“God’s Lesson Plan”

September 24, 2020 in Crossgenre, Illustrations by ndannels

Image Cited:

Meme source imagery of Mads Mikkelsen as Dr. Hannibal Lecter.

Fuller, Bryan and Thomas Harris, creators. Hannibal. NBC, 2013-2015.

Bias Collins is a queer, neurodivergent, transgender graduate student in the PhD in Literature program, Cultural Studies emphasis. His primary research focus is on analyzing adaptations of fictional dis/abled figures from literary to visual mediums, particularly in the genres of science fiction, horror, & the gothic. He is keenly interested in exploring the hybridity of morality & mortality in figures of the cyborg, zombie, & vampire and their reliance on dis/ability in their dis/configurations of the human body. His wider areas of research interests include Disability, Queer, Feminist, & Film Studies. His creative work has also been published in UCSD’s Queer Authors Anthology (2019).

“Still Lifes”

September 24, 2020 in Crossgenre by ndannels



for desertification.



uncontrollable process

processed through,

Like a cliff face which just now buckled.


But always unfinished!

Agnes Martin
The Islands, 1979
Oil and graphite on canvas 72 x 72 in.
Courtesy of the Artist

     Even the green ones

Wilt some.



     Don’t speak

They mouth.

     They eye.

Out of what vengeance?



     Glass bloom—


     Down into itself



Charles Ethan Porter
Mountain Laurel, 1888
Oil on canvas 20 x 24 1/8 in.
Smithsonian American Art Museum

  1. Evidence.
  2. Soil fertilizer and hardy bulb.
  3. Bric-à-brac, origin unknown.
  4. Reads “The Rings of Saturn.”
  5. Remains of cherry pie.
  6. $.55, no origin.
  7. Dry spring, calendula.
  8. Fig. 3. w/ cigarillos.
  9. Exterior: debris.
  10. Kitchen TV, paused: Channel 03
  11. Debris (detail.)
  12. London, night.
  13. Contraband.
  14. Reads: “Postponed breakfast til [sic] 12”.
  15. Dry sprigs, unknown origin.
  16. Pencil drawings (tornado, cube, etc.)
  17. Digital scale.
  18. [Illegible]ICE DAY!
  19. Opaque unbranded bar soap.
  20. Ductwork.
  21. Batteries x4.
  22. $2.30.
  23. Fig. 4, Evidence.
  24. Radiator, matte white, Trane brand.
  25. Mastercard Diamond.
  26. Acetylene torch (disassembled).
  27. Orange plastic cup; sprigs of calendula.
  28. Mass of string x3.
  29. Carpenter’s square, unbranded.
  30. Debris, wood shavings, dust.
  31. Dust, etc.
  32. Remote control, site of verifiable fingerprint.
  33. Lip balm, cinnamon.
  34. Evidence, out of sight.
  35. Business card, reads: “Pip’s Baked Goods”.
  36. Debris, soil.
  37. Vermiculite (dispersed with soil).
  38. Egg.
  39. American Express Vista credit card.
  40. Chemicals (source unknown).
  41. Data.
  42. Eggshells.

Wolfgang Tillmans
Nachtstilleben (Night Still Life), 2013
Chromogenic print 53 1/8 × 6 ft. 7 3/4 in.

Jack Kohler is a poet and translator from Columbia, Missouri. After graduating from the Iowa Writers’ Workshop in spring 2020, he is now a freelance writer and critic in St. Louis. During the pandemic he began building a chicken coop.

