Truce by B. Lynne Zika

Truce

Night’s set itself down
and won’t move on.
All the boots
are lined up at the door.

The porchlight’s on.
The father’s home late,

picking his way
through the fallen heroes
on the rug. The dishes

are abandoned by the sink.

One child, one mother
collapsed in two beds,

the war over and night,
as before, taking up
the whole of the sky.

*

B. Lynne Zika’s prose, photography, and verse appear regularly in online and print journals. 2024 publications include Medusa’s Kitchen, Lyrical Somerville, and The Crossroads. Previous years include Gargoyle Magazine, The Rye Whiskey Review, Medusa’s Kitchen, The Crossroads, Delta Poetry Review, and The Dead Mule School of Southern Literature. She is the author of The Strange Case of Eddy Whitfield, The Longing, and Letters to Sappho: Putting Out the Fire. In addition to editing poetry and nonfiction, she worked as a closed-captioning editor for the deaf and hard-of-hearing. Awards include: Pacificus Foundation Literary Award in short fiction, Little Sister Award and Moon Prize in poetry, and Viewbug Top Creator and Hero Awards in photography.

Joint Custody by Julian Koslow

Joint Custody

Evenings with dad we studied other families
on TV: What’s Happening!! Diff’rent Strokes,
Eight is Enough, All in the Family,
then learned the arts of healing from M*A*S*H,
the cures for lives in disrepair
from The Love Boat, and Fantasy Island, where
all losses were restored,
all problems solved in an hour,
less the ads.

We sat together on the orange couch
and ate our spaghetti. Meanwhile,
dad made strawberries
with lemon juice and sugar.
And the night inched up the windows
and the night inched up the windows

until we felt the prickle of its stare
and lowered the bamboo blinds.

*

Raised, educated, and then educated some more in New Jersey (Ph.D. Rutgers, 2005), Julian Koslow left academia to take care of a child with special needs. His poems can be found in Sugar House Review, Delmarva Review, The Columbia Review, New Ohio Review, SRPR, Cumberland River Review, and Paterson Literary Review among others. His poem, “Just Another Drop in the Ocean of Forgetting” received an Honorable Mention for the 2023 Allen Ginsberg Poetry Award.

Three Poems by Joseph Mills

Party Planning in the Assisted Living Home

You ask what kind of cake they would like,
and they say, “I don’t know. I’m not hungry.”
You suggest cakes they’ve had in previous years
and they get annoyed. “Who wants an old cake?
Am I old and stale? Is that what you’re saying?”
You know better than to respond. You suggest
chocolate, and they grimace. You say, “Vanilla?”
and they recoil “What would be the point of that?”
You say, “I just want to make something you like.”
Their face changes. They lean in and whisper,
“I’ll just have whatever Clint has.” Their husband,
Clint, died years ago. You ask, “Does he like lemon?”
She nods, “Yes. With a lot of frosting. Too much.”
You promise her there will be a lot, even too much.

*

Nostalgia

More years than not
the tree got knocked down

because of dogs,
or parties, or fights,

but mostly because
the holiday season
was a drinking season,

and each time the tree
would be levered back up,
broken ornaments swept up,
decorations cleaned up,
water mopped up,

so the next night
the tree seemed as bright,

and maybe outside
no one could tell
anything had happened,

and maybe for some
that would have been reassuring,
things can be set aright,

but once you know
how it can come down,
whether by accident or anger,
it never seems aright again.

*

Veterans Day

Every year she buys him socks as a gift.
Warm ones. Thick ones. Thermals. Woolens.
He doesn’t need them. He has drawers full,
but he always seems genuinely grateful,
much to the bewilderment of the children.

For two years in that war, he felt he never could
get his feet dry and warm and he was sure that
he was going to die. He would write her the first,
not the second, but she knew, just as she knows
the shape of love isn’t a heart, but a foot.

*

A faculty member at the University of North Carolina School of the Arts, Joseph Mills has published several collections of poetry with Press 53, most recently “Bodies in Motion: Poems About Dance.”

The Dark Side of the Moon by Diana Day

The Dark Side of the Moon

This morning as the sun
was rising, I thought I saw
the dark side of the moon.

The waning moon was a
crescent of silver, its dark
side a curve of indigo blue.

As the clouds shifted, they
covered the dark side that
I was sure I had seen.

Was I seeing what I wanted
to see? I’ve done this so
often with people,

thinking I’d seen the whole
of someone when their
dark side was obscured.

*

Diana Day won the poetry prize from a chapter of the Poetry Society of Texas as a teenager. She then worked as an advertising copywriter for ad agencies in Atlanta and New York City. Now retired in the Blue Ridge Mountains, she devotes her time to writing poems. She is a member of two poetry groups as well as the North Carolina Writers Network. Her work has appeared in Types & Shadows and will appear in Witcraft in May.

Two Poems by Nathaniel Gutman

I Hear the Sirens Wailing

When an approaching firetruck’s siren fills the air,
my German Shepherd stands erect, head tilted,
a plaintive howl resounding from her gut,
alerting the neighborhood wolves,
claiming her ancestry.

When I see the first pictures of carnage,
hear air-raid sirens wailing,
the echo of her primal cry crawls up my spine,
but all I have in my throat,
on October 7,
is a broken whimper.

*

SETZUAN

She’s a prostitute. She’s a man. She’s pregnant.
She’s fourteen.

Tuesday, I fly 8000 miles to see her,
prostitute, man, pregnant,
in Tel Aviv.
She transforms doing Brecht on stage,
downtrodden women, evil men who rule them,
his feminist-Marxist vision:
The Good Person of Setzuan.

On our way back, parents of young women hostages,
peacefully march along the road, demanding:
Netanyahu, go! Now!

We roll down windows, they come close,
we honk our horn in support,
and to shove away the contagious pain
in their raw eyes.

*

Nathaniel Gutman is a filmmaker who has directed and/or written over 30 theatrical/TV movies and documentaries internationally, including award-winning Children’s Island (BBC, Nickelodeon, Disney Channel), Witness in the Warzone (with Christopher Walken), Linda (from the novella by John D. MacDonald; with Virginia Madsen). His poetry has appeared in The New York Quarterly, Tiferet Journal, Pangyrus, LitMag, Constellations, The American Journal of Poetry.

poems by Scott Ferry & Leilani Ferry

last night the poem

wasn’t coming
and my daughter came out of her bedroom
because she couldn’t sleep

and she showed me her poem
about sitting on the green slide alone
at recess watching the cherry blossoms fall

like gentle snow and unrequited love
and wishing that people would understand her
and the beauty of the cascading white sky

          — Scott Ferry

*

Every day

every day I walk out by the cherry blossoms
and sit on a bright green slide
just at the edge

I watch the petals fall from the
cherry trees
watch them fall

and snow down on me
like snow in the spring
with so many things running through

my head
the beauty of the light falling through
the trees

yet all I can think about is him
then her,
I can tell you like her because I

know the look of your eyes when
you like someone
of all people I should know that

the winds sweeping my hair
knowing you will never like me back
it hurts

but you will never understand

every day under the cherry blossoms
on my bright green slide
just at the edge of my seat

with petals falling down on me
like snow
I think of you

and that I’ll never have a chance
with my middle school love

          — Leilani Ferry

*

Scott Ferry is a RN in the Seattle area. His most recent books of poetry are collaborations: Midnight Glossolalia with Lillian Nećakov and Lauren Scharhag and Fill Me With Birds with Daniel McGinn, both from Meat For Tea Press. His book of prose poems, Sapphires on the Graves will be available from Glass Lyre in early Summer. He continues to write feverishly as the voices in his head demand. He tries to be a decent husband and father and general human whilst screaming into the mirrored lake of oblivion at intervals. More of his work can be found @ ferrypoetry.com.

Leilani Ferry is 12 years old and is a natural artist and writer and lovely and passionate person.

*

Etymology by Robbie Gamble

Etymology

I have come to believe that the colorful
modifiers lugubrious and fecund
were swapped out at birth, because
tonight the spring peepers are joyous
in their chorus, and their exuberant
lovemaking sounds both polyphonic
and slippery, which could only be
described as lugubrious, while fecund

is a word I would want to utter
when the calendar flips to November
and the water heater conks out
and my favorite aunt dies unexpectedly
and the prospects for an impending
election seem abysmal.

*

Robbie Gamble (he/him) is the author of A Can of Pinto Beans (Lily Poetry Review Press, 2022). His poems have appeared in Cagibi, Post Road, Whale Road Review, Salamander, and The Sun. He divides his time between Boston and Vermont.

A Stone’s Story by Jane Edna Mohler

A Stone’s Story

I was a hunk
of rock you could barely
lift without grunting.

Remember that hot beam glaring
from my core? I shivered
a fever you’d give your right hand

to feel. That white degree.
I pulsed through the earth’s sharp
shell, or did I plunge

from a wrathful sky?
No matter.
It’s the story that counts.

I was all you’d expect
from a god, not the dull stone
you think you see.

That wasn’t me, folded
into the warm row of a tilled field,
the comfort of worms as neighbors.

Not me, spending decades mired
in mud, scored by the blade
of a brainless plow.

