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<title>Epiphany | A Literary Journal</title>
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<copyright>Copyright 2008</copyright>
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<title>Contributors_Summer_2008</title>
<description><![CDATA[<span class="greentxt">NICK ADMUSSEN</span>'s poems have appeared in the <em>Boston Review, Seneca Review, at DIAGRAM</em>, and in the <em>Pebble Lake Review</em>. He is a graduate of the M.F.A. program at Washington University in St. Louis and currently studies modern Chinese literature at Princeton University. 
<br /><br /><span class="greentxt">DUNCAN BOCK</span> the editor in chief at Melcher Media, a New Yorkbased book packager. He lives in Brooklyn with his wife and son. 
<br /><br /><span class="greentxt">THOMAS BOLT</span> writes poetry and fiction. Yale University Press published his first book, <em>Out of the Woods</em>, in 1989, and he was awarded the Rome Prize for Literature in 1993. More of his writing can be found at <a href="http://tbolt.com" target="_blank">tbolt.com</a>.
<br /><br /><span class="greentxt">BRADFORD BROOKS</span> works episodically in war-torn countries throughout Latin America and Africa. Mostly, though, he lives in Coyote, New Mexico, where he has a forge and is an American Bladesmithing Society apprentice.
<br /><br /><span class="greentxt">GEORGES-OLIVIER CH&Acirc;TEAUREYNAUD</span>'s faithful pursuit of his fabulist muse outside the fashions of contemporary French fiction has not gone unnoticed: his novel <i>La Facult&eacute; des songes</i> (Grasset, 1982) won the prestigious Prix Renaudot, while his most recent collection of stories, <i>Singe Savant tabass&eacute; par deux clowns</i> (Grasset, 2005), was awarded the <i>Bourse Goncourt de la nouvelle</i>. The author of eight novels, he has founded his reputation on more than ninety-five short stories, translations of which have been published in Germany, Norway, Denmark, Poland, Bulgaria, Greece, China, Russia, Mexico, Venezuela, Slovenia, Hungary, and Croatia.
<br /><br /><span class="greentxt">MARTHA COLLINS</span> is the author of the book-length poem <i>Blue Front</i> (Graywolf, 2006), which won an Anisfield-Wolf Award and was chosen as one of "25 Books to Remember from 2006" by the New York Public Library. Collins has also published four collections of poems, two collections of co-translations of Vietnamese poetry, and two chapbooks of poems. Editor-at-large for <i>FIELD</i> magazine, and an editor of the Oberlin College Press, she currently lives in Cambridge, Massachusetts.
<br /><br /><span class="greentxt">JENNIFER COOKE</span> lives and writes in New York City. She was an English major at the University of Pennsylvania, graduating in 1985. In New York, she studied under Phil Schultz at The Writers Studio. She has been published in a handful of literary magazines and newspapers. When she's not writing, she is taking care of her husband and two children.

<br /><br /><span class="greentxt">KAREN CROOKS</span> grew up in the suburbs of Chicago and now resides in southern Wisconsin. She studied studio art and continues to paint in her free time. Her experience is in working backstage in musical theater and showing her paintings in art exhibits. Her first book, <i>Chronic Limbo</i>, was completed in early 2008. 

<br /><br /><span class="greentxt">VICTORIA DAVIS</span> was born and resides in Maine. She currently works at Starbucks as a barista and plans to complete her B.A. in Secondary Education with a focus in English. She has always been passionate about reading and writing poetry. This is her first publication.

<br /><br /><span class="greentxt">ISABELLE DECONINCK</span> writes in both English and French, depending on which side of the bed she wakes up. Although French is undeniably part of her biological makeup, she is thankful to English for letting her say things she might never say in French. She is the recipient of a 2004 and 2006 Writing Residency from the Helene Wurlitzer Foundation of New Mexico. Her fiction has appeared in <i>KGB Bar Lit</i> and her non-fiction in <i>World Literature Today, The Villager</i>, and <i>Ear</i> magazine. Isabelle lives in New York, where she works as a press agent for performing artists, and is a member of the Writers Studio.

<br /><br /><span class="greentxt">D. E. FREDD</span> lives in Townsend, Massachusetts. He has had fiction, poetry, and essays published in several journals and reviews. He received the Theodore Hoepfner Award given by the <i>Southern Humanities Review</i> for the best short fiction of 2005 and was a 2006 Ontario Award finalist. He won the 2006 Black River Chapbook Competition and received a 2007 <i>Pushcart</i> Special Mention Award. A novel, <i>Exiled to Moab</i>, will be published by Six Gallery Press later this year.

<br /><br /><span class="greentxt">EDWARD GAUVIN</span> was a 2007 Fellow at the American Literary Translators Association conference. His work has appeared in Words Without Borders and AGNI Online, where his translations of Georges-Olivier Ch&acirc;teaureynaud were the author's first to appear in English. He also translates graphic novels for First Second Books and three ongoing bimonthly comics series for Archaia Studios Press. 

<br /><br /><span class="greentxt">ROBERT LAMB </span>teaches writing at the University of South Carolina, Columbia, and is the author of two novels: <i>Striking Out</i>, a PEN/Hemingway Award nominee, and Atlanta Blues, nominated for the Southern Book Critics Circle Award. He is a graduate of the University of Georgia and is a free-lance reporter for <i>the New York Times.</i> He may be reached at <a href="mailto:robertlamb@myway.com">robertlamb@myway.com</a>.

