Editor Publications
Stephanie Hammer writes about dealing with death at Gravel Magazine. A powerful piece. Read it here: http://www.gravelmag.com/stephanie-barbe-hammer.html
Stephanie Hammer writes about dealing with death at Gravel Magazine. A powerful piece. Read it here: http://www.gravelmag.com/stephanie-barbe-hammer.html
Volume 3, Issue 1 is now available online! We are slowly moving back to our regular posting schedule. Volume 3, Issue 2 should be posting in early September. We’ll be working over the next few days/weeks to get Volume 2 posted for download.
Keep your eyes open. We’ve got some big news coming up in the next couple weeks and hope you will celebrate with us! Thank you for your support!
It’s here. This issue has been a long time coming (sorry it’s a little bit later than usual).
First, I want to say thank you to my editors for helping out so much this past issue: I couldn’t have done it without you. Second, to the contributors for making this issue so fantastic.
You can pick up a copy of Volume 2, Issue 4 here.
Volume 2, Issue 3 is now available!
For the entire month of December East Jasmine Review is offering 25% off all issues—including Volume 1! To get your discount, enter coupon code HOLIDAY2014.
Ending today, we also have CYBERMONDAY for 50% off your order.
Enjoy these discounts yourself, or share the gift with friends and family.
Our deadline for Volume 2, Issue 3 is November 15th! Submit now: eastjasminereview.submittable.com
We are especially looking for fiction and nonfiction for this issue.
Volume 2, Issue 2 is now available! Grab a copy! You can read A Cheeseburger and Pickles, a nonfiction piece from the latest issue. Click the picture below to go to the issue!
Keiko Amano

Tamasaburou Kitayama ©2014
I came to the U.S. for the first time in June 1970. I wished I would be able to speak English in no time. I was nineteen. Shortly after, I attended Palomar Junior College in San Marcos. The following is an excerpt from one of my stories. This day, I was in the cafeteria waiting for my turn to place an order.
“Next! What would you like, young lady?” a waitress says to me, holding a yellow pencil in her left hand.
“Hamburger and 7-up, please,” I say.
“Would you like a hamburger or a cheeseburger?” she says with a broad smile.
The waitress looks like Alice, the housekeeper of the Brady Bunch. Over the counter, a male cook picks up a stainless-steel spatula and turns over hamburger patties. A sizzling sound echoes. He puts a piece of bright yellow cheese on top of each patty. They look yummy. Those hamburgers probably come with cheese or without cheese.
“Hamburger and cheese and 7-up, please,” I say.
“Do you want a hamburger or cheeseburger?” she says looking into my eye.
I pursed my lips. My heart begins pounding. I don’t turn back, but people are behind me. I have to hurry up. Maybe I should use the word “with” instead of “and” because a piece of cheese will melt and stick with a patty like a mother holding her child’s hand.
“Hamburger with cheese, please,” I say.
“Do you want a hamburger?” the waitress says making her chin double.
People must be staring at me.
“A cheeseburger?” she says without changing her tone.
“Yes.”
I wonder what difference a cheeseburger and a hamburger with cheese make. I can recognize burger and cheeseburger as a pair, and hamburger and cheesehamburger can also be a pair, but the pair of hamburger and cheeseburger throws me off. I used to think English was logical. Maybe her mind works in a different way because she is left handed. I hadn’t had any friends or acquaintances that used their left hand except my grandfather. My grandfather used a pair of scissors with his left hand and wrote using his right hand.
“What would you like to drink, dear?” the waitress says.
“7-up, please,” I say.
“What?” she says.
“7-up,” I say louder.
“Coke?”
“Yes.”
I wish I would be able to pronounce 7-up like Americans. I’m disappointed and frustrated, but I don’t know what to do about it.
❖
The scene above happened almost 40 years ago. The following scene is from March 2009 at the Subway restaurant in San Dimas. I made an order for a six-inch combo with Italian herb bread.
“No pickles, please,” I say to the young worker.
“Would you like jalapeños?” she says to me.
“No, no jalapeño, please,” I say.
