Sunday, February 28, 2021

Two New Books! Peel The Sun & Paper The Sun by Simon Perchik

Two New Books: Peel The Sun & Paper The Sun

As if with a beginner's scissors
you peel the sun and on your arms
each strip hung out to dry ̶ you too

need steps, reaching up to plant
the way all grapevines clasp
something still damp, careful
how to fold and your child's sleeves
almost singing, almost
one holds the other, up, up and you

are picking a small blouse
already pink, opening
for your warm mouth and wings.

You paper the sun ̶ with both hands
bury the ashes though the time hasn't come
for shadows ̶ what you darken

sooner or later becomes your fingertips
still warm, wanting to spread
as winters, be harvested

from a sky already half stone
half so often covered with snow
̶ you cling to a grave

that has no grass yet
is setting out and for a while
across the ground and the others.

 Click here to purchase on-line ($8.00)


Simon Perchik, an attorney, was born 1923 in Paterson, NJ and educated at New York University (BA English, LLB Law). His poems have appeared in various literary journals including Cholla Needles, Partisan Review, Poetry, The Nation, and The New Yorker.

New Book! High Desert Elegy by Michael G. Vail


“In this collection, Mike Vail reveals and celebrates his deep appreciation for the landscape of the Mojave Desert and the people who inhabit it. His poems and stories are wry, poignant, accessible, and strongly evocative of both time and place.” Lorie Smith Schaefer, Author of Us, Now and Then

“Whether in his short stories or poems, Michael G. Vail’s writing is captivating--poignant, but always upbeat.” Barbara Wu Heyman

“Filled with vivid details and memorable characters, Vail’s writing draws you in and captures your heart! I laughed, I cried, I nodded in agreement…and wondered what would be coming next.” Julie Boesch

“Vail’s short story, ‘The Moaning Cave’, will take its place alongside the spookiest of modern legends.” Janet Dixon

“I love how easily I’m drawn into the stories. Each one like a different ride in an amusement park—and leaving me looking forward to more. Bravo!” Lonnie Hahn

“Have you ever thought of everyday life as an adventure? You will find out about that side of life in High Desert Elegy, a collection of thought-provoking stories and poems by Michael G. Vail.” Adela Xu

“A master at capturing a solid sense of place through his visual and poetic narratives, Vail takes the reader into experiences that touch your heart and soul.” Julie Zimmerman

“Michael G. Vail’s writing is emotional and very personal. He reminds us of our frailties, and inspires us to look in the mirror.” Bruce Yeoman

“These poems and short stories are heart-warming and heart- wrenching.” Carol Webster

“The expressive quality of Vail’s writing demonstrates a unique and compelling perspective that showcases his raw storytelling and unconventional voice.” Kay Hamann

“Vail has such a wonderful way of painting images with words and creating intricate moods using minimal language.” Joan Robey

“The writing in High Desert Elegy is measured, careful and artistic. And it’s all that even as Vail’s pulling you into something that’s fun and yet revealing of the ethereal nature of human behavior and emotion.”Steve Stajich

“Michael G. Vail’s writing is smart, direct and unflinching. He details the lives of people you might recognize, sometimes sadly so. These moving stories and poems are both beautiful and brutal, like the Mojave Desert’s summer sun.” Kent Wilson

“Touching, contemplative and at times stark, Vail’s work is always engrossing and entertaining. High Desert Elegy is a stirring read.” Karl Bradley

“Stop whatever you’re doing and get High Desert Elegy. You will not be sorry. Michael G. Vail’s words allow you to lose yourself in the stories and poems he creates.” Myrna Vallely

“The stories and poetry are gritty slices of life. Not always about big life events, but they each represent a turning point or a moment to reflect for the characters. Much of Michael G. Vail’s body of work looks at the darker side of the human experience: love, lust, hate, abuse, death, fear, to name a few. Through these peeks into the lives of others, we are reminded of our own life experiences and choices. Vail’s writing draws a response out of the reader and leaves you with much to think about.” Joylyn Davis

Sunday, February 21, 2021

February Virtual "Open Readings"

 Welcome to our February 2021 Shelter-In-Place Video "Open Reading". A huge thanks is due to all the folks who have participated either as audience or as featured readers in our Cholla Needles Zoom Shelter-In-Place readings. I am pleased that we are able to continue these video experiences to share with each other until we can meet again in person. I can honestly say hearing your voices is keeping me sane. 

If you have a video you'd like to share, please - send me a note & let me know. We consider this a community page, and is not limited to only our "featured readers". This spot is here to help us experience the love of great writing until we can meet together in one spot again.