<br /><br /><span class="greentxt">MARGE LURIE</span> lives in Chelsea, in New York City. She has studied writing at both the Writers Studio and the New School, where she earned her M.F.A. Her fiction has appeared online at <a href="http://ducts.org" target="_blank">ducts.org</a>, <a href="http://pindeldyboz.com" target="_blank">Pindeldyboz.com</a>, <a href="http://fictionwarehouse.com" target="_blank">fictionwarehouse.com</a>, and <a href="http://onelastcarcrash.net" target="_blank">onelastcarcrash.net</a>.

<br /><br /><span class="greentxt">DANIELLE MAILER</span> has a B.A. from Bowdoin College and studied painting at the New York Studio School and the School of Visual Arts, in New York City. She has shown her work in numerous galleries in Connecticut (Beaux Arts Gallery, in Woodbury; Bachelor Cardinsky Gallery, in Kent; the Silo and the Washington Art Association, in Washington; the New Arts Gallery and the Wisdom House Gallery, in Litchfield; the Norfolk Library, in Norfolk; and the Mattatuck Museum, in Waterbury), New York City (the Blue Mountain Gallery, the Roger Smith Lab Gallery, Columbia Teachers College, and the Bodell/Fahey Gallery), and Provincetown, Massachusetts (Berta Walker Gallery and Little Gorgeous Things Gallery). The Norfolk Library purchased two of her outdoor sculptures, where they remain on permanent display. She lives in Connecticut with her husband, musician Peter McEachern, and their three children, two cockatiels, and a Jack Russell terrier, Simon. She is chairman of the Art Department at Indian Mountain School in Lakeville, Connecticut.

<br /><br /><span class="greentxt">MARK MATOUSEK</span> is the author of two best-selling memoirs, <i>Sex Death Enlightenment: A True Story</i> and <i>The Boy He Left Behind: A Man's Search for His Lost Father</i>, as well as contributing editor to <i>O, The Oprah Magazine</i> and <i>Tricycle: The Buddhist Review</i>. His new book, <i>When You're Falling, Dive</i>, will be published this spring.

<br /><br /><span class="greentxt">ANDREW McCORD</span>, a contributing editor to <i>Fulcrum</i>, is currently collaborating with the Pakistani rock guitarist Salman Ahmad on the lyrics for a set of English songs. He lives in New York City.

<br /><br /><span class="greentxt">WILLIAM OLSEN</span> is the author of four collections of poetry, <i>The Hand of God and a Few Bright Flowers</i> (Illinois, 1988), <i>Vision of a Storm Cloud</i> (Triquarterly, 1996), Trouble Lights (Triquarterly, 2002), and <i>Avenue of Vanishing</i> (Triquarterly, 2007). He teaches creative writing and literature at Western Michigan University and at Vermont College, and is editor of New Issues Press.

<br /><br /><span class="greentxt">STEPHANOS PAPADOPOLOUS</span> was born in North Carolina and raised in Paris and Athens. He is the author of Lost Days, published by Leviathan Press in London and Rattapallax in New York. His work has appeared in <i>The New Republic, The Yale Review, Poetry Review, Stand</i>, and numerous international journals and anthologies. He has translated the Greek poets Katerina Anghelaki-Rooke, Yiannis Ritsos, and Kostas Karyotakis. Selections of his own work have been published in Greek, French, Italian, and Spanish. He is the editor and co-translator of Derek Walcott's <i>Selected Poems</i>, published in Greek by Kastaniotis Editions in 2007. His second collection is entitled Hôtel-Dieu, and he is at present completing a collection of poems about the Black Sea Greeks.

<br /><br /><span class="greentxt">ROXANA ROBINSON</span> is the author of the three novels, <i>Sweetwater</i> (2003), <i>This Is My Daughter</i> (1998), and <i>Summer Light</i> (1988); the three short-story collections <i>A Perfect Stranger</i> (2005), <i>Asking for Love</i> (1996), and <i>A Glimpse of Scarlet</i> (1991); and the biography <i>Georgia O'Keeffe: A Life</i> (1989). Four of these were named Notable Books of the Year by <i>The New York Times</i>. She has received fellowships from the N.E.A., the MacDowell Colony, and the Guggenheim Foundation.

<br /><br /><span class="greentxt">VIJAY SESHADRI</span> is the author of <i>Wild Kingdom</i> and <i>The Long Meadow</i>, both from Graywolf Press. He lives in Brooklyn and teaches at Sarah Lawrence College. 

<br /><br /><span class="greentxt">RONALD STEWART</span> has an M.A. in Creative Writing from San Francisco State University. He has been published in <i>Perceptions, Harvest, Creek, Strange Tales of an Unreal West, agumsfa</i>, and <i>Elephants of Style</i>. He lives and works in Los Angeles. His writing can be found at <a href="http://www.irradiatedpoets.com" target="_blank">www.irradiatedpoets.com</a>, <a href="http://www.poetsagainstthewar.org" target="_blank">www.poetsagainstthewar.org</a>, <a href="http://www.writerscafe.org" target="_blank">www.writerscafe.org</a>, and <a href="http://www.writershaunt.com" target="_blank">www.writershaunt.com</a>.

