Einstein’s iPod

“The real problem is in the hearts and minds of men. It is not a problem of physics, but of ethics. It is easier to denature plutonium than to denature the evil spirit of man.”

                                    Albert Einstein

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The tears began to stream down my face as I watched him play and I didn’t even care if the degenerates who were there with me saw it and made fun of me for it later.  There was something so beautiful, so perfect about the performance that it made me not care.  It was Tchaikovsky’s Piano Concerto Number 2.  Usually I didn’t go in for Tchaikovsky: Swan Lake and The Nutcracker were too fruity for me.  I was more into the sterner Teutonic fare like Beethoven and Wagner.  But this piece had some bite to it, unlike the Tchaikovsky to which public radio had accustomed me.

The pianist was in a league of his own.  He was a curly-haired, doughy-faced Russian guy in his late twenties-not that much older than me.  More than simply getting the notes right, he played with a flair, a flourish, that was mesmerizing.  I knew nothing about pianists, but I had to think that this guy was among the top five or ten in the world.  I simply could not imagine ten people who could be better at it than him.  Maybe that got to me, too-seeing a true genius at work.  It’s not often one gets an opportunity to do that.  But, then again, perhaps the cause of my tears was that all of the counseling the courts had forced me to undergo had just made me soft.

*

In the 1930s, scientists learned that nuclear reactions could be both initiated and controlled.  It began with a large isotope (a misleading term because it’s actually one of the smallest particles of matter in existence), usually of Uranium-235 or Plutonium-239 because of their ability to produce an excess of neutrons.  Scientists bombarded this isotope with a smaller isotope, typically a neutron.  The collisions then caused the larger isotope to break down into two or more smaller elements.  Using Einstein’s equivalence principle, it was possible to accurately predict how much energy would be produced by this nuclear fission.

*

The story of how I’d gotten to be in that matinee audience at Heinz Hall was a cautionary tale from which it was unlikely anyone would ever learn anything, least of all me.  During what was supposed to be my junior year of college, I’d gotten involved with the “wrong crowd.”  Of course, that’s a relative term, depending solely on one’s perspective.  They were the “wrong” crowd if one desired to accomplish anything of value in life, or to stay out of jail.  They were the right crowd, however, if one’s goal was to obtain narcotics with which to get high.  At the time I met this crowd, that was the driving force in my life-my raison d’être.  It hasn’t escaped me that if an opiate represents one’s reason to, well, ‘être, then one doesn’t have much to live for.  I didn’t.  As far as I’m concerned, in spite of what my judge and counselors have tried to tell me, I still don’t.

I had help getting in with that wrong crowd.  My accomplice’s name was Mia.  Not much of a name for a femme fatale, but she wasn’t much of a femme fatale.  She was thin, short hair, kind of pale.  Put pointy plastic ears on her and she could’ve passed for an elf.  Not a Keebler Elf, more like those mischievous pixies in Shakespeare’s A Midsummer Night’s Dream.  Of course, I was no leading man, either: too short and thin through the chest and shoulders.  Mia and I attended the same college and met one night during our junior year at some douchebag frat party.  It was a pretty big university and our majors were in different departments-I was school of science while she was studying art history-so I couldn’t recall ever having seen her before.  I had just enough beer in me that night to approach her when her female friend disappeared momentarily. Walking up to her, I asked: “Can I buy you a beer?”

“They’re free,” she replied.

“All the better.”

She smiled and shook her head: “I don’t drink that swill.  I’m only here because my friend was hoping to see some guy.  More of a hairdo than a guy but, whatever.  He didn’t show so we’re heading to a party thrown by some art students.  Care to tag along?”

A simple truth of human existence is that almost everything bad that happens to us, we cause ourselves.  Sure, Job was God’s punching bag.  But for the rest of us, those whom the Old Testament Jehovah didn’t decide to use as subjects of social experiments, we bring about most of our problems through the choices we make, whether it’s smoking cigarettes, driving too fast, having unsafe sex, or whatever.  There are lots of little steps along the path to our downfall that if we would’ve only pulled back, or veered off in some way, we may have been able to avoid it completely.  Granted, we’re all going to go down in the end.  But plenty of us go out of our way to expedite that process.  I didn’t know it at the time-one rarely does-but this was the first step on the way to my demise, and I leaped on it with both feet.

*

I peered to each side to see if anyone from my group had taken note of my tears.  There were five of us in total, plus one counselor from the halfway house there to chaperone us.  I was situated in the middle.  The two guys to my left, Gerald and LaRon, were sleeping.  Gerald had his head tilted back and a river of drool flowed out of the corner of his mouth; LaRon was snoring-loudly.  To my immediate right, Ty was playing Angry Birds on his iPod Touch.  Beside him I could see that Walter’s attention was completely consumed by his unsuccessful struggle to hold in the farts from the Mexican food we’d had for lunch.  God bless him for trying.  Mike, the counselor, was the only one in our group aside from me paying attention to the concert.