*

Jane Edna Mohler is a Bucks County Poet Laureate Emerita (PA), 2016 Winner of Main Street Voices (PA), and second place winner in the 2023 Crossroads Contest (MD). Latest publications include Gargoyle, Gyroscope, One Art, River Heron Review, and Sheila-Na-Gig. Her collection, Broken Umbrellas, was published by Kelsay Books. Jane is Poetry Editor of the Schuylkill Valley Journal. See www.janeednamohler.com for more information.

Bulletproof by Cindy Veach

Bulletproof

         Before my belly was a kiln. Before episiotomy.
Before hemorrhage. Years before my brother starting spiking
his thermos with Absolut. Before my mother forgot. Before
my father died, Al Hirschfeld hid his daughter’s name

         in drawings of Marilyn, Elvis, Ella, Ringo Starr. NINAs
concealed in gams and jowls. Harmless insanity he called it. Long
before I left the church. Before my children left home. And yes,
it’s true that the army used Al’s NINAs to train

         bomber pilots to spot their targets. And yes,
I’ve now lived long enough to know what I did not know then—
that he objected to his art being used to kill people,
drew his daughter with no NINAs and named it

         Nina’s Revenge; that some nights my father
took off to wander Times Square, eat at an Automat—
or so he said. And yes, maybe my brother was right
that he wasn’t always true—

         but some memories are bulletproof. I look back and long
for those Sundays when my father came home with bagels
and the New York Times and we’d spend all morning
hunting for the NINAs in that week’s Hirschfeld drawing.

*

Cindy Veach’s most recent book Her Kind (CavanKerry Press) was named a finalist for the 2022 Eric Hoffer Montaigne Medal. She is also the author of Gloved Against Blood (CavanKerry Press) a finalist for the Paterson Poetry Prize and a Massachusetts Center for the Book ‘Must Read,’ and the chapbook, Innocents (Nixes Mate). Her poems have appeared in the Academy of American Poets Poem-a-Day, AGNI, Michigan Quarterly Review, Poet Lore and Salamander among others. She is the recipient of the Philip Booth Poetry Prize and the Samuel Allen Washington Prize. Cindy is poetry co-editor of MER. www.cindyveach.com

Two Poems by Alison Luterman

Karen Carpenter on Top of the World

My mother pushed the shopping cart at A & P,
buying Campbell’s cream of mushroom soup and canned tuna,
while I stood transfixed in the magazine section,
reading the latest edition of Tiger Beat.
The Carpenters were on the loudspeakers,
they were everywhere that year,
like air or water, especially Karen Carpenter,
whose voice was as thrillingly deep and low
as the hush inside a Redwood grove,
smooth as a swatch of velvet held against your cheek.
The tabloids I read featured full-colored spreads
of her and her brother in their matching Dutch-boy haircuts,
mouths open, singing like celestial twins in perfect harmony.
I never guessed that she was shy
like me, that she would have preferred to hide
behind her drum set rather than be displayed
like an awkward doll. I didn’t know she was criticized
for her weight, or that she longed for a life
off the road. Over the years I noticed
how she became thinner and thinner,
collarbones and scapulae jutting out,
but still this seemed to be part of the larger joke
about them, how corny they were, how wholesome, how “good”,
while the real artists were out getting drunk
and trashing hotel rooms. She was truly good, no joke,
she was superb, her voice never cracked or faltered,
no matter the pain, she never hit a sour note.
She just kept crooning, mainlining comfort
into our ears like a well-brought-up daughter.
Until the very moment
she up and disappeared.

*

Eva Cassidy Live at Blues Alley

She had a cold and didn’t think she sounded good,
but it was the only night they were able to record,
and she’d scraped together all the money
she’d been able to save
from her day job in a tree nursery, so they had to go ahead
and use it and now
it’s what we have left of her,
and it’s live, and it’s still happening,
here, in my beat-up little Honda,
decades after her death,
where I’m listening to her sing “Fields of Gold”
like she knows that she won’t last the year,
because the wistful way she’s conjuring
those fields of barley
where she’s promising we’ll walk someday,
fools no one. To listen for that blue note
under the melody could shatter you
but you have to let it
pierce the place in your heart
where you’ve been pretending you’ll never die.
That’s what I hear anyway,
stopped at a red light
while some joker who doesn’t use his turn signal
almost T-bones me. I know
when the song’s over she’ll leave the stage
forever. Still the clear strains
continue, even though those fields
will be covered in snow, much too soon.
Because this kind of truth lives on and on–
it is made of silver
                                    and light
                                                      and bone.

*

Alison Luterman has published four previous collections of poetry, most recently In the Time of Great Fires (Catamaran Press,) and Desire Zoo (Tia Chucha Press.) Her poems have appeared in The New York Times Sunday Magazine, The Sun, Rattle, and elsewhere. She writes and teaches in Oakland, California. www.alisonluterman.net

Escaping Into the Present: Poetry as a Practice for Reseeing the World — A Workshop with Rosemerry Wahtola Trommer

Escaping Into the Present: Poetry as a Practice for Reseeing the World
Instructor: Rosemerry Wahtola Trommer

Date: Wednesday, June 26, 2024
Time: 5:30-7:30pm (Mountain Time)
Price: Sliding Scale 
Event will be recorded

>>> Buy tickets here <<<

The act of writing a poem can bring us more closely to the essence of the moment, can help us exist in immediacy. In this two-hour online playshop, both practical and playful, we’ll sharpen our observational skills to engage with the poetry that lives in everything—objects, locations, situations, conversations. We’ll practice meeting what Hopkins calls “thisness.” As Mary Oliver writes, “the world offers itself to your attention, over and over.” Let’s meet it together, pen in hand. All levels of experience welcome.

Rosemerry Wahtola Trommer co-hosts Emerging Form (a creative process podcast), Secret Agents of Change (a surreptitious kindness cabal) and Soul Writer’s Circle. Her daily audio series, The Poetic Path, is on the Ritual app for your phone. Her poetry has appeared on A Prairie Home Companion, PBS News Hour, O Magazine, American Life in Poetry, and Carnegie Hall stage. She has 13 poetry collections, the newest is All the Honey. She’s been writing a poem a day since 2006 and she shares these on her blog, A Hundred Falling Veils.

Thirteen Ways of Looking at a Woman by Jenna Le

Thirteen Ways of Looking at a Woman

after Charlotte Brontë’s Villette

“A loud intruder,” griped the grouchy rat.
“A bold cross-dresser,” marveled the cravat.
“A timid blushing thing,” the pink dress said.
“Her gaze burns,” sniffed the letter left unread.

“Undignified,” the balled-up hanky frowned.
“A menace,” moaned the specs, smashed on the ground.
“How dare she touch me!” snarled the hat. “Absurd!”
“She’s rather nice,” the pocket-watch demurred.

“Poor body! She’s half-starved,” the cream cake tutted.
“And yet she’s puffed with pride,” the desk rebutted.
“Her conscience is her guide,” the pamphlet shrugged.
The shawl: “A chillier frame I’ve never hugged.”

The last to speak, the violet, said this:
“Her slightest word’s intenser than a kiss.”

*

Jenna Le (jennalewriting.com) is the author of Six Rivers (NYQ Books, 2011), A History of the Cetacean American Diaspora (Indolent Books, 2017), an Elgin Awards Second Place winner, voted on by the international membership of the Science Fiction and Fantasy Poetry Association, and Manatee Lagoon (forthcoming from Acre Books, 2022). She was selected by Marilyn Nelson as winner of Poetry By The Sea’s inaugural sonnet competition. Her poems appear in AGNI, Denver Quarterly, Los Angeles Review, Massachusetts Review, Michigan Quarterly Review, Pleiades, Poet Lore, Verse Daily, and West Branch. A daughter of Vietnamese refugees, she has a B.A. in math and an M.D. and works as a physician in New York City.

Because I was Lonely by Tina Barry

Because I was Lonely

in Eighties New York City, I placed
a personal ad, promised to be prettier,
more exciting than I am.

Because they were lonely,
I hauled a plastic bag full of letters
from the newspaper’s office,

subwayed beside its poking points,
already their girlfriend,
protective of their secrets.

Men auditioned in swirled script.
Postcards and Post-its. Quiet pages
translucent as shed skin.

One cooked a perfect Spanish omelet.
Another posed with three dachshunds,
offered a ready-made family.

A widower sent a list of everything
he missed about his wife. I stopped
reading at seven pages.

I dated a few. A sweet man who giggled.
A divorced dad who brought
his sullen teenage twins.

An inmate sent a letter, stamped
with a prison logo like a warning
tattoo. I let it sit

for a week. Inside, an old
black and white, “Me. Ten years old”
scrawled at the bottom.

I ran a finger along its edge, worn
from handling, stared at the boy,
messy-haired, gangly in his Sunday suit.

How lonely he must have been to part
with it.

*

Tina Barry is the author of Beautiful Raft and Mall Flower (Big Table Publishing 2019 and 2016). Her writing can be found in numerous literary journals and anthologies, including ONE ART: a journal of poetry, The Best Small Fictions 2020 (spotlighted story) and 2016, Rattle, Verse Daily, trampset, SWWIM and elsewhere. Tina’s third collection I Tell Henrietta, with art by Kristin Flynn, will be published in 2024 by Aim Higher Press, Inc. She has three Pushcart Prize nominations as well as Best of the Net and Best Microfiction nods. Tina is a teaching artist at The Poetry Barn and Writers.com.

