My Mother’s Purse by Robbi Nester

My Mother’s Purse

Cleaning out her bedroom closet before I sold the house,
I discovered it in a graveyard of old purses, stocked with
ticket stubs, and subway tokens, a pair of yellowed
leather gloves. Capacious as the womb that housed me,
wallet bulging, dispensary of coins and folded bills,
condiments and sweets. Both hospital and supermarket.
it weighed her shoulder down. Soon it will join her
gold teeth, comb—all that will mean nothing once I’m gone.

*

Robbi Nester is the author of four books of poetry and editor of three anthologies. She is a retired college educator and elected member of the Academy of American Poets. Her website is at RobbiNester.net

At the Perky Pot by Jerry Krajnak

At the Perky Pot

They gather here once more after Herbert’s service,
their meeting site this pockmarked window table
where they come to talk around nine most days
since they sold their farms. Tree shaded lawns
became new families’ backyard pools, their barns
just parking spots for leisure toys. Their tractors
gone. Old bailers gone. Now, Herbert too.
They sit beside the bird-spotted glass and watch
occasional cars pass by, their minds at work
recalling the fragrance of diesel fumes and dust,
of freshly turned soil, the sweetness of dried alfalfa.
In clean flannel shirts and pin-striped Carhartt overalls,
thanks to daughters who now watch over them,
they grieve for lost mornings when breeze and sun would stroke
their cheeks and soothe sore bones back in John Deere days.

*

Jerry Krajnak is a Vietnam veteran who later survived forty years in public school classrooms and collected degrees from UW Eau Claire, Wichita State, and the University of Kansas. He shares an old cabin in the North Carolina mountains with rescue animals, grows heirloom tomatoes, and writes a little. Recent poetry appears in Star 82 Review, New Verse News, I-70 Review, Autumn Sky Poetry, Rat’s Ass Review, SBLAAM, and other journals and anthologies. You can see more at jerrykrajnak.com.

Working the Overnight by Lisa Seidenberg

Working the Overnight

The Midwest is nothing like the coasts.
Opiated lakes scatter
amid thirsty prairies pining for a kiss.
It’s a flat landscape.

I knew Kat was not flat when she entered
the 24 hour sub shop where I worked the overnight
decked out in studded jean jacket and silver chain-strap boots.
Read the love poems she wrote
scrawled over the bathroom walls
in dripping swirls of medieval script.

Until then the night shift
brought only boisterous boys
at 4 in the morning
who drank too much and ordered sub sandwiches with extra onions
and yellow squares of American cheese.
But she ordered nothing so when dawn
came I took her home we woke
and went for breakfast Kat ordered spaghetti and meatballs,
devoured as if she hadn’t eaten for days.
I didn’t ask.

Her boots clanked as she walked away
down the flat sidewalk of a bank-owned town.
A stray cat in silver and blue.

*

Lisa Seidenberg is a filmmaker and writer who brings a cinematic sensibility to her written work. Her poems and literary criticism are published in NewVerseNews, Atticus Review, ONE ART: A Journal of Poetry and VENU Magazine. Her documentaries and poetry films have been screened widely in Europe, and in the U.S., inc. the Sundance Film Festival and Berlin and London Film Festivals. Her photo essay book, “Dark Pools” was featured at the NY Art Book Festival and Rendez-Vous Image (RDVI) in Strasbourg.

Buy One Egg McMuffin Get One Free by Susan Cossette

Buy One Egg McMuffin Get One Free
Douglas Drive, Crystal Minnesota

Every cracked sign has the sirens’ lure.

We clean cars better than the rest,
repair vacuums, examine eyes.
There are free X-rays for new dental patients,
all-you-can eat shrimp Thursdays at
the boiling seafood Cajun kitchen.

No McFibs, just real ribs at Arby’s
and bargain cremations at Washburn McCreavy’s.

Put a quarter in the shopping cart at Aldi,
gather fresh produce and meat,
house-brand snacks and cheap cheddar cheese.

This ecosystem of minimum-wage workers,
these canned beans, rice, and pasta will feed me for days.

But the Target superstore oversees all,
its red dot a plastic knowing, omnipotent eye—
rusted cars darting in and out
of the kinetic concrete hive.

*

Susan Cossette lives and writes in Minneapolis, Minnesota. The Author of Peggy Sue Messed Up, she is a recipient of the University of Connecticut’s Wallace Stevens Poetry Prize. A two-time Pushcart Prize nominee, look for her work in Rust and Moth, The Eunoia Review, The Rat’s Ass Review, New York Quarterly, ONE ART, As it Ought to Be, Anti-Heroin Chic, Crow & Cross Keys, Loch Raven Review, and in the anthologies Fast Fallen Women (Woodhall Press) and Tuesdays at Curley’s (Yuganta Press).

The Feast Of Busby Berkeley by Christine Potter

The Feast Of Busby Berkeley

Big holidays are often because of things
that weren’t the disaster you’d imagine—
often events you wouldn’t even notice

if you weren’t paying attention: lots of
oil, a state execution foiled, death taking
its unfixable thievery elsewhere. The old

friend released from the hospital, the
Aurora showing its dragon-green dance
to a solitary teacher driving the reservoir

causeway on her way to school just before
dawn, radio in her car untouched by any
solar storm. And this black and white

movie: ninety years old, three hundred
showgirls camped overnight in an arena-
sized rehearsal hall, learning a new routine,

each of them equipped with a negligee,
swimsuit, and waterproof makeup: every bit
as crazy a story as you getting to watch it

now and stop mourning the news. You did,
too, after clicking a single button thrice.
Later you stepped out on the porch into air

deep with frost and midnight, taken by a
hilarious delirium. Everything hushed, the
creek shuffling water. So. Why not believe?

*

Christine Potter’s poetry has been curated by Rattle, Kestrel, Third Wednesday, Thimble, Eclectica, The Midwest Quarterly, and Autumn Sky Poetry Daily—and featured by ABC Radio News. She has work forthcoming in The McNeese Review. Her young adult novels, The Bean Books, are published by Evernight Teen, and her third full-length collection of poetry, Unforgetting, by Kelsay Books.

Three Poems by Alan Perry

At the Barcelona Airport

She pushes her luggage cart
through the concourse, tissue to her eyes.
I barely notice she’s crying until
I roll past her with my carry-on.
Her blouse is wrinkled, hair uncombed
and a long sweater wraps itself
around her waist in a hug – remnants
maybe from the Atlanta red-eye.
As I look over my shoulder
she pauses, leans on her cart heaped
with a satchel and two huge bags
and seems to compose herself.
She changes her pace intermittently,
checks her phone, then glances
at the glass ceiling as if dawn
signals relief. I feel better
hoping her despair has eased.
Was it bad news from home?
A break-up with her partner?
The death of a loved one?
I want to intrude, ask several
none-of-your-business questions,
text the sad scene to friends I’m meeting
in Madrid – but I won’t. Certain grief
moves on wheels, brakes for no reason,
then veers off, carrying its weight
to an unexpected exit. At my gate, I see her
pass by again as I queue up for boarding –
her head still bowed as she turns
a sharp corner near the duty-free shop
and disappears down the escalator.
I want her to be on a flight to Istanbul,
where continents meet in narrow straits,
cross over to each other freely, even if
some cargo is never fully unloaded.

*

Necessary Matter

No matter how a freakish snowfall
burdens the mesquite tree that leans
so heavily it bows to the equinox.

No matter that the palo verde in the median
can’t bear the weight of change,
halves itself so one shaft survives.

No matter that mourning doves tell me
they are contented with rainfall,
with each other, with their calling.

What matters is the moment
before absence, when recollection swells
amid breakdown, when there’s nothing

beyond horizon but sky. That’s when
there is no loss, only precedent
for grief—unbounded, sacred.

I want to tell you when my best friend died,
I wasn’t there. My phone rang off-key,
rattled and clicked like slipping breath.

There were only liminal spaces before
that winter, half of us bending toward earth
like a snow-laden trunk.

And in the moments after snow melts,
rivers come alive, reservoirs re-fill,
depth gradually returns.