<br /><br /><span class="greentxt">DAVID UPDIKE</span>, author of the story collection <i>Out on the Marsh</i> and of several books for children and young adults, is a professor of English at Roxbury Community College, in Boston.]]></description>
<link>http://epiphanyzine.com/archives/contributors_summer_2008/000410.html</link>
<guid>http://epiphanyzine.com/archives/contributors_summer_2008/000410.html</guid>
<category>Contributors_Summer_2008</category>
<pubDate>Thu, 22 May 2008 14:26:19 -0500</pubDate>
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<title>Vocabulary</title>
<description><![CDATA[<p>My mother sits on the bottom step <br />
of her ranch-style home <br />
where she has lived for the past thirty years. </p>

<p>She is asking me what exactly does the word “prick” <br />
mean. </p>

<p>She wears a pair of white Tretorns <br />
turned grey from wear in a garden that, <br />
although tended with hours of care, <br />
looks no better than if left alone. </p>

<p>I want to tell her to look it up. <br />
The directive given me when I was a child <br />
and stumbling across words <br />
I did not understand. </p>

<p>But those words were often adjectives <br />
that if ignored did not disturb the story. <br />
I did not realize that their purpose was to <br />
deepen, enrich, provide nuance <br />
so that I might gain a better understanding <br />
of what was really going on. </p>

<p>My mother, though, is asking about a noun. <br />
One that she called my father two days ago. <br />
He has not spoken to her since. <br />
</p>]]></description>
<link>http://epiphanyzine.com/archives/poetry_summer_2008/000409.html</link>
<guid>http://epiphanyzine.com/archives/poetry_summer_2008/000409.html</guid>
<category>Poetry_Summer_2008</category>
<pubDate>Wed, 21 May 2008 16:36:23 -0500</pubDate>
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<title>Dispatches From AfricaMay 2004–March 2005</title>
<description><![CDATA[My first trip into Rumbek, in the southern Sudan, I had a meeting with the county commissioner and then the mayor. The latter took several hours, a freeflowing and wholly enjoyable afternoon of shooting the African shit: peace negotiations progress and dirt on the characters involved, Iraq and President Bush, the weather and God, women and their problems and how downright bewildering they can be for us Men of the World, landmine types, provenance, and locations around town (surprisingly few), New Mexico and its history, who dug the trenches around Rumbek's Freedom Square, the state of education in Sudan, what I studied at university and why, and an incisive recap of the Sudanese war and Mayor Mabor's role in it (fanatical, goofy, mur derous). 

<br /><br />I left the office a little before four in the afternoon. It was blind ingly sunny, around 115 degrees, still but with an occasional breeze. The Sudan People's Liberation Movement flag hung obdurately from a lodgepole in front of the town administration buildings. Next to the flag is a mango tree. They crown out at around fifty feet, majestic and beautiful, inviting and protective. The entire perimeter of Freedom Square—which sprawls, green and vast, directly in front of the town buildings and across from which local militia trained throughout my meeting—is graced by mature mango trees. Crosses were carved into them maybe fifty years ago, elegant Greek Orthodox crosses adzed in by Protestants, and they have caused the bark to grow bulbously and expressively around their scarred shapes. Small herds of zebu cattle are pushed along all day, diagonally, across the square. 

