Sexy Pomes by Benjamin Drevlow

Sexy Pome #2

To get me in trouble, my older brother used to tell me that my mother really liked her hair clip and I should compliment her on it.

Except he called it a hairy clip.

And he said it with a weird accent.

He said the secret to getting the right accent was rolling my tongue to touch the top of my teeth.

It came out like this: Ah wully like your hairy clit, Ma.

Oh thank you. I really like it, too.

My brother doubled over.

What’s so funny?

It only took me years to figure it out.

I don’t think my mother ever did.

A few years later my brother finally broke down and ate a shotgun blast for his 18th birthday.

Try explaining that to your mother while biting your tongue.

Sexy Pome #5

Today I walk by a girl whose jogging pants say quit staring at my dick across her crotch and it takes me a minute to realize it’s social commentary and here I am staring, so yes, I really am part of the problem.

Sexy Pome #7

Just imagine for a moment how sexy it must be to be a comptroller.


drevlow is the managing editor of BULL, a lit mag about toxic masculinity and the author of the book of rusty (2022), a good ram is hard to find (2021), ina-baby: a love story in reverse (2021), and bend with the knees and other love advice from my father (2008). you can find these and other works linked at thedrevlow-olsonshow.com or on twitter/x, insta, face, and threads @thedrevlow.

Mike Andrelczyk PostApoc Poems

Candy Flipping

spacing out as the chimpanzees hump

reading reviews of robot vacuums, gravlax
and double mezzaluna knives

under the blue spruce the spine 
of a lady fern uncurls

I see three lights

Ill Wind

when I get afraid of death
I touch your soft thighs
and imagine glasses of cool milk
even though I don’t drink milk

Cheerleaders for the Sun God 

They go: Ra, Ra Ra!!!

Windjammers

futuristic rocky shores in corduroy shorts
putting a sexy leg on ice
coffins of asteroids honor our anniversary 
the proximity of windjammers are a matter of perspective 
sea otters made of broken pencil lines
enjoy a very long lunch

Flop Era

Civilization is janky
a fortress made of hairy legs
what is a sound in geography exactly
20 years ago I was in Alcatraz
Swallowing vitamin E gel caps
Spelling licorice
Imagining strawberries
counting to 100 
thinking about baseball
trying not to succumb

Headwind

trying to google evolutionary economics 
but clicking on evil dead rise by accident 

of course there’s an orca in cape cod called old thom 

of course

wandering through the cat grass 

and drifting 

into the imaginary isthmuses 

as the clippers sail over my head

the white days and nights
are swept up and tossed out

Notes for a Super Long Epic Poem

talking boat or magic frogs or something 

Camels?


Mike Andrelczyk is the author of “!!!” (Ghost City Press)

