Urracá
by Roberto Harrison
cover art by Aubrey Rhodes

ghost animals

skin after skin, a revolver
lets go the body
and makes answers, the sky

collapses. Riviera, for the wind
shrunk
like knots, at the intersections of

more endings, like an exhausted
combination for a settled
over the float commanding

together with, a peace
and more shorelines
emptied, gone, recoiled...

a motion selves
an attack of tunnels
forgives, installs, and violations

oil skin makes
each fur
seas collect, cavity

increases their together, snow
factory
like a crow

floods the fly on, the prison impression
makes for the count
unknown to it, salivation dissolves

the neck. wind sea
another side of you, wind sea
promises words planted off, a cracking window

selling shoes. no wait
for the chain
remembers. sealed

flattened road, there are no
signs to give faces
a scorched season, an impala for

virtual slopes, an earthquake
connected to the roof
wheels go flat for, gone

ocean. never is it, a highway
gives off
to mark dogs. nameless smoke,

separates the pier
for song, from the blue
coal, to go

inside a torso - forests in
a hand cut
on either, in either

flooded, fooled and wet
to revolve in the gun song
and dissipate, for faces

locked outside
the magnet locker, attached
to a collectible kind of rain blot

more in tune, in the street
stretched, and you
relative, cavity of...

the field extinguished and
cape for the head
another does, toward

the engine, is
in effort - sidewinder, skin off
rumors, accumulated skin sheets

the gravity services
to color, the red
accretion

increases for the rain
operations
each inside a THEN hut, bullets

cashed. throttle this double headed
connection effort
the hand, done with a corner

another kind of its recharge
meant, to a word
ameliorations for the plastic

forests, members off it on, together, an open
cloud wire, solvent says
her face grows, retrial

in the function. same accent
revealed, to the West
received, for - to receive

in this the hand, cut circle
door for, in the darkness
matter, toward its next

separate ash, together
searing wire on the unwanted
collection, micro moves a THEN BEFORE

an unknown crisis, in it, the seeping
floor calibrated in the corner barn -
is it a none it? spherical

seven these for the room
everyone is it is, rain attired
to the Western sun

he replays, replies to it
in coffin segmentation, keeping it
solved, the dream ends, unanswered

on it then, the underwater plates, more
to go on turning
these rides to it

in THEN, a team
doesn't crease its page
for the daylight core

tatters in the bridle for
these in their rooms, the door
not moving

to the time it sells, in its command
inside, to it that a dream comes
to it old in then a her has

cavity seas, to seas on the flat iron light
to its weapon kind of sun
to its alone for the person for one is

in accretion, gone for hands
alone, twice, gotten without
the offending dawn around its mouth, its mouth is

coming for the picture it is for a face still in it
its face is still in it twice to reflect
along the seams they split in their scrape as is it, on it

the please has to remain its double none is to it
and for the collected twice has to it gone over
around the ash has her with its green soak, is this for it on

Roberto Harrison edited Crayon with Andrew Levy from 1997 to 2008. His most recent publications include Counter Daemons (Litmus, 2006), Os (subpress, 2006), Elemental Song (Answer Tag Home Press, 2006), and reflector (House Press, 2008). He edits the Bronze Skull Press chapbook series and hosts the Enemy Rumor reading series in Milwaukee, Wisconsin. A collection of his drawings and journal entries, Ineffable Isthmus, was recently on display at Woodland Pattern. He is Panamanian American.

Cover art by Aubrey Rhodes. Aubrey Rhodes works as a full-time artist in Australia. While painting collections inspired by contemporary events and current issues, she accepts commission work. Rather than singularly focusing inward, Aubrey paints societal narratives. She relishes contemporary media and relies on research and images found in libraries, thrift stores, on the internet, in magazines, newspapers, and books to construct seemingly common compositions that symbolize a commentary on our contemporary world; if not suggesting change, the artist intends to provoke self-reflection - on an individual but also a communal and social level as well.