I have spent years falling out of each window by Julia Webb

I have spent years falling out of each window

the tall building of grief gave me.
Every day I climb to the top of the tower
and let myself fall again.

Even though I have tried to stop
feeling the guilt of the living,
the groove it runs in is too well worn.

Each night as I climb
the stairs of my grief,
I pause for breath at the midway point.

Each night I hope to meet the ghost
of a loved one coming back the other way.
But there’s only me and my breath.

I wonder what my dead would tell me
if I gave them voice
perhaps, burn the building down.

*

Julia Webb is a neurodivergent writer, editor and teacher (from a working class background) based in Norwich, UK. She has an MA in Creative Writing (poetry) from the University of East Anglia. She is a poetry editor for Lighthouse – a journal for new writers. She has three collections with Nine Arches Press: Bird Sisters (2016) Threat (2019) and The Telling (2022).

Man O’War by Chiara Di Lello

Man O’War

the creek is cold against my body, pulls like the pace
of summer days and nights, just enough to make me kick to keep up
The oceans this month are the hottest they’ve ever been
and my mother sends a picture of a Portuguese man o’war
washed up on a New York beach
yet our creek is flowing fast and cold
from the flood that came down last week like vengeance
and turned the mill falls downstream to a roaring maw

A mother died in this creek a few days ago, pitched over
the mill falls and into that whitewater
My neighbor tells his children if you’re overboard in rapids
look forward, go feet first, and steer with your hands
as best you can. Your strongest chance of survival
is if you can see what’s coming, and try to get through.
Even before the flood, his family knows
to keep your head – eyes, ears, mouth – out of the water
The cold is such a blessing on hot, hot days.

*

Chiara Di Lello is a writer, artist, and educator. She loves coffee, art, and bees, and unequivocally supports the movement for Palestinian liberation. Her poems have been nominated for the Pushcart Prize and Best of the Net.

Two Poems by Abby E. Murray

She Wants to Live

For her tenth birthday she receives a pale jade bracelet
with a shark charm and a QR code on the price tag,

which we use to download an app on my phone
and track Boo, the young female hammerhead swimming

laps around the Bahamas at .2 mph. Every morning since,
we’ve logged in to see how far Boo has traveled

in what might seem to be lazy triangles across the Tongue
of the Ocean, a dark chasm yawning at the bottom

of the Atlantic, even though we suspect how industrious
Boo must be to survive—that her path must be as deliberate

and careful as it is beyond any faraway child’s control,
no matter how true that child’s love is. When my daughter

blew out the single candle on her cupcake I told her
she is halfway old enough to set out on her own because

this news would have thrilled me at her age, and she cried,
said why would you tell me that! and I remembered how,

at her age, I’d attended zero protests, marched for human rights
roughly never, heard no constant reporting on the slaughter

of children, both here and abroad, and although my own
shoulders had been saddled with poverty, I carried no words

for its implications and origins. I didn’t know what it meant
to be powerless or complicit. I had not held my mother’s hand

outside the White House and screamed, our words swallowed up
by its depth, its capacity to consume even light. My daughter

is ten and like most ten-year-olds, she wants to live as if it is
not just an evolutionary chore to avoid the alternative

but also her joy. She wants to dive through the void
knowing safety will carry her like a wave. That said,

the world she’ll inherit leaves her wanting her mother
for as long as possible. Longer. How could I blame her?

While she’s at school, I check on Boo’s blinking transmitter,
notice she hasn’t surfaced yet today but is headed back

from the deep toward a shallow she clings to, a golden arm of sand
that’s been there, open to the abyss, since long before she was born.

*

In Which I Show Myself Some Mercy

But not too much, not enough
to be noticeable to fellow commuters

as I stand in the bus shelter reading
about a woman who lies down

on the quiet earth to lend a few
seconds of gratitude to the dirt,

the way it compresses its ancient self,
its already profoundly compressed

and contorted and torn up self
to accommodate her heels and calves,

weary hips, shoulders, her head
heavy as a stone, and I point it out

(to no one but me) reflexively
as luxury, this awareness of the world,

this calm, this time spent noticing
a thing as constant and plain as soil

while so many of us are running
through clouds of exhaust to get

to the next cloud of exhaust,
and because I am starting small,

I am microdosing mercy and usually
in places away from home, where

no one is likely to steal the stash
I have, I give myself the minute

it takes to remember: we don’t always
turn to the earth for comfort but

also its cold reminder: how furious
and stubborn hope can be, how good

it is at existing below ground, speaking
only in mushrooms for centuries

if it has to, bound in thorns or buried
under boulders or, yes, flattened

beneath the weeds and grass—hope is
no privilege, it is too inconvenient,

too irreverent, insistent as a hailstorm,
and so, as I step outside the bus shelter

pulling my hood up between me
and the downpour in order to leave

room for the woman who wears no coat,
I forgive myself, my chapped hands

and soggy shoes and reckless impulse
to survive at the expense of living,

my rush to call anything we need and take
a decadence, and this mercy is potent,

it is a quick deep inhale, it is tangerine
on a dry tongue, it is enough

to make me look up through the rain
on my glasses and know I’m seeing stars.

*

Abby E. Murray (she/they) is the editor of Collateral, a literary journal concerned with the impact of violent conflict and military service beyond the combat zone. Her book, Hail and Farewell, won the Perugia Press Poetry Prize and was a finalist for the Washington State Book Award. She served as the 2019-2021 poet laureate for the city of Tacoma, Washington, and currently teaches rhetoric in military strategy to Army War College fellows at the University of Washington.

This Body by Savannah Cooper

This Body

After I moved out, my parents talked
about buying a gun and ammunition,
storing both in their bedroom closet.

For the first time, I told my mother
I’d wanted to die when I was a teen,
if I’d had a gun handy I might have
managed it, might not be here now.

Her shock was palpable over the phone,
her uncertainty around emotion as heavy
as ever. I’m sorry, I didn’t know.

I wanted to tell her more—
about learning to mask myself
from a young age, about feigning belief
and security, about breaking again
and again, about insomnia, even about
watching soft-core porn at 3AM
when I couldn’t sleep, feeling like
a criminal every time I masturbated

because this is what she and my father
made me, this is what the church gave me:
guilt and shame and regret, hatred
for every inch of this body and mind.

But instead I said something lame, let
the topic fall into awkward silence.
My parents never bought a gun. I never
told them what their god took from me.

*

Savannah Cooper (she/her) is a Pushcart Prize nominated poet, bisexual mess, and amateur photographer. Her work has been previously published in more than 30 journals, including Parentheses Journal, Midwestern Gothic, and Mud Season Review. Her debut poetry collection Mother Viper is forthcoming from Unsolicited Press.

Amber by Gopal Lahiri

Amber

There are nights,
when winds are silver; they have ears.

A cluster of eyes– green, milky, blue,
I only see red hibiscus.

A line stretches– it divides space,
caresses my fingers.

A soft tongue– it brings salt and pepper
water wants to drench my body.

There are days,
when you burn everything into ash.

*

Gopal Lahiri is a Kolkata, India, based bilingual poet and critic and published in English and Bengali language. He has published 29 books to his credit and his works are translated in 16 languages. Recent credits: The Wise Owl, Catjun Mutt Press, Dissident Voice, Piker Press, Indian Literature, Kitaab, Setu, Undiscovered Journal, Poetry Breakfast, Shot Glass, The Best Asian Poetry, Converse, Cold Moon, Verse-Virtual journal and elsewhere. He has been nominated for Pushcart Prize for poetry in 2021.

Lost Dimensions by Tim Murphy

Lost Dimensions

Music once a refuge
now a trigger pulled 
by the piano’s high note

once a bath
the brain took to forget
all that could never be unseen

now glass thrown
to concrete, each shard
a needle piercing the drum.

*

Tim Murphy (he/him) is a disabled, bisexual poet who is bedbound with Long COVID and ME. His writing explores chronic illness, disability justice, and our complex, tenuous relationship with the more-than-human world. Tim’s poetry appears in over a dozen literary journals, including Louisiana Literature, Gastropoda, Wordgathering, Writers Resist, and in the books, The Long COVID Reader (2023) and Songs of Revolution (2024). Instagram and Twitter (@brokenwingpoet).

Idlewild by Richard Schiffman

Idlewild

Back then it was enough
to stand outside the fence
with dad and watch
the lumbering steel birds taxi
down the runway,
then bank into the blue and vanish.

We were seeing no one off,
yet felt the ache of departure, even then,
and the mystery of it,
how something can leave so completely,
leaping into air, defying gravity
to land upon a shore a world away.

*

Richard Schiffman is an environmental reporter, poet and author of two biographies based in New York City. His poems have appeared on the BBC and on NPR as well as in the Alaska Quarterly, the New Ohio Review, the Christian Science Monitor, the New York Times, Writer’s Almanac, This American Life in Poetry, Verse Daily and other publications. His first poetry collection “What the Dust Doesn’t Know” was published in 2017 by Salmon Poetry.