If you are browsing our pages, we consider YOU a part of our family and you are welcome to become part of our Shelter-In-Place video pages. Simply contact us at & ask how to get your videos posted on our pages. You can also use this address to send us your poetry, short stories, essays, and art for publication in our monthly magazine. 

Good Times!!! Click here for information on watching our Sunday Zoom Show live at 3 - 3:30 PM each week. In the meantime, enjoy the videos:

Kelsey Bryan-Swick reads In The Wild

Caryn Davidson reads Conjugation

Ernest Alois reads Desert Saloon

John Sierpinski reads Floppy Hats

Ruth Nolan reads from Cholla Needles 51

Heather Morgan reads Promises

Dave Benson reads Soul Soup

Jeff Alfier reads New Iberia

Tobi Alfier reads Cape Blitz

Michael G. Vail reads Desert Elegy

Mark Evans reads Bonesaw

Enid Osborn reads Three Poems 
from When The Big Wind Comes

Ginny Short reads Landscape of Drought

George Howell reads The Hole In The Night

Cindy Rinne reads Open Eyes

Noreen Lawlor Reads Two Poems

Kelsey Bryan-Zwick reads Dark Star

Caryn Davidson reads Spike

Ernest Alois reads Freedom Road

John Sierpinski reads Gypsies In Bulgaria

Ruth Nolan reads Firestorm, Southern California

Heather Morgan reads Green In The Dead Part

Dave Benson reads Re-Evolution

Jeff Alfier reads A Map of Vaughn, New Mexico

Tobi Alfier reads A Lifetime Ago

Michael G. Vail reads My Old Man

Kurt Schauppner reads from Mary's Confession

Enid Osborn reads Dirt

Ginny Short reads
two poems about her mother

George Howell reads
Dreaming About The Dead

Cindy Rinne reads Climb Tumble Dance

Noreen Lawlor reads Equinoccio

Allen Ginsberg reads Hum Bom!

Raymond Antrobus reads Happy Birthday Moon

Kelsey Bryan-Zwick reads My Name

Caryn Davidson reads Intermission

Ernest Alois reads Lost Lenses

John Sierpinski reads Prague, The Palace Hotel

Ruth Nolan reads Three Poems

Heather Morgan reads My Last Surgeon Told Me

Dave Benson reads Two Poems

Jeff Alfier reads Mojave County

Tobi Alfier reads from
Symmetry - Earth and Sky

Michael G. Vail discusses Writing

Jean-Paul L. Garnier reads Betelgeuse Dimming

Kim Moore reads And the Soul

Ginny Short reads Only Dust

George Howell reads The Scientist

Cindy Rinne reads Cycle of Incarceration

Noreen Lawlor reads Morongo Preserve

Allen Ginsberg reads Elegy for Neal Cassady

See you again in March!!!!

Monday, February 1, 2021

February issue released! Cholla Needles #50!


The featured authors in this issue are:

Kelsey Bryan-Zwick
R Mason McElvain
Royal Rhodes
Hayley McCullough
Timothy Robbins
Franca Mancinelli
John Taylor
Kent Wilson
Robert DeLoyd
Allison Whittenberg
Michael G. Vail
Jonathan B. Ferrini
Ishikawa Tokuboku

cover and inner art by Kelsey Bryan-Zwick

Keep up with our featured readers at our weekly Zoom Party every week.
Click here for more info on our Zoom Readings. . .

Book Review: Shadow on the Minotaur by Miriam Sagan

REVIEW: Shadow on the Minotaur by Miriam Sagan 
Red Mountain Press, ISBN: 978-1952204050

This wonderful little book arrived at our library yesterday with a one word command handwritten on the title page: "Enjoy!" Why not? I thought I'd keep it by my desk for the next week or so and read it though.  Well, last night when I sat down to read it I found I was unable to put it down. Sagan's writing and story line sucked me directly into Thea's world, and I found myself captivated. At some point my eyes closed to dream my version of the ending, and I woke up this morning with page 86 open on my lap. So I picked it up and read the rest of the book the way Sagan wrote it. I can't tell you if it matched my dream or not. I slept soundly.

The narrative is easy to follow, yet unlike any narratives I have read before. Thea is the main character and speaks very little though the first part of the book. We meet her through the eyes of others and learn to enjoy their company and hers even though they disappear after they've had their say. This is explained - at this point in her live Thea is not expecting characters to be permanent. The cab driver who introduces us to Thea drops her off and "as he drove toward his next passenger, her forgot about Thea." As readers we do not know when we turn the page if the main character will be Thea or the cab driver.