by atosun

About Death

February 11, 2020 in Crossgenre, Poetry, Romanian by atosun

Original by Iulia Militaru
Translated, from the Romanian, by Claudia Serea


Iulia Militaru is the editor-in-chief of frACTalia Press and the InterRe:ACT magazine. After a few children’s books and her study Metaphoric, Metonimic: A Typology of Poetry, her first poetry collection Marea Pipeadă (The Great Pipe Epic) was published in 2010, receving two major awards in Romania. Dramadoll, co-authored with Anca Bucur and Cristina Florentina Budar, is part of a larger poetry/graphic art/video/sound project; a part of this video project (Images of the day number 8, directed by Cristina Florentina Budar) was selected for Gesamt 2012 (DISASTER 501: What happened to man?), a project coordinated by Lars von Trier and directed by Jenle Hallund. Her collection of experimental poetry Confiscarea bestiei (o postcercetare) (The Seizure of the Beast. A Post-research.) was published by frACTalia Press in 2016. She has published poems and digital collages in MAINTENANT, A Journal of Contemporary Dada Writing and Art #9, #10, and #11. Her art exhibit “The Path. Filling-in Abstract Forms: Overwriting Barnett Newman” opened in 2016 in Iowa City at Public Space One. In 2016, she was also featured at The Third Annual Brussels Poetry Fest.

Claudia Serea’s poems and translations have appeared in Field, New Letters, Gravel, Prairie Schooner, The Malahat Review, Asymptote, RHINO, and elsewhere. She has published five poetry collections, most recently Twoxism, a poetry-photography collaboration with Maria Haro (8th House Publishing, 2018). Serea co-translated The Vanishing Point That Whistles, an Anthology of Contemporary Romanian Poetry (Talisman House Publishing, 2011) for which she received a grant from the Romanian Cultural Institute. She also translated from the Romanian Adina Dabija’s Beautybeast (Northshore Press, 2012). Serea is a founding editor of National Translation Month.



by atosun


August 1, 2019 in Crossgenre by atosun

Original by Evelyn “Lucky” Sassafras


Evelyn Sassafras Murdock is a creative force in the final year of her MFA at UC-San Diego. Her work is fueled by her experiences as a queer punk who grew up in the Deep South, and manifests as a roiling mass of noise, absurdity, and fluorescence. She likes dogs and music that upsets Baby Boomers.

by atosun


August 1, 2019 in Crossgenre, English, Fiction, Poetry by atosun

Original by Siloh Radovsky
Adapted, from the Lasse Hallström film, by the author

Let’s pretend: 

I am the Chocolatier. 

Carrying colonial blood around in wooden vessels; also, the woman who refuses to stay, moving from place to place only to rescue restless souls from Christendom. Her father (my great- grandfather) was the one to collect the secret Cacao rituals with his ethnographic apparati— transcription, transmission, etc. But her professional peddling most closely mimics matrilineal survival strategies. 

Relocating to the tweed town full of broken marriages wrapped in wool jackets, Vianne began to foil the sweets. 

Finding the correct flavor unlocks the stuck blood portal due to chemical traces they crave. Though at the time what comes across is a hint of understanding—lumps of sugar which know the soul. 

She means it truly, wrapping her own self up in her woolen coat and visiting tropical sunshine upon citizens’ calcifications, agitating them out of daily abuse: “This delicious flavor filling your mouth means you deserve better—the best each day.” Hot cocoa for wayward boy-child, pastilles for his secretly diabetic Gran. But the danger lies not in the indulgence itself but the suggestion of pleasurability. 

Culturally, our broken sweet tooth soothed in but one way such that the Gremlin shirks off to its alternate enclaves leaving behind a slime trail of ethical hedonism interspersed with some badly- needed nutrients. 


My grandmother was beholden to the brick & mortar, with all the trappings and covered in fog, castle-like, with some excessively repentant village mayor breathing down her neck about Catholicism. Back then, the 1950’s, the technology was social engineering. Things are different now but the same—the technology is still social engineering—except now I’m beholden to the app, freed and not freed from the constraints of physical place. The app is called Cafe. It says, Take this quiz, this personalized quiz regarding which category to place you in then the advice will algorithmically follow. We chocolatiers have been both aggregated and multiplied so I’ve been teleporting my emotional labor into the privacy of the home while the Developers work on building a market for us. The Developers say, Thanks for believing in the work we do every day! Only they’ve programmed that saying, and everyone gets the same message. Meanwhile, I play the roulette one-on-one, inviting my customers to dig deeper inwards. They take the quiz and I match them with a chocolate box; they receive the box in the mail after they spin the Plate and interpret it all Rorschach-like. 

