Reading/Publication Party for Raven Chronicles Vol. 25: Balancing Acts

RAVEN CHRONICLES PRESS & BookTree, an Independent Bookstore present

A Reading & Reception for Raven Chronicles Journal Vol. 25: Balancing Acts

February 17, 2018, Saturday,  6:15-7:30pm Free
BookTree Bookstore, 609 Market Street, Kirkland, WA 98033, 425-202-7791

Readings by:

MC: Paul Hunter, Luther Allen, Ed Harkness, Alicia Hokanson,
Thomas Hubbard, Jill McCabe Johnson, Jed Myers, Mary Ellen Talley

Join us for an Open Mic to follow the reading, 7:30-8:20pm.


Luther Allen writes poems and designs buildings from Sumas Mountain, Washington. He facilitates SpeakEasy, a community poetry reading series in Bellingham, Washington, and is co-editor of Noisy Water, a poetry anthology featuring local Whatcom County poets. His collection of poems, The View from Lummi Island, can be found at http://othermindpress.wordpress.com. His work appears in three recent anthologies: WA 129 (an anthology of poems from Washington poets, edited by Tod Marshall), Refugium, and Poetry of the American Southwest, Volume 3.

Edward Harkness is the author of two full-length poetry collections, Saying the Necessary and Beautiful Passing Lives, both from Pleasure Boat Studio Press. His poems can be found online in 2River, Atticus Review, Cascadia Review, The Good Men Project, Hinchas de Poesia, The Humanist, Rat’s Ass Journal, Salt River Review, Split Lip Magazine, Switched-On Gutenberg, and Terrain.Org. Recent publications in print journals include Chariton Review and Miramar. His most recent chapbook, Ice Children, was published by Split Lip Press in 2014. To hear Ed read “Union Creek in Winter,” (and published, not incidentally, on Jan. 21, 2017, the day of the inauguration of #45), go to Terrain.org at http://www.terrain.org/2017/poetry/letter-to-america-harkness/. He lives in Shoreline, Washington.

Alicia Hokanson, retired from forty years of teaching, now devotes her time to reading, writing, and political activism in Seattle and on Waldron Island, Washington. Her first collection of poems, Mapping the Distance, was selected by Carolyn Kizer for a King County Arts Commission Publication Prize. Two chapbooks from Brooding Heron Press are Insistent in the Skin and Phosphorous.

Thomas Hubbard, a retired writing instructor and spoken word performer, authored Nail and other hardworking poems, Year of the Dragon Press, 1994; Junkyard Dogz (also available on audio CD); and Injunz, a chapbook. He designed and published Children Remember Their Fathers (an anthology), and books by seven other authors. His book reviews have appeared in Square Lake, Raven Chronicles, New Pages and The Cartier Street Review. Recent publication credits include poems in Yellow Medicine Review, I Was Indian, editor Susan Deer Cloud, Florida Review, and short stories in Red Ink and Yellow Medicine Review. He serves editorially with Raven Chronicles and The Cartier Street Review, and still performs spoken word in and around Seattle, and at other venues around the country.

Paul Hunter has published fine letterpress poetry under the imprint of Wood Works Press since 1994. His poems have appeared in numerous journals, as well as in seven full-length books and three chapbooks. His first collection of farming poems, Breaking Ground, 2004, from Silverfish Review Press, was reviewed in The New York Times, and received the 2004 Washington State Book Award. A
second volume of farming poems, Ripening, was published in 2007, a third companion volume, Come the Harvest, appeared in 2008, and the fourth, from the same publisher, Stubble Field, appeared in 2012. He has been a featured poet on The News Hour, and has a prose book on small-scale, sustainable farming, One Seed to Another: The New Small Farming, published by the Small Farmer’s Journal. His new book of prose poetry, Clownery, In lieu of a life spent in harness, was published in 2017, by Davila Art & Books, Sisters, Oregon.