We quickly find out that we'll be living with Thea throughout the book. She has a past she is anxious to forget, and we live with her during a time she has decided she will never heal from, but she is willing to survive whatever life throws at her next. Sagan's narrative leaves itself open for the reader to decide if this is reality complete with delusions, or fantasy. I love the way Sagan leaves it to me to decide for myself. Early on in the book we learn how Thea's struggles are universal, and why we need to finish the book. Thea enters a yoga studio with 10 other women in the class "like a novel, with each person carrying a story, hidden pain, hidden strength."

I recommend this book, and it is available here in our library along with many other books by Miriam Sagan. You'll find it on shelf D6. Email me first to be sure no one else has it at the moment. If you love Mike's Magic Burgers by Rose Baldwin, you'll definitely enjoy this story. 

Good times! 

- - - - - - - - -

Other books by Miriam Sagan in our Library:


A Hundred Cups of Coffee 


Unbroken Line 

Map Of The Lost 

The Widow's Coat 

& Star Gazing 

Thursday, January 28, 2021

Book Review: Shakespeare in a Divided America By James Shapiro

Shakespeare in a Divided America:
What His Plays Tell Us About Our Past and Future

By James Shapiro

Reviewed for Cholla Needles by Greg Gilbert

Click for more info

     Shakespeare’s plays and sonnets offer multifaceted lenses through which we may interpret the world, and “there’s the rub.” In Shakespeare in a Divided America, author and Professor James Shapiro, a member of the American Academy of Arts and Sciences who has several award-winning books on Shakespeare to his credit, turns that lens on interpretations of America. While the author’s credentials suggest an informed and scholarly reading experience, which proved true, I was delighted to find that his book is wickedly entertaining as well, even bawdy on occasion, and politically astute.

      Divided opens with John Quincy Adams’s complaint about Othello, chiefly that Desdemona marries a “blackamoor.” Quincy, a leading abolitionist who had opposed slavery since 1783, viewed intermarriage as an “outrage upon the law of nature.” Thus begins Shapiro’s chapter “1833: Miscegenation,” an approach that sets the stage for a chronological examination of successive epochs, each a consideration of how Shakespeare was used by competing interests. Successive chapters (“1845: Manifest Destiny”; “1849: Class Warfare”; “1865: Assassination”; “1916: Immigration”; “1948: Marriage”; “1998: Adultery and Same-Sex Love”; and “2017: Left | Right”) offer scenes of rising action and conflict that culminate in a “to be or not to be?” of America as an unresolved question.

      Shakespeare’s dominant role in shaping America is itself a curiosity. Shapiro speculates that an absence of rivals and a use of language that sounded like the King James Bible may have contributed to “a Bible-obsessed nation” adopting the Bard.  Alexis de Tocqueville observed that volumes of Shakespeare were plentiful among “pioneer’s huts” during his 1831 tour of America. Today, Shakespeare’s works are the most published, performed, and discussed in America, indeed, the globe. Even so, how Shakespeare became so influential in America remains, for Shapiro, an unresolved mystery.  His introduction speculates that at “some deep level Americans intuit that our collective nightmares are connected to the sins of our national past, papered over or repressed in the making of America and its greatness; on occasion, Shakespeare’s plays allow us to recognize if not acknowledge this.” Yet, as Shapiro saw, in November 2018 the parents of students in North Carolina were upset to learn that the “satirical 1987 adaptation The Complete Works of William Shakespeare (Abridged) at the school included ‘suicide, alcohol consumption, and ‘bad language.’” As responses to Shakespeare proliferate, so too do the readings and interpretations.

      Indeed, in 1845 debates on America’s Doctrine of Manifest Destiny resonated with soldiers in Corpus Christi, many of whom identified with Iago’s laments in Othello about how rank is conferred, in their circumstance by seniority or by merit: “where each second / Stood heir to the first.” The soldiers built a theatre and performed. Here is where Shapiro is a bit wicked in highlighting one young soldier’s femininity as why he was asked to play the part of Desdemona. The young man, clean shaven, five-seven, and 135 pounds and with that “streak of the feminine in his personality” made the youthful Ulysses S. Grant the perfect candidate. While he spurned that role, he later played a lead, with whiskers, as head of the Union Army and as President, his personal stage craft shaped during an era of American exceptionalism.  

      Shakespeare was invoked by both sides of those who would annex Texas and make manifest “American dominion to the Pacific.” Manifest Destiny was the populist slogan of the day. A futile counter-appeal by abolitionist Robert Charles Winthrop to fellow congressmen in 1845, relied on Shakespeare’s King John:

——Here’s a large mouth, indeed,

That spits forth Death and mountains, rocks and seas

Talks as familiarly of roaring lions

As maids of thirteen do of puppy dogs.