With the exception of Walter, who’d gotten popped for his fifth DUI and was in his mid-forties with a wife and kids at home, the rest of us, including Mike, were all in our twenties.  Aside from Walter, we were all first-time offenders, arrested on drug-related charges.  Since none of us had committed violent crimes, the courts system had sent us to a halfway house rather than jail.  That was a gigantic relief to me because even though I’d done everything I could to kill brain cells I was still quite protective of my rectum.  The program supervisor at the halfway house, a graying former hippy who was clinging to some misguided faith in humanity, had arranged for us to attend this matinee with the hope that the exposure to culture would somehow elevate us.  As I surveyed the sea of white hair in evening gowns, suits and tuxedos filling the ornate concert hall, I thought it much more likely that we would bring the rest of the crowd down, rather than being uplifted ourselves.  It’s not that any of us were evil.  Speaking personally, I wasn’t as good as Jesus, Mother Teresa, or Princess Di, but then again I wasn’t so bad as Hitler, Charles Manson or Walt Disney.  What we were was misguided and weak-losers, if one insists on reducing the subject to binary thinking

*

They used to call it splitting atoms, though that wasn’t really an accurate description of the process.  The enormous amount of energy released during nuclear fission is caused by matter being converted into energy.  If the masses of all the atoms and sub-atomic particles the process begins with are measured against the masses of the subatomic particles that remain after the process is completed, it is apparent that some mass is “missing.”  Depending on if the reactions are controlled, enough energy can be released to either power or destroy an entire city.  While the atomic bomb isn’t grounded upon Einstein’s E = mc2, it does cogently illustrate his theorem.  Energy equals mass multiplied by the speed of light squared.  Neutrons colliding with atoms and worlds are destroyed…

*

People say opposites attract.  That is true when it comes to chemistry where protons and electrons exert a pull on one another that holds together the nucleus of an atom.  But when it comes to human chemistry the most elementary intro psych textbook will insist that like attracts like.  That was our problem: at core, we were too similar.  Even though Mia was a right-brain art student, and I was a left-brain physics major, at the core we shared more or less the same strengths and weaknesses.  Not proton and electron, but more like neutron and neutron-two common fissile isotopes thrown together by the life’s nuclear reactor.

It was Mia who first introduced me to weed, then blow, and finally junk.  I bounded over the various gateway drugs like an Olympic hurdler.  We both had holes to fill.  The crater that Mia was trying to seal was the aftermath of something bad that had happened to her as a kid, something that she would never talk about.  Whatever it was, it affected her outlook.  It’s funny because even though her behavior and the things she said would’ve gotten her burned for a witch back in the Pilgrims’ days, she nevertheless shared the Puritans’ outlook on humankind, thinking that everyone was essentially evil at bottom.  Like the Puritans, she believed that evil should be scourged away, only instead of using a hair-shirt and cattail whip, she employed heroin and cocaine.  My situation was different.  Aside from my parents divorcing when I was eleven, I’d had a pretty standard, trauma-free upbringing.  When my father left, my mother placed all her hopes for the future squarely on my shoulders.  It was a heavy burden for a eleven year old to bear-and it hadn’t gotten any lighter by the time I was twenty-one. 

*

I glanced at my program.  The orchestra had progressed into the second movement: the Andante non troppo.  The pianist was really getting into it.  His curls were flapping in the air as he jerked his head about violently with each note.  I was amazed at how high he lifted his hands above the keyboard before bringing them crashing back down again, while always striking the correct notes.  I recalled when I had taken piano lessons as a kid-I was hesitant to remove my fingers from the keys for fear of losing my place.  But this guy was a maestro.  He literally could’ve played with his eyes closed.  I glanced over at Mike to give him an appreciative nod and caught him with his index finger buried to the first knuckle in his right nostril.

*

Nuclear fuel contains millions of times the amount of free energy contained in a similar amount of chemical fuel, like gasoline.  The earliest fission bombs, for instance the Fat Man and Little Boy bombs that were dropped on the Japanese cities Nagasaki and Hiroshima, were thousands of times more explosive than a comparable mass of conventional weapons.  Modern nuclear weapons are hundreds of times more powerful for their weight than these first pure fission atomic bombs.  All of this is brought about by the collision of particles of matter so small that they cannot be seen, even using an electron microscope which is able to produce magnifications of up to about 10,000,000 times. 

 

While he was not directly involved in the Manhattan Project, one year before his death Einstein revealed that he considered the one great mistake he’d made in life to have been signing the letter to F.D.R. recommending that the construction of the atom bomb be undertaken.  The justification was the danger that the Germans would devise one first.  Robert Oppenheimer, the leading physicist in the Manhattan Project, later commented that after seeing the first nuclear bomb tested in New Mexico in 1945 a line had come to him from the Bhagavad Gita: “Now, I am become Death, the destroyer of worlds.”  Neutrons and atoms colliding.  Mere isotopes.  Destroyers of worlds.

*

At first I spent the money my mother sent me to live off of to buy drugs.  But once Mia and I had gotten hooked, the money dried up quickly.  So we dropped out of classes (we’d both stopped going anyway) and used the refunded tuition.  But that didn’t last long.  We started selling stuff: books, televisions, computers, even clothes.  Eventually, we ran out of things to sell and we were left with two choices (technically, I suppose, it was three, but at the time neither of us really considered quitting an option):  we could either steal or turn tricks.  We chose stealing as the lesser of two evils.  Before I’d gotten involved in drugs I wouldn’t have known how to go about becoming a thief.  But one good thing about being in a drug community is that it exposes a person to some pretty unsavory characters.  In retrospect, it’s probably not all that good of a thing after all, but it comes in handy when searching for accomplices.