<br /><br />The town building and its plaza are a major meeting point in town. Women lounge, wildly scarified, hair coiffed in mindboggling, impossibly tight geometric intricacies, listless, in the shade under the portals, staring out at the lone mango tree hard by the sunbleached flag. Under this mango men park their bicycles (Phoenix and Gazelle brands, Indian knockoffs of Chinese goods, if you can imagine, capa ble of hauling hundreds of kilos of cargo). The bicycles are festooned with plastic daisies and neonpink streamers that resemble Halloween boas, maybe a Camry rearview mirror if somebody is terribly flash. In a county seat of 55,000 inhabitants, with no private vehicles, and perhaps only a dozen Land Cruisers all told, belonging to the Army or the U.N., a bike represents vast wealth. The shade under the tree with all the bikes reminds me of an upscale corral (“Home, James, and don't spare the Gazelles!”). Men gather chairs—made from mahogany and reeds, mortised & tenoned with a machete, à la the Flintstones, hor rifically uncomfortable—around the bicycles and sit in the shade and talk smack. The tree is the epicenter of male social and political life in Rumbek, guys slapping hands and laughing and jiving and scoot ing over chairs, grinning crazily. It's a very transient group, a magnet everyone pulls to for just the right amount of time in their day, coming in, hallooing, moving on. The place to be seen or wait for an important personage to emerge from the dank offices of power, to plead, cajole, pay homage, bid or curry favors. 
]]></description>
<link>http://epiphanyzine.com/archives/nonfiction_summer_2008/000408.html</link>
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<category>Nonfiction_Summer_2008</category>
<pubDate>Wed, 21 May 2008 16:27:40 -0500</pubDate>
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<title>Écorcheville</title>
<description>When Orne heard that several automated firing squads had been set up around town, he was unimpressed. Of all the innovations unceasingly introduced to the surroundings, how many turned out to last? Of course certain amenities, like phone or photo booths, had established themselves by proving their usefulness. But how would the use of an automatic firing squad – a squad, moreover, that fired at you – ever catch on? Once the novelty had worn off, an invention like that was doomed never to be more than a gimmick. And besides, from just what point onward were returns on such contraptions assured? How many shootings would it take per month to pay the upkeep alone? Even though it was all in theory automatic and self-cleaning, someone had to pay the workers to remove the bodies and the armorers to regulate and reload the weaponry. Orne had trouble seeing how an entrepreneur might make back his investment, cover his costs, and show any profit. </description>
<link>http://epiphanyzine.com/archives/fiction_summer_2008/000407.html</link>
<guid>http://epiphanyzine.com/archives/fiction_summer_2008/000407.html</guid>
<category>Fiction_Summer_2008</category>
<pubDate>Wed, 21 May 2008 14:38:11 -0500</pubDate>
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<title>THE SPRING ZINE</title>
<description></description>
<link>http://epiphanyzine.com/archives//000406.html</link>
<guid>http://epiphanyzine.com/archives//000406.html</guid>
<category></category>
<pubDate>Mon, 04 Feb 2008 14:43:48 -0500</pubDate>
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<title>PIT</title>
<description><![CDATA[<p>
  The pit came the summer Shelley was pregnant. It arrived at night
  while I was sleeping and I heard it howling behind the house,
  in our dirt-and-weeds yard. Morning came and I was making the
  coffee&mdash;strong, because Jared liked it muddy, though I didn&rsquo;t&mdash;and
  I heard something outside. Probably my strays waiting for breakfast,
  one of them jumping from the fence onto the trash can. A dozen or so
  lived under the house and in the yard. I had named them after cities
  in New Mexico, where I&rsquo;m from&mdash;Santa Fe, snow-white Santa Rita, jetblack
  Estancia, long-haired Roswell, a shy tabby called Pueblo Bonita.
  I lugged out the big Wal-Mart bag of cat food and unbolted the back
  door. Roux, my ten-year-old calico, came running up from the other
  end of the shotgun. She rubbed against my legs and I cooed at her as
  I opened the door. Then she screeched and leapt up onto the fridge,
  and something tore up from under the house.</p>
<p>The pit was so skinny I could see its nasty spine arching. Black
  and brown with a white diamond on its hollowed chest. It had matchstick
  legs, a short, pointy tail. Yellow bat eyes and a nose smashed into
  its face. A horrible mouth full of teeth.</p>
<p>I slammed the door and bolted it. For a moment, I thought I&rsquo;d
  imagined the whole thing. One of those delusions Jared&rsquo;s been talking
  about. Something seen in another dimension, out of my invisible eyes.
  <em>Am I loco, Lima? </em>I cracked the door and peeked. <em>No lemons no melon.</em>
  Its snout poked at the screen.</p>
<p>I crept up through the house to the front porch with my coffee, afraid the
  animal would hear me. It didn&rsquo;t&mdash;the kitchen was all the way in the back.</p>
<p>Shelley came out on her side of the double, where she lived with
  her mother. Shelley was nineteen, and eight and a half months pregnant,
  but you wouldn&rsquo;t know it if you saw her from the back. She had
  narrow hips and a little ass, and when she turned sideways it was like
  an optical illusion. She walked across the porch wearing nothing but
  an old pair of black elastic shorts and a neon-pink sports bra, her hand
  holding up her back. As if it could do such a thing. Her huge belly
  hung over the waistband, striped with light brown and pink stretch
  marks, her belly button popped out. Shelley&rsquo;s hair was half done,
  braided into a weave, that blood orange color that only a black woman
  can pull off. At seven-thirty, she was already sweating.</p>
<p>&ldquo;Lord,&rdquo; she said.</p>
<p>&ldquo;Hush,&rdquo; I said. &ldquo;A dog got into the backyard.&rdquo;</p>
<p>Shelley nodded. &ldquo;Barked all night. Didn&rsquo;t get a bit of sleep. Wild
  packs been all over Napoleon.&rdquo;</p>
<p>&ldquo;It&rsquo;s a pit bull. Nasty one.&rdquo;</p>
<p>&ldquo;My dad used to raise pits for fighting. Mean, mean.&rdquo; She sat on
  the porch floor and leaned back on her hands. Sitting is an effort when
  you&rsquo;re pregnant. &ldquo;You got a cold-drink inside?&rdquo;</p>
<p>The living room was dim. I heard Jared snoring, his ragged breath
  fi lling the house like heat in an oven. The squat forms of his drums
  huddled together, his guitar cases reclined in the corner. I stroked the
  head of a mannequin as I walked past, jingled the strands of beads
  from last year&rsquo;s Mardi Gras that hung around the doll&rsquo;s neck. In the
  bed, Jared was long and hairy, his mouth open. Some people look
  beautiful when they sleep, children, their easy dreams spinning above
  their damp heads. I grabbed a can from the fridge and got back out.</p>
<p>&ldquo;That man of yours came in late last night,&rdquo; Shelley said, popping
  the tab on the can of diet Sprite. &ldquo;Thank you.&rdquo; She held it up and
  toasted my coffee mug.</p>
<p>&ldquo;He had a gig downtown.&rdquo;</p>
<p>&ldquo;Till four in the morning?&rdquo; She swatted at a mosquito. &ldquo;No-good man.&rdquo;</p>
<p>&ldquo;He does have his moments.&rdquo; I dumped the dregs of the coffee
  into the weeds. &ldquo;I&rsquo;ve got to get going. Careful out back. I&rsquo;ll make sure
  he takes care of it.&rdquo;</p>
<p>&ldquo;If he ever wakes up.&rdquo; She looked off toward Tchoupitoulas and
  the river.</p>
<p>&ldquo;I&rsquo;ll be stopping by the store later. You need anything?&rdquo;</p>
<p>&ldquo;Sure,&rdquo; Shelley said. &ldquo;A husband.&rdquo;</p>
<p>&nbsp;</p>
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<link>http://epiphanyzine.com/archives/fiction_winter_2008/000405.html</link>
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<category>Fiction_Winter_2008</category>
<pubDate>Sun, 11 Nov 2007 22:48:25 -0500</pubDate>
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<item>
<title>The Bait</title>
<description><![CDATA[<p><img src=/images/spring_2007/the_bait.jpg width="200" height="204" align="left" class="inset-photo">Every night at 10 o&#8217;clock, when my mother has taken a book to bed, my father, a farmer and game lodge owner in the hills of eastern Zimbabwe, gets his shotgun out of the cabinet, slides a cartridge into each barrel, and goes to sit with it in the garden chair under the giant fig tree facing the front gate. He&#8217;s keeping guard.</p>