Jill McCabe Johnson is the author of two poetry books, Revolutions We’d Hoped We’d Outgrown and Diary of the One Swelling Sea, winner of a Nautilus Book Award, and the nonfiction chapbook Borderlines. Honors include an Artist Trust grant, an Academy of American Poets Award, the Mari Sandoz/Prairie Schooner Prize in Fiction, and Scissortale Review’s Editor’s Prize in Poetry; plus the Deborah Tall Memorial Fellowship from Pacific Lutheran University—where she completed her MFA in Creative Writing—and the Louise Van Sickle Fellowship in Poetry from the University of Nebraska—where she received her PhD in English. Johnson teaches Creative Writing and English at Skagit Valley College, and is the founding director of Artsmith, a non-profit to support the arts.

Jed Myers is author of Watching the Perseids (Sacramento Poetry Center), The Marriage of Space and Time (MoonPath Press, forthcoming), and two chapbooks. Recent honors include the Prime Number Magazine Award for Poetry, The Southeast Review’s Gearhart Poetry Prize, and the McLellan Poetry Prize. Poems are forthcoming in Poetry Northwest, Southern Poetry Review, and Natural Bridge. He’s Poetry Editor for the online magazine Bracken.

Mary Ellen Talley’s poems have recently been published in Cirque, U City Review, and Ekphrastic Review, as well as in the anthologies, The Doll Collection and Raising Lilly Ledbetter: Women Poets Occupy the Workspace. Mary Ellen worked for many years with words and children as a Speech-Language Pathologist (SLP) in Seattle public schools.

Neighborhood Crows, Poem by Edward Harkness

In lazy flight this afternoon, they resemble
scraps of crepe blown aloft above the sunlit
crowns of firs. They’re my aloof neighbors.
All their guttural utterances are black, cynical,

feathered with irony. The point is, they mutter,
there’s no point. They clean up our messes.
In the corner of a field they hop to a scrap
of burger still in its silver wrapper.

Tolerant as Lao Tzu, plain as nickels, they gather
on wires in squads of nine. Earning a living,
they know, depends on luck, a canny eye
and magic, which explains their sorcerer’s robes,

glossy as lacquered shadows at twilight.
Like the universe, they do not judge.
They have no comment on the divorce rate
or the attendance of gangsters at church.

Instead, they’re the lamplighters of old, lighting stars
to signal day’s end as they pass over power lines.
Imponderable, ordinary, like night itself,
they spread their wings to shelter their young,

invite their friends to dinner in a ditch
or near an upturned garbage can. When threatened
by a hawk they call in reinforcements to harry
the intruder, distracting hunter away from the hunted.

At dawn they reappear, routine as soot
but wiser. For crows are learned monks
in vacant lots, beggars who take the vow
of poverty and then take over the city.

Crows have nothing to teach, nothing to sell.
They joke, cajole, bicker and tend
to their families. They are Zen masters
of the art of blending in, always making the best

of a bad situation, as poets do who know
it’s hopeless but go on anyway with their crow visions
and dark pronouncements, feigning nonchalance
when we fail to understand their off-the-cuff

commentaries, those suggestions they offer in order
to survive the coming apocalypse. If we paid attention,
we might even learn something—not merely
how to face the day when the comet strikes or the missiles

rise from their silos, but how to live in the now,
how to start anew, how to be better than we’ve been
and, despite the madness of our time,
how to get along with our neighbors, how to thrive.


Edward Harkness is the author of two full-length poetry collections, Saying the Necessary and Beautiful Passing Lives, both from Pleasure Boat Studio Press. His poems can be found online in 2River, Atticus Review, Cascadia Review, The Good Men Project, Hinchas de Poesia, The Humanist, Rat’s Ass Journal, Salt River Review, Split Lip Magazine, Switched-On Gutenberg, and Terrain.Org. Recent publications in print journals include Chariton Review and Miramar. His most recent chapbook, Ice Children, was published by Split Lip Press in 2014. To hear Ed read “Union Creek in Winter,” (and published, not incidentally, on Jan. 21, 2017, the day of the inauguration of #45), go to Terrain.org at http://www.terrain.org/2017/poetry/letter-to-america-harkness/.