*

Pulling Over

The figure emerges in the rearview mirror
shadowed by a dimly lit sunset,

a gentle distraction from the miles ahead.
It may be my father, guiding

my young hands on the wheel, teaching
me to steer into the oncoming turn

or showing me how to change oil,
replace worn tires, tune the engine

so all the pieces work in unison.
Though it could be my mother extending

her forearm in front of my chest,
a maternal seatbelt holding me away

from the dashboard, inches from my head.
But most likely, it’s you in mirrored glass

waving hello and goodbye, smiling
as I drive our Impala, the one

with fins, wind finding open windows,
you sitting next to me, never wanting an exit.

Your hand caresses my neck
while you proclaim our road as endless.

I hear you again, humming to the radio
like tread on pavement, a white noise

of comfort that lingers as I drive,
decelerating as tires swerve to the shoulder.

Idling there in the moment, I remember
how much I wanted to write this down

before I forgot how far we’d driven.

*

Alan Perry is a poet and editor whose debut chapbook, Clerk of the Dead, was a finalist and honorable mention in the Cathy Smith Bowers Poetry Competition and was released by Main Street Rag Press in 2020. He is a founder and Co-Managing Editor of RockPaperPoem, a Senior Poetry Editor for Typehouse Magazine, and a Best of the Net nominee. His poems have appeared or are forthcoming in Valparaiso Poetry Review, Tahoma Literary Review, Third Wednesday, Ocotillo Review, Panoply, Schuylkill Valley Journal, and elsewhere. Alan holds a BA in English from the University of Minnesota, and he and his wife divide their time between a suburb of Minneapolis, MN and Tucson, AZ. More at: alanperrypoetry.com

Rentrez by Rose Jeanou

Rentrez

Let’s go back
To fortyfive-ten
White trellis and doors of green
Where I could be nineteen again
And we would ever be.
We once lived by the park on the corner
Where the cool clothes drift on the line
And brown cats roam free
And the roof’s open
We could climb up into the sky.
When I didn’t feel worried I’d lose it
I was losing it all the time
We straddled the slackline and never slipped off—
Well, I bet I’d feel just the same.
What’s the difference between
Ami et coloc?
I know I would feel the same.
There was nothing in life
Except for my friends
Except except except
Those rotted green doors to fortyfive-ten
The white pigeonshit on the terrasse,
Where we’d stand and smoke cigarettes under the cross—
We were four, we were two, with one name.
Overlooking the Esplanade
Flicking the ash—

*

Rose Jeanou is a lesbian writer and high school teacher based in Providence, Rhode Island. Her fiction and poetry has been featured in HAD, Wrong Publishing, Schuylkill Valley Journal, and many more journals and anthologies. Read her work at rosejeanwrites.com or follow her @rosejeanou on Instagram and Substack.

Thought from a Cape Town Coffee Spot by Rachel Orta

Thought from a Cape Town Coffee Spot

Table Mountain, rooibos tea
looking out over this sea,

who has assured me it’s worthwhile in essence
yet validated with each rise my fears of its violence.

Indian Ocean just as the ways of men,
Tepid, salt-encrusted, aiming to enchant and then

within a moment, as riptide or time it takes for coffee pour,
rage boils over, ripping all away, as to the ocean’s floor.

*

Rachel Orta (she/her) is from Milwaukee, Wisconsin. She gravitates towards dream-like themes, often inspired by mysteries of nature and complexities of family. Orta’s writing has recently appeared in FERAL and Heimat Review. A list of her recent publications and links to social media can be found here – https://linktr.ee/RachelOrta.

winter coat & a half glimpse of the world by john compton

winter coat & a half glimpse of the world

fingers crackle like a frigid bough.
an ice blossom sprouts.

summer is my grandmother’s voice
asking if i’d like a bowl of chili.

*

john compton (he/him) is a gay poet who lives with his husband josh and their dogs and cats. he is the poet with 14 published chapbooks/books, with the latest book: the castration of a minor god (Ghost City Press; december 2022) and next chapbook: melancholy arcadia (Harbor Editions; may 2024)

18 Reasons Why I Haven’t Lost Weight by Debbie Feit

18 Reasons Why I Haven’t Lost Weight

1. Because if I crunch enough of these potato chips it might drown out the house full of people who have shown up to say they are sorry. I offer them some of my chips.

2. Because chicken noodle soup, even with extra noodles, can’t really cure everything but damned if I’m not going to try.

3. Because the mirrors are already covered up for shiva, so I won’t have to see the extra chin I’ve acquired.

4. Because it’s too difficult to count calories when I’m busy counting books as I pack them up into banker boxes. I am up to fifty-one boxes.

5. Because my heart broke and rainbow cookies keep showing up as more people come to make a shiva call. But no matter how bright the red, green and yellow layers, all is gray.

6. Because if I eat enough Jeni’s Blackout Chocolate Cake ice cream I can become big enough to fill not just my seat but his as well at Ari’s college graduation and Max’s wedding and my book launch and Dave’s retirement party and all the simchas to come.

7. Because egg rolls, falafel, and apple fritters are indicative of my physical and mental state. Fried.

8. Because tacos fall apart as easily as I do.

9. Because pastrami on rye is salty enough to mask the taste of my own tears.

10. Because the skin of barbecued chicken crackles. The meat almost tender. The core raw. Especially when he was at the grill.

11. Because schnitzel makes sense when coated in grief.

12. Because Orville Redenbacher’s Butter Gourmet microwave popcorn seems appropriate given that my world has been nuked.

13. Because I can’t track grams of protein and carbs when I’m busy tracking down investment accounts, retirement benefits, and vintage furniture stores that might be interested in his mid-century modern bedroom set.

14. Because brisket is so tender it falls off the bone. Like I do.

15. Because pizza.

16. Because we need ten people to say Kaddish and these decadent chocolate truffles are worthy of being worshiped. I decide eating them is like a minyan in my mouth.

17. Because grief is an acquired taste that becomes more palatable with each sip.

18. Because my father died.

*

Debbie Feit is an accidental mental health advocate, unrelenting Jewish mother and author of The Parent’s Guide to Speech and Language Problems (McGraw-Hill) in addition to texts to her kids that go unanswered. Her work has appeared in The New York Times, Five South, Passengers Journal and on her mother’s bulletin board. She has been a reader for Five Minutes, an advertising copywriter, and a person who used to be able to sleep without pharmaceutical intervention. Read about her thoughts on mental health issues, her life as a writer and her husband’s inability to see crumbs on the kitchen counter on Instagram @debbiefeit or at debbiefeit.com.

Ex-Ballerina by Trish Hopkinson

Ex-Ballerina

You bring home pointe shoes
from the studio’s lost-and-found.
They were in there for weeks, you say.
They are rigid, barely broken in,
as you try to fold one in half.
The satin ribbons caress
your wrists. Do they fit? I ask.
I don’t know, you reply, taunting
the wooden toe with your fingertips
and turning it over in your hands.
They are small, like your feet,
still fitting the size-four Converse,
filthy with wear from eighth grade.
You eye the slight imperfections,
each rehearsal blemish. You bend
at the waist and the shoe slips
around your foot. No longer
a ballerina, you will call me years later
to say how you always compared yourself
to dancers with perfect form
—the shape and bend of their feet,
born for ballet. You tell
me, Now I know why I’m
always afraid I’m not enough.

*

Trish Hopkinson is a poet and advocate for the literary arts. You can find her online at SelfishPoet.com and in western Colorado where she runs the regional poetry group Rock Canyon Poets and is a board member of the International Women’s Writing Guild. Her poetry has been published in Sugar House Review, TAB: The Journal of Poetry & Poetics, and The Penn Review; and her most recent book A Godless Ascends is forthcoming from Lithic Press in March 2024. Hopkinson happily answers to labels such as atheist, feminist, and empty nester; and enjoys traveling, live music, and craft beer.