<p>The bait is in the tin roof shed to the right: two heavy barrels of unleaded fuel fresh in from Mozambique&#8212;a rarity and a fortune these days, as in demand as a South African visa or a reliable currency dealer, one who won&#8217;t rip you off or shop you to the secret police.</p>

<p>&#8220;They stole it before, they&#8217;ll try again,&#8221; he told my mother. </p>

<p>&#8220;And what are you going to do when they come?&#8221; she asked. </p>

<p>&#8220;Shoot them,&#8221; he replied, a little exasperated. &#8220;What do you think the gun is for?&#8221;</p>

<p>He&#8217;d bought the fuel soon after the thieves stole his last two barrels, along with all his tools, on New Year&#8217;s Eve, and he made a good show of letting the workers on the farm know he had a new supply. He had John Orange and John Old offload it; watched Rosie the maid see them carry it to the shed; saw Sydney the young barman clock it as he walked past the gate down to the backpacker camp at the bottom of the road. </p>

<p>Word would get around. It always did. This was Africa, and you couldn&#8217;t stop talk. They had the oral tradition, after all. <em>The oral tradition!</em> He chuckled to himself as he sat there. <em>What a cunning thing. So open to interpretation. </em>When your history wasn&#8217;t written down, who knew how it changed in the telling? How it was modified, improved upon, exaggerated over generations? It just became storytelling after a while, didn&#8217;t it? And everyone had some bullshit story about how they really owned the land and how they were here first.</p>

<p>He thought back to the robbery.</p>

<p>It wasn&#8217;t so much the theft of his fuel that had enraged him. It was the tools. <em>Who steals a man&#8217;s tools? Take anything but leave the tools.</em><b> </b>He had been lost without them these months. His wrench was gone, the new spanners he had bought in Pietersburg, even a shitty old pair of pliers. He had been unable to fix the pump for the borehole, the grill on the coffee roaster, the leak in the geyser in the roof. </p>

<p>The timing could not have been better, too. On New Year&#8217;s Eve, the one night in the year they were sure to be out. What a start to the year it had been! As if he didn&#8217;t have enough shit to deal with. There were the squatters&#8212;&#8220;new farmers&#8221; they called themselves&#8212;across the road who&#8217;d slaughtered all the zebra and antelope he&#8217;d stocked the farm with. And there was the Section Five, that document from the government: &#8220;We hereby inform you that the above mentioned land has been allocated for resettlement.&#8221; </p>

<p>The place was falling apart before his eyes. But there was no way he was just going to <em>give</em> it to them.</p>

<p>He felt good with the gun on his lap. A ripple of moonlight pressed through the leaves of the fig tree and shimmered on the barrel. Next to his tools, this was his favorite possession in the world. True, it wasn&#8217;t the best weapon to have in the circumstances. That would have been the FN FAL, the Belgian-made automatic he had during the bush war in the 1970s. <em>Now there was a gun! </em>Back then, when they had the chicken farm across the valley, he would ride shotgun with it in the car as my Mom drove my sisters and I to school, eyes peeled in bush for &#8220;terrs&#8221;&#8212;terrorists&#8212;ZANLA guerillas who would attack the farms. At night my parents would sleep with it next to the bed in case of an attack, and in the morning, unload the magazine, check that the barrel was empty, and start all over again. And somehow, all those years, when everything was being shot up and blown up around us&#8212;including our neighbors&#8212;we had miraculously been left alone. What could explain that? He reckoned it was the gun. </p>

