
Jon Epstein
jon_e_epstein@yahoo.com
Bio (auto)
Born at Cedars of Lebanon in 1957, now the center for Scientology, Jon Epstein grew up in a secular Jewish home in the Hollywood hills. Battling drug addiction and alcoholism at an early age, in his senior year of high school he traded in his high school cap and gown for a pair of silver handcuffs and a booking number. After nearly another decade of felonious high jinx and criminal tom foolery, Providence interceded; in January of 1986 Jon crawled out of his dark and dank root cellar…back into the sunlight. Now a man of fifty one and sober over two decades, Epstein resides in the West San Fernando Valley with his wife of 21 years. Jon and his wife Kelly have a twenty one year old son and a nineteen year old daughter; both attend college in Northern California. In addition to writing, Epstein’s an entrepreneur, musician, surfer, student and poet. Jon is known for his three distinct categories of writing: Lost Childhood, the Hell of Addiction and his Recovery thereafter.
The following work is Copyright © 2009, and owned by Jon Epstein and may not be distributed or reprinted in any form whatsoever without written permission from the author.
Yoni
Yoni, put these candlesticks on the table please….
Bubbie, why does Zadie have those little numbers on the inside of his arm?
They’re from the camps back in Polland…
Why did they put numbers on his arm? When I go to camp we just get name tags on the first day
Yonnie, they were different camps, not summer camps, they were ugly places where Hitler’s men put away many many Jews, and killed them
Grandma…
Why do you have so many questions today Yonnie? Here…please put the borscht in the refrigerator…
Bubbie, Rabbi Ron told us to ask questions, many questions, and never stop asking them…I asked him “what if they were dumb questions?"…he said the only questions that were dumb were the ones we didn’t ask
Bubbie, why don’t you have numbers on your arms?
I left the old country with my Mama and Papa before this insane man Hilter came into power
Bubbie, we talked about the Seine River in class today…is that like Hilter is insane?
No boychick, the Seine River is far away in Europe…do you want to see a painting of it…
Sure Grandma…let me see the picture
Wow…it’s so big and wide, it looks really slow…is it long too?
Yes it’s very long; it stretches far and flows all through France
Did you finish your matzos and herring?
Grandma, I don’t like the fish, it’s not a good snack, it says pickled on the jar, but there’s no pickles, just stinky fish…I don’t want to eat it…did the herring come from the Seine River?
Bubbie, what's all the noise outside, what's Papa hammering on?
Didn’t you see the broken window when you parked in the driveway?
No Grandma, but I saw that big black X’y kinda cross on the wall, it looks like someone used spray paint…I think I saw that symbol in my Sunday School…the Rabbi called it a swazka
No boychick, it’s called a Swastika, it’s a dreadful Nazi symbol…there are still people that don’t like us Jews
Bubbi, why do men like Hitler want to hurt other people that aren’t doing anything to them?
Yonnie, I don’t know, but I think it is because they're afraid of their own death and dying
Grandma that sounds crazy…why can’t they just be like the Seine and flow?
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Joyce Lee
jbleewriter@yahoo.com
Bio (auto)
Joyce Becker Lee is a freelance writer living in Mundelein, Illinois. She is currently enrolled in the MFA-Creative Writing program at Northwestern University.
The following work is Copyright © 2009, and owned by Joyce Lee and may not be distributed or reprinted in any form whatsoever without written permission from the author.
Passage
The photographs are of shadows,
Thin faces and haunted eyes
That guilt me for my chance:
A life saved by time and circumstance.
I want to cry out, Don’t hate me,
That I live while you are dead.
I know they charge no fault,
But in their blameless eyes shines
A silent expectation demanding fulfillment.
Is love or guilt the music of remembrance,
The resulting dance invented or innate?
I only know that in my core
Lies a promise unspoken,
An owed strength that must validate.
Thus from photograph to future,
Specters become substance,
Spider-silk filaments of hope passed on,
Traversing time, unbroken.
