People You May Know


Kristine Maloney

We yearn to see what people are doing
Are they successful?
Are we more successful
Than our bullies?
Than our ex-best friends?

People you may know
Some algorithm tries to figure
Who we still care about
And who we have fallen away from
Or who we wish would disappear

It was a normal day when his name popped up
There he was
Technology telling me that I should want to
Know what he is up to
I clicked

I wish I hadn’t

He lives his life day in and day out with no idea
Of how he impacts my life every single day
In a negative fashion

He may never know the extent
Of that night
Or the way that the words of Zig Ziglar apply to him

“just because someone screwed up your past, it doesn’t mean you should give them permission to screw up your future”

What a word
He will never know

Even computers
Ask for permission
Would you like to download this?
Would you like Google to save this password?

Technology has more sense than he did
And technology thinks
He is someone I want to remember

 ©Kristine Maloney, 2017
Kristine Maloney is an aspiring author based in Virginia. When she is not writing, she is working hard and spending time with her pets and husband. Putting her work out into the world is a frightening prospect, which is why she is currently employing a pseudonym until she grows in her literary confidence. Read more of her work at

A Night on the Town


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  1. Why was the restaurant three-quarters empty when we arrived for the ‘only’ reservation your hostess told us was available?
  2. Was the jewelry the hostess wore real or fake? And has she heard how much she looks like Ali MacGraw? Does she even know who that is?
  3. Why did we have to wait 15 minutes to be seated?
  4. Why were we asked three times, by the hostess, the man who seated us, and our server, whether we had any vouchers or coupons? And, perhaps more to the point, why did this not set off alarm bells in our exhausted brains?
  5. Why were we asked, also three times (must be a charm!), whether we’d been to Ruth’s Chris before? Was this simply small talk, or a canny stab at assessing our level of gullibility?
  6. Why was it a nearly two-minute walk through the murmuring plush and glint of dimly lit winding corridors to the heart of the labyrinth, a tiny walled booth (if memory serves, there were drapes), where we were placed in our seats like dingy chocolates in a gilt box, a massive cube-shaped chandelier glaring and winking above our heads? 1aaabirdcagegfairy003Might it have been that we were rumpled after a long drive, for which one tends to dress casually, and that landed us in the cheap seats?  Might it be that there is a certain standard a restaurant is within its rights to uphold, that it cannot afford to have other diners, of which there were, at this particular moment, roughly 12, put off by shabby patrons? Is it maybe because we didn’t look like these guys? Does anyone look like these guys?Screen Shot 2017-05-15 at 5.02.41 PM
  7. Why did anyone think it was a good idea to produce smoky-voiced-chanteuse, lounge-lizard covers of such favorites as Wish You Were Here, Under My Thumb, Billie Jean, and Smells Like Teen Spirit? And why did your establishment opt to play them?

With the lights out, it’s less dangerous
Here we are now, entertain us
I feel stupid and contagious
Here we are now, entertain us
A mulatto, an Albino
A mosquito, my libido, yeah
8. Why–wait, what, I–what the actual…are these Canadian dollars? Are we at a movie theater concession stand for steaks? Is this a fucking *joke*?
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9. Why didn’t we listen to our 19 year old son, who dropped his menu and said ‘let’s just get out of here’? Did it have something to do with feeling flattered and shamed at the exact same moment? Or were we just exhausted?

10. Why does a dinner that costs a fortune come with a stern warning not to touch the plates, which are heated to 500 degrees (to ensure your food stays hot from first bite to last!), lest you badly burn yourself? Why am I paying for that?
10a. Why were my crab cakes cold anyway?
10b. Why was there no glass of ice water to plunge my fingers into after I forgot (do you know how easy a thing that is to forget?) and touched my plate?

11. Why is there some guy in the men’s room chatting up my son, nudging his little saucer of dollar bills across the counter, offering a paper towel in exchange for a tip?  Is a man in a bathroom assuming familiarity with a stranger in exchange for cash somehow classy?

12. Why does a tablespoonful of mint jelly cost 4 dollars?

13. How long did the ‘julienned potatoes’ (read: fries) sit under the warming lamp?

14. Why did our server never quite strike the balance between attentive and discreet, instead veering wildly between obsequious and oblivious? Was she having a bad night, maybe? A babysitter flaked on her? Her mother showed up drunk to her kid’s birthday party?