The Bio by Yoel Noorali


Yoel Noorali is a writer living in London, England. His fiction has appeared in a range of publications, both online and in print. His work is primarily focused—though not entirely—on the 21 st century. Take an early example, Glimpses of Cities Through the Windows of Planes, a prose poem set in the clouds, looking down on our towns and skyscrapers. He also writes for film, television, and radio—but never for money. Ultimately, anything of value must come from the heart. The heart is the organ that pumps the blood that animates the hands as they type. To replace the heart in this process with the blunt pulse of money is to choke the life out of the writing. What you are left with is Gone Girl, written for a paycheque. But even our finest minds are sometimes victim to a similar impulse. Far be it from me to attack the hallowed Dostoevsky in an arena as ill-fitting as the bio, but he was a degenerate gambler in serious debt and since most of his so-called “major works” were released serially I believe he may have been paid by the chapter and so might have doled out pointless chapter after pointless chapter, way beyond what was called for, purely in order to fund his gambling habit. I’m sorry, it’s just how I feel. Readers deserve better. Readers are busy. They need writing that is concise, succinct, and to the point. It must be short and sweet: terse, pithy, breviloquent. In the 21st century, which I hope I know a thing or two about, a writer cannot, among other things, waste a reader’s time on flowery superlatives and caveats, except perhaps in the most elegant of elegant poetry (see: Glimpses of Cities Through the Windows of Planes). Only what is necessary may stay. Brevity is the soul of wit! Yoel Noorali travelled to meet and study for a time under the great Philip Roth, whose feedback was exactly this: brevity is the soul of wit! Brevity is the soul of wit! Philip Roth soon issued a restraining order against Yoel Noorali, but Yoel Noorali had this overturned in a counter-suit claiming “insufficient evidence.” Yes, he one-upped the mighty Roth! Still, Yoel Noorali took this holiest of lessons away with him—this lesson pertaining to wit, the soul of which we know is brevity—and perhaps his knowledge of this is what we can credit his astounding success to. Yoel Noorali is the recipient of numerous grants and multiple awards, awarded by dozens of awards bodies stretching from the Lakes of Killarney to the Caspian Sea. He is represented by David Lee of the Curtis Brown Agency, but is open to other offers. David Lee’s performance has frequently been found wanting. It pales in comparison to Yoel Noorali’s. Yoel Noorali is a regular, prodigious contributor to magazines, journals, periodicals, quarterlies, monthlies, weeklies, dailies, and assorted other written materials. He is the editor of The Atlantic. Since graduating from Goldsmiths University in 2013, with a first class honours degree in English Literature, his incisive, economical prose has been translated into as many tongues as there are nations (there are 195 nations). As already noted, he is based—to the degree anyone can be “based” anywhere in this 21st century—in London. But in reality, thanks to that very 21st century obsession “the internet,” he is based everywhere. Sat on the London Underground, he is striding across Japan. In a cab, he stares indifferently into India. Paused at a red light, he looks away from his phone and finds in the idle reflection of the Uber’s black exterior gently shuddering in the glass of a department store that it is still night in Regent Street and that he is amongst the midnight shoppers browsing within, part of the fleeting picture: a beige speck floating. And then the car resumes its journey, gliding through a city which daily grows older but looks newer and newer, more pristine, and suspended in the soft, amniotic quiet of the inner cab, the noise outside dampened to deadened thuds, the muffled screams of people having fun outside bars and restaurants, he sees that the second tower has just fallen. He sees California aflame. He sees a dog. To what degree is “Yoel Noorali” even based in the present anymore? Yoel Noorali is based in no time. Via the iPhone, we all travel through time as if pinballs in a great pinball machine, but particularly Yoel Noorali, whose mind has the capacity to expand farther across vaster distances. Born in Lisbon in 1991 (at 11:09 on September 27th (a Friday)) to a Portuguese father and mother of Celtic descent, Yoel Noorali transcended his origin in a manner exceeding others of his generation to become a man belonging to no defined space or age. This is something Yoel Noorali has explored at length in his fiction and also his non-fiction (he writes non-fiction too). But what of his method? What use is a list of his works—such as Shark In Formaldehyde and One Thousand Monkeys—without any knowledge of how each came to be? Yoel Noorali wakes early. In his stove-top coffee maker he makes six strong coffees, which he drinks one after the other whilst working first on a short story, then on his next novel. He does this every weekday until 10am, when he stops to begin the bloodless and heartless work he is forced to do for money: teaching. Yoel Noorali is a lecturer at Goldsmiths University (although currently on strike over a pay dispute). His writing can also be found on his Substack. Please follow him on Twitter, Facebook, Instagram, Snapchat, TikTok, YouTube, Tumblr, and LinkedIn. He lives with his wife and cat.

Two Poems by CJ The Tall Poet

Lemon Affair 

Those lemons had a miscarriage
A sour yet sweet liquid dripped profoundly 
And the only thing missing was a crystal cup
That could contain it all 

Poor Platinum 

Platinum had mesmerized my vision
Regrets about naming my fish a metal faded
I saw a dentist rub her hands 
While a crowd of children whined 
As October had finally came to an end 
Irritation left and negative visions entered
My body was like a flaky buttermilk biscuit 
No gravy or jelly on the side 
It appears that my problems go beyond just my dry skin


CJ The Tall Poet is currently spending time writing obscure poems and making digital artwork.

Wixsite: https://cjthetallpoet.wixsite.com/website

Last Apple by Eli S. Evans

It was the last apple in the bowl, no doubt because of that unsettling little blemish up near its stem. Most likely, it had been nicked by a piece of hail during its youth back in the orchard, but who could say for certain that a worm hadn’t given it a nibble? Being an apple, the apple obviously didn’t remember; all it knew was the right now, and right now it was sitting alone in this ceramic bowl on this butcherblock countertop where it was probably just going to end up rotting. But wait – what was this? A shadow? A warm hand? A slavering maw?