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KJ Hannah Greenberg
drkarenjoy@yahoo.com
Bio (auto)
KJ Hannah Greenberg tramps across genres and topics. Some of her recent Judaica has been accepted or published by: G. Stern’s Hag Samaiach Anthology, Hamodia, Horizons, Mishpacha, Miriam Liebermann’s The Best is Yet to Be, Poetica, The Blue Jew Yorker, The Jerusalem Post, The Jewish Woman, and The New Vilna Review.
The following work is Copyright © 2009, and owned by KJ Hannah Greenberg and may not be distributed or reprinted in any form whatsoever without written permission from the author.
When Bringing the Shoah
Recorded testimonies, survivors, further witnesses
Die or fade otherwise,
No matter the celebrity, euros, and dollars,
Raised on behalf of certain “social mistakes.”
Meanwhile, media-savvy, official-looking, anti-Semites popularize
The proffering of “rhetoric of change.”
Eschatology, history, plus common, sense prove
Such cityscapes reflect not collective but individual adjustments.
Without crusading monks, brown shirts, red ghutras,
Catastrophic upheavals infiltrate Yiddishe wellbeing, anyway.
Jewish lives are determined by the words, thoughts, and deeds,
Espoused entirely by the individuals of our Klal.
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Larissa Shmailo
SLIDINGSCA@aol.com
Bio (auto)
Larissa Shmailo translated the Russian Futurist opera Victory over the Sun by A. Kruchenych; a DVD of the original English-language production is part of the collection of the New York Museum of Modern Art, the Hirsshorn Museum of the Smithsonian Institute, and the Los Angeles County Museum of Art. She also contributed translations to the new anthology Contemporary Russian Poetry (Dalkey Archive Press 2007). Larissa is the recipient of 2009 New Century Music Awards for spoken word with jazz, electronica, and rock; her poetry CDs, The No-Net World (SongCrew 2006) and Exorcism (2008) are frequently heard on radio and Internet broadcasts. Her chapbook, A Cure for Suicide, is available from Cervena Barva Press 2008. Larissa’s full-length collection of poetry, In Paran, will be published by BlazeVOX Books in May, 2009
The following work is Copyright © 2009, and owned by Larissa Shmailo and may not be distributed or reprinted in any form whatsoever without written permission from the author.
Kalinivka
Kalinivka, Kalinivka: The ground over the mass graves is hard, the soft grass grows. The Ukrainian Guard, boy and girl, make love, happy to be alive. In the Ukraine, collectivized, they walked on corpses. And the Germans alone protest, her father tells the girl. Siberia, purges. Like the Irish, their parents collaborate; Hitler fights the Russian, English masters of their lands. Now here, Kalinivka. The mass graves crack with green. 41 forgotten in the summer of ’43. She is 19, pregnant soon.
Prymsl
By 1943, the ghetto holds the few not deported, living in tunnels, basements, caves, the hiding ones, the ones who know. All the rest to camps in Poland, Germany, or dead. The boy no longer likes the girl, but through her, he got his Kapo job. Even his mother says, marry. Have a child. The female Kapo bears a boy through the camps, Prymsl, through the unknown tombs of Poland, the unmarked graves, the walls marked with Jewish blood, the bloody broken nooses, the dark rain. She wants the boy to marry her, he makes excuses, says, the Germans won’t permit. That the child will die soon after the war, that she will beat her head upon the grave until it bleeds, that sorrow is unknown. The death of the Jewish children is unseen. Poland is always green.
Dora
Germany, Harz Mountains. The Germans turn now, now SS. The war is failing. Fewer the slaves to command, the girl, heavy with child, translates, working, starving, carried in rail carts for miles to build the V-2s. A rachitic Jewess cleans the barracks, the boy’s eye turns, with pity, with lust; he gives her bread. From Erfurt to the extension camp, Buchenwald’s new Dora Northausen. Here they spare the rope to hang. All are hungry, the Germans too. The Allies bomb the industrial camp. Liberation. Rows of corpses, the eternal rows, line Northausen. The Germans are forced to respect the dead. Kalinivka, Prymsl, the unseen dead, now here in respectful symmetry, no longer piled in heaps, but rectangular, marked. The flowers grow, the burghers sing, “After every December, there comes a new Spring.