15. Why did I feel sorry for the unseen couple at the adjacent booth (‘my table just proposed,’ our server blurted breathlessly as she bustled past us with two little flutes of champagne), muttering under my breath ‘I give it six months’? Does a marriage whose seeds were planted in this place stand a chance?

16. Why did my food taste like rain-soaked charcoal ashes?

17. Why, at 27 dollars a glass, did my husband order a second glass of wine? I mean, I guess that’s something I should ask him. Or not.

18. Why did I ask for the remainder of my dinner to be packed up when we were staying in a fridgeless hotel room, then scurry out of the restaurant with a plastic bag with handles feeling like maybe, at least, I’d gotten away with *something*? I mean, it would’ve been like leaving 65 dollars in cash (well, I’d eaten half of it, so let’s call it $32.50) on the table.

19. How would Ruth Fertel, your establishment’s founder, described on your website as a feisty single mom who overcame all kinds of obstacles, including a fire that burned her first steakhouse to the ground, have felt about being cynically pampered, deftly insulted, and divested of her money for a *steak* when she had children to send to college? Or was this what drove her? Was this how she justified the business model she strove to create? Did hardship beget hardness? Eat or be eaten? Did it beat the decent right out of her? Hers is a compelling story, an inspirational screenplay. Just look at her, tiny, barely 5 feet tall, butchering steaks with a bandsaw, hiring only single mothers as waitstaff. What’s not to love? But did it occur to her that maybe she had some single mothers as customers?

20. Did our server maybe for one second feel a little bit sorry for us, or does she have problems of her own (see above)?

21. Why am I surprised that Donald Trump is the president?  I mean, well, we’re in Canada, but only by about fifty feet. You want to feel rich? It’s gonna cost you. Even with the vouchers, you’re getting gouged. And ‘Wow!’ we think. ‘What a deal! I’m surrounded by velvet!’

22. My son picked up the little frosted glass votive on the table, peered in, and saw a battery-operated lightbulb, showed it to us with a wordless eye roll. Could you maybe have sprung for some actual candles?

23. Why, after we left, did I prefer to imagine I’d just been mugged than out to dinner? Maybe because at least a mugger acts out of necessity, however base? Maybe because a mugger wouldn’t pretend he was doing me a great service by pressing a steak knife to my throat? Maybe he wouldn’t shower me with false flattery first?



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24. Why was I relieved to learn that we were not your only victims?

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25. Four dollars for a diet Pepsi?

26. Have you ever seen anything more beautiful in your life?







I mean, if you’re going to sit awake all night thinking about your health insurance, your property taxes, the credit card balance and the weird noise coming from underneath your car, you couldn’t ask for a better view.  I’d say it puts all of it in perspective. I’d take a moment to be grateful that such beauty is given to us, this miraculous world, regardless of whether we deserve it.

But I’m afraid that’s going to have to wait for another day.

©Melinda Rooney, 2017

Unconventional Forms

From the ‘Pop-up Poetry’ series of workshops sponsored by StoryStudio Chicago

Sunday, April 30, 2017
taught by C. Russell Price 

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Each of Russell’s poetic exercises from the Pop-up Poetry series (and I really wish I hadn’t missed the first workshop) stands alone as a path to deeper creative fluency,  but taken together they share a common intention: to startle the writer into thinking differently, to jump-start creative association and engagement with words and the world outside of us, to connect and communicate with the work and words of others.  It’s a curriculum both of surprise-folding old and new together, forcing a new perspective that takes us out of ourselves-and recognition: there’s material everywhere. Sometimes we need to be reminded of that as we sit there with blank minds and pages.

This final class in the series examined several lesser-known poetic forms, daunting in their rigid structure and requirements. We were instructed to dive right in and make them our own.

1. The Abecedarian


…an ancient poetic form guided by alphabetical order. Generally each line or stanza begins with the first letter of the alphabet and is followed by the successive letter, until the final letter is reached. The earliest examples are Semitic and often found in religious Hebrew poetry.
 -The American Academy of Poets

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Amy Ludwig VanDerwater

So we wrote our ABC’s down the left margin of a piece of paper, and had ten minutes to generate a poem: a love letter to a person, place or thing.  Three imposed limits: the form itself, the time constraint, the theme.

