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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Anonymous Gun
Part 13

I had bought four hits of LSD from a clerk at a record store and a small baggie of crystal meth from a guy standing outside the convenience store and was really out cold. By now I was scaling the fence of the Catholic cemetery with a can of black paint, a paintbrush, and a pipe that I was smoking the raw crystal out of. I was painting the faces of the gargoyles and the headstones and the angels with dripping black paint, watching it drip down the rain-stained white concrete statues. By now Aaron and Mary were sitting in the bar, Rob Roy's, selling baggies filled with cocaine to drunks who stumbled up to their temptations with crumpled sweaty notes dangling out of their fists. It was then that a man stumbled out of the men's restroom spitting and dripping blood. "THAT SHIT HAS DRAINO IN IT!" and falls face first into a table knocking a drunken women into a spiral out of her chair. Men's faces furl and Aaron starts backing up. "I DIDN'T DO IT!" baggies of cocaine fly at him before the fists and chairs and soon Aaron is fending off blows from about four guys. Fists hit his bobbing head as he falls into the wall and cigarettes go out on his face. Three methed-up thugs walk into the bar and start throwing punches at random people and pushing them. Before long people are throwing punches and chairs into the mob. I hear it. It's snowing now, and there are hills, lines of plowed snow between myself and the bar. Huge lines of crystal meth for God cut into the lines in the concrete gardens. I scale the fence and climb over the lines of snow, getting crystals all over my cigarette-burned jacket. I begin running straight into the mob, thinking there is hope even for the souls in hell, where four men are gang-fucking Mary. I pick up an electric guitar from off the stage and plow it over my head at one of the rapists. It comes down on his skull, spinning him around and sending him into a pile of tables. I pick her up, she's shaking and bleeding and I carry her in my arms out of the melee into police squad cars driving up to the bar. I walk through flying tear gas grenades going into the bar, and men in black running through the doors. The pushers and the junkies standing outside scatter. I walk to one of the lines of plowed snow and lay her in it, then lay next to her.

Continued...