Plastics by Christy Prahl

Plastics

My mother throws
a Tupperware party.

Only two women come,
eating their body weight

in deviled eggs, listening
to a consultant pitch them

canister sets, colanders,
lemonade pitchers.

The fish aren’t biting.
The pond barely

eddies. My sister and I
pool our birthday money

and ask to buy a set
of nesting bowls.

We will free them
like Matryoshka dolls,

load their cavities
with marbles,

coins, barrettes, and stones.
Fill up our containers.

*

Christy Prahl is an Illinois Arts Council grant recipient and the author of the poetry collections We Are Reckless (Cornerstone Press, 2023), With Her Hair on Fire (Roadside Press, 2025), and Catalog of Labors (Unsolicited Press, fall 2026). A multiple Pushcart Prize and Best of the Net nominee, her work has been featured in Poetry Daily as well as many national and international journals, including the Asheville Poetry Review, CALYX, Rattle, Louisville Review, Penn Review, Sugar House Review, Salt Hill Journal, and others. She was a featured poet on the Hive Poetry Collective podcast in April 2025, and two of her poems have been set to music by post-punk musicians. She splits her time between a small workers’ cottage in Chicago and refurbished Quonset hut in southwest Michigan. More at https://christyprahl.wixsite.com/christy-prahl.

Fortune Cookie by Kari Gunter-Seymour

Fortune Cookie

Who knows how long that crisp-wannabe
confection huddled in the side pocket
of my car door, or what karmic labyrinth

brought me to this piebald prophesy,
my delight at my find bordering
on ridiculous, a gaggle of words

shrugged together like a kiss for luck
and damn if there isn’t a QR code
hoping to further enhance my fascination.

Hope can be a tough sell when so many
are suffering in the world. It’s easier to notice
what’s wrong than what’s right.

Across the street my neighbor’s wife
is dying, so, too, democracy
according to the media.

A paper strip of quivering letterforms
predicting the future is a hoot, right?—
a shameless self-indulgence,

a distraction from sorrow, a frivolity
to share with a friend, a cheeky
infatuation of farcical futility.

*

Kari Gunter-Seymour (she/her) is the Poet Laureate of Ohio and the author of three award-winning collections of poetry, including Dirt Songs (EastOver Press 2024) winner of the IPPY Bronze, NYC Big Book and Feathered Quill Awards. She is the Executive Director of the Women of Appalachia Project and editor of its anthology series Women Speak. Her work has been featured in a variety of journals and the American Book Review, Poem-a-Day, World Literature Today and The New York Times.

www.karigunterseymourpoet.com
I: karigunterseymour

And in the end, what does a life add up to? by Jen Soong

And in the end, what does a life add up to?

Birthday candles, sacred wishes,
surprise thunderstorms, impromptu
dance parties, surreptitious kisses under the
bleachers, skinned knees, scars only you can
identify, the number of times your heart
has been broken, hushed farewells, gifts
you did not know were gifts at the time

It’s uncertain, this calculus, you count
the days, mark the calendar, add and
subtract memories and in the end, what
does a life add up to?

You see, I’m neither mathematician nor
mortician. I like to make lists. I keep
a word bank in my pocket with favorites,
the ones skimming your tongue
like a kingfisher: accordion, archipelago,
bounty, chittering, flotsam, gossamer, lodestar,
mollusk, nocturne, tributary, vestige, yearling

I gift them to you in alphabetical order. Whisper
them like prayers, my friends. Count the days.
Let the tears spill from your eyes like
rivulets. Look for the moments that feel like
divination. Remember: Jane Goodall said not to
lose hope. She knew how to listen, truly listen

You see, in the end, you piece together
a life with what’s in front of you: butter knife,
honey jar, apricot marmalade squeezing
out whatever sweetness you can and never
forgetting to lick each trembling finger

*

The daughter of Chinese immigrants, Jen Soong is a writer, artist and educator based in Northern California. She is the author of Extra Ordinary Days, a collection of poems and art, and the creator of See You See Me, a collage book exploring Asian identity and acts of resistance. An alum of Tin House and VONA, her writing has appeared in The Washington Post, The Audacity, Black Warrior Review and Best Small Fictions. She received her MFA in creative writing from UC Davis. Find her work at jensoong.com.

