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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My Daughter's Vagina
One
by Richard Jeffrey Newman

Boundaries, then, where nothing comes
between us

Sam Hamill, "Many Happy Returns"

The first time a woman opened her legs long enough that I could look for more than the few seconds it took to bend to her with lips and tongue or to climb up blind into her and start moving, I crouched between her thighs to get as close as I could, and I remember even now how the words began to list themselves in my head: pussy, beaver, twat, slit, love muscle, fur, muff, quim, cabbage snatch, box…and all of them but one felt inadequate, and that one was the one I wanted most not to think, the one I'd come to understand as degrading of my lover by its very existence, and yet no other word but cunt captured in my imagination the wet and hairy wildness, the pungent and disheveled and untamed and multi-shaded pink and red and brown and flesh-colored beauty of what I was looking at. I'd seen pictures of course, plenty of them, had discovered as a young teenager that I grew hard at the sight of them, but those images of carefully coiffed, sometimes completely shaven, meticulously arranged specimens of female genitalia, I understood now, were so obviously composed, so clearly intended as artifice, that I felt, looking at my lover, as if I were seeing a cunt for the first time.

I stared for so long that she became uncomfortable, "What are you looking at? Is something wrong down there? Answer me!"

"You're beautiful," I answered, and I know it sounds like something out of a romance novel, but the words came in a whisper, and I looked up at her and I smiled, and then I tried in everything I did next with my fingers and my lips and my tongue to make sure she knew that I'd meant what I said, and when she asked me to fuck her, her word, not mine, tears—but how do I write this without sounding like a braggart? How do I make you see that this is really how I remember it and that this memory, even more than it makes me feel good about myself, which of course it does, humbles me and fills me with awe and gratitude—tears had risen into her eyes. It was, she explained as we lay together afterward, the first time a man had told her she was beautiful "down there," much less made love to her in a way that convinced her he really meant it.

"And all those other times?" I wondered to myself, "What had I meant then? What had she understood my meaning to be?"

Continued...