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Margaret Boles
margros7744@yahoo.com
Bio (auto)
The Holocaust is something that I find moves me to write, and I have had poems published for Holocaust Memorial before on Poetry Super Highway, and also was one of two poets published weekly last fall. My first collection The Eye of the Tiger has been published in India.
The following work is Copyright © 2009, and owned by Margaret Boles and may not be distributed or reprinted in any form whatsoever without written permission from the author.
Music at Auschwitz
Music - at Auschwitz
I hadn’t thought
I’d want to listen to it,
And something of the mournfulness
Of its character draws and repels
Simultaneously.
The newspapers were full
Of the iconic view
Of the railway tracks running
Beneath the archway
At the final station
That was Auschwitz.
We’ve seen it all
So many times before
Minds wondered at
Prison guards who dealt with
Auschwitz, Treblinka, Dachau, Bergen Belsen
Went home to wives, families
Blond proper German children
Played with them,
Next day worked again
At the Final Solution.
Music at Auschwitz
Beauty and poignancy
Living, born inside the head
Of the prison camp dweller.
The feeling in a quality , a timbre of voice,
Poignant Vibration of Violin and Cello strings
Music at Auschwitz.
I hadn’t thought I’d watch it
But having started, it drew me
And vibrated within
Long after
The music stopped.
Remember, remember the dark side
Is it ever too far away?
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Martin H. Dickinson
dickinson@eli.org
Bio (auto)
Martin Dickinson’s poems have appeared in California Quarterly, Clamshell Broadsides, Heartlodge, The Innisfree Poetry Journal, Isotope, poeticdiversity, and World of Water, World of Sand, A Cape Cod Collection of Poetry, Fiction and Memoir. Martin has read Emily Dickinson at the Library of Congress for the Favorite Poem Project, and his reflections on “The Grass” are included in the project’s anthology, An Invitation to Poetry, edited by Robert Pinsky, Maggie Dietz and Rosemarie Ellis. Born in Pittsburgh and raised in Pennsylvania and Massachusetts, distance runner and lover of nature, he is the father of two sons and a daughter, and grandfather of one grandson. Martin lives in Washington, D.C. where he works for an environmental organization.
The following work is Copyright © 2009, and owned by Martin H. Dickinson and may not be distributed or reprinted in any form whatsoever without written permission from the author.
Pouring the Tea
........................For Eva Roszia
I don’t know the relationship exactly,
but we’re related.
At the sound of the whistle, I remove
the kettle from the flame.
You walked through flame and came back
to tell your story.
Wife of the cousin of my father-in-law,
we meet for the first time.
The talk at my table is of mathematics. Windows
are open to springtime
both here at my house and in Budapest. I stand
above the talkers at my table, notice
the blue numbers tattooed on your forearm.
I pour the tea.
I don’t know the relationship exactly,
but we’re related.
