I’ve Been Warned Not to Write About This
ISBN: 978-1-59948-818-9, ~80 pages, $14 (+ shipping)
Projected Release Date: August/September, 2020
An Advance Sale Discount price of $8.50 (+ shipping) is available HERE prior to press time. This price is not available anywhere else or by check. The check price is $13/book (which includes shipping) and should be sent to: Main Street Rag, PO BOX 690100, Charlotte, NC 28227-7001.
PLEASE NOTE: Ordering in advance of the release date entitles the buyer to a discount. It does not mean the book will ship before the date posted above and the price only applies to copies ordered through the Main Street Rag Online Bookstore.
About The Author
Ron Riekki wrote My Ancestors are Reindeer Herders and I Am Melting in Extinction (Loyola University Maryland’s Apprentice House Press), U.P.: a novel (Ghost Road Press), and Posttraumatic: A Memoir (Small Press Distribution). He edited Undocumented: Great Lakes Poets Laureate on Social Justice (Michigan State University Press), And Here: 100 Years of Upper Peninsula Writing, 1917-2017 (MSU Press), Here: Women Writing on Michigan’s Upper Peninsula (MSU Press, Independent Publisher Book Award), The Way North: Collected Upper Peninsula New Works (Wayne State University Press, Michigan Notable Book), The Many Lives of The Evil Dead: Essays on the Cult Film Franchise (McFarland).
Fire burns through these poems like truth—from California, to hazmet suits, to the impeached president’s distain for science—to people like Riekki himself who work as first responders, teachers in prison, who know PTSD. This is a kind of holy book of witness—a fire ritual. The opposite of diatribe, it is an ovation to language that speaks truth. “This is not theater” Riekki tells us, “but rather our lives, my life, your life.” ~Joy Gaines-Friedler, author of Capture Theory
To “feel good enough to grace God with belief,” is to appeal to Blake’s Muse: To see bloodshed where the comfy see bullion; to know that God commissions Bible verses, not bullets, and commiserates with poets, not plutocrats. Ron Riekki is that United Statesian-Saami bard, who knows that Prez Delirium Tremens is “a David Duke of Earl,” and that a person, “killed in slow motion” equals “an adult being born.” Here’s biopsy—not autopsy. ~George Elliott Clarke, Poet Laureate of Canada, 2016-18
Read this book—not for comfort, but for truth. In poems that counter political propaganda with a powerful accumulation of guns, ghosts, and “hands. . .covered in oil,” Riekki lifts the veil of consumer culture to show us our lives of “violence as normal,” reminds us “this is not theatre.” Himself birthed in trauma, the author puts on poetry like a hazmat suit, here kneels to offer CPR to an America, pistol-shot and burning. ~Kimberly Blaeser, author of Copper Yearning, Wisconsin Poet Laureate 2015-16
The kid walks up to the fence.
He is bleeding from his leg
and arm and face and chest.
Imagine what looks like hoof-
prints of blood splattered all
over, almost comical; there’s no
need for that much blood.
I’m just off break. I’m union.
We get two breaks per shift.
I sleep in the back of my car.
It’s my time. I can do what-
ever I want for those fifteen
minutes. My hair sticks up.
He says he needs help. I go
to dial 911 and he says, Ain’t
you 911? No, I’m not a cop,
I say, I’m an EMT. Doesn’t
that stand for medical some-
thing? I tell him I’m an EMT
for the factory. I can’t climb
over the fence. He says he’ll
climb over the fence. I tell him
no, that I have to call the cops
if he does that. I feel like an
idiot. He tries to climb but
he’s too cut up, too hurt. I
asked what happened. I see
a kid behind him, lying there.
What happened? I ask. Just
playin’ around. I’ve seen
patients with this much blood
before. We have workers
whose arms get caught in
the machinery. They get
degloved and eviscerated,
avulsions. I get them too.
A drunk employee punched
me in the cheek before,
the eye really, the cosmos
I see permanently if I close it.
I tell the kid that he’s gotta stay
on his side of the fence. I have
to stay on mine. He tells me
I’ll burn in hell. The factory
behind me pours smoke out
like it’s fighting to own the sky.
I ask where he’s bleeding
the most. He says he doesn’t
know. I say it again, angry.
He tells me his leg. I tell him
to put pressure on it, to not
take the pressure off. I tell him
to put it above his heart. He says
he can’t, it’s his leg. I tell him
to figure it out. How do you get
your leg above your heart? He lies
down. He holds his leg. The kid
in the background starts holding
his own arm. They’re controlling
the blood. I get down on the ground
and I look up at the sky too.
I Had a Librarian Tell Me That Poetry Chapbooks are Only Good for Firewood
When I taught in prison, I told the prisoners
that if they murder someone on the page,
they can win an award, but if you murder
someone in real life, you’ll end up back
here in prison. One of the guys raised
his hand and said, What if you kill the person
who gives you the award? The class liked that.
The Seconds When I Left the Counseling Office and Felt the PTSD Might Be Leaving This Time Forever
I’d arrived by foot, but the parking lot greeted me anyway with a gala
of sun, as if the past, the onomapoetic plot!, was barbecued, ready to be
eaten, shared, trashed; I wish this hilly bliss could blizzard the vets
drowning in the intrusive flashback nets, could fix their hashed exits
with the new days of denouements, to be rescued by relief,
decluttered, as if ungunned, the agony gone, fileted;
there are times you feel good enough to grace God with belief.
“Without Jenner, Where Would Kardashians Be?” The New York Times, May 10, 2015
When newspapers died,
and he liked boobs,
so he’d write
and show boobs playing
and he made the weather report
a boob weather report.
appreciated the fame.
In the old days,
boobs couldn’t be
involved in politics,
but now boobs
run for President
When the newspaper industry
it was from all of those years
all of those years
all of the air
out of the room
to make room
for the boobs.
Here’s a news
Here’s a news
Here’s a noose.