Garbage was a former biker we’d met at a house where people used.  Neither Mia nor I had any idea what was his real name might have been and we didn’t really care.  Everyone called him Garbage and that was good enough for us because, in the end, it was better not to know too much about people.  Anyway, he looked like a “Garbage”-big and hairy with a complete lack of personal hygiene.  When we encountered him at the flop house, we’d just sold Mia’s easel and the last of her paints and canvases in order to score.  I was in the process of coming up into lucidity enough to talk when I noticed him on the couch beside us.  I had no clue as to how long he’d been there.  From the look of his eyes, I could tell he was in about the same state as me, so I told him we were looking for a way to scare up some cash that didn’t involve any of our orifices.  He said: “You’re in luck.  I have a little ‘business’ and I recently lost my partner.”

“Did he get pinched?” I asked.

“No, no.”

“Dead?”

“No, nothing like that.  I mean I lost him.  I literally lost him.  He got an insurance settlement for fifty large for a slip and fall at WalMart and we cashed the check and drove down to New Orleans.  I lost track of him somewhere in the French Quarter on the third or fourth day.  Had to hitchhike the whole way home alone.”

“Oh.  So you guys did insurance scams?”

“Naw, that was on the up-and-up.  We were into precious metal extraction.”

I stared at him blankly and he added: “We steal copper pipes from abandoned houses.”

*

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Mike glared at Ty until he finally stopped playing his game and glanced up.  An annoyed look tightening his face, Mike nodded for Ty to put the iPod away.  Ty clucked his tongue and made a disgusted “Tcch” sound that drew the attention of several of the blue hairs seated nearby.  Jamming the phone into the hip pocket of his jeans, Ty turned to me for moral support in his confrontation.  Seeing my tear-streaked face, his eyes became wide.  I would definitely hear about this later, but I didn’t care.  The orchestra had progressed to the final movement-the Allegro con fuoco, and I was completely enthralled.  I was unsure what was eliciting this visceral reaction from me, and I didn’t care.  When confronted with true beauty, it’s best not to question it too much because the mystery of its existence is half of its allure. 

I made a mental note to find this piece on the ‘net using the computer at the halfway house so that I could download it onto my iPod.  Technically, iPods were contraband in the halfway house, but we all had them and the counselors pretty much all knew it.  The program the court had placed me in had some manual labor for us to perform, and lots of counseling, but those could only fill up so many hours.  The rest of my “rehabilitation” was spent watching Jerry Springer, listening to my housemates argue over video games, and staring at the ceiling reliving over and over again everything that happened.  My parents phoned almost every night-my mother, anyway.  My father had gotten remarried and started another family years ago.  When I first got arrested, I think he decided to place all of his eggs in that basket.  I didn’t take my mother’s calls most of the time.  When I did she always wanted to talk about what I’d do when I got out-going back to school and all.  I played along, but the truth was I didn’t care about the future anymore.

*

When fission occurs with U-235, one neutron is used, but three neutrons are produced.  If these three neutrons encounter other U-235 atoms, other fissions can be initiated, producing yet more neutrons.  In layman’s terms, it is the domino effect in action.  This continuing cascade of nuclear fissions is called a chain reaction.  One becomes three.  Three becomes nine.  Nine becomes eighty-one.  Now, I am become Death, the destroyer of worlds

*

Mia volunteered to come along and help with the “job.”  She thought it would be an adventure.  Garbage didn’t mind because he said it would be another set of hands; I think he had a thing for her.  Plus he’d already made it clear that he would get two-thirds of the take whether it was just me or both of us, so it wasn’t any money out of his pocket.  He borrowed an old, beat-up van that, from the look of it, had probably been involved in some abductions at some point.  He’d found a house out in the suburbs of Monroeville that he insisted was vacant.  We arrived late on a foggy night, parked the van in the driveway and did a quick reconnaissance of the place.  It was a one-story, ranch-style with a small, neat yard.  Peering through a window, I could see there was a minimal amount of furniture and no clutter just sitting around, as though the owners had already moved out, or were in the process of doing so.

The front and back doors were locked, so we walked around the side and Garbage kicked in a window with one of his enormous, steel-toed biker boots.  Then he told me: “Climb in there and go open the back door for us.”

Observing the pile of broken glass on the floor, and the jagged remaining edges of the window still clinging menacingly to the panes, I stepped back and mumbled: “Why me?”

Garbage looked cross, and snapped, “Because I’m too goddam big and you don’t want your little girlfriend getting cut up on that broken glass.  Do ya, bud?”

I frowned and muttered, “Okay.”  Then I climbed gingerly through the window, avoiding most of the shards of glass scattered across the floor.  I made my way to the back door double-quick because I suddenly had visions in my head of that smelly oaf Garbage ravishing Mia against the aluminum siding.  She’d gotten high before we left, and I didn’t think she was in any condition to fend him off.

When I got to the door, they were waiting.  Garbage smirked, “Good job, bud,” and gave me a patronizing pat on the cheek.  I would’ve liked to have socked him in his ugly mush, but I’d never hit anyone in my life and I didn’t think he was the right person to start with. 

We negotiated a rickety set of narrow wooden steps down to the basement.  It was finished, but most of the furniture had been removed, which was lucky because I was tripping all over myself until we found the light switch.  Garbage located the laundry room and Mia and I followed him in.  Seeing several copper pipes running along the drop ceiling, he exclaimed: “Pay dirt!”