The last thing the apple thought as the teeth cracked its skin and dug into its still fresh flesh was: Oh God, it hurts! Please stop! Nooooooooooooooooooooooooo…


In recent months, Eli S. Evans has published work in several now or or probably soon-to-be defunct literary magazines. A small book of small stories, Obscure & Irregular, was published in 2021 with Moon Rabbit Books and Ephemera, and can be purchased on the internet. A larger book of mostly even smaller stories will be published by the same in 2023.

Three Poems by Lucas Restivo

Manifestation is the whore of hope

Look Dale, I’m gonna level with you.
This isn’t looking great. But hope
rarely does, now does it, Dale? Tomorrow
will look like today, until it doesn’t
which is fine by me. And will be
for you too. Remember, there’s always
a catch, Dale. Especially the ones that promise
the opposite. Dale, you won’t get rich.
That’s for sure. Models won’t ensnare you
with pregnancy. You’ll be the kind of guy
who wears pants. Dale, remember the last time
and for good measure, the time before that.
Hope is the sugar baby of the soul. And Dale,
I won’t let you get taken for a sucker again.
Do you trust me, Dale? If I told you I got a great deal
on energy drinks, would you tell your family, Dale?
Dale, believe me, it’s over now. Labor is theft
and your soul is unemployed. What I mean to say is
today’s your last day here, Dale. Dale,
I’m sorry. This is a good thing. I don’t know
how to put this lightly. Think about God, Dale.
Think of His battles and the benefits
of another. Dale, there’s no easy way
to say this

What is happening

Outside, in the thinking world
thinking is happening.
Thinking is not happening.
Not all thinking is thought
the same. It’s my experience
that life is less this,
more that. It’s happening.
And you have to happen
too or else things
will not happen right
or happen poorly, and still
you don’t try to happen
at all, let alone think.
It just is and so are you
and whatever you’d like
to feel. It’s not like fear
or a great unknowingness,
it’s everywhere you go.
It’s what’s happening and people
not loving it, thinking all the while.
What can you do?
If the sun’s out, and you
happen like the sun,
if it’s the moon and so
are you, try not to think
so much about it.
Nothing is happening

What happened

I step into the road,
I get hit by car.
I don’t understand
the concept of traffic
because I don’t
understand traffic.
I was told nothing
happens. I told
that myself


If anyone has a lead on a remote job, Lucas isn’t picky. His IG/Twitter is @Louielibrary.

The Performance Artist by Joshua Hebburn

I’m in my room at the motel. I’m watching him floating. My room is poolside. He’s in the pool. I like him. He’s got aviator sunglasses. He’s got a can of beer. He’s got a circular tube with a flamingo head and two fins painted with squiggles, meant to indicate feathery wings, coming out of it. He’s getting pink. There’s sheer white curtains and slat blinds between us. I can tell how pink he is, even through the curtains. I look to myself in the mirror and say, stick a fork in him. I wink and I wink. I say, a fine Christmas Ham. I’m alone here. I smile and I smile. He’s napping, I think, Mr. Pink. I watch him turn. He’s turning as slowly as the hands of the wall clock. Analog. I open a beer. It’s the same kind as his. A green can. Rolling Rock. Ah, I say, nothing quite like a cold one. I laugh at myself, which is to say, I open my mouth into a sort of smile and breathe out hard, like I would if I laugh, but there’s nothing tense in my throat.I open the box, which I purchased one hour ago from Target, containing a circular pool floatie with a pink flamingo head and two flamingo fins. Two hours ago, he entered the pool. I blow into the floatie’s pinch nozzle. I’m inflating. As I catch my breath between blows, I take sips from my beer. It’s a very cold beer. I look up from time to time. He’s just floating. I open the blinds. I open the sheer curtains. I put the flamingo donut on the white tile floor. There’s palm trees by the pool. They lean over it. They’re neat. Freshly shaved, a person might say. No brown scrap or scraggle. The palm fronds are green. They flash in the sunshine when they’re stirred by the breeze. They’re like sunglasses hit by the light. I see him raise his hand and wipe at his face. He rolls his neck. He throws some water from the pool onto himself, cooling his roasted flesh. He drops his hand into the water. I remove my shirt. I remove my pants. I’m very pale, as I can see in the mirror. I make double finger guns. I make double finger guns. I’m wearing blue and white pinstripe boxers. I’m normal looking. I smile. I smile. I’m alone, except for myself watching myself. I take my beer cans from the mini fridge. I place them in a line on the floor. Click, click, click, click. Four green cylinders, wet with condensation. I put my ass in the pink floatie on the white tile. I sit. My forearms rest on the tile. The tile is pleasantly cool. The tile is white. I place my sunglasses on. I look at myself in the mirror. I look nice. These sunglasses suit the shape of my face. I look at him in the pool. Wobbles from the sunlight rays hitting the pool bottom, bouncing off, wiggle slowly on my ceiling. I don’t turn. I’m not like the hands of the clock. I just have hands.  Now I’m not watching myself anymore. Now I’m watching myself. Now I’m watching myself watching myself. He’s not watching himself. He’s not watching me. Nobody is watching me. I’m alone. The plastic squeaks against my arm as I shift to move my beer to my lips. The light makes those lazy squigglies. I think of music. Pop or jazz. I look back out. He’s floating. I take a sip of my beer.


