Magdalene Shore

Supper Magazine, Issue 1
May 2019

READ HERE.
“It was warm and sweet. It hurt; and in the divinity of the moment I closed my eyes, wanting to be everything. The oxygen left my brain with a whispered “forget this” and the clouds over the night sky kept coasting along with purpose and direction. But I didn’t want to move. When I think back now, I know it didn’t happen in the current version of reality. We paint such grand horizons in our solitude. It was in the illusion of an interlude to my days that I— in the interest of bliss and love—stopped conversing with myself for just a moment.”

The Surrender of Man

powerHouse Arena
Archways 1, November 2019

“I didn’t mind the twisters forming on the horizon, because it never seemed they’d come near enough to destroy me. The few times I’d felt proximity, I’d inexplicably arrived at the eye of the storm. He didn’t remember telling me that he loved me, and neither do I remember being loved. I declined an invitation to the funeral, and got on the ship to cross the ocean before recalling I’d been booked a flight. I whispered to myself that the pain would pass as a dewy petal returning to the earth in the shadow of a break in the trees. How is it that
women never die?...”



Carnelian

Black Sun Lit / Vestiges
Published April 29, 2019

READ HERE.




“And not all touches aim to fix. We are forming something anew. I’ve grown my nails so I can brandish them on my lovers; to pass light strokes over their surface out of boredom or to leave gestural trenches of punctured sin. I often confront our seeking of pain during intimacy within the context of a planet so overburdened with sorrow; others, who cannot sleep out of fear of violence, crave a paradise...”

Rauschenberg at Play

Schuykill Valley Journal
Volume 47, Autumn 2018

READ HERE.
“A white painting, white light: at the end of the tunnel, or death. White is nothing. It is empty space to be filled. But, emptiness is a vast loneliness, expressing nothing, suggesting everything.

White are our canvases. White are the museum walls of our time; unreflective, unobtrusive, they seem unfeeling, but minimize distractions and reinforce focus. But white can be spilled on, destroyed. White invites shadow, exposing a particle of dust floating around the air in this room, where I become hyperaware of my own spectatorship as my presence, perhaps imperceptibly, changes the light. What would the painting look like if I left?...”



Echolocation

Fugue
Issue 53, Summer/Fall 2017
READ HERE

“ I only operate above the waterlines, plunging in from above like a bird, expecting to see something or feel something in return.

The lighthouse on Point No Point on the eastern side of the peninsula in Washington State casts a sharp blade of light across the Sound, and on the opposite side, from Mukilteo, where I stand at the top of a hill in my neighborhood, I can see it blink...”