<p>Of course, when the war ended in 1980, he returned it to the police. <em>Idiot</em>, he thought. But how could he have known, 25 years ago, that he would one day need it for another war? Instead, the shotgun was the only weapon he had left, and it would have to do. It was a beautiful vintage 12-gauge and a good hunting gun. He knew that. But could it do the bigger job?</p>

<p>A fruit bat flapped over his head and swooped over the front lawn. Crickets chirped out a ragged chorus. He liked being out here on his own. He heard a lone bus on the main road that ran along the southern boundary of the farm belch its way towards Harare, the capital city. There was a time when that road was busy, the country&#8217;s main link to the ocean in Mozambique 400 miles to the east, but now so few people could afford fuel that it was quiet and almost deserted during the day. And who wanted to drive at night? </p>

<p>Soon his eyes had adjusted to the dark, and his hearing became more attuned. He heard voices drifting over from the camp, voices he was starting to get familiar with the more nights he spent out there keeping guard. The backpacker camp was half a mile beyond the front gate, past the long grass, the avocado trees and the umbrella thorns, but it might as well have been on the front lawn, so clear were the voices. He recognized John Old&#8217;s baritone; the cackle of Mrs. John, his toothless wife. Some of the staff, before they had to lay most of them off, had thought she was a <em>n&#8217;anga</em>&#8212;a witch. He hoped against hope that she was one. He liked and trusted her more than the others. And he could do with a good witch. </p>

<p>He wondered, as he listened, why it was that African voices seemed to carry so far in the darkness, seemed to float as naturally in the inkiness as the wood smoke and the shards of weed grass. Did it have something to do with that oral tradition of theirs?</p>

<p>He tried to picture the scene down there. They were either in the bar getting drunk or around a wood fire by the compound, drinking and smoking <em>dagga</em>. He could smell the <em>dagga</em> from here&#8212;a green, bittersweet tang, mingling with the oak of the wood smoke. He wondered if the weed was from his own crop, the plantation he had started with John Old behind the house. People were doing anything for money these days and he was no different. And he wondered what <em>dagga</em> tasted like. He&#8217;d have to try it sometime. Perhaps his son would roll him a joint one day. He was sure I would know how. </p>

<p>The last light in the house went off behind him. My mother was going to sleep. The light from the cottages on the hills to the north blinked off, too. Mrs. Herrer in No. 3, an 80-year-old Afrikaner woman, the best cattle farmer in the valley in her day. Delaney in No. 11. And at the bottom of the hill in No. 8, Harry Venter, his latest tenant, the most recent white farmer to lose his land. <em>Old Harry. What a bullshitter</em>.<b> </b>The man claimed to be friendly with the Vice President, claimed she could get him his farm back. Now that he&#8217;d like to see! </p>

<p>Still, he was glad these people had homes, and he knew it was because of him. When he bought this farm, when his kids had all left home, there was nothing on these hills but bush and stone. And in five years he and my mother had created a small empire: 16 cottages for rent, each with wide verandahs and sweeping views of valley; the backpacker lodge with its chalets, swimming pool, and restaurant-bar that once pulled in tourists from the world over. They had named it Drifters and the guidebooks the travelers carried with them all wrote well about it. They had had some wild parties at the camp bar over the years. It hadn&#8217;t really been a business at all; it was more like an extension of their home.</p>

<p>And now? Now the cottages were refugee camps for dispossessed whites. And the camp? <em>Jesus, </em>he thought. It was what it was. It made them money, but it also made them embarrassed. He tried not to think about it. Then he thought about it. Maybe they should start renting chalets by the hour? The whole country was whoring itself, why shouldn&#8217;t they cash in? He made a mental note to suggest to my Mom the next day that if the marijuana side-business didn&#8217;t kick in they should start renting chalets by the hour, formalize operations so to speak.</p>

<p>It must have been well after midnight now because the voices were gone. The moon had ducked behind the Chikanga Mountains and even the crickets were quiet. Now he didn&#8217;t feel so comfortable. Did crickets usually stop chirping? Was that normal? He hoped the fruit bat would come back and he wished he&#8217;d brought a blanket. Maybe even a flask. The kitchen was behind him; it would be easy to go inside and make some hot tea. But what if they came when he was making tea? What an idiot he&#8217;d be then. He stayed put.</p>

<p>He thought again of his suspects. It could be John Old or John Orange, but he doubted it. They would know he would accuse them first up&#8212;which he did&#8212;and besides, he didn&#8217;t think they had it in them. Too old. More likely it was John Old&#8217;s son. He had seen the little bastard down at the compound a few days before, skulking in the bushes. Like every other kid in the country he was unemployed. And how did he buy those new running shoes?  </p>

<p>But most of all, he suspected the Political Commissar. </p>

<p>Now there was a bona fide bastard. A fat, lowly, party official, he had appointed himself headman for the area and claimed for himself the farmhouse of old man Fritz Barnard across the road. He was too low on the ruling party ladder to be given a car, but high enough to be given a farm, and therefore, like all middling-to-average people everywhere, all the more dangerous. With his long grey raincoat and leather briefcase he would stand on the road in the mornings and ask my Dad for a lift into the city where, he was unembarrassed to say, he had a  &#8220;townhouse.&#8221; That was how it was. The bastard had <em>two</em> homes! My father could easily see himself shooting the Political Commissar.</p>