ONE ART’s Top 25 Most-Read Poets of 2023

~ ONE ART’s Top 25 Most-Read Poets of 2023 ~

1. Abby E. Murray
2. Rosemerry Wahtola Trommer
3. Betsy Mars
4. Donna Hilbert
5. Linda Laderman
6. Alison Luterman
7. Julie Weiss
8. Robbi Nester
9. Roseanne Freed
10. Karen Paul Holmes
11. Heather Swan
12. Timothy Green
13. James Diaz
14. Jane Edna Mohler
15. John Amen
16. Barbara Crooker
17. Jim Daniels
18. Susan Vespoli
19. Sean Kelbley
20. Susan Zimmerman
21. Kip Knott
22. Jennifer Garfield
23. Margaret Dornaus
24. Paula J. Lambert
25. Gail Thomas

Rummage Sale by Robin Wright

Rummage Sale

My uncle died three days
before his 92nd birthday.
Now, we sort through belongings,
dismantling his life, offer gems
to the next people maneuvering
their way through the years.

I hurry to my parents’ house,
set up tables, hang clothes
on racks, price tools
that belonged to my uncle.

Geese honk and fly south,
synchronized, as if taught
this special feat to amaze
those of us here below.

I’m about to hang my uncle’s red shirt
as a lone goose flies overhead.
It’s more vocal, flies closer
than the others. I glance at the shirt
in my hands, my uncle’s favorite.

*

Robin Wright lives in Southern Indiana. Her work has appeared in As it Ought to Be, The Beatnik Cowboy, Loch Raven Review, ONE ART, Spank the Carp, The New Verse News, Rat’s Ass Review, Fevers of the Mind, and others. She is a Pushcart Prize nominee, and her first chapbook, Ready or Not, was published by Finishing Line Press in 2020.

The Sound of Sought Release by Joan Leotta

The Sound of Sought Release

My friend writes of
sitting at her mother’s side
listening to the persistent
rattle in her mom’s breath.
I learned that sound,
when I kept watch
over my grandmother’s
final earthly days.

Rasping like wind
caught in a jar
pushing on the
loose top that
blocks its exit
from life on this earth,
the soul knocks, rattles
at body’s barriers,
yearning for release
in the last of its
appointed days.

Louder, then softer,
those last breaths,
resound until at last,
reflecting reluctant to leave
body’s fragile jar,
for the sake of
those remaining
until at last, a rasping gasp—
soul’s struggle is resolved
and we who remain
fill the aural void with
the sound of falling tears.

*

Joan Leotta plays with words on page and stage. She performs tales of food, family, strong women. Internationally published as an essayist, poet, short story writer, and novelist, she’s a 2021 and 2022 Pushcart nominee, Best of the Net 2022 nominee, and 2022 runner-up in Robert Frost Competition. Her essays, poems, and fiction appear in Ekphrastic Review, Verse Visual, Verse Virtual, anti-heroin chic, Gargoyle, Active Muse, Silver Birch, Yellow Mama, Mystery Tribune, Ovunquesiamo, MacQueen’s Quinterly and others. Her poetry chapbooks are Languid Lusciousness with Lemon and Feathers on Stone.

Memento Mori by Susan Zimmerman

Memento Mori

No need for a skull on my desk.

All I see will survive me,
be handed on, arrive at last
in the Goodwill jumble,
handled or worn or read by strangers.
All things escape as if leaving me

when I am the one leaving.
Some things seem close in time
but far in distance. I cull my life.
Sheets of paper, so light, multiply,

grow heavy. If I try
to remember it all, I’ll go mad.
When rings melt down for gold—

Let go, let go, they sing
in their melting.

*

Susan Zimmerman’s chapbook, Nothing is Lost, was published by Caitlin Press in 1980. Her poems have more recently appeared or are forthcoming in literary journals such as Prairie Fire, Gyroscope Review, The Maynard, and SWWIM Every Day. A poem of hers is also included in the new anthology The Path to Kindness: Poems of Connection and Joy, edited by James Crews.

Two Poems by Tim Moder

Driving Home Across The Mackinac Bridge, Tired, Early Morning June 12, 2012
(after seeing Radiohead and Caribou in Chicago and Detroit)
I can’t dream when I’m not amazed. Hypnotic signals stretch the
skies feeling for a tower. Helpless in the driver seat I don’t sleep.
Today I thought I saw a bird’s nest in the trees, hanging, made
of grasses, threaded twigs and leaves. It turned out to be a giant
spider web that mulched abandoned missives collected by the wind.
It waited, gigantic, a hairy catcher’s mitt, for unaware ideas to arrive.
I can always be amazed while driving. I can hear them in the back
sleeping. Friends, and friends of friends, and family. When we were
kids, we dreamed of being out of control, leaving when we heard the
call, sworn to the moon as secret celebrants. I wait to hear the night.
I suppose the light of the moon is just reflection. I see it in the sky,
and in front of me on the mirror of two great lakes. I can’t tell
which isn’t real. I wait with the wind to liberate pinned places from
the names we printed in bold letters on unfolded wrinkled maps.
*
Low Gas Salton Sea, October 3, 2018
(on the way to Phoenix to see The Mystic Valley Band and Phoebe Bridgers)
You are playing Hot Fuss on the stereo.
The needle moves idly across the GPS.
I say “I’ll get the next gas.”
We have a quarter tank.
From the back seat I could see
boarded up/pulled up/dug up stations,
each with a listing on the internet.
Unplugged mid-day warning signs.
Leisure moved on. Commerce moved on.
I could see an empty cigarette machine
dials and grips play it like foosball.
An empty yard with an Astro-turf veranda,
bumpy with iridescent happiness.
An empty bucket of rain water
dripping with Osprey feathers.
I’ve been reading the diary of a Buddhist
Monk, written while visiting a Shinto shrine.
In this pure land are many mansions,
most of them abandoned.
Sand is wind-embraced along the naked highway.
I don’t mind being a passenger today
as the car comes to an inevitable rolling
stop near Desert Center
I say “I’ll get the next gas.”
*
Tim Moder is a poet living in northern Wisconsin. His poems have appeared in Native Skin, River Mouth Review, Free State Review, Coachella Review, and others. He is the author of the chapbooks All true Heavens (Alien Buddha Press 2022) and American Parade Routes (Seven Kitchens 2023) He is a member of The Bad River Band of Lake Superior Chippewa.

In the Margin by Jennifer L. Abod

In the Margin

My purpose lost, I wander
into the living room.
One dusty bookcase
catches my eye.

I sit on the wood floor,
choose a fat book,
thumb pages, until
I reach a yellow stickie.

In the margins, in pencil,
Angela’s clear
handwritten notes.
here I find her,
hear her voice.

*

Jennifer L. Abod, PhD. Her poems appear in Sinister Wisdom, One Art Journal, The Metro Washington Weekly, Silver Birch Press, Wild Crone Wisdom, Artemis Journal, and forthcoming in Spillway Magazine. Dr. Abod is a jazz singer, award-winning documentary filmmaker, and radio broadcaster. She is a former assistant professor of Communications and Women’s Studies. www.jenniferabod.com

Farrier’s Work by Conor Gearin

Farrier’s Work
After Gerard Manley Hopkins

I have never held the hammer and tongs,
smacked sparks from orange iron,
in fact it turns out I’m anemic,
not even enough iron in my blood—

so why am I thinking again of Felix Randal
the farrier, battering his horseshoes,
a blacksmith I heard of from another poet
who also couldn’t stop thinking about blacksmiths—

why do I keep returning to this place
where I explain my work to myself:
furnace-glow in the dark, the silence
of rhythm, turning over and over the red sickle

shaping the perfect question mark

*

Conor Gearin is a writer from St. Louis living in Omaha. He’s the managing producer of BirdNote Daily, a daily radio program and podcast. His work has appeared in The Atlantic online, Chariton Review, New Scientist, Mochila Review, MIT Technology Review, and Foliate Oak Literary Magazine.

The Flowers by Michael Hettich

The Flowers

That first year in the tropics, we’d swim out farther
than we dared—though we did it—until we reached the sandbar
almost out of sight of land, where the gently-lapping water
was so shallow we could sit down and let its gentle rocking
soothe us until we were drowsy—not tired
exactly but half-dreaming, gazing at the vastly deeper
water beyond us and the darker currents running there.

