THE BAG WITHOUT ANY BOTTOM – part 1 of a story by Wayne-Daniel Berard

THE BAG WITHOUT ANY BOTTOM 1/3

Wayne-Daniel Berard

Once there was a boy named Ket’her (ket-air). Ket’her lived alone with his mother, a widow, in a tiny village situated where the desert met the mountains. It was a harsh country, and Ket’her and his mother were quite poor, herding a few sheep up and down the mountains in season. In the winter, they would stay at home, and Ket’her’s mother would tell the old stories of their people.

What little money they had, Ket’her’s mother would keep in an old bag behind the icon of the Virgin, before which she kept always burning a lamp of sheep’s lard. Often Ket’her would wake in the night to pray to the Virgin, asking her to change their lot; he would take the bag from behind the icon and reach his hand inside. Sometimes he would find a few pitiful coppers; more often there was nothing. His hand would merely sink to the empty bottom of the bag.

“Someday,” young Ket’her vowed to himself in prayer, “I will find a bag without any bottom, one that will yield good things for me and my mother every day of our lives.”

But for the time being at least, that was not to be. That winter, Ket’her’s mother died; he buried her with much reverence and many tears. Ket’her then sold the sheep and the cabin. Although they did not fetch a great price, it was more money than he had ever seen before. He put the money in a bag along with his other few possessions, slung the bag over his shoulder, and set out for a new life on the other side of the mountains.

Sometimes, when he and his mother had led their sheep to especially high places, Ket’her had caught a glimpse of a distant city. There he now headed, through the trails and passes he knew so well. Soon he began to pass through little villages and larger towns. In each he had to buy food, and often gave alms to those he passed on the roads who were poorer even than himself. The bag he carried, which had once seemed so full, now was nearly empty. Indeed, by the time Ket’her entered the Great City, the bottom of the bag had been reached.

In the town square, Ket’her stopped by a public fountain to rest. His reception in the Great City had not been a warm one. His clothes and his turban marked him as an outsider from the country, in a city increasingly filled with outsiders from the east, west, north, and south — all seeking a better life. The natives of the Great City had begun to resent these newcomers, and there wasn’t enough work for all to do. Ket’her found many of the strangers, including some from his side of the mountain, idling their time away in the square, waiting for someone to hire them.

Ket’her sat down by the fountain and cooled his face. He was not disturbed, for he was used to spending time sitting and watching the sheep for days on end. Beside him sat a father with two little boys, all waiting to be hired. The boys were bored, and began bickering with each other and shoving. The father, who wore a look of hungry worry on his face, seemed about to lash out at the boys, when Ket’her leaned toward them and said, “Have you ever heard the story of how King Solomon tamed the Demon of a Thousand Names?” The boys stopped their fighting and listened; Ket’her was a fine story-teller, at once expressive and deep, so that one felt the heart of the story rising to the surface, enlightening as well as delighting the listener.

Soon the father was leaning-in to listen, and others had gathered round as well. For most of the afternoon, Ket’her told stories and sang a little, too. When the sun began to go down, the people dispersed, thanking him. One man, who had two turnips, gave one to Ket’her and smiled. That night, Ket’her feasted on roasted turnip and fresh water, and slept beneath the stars in a little park near the fountain.

The next day went on much like the day before. Ket’her came to the square hoping to be hired. He told stories most of the day, but this time passers-bye would stop and listen, and throw coins into the bag at his feet. It was not long before Ket’her had become something of an attraction in the city, and the bottom of his bag began to recede further and further beneath a mound of coins.

“This is wonderful,” thought Ket’her to himself. “All along I have been looking for something inexhaustible, something without and end – a bag without any bottom. Now I see that it is stories that make for such a bag. Stories have no end.”

But Ket’her was wrong. It took very little time for other strangers from other regions to also begin telling their stories in the square, hoping for a share of the benefits. People still listened to Ket’her, but he had had his season, and the bottom of his bag became more and more visible. Besides, soon it would be winter, when there would be no more storytelling in the public square.

