One Poem by Cati Porter

Climbing into the Ambulance at Midnight with My Teen-aged Son,

what strikes me first is the missing shoe, then the hole
in the big toe of the black sock on his foot poking out
from beneath the blanket at the end of the gurney,
the other clad in one checkered Van (can I even
make it plural, Vans, when one is missing?) my mind
zeroing in on the singular detail before I can take
the rest in. Meanwhile, in a parallel scene just feet away,
my teen’s best friend also lies on a gurney, his own
mother hovering. Less than an hour since both boys
were pushed out of the moving car reeking of
Jägermeister, after which she called 911, then me.
It’ll be hours before I notice his glasses are also missing.
Against the glow of the ambulance, his lanky frame,
mouth agape, eyes closed. (Is he asleep? Is he dreaming?)
Slurry of green bile and god-knows-what-else
slicks his shirt. Later in the ER, our sons lie
in twin gurneys while we mothers wait.

*

Cati Porter’s most recent poetry collections are Novel and The Body at a Loss. Her latest collection, small mammals, is forthcoming from Mayapple Press in 2023. Her poems can be found in Rattle, VerseDaily, Terrain, Autumn Sky Poetry Daily, and elsewhere. She is founder and editor of the long-running Poemeleon: A Journal of Poetry and is executive director of Inlandia Institute, a literary nonprofit and publisher. She lives with her family in Inland Southern California. Find her on the web at www.catiporter.com

Three Poems by Richard Levine

Teaching and Learning

I asked a colleague who’d been out,
“Are you feeling better, today?”
“I wasn’t sick. I was in jail,”
he said. “Jail! Why?” I asked. “Police
arrested me for driving at night
with a broken headlight.” “They
can’t do that; can they?” I asked.
He smiled, and patted me on the back.

We were teachers. All but five of us were
black. The principal and staff were
black. Most of the neighborhood was
black. Our students were
black. I was a good teacher, young,
white and with much to learn.

*

The Southern Cross

There are so many ways to die in war.
You can be sniped out of your life, walking
a trail, or trip a string that holds a grenade
waiting for yours or anyone’s last step.
And in that at-any-moment tension,
you learn to breathe while holding your breath.

The night we heard that Martin Luther King
had been shot, I was on perimeter
watch, in Phu Bai, alert to an enemy
we knew surrounded us. The story
said he was outside the Lorraine Motel,
in Memphis. Under Vietnam’s starry
sky and Southern Cross, I wondered.

*

To Forget a War

It’s easy to forget a war
made of paper and screens, a war
you can fold and tuck under an arm
when you’ve arrived at your stop,

the doors closing behind you
as you walk away; a war that won’t
bleed into your coffee or dreams,
or on your colleagues in a meeting,

a war that won’t rival all other
intimacies in your life, so you
have to introduce it to your wife
and your children; a war that will never

have to offer you its left hand to shake,
because its right one is only a sleeve.

*

Richard Levine, a retired NYC teacher, is the author of Now in Contest, Selected Poems, Contiguous States, and five chapbooks. An Advisory Editor of BigCityLit.com, he is the recipient of the 2021 Connecticut Poetry Society Award, and was co-editor of “Invasion of Ukraine 2022: Poems.” A Vietnam veteran, his review “The Spoils of War” appears in the current issue of American Book Review. website: richardlevine107.com.

After a Long Absence, I Return by Constance Brewer

After a Long Absence, I Return

I pass a flock of red winged blackbirds.
They startle, rise and fall like breath,
arrow away across an open field,
disappear into fine river mist.

Alone in a shrouded world,
hills rise from thinning fog.
After so long away, the road is new.
I trust the GPS, drive to our old house,
an approaching specter in the fog.

Hellhounds erupt out the back door.
My brother follows, an apparition—
heavier, beard tinged gray—deep voice
calling off the dogs, greeting me.

He looks like our father.

The missed time evaporates.
Morning sun hammers at clouds
as my heart rises and rises again,
following the path of blackbirds,
whirling, an exhalation of haze.

*

Constance Brewer’s poetry has appeared in numerous magazines and anthologies. She is the editor for Gyroscope Review poetry magazine, the author of Piccola Poesie: A Nibble of Short Form Poetry, and an upcoming co-authored chapbook, Prayer Gardening (Kelsay Books 2023). Constance is a big fan of Welsh Corgis and whiteline woodcuts. constancebrewer.com

Two Poems by Mark Williams

Scars

Thanks to successful cataract surgery, I look into my mirror
and see a sickle-shaped scar I haven’t noticed in years.
But there it is, smiling back as if to say,
I haven’t gone anywhere.

Where I go is to my yard on Lombard Street
in Evansville, Indiana, where my six-year-old buddy
Tommy Weatherby and I are tossing my model TWA Jetstream
back and forth across our shared drive. Only this time,
instead of landing in my yard, it flies into my face,
sending me past my collie, Lassie (it’s 1957,
what did you expect?), into my house, crying.

What are the odds that Tommy’s father, Jim Weatherby,
is interning at the ER down the street, where he stitches me up
and sends me on my way? What are the odds that,
after Tommy dies from Childhood Hodgkin’s Lymphoma,
Jim and June divorce, Jim leaves town, and I grow up
and get a job playing bumper pool, Ping-Pong, and Rook
at a psychiatric hospital in Nashville,
I discover Jim Weatherby is the head man?

In the eighteen months I worked there,
Jim always seemed uneasy around me—
in the elevator, the canteen. I don’t recall
him ever mentioning Tommy or June. Sometimes,
he passed me in the hall without speaking. Now I realize
that when Jim saw me, I took him back to Lombard Street
where Tommy and June stood waiting
for him to come home.

*

December

How did it get so late so soon?
It’s night before it’s afternoon.
December is here before it’s June.
My goodness how the time has flown.
How did it get so late so soon?
—Dr. Seuss

I’d been traveling out West with my father.
We’d hiked in Glacier Park, bathed in Iceberg Lake.
In a campsite near Banff, he’d shouted, “Don’t move!”
as he ran to our car for his camera
and a bear charged the rock where I sat.

We’d taken mountain climbing instructions in the Tetons,
where our classmate, Carol Lawrence (as in
West Side Story Carol Lawrence), what with her small feet,
put Dad and me to shame. We’d climbed Hallet Peak
in Rocky Mountain Park, descended on a glacier.
But Dad had a business to run in Indiana
and I had a summer to spend.

That first night, alone in Denver, I watch Joe Buck
and Ratso Rizzo on their way to Miami.
Not exactly what you want to see, a movie
about friendship when you’re alone. Next morning,
I hitchhike south to Colorado Springs. I’m offered
LSD in the Garden of the Gods (“no, thank you”)
and find a campground a few miles west, empty
but for a few men in hard hats getting into trucks.
“Just be out of here in the morning by seven,”
one man tells me, pointing to a nearby rock face.
“We’re blasting a road through here.”

I don’t sleep well.

The next morning, just after seven, I’m walking
down a gravel road that leads to the highway—
on my way to Buena Vista
to apply for a job at a youth camp—
when at my back, an explosion,
and fifty-two years pass by.

*

Mark Williams’s poems have appeared in The Southern Review, Nimrod, Rattle, New Ohio Review, and elsewhere. Kelsay Books published his collection, Carrying On, in 2022. His fiction has appeared in Eclectica, The First Line, The Write Launch, and Cleaver. He lives in Evansville, Indiana.

What to Say by Susannah Sheffer

What to Say

Sometimes there is nowhere to go
but the shelter of our own need

to believe in a way to care for each
other, remembering how we do that

when we need to. That’s what I said
when I had to say something

about how to tell a child that people do
terrible things to other people sometimes.

I said tell her we do know          we do still know
how to care for each other afterward.

Is the sky an example? No, but looking at it is.
I mean one person pointing out the specific beauty

to another, that could be an example, yes. But not
the birch tree or the wren or the mountain range,

not all by themselves. We are talking here about
human hands and what they can do.

Someone will find the right vase for the flowers.
Someone will have started those flowers from seed.

*

Susannah Sheffer is the author of the chapbook This Kind of Knowing (Cooper Dillon Books, 2013) and the full-length collection Break and Enter (Kelsay Books, 2021), and her nonfiction books include Fighting for Their Lives: Inside the Experience of Capital Defense Attorneys (Vanderbilt University Press, 2013). She is a clinical mental health counselor and directs the Texas After Violence Project’s Access to Treatment Initiative, and she lives in Western Massachusetts.

Two Poems by Kip Knott

Dendrochronology

             after the painting Divorce by Todd Rector

How many growth years can be counted
in the light and dark concentric rings that mark
our life together? Thicker rings prove
that we flourished for a time—mostly early—
while thinner rings show the wear and tear
seasons of drought wrought upon the two of us.
It’s those later years where the wedge slips in,
splitting us all the way down to our roots.

What’s left of us, splintered kindling and logs
already weathered by years of neglect,
will burn hot, but will also burn too briefly,
sending our smoke high into the air entwined
until the wind dissipates us into the atmosphere,
separate parts of one inescapable whole.

*

Early Onset Ghost Town

The ghost town where I have lived my life
is a cage full of air. All the birds flew away
in search of other trees or other skies beyond this sky.
There’s nothing left but weathered ribs and hollowness.

For years I have been a cage full of all the birds that flew away.
But now feathered memories have broken through my chest,
and soon there will be nothing left but weathered ribs and hollowness.
There’s no stopping them. I watch as they take flight one by one,

feathered memories flapping out of my chest
in search of other trees or other skies beyond my sky.
There’s no stopping them. I watch as they take flight one by one,
leaving only the ghost town of my body. I have lived my life.

*

Kip Knott is a writer, photographer, teacher, and part-time art dealer living in Delaware, Ohio. His third book of poetry, The Other Side of Who I Am, is due later this year from Kelsay Books. His debut collection of stories, Some Birds Nest in Broken Branches (Alien Buddha Press), is available on Amazon. You can follow him on Instagram at @kip.knott and read more of his work at kipknott.com.

Evening Light by Penelope Moffet

Evening Light

It has been eighteen months
and still she weeps when she enters
the house of their happiness, ramshackle
low desert home that he owned, hers now.
This could go on for years although
she moves ably from task to task
except when grief stops her.
She does not sleep in his house
but stays at her own high desert home,
haven for fox and deer, white-crowned
sparrows and dark-eyed juncos,
on land as wild as she can keep it.
Only when she paints does sorrow leave her.
Then nothing exists except shapes and colors:
mountains layered in distance, evening
light, a spill of boulders, the cougar
who hunts on nearby hills,
scolded in daylight by ravens
who won’t let him rest.

*

Penelope Moffet is the author of three chapbooks, Cauldron of Hisses (Arroyo Seco Press, 2022), It Isn’t That They Mean to Kill You (Arroyo Seco Press, 2018) and Keeping Still (Dorland Mountain Arts, 1995). Her poems have been published in many journals, including One, ONE ART, Natural Bridge, Gleam, The Rise Up Review, The Sow’s Ear Poetry Review, The Ekphrastic Review and Gyroscope.

In Praise of Ordinary Words by Kris Spencer

In Praise of Ordinary Words

I said spillover, containing ill and pill
and lover, because I wanted
things to flood
meaning too much.
For dissipate, I said leak.
For moment, I said gesture.

When? she said;
sitting on the wooden floor
in my white shirt. We took
photographs—waiting
a week for the contact sheets
from the shuttered shop.
The man bought the camera from me,
for the magic in the old lens.

She said, I have been like a bird,
and words in a book. We took to
the flow and tumble of the river,
and stayed—living on the flood plain
above mud and gravel. Sometimes
we were things washed up and found,
sometimes things held broken as precious.
The words recover. Words like birdsong,
rising. When I say, complete; she says,
the whole world.

*

Kris Spencer is teacher and writer. Brought up in Bolton, he now lives in London. A Fellow of the Royal Geographical Society, a thread running through his written work is a sense of place. Kris has written seven books. His poems have been published in the UK, Eire, Europe, the US and Australia. His debut collection, Life Drawing (2022), is published by Kelsay Books.

Kris tweets at @KrisSpencerHead

All Vows by Philip Terman

All Vows

I was not ready to chant the Kol Nidre,
yet nevertheless I was called up
to stand before the open Ark
and find within myself the voice
that was required of me, the voice
hidden in the deep down, below

my errors, my words spoken
in haste, my actions taken
without thought, the hurts I caused.

The fast had begun.
The Ark was open,
the Scriptures revealed,
the worshippers risen
in their white garments,
the cantor nodding it is time,

and, though I was not noble,
or virtuous, and though
my wrongs were a weight
I could barely hold, the way,
at the dawn of my adulthood—

almost another lifetime ago,
my muscles tightened to lift the Torah
and carry it around the shul,
pausing at each row of pews
for the congregants to touch
the scrolls with the fringes
of their tallises then
their tallises to their lips—

something about the circumstances
of my life brought me to face
the sanctuary and the souls
who stood waiting
for me to confess
release from our flaws,
and rejoice, with trembling.

*

Philip Terman’s most recent books are This Crazy Devotion, Our Portion: New and Selected Poems and, as co-translator with the Syrian writer and translator Saleh Razzouk, Tango Beneath a Narrow Ceiling: The Selected poems of Riad Saleh Hussein. Poems and essays have appeared in many journals and anthologies, including Poetry Magazine, The Sun Magazine, 99 Poets for the 99 Percent, The Bloomsbury Anthology of Contemporary Poetry and Extraordinary Rendition: American Writers on Palestine. He directs The Bridge Literary Arts Center in Franklin, PA, co-directs the Jewish Poets Reading Series, sponsored by the Jewish Community Center at Buffalo, co- directed the writing festival: Poetry Life: Celebrating Heritage in Sarasota, Florida and conducts workshops and writing coaching hither and yon. On occasion, he performs his poetry with the jazz band Catro. https://www.philipterman.com/

Autumn’s Signal by Terrie Joplin

Autumn’s Signal

Oh yes, I see them—there at the utmost
branch of the maple in the strip between
our yard and our neighbors’—their vibrant
cloak of green just beginning to fade, their
crimson fingernails flicking their tips
against the sky’s cerulean cheek. I see
the reddest leaf. I can’t help watching it
sway, its stem still flexible, color-fed. My
eyes water under the brightness. My throat
closes. I remember when, after twenty-four
years, you said you were unhappy, and tears
sprang from my every pore as if I could
water your love for me, flood our pain, as if
they could absolve my sarcastic slights,
your impatient shoutings, our warped pleasure
in knowing the mortal damage—our tender
shoots dying in darkness. I wrote in journals,
in letters, but the sugars and chlorophyll
of that leaf still flowed red—my anger and
guilt needing to recede, to let the stem harden
over like it does, sealing in the vibrant scarlet.
Then, an amnesty—a bending toward our roots’
pale warmth—our pledge to sheathe our words,
feather our tones, tilt a smile to the other, while
making the week’s grocery list or handing over
the evening cups of Darjeeling. Eight months
of waving in light—of curling around our best
selves in their slow, unwinding gestations—
a set of seasons I’ve watched in this yard,
looking at our full-limbed maple—before
I could paint the words to offer, just like
that topmost crimson leaf to the breeze—

*

Terrie Joplin has taught language and literature in public schools in Washington, Illinois, and North Carolina. She is a member of the Poetry Craft Collective and currently resides in Greensboro, North Carolina.

Two Poems by Donna Hilbert

The Phone

“There are two types of reactors,”
my grad-school-psych professor said,
“when hearing the phone, one says
yay who’s calling me! The other says
shit who’s bothering me.” But I say
there are three. The third is me.
I say, Who’s dead?

*

The Wait

I waken to your hand
holding mine,
you, on the floor by the bed,
the morning after I said
we are through.
Your tender vigil coaxed
the buds of love to sprout again
after the dormant season
when I had ceased belief
in anything but grief.

*

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

Kraken by Merie Kirby

Kraken

From the depths, where no
fingers of sunlight stir water,
1925, two great tentacles
found in the belly of a sperm whale.

Barest evidence that tales
might yet be trusted.
Online, a colossal squid,
mantle mottled blood orange,

largest eyes of any animal,
dead in a shallow tank, defrosting.
Wrecker of ships,
maker of whirlpools,

poor monster.

Swiveling hooks of tentacles
battled for survival,
author of raked scars
across backs of whales,

signs of existence
no one read before.
This new female specimen
weighs 770 pounds,
her mantle full of eggs,

she swam the Southern Ocean
water filling her mantle
as air fills a parachute,
tentacles reaching for toothfish,

large eyes watchful.
The scientists are disappointed.
They hoped to find a male. The Kraken,
they say, escapes again.

*

Merie Kirby grew up in California and now lives in North Dakota. She teaches at the University of North Dakota. She is the author of two chapbooks, The Dog Runs On and The Thumbelina Poems. Her poems have been published in Mom Egg Review, Whale Road Review, SWWIM, FERAL, Strange Horizons, and other journals. You can find her online at www.meriekirby.com.

Conspiracy Theory by Charles Hensler

Conspiracy Theory

Like you I believe in swimming
upstream, even numbers, the colors blue,
orange and gray.

I’m less watchful in the morning. Afternoons
are disappearing chalk. I know you agree.

If you show me a box of crows
I’ll become the shadow of a wing, or shout

like a stone. Already I’m a bag of peeled
sticks, a can of last year’s special oil.

Tell me again the story of the boy
left in the well, a house on fire, the stars
gone missing—I need a thing to grip

in the wet grass, I need strangers in the trees
(you’ll know the right ones by their titanium rings).

When the ground rises, when the current
turns around, we’ll float upriver like children
in a child’s dream:

the stars bright silver coins falling
on black water:

the stars becoming our own.

