Five Poems by James Feichthaler

Lines written on the 27th minute of my lunch hour in a Wawa parking lot

As the weeks deliver blow upon dull blow
To our sophisticated, fast-paced lives,
Keeping to schedules, always on the go,
With no time for ourselves in nine-to-fives,
“Surviving” mostly means that we’ll cut corners
While settling for fixes ’stead of cures;
From drive-thru grabs to greasy touchscreen orders
Of sloppy subs, a lunch hour’s breaded snares.
And even as these hurried words truck forth
From time-stressed regions of my anxious brain,
Some sparrows make a pit stop on the earth
And bathe in dirt, too long awaiting rain;
Shake off the dust their wings accumulate,
Then dart away, with nowhere to be late.

*

Sidewalk suns

Some call them “weeds,” these yellow miracles
That pushed through stone and found a way to thrive
Amongst the rubble’d ruins of this pavement;
Amidst the cracks and root-disjointed hills
(Of concrete) that have made it hard to move
Along these lanes, so desperate for improvement.
Most call them eyesores, born to be plucked out
And ripped from where their like has taken refuge,
As if their mere existence were too much
For eyes that can’t enjoy or won’t appreciate
Their growing here; fools’ gold, but double-rich
For their vitality: so heavenly huge
To the ants that wander by each grounded sun,
Who must look up at what dull souls look down upon.

*

So much baggage

I stop to watch him slide across the gravel,
His shelly suitcase proudly on display;
Horns pointing north, the safest way to travel
About these parts on such a gloomy day.
The path that leads to my apartment steps
Doesn’t see much traffic; byways clogged with moss
And wayward weeds have slowed the sleepy progress
Of many a tiny snail. The broad, slicked tops
Of dandelions are swaying on the breeze,
As he slimes toward his goal: a patch of grass
Spring suns have turned lime-green. His casual pace
Knows nothing of the scale-tipping stress
We mortals lug around; nor can we tell
What weight of worlds he’s learned to carry so well.

*

Such rarities abound

Those rush-hour miracles we mostly miss
While speeding down the highway into work,
Unheralded lights, which mostly we’ll dismiss
As hardly being worth a second search,
Call to us from the roadside, from up high,
In scattered bunches, singularly rare;
From shadowy places, sans celebrity,
Shout to us in their silence to “inquire.”
The tiniest weed that flourishes in the cracks
(Of a corroded guardrail) beat the odds
And shows so much resilience in its flex;
And where some tulips flaunt their ivory buds,
Unbuttoning in a ditch to taste the sun,
Their swaying might just save us from the gun.

*

Luck be a ladybug

To see this good-luck creature, on a day
When nothing’s going right or going my way,
Is to have proof that there’s a real order
To the things, both great and small, that see us suffer;
Is to imagine God as one great prankster,
Forever pulling the strings that set us up
For idiot choices, love, loss, epic failure,
Elated when our best-laid futures flop.
Or could this chance encounter with a lady
(Who picked spring’s chilliest day to wear all red)
Be no more palpable than any “maybe”
That the best philosophers have all deemed dead
And pointless to proclaim as ever being,
Beyond our mortal scope or supernatural seeing?

*

James Feichthaler is a poet with roots in the Philadelphia-area residing in Trenton, NJ, where he watches the skies for UFOs, sings Irish folk songs on his porch, and drinks beers. His new book From the Back Porch of a War (Parnilis Media 2024) pulls no punches in its assessment of a politically-divided America seemingly at war with itself, searching for moral integrity in a hashtag-hardened, spiritually-bankrupt world.

Two Poems by Tim Mayo

A Candle For

After the half-life
of my daughter’s last year
a dimness appeared

like a veiled busker
sawing out sad tunes
on her violin

The few pieces of silver
glinting up from the dark
velvet of her case

made me think of moons

Remembrance mirrors
the invisible of someone
so a self seems immortal

a thing which zigs beyond
its now-pulseless zag
to exit flesh and hover

at least a part of forever
but a candle can
only glimmer until

snuff it just sputters out

*

A Father’s Lament

We almost never met
but at eleven you asked

I forced a truce of sorts
conceded your fidelity

The years huddled like orphans
between the now-and-thens

And the clock’s hand
scythed down

the might-have-beens
leaving only the likely

In the end I learned too late
the unconditional of surrender

*

Tim Mayo’s poems and reviews have appeared in The American Journal of Poetry, Barrow Street Journal, Narrative Magazine, Poetry International, and Salamander among many other places. His poems have received seven Pushcart Prize nominations. His first full-length collection of poetry The Kingdom of Possibilities was published by Mayapple Press in 2009 and was a finalist for the 2009 May Swenson Award. His second volume of poems, Thesaurus of Separation (Phoenicia Publishing, 2016) was a finalist for both the 2017 Montaigne Medal and the 2017 Eric Hoffer Book Award among other honors, and his chapbook Notes to the Mental Hospital Timekeeper (Kelsay Books 2019) also won an Honorable Mention in the 2020 Eric Hoffer Chapbook Award. He works at the Brattleboro Retreat, a mental institution, and is a founding member of the Brattleboro Literary Festival.

Two Poems by Andrea Potos

WHEN THE WOMAN TOLD ME SHE SELDOM USES A PEN OR A PENCIL

Her dailiness now being key-stroke
and finger-strike,

no ink drying, no textures of
a rough or creamy page–

I tried to imagine having forgotten or
never having learned how each word

takes its time to be born, the rise
and curve and dip of a letter,

the scritch-scritch on paper
like a patter of raindrops on the roof

of a garret where a woman once leaned
over a desk, writing her story by hand.

*

AFTER THE DREAM, MY FRIEND
       In memory, Rosemary

I woke up with her on my mind,
though not on my mind really–
an essence
hovering around me
like coastal weather–
her presence, the giant redwood
so often sheathed in mist
who still stands there–
a great reassurance on the path.

*

Andrea Potos is the author of several collections of poetry, most recently Two Emilys (Kelsay Books) and Her Joy Becomes (Fernwood Press). A new collection entitled The Presence of One Word is forthcoming later in 2025. Recent poems can be found in CALYX Journal, Presence, New York Times Book Review, Earth’s Daughters, and Poem. You can find her at andreapotos.com

On Being Forgiven by Howie Good

On Being Forgiven

It’s approaching dusk,
and at dusk the birds

in the marsh revive
old conversations

to which I sometimes
stop to listen, but,

more often, don’t,
and still the Earth,

despite the offense,
bears my weight.

*

Howie Good is a professor emeritus at SUNY New Paltz whose newest poetry books, The Dark and Akimbo, are available from Sacred Parasite, a Berlin-based publisher.

Wedding Music by Lynn Glicklich Cohen

Wedding Music

How utterly ridiculous that she survived
specifically to see her youngest granddaughter
get married after ten agonizing months
post-brain surgery and several rounds
of chemo for a tumor that was
the kind that grows back to finally kill you
only to be prevented from leaving
the care facility that’s become home—
having given up her condo when
she could not remember “apple penny umbrella”
or where she’d left the car—held hostage
by a broken elevator for god’s sake, and since
everyone here has known forever
about the importance of this wedding
because that’s the kind of place it is,
sharing grandchildren’s nachas and mitzvahs
between staff’s urgent calls to Mitsubishi for
service and caregiver texts back and forth
to alert the bride, everyone wants
to kill someone, even the violinist, who has
another gig and whose fingers are getting stiff
in the giant ballroom kept cold until the mob
of attendees are seated for dinner
and dancing at which point it gets hot,
not advisable in combination with the open bar
and slinky cocktail garb, but even blowing
on them isn’t helping until the cellist
offers his pack of Little Hotties hand warmers,
which she takes gratefully, and just in time,
as the grandmother, looking abashed, dazed,
and yet still somehow regal in a blue dress,
is escorted adorably by two tuxedoed little boys,
and the violinist has the sudden urge to stand,
salute the grandmother, who barely made it
and her standing prompts an ovation, clapping
and mazel tovs! and only after everyone has sat
back down does it occur to the violinist
that she’s taken something
away from the bride, but honestly,
she doesn’t care—she has her whole life
ahead of her—and she raises her bow, cues
the others and they begin to play.

*

Lynn Glicklich Cohen lives in Milwaukee, WI, walking distance to a Great Lake and an aspiring river. She spends at least some of every day reading and/or writing poetry. She is profoundly grateful to ONE ART and the numerous other literary journals that have published her work.

Don’t Say You Never Knew Him by Paula R. Hilton

Don’t Say You Never Knew Him

I was 27 when my mother pressed
her wedding band into my hand.
I’m so angry. I don’t want it.
Startled by venom in her voice,
I took it but told her I had no idea
what to do with it. Melt it down,
sell it, give it away. I don’t care.

Dad had dementia but hid his condition.
The man people flocked to for financial
advice died with the trunk of his Ford
stuffed with unpaid bills. Mom screamed
like a wounded animal. He’d bankrupted us.

A decade later, her memories soften.
Tells me Dad had been a great kisser.
He made my ears burn. She also shares
some advice. Don’t say you never knew him.
Say you didn’t know the extent of his illness.

I go to my room. Pull her band from
the jewelry box where it’s waited for
3,650 days, ask her if she wants it back.
She takes the gold ring from my open
palm. Slips it back on. Yes, she says, I do.

*

Paula R. Hilton explores the immediacy of memory and how our most important relationships define us. Her work has appeared in The Sunlight Press, Writing In A Woman’s Voice, Feminine Collective, The Tulane Review, and many others. Her poetry collection, At Any Given Second, was selected by Kirkus as one of its best books of 2021. She earned an MFA from the University of New Orleans. Learn more at https://paularhilton.com

Marriage Dance: Year 45 by Dick Westheimer

Marriage Dance: Year 45

Most nights it’s the same:
an onion sliced skin-thin,
cashews stirred in, over the flame,

while I go to the cellar
for garlic and winter squash.
The kitchen smells

of olive oil and the onions
now sugar sweet—are an almost
burning sap. Garlic

oils my fingertips which
I bring to my lips and lick
till the glow illuminates

my appetites. The skillet shimmers
syrupy and begs
for savory company—

the garlic and squash,
over-wintered collards,
just picked and washed.