We’d wade along that sandy ridge watching minnows scatter
and the bigger fish flash like flint and disappear.
Pelicans, anhinga and black skimmers let us come close—
somehow our human threat was almost vanished there.

We’d moved from the gray north; our bones still ached with cold.

That ocean smelled like flowers whose names we hadn’t learned yet,
and it was warm enough for us to take our suits off
and sing like little children, and talk like children back and forth,
not baby-talk but a kind of innocence—

then we’d push off to swim in, across the calm but teeming water
back to the city with its dancing and its rage
and its many kinds of flowers whose names we also didn’t know,
though we were determined to learn them.

*

Michael Hettich’s most recent book of poetry, The Halo of Bees: New and Selected Poems, 1990-2022 was published in May 2023 by Press 53. His poetry, essays, and reviews have appeared widely in many journals and anthologies, and he has published more than a dozen books of poetry across four decades. His honors include several Individual Artist Fellowships from the Florida Division of Cultural Affairs, The Tampa Review Prize in Poetry, the David Martinson/Meadowhawk Prize, a Florida Book Award, the Lena M. Shull Book Award from the North Carolina Poetry Society, and the inaugural Hudson-Fowler Prize from Slant magazine at the University of Central Arkansas. He holds a Ph.D. from the University of Miami and taught for many years at Miami Dade College where he was awarded an Endowed Teaching Chair. His website is michaelhettich.com.

Three Poems by Betsy Mars

Hawaiian Sunset

Before the house was turned over to renters,
still strangers, before the renovations,
before the turning over of the key
to the bank – before the trustee took pity
on my daughter and me, and left us
some privacy to say goodbye,
we spent a week with what was left:
a bed, two plates, two knives, two –
you get the idea. In the evenings
we sat in folding chairs and watched
the sun go down over the sea
where my mother’s ashes once eddied.

We said goodbye to the blood-stained carpet,
the puckering paint, the rusting window frames,
to the familiar view. Farewell to the presence
of the man we loved, moved to assisted living.
We even said goodbye to the flying cockroaches
surely skulking nearby, to the flip flop shoes
that we relied on to keep them at bay.
In the distance the volcano loomed, teasing
with inactivity. I learned that week how to let go.

The last morning they came for the bed,
the dresser, all that remained that could be of use,
and we drove away with our memories
packed, boarded the plane. I can’t say
we never looked back.

*

Inside my Mother’s Mind

Inside my mother’s mind there were rooms
her mother had decorated like a carnival
of doom, mirrors etched with venom.

The body that housed her mind was a place
her father had built from conditional love and guilt—
any flaws— imperfect nose, a mole
subject to surgical correction.
Her body ever on display,
staged and scented with perfection.

When my mother spoke there was a guarded space
inside her eyes; sometimes, when I was graced,
she let me see what cowered behind them.

*

Hospital Rest

My father’s breath rasps and bangs.
Wheeled beds bump down the corridor,
code blue over the intercom,
the ins and outs, button-pushing, chart-updating.
Pain on a scale of one through ten?

There is no rest for those of us undrugged.
Caffeine courses through veins in the shift’s eleventh hour,
the pulse so loud at times I can almost hear it
from the sofa bed where my head sorts its way
through the maze of sound, divining urgent from innocent.

The nurse administers morphine—
the word triggers an inner alarm:
images of death throes and agony, then
my father’s unnatural quiet, my stifled sobs.
Instead he settles, breath calmed.

The nurse returns, checks his pulse, turns him on his side.
He faces away from me toward the door.
The morning starts to creep through the dust-free blinds,
thick glass. There is no rush of traffic, no chirp of birds.

*

Betsy Mars is a prize-winning poet, photographer, and assistant editor at Gyroscope Review. Her poetry has been published in numerous journals and anthologies. Recent poems can be found in Minyan, MacQueen’s Quinterly, Sheila-Na-Gig, and Autumn Sky Poetry Daily. Her photos have appeared online and in print, including one which served as the Rattle Ekphrastic Challenge prompt in 2019. She has two books, Alinea, and her most recent, co-written with Alan Walowitz, In the Muddle of the Night. In addition, she also frequently collaborates with San Diego artist Judith Christensen, most recently on an installation entitled “Mapping Our Future Selves.”

Four Poems by Luke Johnson

Memory

of my dad
on the deck

with a blunt
& bottle of rum.

watch him
bop his

skinny hips
to Patsy Cline

then smile
when he sees

me staring
from my

bedroom window,
a loon

in the foreground
lifting.

*

Memory

of my nana
holding

a single pearl
in lavender light,

then spinning
it over and over,

as if somewhere
inside it

a whisper
is trapped,

the voice
of her stillborn son.

*

Memory

when my
sister was a pig

and the next
a snake,

and no matter
what the pastor

prayed,
would switch

each week
to a new animalia,

and sneak
out into the dark.

*

Memory

of dad
threshing brush
with a sickle

and the first
spark first snarl,

when smoke
would rise
like twisting

columns
from tinder

and carry his
baritone,
each dumb joke,

over
neighboring oaks

and once,
after his
brother died

of heart disease,
when both of us

wandered
acres deep
for chantarelles

and the chill
in the air a bouquet

of scalpels,
the way he’d reach
then I’d reach back,

the rain
our ritual song.

*

Luke Johnson is the author of Quiver (Texas Review Press), a finalist for The Jake Adam York Prize, The Levis Award, The Vassar Miller Prize and the Brittingham. His second book A Slow Indwelling, a call and response with the poet Megan Merchant, is forthcoming from Harbor Editions Fall 2024. You can find more of his work at Kenyon Review, Prairie Schooner, Narrative Magazine, Poetry Northwest and elsewhere. Connect on Twitter at @Lukesrant or through email: writerswharfmb@gmail.com

Two Poems by Homa Mojadidi

Political Prisoner

My grandfather made
tasbih beads from the insides
of bread he was fed

while being held
at an undisclosed
prison in Kabul—

on his last days on earth
he chose to feed
not his body but his soul

I wish I could have seen him
praying on the bare moldy floor
the walls smeared with blood

dignified and self-composed
while his enemies plotted
how and when to kill him

and make his body disappear
so that his loved ones
would never find him—

*

Breath

The breath
a bridge—between
the tangible and the abstract

connecting the elusive strands
of memory

gluing thoughts to place
scents to sounds
the face of a loved one

calling to us
across the years
holding their outstretched hand

Time expanding—
and contracting
with every breath

We breathe—not to live
but to remember

*

Homa Mojadidi is an Afghan American poet and translator. Her translation of a Baidel ghazal appeared in the November 14 issue of the Asymptote blog. In her own poetry, Homa explores the themes of loss, exile, memory, and mysticism. She is fluent in English, Farsi, and Urdu. Homa has an M.A. in English Literature from the University of North Florida and is pursuing an M.F.A. in Creative Writing with a concentration in poetry from George Mason University. She has taught English Composition and Literature classes at the University of Florida where she was pursuing her Ph.D. in Postcolonial Literature and currently teaches English Composition at George Mason University.

Glassblowing Class by Julia Caroline Knowlton

Glassblowing Class

We pick our colors: I choose “gems.”
Staring at the furnace blaze
beyond white hot, beyond any word,
I think of my body after my death.

I drive the thought away.
It is my turn to blow air into
an ash-colored blob of viscous glass.
We are all middle-aged,

tired, on a cloudy afternoon.
We stand in a half circle. Pushing
every bit of air out of my lungs,
I push the death thought away.

At the end of the steel blowpipe
my fiery lump opens into secrets
of ruby and emerald, sapphire and amethyst,
a pure sphere blooming like a wish.

*

Julia Caroline Knowlton teaches French and creative writing at Agnes Scott College in Atlanta. Recognition for her poetry includes an Academy of American Poets College Prize and a 2018 GA Author of the Year award. She is the author of six books, including her 2023 chapbook Life of the Mind (Kelsay Books).