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Martin Steele
Tinsteele@aol.com
Bio (auto)
Martin Steele writes, "I was born and raised in Johannesburg, Republic of South Africa. I was educated at King Edward VII School where I first found my love for words. I settled in Delray Beach, Florida in 1999. "My first real success was in 1951 when my poem "The Fall," appeared in a new English literary magazine, Nimbus. In South Africa I won the Sunday Star's Contest in 1992 for "Language of the Heart." I received a prestigious award from the South African Writers Circle for thirty-six of my poems entitled Night Shade/Day Shade. The volume was the runner-up in the award made to the Professional Writer of the Year, 1999 by the SAWC. I won First Prize in the SAWC Poetry Competition for my poem, "Until Now I Have Struggled." It told the story of the anguish of the heart of a man who was crippled and wounded in some protest action forty years before 1998. The adjudicators were Professor J.P. Wade of the Centre for the Study of South African Language and Literature and Lionel Lawson. "Nineteen of my poems on the subject of war appeared in Crescent, a journal of new poetry in 1999. In July 1996 my poems appeared in the classical issue Something Quarterly. My poem, "I'm Still Waiting," concerning 9/11, was published in the Great Books Florida News Letter (February 1, 2001) and another poem, Picture a World Gone By (…11 September 2001) was included in the September 28, 2001 edition. I was a finalist in the 2003 War Poetry Contest, Winning Writers, for my epic poem Sarel and Samson. I was also a finalist in 2007 for Can We Believe Them? Recently my poem , "Omaha. Day one", won a Highly Commended Award in the 2008 Tom Howard Poetry Contest. I also won High Distinction in the 2006 Tom Howard/John H. Reid Poetry Contest. My poem, Service and Set appears in Sailing in the Mist of Time, an Anthology of Award Winning Poetry 2007; my poem Big Tent Game is published in an Award Winning Anthology entitled Traveling 2005. Jendi Reiter critiqued my poem, "New World", in 2005. In September 2007 in San Francisco I received Second prize for exceptional poetry that inspires dance from Artists Embassy International Dancing Poetry Contest Award. My poem Urginea Maritima I wrote whilst I was in Sardinia in September 1998 My Brother is a Scarecrow, a prose poem appeared in Coyote Wild in November 2006. In June, week 9th to 15th I was Poet of the Week in the Poetry Super Highway. My poem Lost Tears was showcased in Poetry Place on June 15 2005 for several months. One of my favorites The Man in the Window was published in Genesko. I enjoy writing in America; I write every morning from 5 a.m. to 9 a.m. I have such wonderful peace of mind in this Country. Winning Writers, Jendi Reiter, has been instrumental in guiding me to poetry sites and places of literary interest. OurEcho also revived my interest in writing poetry; such a friendly site.
The following work is Copyright © 2009, and owned by Martin Steele and may not be distributed or reprinted in any form whatsoever without written permission from the author.
Bring Back the Children
The barbed wire enclosure bristles.
A gaunt gauleiter looks on. He is amused.
He laughs,
As he shoulders his cold steel steps.
Red blue eyes start bleeding
From sad songs
And lost words of last testaments.
Red blue eyes bleed
From dank, deep desolate dirges
Of sad children’s songs sashed in rags--
Hidden in last year's religious guises.
There is rage and fright
In the eyes of fresh arrivals
Who seek lost transparent ghosts
Melted down to warm wax
That spreads new stains on brick kiln walls,
Washed by clean daily blood,
Once so pure,
As petals on white roses,
Churning grey cement
To joyless red;
Promised pledges are lost
On page one of a Family Book.
Fresh-fruit promises fade remorselessly;
They hang from broken trees
‘longside haughty smoking stacks,
Substituting soot and grime and stench
For a lost laughter in children's eyes-
Fleeing this drunken stable of broken promises
And unfulfilled dreams.
Help!
Lead the children ,
To a cold thin stream
Standing sentinel in the dawn.
Show them views of life
And last reflections
Of unsurviving, quick-sand genes.
Pause!
Help search for minutes
Of those long lost lifetimes;
Aeons of thoughts lost
And packed in thin air
Around fine ashes
Once so far scattered,
Now lying lost
In the strokes of dead lead pendulums
In a disused suburban mall.
Don’t stare at your thoughts.
Walk on by,
And pray in soft undertones of grey;
Hear a last goodbye echoing to nowhere,
Kindling with soft salt tears
For warmth,
Forever staining cheeks
With the unwashable joyless tears
That coagulate again, indelibly
'gainst the gauleiter’s-mason's steps,
Leaning lazily and drunkenly
In a forgotten, dissipated warlord's
Unused blackened broom room,
Nestling with his mixed eternal curse.