<p>His arms were growing heavier now. The leaves and branches of the fig tree seemed to sink warmly around him, enveloping him like the blanket he wished he had. He could barely keep his eyes open now. His head was heavy, too. Slowly his grip loosened on the gun. </p>

<p>The noise came from the bushes beside the front gate. He woke up with a start. Had he fallen asleep? What time was it? <em>Jesus. </em>Someone was out there! He gripped the gun, leaned forward, trying to keep silent while adjusting his position. It came again. A light rattle of the chain-link fence. Someone <em>was</em> out there! His heart pounded, the sudden exhilaration making him dizzy. He saw two red eyes in the darkness, staring straight at him. He stared straight back, trying to focus, easing the gun up to his shoulder now. It was happening! They had come back! At last, it was payback time! </p>

<p>He saw it clear as if it were day. It was a giant full-grown antelope, a magnificent bull Eland with tall twisted horns like acacia branches grazing in the long grass beside the fence. His heart was pounding. <em>Jesus. An Eland. </em></p>

<p>He had bought a herd of them years ago when the camp and the cottages were being built, along with some zebra and impala, but he had not seen them in four years. He thought the squatters and the war vets and the Commissar had wiped them all out. They set wire traps made from his farm fence they ripped down; they hunted them with their mongrel dogs; others they just shot. He and my mother would hear gunfire in the middle of the night, and in the mornings find skinned carcasses in the hills. He had presumed the animals were all dead, but now, right here in front of him, one had showed itself. </p>

<p>It stared at him with those magnificent sad eyes and he stared straight back. He had never felt so much pity for a mere animal before, and yet so much love for one, so much elation that something out there&#8212;something <em>else</em> out there!&#8212;had managed to survive. </p>

<p>The animal bent its neck, chewed more grass, then looked up at him again. It seemed to be nodding at him. He wanted to nod back, but he didn&#8217;t want to scare it. Then the creature wheeled away and loped off into the long grass, past the avocado trees and the umbrella thorns. My father watched it go. For the first time in months, the rage he had inside him seemed to have gone. He felt light-headed and dizzy. </p>

<p>He walked back to the house. He set the gun by the dresser table and rolled into bed next to my mother. Maybe now he could get some sleep.</p>