“Would you like pepperchinos?” she says picking up a few strips of yellow pickles. She almost drops them on my sandwich.
“No, no. No pickles, please.”
She drops the yellow strips back to the container. I had the similar conversation at the place every time I went in to place my order. I chatted with most of the workers there. They recognized my face but not my preference for no pickles. One day, I went there late. I was the only customer. I thought this was a good opportunity to explain myself if they asked me about pickles again.
“You don’t like pickles, do you?” another worker says to me with a smile.
“I love pickles, but lately I can’t eat too sour foods. It bothers my skin,” I say. “Please, no pickles.”
“Okay,” he says, smiling. “Do you want jalapeños? Jalapeño is not pickles.”
“No jalapeño. Pickles mean processed vegetables with either salted water or vinegar,” I say and point to the bin of fresh cucumbers, “That’s fresh cucumber slices, but the other is pickled cucumber. You know what I mean? Those jalapeños or pepperchinos are also pickles.”
We went into more detail about pickles, and we burst into laughing. We began using the word “family.” The family of pickles. I thought I finally achieved my goal in our communication. I was happy.
But life is not easy. My next visit there, my situation went back to the way it used to be. A server asked me about pickles again.
Going back to cheeseburger, to me, the word connects to a brilliant comedian, John Belushi. In the television program “Live from New York, it’s Saturday Night!” he played a cheeseburger cook. He shouted, “Cheeseburger, cheeseburger, cheeseburger!” no matter what customers, other cooks, or waitresses said. I love those sketches and the character.
Almost forty years has passed since my cheeseburger incident. My language development was long and slow, but I thought I made my progress. But the pickle incident sent me back to my original question. How do native English speakers think behind their words? It is still a mystery.
Below is an interview with Charlotte San Juan, Poetry Editor for East Jasmine Review.
Stephanie Barbé Hammer
1.
whatever you want to say about Chopin —
he was gay or he wasn’t or he just didn’t
do sex because he was too frail —
he made his best work at George Sand’s house;
he sat at the piano at her place in Nohant
and the notes fell out of him, they streamed
down the staircase
as painters and prostitutes drank their tea.
2.
I can hear the music, Delacroix said. I can hear
him practicing. D. painted in the library while
in another room George Sand was writing
those terrible potboilers to keep the house paid for and the
food coming in – she was the guy in this gang, in
case you didn’t know that, the person making the money
and sweating the cash flow —
and there was the 19th century unspooling all around them with
its uprising disappointments its flags and
flaneurs — so
3.
when you think of love and when you think of revolution
relaxing romanticism sex and death
you have to think about his notes spilling out through her salon doors
leaking down through the roof and windows — impossible
fantastical
progressions
4.
for example, the Polonaise in A flat major – the “heroic” —
Chopin wrote it in Nohant
how ridiculously hard it is
to play
yet he threw it together like it was nothing, performing it
just for friends –
(he hated big audiences [he was shy]).
5.
there he is upstairs: that queer (?) going-to-die-young genius
doing things with the piano that no one has ever even thought to do –
so incredible that people hear the work online now and do wild
runs up and down the
scales of their emotions, texting
I love it what is it, who’s chopin and what’s a polonaise? an instrument or a song or what? it makes me do my homework. it makes me have an orgasm, I listen to it over and over again – it makes me so happy –
all coming from that house in Nohant.
6.
That’s when you realize that
genius is about the people who take care of you:
you can make anything
tackle anything –
the hardest art is a pleasure if you’re upstairs from your friends and lovers
knowing they are listening
but not too hard, not expecting, making their own
explorations
while some beloved person – just as creative —
sits at a desk churns out words
pays the bills.
Stephanie Barbé Hammer has published fiction in The Bellevue Literary Review, Pearl, and Hayden’s Ferry Review. A 4-time nominee for the Pushcart Prize, she also writes poetry; her 2014 collection, How Formal? is available from Spout Hill Press.
Purchase the issue here: https://eastjasminereview.com/issues/issues/volume-2-issue-1/