The long-gone children seek him.
They want back a little bit more of life.
If he will trade,
They will be forever, eternally grateful.
In remembrance of the brave children who perished in the dastardly camps.
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Michael Brownstein
michaelbrownstein7@sbcglobal.net
Bio (auto)
Michael H. Brownstein has been widely published throughout the small and literary presses. His work has appeared in The Café Review, American Letters and Commentary, Skidrow Penthouse, Xavier Review, Hotel Amerika, After Hours, Free Lunch, PoetrySuperHighway.com, Meridian Anthology of Contemporary Poetry, The Pacific Review and others. In addition, he has eight poetry chapbooks including The Shooting Gallery (Samidat Press, 1987), Poems from the Body Bag (Ommation Press, 1988), A Period of Trees (Snark Press, 2004) and What Stone Is (Fractal Edge Press, 2005). Brownstein teaches elementary school in Chicago ’s inner city, studies authentic African instruments with his students, conducts grant-writing workshops for educators and the State of Illinois Title 1 Convention, and records performance and music pieces with grants from the City of Chicago ’s Department of Cultural Affairs, the Oppenheimer Foundation, BP Leadership Grants, and others.
The following work is Copyright © 2009, and owned by Michael Brownstein and may not be distributed or reprinted in any form whatsoever without written permission from the author.
Morrie
Everything is different when you see the lack of the tattoo.
Morrie did not find his way into a camp, but he knew its presence,
felt it the day he was revived laying under his father's dead body,
discovered himself in an outlaws camp growing strong--
strong as in let my peole go, strong as in we can do this.
strong as in the strength to solve a problem in need of solving.
Short in stature, he took risks adults could not and discovered within himself, within his nature, a survivor who could survive,
who could leave the bomb behind, the catalyst at a bridge,
the packet of food, the envelope of money for bribes.
His memoir begins: I was under my father's dead body
and there was blood everywhere. He is still alive.
Fifty years later he honors those with the tattoo,
remembers his father, his sister, the uncle who found him
after the war had ended and the camps were emptied.
He remembers and through him, I remember and now,
though hell was earth that time, the surface scratched
and bleeding, he has allowed me to never forget.
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Mike Scheidemann
mikeschd@yizrael.org.il
Bio (auto)
Mike Scheidemann was born in Johannesburg, South Africa and raised in Southern Rhodesia (present-day Zimbabwe). He read French and English Literature at Capetown University, before devoting himself to poetry and socialism on Kibbutz Yizre'el in northern Israel. He is the president of 'Voices: The Israel English Poetry Association' and has served on its Editorial Committee. He was the Senior Coordinator of the XIII World Congress of Poets in Haifa. He has published four anthologies of poetry and co-edited two editions of Peace through Poetry.
The following work is Copyright © 2009, and owned by Mike Scheidemann and may not be distributed or reprinted in any form whatsoever without written permission from the author.
Like Father Like Daughter
She rode desolate waves, dreams beached on her past;
A proud child mostly hidden behind her image in the glass.
In a dusty attic before a mirror, dull as tarnished brass
Amidst a heap of faded velvet, satin, lace, and tatters
Of another era, when she’d dared to beam back at herself.
For such a brief while her dark had not been feared.
She’d fluttered through youth; a detached bird’s feather
From a nest echoing ghosts. A lady languished forever;
With the child tucked into her twilight between columns
Of curtains and chintz. Her father sought every excuse
To quit home buoyed by passion and self-righteousness
Before ever she might devise a complete picture of him.
In time, she took to people from afar and saw in her soul
A kinder light. She thought she had her music though
Her violin barely reverberated; trapped in its wood.
Sometimes her frozen smile and glazed, jade eyes belied
A relentless throbbing in the blood. Then her face fractured
Her image became a lightning crack in the mirror. It showed
Not when she appeared but it stirred along the violin chords.