One day, as fall was approaching, and the leaves began to cover the surface of the fountain’s pool, a wealthy merchant returned from his summer season of buying abroad. He was one of Ket’her’s own people who, many years before, had served as a guide to a merchant in the City. As the years had gone by, he had become more and more involved in the business, until finally he had taken it over upon the death of his master. Now he was one of the town’s most prominent citizens, although many still considered him a foreigner.

Ket’her was telling an old story to a small group of children. The caravan of the merchant, whose name was Zod, stopped to water the camels, and Zod’s young son slipped away from the servants to listen to the storyteller. When the time came to leave, the father was distressed at his son’s absence, but soon found him beside the fountain, listening. Zod was about to pull the boy away and scold him, when his ears caught the sound of the old story Ket’her was telling. He knew it well, for his own mother used to tell it to him when he was a boy. Tears began to fill the merchant’s eyes as he heard the story of his people, the names of the places where they lived, the sound and texture of a life that had been his home — a home he had never found among the people of the City.

Zod and his son listened to several stories, although the camels pawed the ground and spit impatiently. When Ket’her had finished, Zod gave him several coins of gold, and asked him to be a guest in his home that night. Ket’her was a bit startled by this sudden shift in his fortunes, but quickly agreed.

The evening was spent in feasting and merriment. Zod and Ket’her shared memories of their homeland into the wee hours of the morning. The next day at breakfast, Zod asked his guest if he could read and write the language of their people. Ket’her replied that his mother had taken great pains to teach him, even though he was just a shepherd, believing that great opportunities lay ahead for her son.
“Your mother was a wise woman,” said Zod. “The opportunity she foresaw for you is now coming true.” And then he asked Ket’her to stay in his house as a tutor for his son and for his young daughter, Fatyma.

“I do not want them to grow up ignorant of the ways of our people, to become merely one more of these soul-less city-dwellers,” Zod said. He promised to pay Ket’her well, and to feed him and lodge him under his own roof. Stunned at his good fortune, Ket’her agreed to stay.

That night, Ket’her slept in his new room in the estate of Zod the merchant. He had a clean, fresh robe to wear and a pillow beneath his head. A nightingale sang in a citron tree beside his open window.

“Now,” Ket’her thought to himself, “at last I have found the bag without any bottom. It is culture; it is nationality that matters. How deep and vast is the experience of a people — its history, its stories, its language and customs. Race is the one thing that sustains us, the well that never runs dry . . .”
So Ket’her became the teacher of the young ben Zod and of the lovely Fatyma, who was then coming into womanhood. He spent a full year in the house of the merchant, and learned much himself. There was ample time beyond his lessons to observe the workings of Zod in his business. Soon Zod began to include Ket’her in his decision-making and to seek his advice, especially in dealing with people. Money and goods were Zod’s specialties, whereas with people he felt awkward, and therefore could seem harsh and abrasive. Ket’her soon came to be an invaluable part of his business.

As for Ket’her’s teaching, it was only mildly successful. Zod’s son enjoyed the stories well enough, but resisted any attempt to change him from a boy of the City. Fatyma was attentive but quiet, gazing long at Ket’her with huge brown eyes.

Ket’her, for his part, was happy and growing wealthy in his business dealings for Zod, who paid him well. Now he had many sacks filled with coins, too many, it seemed, to ever reach their end.

“Here is the true bag without any bottom,” Ket’her came to believe. “Commerce. Culture is good, but there are only so many stories, and our people are so poor. With commerce, there is no end to the wealth one can make. Perhaps one day I will return to my home and buy back the old cabin and the ground in which my mother lies. I will retire there as a wealthy benefactor for my people . . .” Such were his dreams.

But fate had other plans for Ket’her.

To be continued

My Grandmother’s Crystal – a poem by Cynthia Pitman

My Grandmother’s Crystal

In the evenings, I sip wine
from my grandmother’s crystal.
I tell myself she would like that,
but I know she wouldn’t.
She was staunchly born-again.
Drinking was a sin.