I didn’t get real far. It was incredibly difficult.

After the divorce
Before the reunion
Coincidence? Or Fate?
Edged over
Found me at the table
How weird!
I loved him when I was 20.

Yeeesh. And that was only the beginning of the alphabet. Imagine if I’d made it to K and Q and X.  And Z. The idea that the structural requirements might actually enable rather than inhibit expression made sense to me in theory; in practice….well, yeah. Maybe I could look at it as an exercise, like a musician running scales.

Yeah. That’s it. I was just warming up. There was a big crowd on Sunday, 10 people all told, with only a short time to go over what we’d done, so it was hard for me to tell how many others had as tough a time as I did (and doesn’t it always seem like other people are ‘getting it’ more quickly than you are?).


2. Cento


From the Latin word for “patchwork,” the cento (or collage poem) is a poetic form made up of lines from poems by other poets. Though poets often borrow lines from other writers and mix them in with their own, a true cento is composed entirely of lines from other sources.
-The American Academy of Poets

 Or, as Russell described it, it’s a sort of ‘chainmail’ made out of the pieces of other poems, ‘pulling a poem of your own out of the lines.’

We were instructed to go to the poetry section of the store and choose a book, either by a favorite poet or one entirely unfamiliar to us. We were then directed to page through the poems, cherrypicking a striking line here, another striking line there, then assemble them into something resembling meaning.

Because my confidence was a little shaky I went straight for this, as he has never let me down: Screen Shot 2017-05-03 at 10.59.42 AM

We had ten minutes.

after Billy Collins

The tip of the nose seemed the first to be lost
If you tripped on a shoelace in the hall,
The air ionized as before a thunderstorm.

I heard the ghost-clink of the milk bottle
I fell in love with a wren
It played while I watered the plants
It repeated itself when I took a walk

There was a lot to notice that morning
My new copper-colored bicycle
The music of the spheres
I peered in at the lobsters.
How many things have I looked up
In a lifetime of looking things up?

It’s really sort of amazing what happens; it feels like the sense makes itself.

Again, there sadly wasn’t time to read them all aloud; we chose favorite passages and passed them around (this easily could’ve been a three hour workshop!).

3. Collaborative Poem
(*this is what I’m calling it; it may have a formal name that I don’t remember or know*)

It’s what it sounds like (remember the dread you felt in school when you were told to ‘pair off’ for some class exercise or other?): work with a partner, trading couplets back and forth: you write one, they write one, then you write one, etc.  We were instructed to arrive at a theme by brainstorming with one another, then get down to writing. I don’t know if everyone was as squirmy about this as I was, but it seemed like it.

Why? Why did we feel that dread in school; why did we (or I, at any rate) feel this way?

I think one of the reasons I am a writer is that I am shy, am too easily distracted from my own thoughts by those of others, need to mull my words over and play with my ideas before I share them. It’s a comfortable if not always optimal place, and when you are asked to work with someone else (for some reason, it’s not as difficult for me with a group as with a single partner), you don’t have the safety of privacy anymore.

Or something.

Anyway. My partner Calvin (I never learned his last name…sorry, Calvin!)  and I put our heads together. We were each skittish, I think (I know I was!), tossing the task back and forth like a hot potato. He said ‘you lead,’ and I balked, said something about being that dancer who prefers to follow (or not dance at all, unless I’ve had a couple of drinks), and we finally stumbled on Dancing as a theme.

Dancing Tango [a is one voice; b the other]

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Let’s dance
Tango is cool with me

I’m not much of a dancer
More a stand-against-the-wall type

Come off that wall
Stand tall
You win
If you don’t fall

Well I guess I’ll win then
Which foot goes where?

Look what they
Doing, shakin
Soft shoeing
Let’s steal a dance
Do that prance

They move so fast
Like they know what they’re doing
Maybe if I move fast
I’ll look like that too

A one and a two
A stolen soft shoe

Who’s leading? The follower?
Or do I follow you?

While putting this post together, I came across this, a collection of poems for two voices:

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4. Ghazal

Its restrictions belie an exhilarating freedom not found in other kinds of poetry. It becomes a liberating sort of puzzle.