Free from Want by Lana Hechtman Ayers

Free from Want

I never understood why my mother ordered less
pastrami than corned beef for Thanksgiving,
since it was pastrami, oozing grease like a Texas
oil derrick, that was more popular, devoured first
from our Kuck’s delicatessen spread—sour pickles
big around as my wrist, potato salad with hard-boiled eggs,
mustard and mayonnaise, plus carrot shavings for crunch,
my favorite, and coleslaw with purple cabbage strands,
always too sweet and swimming in a pool of vinegar,
plus fresh baked rye bread laced with carraway seeds,
sliced thick enough to load sandwich stuffings that could
rival the size of a turkey, I mean an entire intact bird,
not that I knew from family experience because
my mother would rather gargle lighter fluid
than deign to cook one of those creatures whose meat
she claimed stank like my father’s grimy work shirts,
but this was the one day of the year we could pig out
in public, I mean eat and eat and eat ourselves
into a sleep coma if we wanted to, and I did because
other days I had to be good, pretend I could stop
before my plate was empty, be full on half a meatball
and ten spaghetti strands carefully counted out,
being slopped on my plate with a ladle of watery red
gravy and a smidgen of mushy Green Giant canned
peas, as if these meager portions were enough to fill
the hole in my belly, the hole in my soul that ached
to be served the gooey chocolate confection of a single
I love you from my mother’s luscious, Kool-cigarette-bearing lips—
smoke and ash, that was what I gobbled every other day of the year.

*

Lana Hechtman Ayers is the author of several collections of poetry, most recently The Autobiography of Rain (Fernwood Press). Sky Over, her newest chapbook, is forthcoming in 2026. Recent poems appear in Peregrine, Blue Heron Review, and Bracken. Say hello online at lanaayers.com.

Like Schrödinger’s Cat by Betsy Mars

Like Schrödinger’s Cat

he both was and wasn’t
dead, when we walked by,
children in tow, and he curled up,
blocked the sidewalk, either passed out

drunk from too much the night
before, or maybe just gone,
slipped away in plain sight,
while the tourists, all of us,

came and went, looked away,
intent on beignets and chicory coffee,
powdered sugar mounded on our plates.
He was still on the ground

when we returned from the Café du Monde,
vampires gone to bed, saxophones resting
in their velvet cases. He lay undisturbed
in the same position, not dead we thought,

though we didn’t check for breath,
but a composition, a still life, or not.
We skirted him, discussed the day to come,
decided he’d had too much,

shook our heads, walked on
to catch the trolley, preferred to think
he was still in the box, on this side
of life, for the children’s sake

we kept our pace, we didn’t slow,
just another man we‘d never know.

*

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

Three Poems by Rosemerry Wahtola Trommer

Inviting Obama for Thanksgiving Dinner

I no longer remember much of etiquette
from reading White Gloves and Party Manners,
so when Obama doesn’t come to our house
for Thanksgiving dinner, I needn’t worry
that I’ve forgotten how to address a former president
in an informal setting. I do, however, remind my kids
that if Obama were sitting with us,
they would want to remember to put their napkins
in their laps. They do.
And you probably don’t want to lick the serving spoon,
I add, as it goes from the cranberry sauce
into an eager mouth. And we don’t talk about farting.
The whole time Obama isn’t eating mashed potatoes with us,
we wonder what he is eating with his family
and what they are talking about,
and if he might not just accept an invitation
to our home for dinner. If he did,
we agree we would refrain from using the knife
with the butter dish to butter our own bread.
And, uncertain how to address him,
we’d just ask him personally how he’d like be called.
I’d like to believe that Obama might actually show up.
He’d knock at the door in his elegant and humble way,
no fanfare, holding a side dish of roasted brussels sprouts,
and we’d listen as he told us what he’s up to these days.
As it is, it’s kinda fun when he doesn’t show up
and we act like ourselves. I eat my green beans
with my fingers—they taste better that way.
My daughter plays with the candlewax.
Sometimes, I lick my plate.

*

Grace

Though the world is dented and dinged
and scuffed and scorned,
we trim the beans and peel the potatoes,

and the kitchen is warm and full
of laughter. We hum as we work
and break into scraps of song.

All day our hands are joyful
as they prepare the meal to come.
Even now, there are wars and battles,

not all of them fought with guns,
some waged intimately in our thoughts,
our scraped up hearts. And still,

this scent of apple pie, sweetening
as it bakes, this inner insistence
that love is not only possible,

it is every bit as real as our fear.
Whether the host has brought
out his best wine and his best crystal glasses

or water in chipped clay cups,
there is every reason to be generous,
to serve not only our family, our friends, ourselves,

but also those we don’t yet know how to love
and those parts of ourselves we have tried
to keep separate. Tonight,

the host has hidden bait in the dinner—
we all are caught. Scent of sage,
scent of mushrooms and cream. The bite of cranberry.

Never mind the potatoes cooked too long.
Blessings seep into all the imperfect places,
even if you can’t name the blessings—

consider them secret ingredients.
The point is not to understand the feast,
but to eat, to eat it together.

