The 2 issue | intro

Double, doubly, doubled, two of which,
dual, twice, bilingual,
two paragraphs, two columns, two collaborators,
Schylla’s mantissa’s glowed motes
a diptych, two sources,
two gestures, both, dual, twice,
two phantasies,
I want a piece of you.
Yes, I really do.

the self and the environment,
I cross the bridge but my body hasn’t caught up
two gestures, both, dual, twice
two selves and two relatives,
The fragmented self’s fragmentations exhaustively examined.
two notebooks, two lovers,
and A) GLIMPSE) OF) TWO.

Many thanks to Fatma Al Ali, Logan Benedict, Catherine Chen, Maria Damon, Alan Sondheim, Mike Foldes, Maria Georgoula, Ian Whitfield, Diana Manesi, Sara Matson, Kat Meads, Lindsay Parkhowell, Zoe Sklepa,Tom Snarsky, and Adam Strauss for their brilliant works.

ENJOY!
Dimitra Ioannou

Fatma Al Ali

MOVE; now



Fatma Al Ali 1

Fatma Al Ali 2

Fatma Al Ali 3

Fatma Al Ali 4

Fatma Al Ali 5



‪’MOVE; now’ is a series of photographs that investigates the relation between the self and the environment, often times you find yourself surrounded by an environment that is hindering your growth and forcing you to be in a position that you know if you stay any longer you will lose the essence of yourself, and it makes you decay with the loss of movement. ironically, in this series of photographs the sculptural object is placed in water that is a substance considered to be the source of life and growth. what might be perceived by others as growth inducing can also be a reason to drown and suffocate. ‬



Fatma Al Ali (b.1994) received her bachelors degree in Fine Arts from the university of Sharjah, Sharjah, United Arab Emirates, 2018. her work often questions ideas of materiality of an object, Contradictions in terms of fragility and delicacy. She has joined multiple group exhibitions both locally and internationally.

Logan Benedict


Sometimes the low is the high


2 | Logan Benedict | sometimes the low is the high (1)

Water in the engine


2 | Logan Benedict | Water in the engine

Reactive wilderness


2 | Logan Benedict | Reactive wilderness



Logan Benedict was born in Newark, Delaware in 1997. He will be receiving his Associate’s Degree in Communications from Delaware Technical Community College in 2018. Benedict’s work has been exhibited at the Milton Theater in Milton, Delaware, the Vancouver Arts & Leisure in Vancouver, British Columbia, as well as three shows at the Gibby Center in Middletown, Delaware. His work has been featured in publications such as Catapult Magazine and in The Wire Newspaper. In 2016, Benedict published his first book in partnership with Amazon.com through CreateSpace, titled Search + Destroy. His second book, fagart, was a collection of poems and portraits with themes of queer fragility. He recently released his third book, Sour Milk Curds, in March. Benedict currently works and resides in Townsend, Delaware. artbyloganbenedict.com

Catherine Chen

Such Beautiful Machines



Catherine Chen is a poet and performer. Their work has appeared or is forthcoming in Slate, Hobart, Entropy, Mask Magazine, Asian American Writers’ Workshop, Tagvverk, and Nat. Brut. Their chapbook “Manifesto, or: Hysteria” (Big Lucks) will be published in June 2019.