*

Charles Hensler lives and writes in the Pacific Northwest. His work has appeared or is forthcoming in The Shore, West Trade Review, Pidgeonholes, Parentheses, River Heron Review, ballast, boats against the current and others.

Two Poems by Erin Murphy

Ghazal for Irvo Otieno

               For Irvo Otieno who graduated from my high school in
               Richmond, Va. Seven sheriff’s deputies and three hospital
               workers were charged with second-degree murder in his
               death which occurred during intake at a state mental health
               facility in March 2023.

You and I walked the same halls of a school
named for Douglas Southall Freeman,

famed editor and Pulitzer winner
who chanted “integration never” as a mantra.

Our mascot back then was the Rebel,
a cartoonish blue & gray Confederate man.

And to this day in social media threads,
his replacement—“Maverick”—is mentioned

with scorn by those who miss rooms
filled with likeminded white men.

You were an honor student, musician,
and varsity football defensive lineman.

But naked, shackled, and cuffed, you were
no match for so many armed men.

A scrum of uniforms tackled you
like a rabid animal, not a man.

Irvo Otieno, Irvo Otieno, Irvo Otieno.
Brother, son, fellow alum, fellow human.

Soon your name, like the others, will grow
dim. Which city, which murdered Black man?

Which one had a bag of candy, a cigarette, a toy
gun in his hand? Which one tried to manifest

a long-gone mother? Which one couldn’t
breathe? Which one was not yet even a man?

*

Dear Rita

               In July 1971, Rita Curran, 24, was found strangled in her
               apartment in Burlington, Vt. More than fifty years later,
               authorities used DNA from a cigarette butt to identify her killer:
               her upstairs neighbor.

You were born the same year as my mother
and like my mother became a schoolteacher,

the language from today’s news frozen in the 70s
like you. One of three careers open to girls—

yes, girls—back then: teacher, secretary, nurse.
Or, for the lucky ones, stewardess with its fantasy of soaring

far from the New England factory town where summers
were spent screwing caps onto toothpaste tubes

for a fraction of minimum wage. Your killer
was cooling off after a fight with his wife

and likely took his rage out on you. Maybe your red hair
reminded him of her. Or maybe any woman would do,

any body he could break. And then what, a smoke
in your room before trudging upstairs to crawl

in bed beside his alibi? He died decades ago, taking
these answers to his grave. In the photo, you wear

a black choker. Choker: a necklace or ornamental band
of fabric that fits closely around the neck. Choker:

one who chokes. If you had lived, you’d be retired
like my mother who texts me pictures of hummingbirds

at her feeder. Always the teacher, she explains
that the male’s ruby throat—gorget—is named

for a knight’s breastplate. The pale wings of females
blur against the gray sky as if they’ve been erased.

*

Author’s Note: In “Ghazal for Irvo Otieno,” I take liberties with the ghazal form; I like the idea of breaking free of the form the way I wish Otieno had been able to break free.

*

Erin Murphy’s latest book of poems, Human Resources, is forthcoming from Salmon Poetry. Her work has appeared or is forthcoming in such journals as Southern Poetry Review, Ecotone, The Georgia Review, Waxwing, Guesthouse, Women’s Studies Quarterly, and elsewhere. Her awards include The Normal School Poetry Prize, the Dorothy Sargent Rosenberg Poetry Prize, and a Best of the Net award. She is editor of three anthologies from the University of Nebraska Press and SUNY Press and serves as Poetry Editor of The Summerset Review. She is Professor of English at Penn State Altoona. Website: http://www.erin-murphy.com

At Kohl’s Jewelry Counter by Eileen Pettycrew

At Kohl’s Jewelry Counter

I want to put them on myself
my mother said of the clip-ons
she beheld like a glittering prophecy,
while I held her purse thick with Kleenex
and the aches and pains of the old.
But she struggled to slide the earrings
onto her lobes and close the clips,
letting them hang halfway, barely,
like spent seed pods,
and the small oh that escaped her mouth
each time one slipped off
was like the faint coo of a distant dove,
as if she had flown toward a horizon
beyond the foothills, and I was alone
on a dirt road listening
for her call. She taught me
how to feel sorry for people,
call them poor things,
like the stocky girl in my class who wore
a miniskirt and knee-high boots,
her thighs like bread dough.
Earrings of loss
falling to the floor, and me,
my mother’s only witness,
the familiar bag of pity ballooning
in my chest, crowding out
anything else I might have felt.

*

Eileen Pettycrew’s poems have appeared or are forthcoming in New Ohio Review, CALYX Journal, Cave Wall, SWWIM Every Day, and elsewhere. In 2022 she was one of two runners-up for the Prime Number Magazine Award for Poetry and a finalist for the New Letters Award for Poetry. A Pushcart Prize nominee, Eileen lives in Portland, Oregon.

Two Poems by Kathleen Cassen Mickelson

What I Love About Mondays in the Spring

I love how there is birdsong, urgent and lovely,
as we walk before sunrise, one dog
beside each of us.
I love how the light spreads behind the neighbor’s red pines,
creating incandescent tree silhouettes.
I love how bustle fills our kitchen like an embrace:
dishes clink, cereal rustles, coffee gurgles to its finish.
I love how butter pools into little golden oases
on my dry toast, how you brush your lips on my cheek
when my mouth is full.
And I love how, when you leave,
the silence afterwards is soft, not final.

*

Mothers Understand Each Other

She wakes, adrift between sad and nostalgic,
happy and anxious.
She thinks of the new wedding dress
her daughter will wear in six months
when all traces of little girl will be scrubbed away.

Outside, her husband and dog
stare at a fox in the driveway.
He whispers through the open bedroom window.

Come here! You need to see this.

She peeks out the window, surfaced from sleep
enough to reach for her camera,
goes outside barefoot in pajamas.

The fox watches them all,
sits tall next to the garden,
bushy tail splayed behind,
swollen teats distinct.
A mama fox.

She leans forward, wishes she could speak fox,
one mother to another.

Your babies will be gone too soon.

She adjusts her camera for low morning light.

They’ll have babies of their own,
mates not of your choosing.
You’ll become irrelevant.

The fox blinks, yawns, stretches out in the grass,
mindful of the two humans, the dog,
the hungry kits hidden nearby.

She takes a few more photos,
tiptoes back inside. Her husband and dog follow.
She glances back, but the fox is gone,
a wild mother who knows exactly when to take her leave.

*

Kathleen Cassen Mickelson (she/her) co-founded the quarterly poetry journal Gyroscope Review and acted as co-editor until 2020. She is the author of How We Learned to Shut Our Own Mouths (Gyroscope Press), and her work has appeared in journals in the US, UK, and Canada. Prayer Gardening, a poetry collection co-authored with Constance Brewer, is forthcoming from Kelsay Books at the end of 2023.

Wide Sargasso Sea by Susan Cossette

Wide Sargasso Sea
August 2000, Darien CT

I do not remember my son’s third birthday.

But the photographs stuffed in my mahogany night table
show a too-thin frantic girl with untamed curls
serving drinks and cake to family,
my mother and father in ecstasy.

I was a mother. I was married.
Oh, how I wanted to please them,
their supplicant, their sacrifice.

Look at the crazy girl,
her father’s daughter.
Crazy like her aunt,
crazy like her grandfather,
beat into tacit submission.

She is safe, for now.

Later, my child clutched two tiny wooden trains,
chubby hands, face smeared with sticky cake icing
regarding sailboats in the harbor
and white clapboard mansions by the sea.

My small house was supposed to be
a sanctuary, but the ocean closed in on me–
marooned among twisted seaweed
and ragged grey oyster shells.

Everything was either brightness, or dark.

Floating face up, palms up to the blood moon
illuminating the grey harbor.

Look at the crazy girl,
her father’s daughter.
Crazy like her aunt,
crazy like her grandfather.

Then came the flames,
then my streaming hair,
tangled and strangled.

The girl caught in a gilt frame,
crooked pirate smile.

*

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 + Moth, Vita Brevis, ONE ART, As it Ought to Be, Anti-Heroin Chic, The Amethyst Review, Crow & Cross Keys, Loch Raven Review, and in the anthologies Tuesdays at Curley’s and After the Equinox.

Three Poems by Betsy Mars

The Redeemer
Rio de Janeiro, 1964

From atop the hutch in our rented apartment near Ipanema Beach
a congregation of saints and Jesus figurines attended me.

My father gathered these statues here and there,
who knows why, he an atheist and Jew.

Outside that enormous statue stood above the city,
a lightning rod upon the hunchback hill,
a view of Sugarloaf and the placid bay in his purview.

His wing-like soapstone arms encompassed everything:
the favelas, me at five years old eating fondue
in a honey-lit restaurant like a pharaoh.

We skirted beggars on our way back home,
rats the size of the cat who waited, snug and warm,
never wanting, basking in the shine
of Jesus and his obsidian eyes.

*

I Play Words With Friends Before Bed

Then I dream of words:
consonants before vowels:
qi, jo, xu, zed. And I build:
dojo, exude, dozed.

And still we play on,
completing each other’s thoughts,
making space or crowding in a corner of the board
until someone makes a sacrifice to open up the game

so we can go on shuffling our tiles,
fitting words to words,
no longer keeping score.

*

Death and Pedicures*

Once I feared fungi,
hang nails, cuticle clippers,
an overly enthusiastic callous removal;

now it’s breath,
despite the privilege of status,
the ability to look away

at the static on my phone
while someone kneels, pretends
devotion to the anointment of my feet.

I wince
at my newly sensitive heel.
My foot after all

this time
too tender for the touch of a stranger.
No matter how well-intentioned,
how in need of the work.

*written after listening to an interview with Ocean Vuong

*

Betsy Mars is a prize-winning poet, a photographer, and publishes an occasional anthology through Kingly Street Press. She is an assistant editor at Gyroscope Review. Poetry publications include Rise Up Review, Anti-Heroin Chic, New Verse News, Sky Island, and Minyan. She is a Best of the Net and Pushcart Prize nominee. Betsy’s photos have been featured in RATTLE’s Ekphrastic Challenge, Spank the Carp, Praxis, and Redheaded Stepchild. She is the author of Alinea and co-author of In the Muddle of the Night with Alan Walowitz.

A Short Game of Catch, Then Back to Bed by Bryce Johle

A Short Game of Catch, Then Back to Bed

We played catch once
with the baseball mitt I got
when Mom and I were movie extras
in our little Pennsylvania town.
You taught me how to throw

straight up sky high, keeping
my eye on the ball, and catch
my own pitch. That way, even if
you aren’t here because your back
and mind ache and it’s just me,

beside my forgettable forty-eight
frames of fame, I can still practice.

*

Bryce Johle is from Williamsport, PA and earned a B.A. from Kutztown University. His work has appeared or is forthcoming in Parentheses Journal, Litbreak Magazine, Eunoia Review, Literary Yard, October Hill Magazine, and Maudlin House, among others. He lives in Pittsburgh, PA with his wife and stepdaughter.

Four Poems by Luke Johnson

Memory

of my mother
with a sponge

and a bucket
of a bleach.

How she’d
weep

while scrubbing
words

from white tile
my mute

sister scrawled
in crayon

and ask
for a melody,

the pitch
of a bird,

to rise
from my lips

and lead
her out,

into the
radiant snow.

*

Memory

of my sister
losing

words
like miniature

combs
and my

mother
behind

her
picking up

pieces.
But never

the right
color

right comb,
always

the wrong
word:

happy instead
of help

wither
instead

of water,
the not

of her
tongue

turned
to know.

*

Memory

of my ear against
the ground
& my mother
above me
begging for answers.
How the nest
began
with a crack
in the concrete
then moved
up the walls,
like fears
in the form
of a question.

*

Memory

of the ghostly
croon of Emmylou

while my mom
clipped mint

and pruned bovine
and collected

peas so sweet
I thought

of the fair
and cold coke

and cotton candy
shared between

my sister’s
hands and mine,

while we circled
sky in summer

and saw nothing
but blue

nothing but birds,
weaving

their blurred
calligraphy.

*

Luke Johnson’s poems can be found at Kenyon Review, Narrative Magazine, Florida Review, Frontier, Cortland Review, Poetry Northwest and elsewhere. His manuscript in progress was recently named a finalist for the Jake Adam York Prize, The Levis through Four Way Press, The Vassar Miller Award and is forthcoming fall 2023 from Texas Review Press. You can find more of his poetry at lukethepoet.com or connect at Twitter at @Lukesrant.

A THOUSAND PAPER CUTS by Mon Malanovich-Gallagher

A THOUSAND PAPER CUTS

dearest
you fear the purple bird of my desire
will fly the nest one day
untamed
untempted
by your love

little do you know that it lies here
beaten
glorious wings crushed
feathers plucked
no cage needed
just indifference

*

Mon Malanovich-Gallagher (they/them) is queer, non-binary immigrant based in London, UK. Their poems appeared in Queer Writing for the Brave New World, Beyond Queer Words, Aurora, Inklette, Beyond Words, Powders Press, Wild Roof Journal, Viewless Wings and numerous other publications in print and online.

Tapestry by Bracha K. Sharp

TAPESTRY

When I say “hidden,”
I mean the way that the body
Hides, until ready to break free,
The way that I hold these petals against
My face, kept anchored, only
By their scent.

When I say “held,” I mean
That even the contours of the
Canopy above me hold my
Brain and cradle my spine,
That too quickly to bloom and

The stem will break, that too
Little soil and I am afraid of what
Will not expose itself, will be kept
dormant and closed.

I have forgotten,
Misplaced the key to the door
Behind me, I have held the jar of
Blooms close to my face to protect
What I don’t yet know will emerge,
I am ready, here, to extend to

Your reach.

But when I say “brain” and “holding”
I speak of the flowers in
My skirts,
embroidered in stasis,
And the columns that surround us;
because geometricity has taken my hand and held me
There.

And when I say “emerge” I speak
Of the unlocking and I invite the
Brain to undo, unkink, the way that
Even the seeds revivify, the way
That my skirts now reach out
To you to punch through columnar constructs, the

Way that my face emerges
From moon-shadow and glances
At flowered columns, wrapping vines—

The way that my eyes see yours and my brain blooms into green,
As it opens, magnified, the way that
The body
Breaks free, and unites with the
Brain, the steps that are taken

To open the stone door.

*Note: An ekphrastic poem after Ms. Danelle Rivas’s painting, “El Camino De Esmeralda”

*

Bracha K. Sharp was published in American Poetry Review, Birmingham Arts Journal, Sky Island Journal, ONE ART: a journal of poetry (where she was a nominee for ONE ART’s nominations for Orison Book’s Best Spiritual Literature [formerly The Orison Anthology]), and Wild Roof Journal, among others. Her poetry is forthcoming in The Closed Eye Open, Rogue Agent Journal, and Thimble Literary Magazine. She placed first in the national Hackney Literary Awards; the poem subsequently appeared in the Birmingham Arts Journal and she was a finalist in the New Millennium Writings Poetry Awards. She received a 2019 Moonbeam Children’s Book Awards Silver Medal for her debut picture book. As her writing notebooks seem to end up finding their way into different rooms, she is always finding both old pieces to revisit and new inspirations to work with. She is a current reader for the Baltimore Review. You can find out more about her writing by visiting: www.brachaksharp.com

The Depression by Miriam Manglani

The Depression

When I visited your grave this year,
fifteen years after your death,
I noticed the ground had sunk,
the length of the depression
about the length of your coffin.

Your burial had entered
an advanced state of decomposition.

Your coffin had disintegrated.

Below me, only dirt surrounded your bones.
The air your body had in its former wooden home—gone.

I stood in the depression.
My footing wobbly.
My roots—decayed.

*

Miriam Manglani lives in Cambridge, Massachusetts with her husband and three children. She works full-time as a Technical Training Manager. Her poems have been published in various magazines and journals, including Sparks of Calliope, Red Eft Review, One Art, Glacial Hills Review, and Paterson Literary Review. Her poetry chapbook, Ordinary Wonders, was published by Prolific Press.

Three Poems by Bruce Morton

The Things We Carried

Sure, we wore the instruments of war:
The rifle, the bayonet, the pack, canteen,
And trenching tool. But these could be shed
For respite or based on assignment. But
What was always a burden, always wearing,
Was memory of home, the meals, aromas,
The holidays, the hugs, the warmth that did not
Make you sweat bullets, the worry about what
Jodie was doing with your girl back on the block.
Then there was the sense of self daily eroded,
Challenged and threatened, and always the fear,
The fear of loss of control, of loss of identity,
Of the unknown and the olive-drab known.
It was all this that we bore as we carried on.

*

Dog Tags

First things first. The dog tags.
A poor man’s poor excuse
For fashion, a kick in the teeth
As far as aesthetics go. But better
By far than a leash or collar,
Which in their own way they were.
Certainly much better than a tattoo.
Their cheap jingle-jangle dead give-
Away when stealth is essential. So
We wrapped them with rubber or tape
To conceal our presence, if not
Identity. Name and serial number,
Lest I forget. Blood type: Red, A-plus.
Faith: None. All there is to know.

*

M-16

It was a weapon
Not a gun, he said.
I did not see the difference—
Weapon gun, gun weapon.
Either way somebody was dead.
But it seemed an important
Distinction to the drill sergeant
As he instructed us to strip
The weapon while naming parts.
Caress them with light oil, slowly,
Eyes closed, carefully inserting
Rod and cleaning patch into
The barrel moving it back and forth.
Learn to love your weapon, he said.
You will sleep with it. Treat it right
It would love you, save your life.
Make you a killer. Fucking gun.