Once and a while while that digitized relic blurs on-screen someone will say, “I see my employment prospects.” Ah, the hunger for financial security—I recognize and resonate but must uphold my position of transcendence. I tell them that if they master themselves as students of their own desire, they too can occupy this position, refracting their positivity and good taste; it’s a good side-hustle. We were not the first to digitize this highly-structured system of understanding, externalizing the pathways of our diagnostics, but we’ve learned to work within the constraints we were given. My lineage is a lineage of restless wanderers and we’ve always learned to make a place for ourselves in a less-than-ideal circumstance, while earning for ourselves a nominal fee. While clicking the buttons for cayenne pepper recipe (lacking-passion- dominant) and rose cream packet (needing-sweetness-dominant) I try to reconnect to my grandmother and think about how much more efficient our job has been made. She was so dressed up and ready for the show, in that dollhouse for chocolate she spruced up real good (the place was such a cave before) for the pleasure of the townsfolk. But now we can go ahead and wander around as we please, and we are even free to work other kinds of jobs, and develop other aspects of our personhood. Even so, as I assign chocolate boxes for my customers, I try to keep the spirit alive. I send out a little prayer for the renewed manageability of their daily lives, reminding myself that in the faintest personal realignment is the potential for an unquantifiable expansion. “Will it or will it not change the whole lonely city,” I wonder, while peering out the window of my apartment, wondering if I have earned enough that day to take myself to the cafe down the street for a little treat, squeezing my eyes shut to relieve the pressure of digital eyestrain. I think Damn, I sure could use some chocolate. 


Siloh Radovsky is a graduate student at UCSD in the Literature department, pursuing an MFA in Creative Writing. Much of her research and creative work concerns the contemporary landscape of self-care, its connections to the violence of colonization, and the perimeters between science and pseudo-science in medicine and health fadisms. On this adaptation: “I’m probing the ethics of the contemporary self-care trends that the film anticipates, applying its representation of magical commodities to the digitally-mediated context of the present.”

From the Permian Basin to the Sound of Campeche

March 14, 2016 in Autotranslation, Crossgenre, Non Fiction by mjdelgad


Oil boom. Farewell, boom.

The Permian basin has abruptly sinkholed a large chunk of caky earth in Wink, Texas. Gooey gold,

gooey eyes. It was in 1980, says the Bureau of Economic Geology (BEG), when the basin, a large

thick grueso depósito de rocas—langbeinite, sylvite, halite, potash—had to finish some unfinished


Last year the sheriff of Winkler County warned of two winking sinkholes expanding. If you come

here, I’ll arrest you. I don’t want to be here myself. Wink Sink #2 is killing it, trespassing the roads,

breaking the asphalt, stopping oil tanks, making the calicheros kalichear la zona, and angering the

sheriff who doesn’t want the curiosos to wonder if the hole can take you to China, Campeche or the

Bakken plateau of North Dakota.

Someone at the Bureau murmured in a paper that those sinkholes occurred because of some

extractions in the 30s.


barren land rocks sedimentary basin piled anthracite depleted air salted water injected completed

action let decision makers know, wink wink.


most prolific oil producing area in america. increase from 850,000 barrels per day (2007) to

1,350,000 (2013). best formations 4ever (justkidding oilisnot4ever): Spraberry, Wolfcamp, Bone

Spring, Glorieta, Yeso, and Delaware. highly productive. better than Gulf of Mexico. Full stop.


So far, the user elundetakergearsofwar has posted two videos on youtube, one titled “El Chupa se

cae” in which a dark-skinned Campeche boy is lightly pushed by an adult and falls

precipitosamente onto the ground, and starts rolling down the street. The palimphested asphalt

disintegrates into a hole of pixels as the boy seems to be unrolled from a large tongue of warm air: a

digital hole devoid of meaning until a boy falls inside for a second.

The other video “The Sad Life in the Oil Rigs of the Sound of Campeche, México” appears to be a

romantic one. It’s a show-and-tell of life and work. A set of texts such as always smile you never

know who is going to fall in love with your smile or live life fully because you are not coming out of

life alive, fill in the gaps between photographs. Apparent platitudes, these lines insinuate a story that

nobody can decipher, except that group of workers photographed in the blueness of the Gulf of

Mexico. Images of orange-overalled workers, men and women, eating, sitting, talking, posing.