<p>&nbsp;</p>
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]]></description>
<link>http://epiphanyzine.com/archives/non_fiction_winter_2008/000402.html</link>
<guid>http://epiphanyzine.com/archives/non_fiction_winter_2008/000402.html</guid>
<category>Non_Fiction_Winter_2008</category>
<pubDate>Sun, 11 Nov 2007 14:43:08 -0500</pubDate>
</item>
<item>
<title>Opium</title>
<description><![CDATA[<p>
Old ghost, live in me, eat<br>
what I leave on the plate.
</p>
<p>&#0149;</p>
<p>
Poppy moon-<br>
dome, feathered<br>
like the iris<br>
of an eye,<br>
slashed, healed, held,<br>
razored open, milked<br>
for venom, and glued<br>
shut, sight-slit<br>
beaded with semen,<br>
the pearl sap of sleep.
</p>
<p>&#0149;</p>
<p>
Cobra hiss<br>
of the primus<br>
breathes this breathing space.<br><br>
Infinite peace.<br><br>
Tarbutter<br>
bloodbubble:<br>
a new planet<br><br>
spins & spins & spins.
</p>
<p>&#0149;</p>
<p>
Ether-whore,<br>
sip the smoke<br>
you&rsquo;d trade your soul<br>
and this world for the gold-<br>
rosy glow of the bowl<br><br>
for.
</p>
<p>&#0149;</p>
<p>
Silk smoke-<br>
skin bitch,<br>
where is the corpse of Morpheus, beautiful youth?
</p>
<p>&#0149;</p>
<p>
Not this ashflesh<br>
scattered with pigfood<br>
on the mudbed under the hut.
</p>
<p>&#0149;</p>
<p>
Squat there, Succubus, fix<br>
your eyes on dinner, suck<br>
the black teeth<br>
your tribe finds beautiful.
</p>
<p>&nbsp;</p>
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<p>&nbsp;</p>]]></description>
<link>http://epiphanyzine.com/archives/poetry_winter_2008/000401.html</link>
<guid>http://epiphanyzine.com/archives/poetry_winter_2008/000401.html</guid>
<category>Poetry_Winter_2008</category>
<pubDate>Sun, 11 Nov 2007 14:30:49 -0500</pubDate>
</item>
<item>
<title>Cynthia Weiner</title>
<description><![CDATA[Cynthia Weiner&rsquo;s work has appeared in<em> Ploughshares, Open City, The Sonora Review,</em> and <em>Pushcart Prize XXX</em>. She is the Assistant Director of The Writers Studio in New York City, and is working on a collection of short stories.]]></description>
<link>http://epiphanyzine.com/archives/contributors_winter_2008/000400.html</link>
<guid>http://epiphanyzine.com/archives/contributors_winter_2008/000400.html</guid>
<category>Contributors_Winter_2008</category>
<pubDate>Sun, 11 Nov 2007 14:22:05 -0500</pubDate>
</item>
<item>
<title>Derek Walcott</title>
<description><![CDATA[Derek Walcott&rsquo;s books of poems include <em>In a Green Night: Poems 1948-1960</em> (1962), <em>The Castaway </em>(1965),<em> The Gulf</em> (1969), <em>Another Life</em> (1973), <em>Sea Grapes</em> (1976), <em>The Star-Apple Kingdom</em> (1979), <em>The Fortunate Traveller </em>(1981), <em>Midsummer</em> (1984), <em>The Arkansas Testament</em> (1987), <em>Omeros</em> (1990), <em>The Bounty</em> (1997),<em> Tiepolo&rsquo;s Hound</em> (2000), and <em>The Prodigal</em> (2004). His books of plays include <em>Dream on Monkey Mountain and Other Plays</em> (1970), <em>The Joker of Seville & O Babylon!</em> (1978), and <em>Remembrance & Pantomine</em> (1980). He is the founder and was for many years the director of the Trinidad Theatre Workshop. Among his many awards are an Obie, a MacArthur grant, a Guggenheim, the Queen&rsquo;s Gold Medal for Poetry, and, in 1992, the Nobel Prize for Literature.]]></description>
<link>http://epiphanyzine.com/archives/contributors_winter_2008/000399.html</link>
<guid>http://epiphanyzine.com/archives/contributors_winter_2008/000399.html</guid>
<category>Contributors_Winter_2008</category>
<pubDate>Sun, 11 Nov 2007 14:18:30 -0500</pubDate>
</item>
<item>
<title>Lloyd Van Brunt</title>
<description><![CDATA[Lloyd Van Brunt is the author of <em>Delirium: Selected Poems, Working Firewood for the Night,</em> and seven other books of poems, as well as a memoir, <em>Hardpan</em>. Over the past decade, he has been working on fiction, and has completed two novels.]]></description>
<link>http://epiphanyzine.com/archives/contributors_winter_2008/000398.html</link>
<guid>http://epiphanyzine.com/archives/contributors_winter_2008/000398.html</guid>
<category>Contributors_Winter_2008</category>
<pubDate>Sun, 11 Nov 2007 14:14:10 -0500</pubDate>
</item>
<item>
<title>Joe Tully</title>
<description><![CDATA[Joe Tully is a native New Yorker who has served as a partner at btldesign, a branding and interactive agency in New York City. He continues to work for select clients through Joe Tully Design. He is also working on a memoir, <em>Second House From the Corner</em>, about growing up on Long Island in the &rsquo;40s and &rsquo;50s, his Irish and Italian heritage, secretive parents, HIV/AIDS, and coming to terms with being gay.]]></description>
<link>http://epiphanyzine.com/archives/contributors_winter_2008/000397.html</link>
<guid>http://epiphanyzine.com/archives/contributors_winter_2008/000397.html</guid>
<category>Contributors_Winter_2008</category>
<pubDate>Sun, 11 Nov 2007 14:11:22 -0500</pubDate>
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<title>Anna Steegmann</title>
<description><![CDATA[Anna Steegmann, born in Germany in 1954, has lived in New York City since 1980. She worked as an actress and psychotherapist until making writing her priority. She has published academic texts in German and English. Her poems, stories, essays, and translations have appeared or will soon come out in <em>The New York Times, The Absinthe Literary Review, Boomer Women Speak, Dimension<sup>2</sup>, Promethean</em>, and <em>[sic]</em> as well as several German newspapers and anthologies. She teaches writing at City College of New York, where she received an M.A. in creative writing. She has written a memoir, <em>The Wrong Country</em>, her first book in English.]]></description>
<link>http://epiphanyzine.com/archives/contributors_winter_2008/000396.html</link>
<guid>http://epiphanyzine.com/archives/contributors_winter_2008/000396.html</guid>
<category>Contributors_Winter_2008</category>
<pubDate>Sun, 11 Nov 2007 14:08:20 -0500</pubDate>
</item>
<item>
<title>Michael Ruby</title>
<description><![CDATA[Michael Ruby is the author of two collections of poetry, <em>At an Intersection</em> (Alef, 2002) and <em>Window on the City</em> (BlazeVOX, 2006). <em>Inner Voices Heard Before Sleep</em> is the final section of a trilogy called <em>Memories, Dreams and Inner Voices</em>. The first section, <em>Fleeting Memories</em>, is being published as an ebook by Ugly Duckling Presse in Brooklyn.
]]></description>
<link>http://epiphanyzine.com/archives/contributors_winter_2008/000395.html</link>
<guid>http://epiphanyzine.com/archives/contributors_winter_2008/000395.html</guid>
<category>Contributors_Winter_2008</category>
<pubDate>Sun, 11 Nov 2007 14:03:19 -0500</pubDate>
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<title>Matthew Rohrer</title>
<description><![CDATA[Matthew Rohrer is the author of five books, most recently <em>Rise Up</em> (Wave Books). He lives in Brooklyn and teaches at N.Y.U.]]></description>
<link>http://epiphanyzine.com/archives/contributors_winter_2008/000394.html</link>
<guid>http://epiphanyzine.com/archives/contributors_winter_2008/000394.html</guid>
<category>Contributors_Winter_2008</category>
<pubDate>Sun, 11 Nov 2007 14:01:10 -0500</pubDate>
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