While Mia walked around the little room, humming to herself and picking up and examining the various odds and ends, I asked Garbage, “What now?”

He dropped the Army surplus rucksack filled with tools that he’d carried in with him.   As he bent over to open it, his leather jacket pulled above his waist, revealing the top third of the crack of his hairy ass.  Rifling through the rucksack, he removed a plumber’s wrench which he handed to me.  Nodding at a plastic patio chair in the corner, he said: “Why don’t you climb up on that chair, little fella, and see if you can’t loosen them pipes in the corner.”

“What’re you going to do?”

He answered me by producing a power saw from the canvas bag, plugging it into an outlet on the wall and giving it a test squeeze.  As it buzzed to life, a twinkle of demented glee filled his bloodshot eyes.

*

As the Allegro con fuoco was rising to its final crescendo, the tears continued to stream down my face.  I started thinking about genius.  The Russian pianist was obviously a genius, but his genius lay in interpretation, not creation.  Tchaikovsky, the composer, had created the music.  He’d made something-something sublime-that had never existed before, could not have existed were it not for him.  Even Einstein had never really done that.  Einstein merely commented on things that already existed.  Of course, they were things nobody else would have been able to see.  The rest of us are surrounded by these things-they’re the sheet music of the universe-but we’re completely incapable of reading the notes.  It takes an oddball genius like Einstein to decipher those notes from out of the very ether and play it out for all of humanity.

Einstein had a great love of music, and was a gifted and enthusiastic musician.  I’d read that he’d once asserted: “Life without playing music is inconceivable for me.” His second wife, Elsa, claimed to have fallen in love with him because he’d performed Mozart on the violin so beautifully.  In addition to Mozart, he’d revered Bach, and admired but didn’t love Beethoven.  I’m not sure what his thoughts were on Tchaikovsky, but I have to think that if iPods had existed in his time, Einstein would have had Tchaikovsky’s Piano Concerto Number 2 on it. 

Einstein was my hero-the reason I’d pursued physics.  I even had a poster of him hanging on the wall in my old bedroom in my mother’s house.  But that was all gone now.  As a convicted felon, I could never get the clearances necessary to work in nuclear physics.  But maybe, deep down, that’s what I’d wanted all along.  If Einstein was Mozart, then I was Salieri.  Hell, I wasn’t even Salieri; I was the organ-grinder out on the street playing for spare change.  No, I wasn’t even that.  I was the organ-grinder’s monkey, capable of nothing more than capering about drunkenly and holding up a tin cup for alms. 

*

On the development of nuclear technology, Einstein had remarked: “Since I do not foresee that atomic energy is to be a great boon for a long time, I have to say that for the present it is a menace. Perhaps it is well that it should be. It may intimidate the human race into bringing order into its international affairs, which, without the pressure of fear, it would not do.”  You can’t be right all of the time…

*

It had been a few minutes and I was still working on that first pipe joint.  Since I had taken college-prep courses in high school, I’d only had shop in middle school and had been lousy at it then.  I was better with my mind than my hands-at least, I had been.  While I was struggling with the joint, I overheard Garbage finish sawing through his first pipe.  I looked over in time to see the two ends of the pipe separate and one end begin spurting water like a geyser.  “Shit!” Garbage exclaimed, stepping away from the gushing water and switching off the power saw.  “I can’t believe they left the frickin’ water on!”

Mia clapped her hands delightedly.  Kicking off her sandals, she began to dance under the shower of water spewing from the breached pipe, humming the melody to: “Singing in the Rain.” 

“What do we do now?” I asked.

“What do you think, Einstein?” Garbage snapped.  “We find the main water valve and shut it off.”

“Where would that be?” I asked, not budging from my perch on the chair.

“If I knew that, I would’ve already turned it off, genius.” 

That was clearly disingenuous: he was flummoxed.  His partner, the guy who ditched him in the French Quarter, apparently had been the brains of their operation.  Garbage was the muscle-a pack mule capable of grunting out a few words.  He had opposable digits, but aside from allowing him to shoot up, I could see that they provided him not much more benefit than an orangutan wanking himself in the zoo.  I didn’t like hearing Einstein’s name on the lips of that ape, and still stinging from his earlier jibes, I responded without really thinking: “I’m not the savant who cut a water pipe before checking to see if the water was on.  I thought you knew what you were doing.”

Mia seemed completely unaware of our confrontation.  She raised her hands in the air and spun around like she was at a Phish concert.  The water was rushing out at such a rapid rate, and the laundry room was so small and enclosed that the water on the floor had already risen to her ankles.  I could see from the glint in his eyes that Garbage had found a convenient scapegoat for his mistake: “You’ve got a lot to say, don’t you?”

“No,” I tried to backpedal a little, realizing there was no one there to pull that gorilla off of me in case he attacked, “I’m just saying, you know, we need to do something.”

“I am going to do something,” Garbage replied, flicking the power saw back on.  It whirred to life with a menacing whine.  “I’m going to give you a lobotomy from the neck, you intellectual asshole.”

He began to slowly approach me, holding the saw up at shoulder level like a handgun.  He’d gotten about halfway across the tiny room when we heard from outside the door: “This is the police!  Whoever is in there, come out right now with your hands where we can see them.”