He lives in Shoreline, Washington.

Art at the Hopvine Pub, Winter, 2017-2018


Join Raven Chronicles January 6 to March 4, 2018, celebrating 2 local artists: Irene Akio, and Chris Crites; @ Hopvine Pub, 507 15th Avenue East, Capitol Hill neighborhood, Seattle. Curated by Les Morely, co-sponsored by Raven Chronicles.

 

Irene Akio, “Ordinary People”
January 6-February 3, 2018. 
With this body of work Akio chose to explore portraits of ordinary people, both friends and strangers she has come across in her everyday life. She used bright pastels to emphasize the radiance in each of us.

Chris Crites, “Bag Paintings”
February 4-March 4, 2018. Artist reception Thursday, February 15, 7:00 pm. 
For over 18 years, Crites has used the brown paper bag as his canvas to examine criminal portraits from the past, as well as crime scenes and accidents from history.

 

“I Feel Both Ways,” Drawings & Paintings by Clare Johnson

November 18, 2017—January 6, 2018
Artist Reception: Thursday Dec. 7, 7p.m.
Hopvine Pub, Capitol Hill
507 15th Avenue East, Seattle

Questions/Contact Information:
Scott Martin 206-898-5460
Hopvine 206-328-3120; email:scott.martin97@gmail.com
www.clarejohnson.com

Exhibition Statement: In life, opposing truths, experiences, and feelings often exist together. Our usual forms of communication are unequipped to express this, however, without one reality becoming the dominant or right one, or both negating each other. I Feel Both Ways celebrates a large-scale drawing of the same name that was two years in the making, but also speaks to how Johnson uses art to say multiple things at once. Her work is inspired by the idea of a band-aid, a profoundly ordinary object that means two things at the same time—healing attention, and a wound. The acrylic paintings are both a way of traveling back to specific past moments, and an expression of the impossibility of really doing so. Likewise, she draws to find comfort; each ink drawing comes from a feeling of unease but is also the thing that soothed it. Clare Johnson is a writer and visual artist. Honors include a Michael S. Harper Poetry Prize, Jack Straw Writing Fellowship, Artist Trust Grant for Artist Projects (to expand her series of drawings based on favorite books), 4Culture funding (to make art to be used as giant interactive digital backdrops for the play Our Town), and the Grand Prize in Allied Arts Foundation’s 2017 Emerging Artist Grant Awards. Her ongoing “Post-it Note Project” (drawing/writing on a post-it each night to remember something from the day) was featured in Real Change, Seattle Magazine, Seattle Weekly, and Seattle Review of Books.


Co-sponsored by Raven Chronicles and Hopvine Pub. Curated by Les Morely. Thanks to 4Culture/King County lodging tax, Office of Arts & Culture: Seattle, and ArtsWA/Washington State Arts Commission with NEA funding, for partial funding of our 2017 programs. www.ravenchronicles.org

2018 Raven Chronicles Pushcart Prize Nominations


The editors of Raven Chronicles, A Journal of Art, Literature & The Spoken Word, are pleased to announce our nominations for the 2018 Pushcart Prize: Best of the Small Presses series, the prize chosen by Pushcart Press that anthologizes the best of the small presses publishing this year. The editors of Raven Chronicles nominate the following writers for their work published in Vol. 24 and Vol. 25, in 2017.

From Vol. 25, November, 2017: Balancing Acts—

1. Fiona Farrell, “Decline and Fall on Savage Street”— Novel Excerpt, pgs. 57-68. Novel excerpt from Decline and Fall on Savage Street, Penguin Random House, New Zealand, 2017.

