Showing posts with label Jan Steckel. Show all posts
Showing posts with label Jan Steckel. Show all posts

Friday, July 25, 2025

Friday, July 25, 2025: Jan Steckel's "Kol Nidre"

 

Kol Nidre


My cantor cousin has a leaky valve

like one of those grand old cars

that cruise my neighborhood –

an old 1967 Ford Galaxie, say,

or a 1956 Thunderbird. He started to cough

black exhaust when he wanted to sing.


Show us the scrolls, the sound a sob.

The cantor creates no vault, no dome,

but desert where God hears sorrow surpassed.

Plainsong’s ancestor launches toward heaven

to pull God down, hits the world’s topography,

ricochets back, echo-locating each Jew’s heart

that hollers “Why?” The only answer: absolution.


My cantor cousin told me the brothel

across the alley from great-grandfather’s bar

had a Negro owner, but no Negroes

were allowed as clients.

The Polish whores wouldn’t sleep with them.


Show us the scrolls, let black smoke roll.

I feel my cousin’s voice in my chest.

The cantor’s opera-singing mother

(dead these many years) nods her approval.

© 2025 Jan Steckel



Jan Steckel’s debut fiction collection Ghosts and Oceans came out from Zeitgeist

Press in 2023. Her poetry book The Horizontal Poet (Zeitgeist Press, 2011) won a

2012 Lambda Literary Award. Her poetry book Like Flesh Covers Bone (Zeitgeist

Press, 2018) won two Rainbow Awards. Her fiction chapbook Mixing Tracks

(Gertrude Press, 2009) and poetry chapbook The Underwater Hospital (Zeitgeist

Press, 2006) also won awards. Her creative prose and poetry have appeared in

Scholastic Magazine, Yale Medicine, Bellevue Literary Review, Canary, Assaracus and

elsewhere. She lives in Oakland, California.

Friday, October 25, 2024

Friday, October 25,, 2024; Jan Steckel's "The Fire Game"

 

The Fire Game


I didn’t set out to be a rage-a-holic,

but it crept up on me, what with

certain friends and family

turning out to be rabid

abled supremacists and all.


I didn’t start out with burning contempt

for my fellow Americans, for other poets,

for Republicans, for the entire South,

for the unvaxed, the unmasked.

I just smoldered until I burst into flame.


I want to smother it in human kindness,

but every time I start to get there,

another disabled or elderly friend

drops dead, or the ERs fill up,

or somebody gives me shit


for wearing a mask to a party,

and I just want to unhinge my jaw,

yell “Dracaris,” and incinerate

the whole freaking fiesta,

then crawl back in my cave.


© 2024 Jan Steckel





Jan Steckel’s debut fiction collection Ghosts and Oceans came out from Zeitgeist

Press in 2023. Her poetry book The Horizontal Poet (Zeitgeist Press, 2011) won a

2012 Lambda Literary Award. Her poetry book Like Flesh Covers Bone (Zeitgeist

Press, 2018) won two Rainbow Awards. Her fiction chapbook Mixing Tracks

(Gertrude Press, 2009) and poetry chapbook The Underwater Hospital (Zeitgeist

Press, 2006) also won awards. Her creative prose and poetry have appeared in

Scholastic Magazine, Yale Medicine, Bellevue Literary Review, Canary, Assaracus and elsewhere.

She lives in Oakland, California.

Monday, March 25, 2024

Monday, March 25, 2024 : Jan Steckel" "Indivisible"

Indivisible


Separating myself from my parents

is an impossibility.

The imprint of my mother’s hands

will always be on my skin.

Her voice always be in my head,

behind the face that looks just like hers,

between my ears, invasive, cunning,

berating my body, demanding I make myself

smaller, that I subsume my needs to hers,

telling me that to want what I want

is selfish. I must not even let myself

know what I want, my anatomy

is not my own, my atoms belong

to my progenitors. I think of my mother

before that board of 1960s physicians

who had to approve her abortion,

when her doctor testified that carrying

another child might leave her

unable to walk, crippled, dependent,

how she had to get all those strange men’s

leave to evacuate my little sibling,

and I don’t, will never, forgive,

but I understand.


