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I wanted my story to be a constant reminder to always check my own heart before judging the hearts of others.
KAYLA BACKER 34THPARALLEL MAGAZINE ISSUE 46
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GINSBERGIANS STREAM ON 
BY ANNETTA DEXTER SAWYER 
TRIGGER HAPPY 
BY KAYLA BACKER 
DOMINOES 
BY LISA MARIE PEREZ 
RITUALS 
BY DONNA DALLAS 
WHY CAN’T HUMAN BEINGS 
CONTROL THE WEATHER? 
BY ELEANOR LERMAN 
EVEN 
BY JENNIFER WHEELOCK 
LIKE FLEAS ON WHITE 
BY DARCY CASEY 34THPARALLEL MAGAZINE
 BY MARTIN CHIPPERFIELD 
ISSUE 46 SEPTEMBER 2017
 34THPARALLEL.NET

KAYLA BACKER

I am Korean-American but I have never stepped on soil that doesn’t belong to the United States of America. Both of my parents were born in South Korea. My Mom and my Dad immigrated to the States before they were teenagers and yet they spent a good chunk of their lives immersed in the Korean culture and society in Los Angeles, California.

Something that you must understand about Korean culture is that it is very different from almost any other culture in the world. I say this because there are some elements in Korean society that you will not be able to truly comprehend unless you have been a part of it. Now, while I have not genuinely been a part of Korean society, I still have had experience with the finer details of its dynamic.

Similar to how Korean culture is very unique, so is Korean gang life. Every day more and more individuals become engrossed and ensnared in street gangs and yet the circumstances motivating Korean youth to join these gangs are slightly oxymoronic.

The appeal of gang life to young Korean boys is rooted in the fact that their immigrant parents are oftentimes focused more on providing for the physical needs of the family than the emotional needs. The children may have all that is expected for a “happy” life and yet they grow up feeling neglected or abandoned by parents who are too busy with a job to give the necessary attention to their kids. This cultivates an attitude of insecurity within the children that can push them to seek out other means of affection—street gangs included.

On another note, I was largely inspired to write this story because I wanted to put myself in the point of view of a character that I would normally never sympathize with.

I wanted to write a story that, in both its entirety and its creation, would teach me to widen my worldview beyond my own ideas of morality and right and wrong. Every abuser has at some point been a victim, which does not excuse their abuse of others but helps outsiders to see the humanity in both the abuser and themselves.

I wanted my story to be a constant reminder to myself to always check my own heart before judging the hearts of others. What better way to do that than to force myself to step into the shoes of someone I’d usually hate?

DONNA DALLAS 34THPARALLEL MAGAZINE ISSUE 46
I’m a broken romantic, hopeless writer of happenings, events, confessions perhaps.

DONNA DALLAS

I write between wake and dreams, I write of the past and of what is yet to be. I pull from someone’s pain and siphon from my heart. I’m a broken romantic, hopeless writer of happenings, events, confessions perhaps.

Over the years I’ve been deeply moved and inspired by Sharon Olds, Sylvia Plath, Allan Ginsberg, Robert Creeley, Jayne Anne Phillips, Mary Karr, Denis Johnson, to name a few. In their raw honesty and bare bones I completely connect and I have been inspired over and over again to continue to seek out my voice. Over the years I’ve documented lives growing up poor, witnessing drugs, prostitution, overdoses, and death, stories of lives that fell apart in front of me or with me.

I studied Creative Writing and Philosophy at NYU’s Gallatin School. I became a successful businesswoman, wife, and mother of two beautiful children. I’ve been published in Mud Fish, Nocturnal Lyric, The Café Review and The New York Quarterly, 34thParallel, Anti-Heroin Chic, Vending Machine, The Opiate, Quail Bell Magazine, Public Pool, and Beautiful Losers.

nickidallasinc@aol.com

LISA MARIE PEREZ

As a Cuban-American, I find myself constantly gravitating towards Cuban poetry. The inspiration for Dominoes came from spending Saturday nights at my Abuelo’s house. The dominoes would come out and Abuela would be making espresso. It was an honor for me to deliver un cafecito to such intense-looking men. They reminded me of cavemen no longer concerned about everything they left behind in Cuba, but instead focusing all their attention on winning at dominoes. A couple of years ago, when I won a domino tournament, everyone knew me as “Enrique’s granddaughter”. They warned everyone I was a force to be reckoned with, all because of him. I felt the only way I could share such a special time with my Abuelo was to write a poem about it.