Joshua Hebburn is an assistant fiction editor at X-R-A-Y and a grocery clerk in Los Angeles. He recommends the story “Driver” by Frederick Barthelme. 

One of Us by Claire Hopple

The Deputy wasn’t invited but there she is. She detects our whereabouts. She always does.

The Real Estate Agent calls it “the club,” but this place is really more of an excuse to eat cheeseburgers and stare into the ravine.

We meet weekly at the agreed-upon time. Our itinerary is unimportant. Let’s say that a whirlpool of pacts have developed between us.

The Laundromat Owner is struggling to become a painter. He tells us that someone burgled one of his paintings that was hanging on his laundromat office door. His confidence appears to be bolstered by the incident.

The Fortune Teller hands a glass to the Conductor and says, “This isn’t Pepsi.”

The Deputy reminds us she is the descendent of a Swedish king. Everybody pretends not to hear her.

She laughs and says, “Companionship.”

Mysterious signals and maneuverings punctuate the atmosphere between the Real Estate Agent and the Unemployed Moon Worshiper. They have an understanding.

The Conductor unbudges an object from his bag and asks us to admire it.

“Is that a bone? A human bone? Are you putting one over on us? In front of a narc, no less,” says the Laundromat Owner.

The Conductor manipulates it around in a semicircle so we can get a good look.

I see all my past dealings in that marrow.

“The best questions are the ones we don’t have answers to. I keep it on my front stoop so the neighbors will leave me alone,” the Conductor replies.

I see my turn and I take it. The situation calls for it.

“Speaking of being left alone, did you read the papers?”

The Fortune Teller nods too early.

I continue, “This man, he apparently gets sick of his life, his family, his whole deal. Then his wife wakes up next to a stranger, and not in a metaphorical sense. This other man is mostly similar to the one she married. He is passable in certain circles. But his nose is straighter, his legs a half inch longer. And he has a cheek mole. She never saw it coming.”

The Deputy almost interjects, but her pendular confidence wanes in our presence.

“And he doesn’t stop there. The surrogate man finds hidden notes along the baseboards, in the woodshed, and even miraculously sealed inside a frozen bag of Bird’s Eye peas. These notes are further instructions on how to live out the life the other had abandoned. Which probably meant he planned never to return. The absconded man was probably taking his resentment for a walk. Or a series of excursions, more like.”

“Was the surrogate held against his will?” the Laundromat Owner asks.

“Ah, that’s what everybody asks. The surrogate seems to have made himself quite at home. He even fixed some mangled wiring in their dining room.”

The secret society crowd is dare-I-say captivated.

“Still, if I was that wife I would’ve carried him to the police station by now.”

The Real Estate Agent gesticulates to reinforce her comment, knocking over my backpack. My binoculars clatter on our hangout’s hardwood.

Now the Fortune Teller hands me a drink.

“Here you go, Leroy. Good for the nerves,” she says.

