts gathering without a manifesto?).

Populist Manifesto (Excerpt)

Poets, come out of your closets, 
Open your windows, open your doors, 
You have been holed-up too long 
in your closed worlds. 
Come down, come down 
from your Russian Hills and Telegraph Hills, 
your Beacon Hills and your Chapel Hills, 
your Mount Analogues and Montparnasses, 
down from your foothills and mountains, 
out of your teepees and domes. 
The trees are still falling 
and we’ll to the woods no more. 
No time now for sitting in them 
As man burns down his own house 
to roast his pig 
No more chanting Hare Krishna 
while Rome burns. 
San Francisco’s burning, 
Mayakovsky’s Moscow’s burning 
the fossil-fuels of life. 
Night & the Horse approaches 
eating light, heat & power, 
and the clouds have trousers. 
No time now for the artist to hide 
above, beyond, behind the scenes, 
indifferent, paring his fingernails, 
refining himself out of existence. 
No time now for our little literary games, 
no time now for our paranoias & hypochondrias, 
no time now for fear & loathing, 
time now only for light & love.

-Lawrence Ferlinghetti (Copyright, 1974)

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Another lengthy silence, and you know what that means.

Work, work, work…more specifically, edit, edit edit, as I plug away on my next project, a compilation of the short stories I’ve written since 1997. Over 300 manuscript pages to go through but I’m making surprisingly speedy progress. A fascinating mix of stories, many of them “mainstream”, others veering further off-track. Not sure how readers will react to such a diverse selection of tales. Literary and genre fiction rubbing shoulders.

But I’ve also been toiling away at some new prose, including a 4,000 word tale I’ll be posting on this blog closer to Christmas, a special gift to readers and regular visitors. It’s already passed muster with Sherron, who found it a real treat. I’ll tell you more about it in December. Watch this space.

Now, if you’ll excuse me, I’m going to get back to work. I’ve set myself a May 30th, 2013 deadline for this project, which would free me up for the summer. Able to take the time to weigh ideas, conceive new notions, scheme ambitious schemes.

Something to look forward to after all this grinding is done.

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Among the Invisibles

 

From his favorite hideaway, five storeys above the ground, Little Po is an inconspicuous witness to the chaos below.

There has been talk of trouble for weeks, soldiers and police regularly taking up stations on street corners, stopping and harassing people, making a nuisance of themselves.  Intimidation is the norm with the ruling junta but this time, it seems, their tactics have only succeeded in making things worse.

Shouts and screams, the rattle of automatic weapons and crak-crak-crak of small arms fire.  Smoke drifts over the neighbourhood, a grey, evil-smelling pall.  There are makeshift barricades and men roaming about with home-made clubs and pop bottles filled with gasoline.  The building shudders from a nearby explosion, a crump as a burning car bursts its seams, provoking whoops and cheers from the surrounding crowd.

Little Po is safe or, at least, safer than he would be down there, in the midst of the mob.  Some women have joined in, adding their unmistakable shrieks to the din.  Most of the men are intoxicated, swilling alcohol looted from a nearby store.  They swagger about, brandishing crude weapons, their courage fortified by drink.  The boy creeps back under the overhang created by ducting and ventilation works.  Finds his tattered blanket and slips into an uneasy sleep, sucking his thumb for comfort when the tumult disturbs his slumber.  This sooty rooftop, shared with none but the occasional stray cat and roosting pigeon, is a refuge, shelter from a dangerous and hostile world.

He wakes to dull morning light, the stench of burning rubber.

His hunger is an undiminishing ache, a twisting, voracious worm in his guts.  He spends most days in a surreal netherworld; sick, confused and disoriented.  Bumping into buildings or colliding with passersby, clutching at them for support and being swatted and cursed for his trouble.  He begs, he steals and still only manages to scrape by.

As he descends via the rickety fire escape, he is aware that slowly but surely he’s losing the battle.  Malnutrition is eating his frail body and soon he will be reduced to nothing.  When someone reaches such a state, people say that person has “joined the invisibles”.  One day, they’re simply gone, evaporating into the air, leaving nothing behind, not even an ounce of bone dust to bury or mourn over.

The first person he spots when he ventures out is Old Fania.  Her pet monkey chatters on her shoulder and she makes a warding gesture at him.  He gives the witch a wide berth.  The monkey eyes him sullenly but is constrained by a short leash made of twine.  The little beast has been known to inflict a painful and septic bite.

The streets and avenues have been transformed overnight.  Rubble and debris are scattered carelessly, gutted buildings stripped of everything that can be carried or dragged away.  He scours the ground for leftovers, something to eat or barter.  But he’s competing with other scavengers who fiercely guard the meager leavings, growling and threatening him if he approaches.  He is smaller and weak and therefore must go without.  It is not that ordinary folk are unsympathetic or hard-hearted, it is merely that deprivation has become a way of life to the people in this part of the city.  They have been herded together, marginalized, made to feel they must fend for themselves.  Poor and increasingly desperate, they have lost any sense of shared or communal suffering.

The riot last night followed days of demonstrations, spontaneous protests against the inhuman living conditions. There have been scores of deaths, nervous soldiers shooting into crowds, protesters beaten and dragged away by security forces.

And finally the world press has taken notice.  Reporters flood in and, congruently, the economy goes into a tailspin as investment money dries up, foreign nationals leaving in droves.  It is a familiar, sad story in this region of the world.