Maria Damon, Alan Sondheim

adnoun from left field / the field left behind


Thad nun Tapestries at the far end of the monastery wall
The brutal murk sat, portend against the statuary’s fall
I think of Stalin shattered, Hitler’s fall
You should’ve caught his legless sprawl
Chad ad noun: “`meek’ in `blessed are the meek’ is an ad-noun” –oh, I get it! I think.
And where he fell, one might forever seek, empyrean to sink
Along with Hitler’s call, unanswered, no one now, on whatever brink –
A terza rima ruined in a blink! and boy does it stink!
Within the burk of time, we’re all gone in a wink,
Please save us like from the slime, Stephen Hawking,
remember there’s no time sublime, let’s all keep talking!
“the cursed obsequious and that their folly” like, when an adjective is nominalized!
and then resurge the riverrun ‘s elsewhere, the world is cauterized
firewise with redundant undulations, mark my wild surmise!
ad-noun: “The shined of equal 3 paired your vision” impair my vision, three-person’d goad! what are you waiting for?
and shattered, vision’s lost, four killers down. The dank moat
reflecting only monstrous, bulbous, watery bloat
while I and billions like me missed the boat,
baiting, and then there’s more – we with love over hatred racing much have
joined embracing closed friends’ derision” oh may you be ever saved from such.
(Which burns against revision’s ism, raved, and then there’s touch.)
She left the house in pink stilettos and a fuschia clutch.
A date with Stephen Hawking, going dutch.
Nightshaded night’s sweet realms murk now left aubergine yam”
alas, bright Hades sight! meet helms lurk, wow! bereft young Ondine’s ram’s
tusk! Suck’d down the intertext’s gory hole, madame!
Both coddles seethed; she, left in the warren
husk-clothed bodies breathed were bereft of the barren
results of the Warren Commission, history’s repeating by and by,
and bees pervading, invading a starry indoor dome-sky!
Hurtle, bled mates cursed in song on beach! Bother Scylla’s mantissa’s glowed motes,
mortal led hates pursued among each other’s ribald fantasies and low notes”
And here again, the bloated body floats…
Among the plasticined debris, endangered stoats –
A hounded sitter’s word-horde gathered! A crow’s beak? Bother, brother of glowed girl!
wounded fitter’s sword’s swart-slaughtered war’s bleak mother and mother-of-pearl”
A sister’s as good as twelve four-eyed hounds with jaded collars all aswirl!
Was Speer really good or evil damned, a murderous churl?
“Sharp heightened, fathers descend in nacreous smoke-ringed shimmer”
With harps sighted, bothered! Portend in cresote this unhinged glimmer!
With blind wing’d harpies, descend on the smoky ones, asleep in their timor.
East or west, the world is burning, friends,
“heist daughters makes amends” thorn adnoun” and with a little cuddle thrown in
Most daughters make amends, shorn and grown, a bit muddled, like brutal kin::
and who would fault a rhyme that ends in fathers’ sin?
with too much blood and gristle, the planet’s thistle crashed within?
adnoun: mortal-led sitter’s “halo “th east bereft”> barefoot and bereft, but wearing a beret
              swearing and swimming today; they pray for prey empyrian, sink
bitter’s other”> greater than sour, than savory, than dour
as if flour made a difference with pi? three point one point four point carp!
No pi for prisoners, round and round we go, waiting for the next harmonious blow –
And Please defer the lyric as you would defend the harp!
Oh Oedipus, to whom else can we now turn? within your narrative trainwreck we, all destitution, burn!
“Tharp “theist mother”> Th’Adnoun descend”> what part of speech are you?
armour amends”> amour demands paramours’ indecent descents, mortar’d,
hurtled among the Alpine mountains where rulers go to pout, find themselves out,
exhausted, the mad clown calls: How to live among the ruins
im/mortal’d > “th’Alpinic “th’eastern th’ology juices itself out
exhausted, the ad-noun falls
into itself
into itself
into itself

the dark tower hums
the dark tower comes
the text ends here, we’re dead, nothing comes to mind



Maria Damon is Professor of Humanities and Media Studies at Pratt Institute. She has written extensively on modern and contemporary poetry and poetics, and is currently exploring the interstices of text and textile.


Alan Sondheim is a city-based new media artist, musician, writer, and performer concerned with issues of virtuality, and the stake that the real world has in the virtual. He has worked with his partner Azure Carter among others. Sondheim is interested in examining the grounds of the virtual and how the body is inhabited. He performs in virtual, real, and
cross-over worlds; his virtual work is known for its highly complex and mobile architectures. He has used altered motion-capture technology extensively for examining and creating new lexicons of behavior. His writing stems out of codework, a problematic style in which code substrates and surface content interfere with each other – in which, in other words, the textual body and body of text are deeply entangled. His current music is based on the impossibility of time reversal, on fast improvisation, and anti-gestural approaches to playing.