Garbage froze in his tracks, and spun his head to look over his shoulder in the direction of the voice.  When he did so, Mia, who was still dancing-too high to process what was happening-bounced into Garbage, causing him to drop the saw.  The saw hit the water and made a loud, crackling noise.  Mia’s back was to me, but I don’t think she ever had any idea what hit her.  Her body began convulsing.  The lights had already cut out when I heard her crash to the floor, splashing water into my face.  Garbage’s face I did see.  We locked eyes just before the saw hit the water.  He had a look in his eyes like he’d just stepped in dog crap; I don’t think he fully comprehended what was about to happen because he didn’t seem terrified at all.  Maybe he was a little high, too.  The electrical surge from the saw hitting the water caused a fuse to blow, so I only had to watch a few seconds of it.  Sitting in that plastic chair had protected me.  For once in my life I was grounded.

The cop who’d yelled moments earlier, shouted through the door again. His index finger probably caressing the trigger of his gun, he sounded a little spooked: “What the hell just happened in there?”

I explained.  They shut off the water and the main circuit breaker to the house, just to be safe, before coming to retrieve me.  I wouldn’t get out of that chair, though, until one of the cops had splashed through the water to yank me out of it.  I was in jail when Mia’s family had her funeral back in Johnstown, where she’d grown up.  It was probably just as well that I couldn’t go.  They wouldn’t have wanted me there.  I’m sure they blamed me for her death.  I blamed me and I knew the truth of the situation.  At least, the truth as I saw it.  We were inconsequential.  Isotopes too small to notice.  But when we collided, one split into three and we released enough energy to destroy two worlds.  They were small worlds, to be sure, but they were the only worlds either of them had.

*

The pianist banged out those last triumphant notes and the crowd broke into raucous cheering, shooting to their feet as though pulled up by some cosmic puppeteer.  The tears continued to stream down my face as I followed suit.  Einstein once said: “Solutions are easy.  The real difficulty lies in discovering the problem.”  But how are we supposed to discover the problem when it lies within ourselves-sewn into the fabric of our being at the subatomic level?  Neutrons colliding with atoms until eventually worlds are destroyed.  Whatever problems Mia and Garbage may have suffered from had been solved when that power saw hit the water in which they were standing. 

And me?  My problem was I needed a fix.

 

Stephen Graf is a native of Pittsburgh, Pennsylvania. He holds a Masters Degrees from Duquesne University in Pittsburgh and Trinity College, Dublin, a PhD in British Literature from the University of Newcastle in England, and he currently teaches at Robert Morris University. Among other places, he has been published in: AIM Magazine, Cicada, The Southern Review, The Chrysalis Reader, Fiction, The Minnetonka Review, New Works Review, SNReview, The Willow Review, The Wisconsin Review, and The Black Mountain Review in Ireland. His short story “Hadamard’s Billiards” was awarded an Honorable Mention for the 2012 Pushcart Prize.

Philadelphia Stories, Jr. Announces First Writing & Art Contest

[img_assist|nid=10168|title=Pinocchio|desc=|link=node|align=left|width=86|height=100]Inspired by the Arden’s production of Pinocchio, which ran from April 13-June 23, 2013 to rave reviews, Philadelphia Stories co-hosted its for contest for young writers and artists! Philadelphia Stories, Jr., in partnership with the Arden Theatre Company. Here’s how it worked:

  • Reimagine Pinocchio’s story through an original poem, short story, or work of art. Your original work can consider questions such as: What is your character made of? Where does your character live? What does he look like? What lies does your character tell and why does your character tell them? What act of bravery must your character do to earn forgiveness? Have fun with these questions, or feel free to make up your own ideas!
  • Submit: Writers & artists in grades K-12 emailed their contest entries.
  • The editors of Philadelphia Stories Jr. chose the following 9 finalists:

From this list, readers voted for their favorites on the following pages: Philadelphia Stories, Jr. or Arden Theatre Company Facebook pages or the Philadelphia Stories, Jr. or Arden Theatre Company blogs

And the winners are…

The top winners receive $50 cash prize, a one-day workshop at the Arden Drama School, and publication in the print issue of Fall/Winter 2013-14 issue of Philadelphia Stories Jr.

All 9 finalists will win four tickets to the first show of the Arden’s 2013/14 Children’s Theatre season: Sideways Stories from Wayside School!

Thanks to all who submitted, voted, and cheered our young talent on. Congratulations everyone!

 

Anastasia Alexandrin: My Soul is Charcoal

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Through her innovative technique of crossing lines of charcoal, Anastasia Alexandrin is charting a fresh, new, course in the art world. A skilled draftsman, Anastasia is combining a distinctly modern use of line with classic modalities of contrast and tone. Her distinctive style sets the stage for a visual collision that offers a soulful departure from traditional expressions of European beauty. “With each line I am creating a statement,” she says. “There is something very simple about a straight line. To draw it over and over can be very meditative. It’s a repetition of simplicity through which a complexity of forms can emerge.”

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The result is a contemporary narrative of female empowerment infused with fragments of metaphorical structure that provide reflections of new wave feminine identity. “The subject of women and modern day struggles are a huge wellspring for me,” she says. “Partially because they keep moving and changing and I am a woman living in these times, surrounded by these circumstances as they are happening.”