© 2024 Jan Steckel






                                                          © 2024 marie c lecrivain




Jan Steckel left a pediatric practice caring for mostly Spanish-speaking children to

be a poet, writer, and medical copyeditor. She is Jewish, bisexual, and disabled by

chronic pain. Her poetry book The Horizontal Poet (Zeitgeist Press, 2011) won a

2012 Lambda Literary Award. Her poetry book Like Flesh Covers Bone (Zeitgeist

Press, 2018) won two Rainbow Awards. Her fiction chapbook Mixing Tracks

(Gertrude Press, 2009) and poetry chapbook The Underwater Hospital (Zeitgeist

Press, 2006) also won awards. Her fiction and poetry have appeared in Scholastic

Magazine, Yale Medicine, Bellevue Literary Review, Canary, Assaracus and elsewhere.

She lives in Oakland, California.


Tuesday, December 13, 2022

Tuesday, December 13, 2022: Jan Steckel's "Being Disabled in a Pandemic"


One of my two best friends is a butch lesbian I’ll call Jess, the other a straight man I’ll call Will. We’ve all known each other for thirty years, since we were students together in medical school. Jess is still a doctor, but Will and I left medical practice years ago. At the pandemic’s beginning, all three of us were on the same page, advising each other what precautions to take. Jess took a few more risks than I because she’s younger and in good health, but we all shared the same consensus scientific reality. 

Soon, however, Will started sending me articles about herd immunity and the uselessness of masks. Previously sympathetic toward trans people, he became obsessed with trans women, lurking on their message boards. He gobbled up and vomited out at me trans-exclusionary radical feminist talking points. He expressed the fear that trans women would trick him and other straight men into thinking they were “real women” and having sex with them. 

While Will had always been economically conservative, he had also been reasonably socially progressive. Now he ranted against Black Lives Matter and progressive protestors in his city of Portland. He called teachers cowards for wanting more protections before returning to the classroom. He boasted that he deceived the people into thinking he was wearing a mask by using a cloth mask with a hole in it concealed by a fabric flap, designed for playing woodwinds. I was appalled; to me that bordered on assault and made me think he was unhinged. He called the governor of his state a misogynistic slur for imposing public health measures. He began to troll me relentlessly, deliberately trying to get a rise out of me, to the point where I could no longer speak with him and dreaded his texts.

When I told Will I thought he had undergone a personality change, he said he was filled with rage because the world had gone insane with fear of Covid. He had diagnosed himself with two serious medical conditions that can be aggravated by stress but refused to seek medical care, declaring “I am not a patient.” When I pointed out that either condition could cause vascular problems in his brain that might cause personality changes, he lashed out at me for identifying as disabled, texting “Being ill, fearful of illness, and dependent on medical care is part of your self-image… Why do you call yourself ‘horizontal poet’ on social media? Is that the first thing you want people to know about you, that you’re partially disabled? The sobriquet would fit better if you were quadriplegic. You don’t begin to have an idea how much I hate it and what it does to you. Why do you gravitate toward people with disabilities of all kinds? You seem to want to cast me in the role of one of your frail, fearful, dependent friends….”

Most of my disabled friends are actually emotionally stronger and more resilient than Will, who now subscribes to ableist body fascism along with all his other repugnant beliefs. I was as horrified by the changes in Will as by the deaths of a dozen friends and acquaintances during the pandemic. I feared his personality change might be due to early dementia or mental illness, perhaps even brought on by a case of Covid.

Then, on February 19, Benjamin Jeffrey Smith shot and killed Brandy “June” Knightley, a 60-year-old queer, disabled, female, progressive activist in Portland, and wounded five other women. One of the wounded women was paralyzed from the neck down. The unarmed women had been directing traffic away from a protest against the killing of Amir Locke, a black man shot by police executing a no-knock warrant for someone else. Unlike the 2017 murder of Heather Heyer by a Neo-Nazi in Charlottesville, national media never covered June Knightley’s murder much. Maybe killing protesters had become the new normal, or maybe it was because June Knightly wasn’t young and walked with a cane. I already knew older disabled women were invisible, but the nation’s pandemic response really brought home to me how little anyone cares if we die.

The views espoused by the shooter were uncomfortably close to those now held by my erstwhile friend Will. Smith was a fan of Andy Ngo, a right-wing pseudo-journalist who demonized the protestors. Will is also now a fan of Ngo’s. I’m a year younger than Knightley, and like her I’m disabled, queer, progressive, and activist. My longtime friend is a gun owner like Smith. If someone had told me it was Will who had opened fire, part of me wouldn’t have been surprised, so incandescent is his rage. I could have been the woman he killed.

