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BORDERLINE: A USER'S MANUAL
Poetry from Todd Boss
THAT FALL
OF WATERWAYS AND RUNAWAYS: REFLECTIONS ON THE GREAT LAKES IN UNDERGROUND RAILROAD HISTORY

BORDERLINE: A USER'S MANUAL

nonfiction by Marian Crotty

Admit to yourself that straight girls don’t usually spend four hours a day masturbating themselves numb to “The L Word,” stop sleeping with men altogether, and you might just find her. When you do, it will seem like fate. She will be beautiful and smart with just enough swagger to let you think she might like women. A Ph.D. student at the school where you adjunct. Perhaps, when a friend asked what type of woman you might like, you even said her name. Maybe, years before, when you saw her for the first time, strutting across a parking lot with her long dark hair and mirrored sunglasses, you thought, “I really need this girl to love me,” and were disappointed for weeks to learn she had a fiancé.

It will be years later, after the fiancé and successive boyfriends are out of the picture, that a throwaway line from her—a stupid line you don’t believe about women being the subject of art because their bodies are more aesthetically pleasing—will make you flirt. What you say at this point does not need to be smart, is better maybe, if it’s clumsy, gross, and nervous.

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Poetry from Todd Boss

ONE DAY THE DOCTOR TELLS YOU YOU’RE BLIND

to the truth. It’s physical; something about

the retina, rods, and cones. Truth is a wave-

length in the spectrum you’re unable to detect.

All your life you’ve been compensating,

convincing yourself you could see what you

could not. Suddenly you’ve got questions

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THAT FALL

fiction by Peter Ho Davies

Perhaps because he had no singing voice, Pop leaned forward to twist the dial when Nelson Eddy came on to do “Song of the Vagabonds.” “What, Saul,” my mother called from the doorway, giving a wiggle of her hips, “you got something against a little music?” but my father shushed her so sharply I looked up from my books. He was bent close to the radio, his eyes on us, but wide and unseeing. “We interrupt this broadcast.” It was the first bulletin.

Things moved fast after that. There was a banging on the floor below—Mrs. Z—and my father hurried down. By the time he’d run back up there were drumming feet overhead and in the halls, the din stilled only momentarily for a statement from the Secretary of the Interior. But where was the President? How I yearned for the calm “Good evening, friends” of one of his fireside chats.

“C’mon, already!” my father cried when he reappeared. “To the basement.” My mother ran to wake Milt and I followed her, looking around wildly for something to save. What was my most valuable possession? My magic apparatus, of course. I’d been given a set—trick deck, silk scarves, and my prize, an oboki box for coin tricks—for my Bar Mitzvah. I snatched the lot up, along with the reel of invisible thread, and stuffed it in my pockets. I could hear my mother trying to explain about the Martians to Milt. “The Martins?” he asked sleepily, scratching the toes that peeked out of the end of his cast. “Who are the Martins?” And then my father was there. “Forget Martians, Edith. Never mind that. These radio fellows don’t know bupkis. It’s Germans. See if it ain’t.” Until then I’d not been so afraid. I didn’t know anything about Martians. But Germans … I could see it in Milt’s saucer eyes … Germans were real.

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OF WATERWAYS AND RUNAWAYS: REFLECTIONS ON THE GREAT LAKES IN UNDERGROUND RAILROAD HISTORY

nonfiction by Tiya Miles

Here in the Great Lakes region of the Midwest, waterways were especially pivotal to Underground Railroad history, and movement to and across those waters highlights the remarkable bravery, determination, and resourcefulness of escaping slaves as well as their allies. The Old Northwest (the Midwestern territory designated by the Northwest Ordinance of 1787) was central ground for abolitionist struggle in the middle decades of the nineteenth century because of its location on two liquid borders. The line between the slaveholding country of the U.S. and the free realm of British-controlled Upper Canada (or Canada West), and the line between the slave state of Kentucky and the free state of Ohio flowed through this region in the form of water.[2] The winding rivers and ample lakes that characterized the area’s geography and marked the boundaries between and among colonial-European states and Native nations also became physical markers, signs, and routes of the Underground Railroad.