My wife waits to come over
and brush against my hip
till I put down the knife.

She knows I hone it sharp enough
to shave. She knows that when I stand
over the cutting board, I am

married to wood and vegetable
and blade. She knows that I can
love only one thing at a time.

I tell her she is a lucky woman—
that I love her as well as my
kitchen tools that I’ve seasoned

and sharpened and cared for
since before our time. She sets the table,
lights a little flame, and doesn’t say a thing.

*

Dick Westheimer lives in rural southwest Ohio, his home for nearly 50 years, with his wife and writing companion, Debbie. He is winner of the 2023 Joy Harjo Poetry Prize and a Rattle Poetry Prize finalist. His poems have appeared in Only Poems, Whale Road Review, Rattle, Abandon Journal, and Minyan. His chapbook, A Sword in Both Hands, Poems Responding to Russia’s War on Ukraine, is published by SheilaNaGig. More at www.dickwestheimer.com

Two Poems by Martin Willitts Jr

Bringing Bodies like Kindling Wood

There are times, when the sky opens up and cries.
The sky cried all the time, it seemed, in Vietnam.
I tried pulling bodies out of the line of fire,
out of mud, out of endless caustic rainfall.
I’d find parts of a human and bring wounded back.
Often, death could not wait, and I’d arrive too late.
Rain was juxtaposed at intersection of life and death.
Rain did not care about longitude or latitude of pain.

In Vietnam, it rained bullets in Agent Orange skies.
On my last mission, the day before going home,
carrying a man, I hit a trip-wire, and I lifted into the sky.
Doctors took skin grafts from my arms to my burnt feet,
without medication, rain confessed to my wounds.
I learned what it is like to be carried out alive.

* 

On the Battlefield

During the shelling,
bullets sing as they pass by me.
I’m kneeling over a body
opening my field medic kit.
He is not going to make it.
He sees my concern, my averting eyes.
He asks the million-dollar question:
Where is God in all this?

I can’t save him.
I can barely save myself.
At this moment, religion abandons us.
What are we supposed to believe in?
During this moment of fear, sweat, and death,
I find no easy answer.

*

Martin Willitts Jr is a retired Librarian living in Syracuse, New York. He was nominated for 17 Pushcart and 13 Best of the Net awards. Winner of the 2012 Big River Poetry Review’s William K. Hathaway Award; 2013 Bill Holm Witness Poetry Contest; 2013 “Trees” Poetry Contest; 2014 Broadsided award; 2014 Dylan Thomas International Poetry Contest; Rattle Ekphrastic Challenge, June 2015, Editor’s Choice; Rattle Ekphrastic Challenge, Artist’s Choice, November 2016, Stephen A. DiBiase Poetry Prize, 2018; Editor’s Choice, Rattle Ekphrastic Challenge, December, 2020; 17th Annual Sejong Writing Competition, 2022. He won a Central New York Individual Artist Award and provided “Poetry on The Bus” which had 48 poems in local buses including 20 bi-lingual poems from 7 different languages. He has over 20 full-length poetry collections including “The Thirty-Six Views of Mount Fuji” (Still Point Press, 2024); “Not All Beautiful Things Need to Fly” (Silver Bow Publishing, 2024); “Martin Willitts Jr, Collected Works” (FutureCycle Press, 2024); and forthcoming, “Bone Chills and Arpeggios” (March Street Press, 2025).

Two Poems by Baruch November

Lives upon Lives

Contractors affix buildings on top
of buildings in Jerusalem.
Occupants below must clear out
for all the years it takes
to finish adding
to sandstone structures.

I have lived lives upon lives.
I want to go back
to when I was certain—it was my twenties.
I dismissed many great women.
Someone greater was always coming along.

I have been an inept architect.
I built for one who does not live
with the truth of others.
I built for starlight,
not shelter.

I built for ghosts
of those never born.
I built a hollow home
for howling winds.

I built a demise
in waiting
and thought it
a masterpiece
towering over
the settled lives
of others.

*

The Tiger of Detroit

Every one of his home runs
in 1938 was hit off of Hitler.
Rage transformed
into urgency
in the batter’s box. 

He wanted so much to amaze those
who called him Christ-killer,
sheenie, kike, pant-presser.
They say only Jackie Robinson
had it worse.

When he did not play on Yom Kippur,
he electrified the fasting
congregation: tall shul doors
opened to reveal
the tiger slipping through.

The rabbi pounded his pulpit for silence.
Women swiveled their necks,
children stood on their chairs
to catch a glimpse of Greenberg–

A man who never played cards,
knowing his teammates
would holler if a Jew
threw down a full house,
a royal flush—
taking all their earnings
home to buy his wife
a necklace bright
as the closest
strand of stars.

*

Baruch November’s latest full-length book of poems, The Broken Heart is the Master Key, will be released this August. An earlier collection of poems, entitled Dry Nectars of Plenty, co-won BigCityLit’s chapbook contest in 2003. His works have been featured in Paterson Literary Review, Tiferet Journal, Lumina, NewMyths.com, and The Forward. His poem “After Esav” was nominated for a Pushcart Prize. He is a host and organizer of the Jewish Poetry Reading Series, which has featured poets such as Linda Pastan and Grace Schulman. For more than a decade, Baruch November has taught courses in Shakespeare, poetry, and writing at Touro University in Manhattan.

Two Poems by Michael T. Young

The Baroque Edge

We think of people in the past
as stuffed shirts, stiff in confines
of etiquette and rules, but
Bach carried a sword
on his long walks. Handel
would have died in a duel,
except for a well-placed button
that deflected the blade. So
maybe there’s an edge to
The Well-Tempered Clavier
that we fail to catch, or
a crosscurrent cutting across
The Water Music and imperceptibly
drawing us, gently nudging us, like
a gesture of defiance made
toward the dark depths, out
at the edges where
the silence growls and paces.

*

Erased

I sit in the dark listening to Mahler’s Ninth Symphony.
It’s a night a long way into the new world.

I can see its outlines in how this last movement
is a prolonged diminishment, one instrument at a time

disappearing into silence, like the loss of so many things:
we hardly notice them gone until we can’t hear them,

like a friend moving farther and farther away into a distance
that finally is too remote for us to reach across,

or freedom to speak our mind dwindled by a word
here, a word there. And there goes another violin

sinking into the absence of what we believed in,
who we thought we were, a kind of people who

could defy every power contrary to us. What it meant
to be American. But here I am, in the dark, on a cold night

deep into the new country, listening to an Austrian composer.
Now the cost of the needed medicine or food

drives us to work so late, we’re always tired
and there’s only collapsing into a moment of exhaustion

at the end of a day, watching TV or listening to music,
until that last violin holds as long as it can the final note,

a melodic fragment that Mahler marked in his German script,
a notation meaning “completely dying away.”

*

Michael T. Young’s fourth collection, Mountain Climbing a River, will be published by Broadstone Media in late 2025. His third full-length collection, The Infinite Doctrine of Water, was longlisted for the Julie Suk Award. He received a Fellowship from the New Jersey State Council on the Arts and the Jean Pedrick Chapbook Award. His poetry has been featured on Verse Daily and The Writer’s Almanac. It has also appeared in numerous journals including I-70, Mid-Atlantic Review, Schuylkill Valley Journal, and Vox Populi.

Three Poems by Connie Post

Maps

I no longer want
Google map directions

I want to stop at a local gas station
where the people know
how to get somewhere

I will buy a cold root beer
where the soda slightly spills out
the top of the lid

I want someone to understand
the loss of my tire pressure
and for someone to understand
that I’ve forgotten how
to pop the hood

I want the attendant
to tell me why the road
washed out last year

when I search for the money
to pay for my drink and Fritos

I want them to wait a long time
until my purse is an open cavern

I want them to see how long
I can stand there as a half shadow

I want them to see
there is a drought in my mouth

mostly
I want someone to know I’m lost

*

My Body is a Content Warning

The papers and files
are all boxed up

nobody wants to read my bones

these fractures didn’t just happen
overnight

nobody is willing to
sit with my marrow
in a room filled with
crumpled police tape

there is an empty can of mace
in my sleeve

I’ve never used it

all my offenders know me

the only stranger danger is
is my shadow self
sitting on the chair in my room

my body is surrounded
by the weeds of childhood

how many times must
I be told to take better care of myself

how many times
must I cauterize my subconscious

how many times
do I have to remind myself
that my memory
is an untreated hemophiliac

I don’t know how many more ways
to sacrifice this body

the gods are hungry

*

Sleeping With the Light On

You didn’t mean to
but you were too tired

maybe you took one pill too many

maybe daylight savings time
wanted you to exile yourself

most likely though

you didn’t want to find another
curtain in the dark

where the fibers hang like long strands
of your remaining sanity

they were hung
with the crippled hands of a mad man

the curtains
are a tripping hazard
they hang just low enough
to force you to feel
the partial existence
of your makeshift life

as dawn arrives
you erase the word “rape”
from a piece of crumpled paper
by the side of your bed

you get up early
and go to the department store
about ten miles away

you walk around
finding mannequins
that emulate the very expression
you had
when he found you

*

Connie Post served as Poet Laureate of Livermore, California (2005-2009). Her work has appeared in Calyx, Cutthroat, River Styx, Slipstream, Spoon River Poetry Review, & Valparaiso Poetry Review. Her awards include the Crab Creek Poetry Prize, Liakoura Award and the Caesura Poetry Award. Her second full length book, “Prime Meridian” was released in January 2020 (Glass Lyre Press) and was a finalist for the 2020 Best Book Awards. Her most recent books are Between Twilight from New York Quarterly Books and Broken Metronome from Glass Lyre Press. Broken Metronome was the winner of the American Fiction Award for poetry chapbook.

Double by Ellen Rosenbloom

Double

My niece tells me she met my doppelganger.
She was going bra shopping and to the

woman who was fitting her, she said,
“You look just like my Aunt Ellen.”