ELEANOR LERMAN

When my first book of poetry Armed Love was published more than 40 years ago, The New York Times said that if poetry were given ratings mine would deserve “a double-X”. I was very proud of that because I was only 21, and what I was writing about was sex, drugs, and wasting away—all suitable topics for the celebrated male writers and poets of the early 1970s but apparently not fit subjects for a young woman.

In the decades since, I have learned what I imagine all young, wild wastrels find out, that time and fate, if you survive them for a while, have more in store than allowing you to use your body and soul as a testing ground for how much you can risk.

Now I understand that being alive requires real courage and not the kind that sends you off to wander the streets in the middle of the night. What it demands is that you be awake long past the witching hours and face the fact that your body is no longer something to play with and your heart, mind, and soul have to start turning towards the question of what—if anything—lies beyond the human horizon.

I began to turn towards writing literary science fiction because it provided me with a framework for considering those almost ungraspable questions. I began with a novel entitled Janet Planet, which was an attempt to rewrite the life of Carlos Castaneda, the once-famous American “shaman”, a fraud whose writings nevertheless continue to captivate those interested in spiritual teachings. I then went on to write Radiomen (The Permanent Press, 2015) and, most recently, The Stargazer’s Embassy (Mayapple Press, 2017) both explorations of how little both humans—and, perhaps even more importantly, aliens—if they are indeed visiting us—know about God and death.

So, as I keep moving towards that edge—the far horizon—the question remains whether I, or any of us, especially as we get older (I’m 65 now), are still strong enough to make it there and courageous enough to step over. Both my fiction and my poetry, now, are always trying to approach that far horizon and guess at what might be waiting to greet us when we get there. Maybe nothing. Maybe no-one. Maybe something worth having stumbled and struggled through life and all its suffering for. (And for a writer, maybe worth all the years of rejections, all the blank pages that defeated you, and all the mornings you woke up and decided to keep working because the private dialogue with yourself that has been going on since childhood drives you to write what you think about and sometimes nothing else matters and nothing else ever will.)

But wherever it is we human beings are going, we have no choice but to keep moving on, and so we do. One step after another, still hoping for happiness. Still hoping for meaning. Still believing we’ll find it somewhere along the way.

eleanorlerman.com

Wherever it is we human beings are going, we have no choice but to keep moving on, and so we do.
ELEANOR LERMAN 34THPARALLEL MAGAZINE ISSUE 46

DARCY CASEY

 I wrote my first story in kindergarten when I was five. My teacher loved it so much, she had the “novel” bound in cereal-box cardboard with a jacket of vintage floral wallpaper and made me read it to the first-grade class. I was terrified, and hooked.

Ever since then, I’ve been writing. I attempted a number of college majors and a variety of jobs. I was satisfied with none of the majors and failed at nearly all the jobs. Through it all I wrote stories and essays (and notes and lists and phrases and—) until I finally stumbled upon freelance and technical writing.

I began working full time during the day and freelancing as a writer/editor/trainer, and amassed enough college credits to graduate with my BA in liberal arts, English psychology minors.

In hindsight, I’m not sure why it took me so long to realize that writing was what I wanted to do, especially since I was doing it all the time anyway. Perhaps it’s because as I was growing up, my family seemed convinced that a writer was damned to the “starving artist” lifestyle. Or perhaps it was because writing was so close to me, such a part of me, that by proximity I just couldn’t see it.

Anyway, I became recommitted to my purpose as a writer and enrolled in the MFA program at the University of Southern Maine, Stonecoast. I’ve had two short stories published in the UMA Scholar and am hard at work on my first novel and several more short stories and articles. I’m a member of the Maine Writers & Publishers Alliance and the Association of Writers and Writing Programs.

darcyleecasey.com

casey.darcy@gmail.com.