2. Edward Harkness “Neighborhood Crows”— poem, pgs. 22-23.

3. Nic Low, “Ear to the Ground”— essay, pgs 77-90. “Ear to the Ground,” first published in longer form in Griffith Review 35: Surviving, January, 2012 (https://griffithreview.com/articles/ear-to-the-ground/).

From Vol. 24, June, 2017: HOME—

4. Diane Glancy, “It Is Over There by That Place, A Remix of English Influenced by the Loss of the Native Language”— essay, pg. 120-122.

5. Tom Hunley, “Tom Tripped On A Loose Stair And An Angelic Choir Sounded Like Falling Rain”— poem, pg. 130.

6. John Olson, “Yesterday’s Rain”— essay, pgs. 165-168.

Reading & Reception for Raven Chronicles, Vol. 25: Balancing Acts

RAVEN CHRONICLES PRESS  & JACK STRAW CULTURAL CENTER
A Reading & Reception for Raven Chronicles Journal Vol. 25, Balancing Acts
December 15, 2017, Friday, 7:00pm., Free
Jack Straw Cultural Center, 4261 Roosevelt Way N.E., University District, Seattle

MC Anna Bálint
Readings by: Avis Adams, Kathleen Alcalá,
Deborrah Corr, Anne Frantilla, Ed Harkness, Thomas Hubbard, Paul Hunter, Jed Myers, Heidi Seaborn, Willie Smith. & Recovery Café’s Safe Place Writing Circle readers: vivan linder levi, Dana Nelson Dudley.

Raven Chronicles Journal Vol. 25: writers and artists examine the theme “Balancing Acts,” how we live our life, fully, and maintain our relationship with the earth/planet and the diversity of life on it. Biodiversity is balance in the dance of nature. Edited by: Anna Bálint, Phoebe Bosché, Matt Briggs, Paul Hunter, Doug Johnson. The U.S. contributors in this Balancing Acts-themed Journal live in seventeen states—Washington, Nebraska, Pennsylvania, California, Oregon, Illinois, New Jersey, , Virginia, Idaho, New York, New Mexico, Colorado, Texas, Alabama, Wisconsin, Florida, Washington, D.C.; and 52% are from Washington State. Contributors, particularly visual artists, also hail from ten countries—U.S., Germany, Colombia, Russia, Australia, New Zealand, Spain, Canada, Chile, Singapore. There are 58 illustrations/artworks in Vol. 25. We are pleased to present the work of a selection of established and emerging writers from New Zealand as part of the Sister Cities Program, a collaboration between Seattle and Christchurch, New Zealand.

Raven Chronicles is indebted to our 2017 co-sponsors for partial funding of our programs: Seattle’s Office of Arts & Culture; 4Culture/King County Lodging Tax; ARTSWA/Washington State Arts Commission with NEA Project Support; and Jack Straw Cultural Center/Joan Rabinowitz, for co-sponsoring Raven readings, and for unflagging support for writers, literary groups, and music artists. And all Raven subscribers and donors.

Contact Information: ravenchronicles.org; 206.941.2955; editors@ravenchronicles.org,
Mailing address: 15528 12th Ave. NE, Shoreline, WA 98155

 

N E W S R E L E A S E: Raven Chronicles Journal, Vol. 24, HOME, Edited by Kathleen Alcalá, Anna Bálint, Phoebe Bosché, Paul Hunter & Stephanie Lawyer

Raven Chronicles Journal, Vol. 24, HOME, Edited by Kathleen Alcalá, Anna Bálint, Phoebe Bosché, Paul Hunter & Stephanie Lawyer

Raven Chronicles Journal, Vol. 24, HOME, features the work of 14 artists /and 68 writers from 21 states and 3 countries (Canada, India, Nigeria).