“Really?” I said, “Are you sure she wasn’t
a shadow of me?” “No. She looked identical

to you—just like you, except her teeth weren’t
as good.” Do I want to meet this person. Probably

not. I don’t want to be offended by what
she thinks I look like. She told me the woman asked,

“Do you like your Aunt Ellen?” and my niece said,
“I love my Aunt Ellen.” My husband thinks we

should go see her under the guise of bra-shopping.
I sure hope she’s not fat or ugly…Or she’s just a slip

or a shadow of me. I guess I will go and meet her
or should I. Maybe it’s better not to know.

They say everyone has a look-alike somewhere
on earth. Maybe just to know she exists is enough.

*

Ellen Rosenbloom is a poet from New York City. Ellen’s poems have appeared in a chapbook, “Past Life Recall” by Bottlecap Press, and are forthcoming in a chapbook, “Traveling” by Finishing Line Press this August, 2025. Her poems have also appeared in Sonora Review, Zeek, Rosebud, Good Foot, Referential and more.

On His Birthday by Sarah Joy

On His Birthday

“Keep writing,” were some of the last few words
my father said to me before the dementia took over.

My pen greets paper like a bird gracing the sky.
I try to avoid wind sheers, but these wings get tired;
I’d rather sit and preen my feathers,
and inspire the flightless from the ground.

I am a hypocrite of the worst kind,
writing down single phrases to start new poems
to only end up crumpled in trash cans:
I wish. I miss you. Come back.

I am a bird who walks on the sidewalk,
finding safety in the concrete barriers.

Today my father would have turned 75.
Gone only 847 days.
847 crumpled pages,
847 days of walking when I could have been flying,
could have been writing.
847 times of avoiding my memory,

trying to believe he’s still here,
as if his last words never happened.

*

Sarah Joy is a Toronto poet and Ph.D. student in Biblical Studies whose work explores longing, faith, and the quiet ache of being human. Her poem about David won the Canadian Bible Society’s 2022 BiblesCanada Creative Giveaway. When not writing, she studies ancient texts, tends to her community, and finds joy in stillness and sunlit afternoons.

Two Poems by Raven Lee

Mercy

I sat with him,
that mountain of a man

that bear I had followed through the woods.
Don’t be scared. I eat those spiders for breakfast.

Alzheimer’s took his three-piece suit.
His stethoscope. His Lincoln.

Now he sits at this Formica, conquered,
wearing gardening gloves

with gripping circles on them.
White, but greying more each day.

Are your hands cold? I asked.
His glove wiped his runny nose.

His eyes holding all his thoughts
waiting to be picked up like lost luggage.

My name was the first to go.
My brother’s was the last.

In the ambient noise of his presence,
I was not me, but someone.

He looked at me and smiled.
He peered into his coffee,

thickened so he wouldn’t drown.
By now he had one phrase left,

This is the shitz.
And still, when I think of it,

I feel relieved that these
are the words he still had.

Because it was.

*

Coming Home

I sink my feet in the reunion
where salt meets fresh.
One tells the other how she reimagined
granite and earth, slicing stone and root
on her way home,
bringing the mountain with her,
one molecule at a time.

These waters don’t know
our books say they are different.
They know coming home
mother arms stretched
their meeting place remade
by the moon and her song.

The water burbles up to me and I say
yes mother.
I want to find ease in her embrace,
stretch myself into her arms with
the slack muscles of a sleeping newborn.
But I know.
My body knows.

Once the river almost took me back.
She saw my heart and folded herself around me.
Come home, she said.
I saw the water and light dancing
together and I wanted to stay.
I gave myself to the swirl.

I wish I didn’t know a mother
can pull you under as easily
as she can pull you up.

*

Raven Lee (she/her) lives on Wy-East (Mt Hood) where she spends her time writing memoir, essays and poetry, hanging out with trees and throwing funky pots on her pottery wheel. Raven’s writing has appeared in Honeyguide Literary, Amethyst Review and Hip Mama. Raven is on a hiatus from her career as a psychologist and therapist trainer.

Navigating by Lisa Romano Licht

Navigating

You only show me your tattoos when they’re a done deal. Peel back your shirt, laugh nervously for the reveal. Know my surprise and disappointment will burst like a match-tossed flame. “Mom, are you mad?” you mouth. I shake my head no. A strange emotion rises in me for you, barely in your 20s, and it, so permanent. Potential future of hovering regrets. This one fills your upper arm. I cringe at its geometric spread, wonder how easily it can be hidden. You explain its design, tracing your birth constellation, Libra. Each of its five points bloom with the birth flowers of our family: us, your father, older sister and childhood dog. Morning Glory. Two Marigolds. Poppy. Lily of the Valley. Days later, the flame flickers, smolders. My mind flashes back to years ago when you, a sad girl, no ink, briefly drew hurting marks on that same skin. Pain we shared. Now I see you grown strong-muscled, clear-eyed, choosing a canvas that charts your universe of love instead. Stars fixed and aligned; blossoms awake in perpetuity. Show me your arm again.

*

Lisa Romano Licht’s poetry and other work has appeared in The Westchester Review, Anti-Heroin Chic, San Pedro River Review, Blue Heron Review, Steam Ticket, Mom Egg Review, Ovanque Siamo and elsewhere, and was selected for The Year’s Best Dog Stories and Nothing Divine Dies, both anthologies. She holds a Masters in Writing from Manhattanville College and lives in Rockland County, NY. Find her on X:@LRLwrites

Five Poems by Mary Katherine Creel

After the Thunderstorm

There’s a stillbirth in the attic
at the end
of a late-spring storm.

From a little brown bat
still clinging—

a thin cord, anchored
by a pulpy mass,

black fur & fused wings
wet with placenta.

The mother
is unable to leave.

I lie awake
in the bed below,

moonlight burns
my eyes wide open.

We grieve.

*

Because Every Cell is Listening

The doctor describes my condition
as a keyhole.

She has no idea
what I’ve kept locked in.

Because every cell in the body
is listening, skin makes itself

milk glass, mimics oak bark
to heal over old wounds.

Except, this is not a place
for the body to be scarred,

safe yet ever-guarding
from a wolf at the door.

Because every cell in the body
is fighting, I imagine

lavender light at the suggestion
of my therapist, whisper

healing mantras, lie down with
honey bees and clover,

sew myself into the earth.

*

Fortune Teller

Is it selfish to want more
moments like this—

more peach & lavender clouds
lined with rose gold,

the screech of a hawk
nesting in the neighbor’s oak,

honey bees swarming
the false holly?

This time tomorrow,
the cells collected from

my uterus will be packed
with other specimens

en route to a lab.
A stranger will read

stained membranes & mucosa
like tea leaves,

foretell a future with
or without me,

while I try to predict
when the milkweed will bloom.

*

If I Donate My Body to Science

Will the anatomy students find
the paper wasp nest

hung in my throat, snip away
bloodroot fused with foot bones?

Will they wake the black dog
curled inside my rib cage,

marvel at stardust clogging
every vein? Will my shadow

spill, dull flecks of fool’s gold
sifted from the Flint River?

Will they want to study catbrier
wrapping fallopian tubes,

berry-sized cysts, the reverse
scar behind my navel

grown over like bark to heal
a severed first connection?

*

The Day Before Surgery

When I say, I’m going outside
to feed the dark-eyed

juncos, what I really mean is
I need to find a place

where my shadow is one
with the red oak,

and this fear—weighing
like last night’s snow

on rhododendron buds,
turns to slush.

What I need is to follow
forked prints left by crows,

the zig-zag tail drag
of a hungry opossum

and blood-red berries
dropped by the mockingbird

rattling around
in the sleet-frozen holly.

I need to know, this is not
the last time I will hear

snow-crunch underfoot,
Carolina wrens fussing

at cats stalking the brush pile,
feel winter’s wind-sting,

the cold dagger of an icicle
in a wool mitten.

*

Mary Katherine Creel lives in the foothills of the Blue Ridge Mountains, where she has worked as a journalist and counselor to children and families. A Pushcart Prize nominee, she is the author of two poetry collections, including her most recent book, Every Note, a Lantern. She also writes the Substack publication, a small spectacle, featuring nature-inspired poems and short essays about finding gratitude, healing, and connection.

Ode to a Fake Plant by Gene Twaronite

Ode to a Fake Plant

Your perfect leaves
shine back at me
as if freshly washed
by a spring rain
and make me
want to believe
in you
to touch your skin
and feel the pulse
of your artful
unblemished life
on display
in a tidy white pot
you will never outgrow
I do believe
you would thrive
in my sunless bathroom—
a perpetual plant
who never needs
watering or fussing
and would not care
if I live or die

*

Gene Twaronite is a Tucson poet and the author of five poetry collections. His first poetry book, Trash Picker on Mars, was the winner of the 2017 New Mexico-Arizona Book Award. His latest poetry collection is Death at the Mall (Kelsay Books). A former Writer-in-Residence for Pima County Public Library, he leads a poetry workshop for University of Arizona OLLI. Follow more of Gene’s writing at: genetwaronitepoet.com & genetwaronite.bsky.social

Winter Before a Thirty-Year Marriage Ends by Maria Surricchio

Winter Before a Thirty-Year Marriage Ends

       with a line by Seamus Heaney

Snow beyond the window
fills every corner—empty
of sound—piles in restless
drifts like the train
that just passed through
the town and didn’t stop,
the wisps the planes leave
across the sky. Into the room
where she sits—orphaned
in a little patch of light
he steps, his lips against
her cheek are warm
and dry. She has forgotten
he can be warm.

*

Maria Surricchio is originally from the UK and now lives near Boulder, Colorado. A life-long lover of poetry, she began writing in 2020 after a long marketing career. A Pushcart Prize nominee, her work has been published in Blackbird, Salamander, Chicago Quarterly Review, Poet Lore, On the Seawall, The Comstock Review and elsewhere. She has a BA in Modern Languages from Cambridge University and holds an MFA from Pacific University.

Meditation (Intermission) by Bonnie Naradzay

Meditation (Intermission)

…what if the master of the show who engaged an actor
were to dismiss him from the stage? “But I have not spoken
my five acts, only three.” “What you say is true, but in life
three acts are the whole play.”

