Table of Contents
Editor's Notes
Submission Guidelines

Stories & Essays
'57 Chevy
By Gary Moshimer
A Visit to India From America...
_ By Shubha Venugopal
Calista Flockhart and the MySpace Hoax
_ By Michael Frissore
Recollections and Revelations
_ By Elizabeth Harbaugh
Springtime Visits
_ By Phyllis Link
Stupendous Stew
_ By Malerie Yolen-Cohen
The Genius
_ By Ray Templeton
The Stranger Below
_ By Sam Vargo
_ By Louise Norlie
_ By Dan Devine
Vegetarian Rage
_ By John A. Ward
What Might Pass Between Them
_ By Alexandra Leake

A Glutton For Truth
_ By Richard Fein
A Question of Proper Form
_ By Richard Fein
Boiler Man
_ By Leland Jamieson
_ By Davide Trame
Lioness In Miniature
_ By Grace M. Murray
_ By Pete Lee
Real Life Elocution
_ By Richard Fein
Rewriting An Ending
_ By Rumit Pancholi
_ By Tim Shell
Seven Ways of Looking at a Full Moon
_ By Naiya Wright
_ By Jeanne Hugoe-Matthews
_ By Kristine Ong Muslim
_ By Patrick Frank
The Empty Spaces After You
_ By Rumit Pancholi
_ By Ed Higgins
Uncle Zebulon
_ By J.R. Salling

Art & Photography
Dora Calo
Robert Carter
Noah Erkes
Andrew Patsalou
Filip Wierzbicki


Real Life Elocution
By Richard Fein

Who is eloquent over a dead daughter's body?
Who rouses defeated armies with only sharp wit?
What manner of Cicero orates wistfully before strangling his love?
No line of Shakespeare is permitted to lack gravity;
each tilt of his quill must be a fulcrum of erudition.
Salaries are earned and degrees granted
by mining meaning out of the supreme poet’s every word.
Those wanna be bards, literary critics,
are flying buttresses to the great tower.
But offstage the actors speak like the rest of us
with ers, ahems, and that annoying “you know.”
When eloquence is truly muttered, it’s been rehearsed.
Shakespeare rewrote all rambling real life scripts,
and stripped daily dialogues of boring repetition.
Yet even the Bard himself
must have belched, coughed, and broke wind,
when he paid his rent, fled the sheriff,
and ran from his dear wife Annie.
What a stuttering fool he must have been
before old queen Bess,
speaking offstage to her, unrehearsed,
without quill or parchment or quiet room
to mull over what he should have said.



RICHARD FEIN was Finalist in The 2004 Center for Book Arts Chapbook Competition. He has been published in many web and print journals, such as Oregon East Southern Humanities Review, Touchstone, Windsor Review, Maverick, Parnassus Literary Review, Small Pond, Kansas Quarterly, Blue Unicorn, Exquisite Corpse, and many others. He also has an interest in digital photography.