What cannoneer begot this lusty blood?

He speaks plain cannon fire, and smoke and bounce. (2.1.458–63)

      To which Winthrop adds his paraphrase: “And against whom are all these gasconading bravadoes indulged? What nation has been thus bethumpt and bastinadoed with brave words?” The answer, as we now know, arrived in the form of our “sea to shining sea” telegraphs, waterways, rails, and commerce. “Inherent in Manifest Destiny was a belief in manly superiority. Like a headstrong wife, Mexico had to be taught a lesson, roughed up a bit.” And in the forging of a continental dominion we find the sinew that connects young Grant’s femininity to an American exceptionalism that transforms the very norms of manhood, as evidenced by the evolving role of gender in Romeo and Juliet.

      As “norms of manhood began to change, mirroring the split between martial manliness and effeminacy within Romeo himself, male actors found the role increasingly unplayable.” Popular British actress Charlotte Cushman was as masculine as young Grant was effeminate, a woman who could capture Romeo’s inner turmoil. When performing as Romeo in Boston during the 1851-2 season, a man heckled her manly characteristics. She stopped performing and threatened to personally “put that person out,” thereby receiving what she described as the greatest ovation of her illustrious career. Even so, the piling up of dead American soldiers between 1848 and 1865, more than 800,000, spurred an interest in a “less manly acting style—exemplified by the ‘poetic’ Hamlet of Edwin Booth” as well as an end to female Romeos. As introspective and bombastic male personas competed for approval, their performances were viewed also through lenses of class warfare.

      The chapter on class warfare opens with the “massacre” outside the Astor Place Opera House in New York in 1849 when “somewhere between 10,000 and 24,000” protested a performance of Macbeth. “The theater, not for the last time, found itself at the center of a riot, one fueled by a heady mixture of racism, nationalism (spurred by anti-British sentiment), hostility toward abolition, and economic anxiety.” Two actors presented strikingly different interpretations, Forrest and Macready, in a city where nearly “10,000 New Yorkers would see one of these three productions of Macbeth that night.” To some, Macready’s “gentle manliness” was being eclipsed by the coarser Manifest Destiny perspective put forth by Forrest’s interpretation. Was a ruthless Macbeth killed by a gracious Duncan, or was Macbeth a symbol of assassinated greatness? If any of this sounds familiar, it should.

      In the book’s final chapter, we read about how the “Right under Donald Trump—who may be the first American president to express no interest in Shakespeare—now found itself struggling to find anything in the teaching or performance of Shakespeare’s plays that aligned with its political and social agenda.” At stage center is Julius Caesar at New York’s Central Park open-air theater, the Delacorte, in the summer of 2017. But first, a little background is in order. An architect of Trump’s political ascendancy, Steve Bannon, had in an earlier incarnation attempted an adaptation Shakespeare to the screen. After the failure of his sci-fi interpretation of Titus Andronicus, he attempted a screenplay adaption of Coriolanus that relocated the setting at the Rodney King riots, complete with rival street gangs. More about stoking fear and anger than ideas, his treatment failed, but it did set the stage for future events.

      Thus, during the Trump presidency, when the Delacorte’s business suit clad Caesar was felled, a video clip was acquired by Breitbart and the New York Times and featured on Fox & Friends. The headline: “’NYC Play Appears to Depict Assassination of Trump.’” Among the outraged were Mike Huckabee, Eric and Donald Jr., and a chorus of those who wanted the blood of the performers. So many threatening calls ensued that the theater had to send “people to voice mail.” Steve Bannon declared, “’The establishment started it. . . . You all are gonna finish it.’  . . . the action he was encouraging, in Antony’s words, would ‘let slip the dogs of war,’ unleash chaos that would overturn the established order.”

      Within the order of the book, American history comes full circle, as is fitting. Between the first act and last there is much to recommend. Shapiro’s consideration of The Taming of the Shrew in Chapter 6 considers marriage in post-World War II America and discusses various approaches to Katherine’s final speech calling for women to abase themselves. Shapiro actually applies scholarship to tracing mid-century incidents of men spanking women on stage, in films, and in comic books and magazines, with a visual link in bibliographic essays at the book’s conclusion. Most amusing is his treatment of Kiss Me, Kate, a musical based on The Taming of the Shrew, where Cole Porter smokescreens the debasement scene with a bowery rendition of “Brush Up Your Shakespeare.”