Many love stories evolve and implode in the already dangerous Pemex oil rigs.

Workers can spend more than 20 days in the plateauforms.

¡Saludos a toda la banda plataformera de los akales, jupiter, safe regency, litoral, cantarell y


The dormitories in the oil rig have six or seven beds, sometimes a bathroom, but usually the

workers have to walk a narrow corridor to get to one. At night, a warm body quickly jumps from the

top bed: a slight noise in the middle of the ocean, a tap, a small tepid wave of sound. An innocuous

wave: a woman’s body waking up above the Gulf of Mexico to pee, while a drill extracts thousands

of black liquid years from the ground.

A solitary wave has sent a message to his peers about not falling asleep while working, because it

can cost you the job, about not trusting the bosses, not falling for power and money, and a word of

caution about falling crazy in love with the guy or woman next to you.


i called José Gómez, inhabitant of Mexico City, to ask him about his days at the mineral. His father

and the entire family worked as miners in Tequila, Jalisco. He used to joke about playing with big

pieces of gold and silver the size of his head, the patrones trusted him so much, the little slave. He

was a black black, he said once, the only visible shining thing in his body the pieces of metal that he

tossed around outside the mine. He didn’t want to get sick as the others so he left for the capital. i

wanted to ask him more about that time, but he is 100 years old, and the only thing he could tell me

over the phone was that he remembered when i gave him dólares for his birthday—or dolores, as he

would joke. It is very hard not to see him as a repository of stories, as the result of so many policies

and historical circumstances, and it is very easy to forget his deeply machista view of the world.


How does an oil rig speak to the ocean? In the language of money, production, accumulation,

desire, in the language of capitalism and technology. It writes in the air with fire and spits on the

working and living bodies around it.

Is a machine a non-human entity or rather a human appendix for expanding his, not her, power? A

transducer, a translator of many fantasies.

Science is political, and science is corporate. Companies can sue countries.

A text may or may not do anything.


There’s a cumbia of the petrolero, in fact two. One is sung by children at schools, mainly in

Campeche, and tells the official and heroic story of the oil expropriation of 1938. Lázaro Cárdenas,

the president at that time, managed to kick out foreign companies from Mexico, and the oro negro

came back to the hands of the Mexican people, at that point the majority of whom lived and worked

in rural communities. In the social imaginary that moment represents a twofold retrofantasy: a

president stood up to foreign interests and Mexicans became the true “owners” of their economic


They say that in order to be able to work for Pemex, the state owned company (almost not), you

need to have connections or you need to be the daughter or son of some high mando.

The other cumbia is more a laborcumbia. It talks about the everyday life of oil rig workers, orange

and red overalled workers, on a platform, in la sonda de Campeche. The theme’s music video was

actually shot by the workers themselves on the oil rig. It is a song about a hard and felt relationship

with a machine: an enormous structure of metal and salt.


Lorena Gómez Mostajo (Mexico City) is an editor, writer, and photographer. She studied at the National Autonomous University of Mexico and at School of the Art Institute of Chicago. Recently, she founded Taller Salón, an independent publishing and printing house that serves the Tijuana-San Diego community.

On autotranslation: The tongue touches the paladar, the teeth, the lips; air comes out: a clasp, a noise, a sound that exists since childhood that gets twisted into a new one. When the tongue travels to perform the sounds of English, it traverses a field of random memories and images. For example, an English teacher in elementary school that gave candy away if the class pronounced “tree” and “three” well; the songs that, as kids, we pretended to understand and sing in a deformed English; hundreds of films; the political candidate who insisted that the future of success was learning “inglés y computación”; the security officers at airports and at the San Ysidro border; technology and its endless iterations; the promise that by way of speaking the “new esperanto,” one will be more connected to the advanced world.

I am enchanted by accents. By that sonorous declaration of having or having had another life somewhere else. The same way, when I write in English, the history of my intimacy with Spanish, created also by writing in it, gets to be transformed, revisited, altered. I twist my thoughts, the same way I twist my tongue, to find the rhythms that can have echoes in both languages.