Little Po drinks from a puddle and forages from a dumpster behind a restaurant.  He is covered in rat bites and festering sores that won’t heal.  He knows that his situation is increasingly desperate but there is nothing to be done about it.  As he clambers out of the stinking bin, the back door of the restaurant bangs open and an employee toting a five gallon pail of grease and slops spots him.  They regard each other for a long moment and Little Po finally slinks away, what little food he has found clutched in his fist.

There are rumours that local businesses have hired a squad of off-duty cops and given them the job of ridding the city of riff-raff.  Some kids were gunned down as they sat on the steps of a church.  A church.  In the last two weeks, several dozen street urchins have been either killed or spirited off in dark vans, never to be seen again.

Later that morning, Little Po is walking through a park and spots Fish and the Silent One.  Fish has fresh bruises on his face, rolled for pocket change.  And the thing is, everyone knows Fish has absolutely nothing worth stealing.  He tells the joke that he’s so poor, someone once cut him open and stole his heart.  And he’ll show you the long, zippered scar to prove it.  The Silent One glowers behind him, a menacing presence.  His head is squashed, misshapen.  He can’t speak but his dangerous mien says don’t fuck with me, brother.

Little Po falls in alongside them and they head off to the mission together, stand in line for a bowl of watery soup. Supposedly there is a piece of chicken in there somewhere.  Either donations are down or the priests have been dipping into the collection plate again.  Little Po deftly palms an extra slice of bread, the maneuver escaping the sharp-eyed Brother’s notice.

When they finish, they hang out in the graveyard for awhile.  Fish produces three precious cigarettes but smoking only makes Little Po queasy so he puts his away until later.  Soon afterward a cranky old caretaker shows up and chases them away.

Fish says he wants to stop by Ven’s place, that he’s heard something and Ven Ficus is the one to go to if you have information to trade.  Depending on his mood, he’ll either reward you generously or snap his fingers and have you turned in to a human pretzel.  But Taft, Ven’s imposing gatekeeper, says his bossman isn’t in today and hints that it’s in their best interest to fuck off.  Now.

Fish is disappointed but vows to come back later. Taft goes back inside and they hear him say something to the other hoods. Mocking laughter follows the trio down the street.

As they walk, Fish has to keep stopping to retch.  Every time he does, he groans.  He says something feels broken inside. Little Po and the Silent One exchange grim looks.  Who knows when the free clinic will open again. The French doctors who ran it were declared persona non grata and given forty-eight hours to clear out.  No one has replaced them.  Word is the junta was embarrassed to have foreigners tending to the needs of the poor.  This past winter Little Po caught a bug that made him cough until his ribs ached.  He truly believed he was going to die. His lungs still feel tender, especially on cool days.

In the early afternoon he parts company with the others, waving as he angles away.

Despite the soup he is still famished, light-headed.  He thinks about the slice of bread in his pocket, the one he is saving.  Little Po takes out the bread, raises it to his mouth and bites off a piece.  This is the way it is.  You are hungry and when you have food, you eat.

Later he will curse his greed.  This, too, is the way of things.

But for Little Po, time has shrunk, contracted, the future no longer measured in years, months, weeks, but days, perhaps hours.  His skin is transparent, his arms and legs thin, meatless.  His joints ache; pain and hunger and despair are constant companions.  The world around him is losing definition, leaking away at the edges.

Soon he will join the invisibles.  It is almost certain.  He knows this.  Maybe even tonight, on his rooftop haven, under the high, eternal stars.  He wonders what it will be like to be dead.  His undernourished imagination has a hard time grasping the notion.  The priests speak of heaven and hell during the sermons that are mandatory with the free meals they dispense.  In the afterlife our sins are remembered and judged. The worthy are rewarded and the evil ones consigned to an all-consuming fire where they burn forever and ever, a-men.

Little Po steers a course toward the only home he has, occasionally stumbling, nearly falling.  Traffic rolls heedlessly by.  The soldier on the corner stares past him, through him.  A few moments later, Little Po looks for his shadow and can’t find it.

Perhaps it is only the angle and intensity of the sun.  He moves on, seemingly lighter than air, no longer able to feel the hard, unforgiving ground beneath his feet.

 

© Copyright, 2009  Cliff Burns  (All Rights Reserved)

* * * * *

“Among the Invisibles” was written the last time I entered a short story competition.

It didn’t even make it past the initial round of readers.

You understand now why I rarely enter these stupid contests?

To read more of my tales (and some novel excerpts), go to my Fiction & Novels page.

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Kafka Fuck

 

Once back at my place she plays it coy scuttling under the couch until I menace her with a can of Raid using it to steer her toward the bedroom antennae twitching in excitement crawling up the edge of my bedspread chittering as I run my fingers along her polished carapace stroking her thorax her withered ornamental wings fluttering mandibles dug into my pillow in insectile ecstasy while I prepare to mount her probing for anything resembling a vagina wondering if she uses protection and if not if the pupa will look anything like me.

 

* * * * *

Greenhouse Effect

 

I’m not going back to you. I’m gone. I’m outta here. You won’t find me. It’ll be like we never met. Just another face in the crowd. On a forgotten street. In a strange country.  One of the disappeared. Yeah. Lost in time and space. I wasn’t born in the first place.  Back to the womb. Stillborn. No. Aborted. A puddle of pink flesh. Gristle and blood.  Dumped in an incinerator. Reduced to ash. Floating in the troposphere. Burned by the sun. Ultraviolet radiation. A cancer on your body.

 

* * * * *

These are two of my favorite short prose pieces, excerpted from my recently released volume Stromata: Prose Works (1992-2011).

For ordering information, please go here.

Photo credit:  Sherron Burns

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