*

Bruce Morton divides his time between Montana and Arizona. His poems have appeared in many magazines. He was formerly dean at the Montana State University library.

Two Poems by Jacqueline Jules

Dr. Tonkin’s Model of Grief

After I finish the five stages with Kubler-Ross
I try Tonkin’s model, depicted in graphic terms
as a gray circle gradually taking less
space in an expanding sphere.

I picture my grief inside a glass jar.
It stays the same size, while the jar
grows, becoming a vessel
larger than my loss.

A nicer image, I think,
than climbing steps
in a stadium until my grief is only
a tiny figure on the floor below.

I will always live in the house
where you took your last breath.

But since then, I’ve added rooms.
One has a picture window. Another
a cozy fireplace. A third where I
entertain friends you’ve never met.

And when I talk about you
in this bigger house, I know
I haven’t left you behind,
just given us both more space
to comfortably exist.

*

Idioms to Manage Worry

If I try to “let it go,” as is often advised,
I think of a leaf floating down a brook
or a dragonfly buzzing away—
something that leaves my sight,
never to return.

Not every grief can disappear.

Not every worry is light enough
to drift away.

But I can envision “letting it drop.”

Like a rucksack filled for a two-day hike,
slipped off my shoulders for the night.

Or a pocketful of stones
collected on a cloudy day at the beach
and emptied into the garden
where they will smother the weeds
for a week or two.

*

Jacqueline Jules (she/her) is the author of Manna in the Morning (Kelsay Books, 2021) and Itzhak Perlman’s Broken String, winner of the 2016 Helen Kay Chapbook Prize from Evening Street Press. Her poetry has appeared in over 100 publications including One Art, Amethyst Review, The Sunlight Press, and Gyroscope Review. Visit her online at www.jacquelinejules.com

Three Poems by Laura Ann Reed

What She Wanted

She chides her father’s ghost
for his failure
to outlive her mother.
For going along
with her mother’s decision
that what the furnace refused to take of him
would be carried out in a boat
and scattered in the bay under the Golden Gate.
She’d wanted to have a metal vessel filled
with what remained of her father
to empty into the waters near her home.
She knows that to let go of these grievances
would be to lose him. (I only
wanted, she tells him, to hold onto you,
only wished you’d let
me be the one to know you.)

*

Ostinato

Let me go, my father says.
And when his doctor pulls the tubes
he’s a fish flailing on a riverbank.
How strange it is to stand
so close to this.
When wrenched from its world
does a fish know sorrow?
That summer at the lake
I reeled in a bluegill,
a single fin pinned by the hook.
I couldn’t bear the beauty,
the staring eye. Its belly cool
against my palm I lifted
out the barb, felt the heart’s alarm.
Then I watched the disturbance
on the water’s surface
disappear. Absence holds the music
of a lake lapping at the shore—
a low note that goes on and on.

*

Fear

Older now, what she fears
is the gate swinging open
in a distant field grown nearer.
It’s not her own footsteps
across the stones and windblown grass
that fill her with dread, but those
of the man who positions
his chair next to hers on the porch
to look at the moon.
She can’t say what frightens her more—
the thought of seeing him approach
the weathered boards,
or the vision of herself alone
under an uncertain sky.

*

Laura Ann Reed, a San Francisco Bay Area native, taught modern dance and ballet at the University of California, Berkeley before working as a leadership development trainer at the San Francisco headquarters of the United States Environmental Protection Agency. Her work has appeared in numerous journals and anthologies in the United States, Canada and Britain. She is the author of the chapbook, Shadows Thrown, (Sungold Editions, 2023). Laura and her husband live in the Pacific Northwest.

Three Poems by Dick Westheimer

The Word for Darkness is Light

I went out tonight
under the lantern hung stars

took a bucket to collect
the light poured

from their quantum hearts
and drank until

I was tipsy, bewitched
by their hymns,

greedy for more,
of their secrets

which I promised
to keep.

But how can I
not tell

all who will listen
the news:

From here I can see
the dark between

the stars
and it contains

more stars.

*

The Companionship of Stars

These are the first
clear skies in ninety days.

The stars are impatient
children tugging

at my sleeve.
I tell them

they each
are my favorite

but I must choose
one to let into

the close home
of my scope.

The longer
I stay out

among them,
on the frost

breath of this
late winter night,

the brighter
each seems to shine.

They must know
about waiting well—

each hung like
an old lantern

in the shed waiting
to be lit by me

looking at it.

*

The Universe and I are Made from Shattered Space and Time

They say that space-time has
more than once, fractured

like a pane of glass,
like a block of ice run through

with cracks, like a wave
come undone on the shore,

and that at each epoch, the universe
has reformed from what remains.

And so the same for me, that I know
of my dying just by tracing my finger

along the seams of my space-time life,
like the line from my first kiss to the last,

from my firstborn child and my last grand,
all the moments I’ve cried so hard that

I shake the world like a temblor,
the hours I lay on my side, you and I

fitting like two spoons, me
saying as I have ten thousand times,

I like lying with you, and of course,
the nights like now that we’re apart.

Each is a small dying, a gift
of being alive, and here’s

the epiphany:
the end will come

when all my fault lines merge
back at their epicenter, when this

grim and shimmering world
is shattered and

out of its fragments,
the next one is formed.

*

Dick Westheimer has—with his wife and writing companion Debbie—lived in rural southwest Ohio for over 40 years. He is a Rattle poetry prize finalist. His most recent poems have appeared or are upcoming in Whale Road Review, Minyan, Gyroscope Review, The Patterson Review, Rattle, The Banyan Review, Ritual Well, and Cutthroat. His recent chapbook, A Sword in Both Hands, Poems Responding to Russia’s War on Ukraine, is published by Sheila Na Gig Books.

Two Poems by Lilly Perry

Prayer at Central Park

reading the wikipedia page for a blonde folk singer
on my phone and the dry grass is poking me.
I want more than this but not by much,
the sky is regular-degular blue and I’m addicted to looking
things up.
I’m missing someone in a good way,
we’re kissing in my dreams again.
I was opening a can of seltzer
when a mosquito landed on my arm
and all it took was a little puff of air from my lips to send it away,
sweet world, is this gentle enough?
I forgot my headphones and my sweatshirt and even my keys
I forgot mercy can come back to bite me, please god
let me be soft & dumb always/ bringing my mouth close
to the fragile thing, assuming the best.

*

little red watering can as: flower-gardener relationship theory

first I was empty
then I was full
then I was empty again
then I was full again

you live and I react to you living.
you’re fond of saying how much you’ve grown
since you met me.
call me little vessel,
I am heavy with your need.
I feed you with an open mouth,

call you big baby.
you love my long neck
and asking me to bring you back from the dead.
I thought I lived in a century
where partnership was about love and not utility
but my friends keep asking,
what am I getting out of this?

anyway
don’t you have somewhere more wild to be?
hasn’t anyone told you about rain?

*

Lilly Perry is a New York-based poet and educator. Her written work is published in Anti-Heroin Chic, Bluff and Vine, Foundlings Press and elsewhere; her spoken word has been performed on stages across the globe. Find her work at Lilperry.com.

Reading a Memoir Takes Me Back by Joan Mazza

Reading a Memoir Takes Me Back

I knew before buying—
this memoir was authored
by the elder daughter of my
high school best friend, my maid-
of-honor, a mother who disappeared
from her daughters’ lives
to follow Bhagwan Shree Rajneesh.
How heartbreaking to read
of what it felt to be a child
shuttled to live with
a single father, a man
I remember, also unprepared
for parenting, but who stepped
up to do his best. How did
my friend fall for that carrot
of enlightenment? How
was she bamboozled
into believing going to India¬
and leaving her children
was a good idea?

It was the 1970s,
era of false promises
in tie-dye and disco dancing,
gurus and expanding freedoms
like a widening tornado
lifting us up into
what?
I flew only as far as Florida
to be psychoanalyzed
and made whole, not
re-broken. I didn’t know
it was a cult. Neither of us
landed safely until decades
later. I write to the author,
send her photos of her
tall and beautiful mother
in high school.

*

Joan Mazza worked as a medical microbiologist, psychotherapist, and taught workshops on understanding dreams and nightmares. She is the author of six self-help psychology books, including Dreaming Your Real Self. Her poetry has appeared in The Comstock Review, Prairie Schooner, Slant, Poet Lore, One Art, and The Nation. She lives in rural central Virginia and writes every day.

Three Prose Poems by Howie Good

The Origins of Classic Nursery Rhymes

I didn’t grow up surrounded by art and culture. There were newspapers scattered around the house but few books on the shelves or paintings on the walls. One day I sat drawing in my room – I must have been 12 or 13 years old, just starting to figure shit out – when my mom stuck her head in. She watched me for a moment, then she said, “Why are you wasting paper?” I have had kind of a bad feeling ever since, like the farmer’s wife is still back there in the kitchen torturing three blind helpless mice with a knife.

*

Deadland

Once or twice the angel of death has thrust his face perilously close to mine. I can still smell his lurid breath, in fact, when the wind blows across green scummy water. Although it seems longer ago, it was only last year that he climbed into bed and cuddled with you. The survivors cope as best they can. One walks all around the car and checks under it for signs of tampering before getting in. And so I ask him, Whatever happened to the right to be lazy? The tattered white clouds scattered above might be fistfuls of hair a furiously grieving God has torn from his beard.

*

Old Couple

The young people watch us with a look of pain in their eyes, maybe sometimes a look of pity. They watch uneasily as we take up residence in the lost jungle ruins of disposable culture. I share their skepticism of the long-term significance of greased-back hair and a shiny gold suit. Extinction beckons. The next life cycle is likely to be crucial. And then what? If love is an evolutionary dead end, it’s still your favorite dinosaur, the spiky, armor-plated one with the murderous clublike tail.

*

Howie Good’s newest poetry collection is Heart-Shape Hole (Laughing Ronin Press), which also includes examples of his handmade collages.

Two Poems by Ashwini Gangal

Vegetarian Breakfast

When the four-legged beauty lactates,
does the man who touches her teats have her consent?
When the feathered lady ovulates,
does she know she does it for the factory?
Easy there, ninja. We are superior
to our pig slaying neighbours, aren’t we?

*

Tourists

Come winter and they travel to our lands to see our lovely locales, learn about our monuments, bargain in our bazaars, soak our warm climes, taste our spiced food, speak to strangers in our exotic languages…

Come summer and we go to theirs, to live the very lives they escaped for a few days.

*

Ashwini Gangal is a psychologist by training, journalist by profession, fiction writer at heart, and has the soul of a poet. Ashwini worked at a business daily in Mumbai, India, as managing editor for over a decade. Now, with her stint as journalist behind her, she is chasing greener pastures in the world of words, rhymes, stories, poetry and make believe.

She recently moved to Sunnyvale, California, so she’s currently an early-stage migrant and a high functioning neurotic.

The 2020 pandemic turned Ashwini into a passionate reader of medical anthropology and plague-themed literature. Her deep interest in the way microbes, pathogens, bacteria and germs shape human lives and history has bled into her fiction and poetry.

An insatiable reader, Ashwini is passionate about mental health and all animals except humans.

One Poem by Marda Messick

His Bees Fly to the Front Line
Soon it May Come to Him
The New York Times, 9/8/22

The beekeeper will not leave
his home or his children, the bees.

For him they fly into the firestorm
to the frontline fields, shock
of shells near-missing their wings,
fly to sunflowers trembling yellow
in bombarded earth, concussive air.

They return in the evening,
pollen-heavy, to the blue hives.

The bees are angry, quick to sting;
the booming infuriates them,
he must calm them with smoke.

The beekeeper spins the comb,
filters gun dust from amber;
artillery honey pours thick as pain,
slow as another year of danger.

Fierce honey on the tongue
tastes of home, the yellow fields,
sweet like the hum
of all he loves and keeps,
refuses to leave.

But also bitter. A tang of fury.
The outrage of bees.

*

Marda Messick is a poet and theologian living in Tallahassee, FL. Her work has appeared in Delmarva Review, Speckled Trout Review, The Christian Century, Literary Mama and other print and electronic publications.

dinner by Catherine Grossman

dinner

it seems impossible now
I knew my lines so well

not actual lines mine
was not a speaking part

I’d walk down the hall
toward the dining room

its eight place settings
I’d approach the door

meet my father’s eyes
who’d raise a finger

circle it in the air and I’d turn
180 degrees walk back out

to comb my unruly hair

*

Catherine Grossman’s work can be found in Lilith, Tipton Review, Flying Island, Apricity, Claw and Blossom, Lit Pub and elsewhere. She is the recipient of a Golden Key Graduate Award and studied poetry at Warren Wilson College. She lives in West Lafayette, Indiana.

Two Poems by Jane Edna Mohler

Dad Had Levels

Some say death is the great equalizer.
Sam Colt claimed it was his forty-five
caliber Peacemaker. Dad had tools.

Dirt crumb by dirt crumb, he labored,
his heavy oak level grading a perfect
slant beside our home.

Even then its wood was serious,
dark as barn plank.
Dad liked to make things line up.

Now his Sears Torpedo Level gleams,
its small bubble still directing
perfection from inside an amber tube.

I keep his cement trowel too, blackened
steel, the worn handle smoked with time.
Dad wanted everything smooth.

These tools rest beside red pens and my pica
rule from a typesetting job, where daily
I made nearly invisible adjustments to type.

*

Forbidden Colors

The pool luxury
of cerulean
skies, buttercup
full-belly gold

both light dispersed, segregated
by wavelengths.

We used to file colors
in separate
folders, as if one gender
owned them.

And so much talk
of color
fractures like ice
when we speak
of skin.

Physicists define forbidden
as a state that won’t
conform.

They labor,
that we might perceive
red-green
or blue-yellow.

Those forbidden colors exist,
but their differences
align
in perfect opposition.

They leave a void
for want of our better vision.

*

Jane Edna Mohler is the 2020 Bucks County Poet Laureate. She was the 2016 winner of Main Street Voices. Recent publications include Gargoyle, River Heron Review, and Quartet. Her book, Broken Umbrellas, (Kelsay) is available on Amazon or from the author. She is the Poetry Editor of the Schuylkill Valley Journal.

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

  1. Rosemerry Wahtola Trommer – Ambition
  2. Donna Hilbert – Bad Weather
  3. Jim Daniels – Five Poems
  4. Linda Laderman – Burnt Toast
  5. Robbi Nester – The Inheritance
  6. Betsy Mars – Leveling
  7. Bella Barbera – Five More Minutes For One More Lifetime 
  8. Paula J. Lambert – Spring
  9. Carol Parris Krauss – Pretty Bottles All in a Row
  10. John Amen – The 80s

Ritual for the New Ancestors by Heather Swan

Ritual for the New Ancestors

As the moon wanes, watch
         for the raft of coots

floating on the water
         too frigid to swim in,

small bodies clustered
         close together the way

we humans might gather
         in our grief when

it is possible to gather.
         Let the strong wind

pass through you––
         have you seen the wind

comb a field of bluestem?––
         and wait to feel something

untangle, your sharpnesses
         suddenly smoothing. An owl

will call out above your head;
         let it fill your hollows.

There will be stars
         caught in the water;

let your dark eyes
         mirror that shine.

A white stag will appear
         at the edge of a wood,

and you will know again
         your own heart.

What I tell you
         is not a fairy tale.

*

Heather Swan’s creative nonfiction has appeared in Aeon, Belt, Catapult, ISLE, Edge Effects, Emergence, and Minding Nature. Her book Where Honeybees Thrive: Stories from the Field won the Sigurd F. Olson Nature Writing Award. Her poems have appeared in About Place, Cold Mountain Review, The Hopper, One Art, Phoebe, Poet Lore, Midwestern Gothic, The Raleigh Review, and Terrain, and have been included in several anthologies. Her collection A Kinship with Ash (Terrapin Books) was a finalist for the ASLE Book Award and the Julie Suk Award. Her chapbook, The Edge of Damage (Parallel Press) won the Wisconsin Fellowship of Poets Award. She teaches writing and environmental literature at University of Wisconsin-Madison.

Two Poems by Daniel McGinn

Tick Tick

The air conditioning sort of works. I can hear the whoomph
of the fan when it turns on, but it doesn’t work for very long.
The cooling system in this modified trailer-classroom
is like a runner who walks and jogs but never actually runs,
which is better than nothing.

I became a classroom aide because it’s difficult for me
to completely retire. It’s the first day of preschool for one
of the children who just turned three. She begins walking
around and around the edges of the room randomly
picking up toys and tossing them on the floor
with a casual disinterest, like this is what she was born to do.

She steps around a boy who just dropped down on the carpet,
to loudly grieve the life he left behind. The preschool girl
with the perfectly parted hair and pigtails, stops walking in circles
and starts to cry. This is empathy. Her nose begins to run.
I bring her a tissue. She tries to bite me, then tries to pinch me.

I step back and wait. She thinks better of it and puts her hand
on my arm. It’s small, it looks like a baby’s hand. She lets me
wipe her nose. She pulls on my arm hairs, one hair at a time,
absent mindedly, looking off into space with a disinterest
that’s not unlike tossing toys and wooden blocks on the floor.

She turns and returns to walking along the edges of this room
that is free of parents and grandparents. It must be strange to her,
to be left alone in this place with other children with special needs.
She doesn’t want to sit in a chair or join in any group.
She’d rather go home where it’s safe and familiar.

On the third day of school, she sits down with us during circle time
as the teacher shows the class pictures of objects that are blue.
Then the teacher encourages the children to join her as she sings
The Wheels on the Bus. They listen and move to the music but
nobody sings along. It’s so quiet I can hear the clock ticking.
Clocks don’t tick any more, but I’m an old man. I can hear it.