Pronounced ‘guzzle,’ this is a form I’d never heard of. Originating in Persia, its name originates in an Arabic root that means talking to women.  At its best, flirtation is a subtle art, with a particular and often daunting set of rules. The ghazal is no different.

With gratitude to Holly Jensen at, here are the rules:

  1. A traditional or free ghazal has at least 5 end-stopped couplets. Repeat: no enjambment  between couplets. A caesura or end-stop between the lines of couplets is common.
  2. Couplets are autonomous. They need not tell a single narrative, share a single voice, or use common imagery. You can even think of each couplet as its own small poem. They’ve been described as beads on a necklace: separate elements that combine to create a beautiful whole.
  3. The poet often refers to or addresses herself (or an alter ego/pen name) in the last couplet, directly or through word play.
    [in addition to meeting the above guidelines, a ghazal in English has three additional rules]
  4. The defining characteristics of a traditional ghazal are its rhyme and refrain. The refrain can be a word or phrase. The rhyme appears directly before the refrain. Every couplet ends with the rhyme and refrain. In the first couplet only, both lines end in the rhyme and refrain.
  5. Every line of the poem shares the same meter or syllable count.
  6. A ghazal doesn’t always follow every rule!


I found this ‘ghazal defining a ghazal’ to be (a little) more enlightening:

Ghazals on Ghazals
John Hollander

For couplets the ghazal is prime; at the end
Of each one’s a refrain like a chime: “at the end.”

But in subsequent couplets throughout the whole poem,
It’s this second line only will rhyme at the end

One such a string of strange, unpronounceable fruits,
How fine the familiar old lime at the end!

All our writing is silent, the dance of the hand,
So that what it comes down to’s all mime, at the end.

Dust and ashes? How dainty and dry! We decay
To our messy primordial slime at the end.

Two frail arms of your delicate form I pursue,
Inaccessible, vibrant, sublime at the end.

You gathered all manner of flowers all day,
But your hands were most fragrant of thyme, at the end.

There are so many sounds! A poem having one rhyme?
—A good life with sad, minor crime at the end.

Each new couplet’s a different ascent: no great peak,
But a low hill quite easy to climb at the end.

Two armed bandits: start out with a great wad of green
Thoughts, but you’re left with a dime at the end.

Each assertion’s a knot which must shorten, alas.
This long-worded rope of which I’m at end.

Now Qafia Radif has grown weary, like life,
At the same he’s been wasting his time at. THE END.

A string of beads: the ‘string’ is its series of repeated Screen Shot 2017-05-03 at 6.32.32 PMrhymed refrains, its ‘beads’ the images: ‘wine, roses, candles, birds, war, prayer, politics, jokes, deathbeds, and kisses…’ [Holly Jensen,]
I never quite found my footing with this one: *so many rules* with only a short amount of time left.

Clouds out the window, wool in a box
Ice in a plastic cup, handful of rocks

Seat back and tray table, cart in the aisle
Upright and locked, she says with a smile

You’re now free to move in the cabin…..

…aaaannnnd it peters out. Where’s that repeated phrase? Nowhere to be found. Why are those rhymes so lame? Best I could come up with. Not much came out on the page, but I was doing some real mental gymnastics; maybe that’ll help me the next time I take a stab at it.

What were the gymnastics, exactly? They were a struggle between the restrictions of form and the completely different restrictions of freedom. Russell mentioned hating the requirements of rhyme; it can shut down association and imagination…except when it doesn’t. They were a struggle between my own words and the words of others, an often noisy conversation, a jumble of sense and nonsense. It was a struggle between what hinders creative expression, and what enables it.  It was a struggle between private and public, individual and communal, original and borrowed; it was a struggle with the self-contradictory idea that rules allow freedom, and that freedom creates rules, almost requires them.

Poetry is, I guess, a humanity-wide effort, a democratic art: we borrow from others, generate from within ourselves, join the conversation. We build it in cooperation with one another: everyone who came before us, everyone who will follow. It’s an alphabet, a patchwork, a dialogue, a string of beads, a dance.  And when you’re jammed up, when you can’t quite complete that circuit between head and hand, mind and heart, ideas and images and words, ‘Steal everything!’ Russell said, then get out on the floor, write about dogs, and make something of your own.

Let’s dance
Tango is cool with me.

©Melinda Rooney, 2017
[Skeleton Tango by Laura-Anca Adascalitei]