Hybrid

  • Hybrid,  Issue 35

    Visible Emergencies

    by Hannah Bonner

    art: "Estáticos de Bacuta" by Juan José Clemente

    On Saturday I celebrate a friend’s birthday which is also, coincidentally, the fourth of July. I arrive during day; I leave at the torque to night. Over cake, I speak with a woman in the middle of an acrimonious divorce. “No one lives with their husband while divorcing,” she tells me. “No one. This pandemic exposes the cracks of what we never worked on.” I say very little. For eight months I have lived alone; therefore, my cracks and her cracks are different kintsugi.

  • Hybrid,  Issue 35

    The Moment You Cease Motion, and Into the Feathery Lightness

    by Michele Rappoport

    art: "El mundo de Anita” by Juan José Clemente 

    The Moment You Cease Motion

    A person lives within an inch of evaporation.  Every night you die, skin and nails soft.  The heart, that feverish bayonet, pierces the practical bearing of clearness.  Ice envelopes the wound. Blood loiters, wet and exposed.  A vein pulses like a charm more perfect than dust in winter. And in the skin, the perfect quietude of a body close to completeness.
    _______
    
    I wrote this piece with words found in The Military Handbook &
  • Hybrid,  Issue 35

    The Backbone of the World

    By Cecily Winter

    art "El Salto de Rolando" by Juan José Clemente 

    IN THE BEGINNING loomed the gray above our heads sometimes obscured by mists of rain and snow, while across the ice steppe lapped cold saltwater from which we speared fish small and large

    FOR SURVIVAL we wore leathern skins and fish scales strung with sinew even in our snowdomes where we huddled close and moaned the wind music of this land

    WHEN WITHERING DEATH ASSAILED US we sharpened long bones to capture an ice floe and launched it bearing the corpse,

  • Hybrid,  Issue 35

    World Made Flesh, and Some Nights, It Gets So Dark

    by Brent Canle

    art: "Solaris" by Juan José Clemente 

    World Made Flesh

    We woke this morning to find that the world was made of flesh. Skin covered everything. Freckles stained the sidewalk. Cars weave between pores in the road. The skyscraper’s windows were the milky membrane of blind eyes. 

    In the buildings, at work, we entered veins and all day rushed around into different orifices having meetings, completing tasks, meeting deadlines. The streets below us pulsed as buses exhaled into the coming night air.

  • Hybrid,  Issue 34,  Poetry

    As Jay DeFeo Paints by Lenore Myers

           “Land of Plenty” by Vera Illiatova

    Deathrose – The White Rose – The Rose  (1958-1966)

    1

    Did your daily attention to paint

    its weight

    its hue in changing light

    its sculptural bulges

    its chasms

    make your painting more

    like words?

    2

    I start in the figure

    as you never did

    although the surface was of immediate concern

    you started in the thing

    itself

    Paintbrush between your teeth

    3

    What defines the figure

    Who says what ground

    The art of FUNK

                The surface all fucked up

      or

                The process of fucking    up

                                     into revelation

    4

    You break it the

    surface

    never lies

    right with you

    5

    By weight,