But I’ve committed so many sins,
what’s one more?
Redemption will come.
There’s still time.
Things aren’t entirely hopeless.
Not yet.

I pour the dark red wine of repentance.
I take one sip, then another, then another. . .
As I do, I denounce myself
to atone for daring to live my life.
Redemption will come.
Redemption will come.
Until then, I’ll sin.

 

Cynthia Pitman began writing poetry again this past summer after a 30-year hiatus. She has recently had poetry published in Amethyst ReviewVita BrevisRight Hand PointingEkphrastic ReviewLiterary Yard, Adelaide Literary Magazine, Postcard Poems and Prose, and Leaves of Ink. She has had fiction published in Red Fez and has fiction forthcoming in Saw Palm: Florida Literature and Art.

Sequestration – a poem by Sanjeev Sethi

Sequestration

Farouche intensifies the alienation.
Writing fills the vacancy. In hush-
hush I decode my ornaments. They
are different: fewer goldsmiths for
me. Not the usual chandler, my sail
is another sort. Pule from her pillow
disrupts the dream. She fails to read
the query in my eyelet. Obsessive
patterns have an ax to grind: the self.
Lord’s paddlewheel oars even this punt.

 

Sanjeev Sethi is the author of three books of poetry. His poems are in venues around the world:   A Restricted View From Under The Hedge, Pantry Ink, Bonnie’s Crew, Morphrog16, Mad Swirl, The Penwood Review, Faith Hope & Fiction, Communion Arts Journal, and elsewhere. He lives in Mumbai, India.

A Folding of Light – a poem by John Anthony Fingleton

A Folding of Light

Observed from Cnoc na Péiste,
As clouds brush-stroked the land,
Soft shadows on the corn fields,
Painting forests lakes and strands.

The contours washed in shades of grey,
As light folded softly all around;
A masterpiece of nature’s art,
Both in silence and in sound.

It approached the place where I stood,
Then wrapped me in the scene,
And for a moment I was part of God,
And He was part of me.

 

* Cnoc na Péiste—often anglicised as Knocknapeasta, County Kerry, Ireland, part of the Macgillycuddy’s Reeks.

 

John Anthony Fingleton: He was born in Cork City, Ireland. Poet of the Year (2016) Destiny Poets International Community. Contributed to four books of poetry for children. Poet of the Month (March 2019) Our Poetry Archive.  First solo collection ´Poems from the Shadowlands´ was published in November 2017, which is available on Amazon.

He says no to déjà vu but I’ve heard it all before – a poem by Kate Garrett

He says no to déjà vu but I’ve heard it all before

Sometimes even when I’ve slept for hours, grey gathers
at the corners of my eyes, a dawn vignette, and you are speaking

everything you say is something I can predict
because I know we talked about this months ago

you tell me again how you don’t believe in déjà vu
because you’ve never felt the fog of it
just like the last time, when you laid out your reality
in these words, in this room

the light played on your cheekbone and chin
as it does today but it was summer then–

now it’s winter, and I know real life is no better than a lucid
dream: I must reach out and make one thing different

I must bend your tongue away from this conversation
to a point when the next step is the first new moment
of the morning

it will taste of breaking free / it will taste like a glitch

freedom is a glitch in a snowstorm, walking a circular
track looping back to find a fork in the heat-smudged road

until it is February again, when the sun has gone cold
but is trying its best to warm us.

 

Kate Garrett writes and edits. She is the author of six pamphlets, and her first full-length collection, The saint of milk and flames, is forthcoming in April 2019 from Rhythm & Bones Press. Kate lives in Sheffield, UK with her husband, five children, and a sleepy cat. www.kategarrettwrites.co.uk / twitter @mskateybelle

Death Contemplation – a poem by Ash Dean

Death Contemplation

Is it dangerous?

..a woman called Kathy asks..in an online forum,
then at 12: 56 AM..zendude..from Albuquerque,

replies..not if you do it right
..followed by a cheerful yellow emoji.