Currently residing in Philadelphia, Anastasia credits living in the Northeast with being a significant factor in her choice of palette. “I don’t think I would be a black and white artist if I lived out west or in a warm climate,” she says. “I like the seasons and the ebbs and flows the city goes through. There’s a prolonged period of grey skies and cold weather that my creative side enjoys thoroughly.” Alexandrin’s artwork has appeared in solo exhibitions in New York, Philadelphia and San Francisco, as well as in group exhibitions all over the United States. Her art is housed in various museum collections including, The Woodmere Art Museum, DiCarlo Gallery, and Brandywine Workshop in Philadelphia.

[img_assist|nid=10158|title=Fly indiscriminately by Anastasia Alexandrin © 2013|desc=|link=node|align=none|width=499|height=308]
A native of the Ukraine, Anastasia fled the Soviet Union with her parents and brother when she was 5 years old. The family eventually settled in Allentown, Pennsylvania, where Anastasia attended Barnstone Studios, a nearby academy of drawing and design. “I was always an artist even as a kid,” she said. “My parents knew that if they gave me a piece of paper and pencils I was satisfied for hours.” When she was a senior in High School, Anastasia won the National Scholastic Silver award. She eventually matriculated at the Pennsylvania Academy of the Fine Art (PAFA), where she served as a teacher’s assistant on her way to achieving her Bachelor of Fine Arts degree.

It was at PAFA that she found her voice under mentor, Peter Paone. “I very much admire Peter Paone,” she said. “He is able to work in so many different forms of art and he’s never lost who he is through all the changes his work has gone through.” Referencing a transition in Paone’s career, when he left New York City to pursue a new direction with his art in Philadelphia, Anastasia emphasized how important it is to continue evolving as an artist. “What leads me is the entire process of evolving,” she said. “Sales can drive an artist into making art that is no longer his own but driven by the market. That is when your imagination begins to stagnate and you start to repeat yourself.”

For an artist that is driven by perspectives of female identity, it’s conceivable that may create a chasm in the art. After all, an artist must evolve if he or she is to provide a relevant and timely social commentary. It is easy to be drawn into the narrative complexities that manifest as a result of Anastasia’s frenetic style. Her hyperactive use of line suggests motion and projects a timeless dream-like quality. “My soul is charcoal,” she says. “My way of working changes with each drawing, and different types of paper and pencils. I don’t perceive myself as having a style as much as a visual voice that is very much my own.”

[img_assist|nid=10159|title=Three for the Wave by Anastasia Alexandrin © 2013|desc=|link=node|align=none|width=450|height=333]
Anastasia’s art playfully shrugs at convention and celebrates transcendence. “It’s about confidence and enjoying it all,” she says. “These women are smart and driven to be seen and heard, as well as look as beautiful as they can be.” Through incorporating recognizable symbols, such as a smattering of bubbles or a towering wave, she clues viewers in to the psychological processes of women, as well as the obstacles they confront on their way toward reaching self-actualization. The women in her art address their fears and embrace individuality. In the process, they offer brave conceptions of self. As the viewer is staring at them, they aren’t afraid to stare back. “A woman’s courage is different from a man’s,” she says. “A man becomes solid and tough, while a woman persists and permeates. She keeps moving forward.”

[img_assist|nid=10160|title=In My Body by Anastasia Alexandrin © 2013|desc=|link=node|align=none|width=450|height=336]
She credits much of her understanding of that feminine resolve to the city that supported her growth as an artist. “Philadelphia is a wonderful place to work,” she says. “I am inspired by the people I meet and places I visit. The surroundings influence my choice of palette. Even when it is warm and full of color here, there is still a certain draw for drawing in black and white.”

Anastasia has built a strong following among collectors. An appointment to her Philadelphia studio to view her art has become a sought-after invitation among collectors. Having had that opportunity, I’d equate the experience to being in a carnival fun house. When she talks about each work, it is much like seeing her stand before a wall of contorted silvery mirrors. Her art frames and magnifies fragments of female transcendence and reflects a bright visage of their brash and sassy creator.

“I say what I want to say in my drawings without hesitation or worry of satisfying anyone but myself,” she says. “It’s been quite a ride and I love it.”

Marc Londo is a media scholar and popular culture critic. When he is not writing about the arts, his creative energy is spent researching the effects of mass communication on our global culture. Marc has always been fascinated by culture. An avid traveler, he is intrigued by the celebrations of humanity that bond societies and transcend differences across cultures. Through writing about the unique expressions that touch his imagination, it is his ambition to serve as a bridge between global networks. Presently, he is working toward completing his doctoral dissertation at Temple University.

Kenning

Being from, for its own sake,
couldn’t satiate. Many
reasons for an ash-cloud.

Our fields half-plowed,
we woke to magma
on our eyes, five lashes
leapt across your back.

Plotted course along
the line of the son.
Fox paws before horse.

In time you will
change your coat,
wish-weld your words.
The heard forgotten,
what endures is telling.

[img_assist|nid=10088|title=Gabriel Johnson|desc=|link=node|align=left|width=250|height=322]

Gabriel Johnson is a Bay Area native currently finishing his MFA in Poetry at Saint Mary’s College of California. He lives in Oakland, where he was born, where the coffee is delicious, and the oak trees plentiful.

All Souls’

My husband lies beside me
            like archeological time.
(The word husband
shimmery as a new purchase,
still chafing a little in my mouth.)
I love you I love you
we say to one another.

Somewhere in another country
skulls have been spun from sugar.
I would I were an orange, a peach, a palm.
                      I lie on the bed, a living thing,
a raft on this side of time.
The afternoon a meadow.
I lie here like the tongue of a bell.
I lie here like a coin, new-minted.