Mourning Doves by Donna Hilbert

Mourning Doves

Because the potted plant
on the back porch needs water,
I come nose to beak
with a brooding dove,
too late to stop the water
pouring from my pitcher.
I flood the nest.

Her mate watches from powerlines.
She moves to a nearby ledge,
leaving the egg alone in the sodden pot.

Throughout the day, I go outside
and see the doves maintaining vigil.

By nightfall, the pair is gone.
I peer into the pot.
Nothing remains of nest or feather.
Not a trace of shell.

*

Donna Hilbert’s latest book is Threnody, from Moon Tide Press. Earlier books include Gravity: New & Selected Poems, Tebot Bach, 2018. She is a monthly contributing writer to the on-line journal Verse-Virtual. Work has appeared in The Los Angeles Times, Braided Way, Chiron Review, Sheila-Na-Gig, Rattle, Zocalo Public Square, ONE ART, and numerous anthologies. Poems have been featured on The Writer’s Almanac and on Lyric Life. She writes and leads private workshops in Southern California, where she makes her home, and during residencies at Write On Door County. Learn more at donnahilbert.com

Hope Is the Thing in Emails by Marissa Glover

Hope Is the Thing in Emails

I got an email the other day
with the subject line
“Bible Flower Heals Hemorrhoids.”

Don’t worry—I didn’t open it.

I checked to see the sender,
assumed it was my mother,
but it was spam (of course,
it was, you knew that).

But it got me thinking.

About hemorrhoids, sure,
but about Bible flowers too.
And healing. Namely healing.

So, while it’s true I didn’t open it—
I couldn’t bring myself to delete it either.

*

Marissa Glover lives in Florida, where she’s busy dodging storms and swatting bugs. Her poetry collection Let Go of the Hands You Hold was released by Mercer University Press in 2021. Box Office Gospel was published by Mercer in 2023. Follow her on Twitter at _MarissaGlover_.

Your Name by Jennifer Mills Kerr

Your Name

Heavy on my tongue,
hard candy that doesn’t
melt or sweeten,
the taste of old pennies
in spring water.

Once I shared it with others–
and you sparkled, floating, dust
motes in light.

Many women miscarry,
my doctor says.
Within my silence
a tiny black coffin

Imagining your face–
at one, at ten, at thirteen–
anchors me–
then your features fade,
sand beneath salt waves

Shifting, half seen–
a ghost I create–
to give birth
to you again
and again

*

Jennifer Mills Kerr is the founder & lead teacher of A World in a Line, an organization that inspires poets from around the world through virtual workshops. Lit-amorous, she’s on a perpetual quest for the next amazing poem to read, savor, and share. Connect with her at JenniferMillsKerr.com

Two Poems by Iris Cai

Bakersfield, CA

The entire drive, heavy rain gifts lightning
as a hairline fissure in the horizon.

Sixteen years ago, you shielded
your eyes with a baseball cap—crumpled
in the backseat, away from these roads. You thought
your smallness could hide you from the night.
You had other kinds of armor then.

They gave you a lucky bracelet for your first month,
wiry gold and tooth-marked. Swept into pieces
during an argument. For years, each time
you caught a glint in sidewalk rivulets, you imagined
another splintering.

Half-empty suitcases jangle with each turn
of the wheel. You never know exactly
how much to bring—once, your suitcase spilled its seams.
You packed so many clothes, it felt like
you were packing your life away.

Outside, the dark desert grass is cowless, untouched.
Every tree bent in wretched agony, reaching for
home. You suddenly knew your mother when she stood
in the doorway watching you leave. The clouds
can rain and rain but never touch the bleeding fields.
You pull into a gas station and weep.

Eventually, you gather your keys, unspooling
inside city lights, in the embrace
of a distant mountain. You are headed towards
the sun, a milepost somewhere along the road.

Somehow the sky is just big enough to hold the plains.
Know this, and drive.

*

Painted Bodies We Give Up

Single-swiped lottery tickets and late night
walks to the convenience store. America
striped with lakes and rolling hills, city upon
steel city. My father and I, we are sharp
and foreign as lightning rods, seeking out
Illinois’s tiny Chinatown despite driving
two thousand miles for a change of scenery. Here
are familiar voices. Every breath is a scattering
for a bird plucked dry. My skin is tough
now, seared by relentless California sun
and slurs at beer-stained street corners.
I stopped being angry years ago.
We climb Sears Tower and my father points
to cars on the highway, headlights a constellation
beneath us. In the sky, cowherd and weaver girl
join hands. I don’t tell him all I see is red
candy, a spangled prom dress. I wonder if
likening folklore to consumerism means
I have finally assimilated. I am mistaken:
the next day we are given wrong directions
at the mall. We wander through a gift shop
of patriotic paraphernalia. This handheld flag
for five dollars, this case of body paint. It will last
two hours in the sun, maybe three.

*

Iris Cai is a junior from the SF Bay Area. She is a 2024 YoungArts Award Winner with Distinction. Her poetry has also been recognized by the Poetry Society of America and the Alliance for Young Artists & Writers, and published in or forthcoming from On the Seawall, Neologism Poetry Journal, and elsewhere. An alumna of the Iowa Young Writers’ Studio, she is co-editor-in-chief of Eucalyptus Lit. When she’s not writing, Iris plays piano and takes too many pictures of her cat.

A moment in Maui by LeeAnn Pickrell

A moment in Maui

Setting out at 5 a.m. for the sea turtles’
morning march into the water at Kalepolepo Park.
The night is as inky dark as the water.
A man says he counted twenty-eight turtles
two days ago. Today I see only
one turtle pop its head above the water
before descending again. But the moon is full,
reflecting the sun and the day to come.
For almost a week, I’ve tried to silence
the world’s cruelty, really our cruelty,
our chaos, our wars, our hearts closed
to others’ suffering. Later, volunteers
will put up flags to keep us twenty feet
from the turtles that return to nap at low tide.
Everything needs to be protected from us.
The clouds slowly pinken as I wade into the ocean,
and the moon falls into my opened palms.

*

LeeAnn Pickrell is a poet, freelance editor, and managing editor of Jung Journal: Culture & Psyche. Her work has appeared in a variety of online and print journals, including ONE ART, Loud Coffee Press, Atlanta Review, and MacQueen’s Quinterly. She has a book forthcoming from Unsolicited Press. She lives in Richmond, California, with her partner and two fabulous cats.

Doubt by Bill Garvey

Doubt

The movie triggers the memory –
Father Richard Lavigne inspecting us
while we sat obediently in pews,
touching our fingertips,
praying for that certain boy.

On his deathbed he confessed
to pushing that boy into the river –
fifty years later.

I avoided the river because
I was never one of his special boys.

I remember when my dad
found me in the woods
building a fort with my friends.
I was supposed to be at altar boy practice.

I told him, He wants me to buy a manicure kit.
I wish I could say he
looked very concerned. Truth is,
he gave me the silent treatment all the way home.

When Saturday came around again,
I was ready for practice. Dad said,
You’re not going. No explanation given.
But I’ve never doubted why.

*

Bill Garvey’s poetry has been or will be in Rattle, Cimarron Review, ONE ART, The New Quarterly, New Verse News, Connecticut River Review and several others. His most recent book of poetry, The basement on Biella, was published by DarkWinter Press in Fall 2023. He and his wife live in Toronto and Nova Scotia for equal parts of the year.

Baby Bird by Jessica Natasha Lawrence

Baby Bird

There comes a time when hunger
surpasses the ability to devour,
when the ache confines you to the floor,
and you see that desperation
is a germaphobe
begging you to spit in her mouth.
I mean that hope is a flaky cereal
I’m asking you to chew for me,
I am asking you to cup me in your hands
and honor my newborn feathers,
I am saying that I will only survive
if you understand what I am.

*

Jessica Natasha Lawrence writes about chronic illness, realistic hope, and the beauty and trials of ordinary life. Her work has appeared in The Clayjar Review, Tiny Wren Lit, Write or Die Magazine, 50-Word Stories, and To Write Love on Her Arms. She also runs a Substack called Dust and Birdsong.