*

What Little I Know About Lori

She likes portraits of saints, lit from above,
heads tilted towards the light, palms lifted,
hands empty.

Lori’s great-grandmother was always old,
always gray, stern about religion, never danced,
never cussed, never understood why the world
was never nice, or at least polite.

Teenage Lori was parking lot popular, she stood
outside the schoolyard gate, stayed as far away
from desks as possible, she looked stoned even
when she wasn’t, maybe she always was.

I didn’t know babies would change her until
she was holding twins, one on each arm. Suddenly,
Lori was different. She swore she’d keep them
innocent. She did what she could to show them
nice things and keep the world away from our door.

If Lori sees a hummingbird at the feeder in our garden,
she assumes that bird is her mother, grandmother,
or great grandmother stopping by the house for a visit.

Lori has a candle altar with little statues and flower
petals. If you move away she won’t let you go.
She will text and call and pray for you.

Lori is always planning a vacation, or at least
the next event. When she has a moment, alone
with her thoughts, her thoughts start packing bags
and wondering what she’s going to wear.

Lori dreams about the end of the world, every night
there’s pestilence and earthquakes, giant ocean
waves sweep the children into the water, people
lift their hands, look up and pray, everyone starts
running, filling the streets, searching for higher ground.

*

Daniel McGinn received his MFA from Vermont College of Fine Arts at the age of 61. His work has appeared in The MacGuffin, Nerve Cowboy, SurVision, Spillway, and numerous other magazines and anthologies. His recent chapbook, Drowning the Boy, won The James Tate Poetry Prize for 2021 (SurVision Books). He is also the author of 1000 Black Umbrellas (Write Bloody) and The Moon, My Lover, My Mother & the Dog (Moon Tide Press.)

The Empty Apartment or, Missing a Friend by Diane Cypkin

The Empty Apartment or, Missing a Friend

There’s just a stillness.
Nothing moves.
It’s all a two-dimensional photograph . . .
The glistening coffee pot, the groceries in their plastics, the open computer, waiting.
Waiting for their owner to touch them,
for their owner to bring warmth and life,
for their three-dimensional existence . . .
The only sound: a plaintive, faraway meow.
But the meow only underlines the silence with its mournful
“I miss you” quickly followed by
“Where are you?” and,
“Come home.”

                  In memory of Eva Jarvis: July 7, 1948 to November 14, 2022

*

Dr. Diane Cypkin is a Professor Emeritus at Pace University who won the Kenan and Russet Awards for teaching, and the Jefferson, and President’s Award for service. Her academic work garnered her membership in the Pace Society of Fellows. This poem, however, written in the midst of difficult days, is a reflection of how much she misses a dear friend, a true role model when it comes to fighting for your life!

Two Poems by Linda Blaskey

Snow Geese Land Beyond the Tree Line

          the oldest snow goose on record was 27.5 years old. It was shot in Texas.
                                            — Cornell Lab of Ornithology

I can hear them as I swing the axe to break ice in water troughs—
their wings sound like a peloton of bicycles passing.
Their voices, a cacophony as they circle,

sound like wishes, or dreams, rising. They mate
for life, the female building the nest from feathers

plucked from her own breast. She is often abandoned
for long periods by her mate.

I break through the ice, shards flying, water bubbling.

Down the lane kitchen lights glow in early dawn, Thermoses filled
and steaming, as hunters suit up in winter camouflage,
weapons oiled and ready. Permits pinned to their chests.

*

Cat’s Eye

How the pupil opens for more light
as the eye tracks a leaf in its tumble across the lawn,

then contracts to a protective sliver as sun lifts
higher above the horizon.

That crystal globe floating a golden iris—
I understand why the marble is called such.

Would that our hearts could open wide enough
to light these chambers that have become a home for grief.

That is what I have of you now, this polished ball of sorrow—
all that we were, seeking the wide lens of illumination.

*

Linda Blaskey is the recipient of three Fellowship Grants from Delaware Division of the Arts including the 2022 Masters in Literature: Poetry. She is editor at Quartet, an online poetry journal featuring the work of women fifty and over. Her work has been selected for inclusion in Best New Poets, and for the North Carolina Poetry on the Bus project. She is author of the prize-winning chapbook, Farm, the full-length collection, White Horses, and co-author of Walking the Sunken Boards, and Season of Harvest. She grew up in Kansas and Arkansas and now lives in Delaware.

Another Westerner on Kintsugi by J.D. Smith

Another Westerner on Kintsugi

If you want any saving done,
I’m not your man—too old, too short
and weak, not nearly enough of whatever goes
in front of a cape or cross.

In reality I could repair, if not the world,
a few of its particular vases.
One technique calls for joining shards
with molten gold, the breaks
acknowledged and made to shine.

For lack of literal gold, I might click
dollars to a seemingly good cause,
take in another stray—
on defense like an outfielder or,
for lack of talent, one who stands
passing sandbags as the water rises.

*

J.D. Smith has published six books of poetry, most recently the light verse collection Catalogs for Food Lovers, and the 2022 fiction collection Transit. His books in other genres include the essay collection Dowsing and Science (2011) and the children’s picture book The Best Mariachi in the World (2008). Smith works as a writer and editor in Washington, DC, where he lives with his wife Paula Van Lare and their rescue animals.

Two Poems by Martin Willitts Jr

Manifestation

As I sit in the room of my mother’s grief,
my father’s unused chair remains mute,
holding inside its arms his absence.

My mother keeps me in her head,
refusing to let me go
where the goldfinches are active at the feeder.
So, I listen like a mourning wall, as she wails
from the deep well of sadness.

As a child stirring mud
freshened by a sprinkler can of water
trying to find the right consistency
I wanted to create a mud pie for my father’s desert.
In the background, birds were doing rounds
like they taught at school,
how and when to enter after one group is finished
with layered waves of music. Even now,

in the present, I think of goldfinches
taking turns at the feeder, row
after yellow row. I wait to speak
when my mother’s sob subsides and crash
against the shores of the room.

I recall the pride offering my mud pie,
leaving muddy palm prints on the doorknob,
tracks of brown footprints on the carpet.
My father looked down like a curious god,
so that his glasses slid to his nose tip,
and declared it was too perfect to eat.

My mother bawled louder, a nose-honking sob,
declared she didn’t want that story
or to remember the yellow birds dancing at the feeder
and how she had to purge my clothes, and plunging me
fully dressed in the bathtub, and wait
for the water to stop being coffee colored.

I thought the story might make her smile a crack,
but I made the sadness worse.

The door to my mother’s grief
locks me in shadows. I feel as useless as dad’s shirts
empty and drooping in the closet.

Even a deer, far away, in the woods
beyond the train tracks, holds its breath
afraid to exhale, not move so jerkily, not to stir
the silence.

Silence is that empty birdfeeder, and the way it sways
when the birds realize there isn’t any more.

I sit and listen to the sadness gather steam,
a train barreling down the tracks. I sit
in my mother’s grief room,
and I do the only thing I can do:

I listen.

The next thing I know,
my father’s ghost sits on the chair.

*

Talking to My Brother

Now we are talking, like forever,
as long as weather finds the impossibly still fields.
It’s long past time for talking like this,
although we are as quiet as the wind.

It takes a while before the conversation can begin,
before it can ever end, so the silence stretches
long and far as breath to reach a far dandelion puff
or the sun chasing the moon’s skirts.

We are below the wheeling of starlings,
punctuating the quiet with their etchings.
We have to begin somewhere. Someone must talk,
or the lack of conversation will swallow us.

Perhaps we should start somewhere, say the weather
is becoming more unpredictable,
and connect it to how we need to be connected.
But that’s not what happens.

We grow old in our uncomfortable feelings.
Regardless, another day will come and pass
if we say nothing about the gap of years.
I must talk or this meeting is wasted.

I start. We begin talking, like forever.
This is how to rekindle love. One step forward,
two awkward step, three easier.
There are some bridges to mend, now he has cancer.

This is one of the tools. For you see,
there is a different kind of love for a family member
when you had to pass plates of mashed potatoes
or sit in a tent outside telling ghost stories.

*

Martin Willitts Jr is an editor of Comstock Review. He won numerous poetry awards. His 21 full-length collections include the Blue Light Award 2019, “The Temporary World”. His recent book is “Not Only the Extraordinary are Exiting the Dream World (Flowstone Press, 2022). Forthcoming is “Ethereal Flowers” (Shanti Press, 2023).

Two Poems by Cathleen Cohen

Snakes

My friend sculpted a cobra from vacuum hose,
encrusted its coils with marbles:
cat’s eyes, comets, sunbursts,
even a chipped Joseph’s coat.

It took months to plaster the snake’s hood,
embed ball bearings eyes
and rim them with gold acrylic.
She wants me to lift it up

so I can feel the casings
texturing its skin. She tells
how she drove to the shooting range
down on Oregon Street, floors swelling

with shells. Can I picture
how thick they were on the floor?
Like wading through water,
flood from a burst pipe.

What fear might call anyone
into that place to sharpen
their anger, their aim?
Last week, a box of bullets fell

from a fourth grader’s coat
in the class next to mine.
We teachers raced to retrieve them
snaking under desks.

*

Tethered

An injured hawk is carried into art class.
Warned not to speak or make
sharp gestures, we gaze

as the handler lifts a black cloth
covering the cage.
Within, the hawk quakes

as the handler unknots
a rope and ties it to his wrist.
We shiver

as the hawk shivers,
scans the room, swivels
his bright head to stare

with yellow eyes, shocked.
He doesn’t regard us
but seems in an instant

to take our measure,
map space
between our bodies’ horizontals

as if he could escape,
as if his wing
had knitted and healed.

We are not trees in the open,
not wind, although our sticks
of charcoal rishrush

as we scribble on paper,
trying to capture one flicker,
the lift of one feather.

*

Cathleen Cohen was the 2019 Poet Laureate of Montgomery County, PA. Her poems appear in various journals and her poetry collections are: Camera Obscura ( 2017), Etching the Ghost (2021) and Sparks and Disperses (2021). Her paintings are on view at Cerulean Arts Gallery (www.ceruleanarts.com) and www.cathleencohenart.com.

Two Poems by Clint Margrave

Heart Failure

Tonight in bed
reading a book of Williams Matthews’s poems
and noticing
the short dates of his life
only 55,
not much older
than I am now.

Maybe poets have weaker hearts
than other people.

Larry Levis
Allen Ginsberg
Robert Lowell
Emily Dickinson

And even when
it isn’t heart failure
it’s usually some other attack on the heart,
failed love, disappointment, depression

Berryman, Plath, Crane

Weldon Kees disappearing
by the Golden Gate Bridge,
that foggy day in San Francisco,
the keys still in his car’s ignition.

Maybe heart failure is too perfect a metaphor
since every poet knows
the importance of a good end.

Maxine Kumin says
you should think of it
like closing a door

that it might
involve stepping away from your subject.

She was the last person to see
Anne Sexton alive.

*

My Neighborhood Little Free Library

I find a copy of Jack Gilbert’s The Great Fires
in the stacks
among the worn romance novels
and self-help titles,
and wonder who would leave it.

Inside, a reminder card
for a past due doctor’s appointment
stuck between pages,
next to the lines,

“Love is not/ enough. We die and are put in earth forever/
We should insist while there is still time”

Take a book or leave a book,
the sign says.

I take it.

*

Clint Margrave is the author of several books of fiction and poetry, including Lying Bastard, Salute the Wreckage, The Early Death of Men, and most recently, Visitor. His work has appeared in The Threepenny Review, Rattle, The Moth, Ambit, and Los Angeles Review of Books, among others.

haiku by Robert Lowes

frozen ground
pigeons nodding yes
to everything

*

Robert Lowes is a writer in St. Louis, Mo, whose first collection of poetry, An Honest Hunger, was published in 2020. His work has appeared in journals such as The New Republic, Southern Poetry Review, Modern Haiku, December, ONE ART, The Christian Century, the American Journal of Poetry, and Tampa Review. Samples of his poetry and journalism are available at robertlowes.com. Lowes also plays rhythm guitar in a band at a local School of Rock program, updating his musical tastes since the British Invasion.

Three Poems by Jennifer Browne

Subterranean

Just off the highway, under seeming-
solid ground, tourists float a lighted
pool in glass-bottomed boats, sight
stocked rainbows. The billboards
call it a lost sea, and I start
to think of worlds at the edges
of our vision, begin to feel the sea
within me pulse the shore
of continents I thought were fixed
but are breaking into new form, now,
our body colliding with itself.
And within you, what new land
rises, what’s the fee to pole my way
beyond sightseeing toward a place
that, falling away, is being made?

*

On Seeing ‘Input’ (2004), Athens, Ohio

The flashing danger of copperheads
in this sunken concrete poem is just
a blinking light Morsing out a message
I can’t read. They say if a thing that’s close
had been a snake, it’d have bitten you,
but I’ve seen some I’d nearly stepped on,
their silent regard unfanged, and here you
are, watching, your eyes all dark spectacle.
In the face of such shimmer, who would
check to see what shape your pupils take?

*

Latinate

It’s spring. I had forgotten
how quickly etymology leads
to kissing. Seeing the mouth
embedded in ōsculārī,
I’m moved to pronounce
with more-open lips, to want
the grammar of your tongue,
present active infinitive.

*

Jennifer Browne is a poet, professor, literary arts center director, and hiker from Frostburg, Maryland. Her poems have recently been accepted by Right Hand Pointing, Quarto, Trailer Park Quarterly, Beltway Poetry Quarterly, and the tiny wren anthology All Poems are Ghosts.

Burnt Toast by Linda Laderman

Burnt Toast

I don’t know how to be old.
Everyone I loved died years before old age.
My mother, father, friends taken without warning.
Most days, my brain lies to me. It says I’m young.
It doesn’t take long for my body to say otherwise.
Yesterday, the woman who colors my hair watched me
struggle to open a bottle of water. She offered to help.
Her look said, poor old lady, I’ll never be old like that.
Any bit of patience I possessed has vanished, like the years.
My therapist tells me to be understanding with my husband,
who is fine with being old. When he asks, What did you say,
for a third time, don’t confront. Answer again, and again,
if necessary. She says I shouldn’t complain—that most women
my age would give anything for a man who rubs their back.
The first thing I smell in the morning is the bitter scent
of my husband’s burnt toast. He says he can’t smell it,
so I crack open the window and wonder why we have tiles
that read Home is Love and Joy on the sill when we still
argue about silly things, like the time I asked if he’d move
the porcelain chicks from the middle of the table onto a shelf.
He declined. Our conversations are riddled with deliberations.
We discuss the dishwasher. Should we run it, or wait?
What do we want to eat tonight? Carry in or cook?
Catch a movie or stream something to watch?
Today was too cold to be out. I barely made it to the grocery.
Sleep, when it comes, is a relief. Somewhere only I can go.

*

Linda Laderman is a 73-year-old (almost 74) Detroit poet. Her poetry has appeared in One Art, The Willawaw Journal, The Jewish Literary Journal, The Hole in the Head Review, and The Write Launch, among others. She has work forthcoming in May in The Writers Foundry Review. She’s studied with the Sarah Lawrence Writing Institute and workshops regularly with the Poetry Craft Collective, a cohort of poets who review and encourage each other’s writing. For many years, she was a docent at the Holocaust Center near Detroit, where she led adult discussion tours. Find her at lindaladerman.com.

The Inheritance by Robbi Nester

The Inheritance

At 93, my mother was eggshell and frost, folded linen,
the faded smell of lavender sachet. Her eyes were
muddy pools where nothing swam. When I was small,
her lips flamed when she smiled, scarlet as a struck
match, like the roses in the yard, so tempting
to the iridescent beetles unraveling the petals
of the tightest buds. I used to go into her purse
and turn the golden tube to make the red stub rise,
sniff it, sweet-smelling as the candy lipstick
at the corner store. The color made my mother
seem exotic, a parrot perching in the snowy oak.
A bright scarf tied around her throat, she didn’t
look or sound like other people’s mothers.
They never wore white gloves to shop downtown,
or spoke of traveling to Paris with their families
on a ship, or standing on the top of Table Mountain
studying the spot where two seas meet, one calm
and glassy green, the other angry grey. Even the sour
praises of my father’s family couldn’t dull her flame,
not yet. She was full of light. Her family regularly
arrived like migratory birds, bright-colored, chattering.
Drawn by her songs and stories of her uncle
Isaac Rosenberg, artist and poet, who died
when she was two in World War One, I dreamed,
aching to explore the world within the covers
of his books and far beyond. She said I could
escape the small dark world we were immured in.
And yet, I wondered at the size of her small
life, all the care spent covering the chipped gray
kitchenette with a bright cloth and matching
napkins, the way that she presided at the empty table.