        — Marcus Aurelius

It’s all I think about these days, when intermission is,
will it ever come, has it passed, and how many scenes
are in this act that’s so interminable, if it’s not the last.
Could this be the whole play? Hamlet wanted more time.
The end seems hurried; everyone but Horatio falls dead
at the banquet, then Fortinbras appears. The play’s
the thing! Mother’s things are boxed up in a pre-fab shed
behind my sister’s place. Closets bulge with our belongings,
and what are they for? My father’s French wife got rid
of all he owned as soon as he died although I’d wanted
something to remember him by. She had him cremated;
then the VA sent his ashes east to Arlington Cemetery.
My sister wanted a ceremony right away to lay him
to rest behind a small locked door. I could not face it.

*

Bonnie Naradzay’s manuscript will be published this year by Slant Books. For years, she has led weekly poetry sessions at homeless shelters and a retirement community, all in Washington DC. Poems, three of which have been nominated for Pushcarts, have appeared in AGNI, New Letters, RHINO, Tampa Review, EPOCH, Dappled Things, and many other places. While at Harvard she was in Robert Lowell’s class on “The King James Bible as English Literature.” In 2010 she was awarded the University of New Orleans Poetry Prize – a month’s stay in Northern Italy – in the South Tyrol castle of Ezra Pound’s daughter Mary. There, Bonnie had tea with Mary, hiked the Dolomites, and read drafts of Pound’s translations.
https://www.bonnienaradzay.com

Book Launch: Human Resources by Erin Murphy

Book Launch: Human Resources by Erin Murphy

ONE ART is hosting the launch of Erin Murphy’s new poetry collection— Human Resources.  

~ When & Where ~

We hope you’ll join us on Wednesday, June 18, at 7pm Eastern.

The book launch will be held on Zoom.

~ Event Description ~

Poetry reading by Erin Murphy & special guests to launch Human Resources, documentary poems about labor & employment (Grayson Books, June 2025). Sponsored by ONE ART. Pre-order from your preferred bookseller or here.

~ Special Guests ~

Marc Harshman, Brian Turner, Kwoya Fagin Maples, Le Hinton, Ginny Connors, Mark Danowsky

~ Registration ~

The book launch will be held via Zoom.

Register here.

~ Need more info? ~

Reach out to Mark Danowsky at oneartpoetry@gmail.com

~ What to support ONE ART? ~

Here are ways you can donate to ONE ART.

~ About Erin Murphy ~

Erin Murphy is the author or editor of more than a dozen books, most recently Human Resources, Fluent in Blue, Taxonomies, Assisted Living, and a forthcoming collection of lyric essays. Her areas of interest include poetry, creative nonfiction, demi-sonnets (a 7-line form she invented), docupoetics, prose poetry, class, labor & employment, medical humanities, the writing process, and humor. Her edited anthologies are Creating Nonfiction and Bodies of Truth: Personal Narratives on Illness, Disability, and Medicine, both of which won Foreword INDIES Book of the Year Awards, and Making Poems. Her work has appeared in Ecotone, The Georgia Review, Women’s Studies Quarterly, The Best of Brevity, Best Microfiction 2024, The Writer’s Almanac, and anthologies from Random House, Bloomsbury, Bedford/St. Martin’s, and other university and independent presses. Her awards include the Dorothy Sargent Rosenberg Poetry Prize, the Rattle Poetry Prize Readers’ Choice Award, the Foley Poetry Award, and The Normal School Poetry Prize. She is Professor of English at Penn State Altoona, where she has received the Athleen J. Stere Teaching Award, the Grace D. Long Faculty Excellence Award, the university-wide Alumni Award for Excellence in Teaching, and Penn State’s inaugural BTAA Mellon Academic Leadership Fellowship.

Buttonology by Tarn Wilson

Buttonology

It’s 1971. I’m four. We live in the toy-empty wilderness and I’m in love
with my mother’s button jar. Buttons waterfall between my fingers.
I sort them: big, small, shiny, dull—carved and shaped like animals.

It’s the 1300s. Someone finally invents the buttonhole and everyone
goes crazy for buttons. Before then, we fastened our clothes with lacing,
belts, and brooches; buttons were only decoration for the rich and royal.

With everyone bedazzled in buttons–breasts, elbows, wrists and necks–
down backs and up shoes–rulers fear commoners will forget their place,
so they pass laws against being too buttony. Which everyone ignores.

It’s the 1800s. Buttoners craft buttons of nut, bone, horn, wood;
of silk, linen, metal, leather; of enamel, porcelain, paper mache,
mother-of-pearl. They are stamped, painted, pressed and crocheted.

Now, buttons are mostly plastic and mass-produced. Businessmen
wear matching button-down shirts, and sixty percent of buttons
are shipped from a single town in China. Buttoned up means “conservative

in style and dress,” means “carefully planned and executed,” means
“to shut one’s mouth.” The person who traps you in a corner at a party
and will not stop talking has buttonholed you. A fuss button frets

about unimportant matters. Buttons are no longer a threatening excess
of beauty. It’s 1983. I’m fifteen. We live in the suburbs and my mother,
fearing I’m too prim, unbuttons my top shirt buttons to show more skin.

My mother, rattley with anger and loneliness and something frightening
I cannot name, always seems on the edge of losing her buttons. I don’t
want to come undone. This is what women hear: Be cute as a button,

neat as a button, bright as a button. But listen: once, a button was a con
man’s apprentice; a buttoner, a hitman. This, too, is a button: a flower
bud, 1/12 of an inch, a clitoris, a man’s nipple, the end of a fencing foil,

a dog’s ear that folds forward, a white spot on a cat’s coat, the bud
of a baby rattlesnake’s rattle. I don’t want to be buttoned too tightly. But
we need some restraint. The moon is a button that keeps the night-coat

from opening and spilling all the black holes. Once in a remote wilderness,
I hiked a stretch of trail made of small, white buttons. I want to be that person,
to create anonymous, useless delights. There is no word, as far as I know,

for love of buttons. Koumpounophobia is fear of buttons. Koumopouno
means beans in Greek. The first Greek buttons were made of beans.
Steve Jobs, they say, had a fear of buttons, which accounts for his love

of turtlenecks and touch screens. “So what?” “Sew a button on your
underwear.” It’s the 1930s, and that’s a sassy answer. Cute as a button.
A button is the final joke, a punchy line of dialogue that concludes a scene.

*

Tarn Wilson is the author of the memoir The Slow Farm, the memoir-in-essays In Praise of Inadequate Gifts (Wandering Aengus Book Award), and a craft book: 5-Minute Daily Writing Prompts. Her essays have appeared in numerous literary journals, including Harvard Divinity Bulletin, River Teeth, and The Sun. She is currently taking a break from her long-term relationship with prose and has been shamelessly flirting with poetry. New work appears in Grey Matter, Imagist, Museum of Americana, One Sentence Poems, Pedestal, Porcupine Literary, New Verse News, Right Hand Pointing, and Sweet Lit and is forthcoming in Only Poems and Potomac Review.

Two Poems by Donna Hilbert

Still

Be still for a long while
to catch what heron sees

in water’s flux and ruffle:
the tiny fish below.

To see the tiny fish below
that heron catches

in water’s flux and ruffle,
for a long while, be still.

*

Explanation

You wouldn’t have become a poet,
if you’d had a happy childhood
the mother said
to her grown-up child,

as if conferring a blessing,
offering consolation,
instead of the excuse,
the curse, the life-long sentence,
of becoming a poet.

*

Donna Hilbert’s latest book is Enormous Blue Umbrella, Moon Tide Press, 2025. Work has appeared in journals and broadcasts including Eclectica, Gyroscope, Rattle, Sheila Na Gig, ONE ART, Cholla Needles, TSPoetry, VerseDaily, Vox Populi, The Writer’s Almanac, anthologies including Boomer Girls, The Widows’ Handbook, The Poetry of Presence I & II, The Path to Kindness, The Wonder of Small Things, Love Is For All Of Us, What the House Knows, Poetry Goes The Movies. She writes and leads workshops from her home base in Long Beach, California.

Strength by Kara Dorris

Strength

When I buy seed pods, I choose by name
not looks or season. I don’t care how a succulent

shows off her curves or dives into a reservoir
of cliffs. I never knew the variations

of aloe: hedgehog, tiger tooth, candelabra,
& soap: all things that scratch & burn

& yet treatments for injuries.
I stuck my hand into a furnace’s mouth once.

I thought it was an industrial tiger. I thought
it was a learning experience. I was willing to take

my ruler slaps, my switch hits, just to have
that feeling committed to memory. Instinct

to avoid danger isn’t enough. I needed real
world, hands-on experience. Water doesn’t give

when you jump from a cliff. Water breaks bones.
I needed to know this. So I jumped. I have a reservoir

of muscle memories like this. My mirror
neurons have been in training since I was six

& realized people rarely said what they meant.
I used to suck purple kool-aid frozen in ice trays.

I let the cube rest on my tongue until
it stitched itself into my being & only warm faucet

water could save me. See, water kills & it saves.
Fire too. I held my hand in that furnace

to see what choice fire would choose.
When I jumped off that cliff

I spoke to water, not some god. Asked the waves
to let me be kindred for a while.

To let me wash up on some shore where families
picnic, where mothers & grandmothers

& daughters don’t fear their destinies
to become each other. Did you know The Fool

is the most powerful card in the Tarot deck?
Not the Lovers, not the Wheel of Fortune.

Not even Strength, which is my favorite, how
she walks side by side with a tiger

without fear or danger. The tiger eats her, of course.
But until that bite, she is unafraid & sticks

her hand in every furnace she encounters.
She smears her wounds with the stickiest, prickliest

aloe she can find. It’s this way she learns
that some things can hurt & soothe

simultaneously. It is succulent, this relieved pain.
It is many-named: unrequited, dual-

edged, the future tense. It is the seed pods we sow
into the ground with each step away,

because we can’t escape it. The pain. The relief.
The belief that we must suffer to know why

every furnace is worth the loss of a finger
or two, every cliff, worth

the ten seconds of fear
before the percussive splash.