The Eclipse by William Palmer

The Eclipse

          after Walt Whitman

When I wore my solar glasses that cost a simple dollar,
When I watched the perfect ball of fire 93 million miles away,
When our moon moved in measured time between us and our sun,
How my mind cleared
In those mystical moments toward totality,
And not until I took my glasses off did I realize
I had not thought about lies, fraud, or immunity.
I never thought once about his name.

*

William Palmer’s poetry has appeared recently in I-70 Review, JAMA, ONE ART, On the Seawall, and Rust & Moth. He lives in Traverse City, Michigan.

Lucky Rice by Ellen Austin-Li

Lucky Rice

Just the three of us on the Midway.
Late August at the New York State Fair,
my brother Carl & Barb & me
& the sun blazing & the barker calling us
into the tents to see the bearded lady
& the World’s Smallest Man. Way back,
before Carl & Barb had kids & I was single.
Flash again & we’re riding the Twizzler,
smashed together in the twirling car, metal
arms groaning with the threat of letting go
the faster we spun. The centrifugal force
& Carl’s mouth a perfect “O” & Barb’s face
bleached flour, her eyes squeezed shut, tears
coursing my cheeks as I laughed & cried
at the same time. Afterward, we walked
on wonky legs to the Dairy Building, & collected
little plastic red-hearted “I LOVE NY” cups
as we pounded free samples: chocolate, strawberry, white.
& me shouting: This has to be the best day of my life!
Somewhere on the way out, we found that stall
with the guy hawking Lucky Rice. You could order
your name etched on a single grain, the artist
then dropping the piece into a tiny ampule of water
threaded on a red satin cord. A necklace of sorts.
Carl returned years later—a carny rat,
he calls himself—to search for that seller,
then ordered my wedding present.
I can’t wait for you to open your gift, he said,
on the lead-up to the day. Back then,
I wish I had been more grateful when I looked
inside. Now it hangs on a shepherd’s hook floor lamp
next to the Chinese lantern in my bedroom. See
the husband’s initials with mine, enshrined on a grain
of lucky rice? The letters amplified by the liquid.
Me & Jolly, the man from Taiwan I married.

*

Ellen Austin-Li’s first full-length collection, Incidental Pollen—a 2023 Trio Award finalist, 2024 Wisconsin Poetry Series semi-finalist, and runner-up to the 2023 Arthur Smith Poetry Prize—is forthcoming from Madville Publishing. Finishing Line Press published her two chapbooks, Firefly (2019) and Lockdown: Scenes From Early in the Pandemic (2021). Her work appears in Artemis, Thimble Literary, The Maine Review, Salamander, Lily Poetry Review, Rust + Moth, and elsewhere. She’s a Best of the Net nominee and holds an MFA in poetry from the Solstice Low-Residency Program. Ellen co-founded the monthly reading series Poetry Night at Sitwell’s, in Cincinnati, where she lives.

Picnic by Les Brookes

Picnic

We spread our plain white sheet
beside the stream, the sun high,
our shadows black and stunted.
The field was a mass of cowslips.
We ate hard-boiled eggs
lightly salted and a plate
of gherkins and olives.
We smiled and munched,
and I lost myself
in the soft pink pout of his lips.

His eggshell eyes were blue
and shone like coloured glass.
His face was a bowl of cream
wreathed by a blond halo.
He rose on bare feet,
slipped to the water’s edge
and dabbled his toes. I gazed
at his slender white legs
and shifting shoulder blades
and knew I was falling in love.

*

Les Brookes lives in Cambridge UK. He writes poetry and fiction, and his work has appeared in anthologies published by Cambridge Writers and Paradise Press. He is the author of Gay Male Fiction Since Stonewall (Routledge) and blogs at lesbrookes.com

First Kiss by Dick Westheimer

First Kiss

You – like lemons
I – like apples.

Each morning
I pull a ripe apple
from the bowl,

place it on the same cutting board
on which you sliced
your lemon.

You a lemon
for your morning tea

I an apple
for my breakfast
sliced in a puddle of lemon juice

Their flavors mingle in my mouth –
our first kiss of the day.

*

Dick Westheimer lives in rural southwest Ohio. He is a Rattle Poetry Prize finalist. His poems have appeared or are upcoming in Whale Road Review, Tony Seed, Gyroscope Review, Minyan, Rattle, Stone Poetry Quarterly, Pine Mountain Sand and Gravel, and Cutthroat. His chapbook, A Sword in Both Hands, Poems Responding to Russia’s War on Ukraine, is published by SheilaNaGig. More at dickwestheimer.com

Haiku Targets — A Workshop with Michael Dylan Welch

Haiku Targets
Instructor: Michael Dylan Welch
Date: Tuesday, June 18, 2024
Time: 5:00-8:00pm (Pacific)
Note: The 3rd hour of this workshop will be intended for haiku sharing and discussion.
Price: $25 (payment options)

To register for this workshop, please contact Mark Danowsky (Editor-in-Chief of ONE ART) at oneartpoetry@gmail.com

*

Haiku Targets

Haiku poetry has a rich history in Japanese and English that extends far beyond counting syllables. This workshop, led by Michael Dylan Welch, explores various targets you have at your disposal in writing literary haiku. They include seasonal references (kigo), a two-part juxtapositional structure (equivalent to using a kireji, or cutting word), and chiefly objective sensory imagery. In our first two hours we’ll explore and discuss example poems and learn a bit of haiku history (including poems by Japanese masters). In the optional third hour, we’ll try a writing exercise and share our poems for discussion. Rules are obligations but targets are opportunities, and some of the “rules” people believe about haiku are essentially myths. Learn how to make the most of the opportunities you have to improve each haiku, and how these techniques can help you improve your longer poetry.

*

Michael Dylan Welch has been investigating haiku since 1976. He has published dozens of haiku books, judged and won first place in many haiku contests, and has had his haiku, longer poems, essays, and reviews published in hundreds of journals and anthologies in more than twenty languages. Michael is a cofounder and director of the Haiku North America conference (1991), cofounder of the American Haiku Archives (1996), founder and president of the Tanka Society of America (2000), cofounder and director of the Seabeck Haiku Getaway (2008), and founder of National Haiku Writing Month (www.nahaiwrimo.com) (2010). He is also an officer of Haiku Northwest, founder and curator of SoulFood Poetry Night, and president of the Redmond Association of Spokenword. Michael served two terms as poet laureate of Redmond, Washington, and in 2013 was keynote speaker for the Haiku International Association conference in Tokyo. In 2012, one of his translations from the Japanese appeared on the back of 150 million US postage stamps, and his haiku have also been carved into stone in New Zealand and printed on balloons in Los Angeles. Michael documents his publications and other poetry activities at www.graceguts.com. He sees haiku as a poetic path to empathy and vulnerability, preferring to emphasize targets for haiku instead of rules.

Two Poems by Julia Caroline Knowlton

Poems without Metaphors

Nests with no birds.
Tracks with no train.

Blood without red,
blood without blue.

Cupboards with no food.
Mouth without a tongue.

Lovers scorned.
Empty envelopes.

Orphans.

*

Backyard Lyric

Sunlit, I sit cradling
my hardcover book
with its scents

of wood and ink.
I doze and do not think.
A breeze sends

last year’s dry yellow
magnolia leaves eddying
down the driveway—

gold flashes clatter
and add more light
to indigo sky.

Nearby, a cardinal
(unseen) weds its red
purpose to deepening green.

*

Julia Caroline Knowlton teaches French and Creative Writing at Agnes Scott College in Atlanta, where she is the Adeline A. Loridans Professor of French. Recognition for her poetry includes an Academy of American Poets College Prize and a 2018 Georgia Author of the Year Award. She is the author of five books. Kelsay Books will publish her first book of children’s poetry, A to Z Poems for the Very Young, in 2024.

Moving Mona Lisa Downstairs by Jessica Whipple

Moving Mona Lisa Downstairs

When the museum staff told her she was
being reverse-curated, she forced a yawn.
They cited “improved visitor experience” and her eyes
rolled like onyx marbles let loose on a table.
Don’t mock me (smiling gently). We all know what people
come here to see (pleased with herself, as always).
Who was she, even? What did she want from them?
And how does a woman like this end up in the basement?
She stands, smooths her frock, and walks there herself.

*

Jessica Whipple writes for adults and children. She published two children’s picture books in 2023: Enough Is… (Tilbury House, illus. by Nicole Wong) and I Think I Think a Lot (Free Spirit Publishing, illust. by Joseée Bisaillon). Her poetry has been published recently in Funicular, Green Ink Poetry, Door Is a Jar, and Whale Road Review. Her poem “Broken Strings” was nominated for a 2023 Pushcart Prize. She lives in the US and inhabits the places where picture books and poetry intersect. You can find her on Twitter/X @JessicaWhippl17.

GEMÜTLICHKEIT by Michael Salcman

GEMÜTLICHKEIT

Despite a vow taken after the war
the occasional German word
escaped my father’s mouth
in a hail of Yiddish spit.

Gemütlichkeit was one such word,
by actual vote their favorite
in Berlin and the German side
of Prague—where it held
the warmth of a house alive
with comfort,
and so many other meanings
you could hear it breathing
with books and a cat, friends
and wife, enough warm food
and drinks like a fiery slivovitz.