Restraint by Lake Angela

Restraint

Opaque rooms fall in line behind four sets of metal doors
and twice the number of locks and keys. From the stale gray
cloud appears the imposing metal chair with weighted leather
straps for head, neck, wrists, waist, ankles, and two solitary feet.

The ground is graced with scuffs from shoes with laces removed,
scarlet nail polish scabs left by strangled bare toes thrashing
after the grass they will never again feel, no trace of the feet
swaddled in sticky-soled socks all hospitals issue except
the rancid scent of fear steeped in breathless acrylic sweat.

The silence is a grey smoke; the camera obscures your face.
In the room with padded, grey walls, any restraint is for your
safety. Still it seems that punishment is devoid of movement,
is, in fact, the lack thereof—the promise of perpetual stillness.

*

Lake Angela creates at the confluence of poetry and the language of dance movement. She holds a PhD in the intersemiotic translation of Austrian Expressionist poetry into dance and has her MFA in poetry. She is a medieval mystic, beguine, and nonhuman creature. Her books include Organblooms and Words for the Dead (FutureCycle Press), and Scivias Choreomaniae is forthcoming from Spuyten Duyvil. Recent work appears in The Bitter Oleander, Seneca Review, filling Station, Poetry Salzburg Review, Passages North, Lotus-eater Magazine, and others. Lake is poetry editor for Punt Volat and neurodivergence advocacy writer for Brainz Magazine. As director of the poetry-dance group Companyia Lake Angela, she presents the value of schizophrenia spectrum creativity. She welcomes visitors at www.lakeangeladance.com.

Parole Denied by Ace Boggess

Parole Denied

The victim spoke unforgiving words.
Now members of the Board won’t hear your pleas
or see redemption when the noise of loss re-grieves.
They tell you no, condemning you again
for actions seven years ago in drugged numb

of absent self-control. You should be home,
smoking a thin cigarette, telling your friends
your heart has filled with love.
Now you squeeze hurt into a stone.
Pity the head that rests on it—jagged, hard.

*

Ace Boggess is author of six books of poetry, including Escape Envy (Brick Road Poetry Press, 2021), I Have Lost the Art of Dreaming It So, and The Prisoners. His writing has appeared in Michigan Quarterly Review, Notre Dame Review, Harvard Review, Mid-American Review, and other journals. An ex-con, he lives in Charleston, West Virginia, where he writes and tries to stay out of trouble.

Two Poems by Tony Gloeggler

REMINDERS

I didn’t guess the 12 year old
girl in the novel I’m reading
would get chronic kidney disease,
didn’t expect it would remind me
too often of the endless medical
appointments, bad news turning
worse, strict diet, limited liquid
intake, weighing like penance,
the drudgery of dialysis, three days
a week for three and a half hours
a session, the light headedness,
cramping. At least my brother
offered me a kidney, tested
as a perfect match. We went
into the hospital that summer,
his teacher-wife taking care
of their 2 young kids. My father,
already dead, didn’t have to track
down my wayward mother, fail
to convince her to be a donor.
When the girl’s condition
plummeted, they ended up
using a recently car-wrecked
stranger for the transplant.
The girl contracted pneumonia
a day after, died while I sat
stunned in my rocking chair,
the reading lamp burning,
too shaken to try and sleep.

*

SPECIAL NEEDS

One of my facebook friends
has put up one of those post
and paste things about special
needs kids, that they’re not
weird or odd and just want
to be accepted. He’s asking
me to share the statement
and I’m thinking he never
hung out with Jesse or Larry.
One’s autistic and I spend
a weekend a month with him
in Vermont. The other’s down
syndrome, my favorite guy
at the residence since day one.
They both love ripping things.
One goes to school wearing
a sweater, winter coat, comes
home on the school bus, his balls
semi-secure in a knotted dish rag,
a bath towel half draped over
his shoulders, shoes thrown
out the window. The other hums
happily in his room, shreds books,
cooking magazines. One pirouettes
like a chunky ballerina every half
block or so, refuses to ever wear
socks, punches himself under
his left eye when he’s pissed off.
This one time actually missing
his spot and hitting himself
right in the eye while I couldn’t
stop laughing at the shock
his face showed. The other
tosses rocks in lakes, little leaps
of joy when the stone plops
into the water. Both repeat
phrases endlessly. One bites
his arm when frustrated. Both
love pizza and French fries.
Neither really gives a fuck
what anyone thinks about them
as long as they’re treated well
by the people around them,
just don’t get in the way
of their routines. One barely
acknowledges the existence
of strangers. One loves hugs,
snuggling, while I need to ask
the other for hello, goodbye
squeezes. He’ll repeat sque-ee-eze,
lightly hold me for less than ten
seconds. Both laugh boundlessly.
Not exactly sure why, but I always
feel good around these two, find it
fascinating and fun, like my day’s
instantly injected with a dose
of happiness, glad to help them
do any of the things they love.

*

Tony Gloeggler is a life-long resident of NYC and managed group homes for the mentally challenged for over 40 years. His work has appeared in Rattle, New Ohio Review, Vox Populi, Gargoyle. His most recent book, What Kind Of Man with NYQ Books, was a finalist for the 2021 Paterson Poetry Prize and long listed for Jacar Press’ Julie Suk Award.

Resemblance by Donna Vorreyer

Resemblance

I never thought I looked like anyone
in my family, my hair red, my skin
dotted with freckles, so different from
my brown-haired parents, one brother’s
frame crowned with that same dark,
the other brother with features that
copied my grandfather’s face.

The first person who ever spoke of
a resemblance was the ambulance
attendant who brought my mother
home from hospice to die. You favor her,
she smiled, as she helped me adjust
the oxygen tubes. Then, at the wake,
each friend and neighbor echoed the same.

In the old photograph of the two of us,
we wear matching dresses and the same
conspiratorial smirk, and I see that I have
always carried her in me. Now that she is
gone, the mirror is where I find her.
Sometimes, I catch a glimpse of
my own face or hands and say hello.

*

Donna Vorreyer is the author of To Everything There Is (2020), Every Love Story is an Apocalypse Story (2016) and A House of Many Windows (2013), all from Sundress Publications. Her poetry, fiction, and essay work have appeared in Ploughshares, Cherry Tree, Poet Lore, Salamander, Harpur Palate, Booth, and many others. She lives and creates in the Chicago area and hosts the monthly online reading series A Hundred Pitchers of Honey.

Three Poems by Kaothar Kadir

Panadol Extra As An Heirloom

My mother used to swallow the two white
pills with a wince.
Now it dissolves like chalk onto her spotted tongue.
Jaws churning like the innards of a great ship.
A casual pet to the cat beneath the driver’s seat. What comes after,
is a yawn for water. Warm with a sting of steel,
of capped humidity, of sun-baked plastic.
The bottle is half-empty

sunk into the cup-holder where it rubs shoulders
with discarded jewelry.
We talk about the weather and
bad-mouth extended families.
A tiny yielding to the pain. An inch added to the mile of
‘you win this round today.’

Well, tomorrow comes.
And it’s the getting home after the long hot drive that does it.
Now its less about the pain
and more about the bargain.
Now its less about the headache,
and more about my brain stewing in its own fluid.
Now its genetic. An iron moistness haunts my taste-buds.
Now its my daughter licking the blackboard
and
the heat
melting the gold off my wristwatch.

*

A Mentos in Coke

The days line up like a set of dentist-fixed
ivory teeth. They are made of me and from me
in equal capacities. I wake up and its always morning.
I always want my bowl of pap, sugared lightly. The
pigeons are always cooing. I always wait for some
kind of chaos to barge in.

I am swimming through a pit of tar. The sky is black and
weeping above me. I am in my mind mind mind.
I am bubbling like a Mentos in coke. I am
my window, closing my blinds,
ashamed to see.

My hands are always empty.

I’d take up knitting, but then tomorrow, I’d have to knit. And
I’d murder a friend but then I’d have to deal with the body,
the thought, guilty or if I’m laughing it off.
And it would fit with a click. It is
everything I already do
and already did.