The place where I truly feel at home is in a book. This is where the real panoramas are. The landscapes of the human imagination. Oceans, raging rivers, philosophies, forests. Language is a wilderness and books are their reserves. —John Olson

What is there in history but a shape of being? A language structure that is place with its multiple meanings of places within place. —Diane Glancy

The world is in the midst of the largest migration of people since World War II. Due to war and political oppression, many of them will never return to their homelands. Others, like Native Americans in the Americas, have watched as wave after wave of newcomers have come on their land and claimed it as their own. The United States attracts people from all over the world to use as labor, but then denies many of them a legal opportunity to establish homes and raise families. Is home a place or a dream of sanctuary? A tarp, bedroll or car parked on the side of the freeway? A ranch you inherited? People you love? A state of mind? An elusive definition of space or location that only the privileged can afford to claim? In Aleppo, “Abu Hussein, a man in his 50s, was remarkably cheerful as he stood with his wife Umm Hussein and looked down from their balcony on to the rubble that makes his street impassable for any vehicle. ‘Nothing is better or more beautiful than our home,’ he said. ‘It’s the place to be in good times or in bad.’ ”


Raven Chronicles Press
To Order: www.ravenchronicles.org; Amazon.com (books)
Press Contact: Phoebe Bosche: editors@ravenchronicles.org
Published June 7, 201
6 x 0.7 x 9, 306 pp., paper, $11.99


Words From the Café by Megan McInnis, Johnnie Powell, Cathy Scott, Jay Scott, and  Susan Tekola.

 Fiction by Jennifer Clark, Cheryce (Chy) Clayton, Clare Johnson, Gina LaLonde, Don Noel, Sue Gale Pace, Michael Philips, J.R. Robinson, & Terry Sanville.

Essays/nonfiction by Michael Dylan Welch, Inye Wokoma, Maria de Los Angeles, Diane Glancy, Thomas Hubbard, John Olson, Susan Noyes Platt, Maiah Merino, and Rebecca F. Reuter.

Poetry by Anna Bálint, Anita Endrezze, T. Clear, Larry Eickstaedt, Paul Hunter, Mark Trechock, Jim Cantú, Soonest Nathaniel, Luther Allen, Dianne Aprile, Virginia Barrett, Michele Bombardier, Elizabeth Burnam, Minnie Collins, Mary Eliza Crane, Larry Crist, Jenny Davis, Risa Denenberg, Patrick Dixon, Penny Harter, Tanya McDonald, Michael Dylan Welch, Sharon Hashimoto, Tom Hunley, Sarah Jones, J.I. Kleinberg, Charles Leggett, Joan McBride, Marjorie Maddox, Kate Miller, Kevin Miller, Shankar Narayan, Linda Packard, David J.S. Pickering, Robert Ronnow, Frank Rossini, Judith Skillman, Joannie Stangeland, Alison Stone, Angie Trudell Vasquez, Diana Woodcock, and Carolyne Wright.

Art/Illustrations by David Anderson, Nyri A. Bakkalian, Anna Bálint, Maria de Los, Angeles, Gabe Hales, Clare Johnson (featured artist), Srilatha Malladi, Michael C. Paul, Jenn Powers, Rebecca Pyle (cover artist), Robert Ransom, Inye Wokoma, Saint James Harris Wood, Bill Yake.

The place where I truly feel at home is in a book. This is where the real panoramas are. The landscapes of the human imagination. Oceans, raging rivers, philosophies, forests. Language is a wilderness and books are their reserves. —John Olson

What is there in history but a shape of being? A language structure that is place with its multiple meanings of places within place. —Diane Glancy

Reading/Reception for Raven Chronicles Journal, Vol. 24

RAVEN CHRONICLES PRESS  & JACK STRAW CULTURAL CENTER present

A Reading & Reception for Raven Chronicles Journal Vol. 24: HOME
July 7, 2017
Friday, 7:00pm., Free
Jack Straw Cultural Center, 4261 Roosevelt Way N.E., University District, Seattle

What is there in history but a shape of being? A language structure that is place with its multiple meanings of places within place. —Diane Glancy

The place where I truly feel at home is in a book. This is where the real panoramas are. The landscapes of the human imagination. Oceans, raging rivers, philosophies, forests. Language is a wilderness and books are their reserves. —John Olson

After all, home changes, but stories—be they the stories of former occupants or the stories of travelers visiting a darkened chimney—live forever. —Nyri A. Bakkalian


MC Paul Hunter
Readings by:

Dianne Aprile, Anna Bálint, Jim Cantú, T. Clear, Mary E. Crane, Clare Johnson, Shankar Narayan, Linda Packard, Joannie Stangeland, Carolyne Wright; Recovery Café’s Safe Place Writing Circle readers.