*

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

The Busker by Chris Pellizzari

The Busker

Nerja, Spain

The most important things now are the sea and my music. The sea here goes off forever with no mountains or skyscrapers behind it. It makes the world look flat, or flat enough, dropping into eternity or oblivion, it doesn’t really matter which. Anything is better than the nervous breakdown on the tenth floor of the Willis Tower. No more skyscrapers and office work and panic attacks looking over my shoulder. Ten thousand dollars in life savings has brought me here to Nerja, Spain, a place I remember from studying abroad twenty years ago. I’m here to try my hand at busking. I always preferred music to accounting, who wouldn’t? I’ll find my niche in the center plaza in front of the church and play flamenco music with lyrics from Lorca (I bought the guitar in Granada) for the Spaniards and “Yesterday” and “I Just Saw A Face” for the English community. There’s a restaurant on this beach where a man with a white beard and pot belly serves paella from a cauldron. He knows I’ll be out of money in a few months and he says sometimes he accidentally hands out plates of paella for free, he is in a constant motion of scoop and serve and doesn’t always know who paid and who didn’t and it was something I should look into when the money ran out. He was one of the five boys who discovered the Nerja caves in 1959. But the sea is what’s important. My music will bathe in the sea when it is dirty and dirty itself in salt and seaweed during the rare times it is clean. The music wants to become the sea. It walks toward the farthest horizon and runs home to the sand and my feet at the same time. I picture this scene from the 2000 movie X-Men, where the bigoted senator undergoes some forced mutation his body can’t handle and he just melts into water. That is the ultimate goal for my music. One day, this guitar will melt in my hands and there will be a puddle of the deepest release at my ankles near the leather case filled with coins.

Chris Pellizzari is a gay poet from Darien, Illinois.

*

Elegy with a Miracle on the Outside by Abena Ntoso

Elegy with a Miracle on the Outside

              (In the style of “Good Bones” by Maggie Smith)

Life doesn’t end inside a one-story building if you wait long enough.
Life doesn’t end although technically, clinically it could be argued that
this is what you were there to do, in a clinic some have argued
should not be there to do this, if only you would just wait
long enough. If you’re lucky, a best friend sits beside you
in the waiting room, holding your hand if you wait long enough.
If you fill out the forms, it’s unnecessary to write at the top
“I’m scared” because if you wait long enough it will be obvious
from your tears. If you get there very early and you wait
long enough, the nurse will call your name and you won’t
remember anything except the bright light shining over you
in the procedure room as the sedation begins to take effect
if you wait long enough. You have an infant daughter waiting
for you at home, and she’s a miracle you want to raise.
You yourself are a miracle too, let’s not forget.
It would be a shame to forget.

*

Abena Ntoso is a poet living in Houston, Texas. Her poems have appeared in Adelaide Literary Magazine, The Satirist, Writing in a Woman’s Voice, Trampoline, and The Wrath-Bearing Tree.

Butterflies by Carolyn Miller

Butterflies

Just by moving, we killed them,
small rust-colored butterflies spotted with gold,
just by driving up the mountain
we smashed them, splotching the windshield
with wings and guts like exploded blossoms,
so many he stopped the truck and we watched them—
a butterfly cloud outside Truckee—
till finally, not knowing what else to do,
we got back in the pickup and drove on,
two of us in our own closed world
of desire and damage.

*

Carolyn Miller is a poet, painter, and freelance writer/editor living in San Francisco. Her books of poetry are Route 66 and Its Sorrows (Terrapin Books), Light, Moving (Sixteen Rivers Press), and After Cocteau (Sixteen Rivers Press), and her essays have appeared in The Sun and The Missouri Review. Her poems have been featured on Poetry Daily, The Writer’s Almanac, and American Life in Poetry, and have appeared in Smartish Pace, The Gettysburg Review, The Southern Review, Prairie Schooner, and The Georgia Review, among other journals.

Hollywood Calling by Oliver Kleyer

Hollywood Calling

Last night I dreamt
that I sold the movie
rights for one of my
haiku. It’s going
to be a trilogy –
one movie for
each line.

*

Oliver Kleyer is a teacher and poet from Germany. He writes in German and English. His poems have appeared in Trash to Treasure, Five Fleas (Itchy Poetry), SixPence Society and elsewhere. Outside of the class room, he can be found at libraries, theme parks and on Twitter.com/funnyfrogget.

A VOICE by Jeff Hardin

A VOICE

             for Michael Burkard

Every voice has its timbre, pace, hesitations.
Spoken, it moves toward the world, received
by some, too inaudible for others. One voice
might be compared to rain, another to an
umbrella behind a door. An audience may
gather. Once I had a teacher whose voice
entered mine, helped me hear what mine was
becoming, what it wished to gather, what it
would need to lay aside. His went silent then,
as needed, though often I visit its balm,
the spiritual life hinted at behind utterance,
motives that change as soon as recognized,
feelings of being lost yet not entirely, not
for long. From whom? From what age? Life’s
present tense is more immense than any one
voice can sing; it invites others—all at once
and each singular—to join. A voice is a door
that never stops opening—sky wide beyond
any beyond the mind imagines entering, even
as it enters continually, unceasingly ever itself.

*

Jeff Hardin has published seven collections of poetry, most recently Watermark, A Clearing Space in the Middle of Being, and No Other Kind of World. Recent and forthcoming poems appear in The Louisville Review, Laurel Review, Southern Poetry Review, Southern Review, Braided Way, Zone 3, Grist, and many others. He lives and teaches in TN.

Two Poems by Alison Heron Hruby

Every day an emergency opens

over city roads or through intersections for the replicating homes.
A punctured blare
for someone else’s heart.

At night a slice of moon burns gold,
loosed from a sphere so large it cannot pull bodies dry.
A comma, just this once,

          to help us make sense of our disasters.

*

Lack of Good Conversation

I have worn people out with my
questions and desires,
so I stand in my afternoon kitchen
in the white-paste light
just before winter

and think of my children,
who don’t go here anymore, but
who still might come to me
so that I can touch their hair.

The orange in my fingers is actually
a clementine.

Such a small word when
I expect so much –
all the
pain and clatter.

*

Alison Heron Hruby is an associate professor of English education at Morehead State University in eastern Kentucky and lives in Lexington with her husband and two teenage children. Her poetry has appeared in Roi Faineant Press. You can find her on Twitter @aheronhruby

Two Poems by Stephen Lackaye

Commotion

It wasn’t until later I’d see it as one thing
with the crows packed in the park lane trees
unsure of flight for smoke, and the cawing
meant, it seemed, to add noise to nights
of noise: that scream was something similar,
the evening I leaned in the warehouse door
for the ten minutes the state says I get
to wring my hands in open air. On the bench
on the far corner, a man had pulled red petals
from the city’s beautifying planter,
and held them out in offer to, I assumed,
a passing woman. Those days, I was desperate
for beauty in a way that often sent me late
into a café on Lombard to hear the back-and-forth
of men and women in love with one another,
if not lovers. So, for a moment it looked as if
whole flowers issued from his hands, though
somewhere there must have been a bike spoke
or umbrella spine, half a bottle, a blade, because
then I could see the blood, although the petals
on the sidewalk, at least some of them, were real,
if embellished by the sunset and the arriving
ambulance. How long did I watch while
the cases were filled, rushed along conveyors,
and more cases filled behind me? Only my lawful
ten minutes, which is enough when you’re sure
that most of our accord is mere convention,
the way the paramedics seem to move together:
nod, then lay him down, then lift the body
like any other. Later, the police come around,
take their photographs, leave the cleaners to work
the black part of the night under floodlights
to eradicate the blood. This is what I mean
about the crows, the noise on top of noise
that leaves to mystery the source of smoke:
after all the approved solutions, by the time
the second shift lets us to the fray, the first
signs of discord, all that we won’t reconcile,
have been lost to the standard precautions.

*

What the Monster Sends Us

One day it’s what you’d think: half a boy,
his black hair cut like Alexander, nothing
below the left shoulder. Marks on a hand
a ways off. Then, a morning where the fog
burns into unexpected heat, the night that
follows free of coupling. Once we were
at leisure to parse the year’s complexities,
at café tables over scalding coffee. We later
lost the shape of argument, seeking signs
of escalation in the rilings of the dogs,
the current that unpiles the dock, the note,
delivered or not, from a mother to a son.
We can agree on nothing, least how far
we are from the denouement. One day,
we say, and once and later and perhaps,
and tensions rise on these imprecisions.
Both of our sterling theaters have closed;
the museum remains an open debate, vague
as any omen. And what bothers us most
is not the dirt-clotted hunk of the boy,
but the fact that none of us knows him.

*

Stephen Lackaye’s collection of poems, Self-Portrait in Dystopian Landscape (Unicorn Press, 2016), was a finalist for the Oregon Book Award and an Eric Hoffer Prize. New poems have appeared recently in Southern Review, Southern Indiana Review, The Shore, Asheville Poetry Review, and Los Angeles Review. Stephen lives in Oregon, where he works as a bookseller.

Dear Bill, by Craig Cotter

Dear Bill,

In the past 125 years
many of my neighbors have planted giant redwoods
on their front lawns.

LA is too arid for them.
They get a little sprinkler water,
a little rain,
but not enough.
In 125 years they quickly grow to be the tallest trees in town,

but they are not full like the redwoods north of San Francisco.
They are spindly and pale instead of full and deep green.
They could suck-up 20 times the water they get in LA.

*

A mourning cloak
among blossoming jasmine.

A rare butterfly now in North American.

They fly quick and erratic and are hard to catch with a net.
They’re usually jumpy and skittish

but I stood in front of it,
6 inches away,

while it probed jasmine blossoms.
I watched it for several minutes.

The top wings outlined in yellow,
the rest of the wings deep brown—

but when you look closely, the wings are circles of all shades of iridescent brown,
black and violet.

The back of the wings the same dark iridescence
but even darker.

I remembered being 8 in Michigan
trying to catch one.

Hard too as you’d rarely see them.
Still thinking I wanted to catch it with my hand,

or wishing I had a killing jar.

But now I have no interest to collect it
beyond memory and this poem.

A jacaranda is still in bloom.

*

When I taught I never scolded children for day-dreaming.
I’d see them look out windows.

They would say, “I wasn’t working,” or,
“Sorry, I was day-dreaming.”

“It’s not a problem.”

*

Thinking of you in Brockport.

*

I turned down 27 readings last year.

They would’ve allowed me to sell books
and generate cash.

I certainly have my price.

But they’re opposed to day-dreaming.

And there’s not much time for day-dreaming left.

*

Today seeing a mourning cloak
was not like anything else Davin.

If it’s finally just your eyes on my words—
you never see me,

even while I’m alive—
that works best.

Did you ever have the right amount of friends and lovers
and didn’t need more?

*

I’ve been paid to attend private parties
because some rich people want “real artists” at their parties.

I accept with time limits and with no promise to speak.

*

They see more mourning cloaks
than poems.

A guy I gave a book to 22 years ago
said last week, I always thought you’d still be writing poetry
do you still write?

Told him I gave it up.

*

It would be nice to get out of this
with a slick synthesis of the many images and themes
I’ve introduced.

Costa Rica at night on Sugar Beach rubbing Michael’s feet.

*

A butterfly or a tree?

It’s been mostly in my control so far.

No wars romping through town,
have survived the fires, floods, earthquakes, so far.

Surviving murderous neighbors
not taking all useful precautions.

*

The robin you observed in your yard,
did it set you from your family?

Did it get you thinking of that perfect girl?
Do you still have the blue glass bell?

Have you seen a Himalayan blue poppy?

           –for William Heyen

*

Craig Cotter was born in 1960 in New York and has lived in California since 1986. His poems have appeared in Southword (Ireland), Chiron Review, Columbia Poetry Review, Court Green, The Gay & Lesbian Review, Great Lakes Review, Hawai’i Review, & Tampa Review. His fourth book of poems, After Lunch with Frank O’Hara, is currently available on Amazon. www.craigcotter.com

Pretty Bottles All in a Row by Carol Parris Krauss

Pretty Bottles All in a Row

My grandparents’ home was thumb-smashed into the side of a mountain.
The garage, a dark cave with drills, hammers, and chains crisscrossing
from the rafters. Above it was a wide porch. A swing at one end
and a slider, covered in cabbage rose vinyl, at the other end. It would squeak
and rustle simultaneously when propelled by your feet.

My family would pile into our Pontiac station wagon, and traverse
Caesars Head to spend afternoons with my father’s parents. After Papaw
passed, they told me he was an alcoholic. I don’t remember that. I do recall
a chest filled with carved wooden toys, his ability to tell a tale, and his laugh.
Half-Camel unfiltered. Half bubbling mountain stream.

I also recollect all those pretty bottles on the kitchen window ledge. Some
slender; others rotund or just plain squatty. Bright blue, ruby red. Gulf green.
The sun would hit them right around noon. Each bottle glistened. Throwing
a rainbow against the kitchen walls. Painted, covered what this grandchild
didn’t know. Didn’t want to know.

*

Carol Parris Krauss is a mother, teacher, and poet from the Tidewater region of Virginia. In 2018, the University of Virginia Press recognized her as a Best New Poet. This Clemson University graduate has work published in numerous online and print magazines such as Louisiana Review, Dead Mule, Broadkill Review, Schuylkill Valley Review, Storysouth, Amsterdam Quarterly, Hastings College Plainsongs, and the South Carolina Review. Her first book, Just a Spit down the Road, was published by Kelsay in 2021 and she was the winner of the Eastern Writers Association Crossroads Contest.

In the Darkened Pane by Laura Ann Reed

In the Darkened Pane

From my house I watch evening sift down
through the blackberry, winter-bare.
My father isn’t anywhere
I can touch, or brush dust and leaves
from the letters of a name
I once wanted to lose, wanting
to lose my history. I tried to step away
from the long disgrace—
ghosts and shadows handed
down. I was the only one of seven
pushed into the light who refused to die.
Night is now claiming
the juniper’s blue-green needles.
A woman’s face is unreadable
in the darkened pane. Harp strings
plucked by the wind’s fingers.

*

Laura Ann Reed, a San Francisco Bay Area native, taught modern dance and ballet at the University of California, Berkeley before working as a leadership development trainer at the San Francisco headquarters of the United States Environmental Protection Agency. Her work has appeared in numerous journals and anthologies in the United States, Canada and Britain. She is the author of the chapbook, Shadows Thrown, (Sungold Editions, 2023). Laura and her husband live in the Pacific Northwest.

Outbuilding by Joshua Eric Williams

Outbuilding

We’ve got too many self-
monuments: our towns of sheds
and storage units, the private shrines
we call our closets. Their usefulness
is emptiness. Every cabinet,
drawer, and pocket warehouses
pasts none of us visit enough
to know we have too much.
We’ve forgotten how to forget.

*

Joshua Eric Williams graduated with an MFA in Poetry and an M.A. in Nature Writing from Western Colorado University. His poetry has appeared in Measure, Frogpond, Modern Haiku, Sonic Boom, Rattle, and many other print and online journals. In 2014, he won the Eclectic Poetry Prize. His recent honors include: the selection of his poem “Barriers” for publication in an anthology of pandemic writing, The Great Isolation, his collection, The Strangest Conversation (Red Moon Press, 2019), receiving an honorable mention in the Haiku Society of America’s 2020 Merit Book Awards, Rattle Magazine nominating his poem “haiku” for a 2022 Pushcart Prize, and The Haiku Foundation featuring his haiga for the month of March this year.

Here by Sally Nacker

Here

looking out a small window
of a room in my house, out toward
all the trees on my wooded
hill, all the pines such deep forest
green, so tall and so still, inside
this particular moment, this widening
of space on a late winter’s afternoon
where I stand at a window
peering out at my wilderness.

*

Sally Nacker was awarded the Edwin Way Teale writer’s residency—Trail Wood— in 2020 where she enjoyed a week of solitude on 168 acres of nature. Since then she and her husband have moved to their own small house in the woods. Publishing credits include Canary, The Orchard’s Poetry Journal, Blue Unicorn, One Art, Mezzo Cammin, Quill and Parchment, and The Sunlight Press. She has her MFA in Poetry from Fairfield University. Kindness in Winter is her newest collection. Please visit her website at www.sallynacker.com.

It Is Made of Broken Parts by Bethany Reid

It Is Made of Broken Parts

You glimpsed it
from the corner of your eye,
a creature sewn
from scraps of shadow.
You saw it in a parking lot
one midnight after your shift,
so exhausted
walking felt like falling.
You made it up,
or your brain made it,
a headache, an aura
of sparkling lights, a breach
in imagination’s rocky wall.
You wake from a dream
of a lost book
and all day you search,
not remembering what
it is that you search for.
Or you remember the word itself,
re-member.
Here is the quilt to throw over
your visions. Here,
the body the undertaker
stitches together.

*

Bethany Reid has four books of poems, including Sparrow, which won the 2012 Gell Poetry Prize. Her poems, essays, and short stories have recently appeared in Kithe, Passengers, Persimmon Tree, Constellations, and elsewhere. Her chapbook, The Thing with Feathers, was published in 2020 as part of Triple No. 10 by Ravenna Press. http://www.bethanyareid.com

august is cruel by Sophie Chiang

august is cruel

this is a summer where sadness is still beautiful, a
summer of oil paintings and flickering chandeliers.
so we’ll drive with the windows down. we’ll listen
to the cracking of the radio, kissing as the cars pass
by. tell me about the color of your skies, about how
your stars are mine and mine are yours. burnt sugar,
you lick honey off my teeth. it’s a summer of
staying out late, but we’ll still be thinking of ways
to go. august is cruel, i mouth as you slip away. and
september comes so soon.

*

Sophie Chiang is a high schooler by day and a poet by night. She is an avid neuroscientist as well as an advocate for surrealist poetry. Her words are in Scholastic Arts and Awards, Paper Crane, Ogma Magazine, Clay Literary, Ice Lolly Review, among others. She is the founder and editor-in-chief of The Aurora Journal and loves it more than anything. When Sophie is not writing, she enjoys retail therapy and curating Spotify playlists.

The Letter by Mike James

The Letter

Your six-month-old letter
stays on my breakfast table
between salt
and pepper shakers.

Some mornings,
I trace the envelope’s outline
imagine a braille
my readings might have missed
between toast,
soft-boiled eggs,
and black, chicory coffee
not quite bottomless
in my white cup.