&because….somemornings
when I am walking to work

in the mellow light,
the nutty autumn smellin the air

as I pass a row of ginkgos,
magpies resting in the branches:

I contemplate a universe minus me,
tho it is not the wasting away

of the parts of my body,
the..impermanence..of me

that I..attempt to foresee,
but..it is..Youleft behind—

bathed in a baroque light
that makes..you appear

both alive and permanent.
You are on the first floor

of a modest..but pleasant house.
There is an oak table

a chairand a burgundy sofa,
outside I imagine a slight chill in the air

just to make the home seem more scrutable
I am trying to find a way

to arrive at..an..OK

for me to be gone.

It’s not as if I want to go,
for I cling with all my might:

I’d make any deal to stay here with you
throughjust one more..day

another night,

I make a list:
…….• exercise,
…….• eat right,
…….• no more sugar
…….• or cholesterol:

of course, you never know,
as they say, your time

is your time: for now, I am
here with you together

on this bus as I notice
..how The mountain forms
a deep arcopening to the south

sopassing…….through one tunnel
..the bus is momentarily

in the sunlight
..before it enters another tunnel

here where you make me happy
..like a weekend morning,

A familiar radio voice
..in the..background

..while I am working
on something I never intend

to proclaim is complete:
but the..mind of the universe

is a shuttered building
in the industrial district,

incomprehensible machines,
clattering inside,

the occupants……inattentative
to the lists I might leave behind,

&sobetween
the tunnels

I try to reduce
my list to..what

can be
…..held….between
……………heartbeats

 

 

Ash Dean grew up in Ferguson Missouri. He is a graduate of The International Writing Program at City University of Hong Kong. His work has appeared in Cha, Drunken Boat, Gravel, Ma La, Mason’s Road, Soul-Litand Afterness: Literature from the New Transnational Asia. He is the author of Cardiography from Finishing Line Press.  He lived in Suzhou, China for 6 years. He currently lives in Songdo, South Korea.

Kiddush – a poem by Gershon Ben-Avraham

Kiddush

Every Sabbath, on my way to Morning Prayer,
I pass the tennis courts on Bialik Street. The
Russians are already in the midst of matches.
Before I see them, I hear them, calling to one
another, grunting. Sometimes I stop to watch them.
They play bare-headed, wear white sweatbands on their wrists.

After Prayer, on the shul’s steps, my friend recites
Kiddush. Some Yemenites argue loudly; my friend
arbitrates. After a while, he looks at me and
nods, raises his hand. Time to leave. On our way home,
he wears his prayer shawl draped over his shoulders.
We talk of deep things, of God, prayer, and Torah.

As we pass the tennis courts, I turn my head to
see the men. Their games finished now, they are seated
at tables in the sun, their racquets on the ground
beside them. They are drinking and eating. I love
their laughter, their banter, their camaraderie—
their shul. Must be their kiddush, I say to myself.

Gershon Ben-Avraham lives in Be’er Sheva, Israel. He holds an MA in Philosophy from Temple University. His fiction has appeared in the Big Muddy, Bookends Review, Broad River Review, Crack the Spine, Gravel, and Jewish Fiction.net. His short story “Yoineh Bodek” appeared in Issue No. 96 of Image: Art, Faith, Mystery.

from Pond – a sequence by John L. Stanizzi

12.10.18
6.58 a.m.
20 degrees

Petulant nuthatch cranks at me to fill the feeders.
Open water yesterday is frozen today, and yesterday’s ice is
noticeably thicker this morning. The hoarfrost-landscape is
dull, but the sun has just risen, and soon the dew will glint and then vanish.

 

12.11.18
12.27 p.m.
22 degrees

Pitiless, windless, these days before the solstice,
occurring this year in concert with the full cold moon,
never to happen again until 2094.
Don’t see a single reason to plan for it.

 

12.12.18
12.28 p.m.
28 degrees

Papyral leaves encased in this new ice
on which I stand with caution,
numbly recalling days when a
dropped puck meant slash, clatter, grunt, dusk.