He knew
the wet sound of this word
how it unwound slowly on his tongue
syllable by syllable,
and how it took some time to forget
where and when it was spoken

Last.

*

Michael Salcman: poet, physician and art historian, was chairman of neurosurgery at the University of Maryland. Poems appear in Barrow Street, Blue Unicorn, Hopkins Review, Hudson Review, New Letters, and Smartish Pace. Books include The Clock Made of Confetti, The Enemy of Good is Better, Poetry in Medicine, his popular anthology of classic and contemporary poems on medical subjects, A Prague Spring, Before & After, winner 2015 Sinclair Poetry Prize, and Shades & Graces: New Poems, inaugural winner of The Daniel Hoffman Book Prize (2020). Necessary Speech: New & Selected Poems (2022) and the forthcoming Crossing the Tape (2024) are published by Spuyten Duyvil.

Three Poems by Andrea Maxine Recto

I think I love you

You’re sipping coffee
and leafing through your dad’s woodworking guide.
I’ll be jamming with my bass player in the afternoon
and another local musician this evening, you reply.
I was asking about your plans for the day.
You could have been reciting the Bible
or reading a grocery list,
I’d still hang on to every word.
Have to go get cat food and beer at some point too, you add.

I smile.
You scratch your head and stare in the distance.
There’s something about the way you speak
that mingles with the memories I hold dearly,
knows how to touch the tender places of my body,
and makes a home of the hard places between my ribcage.
I’m still smiling,
but this time, my cheeks redden a little.
You look at me, puzzled,
and tuck a stray hair behind my ear
before gently cupping my face.
Maybe I’ll slip into something more proper
and get to work on that darn dresser I keep putting off.
You laugh quietly,
toying with a toothpick in your mouth.
I liked that you worked with your hands.

I can’t help but stare at your lips,
and wonder what it’s like
to be the tiny creatures that live in your house.
The black ants that cross your coffee table daily.
The little gray mouse you refuse to get rid of and even gave a name.
Or even the damselflies that live near the lake out in front.
How close in proximity
they are to you.

*

Things I say to myself

I play this game
where I stand naked in front of the mirror
and ask the body before me, who do you belong to?
Some days, I say I am my mother’s daughter
or the apple of my father’s eye.
Other days, it’s the name of my new lover.
One day, the name I say will be mine.

*

What colors do cracked glass windows show?

My father used to tell me he could taste colors.
I remember laughing at that as a little girl.
I hoped that one day I would too.
He opened and closed his bedroom door three times;
I never asked him why.
He always wore this sage green sweatshirt
and said God didn’t care about what he did,
much less what he wore.
One day, I entered his room and found him sound asleep at noon.
Bottles crowded his dresser.
He looked happy, young even,
but mostly peaceful.
I stood by his bed and watched him sleep for half an hour.
I later woke up in the middle of the night
and found him kneeling on the grass in the middle of the yard.
He was uprooting the flowers.
The burgundy roses, mulberry asters,
golden buttercups, and tangerine tulips – all of them.
It was a warm evening,
but he was shivering when I touched his shoulder.
Underneath the moonlight,
I could see his face was wet.
I couldn’t tell if it was sweat, tears, or the morning dew on his cheeks.
He howled,
and I swallowed the terror
that had begun to live in my throat.
The next day, uniformed men came to dress him in white.
He had somehow broken a vase;
crimson ran down his arm.
I removed my jacket and wrapped it around his hand.
My father looked at me, tears in his midnight eyes,
only broken things can taste colors.
I try my best to keep my voice from shaking,
then you and I are in the same boat.

*

Andrea Maxine Recto is a Spanish-Filipino poet living in Manila. Her poetry explores the themes of womanhood, grief, love, darkness, and introspection. Her work has appeared in ONE ART and the Santa Clara Review, with more forthcoming in the Long River Review, Spry Literary Journal, and elsewhere.

Two Poems by Shauna Shiff

A Home

Nothing fancy—a cottage, perhaps white clapboard
with a bright blue door. Oh, and flowers

tall as my thigh, a banshee of blooms that I would tend
and water and adore. This is what I wanted

before I had it. I thought my own walls
that I could paint any color I choose

would stop the tally I kept running
of all I didn’t have, like it did for my mother,

when as a child she graduated from shack to trailer,
stared up at the popcorn ceiling and thought

I have arrived. Permanence is a prayer all the poor
bow their heads toward, as if wanting is enough

to stop stability from its shifting, a foundation folding
at the slightest tremor. Finally, I am a fixed pinpoint

on the map, that once elusive wish is a solid floor
beneath me, but I wonder, maybe ungratefully

if I should have asked the world for more
than just a roof over my head.

*

Come Closer

Be it barstool
or grocery store line
when a man taps my arm

his words are shell-smooth,
sparse even, shucked clean
of the unnecessary,

talk like a foot path, sure
stone upon sure stone,
placed perfectly to lead

to a guileless glass window,
wide open. Look through
and see what he wants—

any woman, swallowing
his words whole.

*

Shauna Shiff is an English teacher in Virginia, a mother, wife and textiles artist. Her poems and short stories can be found in Stoneboat Literary Journal, Atticus Review, Whale Road Review, Rock Salt Journal, Cola and upcoming in others. In 2022, she was nominated for Best of the Net.

Write a Demi-Sonnet! — A Workshop with Erin Murphy

Write a Demi-Sonnet!
Instructor: Erin Murphy
Date: Wednesday, June 12, 2024
Time: 3:00-4:30pm (Eastern)
Price: $25 (payment options)

To register for this workshop, please contact Mark Danowsky (Editor-in-Chief of ONE ART) at oneartpoetry@gmail.com

*

Write a Demi-Sonnet!

In this generative workshop, you will learn to write a demi-sonnet, a form invented by the instructor, Erin Murphy. Demi-sonnets are seven lines (half a sonnet!) and end with a full or slant rhyme. Poet Claire Bateman calls demi-sonnets “small but alarmingly penetrative,” while James Allen Hall says they “go by quickly but their staying power is immense.” Read sample demi-sonnets here and here. And here is a prize-winning demi-sonnet by Jennifer Wang written in response to a Rattle magazine prompt. During the workshop, you’ll read and discuss sample demi-sonnets, write one (or several) yourself, and learn how practicing the compressed form has applications for composing and editing both poetry and prose.

NOTE: Participants should bring to the workshop 3-5 original poems of 20-60 lines each.

Erin Murphy is the author or editor of fourteen books, chapbooks, and anthologies, most recently Fluent in Blue (Grayson Books, 2024) and Human Resources (forthcoming from Salmon Poetry). Her collections of demi-sonnets include Taxonomies (2022), Assisted Living (2018), and Word Problems (2011). She is poetry editor of The Summerset Review and professor of English at Penn State Altoona. Website: erin-murphy.com

Erin Murphy

Two Poems by Carson Wolfe

SIX HOURS OF DAYLIGHT

after Taylor Byas

I’ve brought this on myself. My butch swagger.
My thermal padded muscles. Why did I hold
all those doors for her? She drags me out of
bed, wraps my hand around the sharp tusk
of an animal I did not hunt. I heard a sound
outside, she whispers, shoving me toward
our deck view of Lake Salcha, where a pack
of slednecks saw her earlier, wearing nothing
but a winter scarf, cigarette hung between
ruby lips. I square my shoulders, pull back
the curtain. Aurora borealis performs her
usual show. The terror of my own breath
fogs the glass—surprise at this sudden
imposter, the reflection of my girlish face,
a stranger in this cabin.

* 

SONNET FOR THE SIDE PLATE

Miss Katherine eats dinner from a side plate
to control portions. The men’s, large and filled
with potatoes, earth-dug by my bare hands.
Each day, the same, but smaller. I sow seeds,
collect eggs, nurture the soil. Once, I reached
for seconds of cornbread but Miss Katherine
sucked in her stomach, so I grabbed the salt.
Then, coffee for breakfast, Pabst Blue for lunch.
I feel myself shrinking out in the field
spreading mulch in southern heat. Miss Katherine
guts a catfish she won’t eat. Her son chops
off the head of a snake with his shovel,
we watch its thin body wriggle in dirt.
Now, my side plate, collard greens. I say grace.

*

Carson Wolfe (they/she) is a Mancunian poet and winner of New Writing North’s Debut Poetry Prize (2023). Their work has appeared or is forthcoming with Rattle, The Rumpus, The North, New Welsh Review, and Evergreen Review. They are an MFA student of Creative Writing at Manchester Metropolitan University and currently serve as a teaching assistant on the online writing course Poems That Don’t Suck. Carson lives in Manchester with their wife and three daughters. You can find them at carsonwolfe.co.uk.