Jess and her family eat dinner monthly with me and mine, usually outdoors. On lawn chairs around the propane heater, we turn Will’s transformation and the killing of June Knightly over and over. In the isolation that the pandemic engendered, how could we have prevented online radicalization? How do we protect the right to assemble against stochastic terrorism? How do we come back from this? I haven’t asked Will about Knightley’s murder, perpetrated not far from his house. I don’t want to know what he thinks.


© 2022 Jan Steckel



Jan Steckel left a busy pediatric practice caring for mostly Spanish-speaking

children to work as a poet, writer, and medical copy editor. She is Jewish,

bisexual, and disabled by chronic pain. Her poetry book The Horizontal Poet

(Zeitgeist Press, 2011) won a 2012 Lambda Literary Award. Her fiction chapbook

Mixing Tracks (Gertrude Press, 2009) and poetry chapbook The Underwater Hospital

(Zeitgeist Press, 2006) also won awards. Her fiction and poetry have appeared in

Scholastic Magazine, Yale Medicine, Bellevue Literary Review, Canary, Assaracus,

and elsewhere.

She lives in Oakland, California.

Tuesday, August 9, 2022

Tuesday, August 9, 2022: Jan Steckel's poem "Queen of Sheba Market"

 Queen of Sheba Market


In the turquoise-painted bodega in Samaná,

you could get enough beans for one meal,

a dollop of tomato sauce, a pinch of cilantro,

a piece of an onion. Everything aliquoted down

to the atomic amount, the very smallest portion

that could be priced.


Because who had enough money for the whole can

of tomato sauce, the whole onion, the whole pound of beans?

You could get two aspirin folded into a piece of brown paper.

You could get the news of just that day,

told to you in snatches of broken narrative,

overheard, secondhand.


In the hot-pink hand-painted bodega in Oakland,

you could get a whole can of beans already cooked

and seasoned. You could get a frozen pizza

and a Dos XX or a Modelo Negro or a cold Pepsi 

or a dozen different brands of filtered cigarettes. 


You could get pulled out of the bodeguita by a man,

who took the stroller from you with the kid in it

and wheeled it calmly to the child’s grandfather,

who took the baby inside the apartment building, 

while the man returned just as calmly and began hitting 

you methodically, in a business-like way,

until you were dripping in tears and blood,

and you would both have disappeared 

before the police called by the white woman arrived.


There are bright bodegas everywhere.

There are pale-skinned women calling the police

but too afraid to get out of their cars

everywhere.



© 2022 Jan Steckel











Jan Steckel’s book Like Flesh Covers Bone (Zeitgeist Press, 2018) won Rainbow Awards for LGBT Poetry and Best Bisexual Book. Her poetry book The Horizontal Poet (Zeitgeist Press, 2011) won a Lambda Literary Award. Her fiction chapbook Mixing Tracks (Gertrude Press, 2009) and poetry chapbook The Underwater Hospital (Zeitgeist Press, 2006) also won awards.

Monday, March 4, 2019

Women's History Month: Jan Steckel's "Tortilla Jesus"

Tortilla Jesus*

I see Jesus in a Cheeto,
a pierogi, a frying pan, an ashtray,
shower mold, a grease stain,
a paper towel like the Shroud of Turin.

I see the Virgin Mary
in agate, marble, glass and sheet metal,
in a rotting grape, a redwood burl,
a grilled cheese sandwich, a lava lamp.

I see Buddha in a beehive,
Mother Teresa in a cinnamon bun.
Satan in a potato chip.
I see love in your eyes.


*After reading Look! It’s Jesus: Amazing Holy Visions in Everyday Life, (Chronicle Books, 2010) by Harry and Sandra Choron


Jan Steckel is a former pediatrician who stopped practicing medicine because of chronic pain. Her latest poetry book is Like Flesh Covers Bone (Zeitgeist Press, December 2018). Her poetry book The Horizontal Poet (Zeitgeist Press, 2011) won a 2012 Lambda Literary Award for Bisexual Nonfiction. Her fiction chapbook Mixing Tracks (Gertrude Press, 2009) and poetry chapbook The Underwater Hospital (Zeitgeist Press, 2006) also won awards. Her fiction and poetry have appeared in Scholastic Magazine, Bellevue Literary Review, New Verse News, November 3 Club, Assaracus and elsewhere. Her work was nominated three times each for the Pushcart and Sundress Best of the Net anthologies, won the Goodreads Poetry Contest three times, and won various other awards. She lives in Oakland, California.