*

Kara Dorris is the author of three poetry collections: HitBox (Kelsay Books 2024), Have Ruin, Will Travel (2019) and When the Body is a Guardrail (2020) from Finishing Line Press. She has also published five chapbooks. Her poetry has appeared in Prairie Schooner, Redivider, Nine Mile, DIAGRAM, Wordgathering, Puerto del Sol, and swamp pink, among other literary journals, as well as the anthology Beauty is a Verb (2011). Recently, she edited the poetry anthology Writing the Self-Elegy: the Past is Not Disappearing Ink (SIU Press, 2023). She currently teaches writing at Illinois College. For more information, please visit karadorris.com.

Before The Paint Dries by P M F Johnson

Before The Paint Dries

When I first met you, we leaned
against each other for practice,
not because we knew of any future
escape from the cigarette desert,
of draped passions in the boss’s chair,
all candle-incandescent, our faces
bright as beadwork on a prayer shawl.
We were like building blocks propped
against the side of the cage,
freeing ourselves to roam
the sidewalks with that
certain greedy, rebel grin.

It’ll be about cities
before we’re done. We get that.
We’re little more than wire loops
in an alley, fallen from cartons
in the dumpster, weathering.
The elements of faith.

Clouds pass, and a deep rain.
We’re not in arrears on
these spirit dreams anymore.
We use the bright blue, the greens
rubbed on with fingertips, a trace
of feline gold, two old lovers,
before the paint dries, hurrying
to get the memories right.

*

P M F Johnson has placed poetry with Blue Unicorn, The Evansville Review, The Main Street Rag, Measure, Nimrod International Journal, The North American Review, Poetry East, The Threepenny Review, and many others. He has won The Brady Senryu Award from The Haiku Society of America, been a Finalist in The Atlanta Review Poetry Contest, and been shortlisted for a Touchstone Award. He lives in Minnesota with his wife, the writer Sandra Rector.

Two Poems by Michael Juliani

The World Is Not Astonished

I daydreamed often
about beating people up.

Touch was so rare those months
A.’s fingers felt like a doctor’s

probing for a lump. We heard
roars lifting from Prospect Park

like the cypresses were rising
against us. South Slope’s avenues

filled, sordid like a campus
after a football rivalry win—

wives on each other’s
shoulders, grade-schoolers

protecting their fathers’ beers.
My neighbor doused

his barbecue, ran into the fray,
the charcoal’s last gasps

reeking the dimensions
of my bedroom. We touched

how we did before our spit
could kill each other,

thin bands of white lace
and blown-out hair between my fingers

as we caught our breath
and listened. America intended

to cut this night
like a cake, parcel out a piece

to everyone, not just two
long-absent lovers beholding

each other’s nakedness
blue in the summer twilight.

*

Kingdom of Breath

White roses, old Volks
tarp-hidden, dreamcatchers,

pinwheels, surplus tents —
this moment a breeze, I think

I’ve been here, not just
this road, this house: pallid, burdened

single mother pinching
spiders off her quilt,

kissing matches
on the prey — I’m home

in these streets,
netless hoops tumble

like ramparts, buzzcut boys
hang on the rims, neck hair

sharp to soothing hand, my
mother taught me to leap

like them, touched me to that
boyhood flame — it journeys

ash to the last
breath, final prayers

in my body, which was
always footsteps

speaking: hello little kid
nothing really

needs you

*

Michael Juliani is a poet, editor, and writer from Pasadena, California. His poems have appeared in outlets such as the Bennington Review, Sixth Finch, Epiphany, Bear Review, SARKA, and the Washington Square Review. He lives in Los Angeles.

Trick by Paul Hostovsky

Trick

Pick a disease, any disease.
Memorize it. Now put it back
with the other diseases. Shuffle them,
put them in separate piles,
the corners loosely interlocking.
Square them. Fan them out,
splayed and facedown like
so many bodies. The trick
is recognizing your disease
isn’t yours. Isn’t you. It could
have been any of them. This is the one
you were dealt, so deal with it
and when the time comes to fold,
fold. Forfeit. Because you lose
everything. Everybody does.
There are no winners. There is only
this dream. This game. This trick
of making the whole thing disappear.

*

Paul Hostovsky’s poems and essays appear widely online and in print. He has won a Pushcart Prize, two Best of the Net Awards, the FutureCycle Poetry Book Prize, The Comstock Review’s Muriel Craft Bailey Award, and has been featured on Poetry Daily, Verse Daily, The Writer’s Almanac, and the Best American Poetry blog. He makes his living in Boston as a sign language interpreter. Website: paulhostovsky.com

Remind Me by Bonnie Proudfoot

Remind Me

Swastika painted
on the outside wall
of the synagogue,
fear in the pews,
fear on the tongue.
How many coats
of white paint
to cover black slashes?

What’s your last name,
little girl? Where are
your people from?
how does dread enter
the body? Through
the nose, the eyes,
through the shade
of your skin?

Fear on your lips, solid
as an egg held
against the back
of the throat. Fold
your hands into your
lap, pray before
the match meets
the candle.

Here is history,
how loud it sounds.
White stucco walls,
crosses burned
on a lawn,
hate painted over,
but still there.
What America
does God bless?

*

Bonnie Proudfoot’s fiction, poetry, reviews, and essays have appeared in journals and anthologies, including ONE ART, SWWIM, Rattle, and the New Ohio Review. Her poetry has been nominated for Best of the Net and the Pushcart. Her novel Goshen Road (OU Swallow Press) received the WCONA Book of the Year and was long-listed for the PEN/ Hemingway. Household Gods, a poetry chapbook, can be found on Sheila-Na-Gig Editions. A full-length poetry collection, Incomer, is forthcoming on Shadelandhouse Modern Press. Bonnie resides in Athens, Ohio.

L’Dor V’Dor by Robbi Nester

L’Dor V’Dor

My father never told me stories about growing up.
I only know he left home at 16. I’m sure that he was
sick of that cramped apartment, where they must have
slept three to a narrow bed, like rolled up socks
crammed in the drawer. I gather these facts as one
might harvest onions in a ploughed-up field,
grabbing hold and pulling till they yield. Anyway,
I know for sure he joined the Airforce, though
he was just 16. Was that after grandmom
threw her second husband out, the only father
he had ever known? I heard my father speak
a dozen times about his fear that he might lose
his job, have to move us all back in with her,
to “double up.” His words. Like someone sucker-
punched, suffering under her reproachful eye.
Who did he remind her of? Perhaps her father.
I didn’t even know his name, just the stories,
mostly tales my mother whispered when we were
alone. She was a stranger to the family, not bound
to keep their secrets. Some families hand down
legacies of great estates, paintings and china.
My father’s family left only taut silence, old
resentments and the twisted chain of DNA.

*

Robbi Nester is a retired college educator who has never stopped teaching in one way or another. She is the author of 5 collections of poetry, the most recent being About to Disappear, an ekphrastic collection that will be published by Shanti Arts. She has also edited 3 anthologies and curates and hosts two monthly poetry readings on Zoom, Verse-Virtual Monthly Reading and Words With You, part of The Poetry Salon Online. Learn more about her work at http://www.robbinester.net.

Two Poems by Brian Beatty

Silhouettes

A half dozen hawks
floated in the white sky

above an anonymous
river’s rushing brown floodwaters.

The sun above that scene was blinding,
beating down, drying

the bank’s loose prairie sand into cement.

There I stood like a monument
to tourism, lost in my phone.

Just one dumb picture of the birds’
perfectly choreographed circles

was all I wanted.
But they were already gone.

*

The Yawn

I’m so tired tonight
I worry I might

swallow the world.

*

Brian Beatty is the author of five small press poetry collections and a spoken word album. Beatty’s poems have appeared in Appalachian Journal, Conduit, CutBank, Evergreen Review, Exquisite Corpse, Gulf Coast, Hobart, The Missouri Review, The Moth, ONE ART, The Quarterly, Rattle and The Southern Review.

Thirty-Eight Rings by John Arthur

Thirty-Eight Rings

last night’s lightning split the sycamore.
how can I pledge myself
to you when I don’t know
what I am? you can see
where the wood was scorched.
you can see where it wasn’t.
I know death is impossible,
but it feels real when it happens
to anyone other than me.
and when it does happen to me
I imagine my daughters
will feel much as I do
looking now at this tree.
I rev my chainsaw and cut
what’s left into pieces
small enough to carry away.

*

John Arthur is a writer and musician from New Jersey. His work has appeared or is forthcoming in Rattle, DIAGRAM, Failbetter, trampset, ONE ART, and elsewhere. He has been nominated for Best of the Net.

Cruel Spring by Tamara Madison

Cruel Spring

My child calls to tell me a horror story,
a scene she’s just witnessed in her backyard
beneath the Bradford pear where, last week
her dog found a nest of newborn rabbits.
Before she could stop it, the pug
snatched one tiny life and shook it dead.
But that was already a week’s old tale.

Today’s story involves a crow. She saw it
fling a small thing into the air, then poke it
with its beak where it landed. Then it took off
with the thing in its talons. The mother rabbit
was left there under the tree, hopping around
in despair and disbelief. My daughter had
to tell me this.

Oh, bunny my bunny! Sometimes
I can hardly bear my own good fortune.

*

Tamara Madison is the author of three full-length volumes of poetry, “Wild Domestic”, “Moraine” (both from Pearl Editions) and “Morpheus Dips His Oar” (Sheila-Na-Gig Editions), and two chapbooks, “The Belly Remembers” (Pearl Editions) and “Along the Fault Line” (Picture Show Press). Her work has appeared in Chiron Review, Your Daily Poem, the Writer’s Almanac, Sheila-Na-Gig, Worcester Review, ONE ART, and many other publications. More about Tamara can be found at tamaramadisonpoetry.com.

Lost by Ashley Kirkland

Lost

I’ve lost my mother many times, enough
to fill a lifetime. She is always slipping away
from me. The first time (a classic) in a 90’s turn of events

in a department store, I pressed my face to soft silk shirts
& got lost in a rack of clothing. A woman found me crying
in the center of the circular rack. Years later, we nearly lost

her when her heart blew open in the living room,
her aorta fraying like the end of a rope. The ghost I was floated
across campus for weeks. A teacher called me honey

and I nearly cried: nearly motherless at 21. Now, 36,
my husband and I talk in the kitchen on a Sunday
afternoon, rain drizzling in late November, football helmets

clashing on the tv in the other room, and we talk about her
health as if it concerns us and I say he’ll be devastated,
referring to our older son, who loves my mother. She doesn’t realize

I say who she’s hurting by not taking care of herself as if her health
is something within our control. I was 21 & I said goodbye to her
over the phone and drove home while she was in surgery,

her chest splayed open on the operating table, her aorta
a patchwork. Now, 36, I stop and listen every time I hear sirens
to see if they turn in the direction of her street. I lose her again

and again, dread the day when I get the call (again),
when my father tells me to come home now, and I have to tell
my son, in words I don’t yet know, what has happened.

