Editors' Notes

Maria Damon and Michelle Greenblatt
Jim Leftwich and Michelle Greenblatt
Sheila E. Murphy and Michelle Greenblatt

A Visual Conversation on Michelle Greenblatt's ASHES AND SEEDS with Stephen Harrison, Monika Mori | MOO, Jonathan Penton and Michelle Greenblatt

Letters for Michelle: with work by Jukka-Pekka Kervinen, Jeffrey Side, Larry Goodell, mark hartenbach, Charles J. Butler, Alexandria Bryan and Brian Kovich

Visual Poetry by Reed Altemus
Poetry by Glen Armstrong
Poetry by Lana Bella
A Eulogic Poem by John M. Bennett
Elegic Poetry by John M. Bennett
Poetry by Wendy Taylor Carlisle
A Eulogy by Vincent A. Cellucci
Poetry by Vincent A. Cellucci
Poetry by Joel Chace
A Spoken Word Poem and Visual Art by K.R. Copeland
A Eulogy by Alan Fyfe
Poetry by Win Harms
Poetry by Carolyn Hembree
Poetry by Cindy Hochman
A Eulogy by Steffen Horstmann
A Eulogic Poem by Dylan Krieger
An Elegic Poem by Dylan Krieger
Visual Art by Donna Kuhn
Poetry by Louise Landes Levi
Poetry by Jim Lineberger
Poetry by Dennis Mahagin
Poetry by Peter Marra
A Eulogy by Frankie Metro
A Song by Alexis Moon and Jonathan Penton
Poetry by Jay Passer
A Eulogy by Jonathan Penton
Visual Poetry by Anne Elezabeth Pluto and Bryson Dean-Gauthier
Visual Art by Marthe Reed
A Eulogy by Gabriel Ricard
Poetry by Alison Ross
A Short Movie by Bernd Sauermann
Poetry by Christopher Shipman
A Spoken Word Poem by Larissa Shmailo
A Eulogic Poem by Jay Sizemore
Elegic Poetry by Jay Sizemore
Poetry by Felino A. Soriano
Visual Art by Jamie Stoneman
Poetry by Ray Succre
Poetry by Yuriy Tarnawsky
A Song by Marc Vincenz


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You should never open the cellar door
Part 3

Years passed. At school I learned that wine is made from grapes, after a long process of transformation, and not in cellars. But I also knew that my uncle had not lied to me. I was sure of that. And my cousin knew so many things about wine. All this remained strange and impossible to understand.

Eventually, I found an explanation. Helped by a friend of mine, a girl who was peculiar herself. She was very intelligent. I trusted her and I told her the whole story, starting with the cellar and the wine and my cousin. Everything. She smiled as if she had understood immediately. The day after, she came with a full bag of books. "You have to read these and then you'll know". So ... the solution was there ... maybe I had to be cautious. I put the bag aside and did not open it. Of course, when she asked me about the books, I miserably lied "Wow ... incredible, incredible". "You have to read them, I tell you, you have to read them", she kept saying, "if you want to understand what's going on under your uncle's house".

She was so certain that the books would reveal the answer. There was the solution. I opened the bag, spread the books on my bed and looked at the covers, which were golden and black with twisted faces and traces of red-blood. Lovecraft, Matheson ... these names did not tell me a thing. I selected one book and opened it and started to read. It took me all night and the next night to finish it. During the day, at school, I was dizzy because of the lack of sleep. But also because of what I had read. Then, I took a second book, and a third one. All the stories were similar. They were terrifying, but they were also very helpful to me. They were about big houses with huge black cold cellars, huge stairs that went deep under the earth and were inhabited by frightening creatures. Normal people like me or mum or my father disappeared in them. This was it. At that time, I was too young to understand what parallel worlds meant. And my uncle knew that, of course. He just told me what he could, that there was a mystery down there, under their house and that it was preferable not to know the secret. One in the family was enough, my cousin should know, period. This is why my uncle had warned me not to open the door. This is why he always asked his son to tell him about the wine. This was also why I should believe what he said about wine.


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