Everything has a red line, everything, a red smile.
I could die, but who knows
what awaits. More numbness,
more stillness, more undoing,
more days.

*

Lonely as a Fever

White-winged and feverish.
You always swooped in before I came
crashing. But I always liked teeth
bashed in. Smeared across the pavement
like ash across a forehead.

It’s a following. Rancid and green and
the ceiling goes further away the more you
stare at it. I tried to change the light-bulb once
and my toes pirouetted on their own accord. My
hands on the knob, before I could stop myself

and in came the outside air like a punch
to the face. So fresh, it ate my rot. So plenty,
it entered through the pores of my skin.
I see your shadow. Latching onto my marrow.
Black-winged. Frantic.

Swooping in before I come crashing. But I
always found the bottom and its skeletons inviting.
An open door. I hope it locks. And the outside
is kept in.

*

Kaothar Kadir is a twenty-one year old poet living in Nigeria. She began writing poetry at the age of seven. She was shortlisted in the Nigerian Students Poetry Prize in 2022. She’s currently in her final year of pursuing a bachelor’s degree in History and International Studies in the University of Ilorin. And when she’s not bent over her laptop writing, she can be found reading (or rereading) a book, watching A24 movies or dancing to her self-curated Spotify playlists.

Instructions for the Morning After the Terrible Haircut by Gloria Heffernan

Instructions for the Morning After the Terrible Haircut

First, do not look in the mirror
until after you have had your coffee.
Everything looks better after coffee.
When it still does not look better,
do not drink a second cup of coffee.
It will not make your hair grow faster,
and it will make you jittery while wondering
if anyone would find it odd
if you showed up at work
wearing a bee-keeper’s hood.

Next, go to your jewelry box and take out
the largest pair of earrings you own—
the ones with peacock feathers and beads
to draw attention away from the terrible haircut.
Then dig out the tube of red lipstick
you bought last New Year’s Eve and swore
you would never wear again
because it made you look like a clown.
Nothing distracts from a terrible haircut
like a crimson neon sign across your face

Before heading out the door,
sit still for a little while
and listen to the morning news.
No, I mean really listen.
Then go back and wash your face.
Return to your usual
understated silver earrings.
Be thankful that this morning,
a terrible haircut
is your biggest problem.

*

Gloria Heffernan’s Exploring Poetry of Presence (Back Porch Productions) won the 2021 CNY Book Award for Nonfiction. She received the 2022 Naugatuck River Review Narrative Poetry Prize. Gloria is the author of the collections Peregrinatio: Poems for Antarctica (Kelsay Books), and What the Gratitude List Said to the Bucket List (New York Quarterly Books). Her forthcoming chapbook, Animal Grace, was selected for the Keystone Chapbook Series. Her work has appeared in over 100 publications including Poetry of Presence (vol. 2). She teaches poetry at Syracuse YMCA’s Downtown Writers Center and on Phillis Cole-Dai’s Substack platform, The Raft. To learn more, visit: www.gloriaheffernan.wordpress.com.

Anthropology 101 by Susana H. Case

Anthropology 101

Our professor, red-eyed, disheveled, blew her nose, announced to the class that her good friend—lover, I thought—charged with murdering his wife, and without an alibi, had just been found not guilty. The verdict, the professor was adamant, forgotten ethnographic text in hand, restored her confidence in criminal justice. Students nodded, closed their notebooks, looked up again when she admitted her certainty that he’d done it. Something roiling in him, she told us, whenever he talked about his marriage. I believed she was right: he probably did do it, femicide having such an intimate face. She told us it was a good thing a jury had erred on the side of innocence. Then she brushed her hair and applied red lipstick. We opened our books to the Ituri forest people, how these short-statured men climb more than 100 feet into the canopy to collect honey from the bees, the product they most prize.

*

Susana H. Case is the award-winning author of nine books of poetry, most recently, If This Isn’t Love, Broadstone Books, 2023 and co-editor with Margo Taft Stever of I Wanna Be Loved by You: Poems on Marilyn Monroe, Milk & Cake Press, 2022. The first of her five chapbooks, The Scottish Café, Slapering Hol Press, was re-released in an English-Polish version, Kawiarnia Szkocka by Opole University Press and is forthcoming as an English-Ukrainian edition. Case is currently a co-editor of Slapering Hol Press. susanahcase.com

Four Poems by Ann Kammerer

Blackbird

Whenever Dad left
Mom sang,
sometimes in the kitchen,
sometimes in the living room,
sometimes outside hanging clothes,
anywhere,
anytime,
only when
he was gone.

Me and Janie joined in,
her teaching us songs and rhythms,
teaching us how to sing in parts.

“You’re just like those kids
in ‘The Sound of Music,’” she said.
“And I’m like Julie Andrews.”

Clad in a frilled apron,
Mom conducted
with a wooden spoon.
She tapped the dinette table,
waiting for us
to stand up straight,
then held her arms
angled and high,
pointing from me to Janie,
telling us when
to come in.

“You then you.”
She whispered lyrics
that slid across our tongues,
strange, lilting, and messy,
making spit bubble
on Janie’s lips.

“Frer-a-shau-ka,
Frer-a-shau-ka,” she sang.
“Door-may-voo.
Door-may voo.”

We scampered in verse,
singing something about
“son-na-may-na TINA,”
Janie clapping her hands,
shouting “where’s Tina?”
looking around for the little girl
who jumped rope in the alley,
wanting to play.

“That’s a French song,” Mom said,
saying it was about church bells,
big pretty ones
that woke up little girls,
just like the bells
on the Catholic church
down the street,
the ones that rang Sundays
commanding us to
don eyelet dresses,
cover our hair with veils,
and clutch change purses
filled with dimes
to give to usher boys
passing baskets
at the end of mass.

“Go play now.”
Mom glanced at the clock
nearing 4 p.m.,
returning her makeshift wand
to the silverware drawer.
“Your Dad’ll be home soon.
He’ll want dinner.”

We dashed out the screen door
and into the backyard,
me still singing,
Janie looking for Tina
through the rusted
chain-link fence.

“Tina, Tina,” Janie cried.
“Son-na-may-na Tina.”

I bounced a red ball
then stopped,
seeing Mom through
the back window,
pouring an amber drink
as she absently sang.

“Pack up all my cares and woe,”
here I go,
winging low,
bye, bye, blackbird.”

Her voice floated then broke,
mixing with Janie’s.
Picking up a piece
of sidewalk chalk,
I redrew my picture
of sun, flowers, and trees
Dad had swept away.

*

Jaywalking

When Mike left
and didn’t come home all weekend,
I jaywalked across the highway
to a neighborhood
with wood-sided ranches
and chain-link fences
dividing the lawns.

Girls in flared jeans
and sheer paisley shirts
stepped out in platform shoes,
their long parted hair
washed with twilight.
Guys in vinyl jackets
idled in Novas or Cutlasses,
peeling from blacktop drives
as girls hopped in.

I lit a cigarette
and stood on a curb,
transfixed by the glow
of Tiffany lamps
and console TVs
through picture windows.
A few women saw me,
their lipsticked mouths
skewed tight,
waving for husbands
to rise from La-Z-Boys
and close the drapes.

I crossed back to the trailer park
stopping first at the party store
for a six-pack
and Marlboro Lights.
George, the owner,
looked over his glasses,
asking about my man,
saying a girl like me
shouldn’t be out alone.

“Did he leave you with that?”
He touched his papery cheek,
then pointed to my black eye.

“No, no.”
I pulled up my hood
and dug for bills.
“I got hit.
By the door, I mean.
Last night.
When he swung it open.”

George muttered and rang me up.
He broke a roll of quarters
on the register drawer.

“What door?” he said.
“Your man.
He’s useless.”

I cracked a Busch
in the parking lot,
stepping through shadows
to my single-wide.
The silhouette of
the next-door neighbor
floated behind yellowed curtains,
his window tossing light
on my dark trailer.

I caught the tail end
of “All in the Family,”
then changed the channel
to a TV Movie about a boxer
with an Italian name.
I drank and smoked,
watching him duck
and weave,
his face swollen,
getting knocked down
and getting back up,
the bell ringing
before the network cut
to a commercial break.