*

Ashley Kirkland writes in Ohio where she lives with her husband and sons. Her work can be found in Cordella Press, Boats Against the Current, The Citron Review, Naugatuck River Review, HAD, Major7thMagazine, among others. Her chapbook, BRUISED MOTHER, is available from Boats Against the Current. She is a poetry editor for 3Elements Literary Review. You can find her at lashleykirkland.bsky.social and lashleykirklandwriter on Instagram.

Tulips by Mary Ellen Redmond

Tulips

I love tulips, especially in the dead of winter.
I love them even when they die.
They become something else entirely,
and somehow, more beautiful.
The petals dry and shrink and their bright colors fade.
Some crimp and curl creating petal-globes
surrounding the stamen and style.
Others flatten like a splayed star
revealing their inner workings.
Soon, the long green stems will arc
from the vase towards the table
resembling old women burdened
by the task of staying alive.
Now, I see the petals as tongues—
talking among themselves.

*

Mary Ellen Redmond’s poems have appeared in a number of journals including Rattle and The Cortland Review, but the publication she is most proud of is the poem tattooed on her son’s ribcage. Her interview with Gregory Orr was published in The Drunken Boat. Her poem “Fifty-Six Days” earned a Best of the Net nomination in 2016 and her poem “Joy is not made to be a crumb” was nominated for a Pushcart Prize in 2024.

Still Palatable by Shelly Reed Thieman

Still Palatable

Just last week I worried
late snow might mute
the trumpet daffodils,

but the forces lined up
flawlessly, like dancers
in a well-rehearsed chorus

line, and today the sky
is that delirious shade
of blue which pauses

my morning roam
while I gawk, deepen
my breath—seventy-five

degrees, the sun buxom—
and for ten minutes,
forget the griefs

my mind has memorized.

*

Shelly Reed Thieman is a messenger of imagery, a mistress of montage. Her work is heavily influenced by the discipline of haiku. Her poems have appeared in diverse journals, most recently in Anti-Heroin Chic. She has poems forthcoming in The Sunlight Press and Lyrical Iowa 2025. Shelly is the facilitator of Poetry Brew, a monthly women’s poetry workshop group in central Iowa, and is a two-time Pushcart nominee.

Three Poems by M.L. Hedison

Everyone knows sex is for men

my aunt said at eighty two—
between bites of quiche, sips of tea.
My young cousins and I stared

at our plates, shifted in our seats.
Chaste for thirty years
after her husband died, she put

sex on the table. Family matriarch
ready to tell all. One sexual partner
her entire life. A mercurial man,

moody, dark – quick with a bark.
Left with three boys to raise alone,
she praised him—love story

of her life. She wore slippers,
better to walk on eggshells.
Held her tongue. Unable to say

what gave her pleasure. This spot,
not there, here yes, right there.
Sex more duty than desire.

Repetitive like laundry.
As she spoke to us, oxygen
finally filled her lungs.

*

SILENT NIGHT

There are no airport runs
no one coming home to us.
Drive of wonder, glow of lights—

each year, we carry the biggest
tree into the house. Whiff of pine
on my hands, perfume.

Fills the space where kids
should be. Blinking color, angels
on their knees, amaryllis

about to burst. The image,
my three brothers and me,
five in the morning.

Huddled in one bedroom.
Oldest can tell time, still too early.
My father’s firm hand against the wall.

Why can’t you be like you were,
last treasure, a tangerine
in the toe of my stocking.

*

FOR FLORENCE

The cold bit off my fingers the day I buried you.
Jackhammer opened the earth.
Slabs of dirt to welcome you.
Not sun or birds or green pillow to kneel on.

This is when I turned solid,
fire hose in winter.
Nylon stockings covered my feet.
Your warm glow given at birth –
now a thin muslin shroud, no blanket.

A dull ache of clouds shivered with damp.
My head bowed to cut the wind.
Priest’s vestments blew black in snow.
I can’t leave you in the cold.

Grief still has me on my back,
boot at my throat.
I take in the plants at night so they don’t die.
I can’t remember your hands.

*

M.L. Hedison is an emerging poet based in the coastal town of Wakefield, R.I. She is a former advertising creative director and writer. Her work explores themes of absence, longing, and her Armenian family through lyrical verse. She has been writing poetry for three years and continues to study with Jennifer Franklin, Martha Collins and Wyn Cooper. M.L. is so grateful to have her work published for the first time in ONE ART.

ONE ART’s June 2025 Reading

We’re pleased to announce ONE ART’s June 2025 Reading!

Featured Poets: Barbara Crooker, Robbi Nester, Judy Kronenfeld, Cathleen Cohen


>>> Tickets Available <<< (Free! Donations appreciated.)

The reading will be held on Sunday, June 8 at 2pm Eastern.

The official event is expected to run approximately 2-hours.

After the reading, please consider sticking around for Q&A with Featured Poets & Community Time (general conversation).


About Our Featured Poets:

Cathleen Cohen was the 2019 Poet Laureate of Montgomery County, PA. A poet, painter and teacher, she created the We the Poets program for children (www.theartwell.org.) Her poems appear in literary journals and in books: Camera Obscura (2017), Etching the Ghost (2021) and Sparks and Disperses (2021). Her artwork is on view at Cerulean Arts Gallery (www.ceruleanarts.com) and www.cathleencohenart.com. Cathleen blogs about ekphrasis (http://www.madpoetssociety.com/blog. Recently, one of her poems was nominated for a Pushcart Prize.

Judy Kronenfeld’s nine collections of poetry include If Only There Were Stations of the Air  (Sheila-Na-Gig, 2024), Groaning and Singing (FutureCycle, 2022), Bird Flying through the Banquet (FutureCycle, 2017), Shimmer (WordTech, 2012), and Oh Memory, You Unlocked Cabinet of Amazements! (Bamboo Dart, 2024). Apartness: A Memoir in Essays and Poems was published by the Inlandia Institute in February, 2025.

Robbi Nester is a retired college educator who has never stopped teaching in one way or another. She is the author of 5 collections of poetry, the most recent being About to Disappear, an ekphrastic collection that will be published by Shanti Arts. She has also edited 3 anthologies and curates and hosts two monthly poetry readings on Zoom, Verse-Virtual Monthly Reading and Words With You, part of The Poetry Salon Online. Learn more about her work at http://www.robbinester.net.

Barbara Crooker is author of twelve chapbooks and ten full-length books of poetry, including Some Glad Morning, Pitt Poetry Series, University of Pittsburgh Poetry Press, longlisted for the Julie Suk award from Jacar Press, The Book of Kells, which won the Best Poetry Book of 2019 Award from Poetry by the Sea, and Slow Wreckage (Grayson Books, 2024). Her other awards include: Grammy Spoken Word Finalist, the WB Yeats Society of New York Award, the Thomas Merton Poetry of the Sacred Award, and three Pennsylvania Council fellowships in literature. Her work appears in literary journals and anthologies, including The Bedford Introduction to Literature.
www.barbaracrooker.com

>>> Tickets Available <<< (Free! Donations appreciated.)

New World Order by Kip Knott

New World Order

When I wake up this morning, it dawns on me
that I haven’t heard from Normal in a while.

The last time Normal called, it was on summer vacation.
Somewhere in the Canadian Rockies quietly flyfishing,

if I remember correctly. I recall that it didn’t say,
“Wish you were here,” which, in hindsight, seems odd.

And now it’s been months without so much as a word.
No calls. No texts. Nothing. So I’m left questioning

everything. Like, where does that leave me?
Where does that leave Normal? Alone

in some liminal space between today and tomorrow?
Between what Normal used to be, whatever this new reality is,

and whatever Normal will be if it returns?
Did I ever really know Normal at all?

Will I even recognize Normal? Will Normal embrace me
with open arms, or will it say I’ve become abnormal

and report me to the authorities?
I try to calm down by losing myself

in the minutia of daily chores. I vacuum and dust.
I clean out the fridge of leftovers I always mean to eat

but never do. I even breakdown all the Amazon boxes
I’ve received over the last days and weeks, boxes
that were filled with all manner of products

I was too afraid to venture out of the house and buy
on my own. But as I begin knitting a scarf

to welcome Normal back, should it decide to return,
the newsfeed scrolling across my flatscreen highlights

events in the outside world: more executive orders;
more firings; more plans to rename this and take back that;

more news stories of blind eyes turned.
I snap off the TV, pack away my needles and yarn,

and shuffle off to bed. Perhaps Normal is better off
where it is, I think as I sink deeper into the dark

well of a pill-induced dreamless sleep. Perhaps
Normal should remain incommunicado

and untraceable for its own protection. Perhaps
“out of sight, out of mind” is best for Normal,

and me, at least for the foreseeable future.

*

Kip Knott is a writer, poet, teacher, photographer, and part-time art dealer living in Ohio. His writing has recently appeared in Bending Genres, Best Microfiction 2024, The Greensboro Review, HAD, Merion West, ONE ART, and The Wigleaf Top 50. His most recent book of stories, Family Haunts, is available from Louisiana Literature Press. You can follow him on Bluesky at @kiptain.bsky.social and read more of his work at www.kipknott.com.

Three Poems by Szilvia Szita

Family nest

“Why do you go to see Dad every day?”

The mother tears fresh bread
into bite-sized pieces.
The children turn their faces toward her,
like baby birds waiting for crumbs.

“Dad has tubes
where his voice used to be—
you can’t even talk with him.”

She offers explanations,
but the two children
find all of them unacceptable.

They wait for this episode to end,
for their father to come home,
for everything
to go back to the way it was—
because parents don’t change
the way children do.

They have never
seen up close,
how an adult flails,
beats their wings,
tries to fly.