*

What the Sky Knows

Before the feast,
I slip outside
into the rose glow
of evening and
talk to my loves
who no longer
walk this earth,
and I thank them
for being in my life
and I cry and cry.
How is it possible
at the same time
to hold so much grief
and so much gratefulness?
And the sky holds me
and the rooftops, the
streets and the fields,
the factories and forests,
it holds it all, holds
what is most beautiful,
holds what is most foul.
It doesn’t try to change
anything. Like that,
it seems to say
as it turns a deeper
rose. Like that.

*

Rosemerry Wahtola Trommer is poet laureate for Evermore. She co-hosts the Emerging Form podcast. Her daily audio series, The Poetic Path, is on the Ritual app. Her poems have appeared on A Prairie Home Companion, PBS News Hour, O Magazine, American Life in Poetry, and Carnegie Hall stage. Her newest collection is The Unfolding. One-word mantra: Adjust.

On Thanksgiving no one wants to hear poetry by Linda Laderman

On Thanksgiving no one wants to hear poetry

I ask my son; would you like to listen to a poem?
Not really, he says, do you want to hear football scores?

His newly divorced friend says you know I should read
poetry. I liked it in college, though he says he doesn’t recall

which poets he read. It’s too long ago, but I liked Frankenstein.
I remind him that it’s Mary Shelley’s novel, not Percy’s, the poet,

My granddaughter, the swimmer, scrunches her nose when
I mention how she could have fun with sonnets, write 14 lines,

or take lines from other poets and create your own poem, a cento.
Think of it like swimming, each stroke builds on the next one.

She rolls her eyes and takes another bite of mashed potatoes.
Everyone explains why poetry holds no metaphor for their lives—

how they never liked verse, except maybe Mother Goose,
and who has time to learn to read or write poetry when

they’re busy with work and kids? My daughter-in-law
says, I remember a poem by Emily Dickinson, about a feather.

That gives me hope, so I ask my grandson what he’s read.
We read Keats and Poe, sophomore year, but I’ve forgotten it all.

When the dishes are cleared, we sit near the fireplace.
I’m going to read a poem, I say, and pull a paper from my purse

After I’m finished, my daughter-in-law’s eyes well. My son fidgets
with his watch and asks if anyone knows who’s winning the game.

*

Linda Laderman is a Michigan writer and poet. She is the 2023 recipient of The Jewish Woman’s Prize from Harbor Review. Her micro-chapbook, “What I Didn’t Know I Didn’t Know” will be published online at Harbor Review in September, 2023. Her poetry has appeared in The Gyroscope Review, The Jewish Literary Journal, SWWIM, ONE ART, Poetica Magazine, and Rust & Moth, among others. She has work forthcoming in Thimble Literary Magazine and Minyan Magazine. For nearly a decade, she volunteered as a docent at the Zekelman Holocaust Center in Farmington Hills, Michigan. Find her at lindaladerman.com

Two Poems by Laurie Kuntz

Kansha Sai

That’s Japanese for Thanksgiving,
“The festival of gratitude.”
Here I am in Japan
at the end of November
alone, giving thanks.

It was a poet that said “Alone is a stone.”
Today the stones are shimmering
under a fading fall sun
and to be alone allows the landscape of memory
to stir under this wizened sky.

My son was once afraid of the sky,
he never wanted to look up
thinking he would be swallowed.

Today, I am thankful
he has gotten over that fear.
Thankful for much on this day
when bombs are going off elsewhere.
But there are always bombs going off,
and we carry our own inner grenades
waiting to explode into a sullen sky.

Yet, I remain grateful:

For sons, for stones that shimmer,
for an ebbing autumn,
knowing that alone, I am together
with so many who are like scattered seeds
ripening into buds and waiting to bloom
in all the places I am not.

*

My Son’s Sweatshirt

Father and son come by,
tell me they are going camping.
into woods, bear country, past scorpion rock
to black lakes carpeted with lichen stones visible only by toe-touch,

and I worry about my son’s pearl tipped toes
scraping all things jagged in dark pools having no bottom.

I tell him what to pack for this time with his father,
remind my son that he was named for survival,
I open the drawer where he keeps his warm clothes.

The car disappears into a single lane leading to thinner air,
when I can no longer see the trail of exhaust,
I turn back into the house
and see my son’s sweatshirt—forgotten.

Its rumpled form, deserted by the body of my son,
this gift, I continuously give to his father—
a father who I hope remembers
that in the woods, there are no sonatas to perfect,
and long division is just a maze of Manzanita bush.

I hang up the sweatshirt,
its collar pinned to a hook,
tonight my son will know the cold
and the sound of high mountain wind,
the only whisper tucking him in.