For My Daughter, on Her First Birthday by Svetlana Litvinchuk

For My Daughter, on Her First Birthday

When my baby was born she had
an extra short umbilical cord

we were extra connected extra close
the doctor’s only choices were to

either cut it immediately or to place her
back in my belly where she could

drink milk from the starry inside
every day I think about how to do that

how it would have been

we could develop our own language
knock twice for yes and once for no

I would describe everything so she
wouldn’t miss a thing. I wouldn’t tell her

about the warplanes flying overhead or
about the ice caps melting around us

I could digest all the world’s pain
for her and let only the sugar pass

when the time comes for her wedding
I can dance on my husband’s feet

the way only daughters do and when
she knocks twice for “I Do”

I will cry tears of joy, my waters
breaking, causing a great flood

*

Svetlana Litvinchuk is a permaculturist who holds BAs from the University of New Mexico. She is the author of a Season (Bottlecap Features, 2024). Her work has appeared or is forthcoming in Sky Island Journal, Apocalypse Confidential, Littoral Magazine, Black Coffee Review, Eunoia Review, Big Windows Review, and Longhouse Press. Originally from Kyiv, Ukraine, she now lives with her husband and daughter on their farm in the Arkansas Ozarks.

Second Drowning by Michael Northen

Second Drowning

This was not like the time before when I almost drowned
when the water lay above like a thick ceiling I could not reach.
Then I saw the sunlight diffuse though the water
leaning back in that golden acceptance, I closed my eyes.

This time it was like a Japanese painting.
The anesthesiologist said, count to three
I was only a plum branch sketch on canvas
white disappearing into white.

The problem was only mechanical I told my mother
through a phone in her nursing home room
a valve in the heart that needed repair
I’d tell you to come home, she said, but I don’t have one.

This time it was whiteness. No gold water calling.
“Our Father” my mother said, as she fingered the beads,
her prayers traveling in a circle. We knelt on the floor.
Our fingers circulating again through the old design.

*

Michael Northen is the founder and past editor of Wordgathering (2070-2019). He was co-editor of two previous anthologies of disability writing Beauty is a Verb (2011) and The Right Way to Be Crippled and Naked (2011) both from Cinco Puntos.

Two Poems by Ellen Rowland

Brothers

My uncle dies in his favorite armchair
while watching football, having just eaten
dinner, a martini in hand. His alma mater
scores a goal and he hoots as though he himself
has carried the ball across the finish line,
winning the game for his team. He slips away then
like the ice from his sweating glass
onto the avocado carpet, a sheen of utter
content on his face. My father battles lung cancer
for five slow years, taking so much longer to
reach the end, a pain crawl really, his bone-deep pride
brittle on the field. No shoulder pads or heroic knees,
knocked around mercilessly, he is unwilling
to relinquish the fight. Their friends applaud
and mourn them equally, flock like fans
to their lilied caskets, then file their way out
into blessed sunlight, fingering the ticket stubs
in their pockets.


* 

Origami

Is it strange that I don’t have a bucket list,
that all I want already fits in my life? And
what if I told you that I look forward to the
crossword after lunch, smoked Lapsang Souchong
at 4:30? That I cherish the sound of the dog’s
leash as it comes off its hook, the ecstatic leaps
she makes when that jangle tricks her arthritic
bones into believing she is agile and ageless
for half an hour a day? Would you think me
boring if I claim more than small satisfaction
at the pleasure of opening that great book
next to that great man I’ve shared a bed with
for 23 years? Japan calls, of course it does.
A singular want that fits in a cup: the haiku of
its vermillion Torii gates and blossomed benches,
the quiet bathing trees. The golden trails of
kintsugi cracks and blood-red lanterns, swaying.
The idea is wonderful, yes. But so is the now
of thick salty feta on a slice of toasted sourdough
eaten at the counter off of paper plates. So is
stepping outside in his flannel shirt to hear
a pair of koukouvagia preening each other under
a salt spill of stars, the constant creek running
to where? and where? and where? until the cold
and dark remind me the covers are still thrown back,
each fold waiting to be shaped again into something beautiful.

*

Ellen Rowland is the author of two collections of haiku/senryu, Light, Come Gather Me and Blue Seasons, as well as the book Everything I Thought I Knew, essays on living, learning and parenting outside the status quo. Her writing has appeared in numerous literary journals and in several poetry anthologies, most recently The Wonder of Small Things, edited by James Crews. Her debut collection of full-length poems, No Small Thing, was published by Fernwood Press in 2023. She lives off the grid with her family on an island in Greece. Connect with her on Instagram and Facebook

What We Hold Onto by Eileen Moeller

What We Hold Onto

Not the high-heeled shoe Mother.

The barefoot Mother soaking her
aching feet at night after work.

Mother who did what she had to do.

Not the diet thin Mother.

The cushiony plump Mother
you squeezed from behind
as she stood at the stove.

Mother whose body was beautiful.

Not the whiskey sour Mother.

The coffee cup Mother who
laughed at her own jokes,
so hard it made you laugh,
whether you got them or not.

Mother who skirted depression.

Not the Chrysler Imperial Mother,
helped by mysterious men.

The feisty Mother who told
creditors, Listen, you can’t
get blood from a stone.

Mother who cut deals.

Not the screaming Mother
who could have been in
Who’s Afraid of Virginia Woolf.

The singing mother, who made
long rides, looking out the window,
something we begged for.

Mother who taught transcendence

Not the fast asleep Mother,
when you were getting ready for school.

The sewing Halloween costumes Mother,
who made you a Dutch girl, a Gibson girl,
Mary in blue and white robes,
the sewing Easter outfits Mother,
who got dressed up and took us
to mass once a year.

Mother who took breaks from herself.

Not the tell-you-too-much Mother.

The aproned Mother who seemed
to be without secrets, who told
funny stories about the neighbors
as if that was all she cared about.

Mother big as a moon, waxing and waning.

Not the breast cancer Mother
who froze like a deer in the headlights.

The survivor Mother who fought for
a longer life, the hopeful Mother
who could see her burdens lifting.

Mother of need, who needed mothering.

*

Eileen Moeller lives in Medford, New Jersey with her husband Charlie. Originally from Paterson NJ, she has lived in many places, including Central NY, where she earned an M.A. in Creative Writing from Syracuse University. Her poems have appeared in numerous literary journals and anthologies. She has four books: Firefly, Brightly Burning, Grayson Books 2015; The Girls In Their Iron Shoes, Finishing Line Press, 2017; Silk City Sparrow, Read Furiously Inc. 2020; and Waterlings, Word Tech Communications Inc. 2023. A fifth book, Still Life with Towel and Sand, will be released later this year by Kelsey Books. Her blog is: And So I Sing: Poems and Iconography.

Two Poems by Betsy Mars

Mid-morning in a Strange Bed Again

I hear the sirens and I think
the birds have stopped
their wake-up call, but then
I listen and there it is, insistent,
the constant repetition,
the bird-clock chiming,
an undercurrent of time, three notes—
and if I really pay attention, another
answering through the noise
and swish of fronds brushing
each other in the soft breeze.

*

Muffler

I wake up, neck tight,
dream’s scarf
still encircling my throat.
I unwind it, feel my heart
breath returning,
dream receding, stepping back
into the alley of the night.

*

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.”

Chime by Robin Turner

Chime

Birds as the wars wear on.
They return to us each day.

A piteousness of doves.
A scold of jays.

         A chime
                  a chime

of tiny wrens. Each tender
morning.

*

Robin Turner has recent work in DMQ Review, Rattle, Rust + Moth, The Texas Observer, and elsewhere. Currently a poetry reader for Sugared Water, she lives with her husband near White Rock Lake in Dallas, Texas.

Two Poems by Brett Elizabeth Jenkins

HERE’S THE THING

I have been trying to love myself.
It’s not a big deal—it’s a minor thing really.
But until now, I haven’t.
I’ve hated the gruff voice in the morning
before I’ve had a drink of water
and the soft half-moons on my fingertips,
shadows of guitar callouses.
I would look at myself
in the bathroom mirror
and drink a pint of self-pity
telling my reflection
she’d never amount to anything.
I was making myself a ghost, a place
where a person used to live.
Why not love the soft downy fur
on the back of my neck
and the fibrillating minutes
between sleep and wakefulness
when I don’t know if I’m dead or alive?
There are certain impossibilities
but I don’t think falling in love
with myself
feels insurmountable.
We put humans in space
and grow watermelons without seeds.
Here’s the thing: you have to find out
how to do a thing
before it seems possible.
Love myself?
I decided to try.
A small turkey sandwich with the crusts
cut off. A foolish dance
in the shower. Whatever I want
it’s mine—it’s magic.
The dim hours before bed,
putting things where they go.
Letting the dishes pile up
then cleaning them all at once
on an early Saturday
the windows open
the birds looking in at me
the whole world in love
or at least, me.

*

WHEN I DIE NOBODY WILL REMEMBER MY ZODIAC SIGN

When I keel over from a heart attack
in the Costco parking lot, nobody will say
“what a Pisces.” No one will care that I crossed
my arms too much in conversation—a nervous
habit—or that I I gave up on Catholicism
in the tenth grade (except maybe the Catholics).
When I die, nobody will care
that I was the one who let her gas tank
run until it got past the E line. Or that I thought
peanuts were the poor man’s nut.
When you die, as long as you weren’t a horrible
person, there will always be something
good to keep in your pocket. The way
your forgetfulness was a calling card—
the scarf you left in the backseat
of your friend’s car, or the hat that’s still
in your ex-lover’s attic. Everybody has a secret
and here’s mine: I want there to be more things
about me that are forgotten
than remembered. I want the way
I buttered my toast to remain a mystery.
My sugarsick days alone in bed, a mystery.
I want the small moment I sat
watching a heron swoop low and hard
with its beak to be known only to me,
a box of dust. A used-to-be. A thing
that was here and then was not.