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  • Reflection, Told by the Glass

    Reflection, Told by the Glass

    By Gina Balibrera

    Just before leaving town for the holidays I paid a visit to Ann Arbor’s subterranean Aardvark antique shop and came upon several boxes of Stereoscopic gold, at a price even the most frugal of treasure-hoarders can celebrate. I stood beholden to the stacks of rectangular cardstock bearing double images–of a gloomy pair of circus lions, or of two doe-eyed Victorian housewives swooning upon identical hand-colored velvet chaises, or of a bank in San Francisco, the twin photographs taken sometime before the 1906 earthquake that broke Market Street in two. A Stereoscope, for the unknowing, is a trick of the mind. The double imaged cards were once created with the intention of being held by elegant machinery. Lenses would cover the eyes, crossing them, to reveal a single image in three stunning dimensions.

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  • The Tallest Girl in the Book

    The Tallest Girl in the Book

    by Monique Daviau

    Among the many barbs that Humbert Humbert lobs at Lolita’s poor, doomed mother, Charlotte Haze, is that she is “large.” Sure, his gaze upon this woman, who has unfortunately reached the same decrepit age that I am now, is never kind. To him, she is dull-witted, her French is horrendous, she is simple and slovenly. But above all, she is that most unfeminine of qualities: the opposite of small. Humbert is not alone in prizing a woman for being of diminutive stature, although Humbert is a terrible example, since we all know what his deal is, one need not venture far from Nabokov’s masterpiece to find male narrators who wax rhapsodic over women with tiny hands, delicate feet, and small bodies that fit into to crooks of their arms. If you, like me, are a woman of formidable mien (I topped out around six feet tall at the age of twelve), chances are that you long ago abandoned hope that the day would come when you would find a man glowing upon the page about his romantic interest, a heroine who can fit into your clothes.

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  • Fall 2011

    Fall 2011

    Elizabeth Alexander on black experimental poetry, Marian Crotty on the borderline lover, Ilan Stavans on immigration and authenticity, James Morrison on Jonathan Strong, Laurence Goldstein on Philip Levine Fiction by Peter Ho Davies, Massa Makan Diabaté, Janis Hubschman, Lia Silver, Jonathan Strong Poetry by Randy Blasing, Todd Boss, Martha Collins, Rick Hilles, Patricia Hooper, Joe Wilkins

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  • Summer 2011 The Great Lakes

    Summer 2011

    THE GREAT LAKES: LOVE SONG AND LAMENT, our special issue on the Great Lakes. Essays by Jerry Dennis, Anna Vodicka, Keith Taylor, John Knott, Alison Swan, Tiya Miles, Devin Murphy, Julia Gibson; Poetry by Albert Goldbarth, Margaret Noori, Holly Wren Spaulding, Ruth Joynton, M. Bartley Seigel, Terry Blackhawk, John Repp; Fiction by Steve Amick; Color portfolio: full-color photos of the Great Lakes basin selected from the exhibition "The Primacy of Water" curated by the River Gallery of Chelsea, Michigan.

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  • Spring 2011

    Spring 2011

    Joanna Brooks on the Mormon apocalypse, Amy Butcher on living with juvenile rheumatoid arthritis, Bryon Edwards and Jeffrey Meyers on Paul and Jane Bowles, Roger Porter on the return of the exile, William Miller on losing it, Pearl Abraham on Ayaan Hirsi Ali, Molly Patterson on culture, language, and belonging. Poetry by Thomas Lynch, Theodore Worozbyt, G. C. Waldrep, Janet Kauffman, and Georges Perros. Fiction by Kathy Flann and Karen Heuler.

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  • MQR2011 winter small (2)

    Winter 2011

    Michael Reid Busk on the roller derby, Berel Lang on replenishing the world, Eugene Goodheart on Darwinian hubris, Ismail Kadare on dictatorship, Miah Arnold on teaching writing to children with terminal cancer, Laurence Goldstein on the poetry of Charles Harper Webb, Maxine Kumin, and Edward Hirsch. Poetry by Francine Harris, Gwyneth Lewis, Susanna Mishler, Allison Peters, and Michael Peterson. Fiction by Lucy Ferriss, Kuzhali Manickavel, and Rachel May.

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