Is home a place or a dream of sanctuary? A tarp, bedroll or car parked on the side of the freeway? A ranch you inherited? People you love? A state of mind? An elusive definition of space or location that only the privileged can afford to claim? Describe your home (whatever and wherever it may be) and the things that make it home for you. In Aleppo, “Abu Hussein, a man in his 50s, was remarkably cheerful as he stood with his wife Umm Hussein and looked down from their balcony on to the rubble that makes his street impassable for any vehicle. ‘Nothing is better or more beautiful than our home,’ he said. ‘It’s the place to be in good times or in bad.’ ”

Raven Chronicles is indebted to our 2017 co-sponsors for partial funding of our programs: Seattle’s Office of Arts & Culture; 4Culture / King County Lodging Tax; ARTSWA/Washington State Arts Commission with NEA project support; and Jack Straw Cultural Center / Joan Rabinowitz, for co-sponsoring Raven readings, and for unflagging support for writers, literary groups, and music artists. And all Raven subscribers and donors.

Contact Information: ravenchronicles.org
206.941.2955, editors@ravenchronicles.org,
Mailing address: 15528 12th Ave. NE, Shoreline, WA 98155

Corrina Wycoff Reviews Crysta Casey’s “Rules for Walking Out”

This review is forthcoming in Raven Chronicles Journal, Vol. 24, HOME, out July 7, 2017.

Cave Moon Press
P.O. Box 1773, Yakima, WA 98907
ISBN-978-0-6925831-9-7
2017, paper, 86 pp., $12.95

Rules for Walking Out—Crysta Casey’s second posthumously released poetry collection—chronicles Casey’s life during and after military service. Her poems stretch from the Parris Island boot camp where her enlistment began in 1978, to the Seattle Veteran’s Hospital where her life ended thirty years later. She rarely editorializes. Instead, with journalistic distance, Casey juxtaposes her experiences, revealing their complexity, and creating a deeply authentic, poignant memoir in verse.

An enlisted woman in the 1970s, Casey lived the sexual politics of Marine culture. A boot camp poem quotes the chaplain, who derides the all-female troop as “lesbians [and] whores” while the drill instructor asks, “How many of you joined because love is a pain in the ass?” This ambiguity between exploitation and agency recurs in several poems written about her time in active duty. In one, Casey’s “legs [are] spread open to officers who . . . ask [her] to suck / them like a cherry popsicle, only hot / like corn on the cob.” In another, she confesses, “I needed the money. They tipped well. I only knew them as fellow Marines; I had my own male friend off-base.”

Casey serves under Captain Bowman. It is Bowman, ultimately, whose false allegations of Casey’s suicide attempts result in her commitment to the military hospital’s psychiatric ward. His authority as a male officer means more than the inaccuracies of his accusations. The volume’s preface, “A Curse—for Captain Bowman,” explains: “You told them I was slitting / my wrists . . . . You said, ‘In the bathroom / in her room . . .’ The toilets were down the hall. / You didn’t even know / how enlisted people lived . . .”

While his mendacity seems clear, Bowman’s sanity does not. Casey and other female lance corporals clean his office. One poem describes discarding plastic spoons they find in “coffee cups, where dried noodles / claw the sides like ivy,” only to be shouted at, via intercom, “Where are my spoons?” Bowman “orders a detachment . . . to find some spoons.” A prolonged scavenger hunt ensues for replacement spoons of the specific weight and thickness Bowman requires. Not long afterward, still on base but threatened with commitment to the psych ward, Casey aptly claims, “I am on the psych ward . . . The truth is, I am.”