*

Brett Elizabeth Jenkins lives and writes in Fort Wayne, Indiana. She is the author of the book Brilliant Little Body (Riot in Your Throat, 2024).

I Did Not Do It by Susan Cossette

I Did Not Do It

That cheap leather belt
tossed on the floor is yours,
not mine.

Those angry wounds
wrapped around my neck,
that guilt is yours.

I had the new books for homeschooling,
hand-sewn turquoise and pink ribbon dresses for my girls,
herbs and pine nuts gathered from the desert.

The purple Nevada sky hides no lies.
You know the truth, as do I.

And three tiny dark-eyed girls gaze
at a freshly filled grave,
plump earth adorned with pink flowers
that will wither in a day.

My Paiute mother tells me

         don’t come back,
         there is nothing here for you,
         don’t visit anyone in their dreams,
         your work here is done.

But I tell you—
I did not do it.

*

About this poem:
A month ago, a family member of mine perished under suspicious circumstances at the too-young age of 28. Initially thought to be a suicide, investigators now believe it was an incidence of domestic partner violence. The case remains open and is being actively investigated by law enforcement. Our family demands answers and justice.

*

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, her work has appeared or is forthcoming in Rust and Moth, The New York Quarterly, ONE ART, As it Ought to Be, Anti-Heroin Chic, The Amethyst Review, Crow & Cross Keys, Loch Raven Review, and in the anthologies Fast Fallen Women (Woodhall Press) and Tuesdays at Curley’s (Yuganta Press).

*

Birding with My Sister by Pamela Wax

Birding with My Sister

She tracks the migration of hummingbirds,
calls to say they were in Philly two days ago,
could arrive today at her lake house in upstate
New York. Her feeders shine red with nectar,

readied. Last summer she fell for a blue
heron. She’d moor in the middle
of the lake, play a game of dare with him,
refused to part first. She swore he waited

on the banks for her to kayak past
for their rendezvous, sent me daily
photos of his one-legged posturing.
We joked about this boyfriend, the time

she spent in pursuit. I even googled him,
wondered if Heron might break her heart.
But he’s a symbol of calm, his visitations
a call for deep breath, pause. Just one

is never a siege. Today I bird with her,
anticipate the dare of charm, tune, shimmer
of flock, the pungent bouquet of truth in wings
chattering with brio and hum. Had I not

been a fish in my other life, I’d adopt her
reverence for flight, for yogic postures
lakefront, for plotting patterns of exodus
and stations of oasis on the migrant

journey. But I am propelled to undulate,
flapping and feeding in the great,
briny school of the deep, not rooted
to land, nor destined for flight.

*

Pamela Wax is the author of Walking the Labyrinth (Main Street Rag, 2022) and Starter Mothers (Finishing Line Press, 2023). Her poems have received a Best of the Net nomination and awards from Crosswinds, Paterson Literary Review, Poets’ Billow, Oberon, and the Robinson Jeffers Tor House. She has been published in dozens of literary journals including Barrow Street, Tupelo Quarterly, The Massachusetts Review, Chautauqua, The MacGuffin, Nimrod, Solstice, Mudfish, Connecticut River Review, Valparaiso Poetry Review, and Slippery Elm. An ordained rabbi, Pam offers spirituality and poetry workshops online and around the country. She lives in the Northern Berkshires of Massachusetts.

Ordinary Illumination by Bethany Jarmul

Ordinary Illumination

I’m going nowhere, but I’m sweating
on the elliptical machine.
My husband works at his desk nearby.

Outside the glass doors, the leaves
on the trees are beginning
to bud, but from here they look naked
and cold. “Look, a blue jay.” I point

to the winged visitor
preening on a branch.
“Do you think it’s Blue?” my husband
refers to the blue jay we named

at our old house, five years ago.
He tells me the lifespan
of blue jays is seven years,
give or take.

All of us, all of the living,
exist in that give or take,
in that short burst of light
between birth and death.

A red-headed woodpecker
pecks at another tree.
A cardinal flits by with his mate.

I am undone by the wealth of beauty
in flight, wondering if
I’m soaring in the brief

sun-lit sky of life
or just flapping my wings,
going nowhere.

*

Bethany Jarmul is an Appalachian writer and poet. She’s the author of two chapbooks and one poetry collection. Her work has been published in many magazines including Rattle, Salamander, ONE ART, and South Florida Poetry Journal. Her writing was selected for Best Spiritual Literature 2023 and Best Small Fictions 2024, and has been nominated for the Pushcart Prize, The Best of the Net, Best Microfiction, and Wigleaf Top 50. Connect with her at bethanyjarmul.com or on social media: @BethanyJarmul.

Three Poems by Tatum Williams

When You Don’t Believe In God, Pray Sweetly To The Moon

one night
there was you

sitting just there
at the tip of

a skinny moon
your head dangling over

the milky edge
knocking it back

and forth
like a curious dog

just as though
there you’d always been

playing Parcheesi
in a crater pit

Alien, I called
up to you

with eyes like fishbowls
and razor blade

teeth purple like jellyfish skin
you must not be

from around here, I said
but you just laughed out

your wide blue mouth
and I watched that laugh

drip down
and plop

from the roof
to the window

into my bed tied
up in a yellow bow

a winter lemon
a ball of marigold butter

a comet’s broken tail
I suspect

you wouldn’t say but
you built the stars

in the back of your throat
and spit them

out right over my bedroom
window so I might follow

Orion’s loose belt
or Ursa Major’s curious snout

to maybe once see
your glass float eyes

filled with little green
dots glowing

sea plankton
tea leaves

escaped from
the bag

I might hear
your favorite jazz singer

playing from other planets
where you’ve stashed

your stolen radio
and greasy napkined

love letters penned
with web strung

talon hooked hands
I’d ask if you’d like

to lay down
just with me

beneath the covers
where it might

be warmer than
it is on the moon

*

7 a.m, A Fight in the Bathroom

The stream of water each morning
gallops gently down to sit witness
to this thing she made
how she intended:

fish boned, tentacle bearded,
man eyed. Hooks dug in
left to stain the bed
instead of the silver scale.

Brown black irises, wet
as a waterhorse’s back,
calculate the distance in nautical
miles, move from one white space to another.

The honied moments of peace, before
absences are hurled from tiger shark teeth
into the salivating sea.

This is the truth:
barnacles ripped from the surface,
the bathtub split down the middle.

Darling, remember the risk.
Love, stay.

*

Archeology

In my room there is a shadowbox of messes
a collector’s case of overcompensation
of breakups and breakdowns,
a shrine of fruit that’s gone too sweet with overripe

Next to my bed there is a paper log of
all the bruises I had last month,
the abrasions that marked up my face.
You can follow along if you just read the dates:

50 freckles by mid-July,
4 crooked teeth in April.
In January, 2 apple red beads of blood
that landed on my lip after you got punched in the mouth.

In the hall you’ll find a jar of secrets because
nobody can ever seem to keep them. Keep looking
for the labeled vase of mistakes that were made
last year – repeat them, don’t learn a thing.

They should be next to the burning eyes pinned like
a beetle wing. The lumps in throats,
the dropper bottle I’ve kept of tears that wore
the backs of my eyeballs flat.

I saved the memory of my first kiss in a cast of resin,
even though my teeth clicked behind his
and my face burned for days, just because
I liked that I didn’t know where my hands should go.

If I could show my collection to The World
I’d do it by letting them capture that same mouth.
I’d swallow up every reminder I get that pain sits
in the belly like a stone.

I’d tell them with my lips, hurt comes
with a basis for comparison. Hearts ache
only when they have something to
sink their sickly sweet love into.

Blemishes only form under skin that can blush.
Bone feels weak after muscle gets worn.
The World is a tragic, fragile, lovely place
immortalized in this showcase.

I’d have a gallery wing devoted to every lie I’ve ever told.
I would devote this museum to bedlam.
I would fall in love again and again.
I would be a mess forever.

*

Tatum Williams is 22 year old student at Western Washington University in Bellingham, Washington, studying English and creative writing. She is just a few short months away from receiving her Bachelor’s degree, and is hopeful in pursuing her first poetry publication. She is a thrifter, pottery painter, and lover of miserably hot summers.

Anchovies in My Salad by Hannah Dilday

Anchovies in My Salad

There were about thirty of us sitting quietly
In the dim light, as the aroma of garlic filled the air.
Sounds from the kitchen eased my mind
As I picked at my salad, chewing each piece of lettuce
Far too long cus’ I wasn’t in the mood for talking.
Red wine flowed all around me, but I was too young to drink.
I felt safe nestled between my best friend and my mother
They knew I wasn’t in the mood for talking
So they chewed their salads slowly too, piece by piece.
After I’d choked down half of mine, I overheard someone say,
There are anchovies in the dressing.
When I overheard this, I began to cry—I was a vegetarian,
I had been a vegetarian most of my life, after all.
My aunt scolded me for crying over anchovies in my salad,
But I wasn’t crying about the anchovies,
I was crying because I’d just buried my dad
Who wasn’t at dinner at his favorite restaurant.
The waiter brought over a new salad without anchovies,
I dried my tears and I ate it piece by piece slowly, slowly.
I wasn’t in the mood for talking because
My dad wouldn’t have gotten mad at me for crying
Over anchovies in my salad. So I began to cry again because
He wasn’t here to not get mad at me for crying over
Anchovies in my salad.

