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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Three Poems by David LaBounty

red white and blue

thin, dark and lithe
the naked beauty
was only interrupted
by the trace of hair
on her upper lip
and she said,

in Serbia,

the flag is
red white and blue
but everything
after that isn't
even close to
being the same
and I can tell you
right now in
Pristina, families
are sitting in front
of their houses
watching the world
while here, families
are inside their
houses watching
the world and
I suddenly thought
about my nakedness
and I quickly became
ashamed and aware of
my red and hypertense
face and my white
pale flesh flashing
in the mirror so imperfect
and so very loose,
outshining
the light of my pale
blue eyes.




thumbprint in the sand

he told me about it
while under
the hood
of his car, how
he and his wife
became swingers
after the kids flew
away and he had
the pictures in
his phone to prove it 
and to me a stranger 
he showed me
pictures from
some ranch, pictures
full of the
middle-aged flesh
of his wife and
others and all I
was trying to
do was sell
him an alternator
and all that flesh
made me think
of so much 
desperation, of 
so much
scratching and
clawing and I
thought about
my life and
my writing,
how and why
I write and the
answer was
in that phone, 
I am trying to
life my life
to the fullest, 
trying to
leave my
mark, 
something
more permanent
than a  
thumbprint
in the sand.




another holocaust movie

and here I am
 
moved to tears
 
as I watch a
young German
boy play checkers
through a barbed
and electric
fence with
a Jewish boy
who is thin
and dirty and
 
just this close
 
to dying and
I have to wonder
what my Jewish
friends think
when they
see a holocaust movie,
do they indeed
take it personally
 
or
 
how would I feel
 
if there was a film
or a campaign made
where some authority rounded
up all the white suburban
men who barely believed
in any god at all, white
men put in camps where
they would be tortured
and terrorized and maybe
butchered and burned
like pigs in a slaughterhouse
 
and no
 
I wouldn’t take it personally.
 
I would probably
figure that at least
 
a few of us
 
had it coming.


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David LaBounty lives in suburban Detroit. His recent work has appeared in Pank, Night Train, and other journals. His third novel, Affluenza, a story about debt, consumerism, pyromania, vanity and pornography told through the financial and moral rise and fall of an insurance executive who lives beyond his means, will be out within the year.

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