Her being would balk, could confuse and confound her
Until her skin tingled and crawled and every instinct
Shrank. Once she had talent. It haunted every sound
As it had in her father when he’d played at Birkenau.
There he had played for his life and has never done so since!
Such gifts, gossamer light, gave charismatic glow to her cheek.
They had swarmed around her once and she’d delighted
In the flirtation. Then she recalled her initiation; preferring
To remember her first full-length concerto like that
Full-length skirt she’d swam in, before the mirror bronze
And silver. Memories now help her bear her composure.
She splays slim fingers across the strings. Her blood flows.
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Nicole Nicholson
ravenswingpoetry@gmail.com
Bio (auto)
Nicole Nicholson is a 32 year-old writer and performance poet who draws inspiration from history, legends and folklore, people, nature, the vast cosmos of being…and upon occasion, the voices in her head. She is the founder and sole contributor to the Raven’s Wing Poetry blog at: http://ravenswingpoetry.com. Her work has recently appeared in Young American Poets (http://youngamericanpoets.blogspot.com), Shoots and Vines Zine (http://shootsandvineszine.blogspot.com), and the Orlando Artist's Collective Zine. She lives in Columbus, Ohio with her fiancé.
The following work is Copyright © 2009, and owned by Nicole Nicholson and may not be distributed or reprinted in any form whatsoever without written permission from the author.
Somewhere
somewhere
a lime pit had opened its mouth
and swallowed his mother
and all that he is left with are
sketches
of her face tattooed
inside his paper-thin eyelids
and
endless refrains of mother words
the d.j. in his mind respins them
respins them
she says:
“don’t forget your coat”
and
“watch out for your little brother”
and
“I love you”
in indelible ink
which
will outlast the Nazi numbers
tattooed upon his arm
you see
nothing can make you forget
blood running through veins
carrying building blocks reassembling
themselves into a brand new configuration
every time a new soul in your family
is birthed and
how much your building blocks look like your mother’s
look like your father’s
look like your brother’s
look like the faces staring out of the windows
of trains
carrying them away so that their blood
can run down a scrubbed half-tone gray hill of rocks
that cannot understand
just what that blood meant
and cannot hear
its screams silent, the kind that
only Heaven
and ears that were pre-programmed to hear
blood calling from the ground can hear
somewhere
the sky is singing above their heads
weeping yellow six-pointed stars
back down to earth for us to find
and if anybody ever tells you
that there were no trains
that there were no camps
there were no congregations of hollowed eyes
staring out of fences, peering
searching the horizons for Heaven
to come back down to earth
that there were no hearts crying
pleading for the chance to sit shiva
looking for outer garments to rend
but finding
that someone had already torn them
then look
for those yellow stars
somewhere
the crackle of latkes plays in his head
as a backbeat to her mother refrains and
the melody of seder strains where
as a child, he would ask who he was
in five parts and every year
he would get his answers
spoken from the mouth
of the Haggadha
and if you question for a moment
wonder if the song in his head is real or if
history is a liar, then remember
that
somewhere
a lime pit had opened its mouth
and swallowed his mother
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Paul Hellweg
paulhellweg@gmail.com
Bio (auto)
Paul Hellweg is a member of both Veterans for Peace and Vietnam Veterans Against the War, and he strongly believes that working to help end all war is the most important purpose of his life. He fancies himself a poet too. Visit Paul on the web here: www.paulhellweg.com
The following work is Copyright © 2009, and owned by Paul Hellweg and may not be distributed or reprinted in any form whatsoever without written permission from the author.
Death
Death I appeal your harshness
having robbed me of
............both my parents
............my best friend
............and
............my childhood friend too,
You remain unsatisfied,
and that’s just personal loss,
I don’t even want to
think about the Holocaust
or
............Hiroshima
............Nagasaki
............Vietnam
............Iraq
............Afghanistan
and all the other wars,
but still
You remain unsatisfied,
waiting for all of humanity
to languish too.
Inspired by Villon’s “Testament.”
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