*

Hannah Dilday earned her Bachelor’s in Philosophy from The University of Oregon and studied abroad at The University of Cambridge. Though she always had a passion for writing, she did not realize her calling to poetry until relocating to The Netherlands four years ago. At 17, Hannah lost her father to an aggressive form of leukemia and she is often inspired by memories of her late father. In addition to writing poetry, Hannah enjoys photography, traveling, and learning Dutch.

A poem walked down the street by Bonnie Proudfoot

A poem walked down the street

A poem walked down the street, checking
doorways and alleys to see what it could see.
It took off its headphones and heard
what everyone was listening to, it bought
the news and read the headlines. It watched
a falcon land on the ledge of a skyscraper,
and the steel grate rise on the bodega.
It waited for its life to start.

The poem went to the doctor for heartburn.
The MRI showed that it was pregnant
with other poems who were pregnant with
other poems, that the poem’s ovaries held
so many possible poems, that when
the poem laughed or hiccupped they bumped
into each other and couldn’t wait to be born.

The poem picked up an axe and felt the handle
in its hand. It ran its thumb along the
beveled edge. The poem felt purposeful,
like it was ready to get to work, to split
something apart, like it was ready
to view the core once that thing was split,
to grieve for the thing that it had broken.

Stop me if you heard this one: a poem
walked into a bar, asked for a shot and a beer.
The bartender said sure, coming right up, but
the poem backed away, thinking that was
too easy, that this somehow should have
been harder. The poem pulled out a quarter,
set it on the pool table. It took a few
practice breaks. Sometimes a ball
landed in a pocket. The poem opened
its heart, goldfinches flew out,
the jukebox danced in the corner.

*

Bonnie Proudfoot’s fiction, poetry, reviews, and essays have appeared in journals and anthologies. Her novel, Goshen Road (Swallow 2020) received WCONA’s Book of the Year and was long-listed for the PEN/ Hemingway. Her poetry chapbook, Household Gods, can be found on Sheila-Na-Gig editions, along with a forthcoming book of short stories, Camp Probable. She resides in Athens, Ohio. https://bonnieproudfootblog.wordpress.com/

Avocados by Brett Warren

Avocados

Your boyfriend worked on an avocado farm.
He’d bring us flats of the ones too ripe
for grocery stores. We’d watch from the door
while he parked his truck and reached
into the bed, shirtsleeves rolled up, arms
muscular and tan from all that lifting

and the sun. I wasn’t a fan—in fact
one night I pushed him up against a wall
when I thought he was being sanctimonious
with you. That was the word I used,
sanctimonious. He was stunned.

The land of avocados was an embarrassment
of riches, no matter how much guacamole
a girl could mash up. So we gave avocados
to everyone, even the building manager,
who didn’t call the cops or kick us out
when one of our parties got a little loud.

Now it’s supply-chain problems, bad climate,
avocados watery half the time, not so rich
anymore, pits no longer perfect planets
you could stick toothpicks in, grow a tree
if you wanted to. We never wanted to.
Did I ever apologize to that boyfriend

for that time with the wall? He said
we were full of ourselves and went back
to Oklahoma, where no one would imply
he was anything but a nice guy. No one
cried. But he was right—we took chances.
We had strange friends, stayed out too late
when we went dancing. That boyfriend

was the future, and we weren’t there yet.
We still wanted to sit barefoot in the sun,
scooping buttery curls from alligator shells
we held in our hands. You and me, a pair
of mismatched chairs. All we ever needed
was a sharp knife, a little coarse salt.

*

Brett Warren (she/her) is a long-time editor and the author of The Map of Unseen Things (Pine Row Press, 2023). Her poetry has appeared in Canary, Halfway Down the Stairs, Harbor Review, Hole in the Head Review, ONE ART, Rise Up Review, and other literary publications. A triple nominee for Best of the Net 2024 (Poetry), she lives in a house surrounded by pitch pine and black oak trees—nighttime roosts of wild turkeys, who sometimes use the roof of her writing attic as a runway. brettwarrenpoetry.com

Four Poems by Timothy Green

The Secret

We had to stop for gas and spent the night
in the town’s one hotel. A mirror on the wall
was the portal to another world. All night
I lay awake, watching the other couple lying
there. The man twisted around his sheet
like a rope he was climbing. The woman’s
shoulders at the far end of the bed. There wasn’t
much distance between them. Every minute
the clock gained a minute. Every hour, one
of them stirred. In the morning came the light,
rising slow like a tide over the dingy carpet.
Soon, they were drowning in it, even while
eating their eggs.

*

High-End Hotel

The heavy door’s high-end lock
beeps behind you after the whisper-
click of the air against the high-end
doorframe, and you shuffle down
the long hall of doors like dominoes,
each one sleek as midnight, deep
as the hole at the center of the galaxy,
each room its own universe flecked
with stars you move past at the speed
of light over the high-end carpet
whose lushness is not lost on your
slippered feet, a fabric so soft you
find yourself personifying, as if you
were a masseuse, your feet a massage,
and it thanks you, yes, the carpet
thanks you for pressing your heels
deep into its tissue as you tirelessly
trot to the elevator room, its gleaming
bank of metal doors a modern ladder
angels must ascend, but you descend
with the rush of a fatal drop, 39, 33,
so many floors, the numbers proudly
speeding up, then slowing down until
you reach the lobby, its celestial spheres
of chandeliers, and the man at the desk,
his attire more crisp than bacon, more
crisp than the freshest apple, more
polished than you would feel lying
prone at your own funeral, manicured,
minted, laced with the mortician’s
makeup, your face finally in death
a work of art, your casket itself not
as polished as the high-end stone
he stands behind, as you ask, in your
most confident voice, where you
might find the ice machine, there
were no signs, you see, and usually
there are signs, but no, he tells you,
we have no ice machines here, dear
plebeian, so please proceed backward,
up the elevators, down our longest
high-end hallway, and simply text
this fine desk for room service.

*

The Royal Estate

The sad prince was sad that he didn’t know
sadness. A butler brought his every whim.
Fetch me four hummingbirds playing the
harmonica, he’d said just this morning,
and here they were, blurred wings buzzing
against the silver lid of the dinner tray,
the harmonica propped up on a pair of
golden wishbones, everything gleaming.
And they were quite the quartet, two Anna’s
on the high end, a Rufous and a helmetcrest
taking bass. They even knew showtunes
and seemed pleased when the prince could
guess them, though the prince only sighed.
Next time, bring me something I don’t want,
he said to the butler, still perched at the door.
Didn’t I just? the butler replied. Through
a window behind them, across a long
courtyard at the far end of the great garden,
the lonely prince was watching with his
telescope, the words lost to the distance.
He handed it off to one of his several
handmaids. It wasn’t yet time for tea.

*

Typical Day

They turned a corner, climbed some concrete
stairs, and there it was: the park they’d never
leave. It rose from the hill like a dream. There
were people and frisbees. A dog chased a ball
off its leash. The blossoms were blooming.
The bees wove their way through the weeds.
It had been quite the journey to get there,
all the trains and the transfers, the tokens and
turnstiles, the numbers and letters, the red
and the blue and the green. Their feet were
sore from the walking. Their shoulders were
pink from the sun. It was a typical park from
a distance. But they knew that it was the one.

*

Timothy Green is editor of Rattle magazine, host of the weekly Rattlecast, and co-host of weekly The Poetry Space_ with Katie Dozier. He’s the author of a book of poems, American Fractal, and lives in Wrightwood, California.

I CAN’T BE THE ONE by Phyllis Cole-Dai

I CAN’T BE THE ONE

to welcome you home, but when you arrive
tonight, the faithful trees keeping watch
in the yard curl their toes in pleasure, and all
the doors of the house throw their arms wide
to receive you, and all the curtains draw apart
to lighten the dark as you enter, and all
the chairs scrape back from the kitchen table,
bidding you to sit, and the stew ladles itself
into a bowl beside the candle that lit its own wick
for joy, and the crusty loaf breaks itself open,
to rest upon the wooden board for a dab
of butter, of jam, of honey, any sweetness you
might desire, and each empty bed turns down
its sheets and plumps up its pillows, hoping
to hold you in your sleep—while in one lonely
corner, hugging the wall, the patient piano
waits her turn, soft ache in her taut strings,
ready to play every loving song she’s learned
between the last time you left and this return.

                      for my son, Nathan

*

Phyllis Cole-Dai is a multi-genre writer in South Dakota, soon to relocate to Maryland. The author of more than a dozen books, she co-edited both volumes of the popular anthologies of mindfulness poems. Poetry of Presence. Learn more about her work at her website (phylliscoledai.com). Join The Raft, her online community, and ride the river of the creative life, buoyed by the arts and open spirituality (phylliscoledai.substack.com)