Everyone and everything seemed to be in multiples of two.
JENNIFER WHEELOCK 34THPARALLEL MAGAZINE ISSUE 46

JENNIFER WHEELOCK

I’ve been writing since I could hold a pencil. I like words. I like the way they can tell a story. Or tear one apart.

This poem comes from a news report about death penalty cases in which, I noticed, even numbers kept popping up. Everyone and everything seemed to be in multiples of two. So I played with the notion of getting even and with the fact that the story was so much about numbers. The victims were numbers. The inmates were numbers. It was dehumanizing.

My poems have been published in Feminine Collective, Post Road, Lake Effect, Stone River Sky: An Anthology of Georgia Poems (Negative Capability Press), Flycatcher, Diagram, Quill’s Edge Press, River Styx, Atlanta Review, New Millennium Writings, The Inflectionist Review, and North Atlantic Review.

thejenniferwheelock.com

ANNETTA DEXTER SAWYER

I really did leave my home & family in Italy—headed out for my American Dream—with my guitar, portable typewriter (in those days) & red suitcase set in tow! By the time I wrote this piece I was teaching Fine Arts at Trinity College in DC (now Trinity Washington University where I still teach) when our NAACP Chapter invited me to read some of my poetry. This is what I chose. That experience gave me courage to do my first open mike at the original Bus Boys & Poets Slam!

My work in theatre, dance, visual art, or writing seems to echo some existential observation of myself & my place in this world sometimes connected, oftentimes seeing from the inside out or even the outside in—howling for our humanity.

Annetta20901@gmail.com

I write to stay alive, to feel human.
MILENA PETROVIC 34THPARALLEL MAGAZINE ISSUE 40
I’m an artist because it allows me to be free.
SHANNON MARIE KELLY 34THPARALLEL MAGAZINE ISSUE 27
When it all falls away we find ourselves still alive, and so we continue.
JOSHUA DULL 34THPARALLEL MAGAZINE ISSUE 35
It is not only form or style that makes me write, but the discovery process of the inner self.
JOANNA JEANINE SCHMIDT 34THPARALLEL MAGAZINE ISSUE 44
I have fantastic indie bookstores and a great literary scene to help me develop my writing and explore new ideas.
MARI CASEY 34THPARALLEL MAGAZINE ISSUE 43
I tried to fix my head, hang out with people, stop writing for a bit.
POLINA SIMAKOVA AKA AGRIPPINA DOMANSKI 34THPARALLEL MAGAZINE ISSUE 42
I am a writer because writing keeps me sane.
NATASHA NOAH 34THPARALLEL MAGAZINE ISSUE 41
As is frequently the case, I began this story with a vague concept: in this case a story about sex.
LIZ FYNE 34THPARALLEL MAGAZINE ISSUE 39
Thoughts of gender, identity, and expectations. And Adrienne Rich poetry.
REBECCA DIMYAN 34THPARALLEL MAGAZINE ISSUE 38
The poems are about the competition, jealousy, frustration, friendship, loss, and joy that all bands experience.
JOE DE PATTA 34THPARALLEL MAGAZINE ISSUE 37
Words are the only tools that I even remotely know how to use.
MOURA MCGOVERN 34THPARALLEL MAGAZINE ISSUE 25
Most of my poetry deals with gang violence and the impact it has on someone's life.
KANISHKA LAMPKIN 34THPARALLEL MAGAZINE ISSUE 14
I write because I’m good at it. Sure, I dress up good too.
ETKIN CAMOGLU 34THPARALLEL MAGAZINE ISSUE 30
I want to discover, to explore what I don’t know yet.
TANIA VERHELST 34THPARALLEL MAGAZINE ISSUE 32
When music beat me up and threw me out of the car I began to write.
DAVE MORRISON 34THPARALLEL MAGAZINE ISSUE 01
I like a poem that blows itself wide open at the end.
SUSAN WHITMORE 34THPARALLEL MAGAZINE ISSUE 31
 THE 34THPARALLEL MAGAZINE BY MARTIN CHIPPERFIELD 34THPARALLEL@GMAIL.COM