“But this is not…tell me this is not…” I say.

And if it isn’t clear by now, they are onto me. I’d told my own account too boastfully perhaps.

But we could not yet hear the accusations of the townspeople––or whatever they like to be called––resounding in the night outside our front door.


Claire Hopple is the author of five books. Her fiction has appeared in Wigleaf, Vol. 1 Brooklyn, Peach Mag, Forever Mag, and others. She is the fiction editor at XRAY. More at clairehopple.com.

Throwing People Into North, South, East, West by Michael Heinzer by Noam Hessler

Neon lights make him antsy: / My boyfriend’s
getting impatient / And each time I throw
another person / Into the pits, / Two square, /
Two round, It takes time for them to fall. This
makes things worse.

There is water, and horses, and other nice
things / At the bottom of each pit, except for
one. / That one’s just concrete. / I’m not sure
which / It is.

“The lights are loud.” His hands are in his
pockets / He adjusts his glasses. There’s a
clutch / Laying at the rim of one pit, / A square one,
and I can hear the lady who owned it
petting a horse / Below. / I feel strong: I want
to grind a cigarette / Under my heel, / But
we’re indoors and / He’s an asthmatic / And
he’s been dealing with my shit all day. I’ll give it a rest,
/ No more tourists. We were always
here to see Negative Megalith #5 anyhow.


Noam Hessler is a poet from New England. Hessler’s work has been published in Apocalypse Confidential, BRUISER, and DON’T SUBMIT. They are currently a student at Vassar College, and can be found on twitter at @poetryaccnt1518.

Barracuda Guarisco [Excerpt] by Kris Hall

I remember what goats look like. This is not a goat. I can’t even describe it to you, but I can tell you it is, without a doubt, under the scrutiny of fact, not a goat. I have the understanding it is a goat. It has the presence and personality of a goat. It’s just not what I remember goats looking like. 

2-Ply, a beach bandit living as a traumatized gun-toting roll of toilet paper, cocks his shotgun and blasts the goat that does not look like a goat but is a goat into many apertures of disappearance. 

That was a poet, 2-Ply says. There’s no question in my mind. Pulling that goat shit on us. The tissue community doesn’t take kindly to bullshit, goatshit, or any kind of shit. 

Ladders, propped by nothing, extend hundreds of stories into the black sky where suspended lakes have taken the place of clouds. People are swimming inside of them. I notice people walking on the black waters, the sea-level ones, nobody swimming; some people resting on the rolling waves. 

The Felician sands hide which scurries. I want to join them. 

You promise you’re not a poet? 2-Ply says. I don’t want to have to waste a sheet on you. 

The barrel of his shotgun prod the back of my ankle, swollen like a tennis ball from the fall. 

No, I’m not a poet. 

What do you think of the moon? 

Hate it. 

Crocuses? 

Crocodiles? 

Don’t push your luck. 

I ask 2-Ply what this place is. He tells me it is a graveyard of relics from blown apart universes. Every phenomenon you see comes from some place else. Everything has a story not necessarily a bonafide reason or explanation. 

I ask 2-Ply why poets aren’t allowed. It’s what they bring with them, he tells me. There was a poet from another realm, Noah Fang Quicksilver, who killed all the other poets to absorb their talents and skills. When he came here, he did the same. He even got to kill one poet twice. If you’re witnessed writing verse or reciting Keats, you’re likely to meet Hercules’ Destiny, Noah’s murder beetle. He will stop at nothing to collect you. 

Good to know, I say. 

Now what about the sky lakes and the people walking on water? 

Another fucking instigator, 2-Ply snarls. 

I begin to feel queasy again. End of the World fatigue. I want to run from this tattered roll of toilet paper but my ankle won’t have it. Sweat forms on my scalp and forearms. Lightheadedness swirled me inside myself until my jaw unhinged the length of my body and I vomit my bedroom. I vomit my futon on the floor. I puke clothes and books. I puke home.


Barracuda Guarisco is a queer, polyonymous, neurodivergent cartoon goblin and author of several books including “It’s Not A Lie If You Believe It” (Voice Lux Press). He is the founder and Editor-in-Chief of Really Serious Literature and Chat Rooms. You can find him if you want to.