*

Laurie Kuntz has published two poetry collections (The Moon Over My Mother’s House, Finishing Line Press and Somewhere in the Telling, Mellen Press), and three chapbooks (Talking Me Off The Roof, Kelsay Books, Simple Gestures, Texas Review Press, and Women at the Onsen, Blue Light Press). Simple Gestures, won the Texas Review Poetry Chapbook Contest, and Women at the Onsen won the Blue Light Press Chapbook Contest. Her 6th poetry book, That Infinite Roar, will be published by Gyroscope Press at the end of 2023. She has been nominated for three Pushcart Prizes and a Best of the Net Prize. Her work has been published in Gyroscope Review, Roanoke Review, Third Wednesday, One Art, Sheila Na Gig, and many other literary journals. She currently resides in Florida, where everyday is a political poem waiting to be written. Visit her at: https://lauriekuntz.myportfolio.com/home-1

Gratitude on Thanksgiving

Gratitude on Thanksgiving

Thank you to the ONE ART community for being lovely people and for your unwavering support of the journal and each other. A wonderful space has been cultivated together.

Special thanks to those who have donated to support ONE ART.

We look forward to curating exceptional work in 2024.

There is always room for improvement. Let us know what we can do better this coming year.

You can find regular updates from ONE ART on Facebook & Twitter (X).

What can yield more reasons for gratitude in the rearview in 2025?

Don’t be afraid to ask hard questions or suggest ideas that may not end up being feasible. Happy to have the conversation.

Sending good wishes,

Mark Danowsky & Louisa Schnaithmann
Editors
ONE ART

Two Poems by Tamara Madison

One Thanksgiving

My daughter, I know,
will not be coming
all the way from school
in New York. Then my son
says he’ll spend the day
with his girlfriend’s folks;
he can’t make
the long drive down
for our favorite holiday.

Ah, I say to myself.
They hurt you
when they enter this world;
they hurt you again
as they leave your side.

I take my solitary self in hand,
invite some lonely friends and plan.
So strange, without my daughter’s
kitchen skills, my boy’s
toasts and cheer and help.
I make the meal myself this time;
I even make the pies.

The friends arrive,
the wine is opened;
we gather around
the golden bird,
beets glistening on a bed
of garlic-studded greens,
the cranberry sauce
I always make
with marmalade
and lemon zest.

The moment I set
the last dish down,
the front door opens
and my lad walks in,
with his love on his arm.
My astonished face,
my friends will tell me later:
the embodiment of Thanksgiving.

*

Staying With My Sister

My sister’s husband says they can’t
go out to dinner anymore — there’s nothing
to talk about. He asks me to stay with her
while he goes to a conference.
I am glad for the change of scene
and to be with my big sister who has shown me
so much love all my life. I take her
to a restaurant — there’s plenty to talk about:
the menu, other diners, our parents.

My sister used to love to cook.
Now I’m the one making meals.
She wants to help, asks if she should
peel the garlic. Sure, I tell her, not thinking
as her husband might, of the perils
of the paring knife. I busy myself
with the rest of the meal. When I turn back,
I see she has peeled both whole knobs:
the cloves cluster like a trove of pearls.

*
Tamara Madison is the author of the chapbook “The Belly Remembers”, and two full-length volumes of poetry, “Wild Domestic” and “Moraine”, all published by Pearl Editions. Her work has appeared in Chiron Review, the Worcester Review, A Year of Being Here, Nerve Cowboy, the Writer’s Almanac and many other publications. A swimmer, dog lover and native of the southern California desert, she has recently retired from teaching English and French in a Los Angeles high school. Read more about her at tamaramadisonpoetry.com.

This Late Thanks by Hayden Saunier

This Late Thanks

Hickory nuts shake down from shagbarks
onto blacktop, their leather cases cracked

at the seams, releasing the dense center
that as a child, I’d try to bust open

for food with a hammer against stone.
It never worked out. My first careful blows

revealed an intricate chambered hardness
that clenched the meat too tightly for my fingers

to pick out so I’d bring the hammer down
hard as Thor, which smashed the halves to mush

shot through with broken shell, impossible
to eat. Sometimes, even a truck can’t bust

a hickory nut’s core. Today, they drop
and settle atop asphalt, or skitter

into ditches to soften and take root,
get storm-washed into creeks to rot, decay,

go round again. For years, I thought that if
I really tried, I could discover where

the sweet spot lives between slow patient time
and swift obliteration— the perfect

angle, words, or pressure point to crack,
precisely to the right degree, the small

hard architectures held so tight inside—
but no such place. Instead, I have this late

and quiet thanks for fate or happenstance
or maybe even grace, that any one of us

has fallen, broken just enough,
onto an earth, or into hands, that give.

*

Hayden Saunier is the author of five books of poetry, including A Cartography of Home, published in 2021. Awards include the Pablo Neruda Prize, Rattle Poetry Prize, Gell Poetry Award, Keystone Prize, and a dozen Pushcart Prize nominations. She directs No River Twice (poetry + improvisation), an interactive, audience-driven poetry reading/performance. More at http://www.haydensaunier.com.