Once literally institutionalized, Casey receives a schizo-affective disorder diagnosis and begins “writing furiously in a new notebook” about the fellow soldiers she meets on the ward. Like Casey herself, they seem no more insane than the uninstitutionalized Captain Bowman. Anne, a fellow Marine, refuses to take the prescribed medicine. Casey writes, “I already swallowed mine. / Anne is sure I’ll die.” And Anne’s worry isn’t wholly wrong. Casey writes that her “thoughts are more exciting when [she’s] not on meds.” The meds trample and circumscribe her imagination. “On medication,” she writes, “I think of vacuuming the carpet.”

Casey relocates to Seattle in the 1980s after her honorable medical discharge. She is an indigent military veteran struggling with mental illness, yet poems about these post-military years remain keen and clear-eyed. One wryly describes Jim, the homebound, depressed Vietnam Vet who one day decides “to go downtown to the VA Regional Office and make sure he was going to get an American flag on his coffin,” only to be told, by the clerk, that military records already list him as dead. Another observes a five-year-old boy playing by a fountain, pretending to have been shot in the head. She writes of a Marine killed in Iraq and of a middle class civilian woman who, when asked why a nearby flag flies at half-mast, suggests Orville Redenbacher’s death. She writes of her friend Kim, a cross-dresser and former bomber pilot, living in shoddy transient housing, directly across the street from the municipal campus where the courthouse stands.

Casey, also a self-taught painter, overlays these baldly rendered situations with deliberately colored images. One of her active duty poems mentions a visit she makes to her family during a Christmas leave. There, she receives a gift of acrylic paints: “red, yellow, blue, black, and white,” all the colors needed to replicate the American flag and the Marines logo. Casey employs this palette as a central motif. On the psychiatric ward of the military hospital, she writes of living among “black sheep, white artists and poets.” There, she will sit in the dayroom and “stack white, / blue, and red poker chips / into a tower, knock it down with dice, then pile the chips again.” She writes of a Black female Marine found murdered in the barracks.

Sometimes, she mixes pigments. Writing of a literal self-portrait, she describes: “I wear a camouflage shirt . . . Only black nylons cover my legs . . . My feet are partially covered by black, open-toed high heels.” She writes of the “green cammie shirt” she buys at a garage sale when, as a veteran, she finally declares herself “Private/General of [her] own Army.” Finally, at the VA hospital, in yet another dayroom, she will “refuse to paint green or gold” on the paint-by-numbers set. She paints another self-portrait instead: “pink cheeks, red lips.” She paints a hand below the portrait, paints numbers on its fingernails, “each with purple hues.”

Describing her expression in this self-portrait, Casey deems it “sad as a baby’s hunger.” But a baby’s hunger cannot always be assuaged by bottle or breast. The keening continues without protecting the listener’s comfort, without assigning any blame, and without offering any advice. Rules for Walking Out is just as unapologetic, as innocent, and as discomfiting.


Corrina Wycoff is the author of two books of fiction, O Street, a novel-in-stories (OV Press, 2008), and Damascus House, a novel (Spuyten Duyvil, 2016). Her fiction and essays have also appeared in many journals and anthologies. She lives in Seattle and teaches English at Pierce College.

Jamey Rahm: Art at the Hopvine Pub on Capitol Hill


Jamey Rahn, Upon Arrival, Charcoal on Paper/Oil on Paper.

July 30-September 2, 2017
Opening Reception August 10, Thursday, 7pm; Hopvine Pub, 507 15th Ave. East, Capitol Hill.

Since transplanting to Seattle from Brooklyn in 2014, Rahm began exploring Seattle and its surrounding areas working from direct observation.


2017 Art shows at the Hopvine Pub on Capitol Hill. Curated by Les Morely; Co-sponsored by the Raven Chronicles.