*

Mike James makes his home in Murfreesboro, Tennessee. He has published in hundreds of magazines, large and small, and has performed his poetry at universities and other venues throughout the country. He has been nominated for multiple Pushcarts, as well as for the Paterson Poetry Prize and the National Book Critics Circle Award. His many poetry collections include: Leftover Distances (Luchador), Parades (Alien Buddha), Jumping Drawbridges in Technicolor (Blue Horse), Crows in the Jukebox (Bottom Dog), Portable Light: Poems 1991-2021 (Redhawk.) In February 2023 he was named poet laureate for Murfreesboro, Tennessee. His newest collection, Back Alley Saints at the Tikka Bar, was just published by Redhawk.

Two Poems by Jen Feroze

A Thousand Paper Cranes

I

They say Sadako had only made 644
when the sickness took her,

purple spots carpeting her limbs
and curling behind her ears like tsutsuji blossoms.

Now she stands peacefully in Hiroshima Park,
her bronze arms raised to the sky.

Bomb disease,
her mother called it.

II

Passing under Vauxhall Railway Bridge,
I ask myself

how many trudge through the lamplit puddles,
broken glass, and scree of takeaways with their eyes raised?

How many will see your little hanging flock, pathetically white
amid the drizzle and the thunder of trains overhead?

I wonder, as you make your thick fingers
a vengeful nest of paper cuts,

what is it you feel
you are atoning for?

As you sit folding and stringing in the dark,
who is it you are trying to save?

*

The Night Grace Tries To Teach Me To Waltz

I’m half drunk and heartsore. I stumble, feet bare on the damp grass.
The wrong kind of music sweats from the golden house
and I laugh with wet cheeks while attempting to dance.

Her long fingers are ivory keys on my spine. She seems calm.
I’m coarse and I’m awkward, and then I am lifted
like a sad offering to the sky,

streamers of cloud in my hair when I land again.
She gives up after that, and we lie cheek to cheek on the lawn,
counting stars like blessings.

Later, the noisy world will rise up in its tide of mistakes,
and somewhere near my heart I’ll hear her steady count.
One two three, one two three, one two three.

*

Jen Feroze lives by the sea in Essex, UK. Her work has recently appeared in publications including Poetry Wales, Dust, One Hand Clapping and Stone Circle Review, and is forthcoming in Stanchion and Magma. Her debut pamphlet, Tiny Bright Thorns, will be published by Nine Pens Press later this year.

Two Poems by Terri Dawn Kent

Midway

Behind the Tilt-A-Whirl
Suzanne and me toke

the carnie’s joint, study
his Valvolined fingers,

the black crescents
of his nails. Us, all side-eye.

All cola-breath and tube-top
and blue shadow, copped

from my mother’s purse. We
are 14.

14 and half-convinced
we steer bodies of women

under the carnie’s
testimonial gaze: high

and blithe and angel-
watched as we’ll ever be.

See how coolly we slip
from this man’s greased reach.

Us, inertia-flung and hip swayed.
Us, snorting giggles into neon night

— something sweet and sad
and centrifugal

at our backs.

*

She Stops Saying the Apostles Creed
the Day after Her First Period Arrives

Thirteen, and her tongue
disowns unworthiness

her lips, the tepid wine. Pewed,
she turns to the window—to

the gap where stained glass
yields to screen. She swallows

half-light and birdsong. Exalts
this new blood, hot & noble

between her legs.

*

Terri Dawn Kent is a poet from Northern California. Her poems and prose have appeared in River Teeth, The San Pedro River Review, Barnstorm, Prometheus Dreaming, and Literary Mama.

Two Poems by Nicole Caruso Garcia

It’s Been Two Years

so when her lovely face appears—
          a friend request
that seesaws seesaws in your chest—
          you must accept
that she’s been laid to rest.

*

Doomscrolling

A smiling child of five or six. No caption,
yet my too-quick heart supplies one,
slow to grasp there is no massacre, no gun.
It’s just a photo of a friend’s young son.

*

Nicole Caruso Garcia’s full-length debut poetry collection is Oxblood (Able Muse Press, 2022), which was named a finalist for the Able Muse Book Award and the Richard Wilbur Award. Her work appears in Best New Poets, Crab Orchard Review, Light, Mezzo Cammin, Plume, Rattle, RHINO, and elsewhere. She serves as associate poetry editor at Able Muse and as an executive board member at Poetry by the Sea, an annual poetry conference in Madison, CT. Visit her at nicolecarusogarcia.com.

Postscript: Reminder: by Gregory Stapp

Postscript: Reminder:
               -after Seamus Heaney

Take time away to find your way
west, out to Colorado, the I-25 corridor,
and drive along the front range in early fall,
along the boundary there between range
and cloister, when the wind falls from the mountains,
and the purpled rock face contrasts the grasses
swept up in dull ochre and dormancy,
the clouds bolster their plumage into roundness,
horses and old gray houses, leaning fences
persist as the long wide shadows stretch out,
the road lies long into the disappearing north.
I want to picture you there with faith
that you have seen it, that you drove between
the rise and the flat, the barren and toothed,
you rode the border of leaving without
promise of return, and decided
to come back with your heart torn in two.

*

Gregory Stapp is a librarian living in central Oklahoma. His poems have appeared or are pending publication at The Ekphrastic Review, The Cortland Review, The Southern Review, and The Museum of Americana, among others, as well as in the anthologies Gutters & Alleyways (Lucid Moose Lit, 2014) and Level Land (Lamar University Press, 2022).

Interesting by Paul Hostovsky

Interesting

“Interesting,” says my wife’s ex-husband
to himself (“He can fix anything,”
she likes to say. “Except for his broken
marriage,” I like to say) as he considers

the door jamb, the strike plate, the lock bolt
on the door he’s installing in our kitchen
because, interestingly, we all get along now
and I actually like the guy, so I hired him

to do some carpentry. Because I can barely
open a door, much less install one.
“Interesting,” he says again and I know
it means he’s encountered a problem–something

isn’t fitting, isn’t level, isn’t plumb. I’m sitting
in the room across the hall with the door open, writing,
wondering about the difference between
level and plumb. And also, come to think of it,

between him and me. I want to say “interesting”
the way he does. But what I usually end up saying
is “shit” or “fuck” or “I give up.” I’m always
closing doors, it seems, either because I’m unable

or unwilling, or, worst of all, uninterested.
But he says “interesting” to himself, and that’s
interesting to me. It means he’s open
to what’s in front of him. Like opening a door

and walking right on through while looking
up and down and all around with interest,
willingness, maybe even amazement, something
I would like to do but never seem to do

in life–I only do it in my writing. And the fact
that my wife left a man who can fix anything,
a man who stands at the threshold saying “interesting,”
for a man who prefers to sit and write about life

than live it–-that never ceases to amaze me.

*

Paul Hostovsky’s latest book of poems is Mostly (FutureCycle Press, 2021). He has won a Pushcart Prize, two Best of the Net Awards, and has been featured on Poetry Daily, Verse Daily, and The Writer’s Almanac. Website: paulhostovsky.com

Spring by Paula J. Lambert

Spring

The strange beast of the night
has retreated, hackberry down,
no more damage than that
and the echoing tinnitus you woke with,
b flat, constant, dull.

The wind’s wild paw—
which took out a city west of here—
left the fence intact. Small favor.
Elsewhere, children are dead.
The storm, sure. The anguished shooter.
Pockets of silence everywhere,
in the aftermath. You calculate:

chainsaw, chipper, enough mulch
to cover the peonies, the lilacs,
the hydrangea and rose of Sharon
sure to follow.

*

Paula J. Lambert has published several collections of poetry including The Ghost of Every Feathered Thing (FutureCycle 2022) and How to See the World (Bottom Dog 2020). Awarded PEN America’s L’Engle-Rahman Prize for Mentorship and two Ohio Arts Council grants, she is also a visual artist, small-press publisher, and nascent literary translator.

Two Poems by Alex Tretbar

Physical Education

I used to only do push-ups
when I needed to find a vein,
which was about three times
a day. Now I do them once
a week in the park, my eyes
zooming in and zooming out
on the ants, dead or alive.

There is potential life
in the half-severed wire
hanging from a utility pole
in the lot outside my window.
I pray a child doesn’t grow
curious and touch it, then
touch it and touch it again.

*

Museum of One

We don’t believe anyone
who tells us they’ve come back.
Only we ourselves would know
if we stepped through the gauze
and somehow remembered both sides of it.
Like a stomach ache, or tinnitus, or anything
else that happens inside us, it is doomed
or blessed to stay there: dear hieroglyph
on a wall in the museum of one.

*

Alex Tretbar won the 2022 PEN America Prison Writing Contest in Poetry, and was a finalist for the 2021 PEN/Edward Bunker Prize in Fiction. His poems and nonfiction have appeared in or are forthcoming from Bat City Review, Poetry Northwest, Meridian, Buckmxn Journal, HAD, Southeast Review, and elsewhere. He lives in Kansas City, Missouri.

Bad Weather by Donna Hilbert

Bad Weather

I have been the fallen bird
waiting for the ride

that never came, walking
home in beating rain.

I have been the forlorn traveler,
familiar in the corridors

of waiting.
I have been the fallen bird

pulled out of grief’s bad weather,
caressed and held together,

spoon fed until I wished
to die, then live, again.

*

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

Leveling by Betsy Mars

Leveling

I look for cracks in the house of love,
wait for the roof to collapse, reveal the rot above.

The ceiling which looked so far removed
now presses on the chest of love.

The cobwebbed windows grow cataracts
which once reflected a clarity of love.

At best, we shore each other up,
ignore the stains which weep, failed love,

from under built-up paint; we strip,
create a new blueprint, renovate

fit tongue and groove, speculate
on the charity of love.

*

Betsy Mars is a prize-winning poet, a photographer, and publishes an occasional anthology through Kingly Street Press. She is an assistant editor at Gyroscope Review. Poetry publications include Rise Up Review, Anti-Heroin Chic, New Verse News, Sky Island, and Minyan. She is a Best of the Net and Pushcart Prize nominee. Betsy’s photos have been featured in RATTLE’s Ekphrastic Challenge, Spank the Carp, Praxis, and Redheaded Stepchild. She is the author of Alinea and co-author of In the Muddle of the Night with Alan Walowitz.

Five Poems by Jim Daniels

ONE LAST NEW CAR
for my father

The end game sneaks up—
        suddenly you’re deciding
whether to buy one more
        before someone—
like your own child—takes away
        the license, and how many more
jumbo rolls of paper towels will you
        need? His own father gave up mid-
way through painting his kitchen. He never
        swore aloud, but the half-painted room
said fuck that. He’s been dead twenty years,
        but he held my daughter in his lap
before exiting stage left. She doesn’t remember,
        but we do. He kept buying tools
until the end, in case of resurrection.
        He stopped eating, despite Meals
on Wheels and a dog to share them with,
        a bag of his favorite potato chips
unopened. He was a cruncher, that man.
        He had a hiding place for money
but nothing to hide. He lived ten more years
        after a heart attack at 85, and it still
snuck up on him—the lack of appetite
        and interest in baseball scores.
A cop stopped him for driving too
        slow, called to tell my father, it’s time—
want me to do it? Dignity has its price.
        I wonder if I’m willing to pay.
Check with me in ten years. Twenty. Thirty,
        if I’m lucky. Forty if I’m not. I should’ve
        talked to my grandfather more instead
of pounding on his fat dog’s chest to hear it grunt.
        So, I’m talking to my father now. Where
will I hide money from my daughter? She looked
        so cute in that fancy hat, sitting on his lap.

*

THE SHOUTING MAN
Monongahela River, Pittsburgh

Many of you know the shouting man.
He travels widely in small circles
on city streets world-wide.

Today he holds his arms up like wings
in the sleeves of his filthy green jacket
swooping the air, looking for someone

to shout at. Though he’s shouted at me
many times, despite giving him more
and more space, I still shirk and startle

when he catches me in his furious radar.
His clothes weigh a thousand pounds
and nothing, trying to pull him down.

But he has wings and an armory full
of curses. Poison hair and history.

*
A mile and a half down the river
the eagle-watchers gather below
the hillside nest with matching

eagle-watching chairs. There are
worse clubs to belong to. They linger
below the nest all-year with large lenses

and backpacks of snacks. They always
clean up after themselves. They greet
all passersby with exaggerated cheer.

I’ve never seen the shouting man this
far from his own nesting grounds
near the younger guy with face tattoos

and his own quiet rat-like malice.
I always look up for the eagles.

*
I don’t have the patience to get any closer.
If you can see where I’m going, you’re

a wiser person than I am. Perhaps
your own shouting man has given you

directions. I’ve never been able to
connect the dots or balance my checkbook

or shout at strangers or wait for eagles
to soar. I walk the same route daily, hoping

to get lost in my search for the holy land.
I haven’t forgotten about today, when I almost

shouted back at him, but swallowed
down my words. I will continue chewing

until they’re soft enough to feed
my lost children.

*

CRYONICS
it’s so crazy, it just might work.
origin unknown

For a time, during peak drinking years
I sometimes ran out of parties and dove
into piled snow on the ground, covering
myself in mad frenzy, as if putting

out the flames on my own skin.
I called it freshening up. I’d go back
into the party, shaking and cold and wet
with appetite for more. Sometimes,

I’d be given a towel. Sometimes,
another drink. Sometimes, a kiss.
A parlor trick for the amusement
of the high and dry and mighty.

Sometimes it worked, and someone
shouted, Here he is, back from the dead.

*

MY FATHER’S CLOSE CALLS

1. Matching Ties

Jack McCarthy took a knee, then fell flat,
counted out on the slick factory floor.
At the funeral home, my father led me up
to kneel at casket’s edge. Nice tie, he whispered
fingering his own red and blue stripes
as we knelt on white cushions smudged
with pale dirt of endless knees.
For the last time, I took my father’s hand.
We looked at each other, then stood.
For the last time, he wore that tie.

We believe what we believe— stupid,
but it’s my only prayer. In the bathroom,
Jack’s son Steve, my fifth-grade pal,
told a corny joke, his delirious amplified laughter
echoing over tile-glow. Me, I’d wear my
cute little tie again, on happier occasions
like the resurrection of Christ or the death
of the mean widower next door.

I was young enough to stomp out my age
like a pony at the State Fair and old enough
to sneak in the burlie-Q tent and stare in awe
like I did at my first corpse, redefining
prayer yet again. My tie, a clip-on,
easily removed. Nice tie, my father said,
yet his hand trembled in mine.

2. Mistaken Identity

When my grandfather died, the funeral home’s
felt sign with stick-on plastic letters
read Raymond J, my father, not Raymond A.
He yanked off the J, slipped it in his pocket.

When streetlights quivered off the dark, wet street.
When the moon flew its invisible kite
into his forehead and he called it a headache.
When they could not fix his grandfather’s

heirloom pocket watch. When the doctor
sighed, and said more chemo was a waste.
When he denied the x-rays and perjured himself
on the future’s witness stand. When he snatched

that white plastic initial, and squeezed.
When he hung up on yet another
wrong number asking for the dead man,
but the phone kept ringing.

Give me the J, I told him,
but he never did.

*

EMPTY CAGES

My mother lost her mind one year
        and gave me two birds
from the dime store for my birthday.
        Parakeets? Eleven,

I was already spending
        my allowance on being alone
in the basement or behind the garage.
        The other four kids paired up

to laugh or fight equally in love.
        When one bird died, my mother
bought a mirror to keep the other
        company. When it died

she handed me the mirror and took
        the cage away. Maybe she
was the other bird, lonely nights
        with cigarettes and beer

waiting for my father to come home
        from work, or recover from work.
I could not explain my solitude,
        and looking in that mirror

taught me nothing. Did those birds
        ever sing? Her song was
the metallic fizz of pull tabs lifting
        and the scratch of matches.

*

Jim Daniels’ latest poetry collections include Gun/Shy, Wayne State University Press, and two chapbooks, The Human Engine at Dawn, Wolfson Press, and the forthcoming Comment Card, Carnegie Mellon University Press. His new fiction collection The Luck of the Fall, Michigan State University Press, is also forthcoming in 2023. A native of Detroit, he lives in Pittsburgh and teaches in the Alma College low-residency MFA program.

Abstinent by Robbie Gamble

Abstinent

How the body was so coy
about naming what it really wanted.

How the return of the peepers’ wild song
proclaims this visceral season thawed.

How we’d been waiting, stuck
for what we didn’t realize we missed.

An aroma, an agenda,
a stirring under a quilt of leaf rot.

In this bed, skin warms against skin,
the mucky waft of ripening earth.

*

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

Two Poems by LeeAnn Pickrell

The other side of the front door

My parents sold the house on Forest Bend
without giving me a chance to see it one more time.

I had just gotten married. Maybe they thought
I didn’t care, lived in another state, would never

come home to live again. Home. That house on
Forest Bend, a house without trees, in a new

1967 subdivision. The house that surrounded me
in wood-paneled walls, blond brick, a fireplace

rarely lit, a pool where I lived my teenage
summers. Where I learned to drink behind

slammed doors, boundaries drawn and crossed.
The house where I played dress up, dancing in

the living room in Mardi Gras beads and my
mother’s pink negligée. The house where we ate

fondue, my mother wore brown hot pants,
a house of gin and scotch and the scent of Nina Ricci

perfume as my mother bent to kiss me goodnight,
the house where I played my tennis racket guitar

on the bright green carpet my dad had picked out.
The house I returned to when life fell apart,

where I could close the front door of a half-asleep
home that wouldn’t betray its inner secrets.