Underground my grandfathers lie,
not even coins on their eyes.
                      But today I am alive,
and generations-to-come mill about
like crowds on the street.

I peer at the future ones
as from the window of a tall floor.
Like me they paddle lonely as an orphan.

I am a woman speaking
from the crumbly past–
words slipping out from the cake of time.

I want simple advice to give you.
I would seal myself in words.
I would be clear, and whole as bread.

[img_assist|nid=10085|title=Emily Bludworth de Barrios|desc=|link=node|align=left|width=300|height=225]

A native Houstonian, Emily Bludworth de Barrios is currently a student in the University of Massachusetts MFA program.  She also teaches writing at UMass, and serves as an editorial assistant for Factory Hollow Press.  Her poems have appeared in (or are forthcoming in) The Found Poetry Review, Emrys Journal, Belletrist Coterie, Goldfish, and Sight into Sound.

Weizenbock

for Kevin

You waited three days after the gray fits and groans
of the superstorm to leave, as if its broken trees
had paved a woody path to bring everyone home,
and once gathered, could build you a swinging bridge
to step out over the gorge, sure-footed and certain
it would hold. How does an arborist leave without
first inspecting the damage: shag of sycamores
coating sidewalks, maples chest-cracked open under
a naked moon, old oaks dropping limbs in the dark?

We knew this wild storm would arrive. Some of us expected
a flattening of the known world, footprint of sawdust
where our lives had been. Instead, cyclone of light and dark,
beech and vetch, family and family, banjoes and your beautiful
wife by a pinesweet campfire. Maybe the wind was confusing,
every loved thing whipped into the life you lived. Then quiet.
Six hours after you left I open a Weizenbock made from waters
of the Brandywine as if I could retrieve one laughing hour
from that hop devil, golden monkey night in Downingtown
we gathered to launch you into the eye — you standing green,
braced for the bending and rising of any bloodstorm.

Deborah Fries began writing poetry in earnest in 1994, when she moved to the Delaware Valley from the Midwest. Her poems have appeared in numerous journals and anthologies, including Powder: Writing by Women in the Ranks, from Vietnam to Iraq – work nominated for a Pushcart Prize. She is the author of Various Modes of Departure (Kore Press, 2004) and anticipates publication of a second book of poetry, The Bright Field of Everything, in 2013.

Lady Sidewalk

[img_assist|nid=10084|title=Eileen Moeller|desc=|link=node|align=right|width=162|height=209]wears a red

                                mud coat

 

festooned with

                                guttural skulls

                                                and rusty mice.

 

Her daddy made it for her.

Her daddy made it!

Her daddy sewed it with his tiny hands

and frog shuttered needles.

 

Her hair is a bulky tumor

on the back of her head

                that hasn’t been combed in years.

 

She says it’s

                                  someone following her –

                                                  an adversarial eavesdrop

                                                                  she couldn’t forget about.

 

Until a policeman gave her,

a policeman handed it right over!

Gives her this beautiful hat out of nowhere,

says it’s made of nail holes.

Where he got it, she don’t know,

 

She wears it askew

                                as she dances in yipping green

                                                bramble shoes through

                                                                the blindness of June as it turns to night.

 

 

Lady Sidewalk leans back on a park bench

                                and reaches up with both hands

                                                to pull the star blanket down around her.

 

Her sleep is yellow stained,

                                knotted like rope, a dream

                                                heaving toward itself, a school a

                                                                flounders that won’t be thrown back.

 

She’ll mutter till dawn,

                                                her words cut flowers bending away

                                                                from one of them pretty blue bottles,

                                                                                that used to hold Milk of Magnesia

 

Her laughter at this, is hard and cold as

                                                a soot covered snow pile

                                                                hanging on after the end of winter.

 

Lady Sidewalk does not

                                                burn off

the way the dew does.

Days, she haunts our eyes.

 

Eileen Moeller lives in center city Philadelphia, PA. She has poems in Paterson Literary Review, SugarMule, Ars Medica, and forthcoming in Schuykill Valley Review. Access her blog: And So I Sing at http://eileenmoeller.blogspot.com/

 

Field Trip To The Underworld

I follow single file the awkward girl
before me down damp wooden walkways dimly lit
with scalloped strings of incandescent light bulbs

as a guide in cats-eye glasses blandly clarifies
the difference between stalactite and stalagmite,

making this sixth grade, Endless Caverns,
the awful year I couldn’t stop myself from staring at
boys’ crotches. At least it’s dark, at least

those agates shaped like fried eggs make my oddness
almost safe. I keep walking. From this day on

I’ll picture every story of the underworld
in caves like this: Persephone, pale as a shoot,
on a throne between stone curtains, Orpheus

on the walkway where it rises, curves toward
the gift shop, Odysseus weeping in the great room

with his dead. Room after room of emptiness
lies underneath- great vaulted absences, small vacancies
connected by odd passageways, tight turns-

where what’s been washed away
gives way to what’s been washed away,

each loss communicating to the next.
All there in figured residue, drip, drip of years:
the intricate architecture of what’s gone.

[img_assist|nid=10086|title=Hayden Saunier|desc=|link=node|align=left|width=250|height=141]

 

Hayden Saunier is the author of the poetry collection, Tips for Domestic Travel. Her work has been published widely and was awarded both the Pablo Neruda Prize for Poetry and the Rattle Poetry Prize in 2011. She lives in Bucks County, Pennsylvania.