My cheek throbbed
so I closed my eyes,
holding a cool can
to the bruise.
I took cold medicine
to help me sleep,
setting an alarm for 8 a.m.,
just in time to call in sick
to my job.

Curling on the sofa,
I drifted,
soothed by the murmur of TV.
I thought of my mom
and wondered where she was,
if she was still with the man
who rubbed my leg
and said not to tell,
trying not to think
of how she left me
for booze and pills,
remembering instead
how she held me
when I was little,
stroking my hair,
saying to be good
and not to be bad,
saying maybe then
she could love me
like other mommies did
with their girls.

*

Burnouts

Mom didn’t look for a job
for a few months.
She said she was too busy
to pound the pavement,
that she needed time
to unpack,
to get used to a new place,
and to get Janie situated
mopping floors
and wiping down tables
at Wendy’s.

“It’s exhausting,” she said.
“For both me and her.”

She and my sister
had moved to Battle Creek
after leaving Dad,
renting an apartment
in old military housing
not far from where
she grew up.
Post and Kellogg
were a few miles north
and over a hill,
the smoke from the factories
leaving skinny plumes
that changed from
gray to pink to orange
at sunset.

Her friend’s daughter
and a few guys
had moved her things,
loading up a caravan
of rusted pickups and vans,
doing something, Mom said,
I would never do.

“Shelley,” she said.
“She’s like my daughter.
And I’m like the mom
she wished she could have.”

Mom never called me
but Janie did,
mostly to ask
about girls from high school.
We’d joke a bit
about Friday night dances,
how “burn-outs” and “jocks”
never mixed,
and how our friend Scotty
always wore a poncho
and passed out
from too much tequila,
his long blonde hair
a mess of knotted tinsel.

“Yeah. Scotty,” she said.
“Scotty.
Like yeah. Scotty.”

Janie said his name
over and over.
She giggled and whispered
the way she always did
when she didn’t want Mom
to hear.
She talked endlessly
about the burnout kids,
the ones who took her along
when they skipped class,
giving her cigarettes
and sips of beer,
sometimes a nose hit,
but not microdot,
never making fun
of her stiff crooked walk
or her slow speech
and semi-crossed eyes.
Scotty even called her pretty,
asking her to slow dance
to “Stairway to Heaven”
beneath the colored lights.

“Yeah. Scotty.” I’d say
We’d talk a bit more
before I asked about Mom,
if she had a job yet,
Janie saying she didn’t know.

“Maybe ask Shelley,” she said.
“She’d know.”
Janie went on then
about Cindy and Debbie
and Patty and Angie,
about girls
in gauzy shirts
and bell bottoms
that dragged along the ground.

“Yeah,” I said.
“I remember them.
They were fun.”

We talked about
their boyfriends, too,
the Marks and Gregs
and Steves and Dougs,
the guys in leather jackets
and headbands
and open-neck shirts,
beads dangling
on their hairless chests.

“Yeah, yeah,” she tittered,
me lighting a cigarette,
thinking about
my old boyfriend Tim,
the one who blasted Hendrix
and took me to cul-de-sacs,
saying life was just a joke
when his pupils swelled
from acid,
making me wish
I was with Dave,
a quiet guy in wire rims
who listened to
the Nitty Gritty Dirt Band,
gave me cut zinnias,
and liked laying in the grass
to look at clouds
while we passed a joint
between us.

*

But Beautiful

One stands,
one sits,
another close by,
catching the shade
of a half-dead tree.

“You’re beautiful,” the standing man says.
He claps his hands
and tips a greasy ball cap,
his face smeared
with Hershey’s chocolate.

“Be quiet,” the sitting man says.
“No one wants to hear you.”
Squaring his pork-pie hat,
he leans into his cane,
his tarnished cufflinks
illuminating the sleeves
of a pinstriped shirt.

“All you. Shut up.”
A woman peers
from sunspots,
her hair curled,
her face cracked porcelain.
“Let her decide.”
She lifts her hand,
a brittle wafer,
nearly toppling
as she slaps
the standing man’s rear.

“Thank you,” I say,
“but I don’t mind.”

“You will,” she says,
her voice a rasp,
her eyes wide,
as I squint
into the blaze.

*

Ann Kammerer lives in Oak Park, Illinois, having relocated from her home state of Michigan. Her work has appeared in The Thoughtful Dog, Open Arts Forum, The Ekphrastic Review, Fictive Dream, and anthologies by Crow Woods Publishing and Querencia Press. She has received top honors and made the short list in several writing contests. Her debut chapbook of narrative poetry was published in 2023 by Bottlecap Press, with a collection forthcoming in 2024 from Kelsay Books.

Today I Imagined Your Face In Shadow by Rachael Mayer

Today I Imagined Your Face In Shadow

Be with me in that place
where the sun’s rays shine so brightly on the tall grass
the earth is a child who feels understood

let the bed be made and unmade

imagine the world with me
imagine the world without me

some days I’m perched like a bird looking down at what we used to be

some days I’m so deeply rooted
the roots are frozen, impossible to pull from the earth
until spring
it’s just us rooted
in transactional weather

sometimes I’m intent on seeing the future,
I look to any body of water
to suggest
who we might become.

*

Rachael Mayer is a social worker, teacher, and poet who lives in Montclair, New Jersey. Her work has appeared in numerous publications including The Kenyon Review, The Hiram Poetry Review, The Chattahoochee Review, The Avatar Review, Mothers Always Write, Street Light Press, and Typishly.

After a long dark night of grief by Susan Vespoli

After a long dark night of grief

get out of bed. Step over the sleeping
dogs. Open all the shutters. Go outside
and look at the sky. Watch the fiery fried egg
rise from the horizon under gray puffball
clouds that suddenly turn pink, like an ocean
of cotton candy and you remember the young
woman at Tuesday’s Buddhist 12-Step meeting
who said something about a pink-cloud moment,
and you realize that this is a pink-cloud moment
as a ring of birds starts circling and circling
above the palm trees as if they are dancing.

*

Susan Vespoli is a poet from Phoenix, AZ. Her poems have appeared in ONE ART, Rattle, Anti-Heroin Chic, Gyroscope Review, and others. She is the author of Blame It on the Serpent (Finishing Line Press), Cactus As Bad Boy (Kelsay Books), and One of Them Was Mine (Kelsay Books). susanvespoli.com

ONE ART’s Top 10 Most-Read Poets of December 2023

~ ONE ART’s Top 10 Most-Read Poets of December 2023 ~

  1. Abby E. Murray – Three Poems
  2. Betsy Mars – Delivery
  3. Mick Cochrane – Dabbs Greer
  4. Roseanne Freed – My wet eyes stared into their lights
  5. James Diaz – Once More, Into The Light
  6. Linda Laderman – On Thanksgiving no one wants to hear poetry
  7. Dick Westheimer – CT Scan Assay
  8. Michelle Bitting – Poor Yorick
  9. Lynne Knight – Three Poems
  10. Karen Paul Holmes – Two Poems  

Grand Re-Openings by Ashley Steineger

Grand Re-Openings

Love is another kind of open,
a café that never closes.
The sign is flipped, the lights inside

are blinked-out stars, the only
employee is an old man
running a mop again and again

over the mess. The walls are
your muted heart who beats under
the café’s shut eyelid, the chairs

scattered like debris after
a windstorm, functional
but dizzied, glass rims stained

with that one shade of dated
red lipstick, coffee drips as
fevered brown tears down

smooth ceramic. It’s quiet now
but never for long. Have you seen
the handsome stranger, there

at the clouded window with
a peace flag of white lilies?
Have you seen how they hold

each flower’s lithe stem? Can you
hear their whisper begging
you, open the door…please try again.

*

Ashley Steineger is a holistic psychologist who believes poetry is the language of healing. Her poetry has appeared in The Night Heron Barks, Apricity Press, The Lumiere Review, and Palette Poetry, among others. She currently lives and writes out of Raleigh, NC, where she enjoys forest bathing, collecting tattoos, and untranslatable words.