*

Reiki

Outside, a playground.
Through the poorly sealed door,
the sounds of the stairwell—
footsteps, a ringing phone,
children’s voices.

Inside, calm, soothing music,
closer to silence than to sound.

A cool weight
pressed to my forehead—
lapis lazuli.

My favourite stone, I say.
She smiles.

How did she know?
How can one person know
what another truly loves,
and act accordingly?

I feel her palms
cradling my head,
then passing over arms, torso, legs,
as if moving up and down the stairs.

There is a place in the body, she says,
where nostalgia and solitude meet—
Clearly, that spot must be healed.

She finds it,
covers it with her hands,
but the coldness does not go away.
My past is made of ice.

Must I feel this? Do I have no choice?
Choice is seldom required, she replies,
and places the blue stone
next to the others,
on her wooden table.

*

Internship

I tell you,
people aren’t well,
my nephew says,
after working at a pharmacy.

You wouldn’t believe
how many sedatives,
how many antidepressants
we give out each day.

I don’t tell him
that I take them too.
Sometimes more, sometimes less.
Right now, rather more.

I let him believe
that our family is different:
our bonds are strong,
and those prescriptions
belong to strangers.

One day he will understand:
what is missing inside
cannot be given by others.

He has already changed the subject.
No need to discuss in detail
what does not concern us.

* 

Szilvia Szita is a poet from Hungary. She has published 2 poetry books in Hungarian and is working on the third one right now. Numerous poems have appeared in several Hungarian literary journals such as Alföld, Új Forrás, Jelenkor, Bárka, Parnasszus and Látó. She is very interested in interpersonal relationships, especially in times of hardships (illness, addiction, the situation of refugees). She currently lives in Strasbourg where she works with refugees and teaches languages and creative writing at the University of Strasbourg.

Two Poems by Phyllis Cole-Dai

WHEN THEY COME KNOCKING

& demand we obey
       we will not have knees to bend

& demand we leave
       we will not have feet to go

& demand we believe
       we will not have heads to nod

& demand we ignore the law
       we will not have eyes to shut

& demand we scapegoat
       we will not have fingers to point

& demand we snitch
       we will not have lips to tell

& demand we work
       we will not have backs to break

& demand we give them money
       we will not have noses to pay through

& demand we fight
       we will not have arms to bear

but when they demand we cook for them
       we will have hands to fix in our kitchen

such a sumptuous feast of won’ts and don’ts
       they will starve as they gorge at our table

                     After the “Ten Commandments” published by Večerní Praha
                     in the aftermath of the Soviet invasion, 1968

*

THE SHORTEST

I wiggled
in the pew
fussing
in my new Sunday dress
and patent leather shoes
and they told me
it’s true
Jesus wept
is the shortest verse
and I waited
for them to tell me
how that could be
cause when
my mama cried
it was never short
it was big as the house
and the world beyond it too
and when they couldn’t tell me
why that was
I began to stop
listening to them
and listened instead
to all the crying
all around
they didn’t seem to hear
cause maybe
I could catch the falling
tears
in the cup of my ears
and save them
for someone in need
of a little drink
and that’s when
my little mind
began to think
that little verse
in that big black book
had to be so short
cause even
the ears of Jesus
big as God
just couldn’t
hold no more

*

Phyllis Cole-Dai resides in Maryland. She’s the author or editor of more than a dozen books, including the popular Poetry of Presence volumes of mindfulness poems. She invites you to hop aboard The Raft, her online community.

Practices of Assembly: Compiling Your Poetry Manuscript ~ A Workshop with John Sibley Williams

Practices of Assembly: Compiling Your Poetry Manuscript

Workshop: Practices of Assembly: Compiling Your Poetry Manuscript
Instructor: John Sibley Williams
Date: Thursday, June 5
Time: 12:00-2:00pm Pacific (3:00-5:00pm Eastern)

Price: $25 (payment options – Stripe / PayPal Venmo CashApp)

Are you interested in organizing a chapbook or poetry manuscript? This intensive manuscript workshop will teach participants different ways one can begin to compile a poetry manuscript. Expect to view manuscript samples and discuss techniques that can be applied to the process.

We will explore all the ins-and-outs of organization and publishing a chapbook or full-length, from writing toward a given theme to setting and keeping to creative deadlines to learning how to submit smarter, not harder. Poets will be guided through a series of lessons and hands-on activities that each focus on a different aspect of creating, structuring, and finally publishing a new collection.

Topics include selecting the best title, focusing on your first and last pieces, finding the thematic threads in your writing, organizing the entire collection so that it reads smoothly, deciding which structure works best for you, and submitting individual pieces to magazines and the book as a whole to publishers and contests.

Learn how to:

  • Set writing goals and make creative action plans
  • Make your work stand out
  • Get more acceptances…and faster
  • Submit smarter, not harder, to both journals and presses
  • Discover the thematic threads in your writing and how to weave them across a collection
  • Reshape previous poems to fit the themes and style of your collection
  • Order poems within a manuscript for cohesion and flow
  • Write powerful introductory and closing poems for your collection
  • Choose the right book title, poem titles, and epigraphs

About The Workshop Leader:

John Sibley Williams is the author of nine poetry collections, including Scale Model of a Country at Dawn (Cider Press Review Poetry Award), The Drowning House (Elixir Press Poetry Award), As One Fire Consumes Another (Orison Poetry Prize), Skin Memory (Backwaters Prize, University of Nebraska Press), skycrape (WaterSedge Poetry Chapbook Contest), and Summon (JuxtaProse Chapbook Prize). His book Sky Burial: New & Selected Poems isforthcoming in translation from by the Portuguese press do lado esquerdo. A thirty-five-time Pushcart nominee, John serves as editor of The Inflectionist Review, Poetry Editor at Kelson Books, andfounder of the Caesura Poetry Workshop series. Previous publishing credits include Best American Poetry, Yale Review, Verse Daily, North American Review, Prairie Schooner, and TriQuarterly.

Gender Dysphoria with Breast Self-Exam Pamphlet by Ren Wilding

Gender Dysphoria with Breast Self-Exam Pamphlet

You should know
what your breasts feel like.
Lay down, reach across.
My chest is a stranger
I don’t want to know.
Hills mudslide into my armpits.
I can’t reach my arm far enough
across my body. I can only touch
where my heart is.

I hit them on door jams
because my brain
doesn’t know they exist.
They are only good for warning
the rest of me to stop
before I hit my body.
The walls know them
better than I do.

*

Ren Wilding (they/them) is a trans, queer, neurodivergent poet who earned an MA in Literature and Gender Studies from the University of Missouri. Their work appears in Braving the Body (Harbor Editions), Trans Love (Jessica Kingsley Publishers), The Comstock Review, Lone Mountain Literary Society, Palette Poetry, Pine Hills Review, Red Eft Review, Stories that Need to be Told 2024 (Tulip Tree), and Zoetic Press. In 2023, they won the St. Louis Poetry Center’s James H. Nash Contest. They received a Pushcart nomination and are a co-curator of the “Words Like Blades” reading series.

Five Poems by Laura Ann Reed

April’s Graveyard

My thoughts flee toward the margins.
Chasing after them is one kind of start.
                                    Another is burrowing
deeper into the bewilderment.
As on the day of my grandfather’s funeral.
The girl I was at fourteen in a borrowed
black, tight-fitting skirt who flirted
outside the graveyard gates
with the boy on a bike. Thinking of him
at the graveside.
                                    All these years later
something remains, unformulated.
A speechless undertow
of the loneliness that washes through me.

*

Childhood

In the back garden, diagonals
of late afternoon light. A few yard tools rest
against the fence. My father is cleaning the blade
of a hoe. He is probably whistling.
I think about my father all the time.
In part from a need like the pull to unravel
a recurring dream. In part because he was my father.
But now it is dusk. Under their tent of branches
the doves ask a question again and again.
Their patience is infinite. Below the silvering sky
the light is the color of an old coin.

*

Ladybugs

Not yet full spring. Mistrust among the tulip bulbs.
The girl pedals furiously, nevertheless.
Flight from childhood? A memory.
“Don’t be in such a rush to grow up, dear,” my father said.
We were in the grove of redwoods when I saw them.
Billions of them. Inches thick along the dark limbs.
The startling intimacy of the small bodies
one atop the other.

*

Beauty

                  —”is the subject of art,”
says Agnes Martin.

My mother wanted to be the child.
Wanted her beautiful future.
Wanted her infants who didn’t live.

I wanted to be the child.
Wanted the reddening leaves.
Wanted to burrow under the canopy of branches.

                  *

At opposite ends of a sandbox: two children
engaged in parallel play.

One with a bucket of water.
Building a castle. Filling a moat.

The other digging holes with a shovel.
Hunting for the delicate bones.

*

Early Memory

The doves summon me into the day.
I call back through the half-opened window.
The sunlight, too, is reaching for me
through the bars of the crib. Then my mother is there
in the way that the room is. Lifted and held, I understand
while the foghorns moan on the San Francisco Bay
that my mother needs to believe she is adored.
More than the doves. More than the sunlight.
Good girl that I am, I press my head
against her breast. Now look at the boat
of her dying, rocking softly
on the water.

*

Laura Ann Reed is a Contributing Editor with The Montréal Review. She holds master’s degrees in clinical psychology as well as in the performing arts. Her poems have appeared in seven anthologies, including Poetry of Presence II, as well as in numerous journals. Her most recent work is forthcoming in ONE ART, Illuminations, The Ekphrastic Review, SWWIM, and Main Street Rag. Her forthcoming chapbook, Homage to Kafka, will be published in July 2025. https://lauraannreed.net/

Three Poems by Jen Karetnick

Beachcombing

What you find depends on what
you want to find: Driftwood, sea glass,
teeth from sharks—lost weekly
as new ones rally forward from
the back, forcing others out
like the last remnants of an outgoing
year—recognized by their triangular
gleam, fossilized into sunset shades
by mineralization or white as the wake.
Spiral shells, those exoskeletons minus
their creatures. Or objects lost by others
who snapped them with clinging sand
from towels. To scour for these oceanic
souvenirs, there is no cost but the energy
you spend sieving in the intertidal zone
along with egrets looking for breakfast,
or sifting the deeper crystallization
closer to the dunes where the seagrasses
weave their equations in the air.
The evidence your fingers and feet
leave behind is temporary, scattered
impressions erased by the tide,
that nocturnal ritual that also brings in
a replacement batch of plunder to search.