*

Hunting for a poem

Like the lone
snowy egret
hunts for breakfast
in the shallows of
Salmon Creek,
brackish from years
of drought.
Last week’s
atmospheric river,
the first rain since
winter and it’s
November now.
Fog drips from the eaves.
The ocean churns
on the other side
of the dunes.
Now I sit,
coffee in hand,
on the cottage’s
small sun porch
reaching for words
to feed a morning.
The egret
takes flight,
following the curve
of the creek
that has to stretch farther
to reach the ocean
every year.

*

LeeAnn Pickrell is a poet, freelance editor, and managing editor of Jung Journal: Culture & Psyche. Her work has appeared in a variety of online and print journals, most recently in Loud Coffee Press, Atlanta Review, MacQueen’s Quinterly, and The Marin Poetry Review, and the anthologies Coffee Poems and A Gathering of Finches. She has a book forthcoming from Unsolicited Press. She lives in Richmond, California, with her partner and two cats.

THE NEW USED CAR by Dave Newman

THE NEW USED CAR

My father pokes around the rear brakes
of our rusted-out Cutlass Oldsmobile
          with needle nose plyers
          until a spring snaps
          and the plyers shoot
          back like a dart flying
          away from a target
          but looking for
          a new target
and my dad screams and tips back onto his ass.

“You’re going to have to drive me to the doctor”
he says, touching his face with a bag of frozen peas.

His eye looks like a sunset painted by an artist
in love with purples and yellows and blood.

He says “Do you hear me?” getting angry.

“I’m only 10” I say

and he hands me the keys to the other
car, the one that’s a dozen years old
          but with working brakes.

*

Dave Newman is the author of seven books, including the novel East Pittsburgh Downlow (J.New Books, 2019) and The Same Dead Songs: a memoir of working-class addictions (J.New Books, 2023). He lives in Trafford, PA, the last town in the Electric Valley, with his wife, the writer Lori Jakiela, and their two children. He spent the last decade working in medical research at the VA in Pittsburgh and currently teaches writing.

Two Poems by Tom Gengler

The Clinic Squares

They were modern for their day,
one-foot squares of thin-pattern linoleum,
reinforced with embedded asbestos.

The squares were carefully placed on top
of the tiny concrete foundation in fifty-nine,
parallel to the north-south orientation
of the roads to which the building aligned.

Each square joined three more squares
at each corner, something like a family.

When the animal hospital was knocked down
sixty years later the only thing kept
was the concrete slab, left for cars
to park near the new hospital.

The linoleum squares, joined at each corner,
were stripped off and thrown away.

No one remembered the wear patterns,
the unique features that thousands of steps
wore into the mid-century modern floor.

When I parked there a few years ago
the outlines of the squares were still there.

I paused and saw the old layout
rise up like a ghost: the exam table;
the X-ray room; wards one and two;
the supply room and its unforgettable smell;
my dad’s tiny, paneled office—the first
place I saw him sober.

*

Out East of Town

Out east of town to Jerry’s farm
the May afternoon was quiet enough
to swallow thunderheads.

He was carrying so much more weight
than when I saw him last,
back when I was living
a previous life.

We leaned against
the east fence of his property
but he couldn’t get over the top
of the tight-strung
four-wire barbed wire fence.

He asked me to climb over the points
and go a little ways west—“you see that little
grove of cottonwoods,” he said,
“would you go over there and take a look?”

I gladly agreed and the hot clear sun
accompanied me
to the darkly green vines
coiling up, and up, the trees.

The oily tri-leaves told me
it was poison ivy,
which he couldn’t see.

I looked back and saw Jerry looking at me
on the other side of the fence,
waiting for an answer.

*

Tom Gengler was born and raised in Oklahoma. He was able to experience the wonderful world of animals with guidance from his veterinarian dad. Living and working in half a dozen American states and a dozen or so foreign countries helped fashion his view of our planet. His degrees are in classics/philosophy (undergraduate) and theology (graduate). Among his favorite poets are Seamus Heaney, Thom Gunn, Lyn Lifshin, Marge Piercy, Annabelle Moseley, Alan Catlin, Simon Perchik and Timothy Steele. He has had poetry published in Progenitor, Blue Collar Review, Exit 13, and The Worcester Review, and forthcoming in Westview and Streetlight.

FIVE MORE MINUTES FOR ONE MORE LIFETIME by Bella Barbera

FIVE MORE MINUTES FOR ONE MORE LIFETIME
This isn’t how it’s supposed to be.
You promised me that day, that you would never fall in love with someone else.
I didn’t tell myself that. You told me that.
You know, I never expected you to stay around forever.
But I wasn’t ready.
Maybe if you had given me a heads up, I would have asked for five more minutes.
That’s all I would’ve needed.
Five more minutes, where the sky was clear, and I could still call you mine.
Like, do you remember in the spring when we first met, and my window was always open
And we would just sing.
Something like that.
A few more minutes and I would have been ready.
We were meant to be forever.
The stars came together when our soft voices whispered, “I love you.”
Now I whisper it to the moon in the hopes that it will get back to you.
I think we deserved five more minutes.
Maybe everything would have just clicked, maybe we’d be fixed.
Maybe we’d sit and just lay, our voices keeping the chaos calm.
I’d tell you I loved you and you’d say you loved me too.
And we’d just take a nap. Just one more.
You said you hated me with everything in you, but I don’t hate you.
I just wasn’t ready. I still don’t know if I am.
Somedays all I want to do is call you and tell you about my day.
Five more minutes might have saved us, I don’t know.
I know that somewhere in another lifetime you call me to fall asleep.
And I tell you that I love you.
*
Bella Barbera is 16 years old and has been writing poetry and short stories since she was in elementary school. Always an “outside the box” kind of a kid, with a very active imagination, she began writing to release all of the static and thoughts that roamed freely inside her head. Her dream is to be a published writer. She currently resides in New Windsor, NY and can’t wait to get out of there. She lives with her parents, George and Jeanna, her dog Sowein, and her four cats – Lynx, Halloween, Twinkle and Freddy Giggles.

haiku by Bracha K. Sharp

Concentrated flight,
Carrying the bowl of wind—
These birds in chill cold.

*

Bracha K. Sharp was published in the American Poetry Review, the Birmingham Arts Journal, Sky Island Journal, ONE ART: a journal of poetry (where she was a nominee for ONE ART’s nominations for Orison Book’s Best Spiritual Literature [formerly The Orison Anthology]), and Wild Roof Journal, among others. Her poetry is forthcoming in The Closed Eye Open, the Rogue Agent Journal, and the Thimble Literary Magazine. She placed first in the national Hackney Literary Awards; the poem subsequently appeared in the Birmingham Arts Journal and she was a finalist in the New Millennium Writings Poetry Awards. She received a 2019 Moonbeam Children’s Book Awards Silver Medal for her debut picture book. As her writing notebooks seem to end up finding their way into different rooms, she is always finding both old pieces to revisit and new inspirations to work with. She is a current reader for the Baltimore Review. You can find out more about her writing by visiting: www.brachaksharp.com

What the Doctor Said, What I Answered by Gary Fincke

What the Doctor Said, What I Answered

Yesterday, when asked to number my pain
from one to ten, I’d said seven, maybe,
or six, although nothing but ten would have
driven me twelve miles to expose myself.
How privacy is ceded to rescue,
and yet, even now, my C-Scan upon
the specialist’s screen, I remain stubborn
in dishonesty, my panic the white
of all colors for fear. This close to oncology,
I hear myself form “I understand,” beginning
to accept like the fool who waives his rights,
and though that doctor insists I might walk
away intact, I can’t shut myself up.
No matter what she qualifies, I talk
and talk, thinking I’ll get to it, this thing
I am working up to, how the slender grace
of benign can still be earned through
biopsy, its bright, fluttering peace
settling warily upon a branch, so close
just breathing sometimes startles it away.

*

Gary Fincke’s collections of poems have been published by Ohio State, Michigan State, Arkansas, BkMk, Lynx House, Jacar, and Serving House.

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

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

  1. John Amen
  2. Laura Foley
  3. Kaecey McCormick
  4. Carolyn Miller
  5. Karen Friedland
  6. Luke Johnson
  7. Bonnie Proudfoot
  8. Rosemerry Wahtola Trommer
  9. Michelle Wiegers
  10. Laura Grace Weldon & Mary Ford Neal (tie!)

Ambition by Rosemerry Wahtola Trommer

Ambition

I am so far from the woman
I want to be, so far
from humility and simplicity.
I dream of clearing
not only the shelves,
not only the closets,
but also the cluttered inner rooms
that crowd out the divine.
Every day I search for ways
to best meet the day—
with poems, beautiful meals,
with songs, with praise—
so many ways to be radiant,
but I suspect all the day wants
is for me to meet it
and all that comes into my path
with kindness, with spaciousness.
In my effort to be good, to be whole,
I make it so difficult, this life.
The day doesn’t seem to hold
my exuberance against me.
It shows up as always,
generous as a new tomorrow,
quiet as dawn.

*

Rosemerry Wahtola Trommer co-hosts Emerging Form (a podcast on creative process). Her most recent collection is All the Honey, available for pre-order now (comes out April 18, 2023). Her daily audio series, The Poetic Path, can be found on the Ritual app, her daily poetry practice can be read on her blog, A Hundred Falling Veils. And her new book of poetry prompts, Exploring Poetry of Presence II: Prompts to deepen your writing practice is available the first week of May.

I Head to the Bathroom in a Plane Accompanied by a Migraine by KHD

I Head to the Bathroom in a Plane Accompanied by a Migraine

“Art is not a mirror held up to reality but a hammer with which to shape it.”
         —Bertolt Brech

AI claimed my arm rest.
The kid behind me plays

soccer with my seat. There is
a pounding in my head and on

and on it drums; the sum of loud
rhymes. AI gave me gum then spit out

that art is dead. Instead consider time,
I said. It beats, yes, but that beat’s

a sign, a pulse, a wave. A blue-water
flush. When two mirrors reflect

each other, where does that wind
up? Smash the glass with a hammer

and write with all the dust.

*

KHD’s love of poetry first bloomed as a child. She memorized Robert Frost sitting on a tree stump and bathed in Edgar Allan Poe as an adolescent. While studying words at Florida State University, she played with chips and became a professional poker player. She’s passionate about the immense potential NFTs present for poetry, and enjoys helping onboard traditional poets primarily through Twitter (@Katie_Dozier). Her poetry has recently been published by Rattle, Frontier, and The Tickle. She maintains TheNFTPoetryGallery.com as a vehicle for showing the potential of CryptoPoetry, regularly speaks at NFT NYC conferences, and hosts “ThePoetrySpace_” weekly on Twitter.

Texas Hold-Em by Susan Shaw Sailer

Texas Hold-Em

Middle-aged, dealt hands of busted
marriages between them, who’d have
guessed by betting on their messy
lives, they’d thrive? She’d forgotten
how to trust, folded men quicker
than she’d hold ‘em. He’d lost
the chair, one chip left. Antes high,
hard to make the call. And yet…
three decades later they still spoon
to warm each other’s flesh, feast
on shared ideas, make meals together
in the kitchen. A once in a lifetime
hand, that royal flush.

*

Susan Shaw Sailer has published three collections of poems—The Distance Beyond Sight, The God of Roundabouts, Ship of Light, and two chapbooks—COAL and Bulletins from a War Zone. Sailer lives in Morgantown, WV, and is a member of the Madwomen in the Attic program at Carlow University, Pittsburgh.

Interview with a Sculpture by Nina Lindsay

Interview with a Sculpture

It was the last
last day of summer last summer.

I don’t remember well since then.
Something’s stilled my appetite

for the clear light of autumn,
though not my taste for it. It just doesn’t fill me.

Before she took the chisel to me I was liquid—
solid—liquid—

like that physicist’s cat that’s both dead and alive
and you can’t know, until it is or it isn’t.

I knew what I was
and nobody else needed to.

Now, it’s okay, you can take a look,
I can let myself be an utter wreck for a minute.

Gold and iron, stone and leaf,
wind, dust, flame, tissue.

I think that you are supposed to come away filled,
as in autumn,

when the sky steps back and disrobes
and the gorgeous distant cold forces us to spin off light.

Like finding the low note in the song. Way down there.
You give it up—

it fills you.
Don’t be embarrassed

by the empty space,
the eventual silence.

She had to decide when to put the chisel down.
Shard, form, spine.

At some point I will collect myself and move on.

*

Nina Lindsay is the author of two collections of poetry, “Because” and “Today’s Special Dish.” Her work has appeared in the Colorado Review, the Kenyon Review, Ploughshares, Prairie Schooner, Rattle and other journals.

Letter to a Dead Husband by Penelope Moffet

Letter to a Dead Husband

You made me laugh
and you still do,
rising through my dreams
with salty one-liners,
your face tanned and ruddy
from whatever you’ve been doing
in the afterlife, there
with your strong hands
kneading bread or pasta
which you now make from scratch,
just as when I knew you
you’d spend whole days
simmering spaghetti sauce,
lentils suffused with ham hocks,
perfecting pesto
fit to serve with copious wine.

For you heaven would be
John Mayall and MC-5
amped up to eleven,
electric guitars and drums
blasting the whole neighborhood,
sweet as a room clogged
with the billowing scent of weed,
no one asking you to turn it down,
no one thinking you should shower,
drink some coffee, catch the bus to work,
restrain your scruffy beard, your wild hair-wisp,
your blue eyes beaming satire
at a too-straight world.

A medium summons up your presence
with exactitude, your manchild
dancing self who won’t shut up,
keeps elbowing back onto the stage
of K’s closed eyes.
My middle name is More.
Heaven is a place where
nothing ever happens,
she says you say.
This isn’t where I thought
I’d end up. I still exist.
I’m with everybody,
the cockroach
that ate Cincinnati
in the shitbox in the sky
with two cats, one meowing
like a human babe.

Prankster tiptoeing away
and sneaking back,
the way you left our marriage
bit by self-subtracted bit.
You moved to Ketchikan
for endless summer days
and winter nights
until your heart blew up,
destroyed by years of drink and fat
delectable to last bite and last drop.

You could live
on Cabernet and comic books,
vodka in the freezer,
bookcases full of Russian history,
pulling mussels from a shell,
telling me I’m lovely
just the way I look tonight,
blue eyes dancing
the better to seduce me with,
incorrigible and selfish
but then all men are selfish
K says you say
before you change into a hippo
twirling in a tutu, telling me
one day there’ll be another man
to cook with in a warm companionable nest.

I think it’s just a dream
the medium relates,
memories and feelings
flickering like electric lights.
And yet that scampering dervish she called up
resembles you, speaks as you would,
sings your songs.

If only I could blaze
with faith, believe you
different from the seal remains
I saw once on a northern island’s shore,
translucent rotting flesh
jittered by waves upon a beach,
almost a human shape,
all power gone.

How can anyone feel sure
the spirit slips its skin,
goes on in other form?

In the middle of the bay
a gray head broke the surface,
dark eyes looked toward me,
then it tucked its head,
it rolled, it dived.

*

Penelope Moffet is the author of three chapbooks, Cauldron of Hisses (Arroyo Seco Press, 2022), It Isn’t That They Mean to Kill You (Arroyo Seco Press, 2018) and Keeping Still (Dorland Mountain Arts, 1995). Her poems have been published in many journals, including The Missouri Review, Columbia, Permafrost, One, ONE ART, Natural Bridge, Gleam, The Rise Up Review, The Sow’s Ear Poetry Review, The Ekphrastic Review and Gyroscope. She has been the recipient of artist residencies at Dorland Mountain Arts, The Mesa Refuge, The Helen R. Whiteley Center and Alderworks Alaska. She has published articles in the Los Angeles Times, Publishers Weekly, Poets & Writers and elsewhere. She has also worked as a publicist for non-profit organizations, as a legal secretary, and as Senior Editor at the UCLA Center for the Study of Women.

Two Poems by Anne-Adele Wight

Arctic

and a darkness
we know nothing about
surrounds us with cold
so we try to warm it
like tigers patrolling the hallway
with a call-and-response chant
in far north language
outside a Wedgwood blue dome
but after twelve nights
chanting into this darkness
we know nothing about
the pole shuts off its lights
now the aurora turns in seasick orbit
between Mars and Jupiter
bruised by hurtling asteroids
if you listen you can barely
hear its choking cry

*

Cat Sitting

Schrodinger’s cat rubs my legs
in a perfect circle
never question the means of magic
or a cat’s mastery
of 360 degrees
woven in place I can’t move
inside a circle half bright half dark
but only will the cat
when it stops winding
to come to rest on the bright side
wondering what might happen
if it lay across the center line
erasing itself by halves

*

Anne-Adele Wight is the author of An Internet of Containment, The Age of Greenhouses, Opera House Arterial, and Sidestep Catapult, all from BlazeVOX. Her work has been published internationally in print and online. She lives and writes in Philadelphia.

Love in False Analogies by Frederick Wilbur

Love in False Analogies

The moon has always been the very embodiment of lyric poetry. . . The great lunacy of most lyric poems is that they attempt to use words to convey what cannot be put into words.

         – Mary Ruefle

Moon, our constant kiss, is the aspirin
for our pale pain, is ballad-wise,
and parable friendly, has a touch of peach.

In lyric diaries heartaches and breaks
are grieved-out: Love’s humoresque
is this broom of language, a-waxing, a-waning.

Love borrows the moon not knowing
its reflective light, the consequence owed,
but like the mother half of invention,

it births all the bliss it can. Moon pleads
like a slightly mocking emoji,
hangs like a paper coaster, slightly wet,

in the periwinkle and pink sky.
(The whole folded makes a fraction.)
Soul, a crutch word, taken to the grave

is not enough to fill it up; Moon dumps
dust like three loads of betrayal;
Love’s sliver snags in the evergreens.