 

The Sandy Crimmins National Prize for Poetry 2013

In this, our second year of the Sandy Crimmins National Prize for Poetry, we selected Dorothea Lasky to be our judge just before her book Thunderbird (Wave Books, 2012) was released. The book has since gone on to appear on many of 2012’s best-of lists including those of The Boston Globe, Ms. Magazine, and Coldfront. If you are still unfamiliar with her work, you should remedy that situation immediately.

As we saw in last year’s contest, a great variety of poets came to Philadelphia Stories to share their work. Out of the hundreds of poems we received, our poetry board and screeners selected twenty-four poems from which I selected ten to send to Dottie. She had the unenviable job of ranking those poems. The poem she chose, Debora Fries’ “Marie in America,” is an evocative and transformative piece that exemplifies a commitment to storytelling through image and momentum. We are lucky to be able to share “Marie in America” as well as the poems of Kelly Andrews, Debora Gossett Rivers, Amy Small-McKinney, and Nissa Lee with our readers.

One of the pleasures of this contest has been finding new poets in the area who hadn’t sent work to us before. If you are a poet who writes alone and feels isolated or alienated from the so-called scene (that never-ending, amazing party to which your neighbor forgot to invite you), send us your work! Go to an open mic! Join or start a writing circle! Find ways to share your poetry and your stories. You can hear what our winning poets have to say at our spring fundraising event, PARTY LIKE A POET, 5-8pm, on Friday, April 19 at the Center for Architecture. That amazing party won’t be the same without you!

Thank you to Nicole Pasquarello who coordinated this contest, our board and screeners, Carla and Christine, Dottie, and Joseph Sullivan who so generously sought to create this opportunity for poets. Thank you to the poets who submitted their poetry, and finally, thank you to Sandy Crimmins for being the kind of poet and person who continually inspired others.

Courtney Bambrick

Poetry Editor

 

Honorable Mention: The American Treadmill

TV on all night woke me up this morning
The clock radio is a bird with no song that just tells the time
I don’t move until the 4th time weatherman announces the forecast
Hoping it snows north and west of the city
Because I-C-E has no respect for my SUV
The temptation of calling out sick plays like a sweet song
And I want to sing every word out loud
Slowly I scrape myself off the sheets
Wake up the children singing a happy little wake up song
Saying hello to the sunny sun
Ironing white school blouses
Cooking bacon grits and eggs
Chasing groomed dressed and fed offspring out of the house
To catch the big yellow school bus
To learn to live the American way
To chase the American dream
Looking up in the glass ceiling
Sitting on the side of the tub
Sitting and thinking
Looking at my toes
A muscle twitch away from going back to bed
Cleaned up groomed up dressed up
Running into myself coming and going
Turned off every electric appliance
Spouse and I leave the house
Get in the car
For the five minute commute to work
Singing songs in prayer before I enter
The God-forsaken den of despair called the office
My prayers for natural, man-made office disasters
Went unanswered again
Serving occupational penance for being a
Short, fat, bald, white overseer on a Mississippi cotton plantation
In a prior life
At my desk I sit
Listening to my voice mail
I’m tired of hearing the cries of the
The dependent and the expectant
The needy and the greedy
Enduring the criticism of the powers that be
Serving at the pleasure of the Governor
The whims of the politicians
On the strength of the unions
Issuing free cash and food stamps
Running faster to stay in place
Working hard to keep myself in gas and pantyhose
Plotting and planning for a way out
To prove the naysayer’s wrong
That my dreams are stronger
Because I know that there is a better world
Just waiting for me to get there
Praying for six months of jury duty
Going on safari in the urban jungle
To hunt and kill my lunch
Washed it down with fruit punch
Waiting for a phone call
To bring news of afternoon deliverance
Absolution and ascension
Ambition filed away in a manila folder
Locked in a drawer waiting for retirement
Youth replaced by strained eyes and gray hairs
Too young to retire too old to quit and start anew
Stuck in a holding pattern
At quitting time
I ran out of the building like I was
Being chased by Satan
To start my second job
Picked up the children from supervised playtime
Listening to a litany of juvenile drama and angst
Evening errands and supermarket runs
Before we get home
Checking the homework of straight A students
Checking out the evening news to hear about the world run amuck
Sitting down to a quick-cooked meal
Holding court in the dining room
Surveying all that I claim on my tax returns
Doing the dishes
Downshifting and channel surfing until I find myself lost in a
Made for TV movie
Looking for happy endings that seem to only happen
To white women
Falling asleep to TV lullabies
Drifting into the world of slumber and dreams
Looking for the lamppost on the corner
To show me the way
Until the TV alarm wakes me up again
To start a new day

[img_assist|nid=10069|title=Debora Gossett Rivers|desc=|link=node|align=left|width=300|height=259]

Debora Gossett Rivers is a Philadelphia native and the author of “The Working Mind of a Working Woman”. She completed her 2nd book of poetry titled “Running Into Myself Coming and Going, released in 2010. Created MALL SCIENCE proram for girls ages 9+ in 2008.  She is a 1981 graduate of Simon Gratz High School and earned a Bachelor of Arts Degree in 1985 from the University of Pittsburgh. She has been an Income Maintenance Caseworker with the Department of Public Welfare in Philadelphia since 1988. She is married and has two children.