*

Men from the Future Tell Julia to Smile
          After Julia’s Garden Party

          “In the photos that survive of her, Julia Tuttle looks
          stern and unsmiling, a long dark dress buttoned up to her neck,
          priestlike, often with the frowning expression of a mother
          disapproving of a daughter’s suitor.

          Eric Barton, Flamingo, September 9, 2024

What do modern men know of
the Victorian era’s
rules for mourning dress, two years
of widow’s weeds, bombazine
suffocation of women’s
bodies in black so dark it
doesn’t reflect, midnight gloves,

boots, and crepe hats, the buttons
and buckles as lusterless
as a just-frozen pond
not yet sturdy enough to
blade on with ice skates,
mandatory even for
those whose husbands were worth less

than they should have been, or those
who were wealthy only in
meanness? What do modern men
know about powder ground from
burnt eggshells, chalk, sand, and salt,
that scrub free from teeth the plaque
but also the enamel?

About the incisors and
molars that decay surely
as plants in this swamp, tannic,
hidden by closed mouths? About
Lucy Hobbs Taylor, the first
female to graduate from
dental school in my native

Ohio, and before her
how male dentists pulled women’s
teeth before their weddings as
gifts to husbands, to replace
with a set of porcelain
dentures that rattle in mouths
like teacups on saucers? Or

the modes we take from other
arts like portraiture, where saints
are the only subjects who
are permitted a faint tip
of lips? The infrequency
of expensive images,
and how imprecise shutters

capture a scene that perhaps
isn’t intended? In one
“surviving” photograph of
my garden party, three of
us sit on the grass, five on
chairs and, in the back row, ten
stand in front of coconut

palm fronds that droop like our veils.
No one smiles; few even look
at the camera. Despite
the weather, we all wear clothes
that cover us from foot to
neck, shoulder to wrist, as if
in insensible denial.

*

Evaporating Villanelle for this Time of Life

I champion no term for the era I’m in now.
My friends introduce me as
the empty nester, as if they wonder how

their claim might ever be permitted to grow.
I lend the illusion of autonomous,
the champion of terms for the era I’m in now.

But grandsons or -daughters
might be pending soon enough—
the empty nester has to shoulder

a plan that’s much larger
than their own purpose.
I champion no term

to scan onto this turn
of decade, this age-sauce
an empty nester pours on—

so permanent
it masquerades
the empty
I champion.

*

A 2024 National Poetry Series finalist, Jen Karetnick is the author of 12 collections of poetry, including Inheritance with a High Error Rate (January 2024), winner of the 2022 Cider Press Review Book Award and semi-finalist for the PSV 2025 North American Book Awards. Forthcoming books include What Forges Us Steel: The Judge Judy Poems (Alternating Current Press, 2025) and Domiciliary (Sheila-Na-Gig Editions, 2026). Her work has won the Sweet: Lit Poetry Prize, Tiferet Writing Contest for Poetry, Split Rock Review Chapbook Competition, Hart Crane Memorial Prize, and Anna Davidson Rosenberg Prize, among other honors, and received support from the Vermont Studio Center, Roundhouse Foundation, Wassaic Projects, Write On, Door County, Wildacres Retreat, Mother’s Milk Artist Residency, Centrum, Artists in Residence in the Everglades, Miami-Dade Artist Access, and elsewhere. The co-founder and managing editor of SWWIM Every Day, she has recent or forthcoming work in Cimarron Review, NELLE, Pleiades, Plume, Shenandoah, Sixth Finch, South Dakota Review, swamp pink, Verse Daily, and elsewhere. See jkaretnick.com.

Grief Comes on a Friday at 4 p.m. by Ellen Rowland

Grief Comes on a Friday at 4 p.m.

A craving for your spinach and mushroom crepes.
The plastic recipe box. Colored tabs for appetizers,
main dishes, desserts. Your left-handed back slant,
smudged ink, a greasy fingerprint—
all landing like a gasping hammer. Where have you been?
I don’t think I ever buried you. You bloomed in me
right there at the kitchen counter on a Friday at 4 p.m.
The missing wail so deep and gaping, a childhood slipped
from those protective sleeves. A kinder birth, a difference.
A truth about keeping—you never did, and I never will,
make all the good things.

*

Ellen Rowland is a writer and editor who leads small poetry workshops on craft and form. She is the author of three collections of haiku: The Echo of Silence, Light Come Gather Me and Blue Seasons, as well as the book Everything I Thought I Knew, essays on living, learning and parenting unconventionally. Her latest poetry collection, No Small Thing, was published by Fernwood Press in 2023. You can find her writing in ONE ART, Braided Way, Rock.Paper.Poem and Silver Birch Press, among others. She lives off the grid with her family on an island in Greece. Connect with her on Instagram and Facebook.

How to See It by Moudi Sbeity

How to See It

What they don’t report on the news is the way,
after we’ve pooled on the couch from our daylong
forward press, my lover asks me to take off my socks.
And in his sweet way, in his gentle care, places palms
full of lotion around my callused heel, rubs his fingers
firm and deep along my arched sole, up through the
valleys between my toes, a secure five-in-five clasp
wriggling away the tension. He doesn’t mind that my
big toe has a fungus half the size of a quarter under
the nail bed, or that it’s been weeks since we’ve slid
into each other all naked and limbed and sweating.
Doesn’t even ask for a foot rub in return. Instead,
he kneads the miles ached around my tendons one
pressure release at a time. Wraps me in hopeful
maybes as we discuss migrating north to Canada,
or south to Argentina. Says maybe things aren’t
as bad as the headlines read, says without saying,
that maybe there are countless unsung others also
tending to this holy work of holding the world,
that maybe the world is full of nameless devotees
tracing their humble love along the sore contours
of a walked together life, so full of such kindness
to even consider how it is we might begin to see it.

*

Moudi Sbeity is a first-generation Lebanese-American currently enrolled in the Mindfulness-Based Transpersonal Counseling masters program at Naropa University. Prior to attending Naropa, they co-owned and operated a Lebanese restaurant in Salt Lake City, which served as a queer safe space. Moudi was also a named plaintiff in Kitchen v. Herbert, the landmark case that brought marriage equality to Utah in 2014. As a person who stutters, they are passionate about writing and poetry as transpersonal practices in self-expression.

Moudi’s poems have appeared in the following anthologies; Irreplaceable by Nan Seymour and Terry Tempest Williams (Moon In The Rye Press, 2025), Love Is For All Of Us by James Crews (Storey Publishing, May 2025), The Nature Of Our Times by Luisa A. Igloria (Paloma Press, Fall 2025). Moudi’s first book, Habibi Means Beloved, a memoir on growing up queer and stuttering in Lebanon, is expected to be published in late 2026 by University of Utah Press.

Two Poems by Sreeja Naskar

TONGUELESS

I was born into a language
that taught me silence first.
The women before me stitched vowels into their throats
and called it survival.
My mother spoke softly so the walls wouldn’t hear.
My grandmother spat words into jars,
sealed them tight.

The men never asked.
They assumed the air around them was theirs to name.
My father’s voice cracked like a whip,
decibels louder than my mother’s love.
The priests spoke of god like they had
held her bones,
and the government scribbled laws in a dialect
that never learned to say no.

I tried once,
to speak with the shape of my own mouth.
But the men said it was vulgar, unnatural
for a woman to taste her own words.
They prefer us tongueless.
Silent but smiling,
familiar but forgettable.

In school, they taught me languages of conquerors.
English, Spanish, French — tongues of arrival and theft.
The only inheritance we were left with
was a dictionary of what we could not reclaim.
My people are fluent in translation —
We know how to make grief fit into smaller sentences.
We know how to dress shame in another nation’s verbs.

And still, the men argue about the gender of language,
as if a sentence must choose sides.
As if a noun can be broken down into pink or blue.
They call it grammatical necessity.
I call it a wound.

My mother once told me
that every tongue has a graveyard.
I imagine ours full of forgotten dialects,
the syllables curled like question marks.
No funerals. No mourning songs.
Plain drooping silence.

But I am learning now
to speak without apology.
To scrape the colonizer’s residue from my teeth.
I mispronounce their words on purpose.
I roll my R’s like thunder,
spit consonants like battle cries.
My tongue is a weapon they cannot disarm.

And when my daughter asks me why the world
sounds so loud,
I will tell her:
Because they are afraid.
Because a woman who knows the weight of her own voice
is the sound they tried to silence.
Because we were never meant to be
tongueless.

*

Instruction Manual for Being Human

step one:
you are born with the cord still attached,
red and slick, a snake that never leaves you.
it coils somewhere in the dark. your mother calls it love.
your father calls it god. you will call it hunger.

step two:
learn the word no but say yes anyway.
smile with your teeth even when they ache.
watch how the mirror fogs when you breathe —
proof that you exist, proof that you can still ruin something clean.

step three:
if a man touches you and you flinch,
convince yourself it was the wind.
if your body locks itself shut,
call it a trick of the light.

step four:
pain is a language you will learn to speak fluently.
twist your limbs into the shapes they expect.
hold your wrists like a fragile apology.
bleed discreetly. swallow the noise.

step five:
love will come and leave.
sometimes it will scrape its name across your ribs.
sometimes it will forget your name entirely.
this is normal.
this is expected.

step six:
bury the body.
not the one in the dirt, but the one in the bed.
the one who stares back at you in the window at night.
don’t ask what she wants.
she will never stop wanting.

step seven:
if the day comes when you look at the sky
and it does not beg you to stay,
close your eyes.
imagine a room with no doors.
call it freedom.

final step:
you were told to be soft,
but you sharpened your bones instead.
you were told to heal,
but you named the wound holy.
they will call this survival.
you will call it nothing at all.

*

Sreeja Naskar is a poet from West Bengal, India. Her work has appeared or is forthcoming in Poems India, Modern Literature, Gone Lawn, Eunoia Review, and other literary journals.