Hope is a lonely word out there in the future.

*

Frederick Wilbur’s collections of poetry are As Pus Floats the Splinter Out and Conjugation of Perhaps. His work has appeared in The Comstock Review, Dalhousie Review, Green Mountains Review, Hampden-Sydney Poetry Review, The Lyric, and Shenandoah among others. He was awarded the Stephen Meats Poetry Award by Midwest Quarterly. He is poetry editor for Streetlight Magazine.

Potato Peeling by Sarah Mackey Kirby

Potato Peeling

Let it be known for historical accuracy
but you can never tell my husband,
that when I’m hand-slimed
from potato peeling
on a Wednesday evening,
water boiling on the stove
and he sneaks up behind me,
grabs my waist,
and twirls me in my dog socks,
and I act annoyed because
I’m trying to time things perfectly,
that I am, in fact, not annoyed.

And when he thinks I don’t hear him
creeping toward me because I have
headphones on, I do hear him.
I pretend I don’t. Because the
drives-me-nuts shock
as he snatches me up and laughs
is his favorite part of it.
So if he knew I know
when he is about to do that,
and since my pretending I don’t
is one thing I love most,
then his knowing I know
would ruin those moments
for both of us.

*

Sarah Mackey Kirby grew up in Louisville, Kentucky. She is the author of the poetry collection, The Taste of Your Music (Impspired, 2021). Her poems appear in Autumn Sky Poetry DAILY, The New Verse News, ONE ART, Ploughshares, Third Wednesday Magazine, and elsewhere. She taught high school and middle school social studies until a few health surprises changed her path. Sarah is an always-teacher-at-heart and a forever second momma to hundreds of students. She and her husband divide their time between Kentucky and Ohio. https://smkirby.com/

Two Poems by Julia Caroline Knowlton

Meditation

March colors stain
perfumed air—

pink tulip magnolia,
ivory dogwood, fuchsia azalea.

Abundance blossoming
in a dark arch of rain.

Within this wet darkening
cries an unseen blessing.

In every hidden bird singing
dies my every word.

*

Getting Older

I am becoming a dappled thing.
Silver threads my hair,
dark spots dot my body
like a speckled egg.

Floaters cloud my vision,
meandering opaque grey
in the tiny sky of my eyes.
My ears ring with a song of demise.

A great poet (immortal)
once praised this color palette—
mottled, rose-stippled,
time’s upstream beauty of change.

I can seed a pieced field
with one odd word.
I feed on instinct, on dream.
I am spare and strange.

*

Julia Caroline Knowlton PhD MFA is the author of five books. Recognition for her poetry includes an Academy of American Poets College Prize and a 2018 Georgia Author of the Year award. She is also a nominee for a 2022 Georgia Author of the Year award. KELSAY BOOKS will publish her third chapbook, LIFE OF THE MIND, in 2023. Julia teaches French and Creative Writing at Agnes Scott College in Atlanta.

Two Poems by Andrea Potos

AFTER LEARNING MY FRIEND HAS DIED

And so it begins,
the tallying backwards
to remember: when was the last
telephone call, the last
text message, last email,
the last time seeing her face, her skin still
lovely smooth in her 69th year–
hearing her buoyant laughter that late
afternoon on her patio, September sun
lighting up the back of her head in the photo
she later joked finally made her
into some form of angelic being.

*

TO THIS DAY
            for Rosemary

The calendar marks three weeks
to this day your heart
slowed to a crawl,
then stopped.
Three weeks that might be
three hundred years
or none at all–
there are no inbetweens,
no middle grounds
in this land of your leaving.

*

Andrea Potos is author of several poetry collections, including her newest book Her Joy Becomes (Fernwood Press). Others include: Marrow of Summer (Kelsay Books), Mothershell (Kelsay Books), A Stone to Carry Home (Salmon Poetry), An Ink Like Early Twilight (Salmon Poetry), We Lit the Lamps Ourselves (Salmon Poetry) and Yaya’s Cloth (Iris Press). Her poems can be found widely in print and online, most recently in The Sun, Poetry East, Potomac Review, Braided Way, and How to Love the World: Poems of Gratitude and Hope (Storey Publishing), and The Path to Kindness (Storey Publishing). Andrea lives in Madison, Wisconsin where she was a longtime bookseller in independent bookstores.

To My Darling, In Flames by Mary Ford Neal

To My Darling, In Flames

In a random act of evil, someone set fire
to the two of us, and we wander the streets
like torches, separately, scorching things we pass.
Choking heat beats out from us
and people draw back from it,

but I want you to know that yesterday,
when we happened to stumble past one another
on Main Street, scattering the shoppers and sightseers,
you were magnificent, my darling—
resplendent in your flames.

Your oranges and yellows were so vivid I could taste them,
and the way they stroked up your sides reminded me
of your fingers on my ribcage. Yes,
most of the faces wore horror.
But know that at least one
was looking at you with pride.

*

Mary Ford Neal is a poet and academic from the west of Scotland. Her work has been published in various magazines and anthologies, including The Interpreter’s House, Bad Lilies, One Hand Clapping, Long Poem Magazine, Honest Ulsterman, After…, Ink Sweat and Tears, Dust, and Atrium. She is the author of two recent poetry collections: ‘Dawning’ (Indigo Dreams, 2021) and ‘Relativism’ (Taproot Press, 2022). Her poetry has been Pushcart and BOTN nominated.

NECESSITY by Ken Poyner

NECESSITY

Everyone notices the bones of a school bus
In an overgrown patch perhaps
A hundred feet behind a family’s
Small house. A bit of wild
Has grown up around the bus
And the farmer lets it go,
Cultivating the land behind and
Beside it. A picture for
Day trippers speeding down the four lane
The farm abuts: bridge over
The drainage ditch, a short
Gravel drive, occasionally mown lawn,
The adequate house – just visible
The patch of wild and its busted school bus.
Even at sixty miles an hour, most people
See it. How odd, a school bus
In an overgrown island in a farmer’s backyard.
No one knows that someone lives there.

*

Ken Poyner has been publishing for 48 years, married for 45 years, retired for seven years. He writes to defeat the numbers. Find his eight available books at www.kpoyner.com or any number of book vending sites. Latest work in “Rune Bear”, “Analog”, “Tiny Molecules”, “Neologism”.

Two Poems by Katherine Riegel

When I Stopped

I never had to beg
for a pony. The horses just

were—muscled motion,
familiar as milkweed

seeds. My mother
had epilepsy and my father

thought that should make
us all as angry as he was,

poor delicate out of control
tyrant with his fists

clenched tight. We lived
so easily then but no one

knew it, the 1970s full
of fear as any decade.

I knew raspberry thorns
and barn smell, freedom

on bike and horseback
and sneakered foot,

place as solid as ice
in the water buckets come

winter. And then they sold
the horses—I had not known

you could sell family—
and we moved to town.

That must be when I stopped
trusting I would be loved forever.

*

She Wanted to Go to the Sea One Last Time

I have been insensitive to delight,
too busy avoiding stones in the road to notice

Icarus falling from the sky—or before that,
his flying. I have stoppered my ears

to the singing as I worked out some problem
in my head, I have watched others speak

and thought only about what I would say.
Swimming in the ocean I have seen pelicans

coast by on cupped wings and looked over
at my sister, her eyes closed in pleasure,

and in the midst of sun and breeze
and the shifting embrace of salt water

I let my throat close with the knowledge
of her dying—great gods of the otherworld

I almost let her see me weep. I have so much
to be forgiven for. I am alive

still, and the dog resting her chin in my hand
gives me the whole soft weight of her head.

*

Katherine Riegel is the author of Love Songs from the End of the World, the chapbook Letters to Colin Firth, and two more books of poetry. Her work has appeared in Brevity, The Gettysburg Review, The Offing, One, Poets.org, and elsewhere. She is co-founder and managing editor of Sweet Lit, and teaches independent online classes in poetry and creative nonfiction. Find her at katherineriegel.com.

Family Portrait by Kathi Crawford

Family Portrait

We stood a crooked line across the porch step—
our father at the mill;
our mother held the camera.

She carefully arranged us for our annual photo session;
dressed me, the only girl, in all-white overalls,
laced-up shoes.

She staged a picture-pattern portrait each year;
light colors for me and dark for my brothers.

The two of us younger kids always clustered
around our second oldest brother knowing
the way he protected the ones he loved.

The oldest always gazed away from the camera—
from my mother’s eye—
detached.

She held these zigzag-cut snapshots
with glue and photo corners
in her motherhood scrapbook—

until the fifth, another boy, was born.

After my parents divorced,
the anthology of our family

was found in a dresser drawer;
pictures scattered—

the context and timeline
ripped apart.

*

Kathi Crawford spends her days as a business and career coach and, by night, writes poetry, flash fiction and creative nonfiction. She hopes to create dialogue through her writing for the challenges of our time and as individuals. Her poetry has been featured in Drunk Monkeys. You can find her on Instagram @kathicrawford or visit her blog at https://adventureinbeingcom.wordpress.com/ or website: www.peoplepossibilities.com.

Self-Portrait in a Shard of Glass by Yvonne Zipter

Self-Portrait in a Shard of Glass
For Sukie

On the ground behind the pet store,
a piece of broken mirror shaped
like a scimitar blade. I bend to look at it.
Only my eyes, nose, and the rind
of my orange knit cap are visible,
my face cut in half, ear to ear,
my head circled by a halo of green
that bleeds down the blade to its tip.
On the heel end, a slice of blue sky,
bleached clear by sunlight. Not since
before they plucked that scrap of uterus
from my gut have I felt whole. Flaws
in the glass scrap like a wall of smoke
between me and the world render my eyes
unseeable, my cheek erased, my mouth
lost at the sharp edge of the shatter—
a semblance of me. But me, nevertheless.

*

Yvonne Zipter is the author of the poetry collections The Wordless Lullaby of Crickets, Kissing the Long Face of the Greyhound, The Patience of Metal, and Like Some Bookie God. Her published poems are currently being sold individually in Chicago in two repurposed toy-vending machines, the proceeds of which are donated to the nonprofit arts organization Arts Alive Chicago. She is also the author of the nonfiction books Diamonds Are a Dyke’s Best Friend and Ransacking the Closet and the Russian historical novel Infraction. She is retired from the University of Chicago Press, where she was a manuscript editor.

Three Poems by Anna Gayle

landscape with sex and middle school hallways
after Lynn Melnick

mostly men keep singing
and I do not know what to call
the space between my legs
until they tell me—thigh gap
pussy

mostly men keep singing
and I remember the blue-striped
wall of the tiled hallway
and I remember
rows of lockers blurring

mostly men keep singing
and I was a girl
when I learned to run
a song chasing me
in some major key
because there is so much
to be glad about

*

blessed are the meek

the hallways behind the sanctuary kept our secrets tucked under their orange
carpet. the games of giving

birth: we laid our girl bodies on freshly
vacuumed lines and opened our legs and

squeezed a hand. we understood babies needed fathers but did not know how
fathers became themselves.

we did not ask questions: we brought boys to the back of the church to play
house and sometimes

let them kiss our mouths and sometimes
let them tackle us to the ground and sometimes

let our skirts gather at our waists, cotton lifting like halos over our heads.

we knew our shoulders were as secret as our knees; we knew sin began wit
sight and once we were seen

we could be touched, but not forgiven.
we knew Jesus died with his body on display,

so we let the boys undo our buttons and pin our palms to the stucco walls and
we took turns sacrificing.

*

in the beginning

            The man said, “The woman you put here with me—
                        she gave me some fruit from the tree, and I ate it.” Genesis 3:12

truth be told, Adam was the first body
violated in his sleep.

God dipped holy hands
between clay flesh and out of a rib

made permission
for men to do as he did.

the men I know say they are faithless,
but if they did not believe in Adam’s God

they would not know practices
as ancient as these:

entering an unconscious body.
breaking skin to see it bleed.

making soil of a wound
and naming each bloom

(even the weeds, even their seeds)

demanding a body, any body,
warm and thirsty.

molding miracles in cavities
and calling it good.

ending stories with words
like asking for it

and calling it good.

               Note: this poem borrows part of its first line
                           from “Confession” by Leila Chatti

*

Anna Gayle is a poet, educator, and artist whose work explores themes of black womanhood, collective femininity, and chronic illness. She is an MFA candidate in poetry at Oregon State University where she serves as the arts & comics editor for literary magazine 45th Parallel. Her poems have been published, or are forthcoming, in Rogue Agent, The Mantle, Thimble Lit Magazine, and Empty House Press. Anna’s work has been nominated for the Best of the Net Anthology and a Pushcart Prize.

Distant by Alina Macneal

Distant

When you don’t come home for dinner
I check the calendar.

Boston. Oh. San Diego. Oh.
Or nothing. I like nothing. I like losing track of you.

I let dishes pile in the sink. Pour a vodka tonic.
Put on Lucinda Williams.

If you opened the door now, jacket over your elbow,
I’d be disappointed.

Did you remember I was going out? I’d say.
And I’d go.

Sometimes we touch along the edges
where our circles overlap,

then spin away, silent
like planets.

*

Alina Macneal is a Philadelphia-based educator, writer, and architect. Her poems have appeared in Apiary, Poems for the Writing, The World to Come, Poetry 24, Welcome to the Resistance, and other publications. Born in Poland, she came to the US with her family as a child, growing up bilingual in the mono-lingual suburbs of St. Louis. She lives in University City and has been on the faculty at Drexel University for 30 years.

Ordinary Substance by Laura Grace Weldon

Ordinary Substance

Our implausibly tough luck
suggests the floor is lava,
the apple is poison,
the underbed monster
is on the loose

yet proves, time after time,

benevolent strangers,
enchanted gardens, and
magic potions are also real
each entirely made of
an ordinary substance—

Gratitude.

Don’t imagine some
sweet scented gauzy thing
held together with whispers.

Her power grows muscled
with use. It can be summoned
instantly, even during the most
wretched trials.
Especially then.

Gratitude’s face may be bittersweet,
but her feet
are on the ground.
Try to knock her down,
she will rise for another round.
She will rise and rise and rise.
You will rise with her.

*

Laura Grace Weldon lives on a small ramshackle farm where she works as a book editor, teaches writing workshops, and maxes out her library card each week. Laura served as Ohio’s 2019 Poet of the Year and is the author of four books. Connect with her at lauragraceweldon.com and on the twits @earnestdrollery.

How to Prep for the Next Apocalypse by Vernita Hall

How to Prep for the Next Apocalypse
Stockpile toilet paper.
Make amends. Hurry.
Avoid snakes religiously. That apple a day—a banana instead?
Pack a deck of cards. The Cherubim is a fiend for solitaire.
Hoist two flags: Stars and Stripes, Confederate. What the hell.
Pascal’s wager on belief in God? (Three out of four, you win.) Hedge your bet: believe.
Light a candle. Say a prayer. Toss salt over your left shoulder.
Place sugar cubes in your pockets for those pale horses parading past. Couldn’t hurt to
get on their good side.
If you spy moon-eyed, slow-mo marchers slide your way, stiff-armed like sleepwalkers,
don’t shake their hands, don’t offer them candy. They are not trick-or-treaters.
Draft contingency plans. Perhaps reincarnation, as a cockroach or tardigrade.
When you hear the chorus sing, hold your applause until the end.
Should you feel your body rising, yes—do go into the light. You’ll be eternally grateful.
If not, better luck next time.
*
Vernita Hall is the author of Where William Walked: Poems About Philadelphia and Its People of Color, winner of the Willow Books Grand Prize and of the Robert Creeley Prize from Marsh Hawk Press; and The Hitchhiking Robot Learns About Philadelphians, winner of the Moonstone Press Chapbook Contest. Her poems have appeared or are forthcoming in Poetry, American Poetry Review, African American Review, Barrow Street, The Common, River Styx, The Hopkins Review, Arts & Letters, and Obsidian. She holds an MFA in Creative Writing from Rosemont College and serves on the poetry review board of Philadelphia Stories.

four ‘Memory’ poems by Luke Johnson

Memory

of my mother
with a sponge

and a bucket
of a bleach.

How she’d
weep

while scrubbing
words

from white tile
my mute

sister scrawled
in crayon

and ask
for a melody,

the pitch
of a bird,

to rise
from my lips

and lead
her out,

into the
radiant snow.

*

Memory

of my sister
losing

words
like miniature

combs
and my

mother
behind

her
picking up

pieces.
But never

the right
color

right comb,
always

the wrong
word:

happy instead
of help

wither
instead

of water,
the not

of her
tongue

turned
to know.

*

Memory

of my ear against
the ground
& my mother
above me
begging for answers.
How the nest
began
with a crack
in the concrete
then moved
up the walls,
like fears
in the form
of a question.

*

Memory

of the ghostly
croon of Emmylou

while my mom
clipped mint

and pruned bovine
and collected

peas so sweet
I thought

of the fair
and cold coke

and cotton candy
shared between

my sister’s
hands and mine,

while we circled
sky in summer

and saw nothing
but blue

nothing but birds,
weaving

their blurred
calligraphy.

*

Luke Johnson’s poems can be found at Kenyon Review, Narrative Magazine, Florida Review, Frontier, Cortland Review, Poetry Northwest and elsewhere. His manuscript in progress was recently named a finalist for the Jake Adam York Prize, The Levis through Four Way Press, The Vassar Miller Award and is forthcoming fall 2023 from Texas Review Press. You can find more of his poetry at lukethepoet.com or connect at Twitter at @Lukesrant.