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Alien Buddha Press has just released g emil reutter’s poetry collection, Farmers, Queens, Trains and Clowns.
The collection is available on Amazon at this link:
What Others Say about Farmers, Queens, Trains and Clowns by g emil reutter
In g emil reutter’s Farmers, Queens, Trains, and Clowns we are treated to a panorama of a fractured Americana. The singer/seer/poet weaves the celebratory and the lament in his masterful “Philadelphia.” The ghost of a railway station is conjured along with the past majesty of derelict neighborhoods. Gut-wrenching abandonment abounds—turkey buzzards on rooftops, icy furnaces, vacant-eyed buildings, carp that float sideways next to legless frogs. Laced through the graffiti-scarred souls who wander these poems, the moon’s splendor shines as does the richness of family and the poet’s compassion. reutter blesses us with a raw poetry of savage beauty like his bees encased in a silken coffin. His acute powers of observation witness the spider’s captive brown butterfly as well as what is ensnared in the vibrating strands of a divided America. We are left with the haunting image of Orion frozen with his back to the earth as if an entire civilization has been discarded.
—-Stephanie Dickinson, author of The Emily Fables and Big-Headed Anna Imagines Herself
Red, white, and blue-collar—g emil reutter champions the past glory of America, finding triumph in his avid, dead-on descriptions. Suicide, cancer, abandoned tracks, those down-at-the-heels and down on their luck—these are the subjects this poet describes with boundless compassion, flawless cadence, and drum-tight metaphors. Here is a distinctive, authentic, and powerful voice. And beautiful. He makes rust sing.
-– Jeffrey Cyphers Wright, author of Party Everywhere
A reading from 2018
By Charles Rammelkamp
In the story “Plink!” in Robert Scotellaro’s new collection a man stands at a window, mesmerized, watching diamond-like hailstones falling out of the sky, pelting the asphalt, the sidewalks, the sides of cars. “Then it stops. The way magic often does.” That’s an apt description of the sixty-eight marvelous little stories, ranging from a couple of paragraphs to no more than three pages, that make up What Are the Chances? First of all, they do feel magical, with so many strange characters, often costumed, popping off the page, snaring your attention – like hailstones – and then the payoff, the flash that makes “flash fiction” flash fiction, the sudden illumination of character or scene. And then the story stops.
Stories like “Mr. Nasty,” “The Cleaning” Girl,” “Bad-Boy Wannabe and the Cephalopod Empire,” and the single-paragraph, “Death’s Late-Night Walks,” among others, feature characters in dress-up; the German word maskenfreiheit – signaling the freedom conferred by masks – come to life. In “Mr. Nasty” a man flirts with a hired birthday party performer, who is dressing up as Snow White, the entertainment at a party for his daughter, while aware of the watchful eyes of his mother-in-law and wife. Nothing comes of it, of course, but the tension is like lightning. Similarly, the Bad-Boy Wannabe watches his devil’s mask blow away from his head in a breeze, exposing him, while he tries to impress a girl in a squid mask, the two sharing a joint. But, unmasked now as he is, she is out of his league. The cleaning girl dresses up in her employer’s jewels and furs while the homeowners are away, fantasizing the luxury, only to get a bad scare when the doorbell rings, sure she’s busted. However briefly, we feel all of these characters’ illicit feelings, the lust, the covetousness, the fear.
Although some of the stories are truly grim, ominous, like the title story in which the protagonists come home to find their home robbed and a lethal butcher knife displayed on the bed, or “The Pencil,” in which a schoolkid hides in a bathroom stall while a shooter guns down his classmates, most are funny. They feature likable schmoes to whom we can all relate, walk in their shoes – in their masks – indeed. In “Those Eyes in the Rearview,” a man gets into the Uber he’s just called. “I saw his eyes in the rearview. They were red and crazed.” The driver tells his passenger that he’s just killed a man he caught sleeping with his wife, and the passenger is his hostage. Like the passenger, we feel our blood pressure rise, our pulses race; only, two-thirds of the way through the story, the driver “pulls off his mask,” reveals he is an aspiring actor and was just having the passenger on. “That was some top-notch acting, right?” he boasts. “Come on, give me that.”
In the story, “Flatware,” we encounter a similarly bizarre situation in which a man is sure his home is being broken into and stabs a fork into the neck of the “intruder,” only to learn that the intruder is the brother of his neighbor, come to retrieve a ball his nephew has knocked over the fence into the protagonist’s yard. A comic rush to the emergency room follows, the protagonist taking full responsibility. When they return, the protagonist apologizes again (and again), shakes the man’s hand, returns to the kitchen where he’d been eating his Chinese takeout (hence, the fork conveniently in his hand when the “burglar” came in), “wondering if I should call Tina at her sister’s, where she always went after one of our big blow-outs.” In a flash, then, we see the backstory, why this guy was on edge in the first place.
In the story, “Wise Sunglasses,” the lonely unnamed female protagonist collects sunglasses – her mask. In an aside, Scotellaro writes, “The heart-shaped pair were Pete’s favorites. ‘My Lolita,’ he’d say, though she was far from it, and he’d find the real thing soon enough.” That’s about all we hear about “Pete,” but in a flash we intuit the protagonist’s loneliness, the betrayal at its base. She’s wearing her owl sunglasses when the story concludes, “not feeling the least bit wise.”
In “A Disadvantage of Momentum” we encounter Phil and Nan, post-surgery in a hospital room where Phil lies, recuperating. At their weekly session with a couples counselor, Heidi, they’d been told to “spice it up” after they’d become empty-nesters, the last kid off to college. Nan goes along with one of Phil’s adolescent fantasies, while they are driving home from dinner, her face in his lap, but a sudden fender bender at a stoplight results in a bite too deep. Nan asks Phil, “Anything left?” “Enough,” he replies. The story ends:
They heard some laughter and watched as shadows gathered behind the curtain, grew. Then a hand reached in and swung it open.
Of course, some stories are better than others. I’m not going to rank all sixty-eight, but every one of them does pack that flash punch. Robert Scotellaro is a master of this form. It’s magic!
You can find the book here: https://www.amazon.com/What-Are-Chances-Robert-Scotellaro/dp/1950413268
Charles Rammelkamp is Prose Editor for Brick House Books in Baltimore and Reviews Editor for The Adirondack Review. His most recent releases are Ugler Lee from Kelsay Books and Catastroika from Apprentice House.
By Byron Beynon