 

12.13.18
1.28 p.m.
32 degrees

Princely flurries that can barely be dubbed squall
obfuscate little in the dead calm.
Nurturant fruits of the labor have woven a
damask shawl gray as the curl of my breath is gray.

 

12.24.18
7.50 a.m.
29 degrees

Pastel grass, white-infused green and brown; the sun winnows through the
overcast sky, and the only movement is the whorl of smoke from Butch’s chimney,
narrow gray spiral in a gray sky. Snow flurries this Christmas Eve morning
deepen the things that weigh on my soul, the losses falling like snow that is barely noticeable.

 

12.25.18
7.35 a.m.
33 degrees

Christmas, 2018

Presents? Twilight. The pond one-third frozen. The sun
overlaying the moon, ornaments in scattered blue light,
notes of Mercury, Venus, and Jupiter there too, though
dawn on the water is the first light of Christmas I see.

 

John L. Stanizzi is author of Ecstasy Among Ghosts, Sleepwalking, Dance Against the Wall, After the Bell, Hallelujah Time!, High Tide – Ebb Tide, Four Bits – Fifty 50-Word Pieces, and Chants.  His poems have appeared in Prairie Schooner, American Life in Poetry, The New York Quarterly, Paterson Literary Review, The Cortland Review, Rattle, Tar River Poetry, Connecticut River Review, and many others.  Stanizzi has been translated into Italian and his poems have  in appeared many journals in Italy.  His translator is Angela D’Ambra.  Stanizzi teaches literature at Manchester Community College in Manchester, Connecticut, and lives with his wife, Carol, in Coventry.

Cathedral – a poem by Julie Sampson

Cathedral

All around this echo-chambered womb a rush
a beat………..the drone…… cathedral bees
the bells…… (Cull)
their toll……. this ebb and weft of words

We come to crouch in choir stalls,
this morning it is (lambing) lamentation time

the rite is drawing close

near …….we stop to bow our heads
Dies Irae……. Dona Eis

Writers making our votive scripts
we pause at candles’ inspiration

wait for the lost in absent sound
to call us

Dreaming through her emblem-well
St Sidwell in the crypt of archaic memory
swathes her scythe,
her sword is gold in the rubescent field.

 

Note: The last Foot and Mouth outbreak in Devon, in 2001, had a huge impact on the rural community, with repercussions that still resonate with many people. St Sidwell is associated with Devon. As martyr her severed head possessed the power of healing: flowers were said to bloom whenever a drop of blood was sprinkled on the earth where she died.

In recent years Julie Sampson‘s poetry has appeared in a variety of magazines, including Shearsman, Ink Sweat and Tears, The Journal, Amaryllis PoetryThe Algebra of Owls, Molly Bloom, The Poetry Shed, The Lake, Amethyst Review, Poetry Space and Pulsar. Shearsman published her edition of Mary Lady Chudleigh; Selected Poems, in 2009 and a full collection, Tessitura, in 2014. A non-fiction manuscript was short-listed for The Impress Prize, in 2015 and a pamphlet, It Was When It Was When It Was, was published by Dempsey and Windle, March 2018.

Phoenix Consumed – a poem by L.B. Stringfellow

Phoenix Consumed

I am the bird
who flew for years
under the sun,

until I took the sun
into my wings,
into my breast.
……………..It raged and heated
until I was raged and heated.

My wings lost their feathers
and I fell, fluttering
……………..spines of arms
from the sun.

I fell for a long time.

The sun was still in me,
but I could do nothing
……………..except cry and lift my arms
hopelessly for the sky.

The gods could not save me.

Flames flickered and crept, dragon-tongued,
their hungry presence overtaking my body.

Then, no body.

–Only my bird spirit
fused to flame.

We move through this space
as though our forms are us–
But I am here to tell you,
……………..we do not die,
we do not stop.

 

L.B. Stringfellow writes both verse and prose poetry, often exploring themes of transformation, woundedness, and interdependence in her poetry.  She grew up in the Southern US, has worked as a university instructor and as a professional tutor, and holds an MA in English and an MFA in Creative Writing.