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At the Renaissance Festival, many wear costumes
I admire them as I wander by; their authenticity, their audacity
Their props and panache
A man dressed as a viking knocks over the ale-tankard of a fellow festival goer,
who is himself dressed as a pirate captain. The men begin to argue.
Remarkably, they remain in character, their accents thick
and theatrical. Their voices grow louder, their faces grow closer. The Pirate jabs a finger. The
Viking shoves. Both men draw weapons.
The Pirate swings his cutlass wide. It sings like it could be sharp. The Norseman leaps out of
reach, then returns with an overhand swing of his own. There is the clang
and slide of steel on steel; the whole crowd feels the thrumming.
The Pirate alights deftly upon a nearby picnic table, and from there
makes a dashing leap into literature
Thrusting his blade through the pages of adventure
We can all see the words rushing by, whirling by
“Avast!” they read, and “En guarde!”
A Knight Errant breaks through the circle of the gathered crowd
and now the words say “Blessed Mary and Joseph!” and “Halt! Halt, I prithee!”
The Knight tries to intercede but is tripped by an unseen tree root,
and now the words say “CLANG!” and “CRASH!” and “Damn it all!”
And now he is turtled and struggling for his feet as the fight rages on
above his head, swings and snarls and parries and grins.
The Pirate could have been an athlete or a dancer in his past life. Still, the
Viking knows his ways and presses the attack; meanwhile, the Knight
begins to roll himself from one side to the other in an effort to build up momentum
A flailing metal leg catches the Viking in the shins
and then the Pirate lunges low as the Viking stumbles forward and suddenly everything stops.
The man in the pirate costume looks around at us in shock
There is a sword in his neck. He raises his hand to the sword in his neck.
And now it is clear that we had not in fact been watching an act of literature,
but of history
And we see that the past has been here with us all along, nested like a doll within right now
There is a world where swords can still cut and it is this one
Somehow, it is this world
In this world, swords still cut
The man in the pirate costume slumps to his seat on the earth,
gripping tightly to the blade of the sword.
The crowd begins to murmur. He tries to breathe but chokes.
The Knight, having made no progress, begins crying to the laypeople for aid
while the Viking can only stand there, staring down at his blistering hands.
And that was when the Sword Swallower entered the scene from stage left, stopping to stand
beside me, saying, “Now that’s a lot to take in!"



J. Everett Feinberg is a writer and poet based in Denver, Colorado. He enjoys staying home and avoiding adventures whenever possible. You can find him on Twitter @JEverettFein
Current Issue
22 Apr 2024

We’d been on holiday at the Shoon Sea only three days when the incident occurred. Dr. Gar had been staying there a few months for medical research and had urged me and my friend Shooshooey to visit.
...
Tu enfiles longuement la chemise des murs,/ tout comme d’autres le font avec la chemise de la mort.
The little monster was not born like a human child, yelling with cold and terror as he left his mother’s womb. He had come to life little by little, on the high, three-legged bench. When his eyes had opened, they met the eyes of the broad-shouldered sculptor, watching them tenderly.
Le petit monstre n’était pas né comme un enfant des hommes, criant de froid et de terreur au sortir du ventre maternel. Il avait pris vie peu à peu, sur la haute selle à trois pieds, et quand ses yeux s’étaient ouverts, ils avaient rencontré ceux du sculpteur aux larges épaules, qui le regardaient tendrement.
We're delighted to welcome Nat Paterson to the blog, to tell us more about his translation of Léopold Chauveau's story 'The Little Monster'/ 'Le Petit Monstre', which appears in our April 2024 issue.
For a long time now you’ve put on the shirt of the walls,/just as others might put on a shroud.
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