      Cole Porter’s contribution was to infuse  . . . hints of transgressive behavior. The provocative Kinsey Report—Sexual Behavior in the Human Male—had just been published, offering a long-hidden view of American sexual practices. It was so topical that Porter even name-drops “the Kinsey report” in his racy song “Too Darn Hot,” then alludes to Kinsey’s revelations about what American men were really up to: infidelity, masturbation (“pillow, you’ll be my baby tonight”), and homosexual activity (“A marine / For his queen”).

      It’s staggering what Porter got away with in Kiss Me, Kate, especially in the repressive frontstage world. So, for example, when Lois Lane’s Bianca sings about her desire to wed (because she is so eager to have sex), her seemingly clueless language is almost beyond the pale, as her willingness to marry any Tom, Dick, or Harry turns into a desire for what sounds like any “hairy Dick”—and then to a longing for what sounds identical to the words “a Dick, a Dick, a Dick, a Dick, a Dick, a Dick, a Dick, a Dick, a Dick, a Dick, a Dick, a Dick.”

      From his examination of The Tempest where Caliban becomes a lens into America’s treatment of Native-Americans and other non-whites and through his insights into Harvey Weinstein’s campaign to win an Oscar and avoid being killed by Brad Pitt, Shapiro entertains and informs. From the absurd and offensive to the heart wrenching and comical, Shakespeare in a Divided Nation places the lenses of history’s most influential writer over the Lincoln assassination, over our racial, class, and gender divides, and concludes by placing that lens over us, the readers. This is a book for thinkers as well as Shakespeare scholars.

_ _ _ _ _ _

Greg Gilbert is the author of Afflatus.

More info

Saturday, January 16, 2021

January Virtual "Open Readings"

Welcome to our January 2021 Shelter-In-Place Video "Open Reading". A huge thanks is due to all the folks who have participated either as audience or as featured readers in our Cholla Needles Zoom Shelter-In-Place readings. 

There's no way I thought this Covid experience (first advertised as a flu) was going to last this long. Because it's a tough cookie that plans to create havoc with our live events for some more months into the future, I am pleased that we are able to have these video experiences to share with each other. I can honestly say hearing your voices electronically is keeping me sane. 

If you have a video you'd like to share, please - send me a note & let me know. We consider this a community page, and is not limited to only our "featured readers". This spot is here to help us experience the love of great writing until we can meet together in one spot again.

So, if you are browsing our pages, we consider YOU a part of our family and you are welcome to become part of our Shelter-In-Place video pages. Simply contact us at & ask how to get your videos posted on our pages. You can also use this address to send us your poetry, short stories, essays, and art for publication in our monthly magazine. 

Good Times!!! Enjoy the videos:

John Sierpinski reads 
Lonesome Goose Lonesome Train

Allyson Jeffredo reads 
a series of Sonnet Crowns

Francene Kaplan reads Lost and Looking Ahead

Mark Evans reads Bridge of Sighs

Kendall Johnson reads Kentone - Hwy 18

Noreen Lawlor reads Hung With Silence

Kurt Schauppner reads
To The Dead Mouse Found 
In One Of My T-Shirt Drawers

Susan Rukeyser reads 
Timeline for Decomposition

Caryn Davidson reads Full Sky

Michael G. Vail reads The Ravens

Don MacQueen reads Resolution

rich soos performs Comin' On

John Sierpinski reads Prison In Lebanon

Francene Kaplan reads Millions of Caterpillars

Mark Evans reads A Kiva Telephone

Kendall Johnson reads 
Day 8 - Sunday Afternoon

Noreen Lawlor reads I Come

Kurt Schauppner reads 
Thoughts After Walking 
In The Hills Near My Home

Susan Rukeyser reads 
The Worst Girl's Best Day

Caryn Davidson reads 
Descent with Modification

Michael G. Vail reads Acid Reflux Blues

Don MacQueen reads Severed Lifeline

rich soos performs Rock Hard

John Sierpinski reads Two Poems

Caryn Davidson reads 
Pareidolia - Rock Pile in Lost Horse Valley

Francene Kaplan reads 
The Girl In The Box At The Dump

Mark Evans reads Two Poems

Noreen Lawlor reads Sad Lioness

Kurt Schauppner reads 
Thoughts On My Mother 
Preparing To Turn Ninety

Caryn Davidson reads 
Pantoum for Yucca Brevifolia

Michael G. Vail reads Ryland Road

Don MacQueen reads Still Life

rich soos performs No More Spontaneity

Brian Beatty reads Hobo Radio

Jean-Paul L. Garnier reads
Betelgeuse Dimming

See you again in February!!!!