Unlikely 2.0


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Editors' Notes

Maria Damon and Michelle Greenblatt
Jim Leftwich and Michelle Greenblatt
Sheila E. Murphy and Michelle Greenblatt

A Visual Conversation on Michelle Greenblatt's ASHES AND SEEDS with Stephen Harrison, Monika Mori | MOO, Jonathan Penton and Michelle Greenblatt

Letters for Michelle: with work by Jukka-Pekka Kervinen, Jeffrey Side, Larry Goodell, mark hartenbach, Charles J. Butler, Alexandria Bryan and Brian Kovich

Visual Poetry by Reed Altemus
Poetry by Glen Armstrong
Poetry by Lana Bella
A Eulogic Poem by John M. Bennett
Elegic Poetry by John M. Bennett
Poetry by Wendy Taylor Carlisle
A Eulogy by Vincent A. Cellucci
Poetry by Vincent A. Cellucci
Poetry by Joel Chace
A Spoken Word Poem and Visual Art by K.R. Copeland
A Eulogy by Alan Fyfe
Poetry by Win Harms
Poetry by Carolyn Hembree
Poetry by Cindy Hochman
A Eulogy by Steffen Horstmann
A Eulogic Poem by Dylan Krieger
An Elegic Poem by Dylan Krieger
Visual Art by Donna Kuhn
Poetry by Louise Landes Levi
Poetry by Jim Lineberger
Poetry by Dennis Mahagin
Poetry by Peter Marra
A Eulogy by Frankie Metro
A Song by Alexis Moon and Jonathan Penton
Poetry by Jay Passer
A Eulogy by Jonathan Penton
Visual Poetry by Anne Elezabeth Pluto and Bryson Dean-Gauthier
Visual Art by Marthe Reed
A Eulogy by Gabriel Ricard
Poetry by Alison Ross
A Short Movie by Bernd Sauermann
Poetry by Christopher Shipman
A Spoken Word Poem by Larissa Shmailo
A Eulogic Poem by Jay Sizemore
Elegic Poetry by Jay Sizemore
Poetry by Felino A. Soriano
Visual Art by Jamie Stoneman
Poetry by Ray Succre
Poetry by Yuriy Tarnawsky
A Song by Marc Vincenz


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A Man Is as Good as His Word
Part 7

From the street, Ed Scherer’s house stands unassuming, unimpressive; it’s a split-level three-bedroom, waterfront, with little to distinguish it from any other modest suburban home in the area, nothing conspicuous, except perhaps that the grass needs cutting and the hedge needs trimming. Who’d have thought this real estate would’ve doubled in resale value within the dozen years he’s lived there? His salary certainly hasn’t doubled, hasn’t kept up with cost-of-living increases, and the union (of which Ed is an active member) continues to be none too happy about that.

The tenured professor had earlier returned home at about nine o’clock, only to discover his live-in lover asleep, so he’d gone back out for a recreational drive in his drop-top. Now, though, Ed’s ready for bed, and that ugly business with Alan Polk a few hours previous is a faded annoyance. Opening the garage door by remote, Ed’s convertible cruises in, its driver unaware that he’s being hunted.

Alan kills his Geo’s headlights, negotiates into Ed’s driveway, parks quickly, and throws open the car-door. Nimbly, the adjunct slips in under the garage door as it lowers, and he’s within striking distance of Ed in an instant. “Consequences, Edwin,” Alan snarls to the man’s back. “Didn’t you understand the consequences?”

When Ed pivots and turns, instinctively lifting his hands to protect his face, Alan swings hard and low, the barrel of the bat cracking against and dislocating the man’s left knee-cap, the sound of the blow crisp, clean, something like a woodsman’s ax biting into a tree. Ed spins, reels, but doesn’t fall, so Alan swings low again, chopping down in a compact stroke, shattering Ed’s ankle . . . now, with the man down, Alan rains blows to Ed’s head and shoulders, the wood on flesh making thud-sounds mostly, not so crisp anymore, several nauseating thumps.


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Zachary Burks, a native of Tennessee, teaches literature and composition in Fort Lauderdale, Florida.