Trans* by Mary Meriam

An Ekphrastic poem inspired by Metamorphosis 2, by Thomas Terceira.

Kitty is my monument to selfhood.
Drown me now, sailor.
Fir fir fir fir, o little white blossom, save me.
I told them Love poems have no pronouns in newsprint.
She misses her mother, had a few surgeries.
Now these wings on my back and a mustache.
Now she’s telling me her dreams and nightmares.
Just get off my back, this is my map.
Sleepy, erudite, easy, ooooo, bat legs, foxy.
It shares a language, it speaks for the self
and for more than the self; it speaks for the culture.
No way will I have a birded head or be suppressed,
restricted, criminalized.
“And that night, they were not divided.”
The poem serves as a substitute culture
with towns and cities of selfhood.
Then she starts blooming into a striped wallflower.
No one could look at the brown blind little creature.
Gertrude, what is trust? A haphazard dynamic.
Take this red road to Rahway. You will find the sticks.
The sticks will be bats. Toss them into the sea or hit homers.
The tiny, starving, thirsty, trampled plant is trust.
Trust is a mother holding her infant.
We learn the extent of our comfort in her arms.

 

 

First published in Ekphrastic Review.

 

 

Mary Meriam is the founder of Lavender Review, cofounder of Headmistress Press, editor of Irresistible Sonnets, and author of The Lillian Trilogy. Her poems have been published by The New York Times, the Poetry Foundation, Oxford University Press, National Public Radio, Penguin Random House, University Press of New England, Seal Press, and many literary journals.

A Lady by Amy Lowell

You are beautiful and faded,
Like an old opera tune
Played upon a harpsichord;
Or like the sun-flooded silks
Of an eighteenth-century boudoir. In your eyes
Smoulder the fallen roses of outlived minutes,
And the perfume of your soul
Is vague and suffusing,
With the pungence of sealed spice-jars.
Your half-tones delight me,
And I grow mad with gazing
At your blent colors.
My vigor is a new-minted penny,
Which I cast at your feet.
Gather it up from the dust
That its sparkle may amuse you.

 

(Amy Lowell, 1874-1925.)

 

Photo of Amy Lowell c. 1916 by Bachrach. 

Identification In Belfast By Robert Lowell

(I.R.A. Bombing)

The British Army now carries two rifles,
one with rubber rabbit-pellets for children,
the other’s of course for the Provisionals….
‘When they first showed me the boy, I thought oh good,
it’s not him because he’s blonde
I imagine his hair was singed dark by the bomb.
He had nothing on him to identify him,
except this box of joke trick matches;
he liked to have them on him, even at mass.
The police were unhurried and wonderful,
they let me go on trying to strike a match…
I just wouldn’t stop you cling to anything
I couldn’t believe I couldn’t light one match
only joke matches… Then I knew he was Richard.’

 

(Robert Lowell 1917-1977.)

Wolf 1061 By David Rodriguez

At about 2.5 ft/sec, a
body in the Loop Current
will disappear posthaste.

Our planet is pitiless,
the nearest goldilocks
14 light years away,

only 4 times the mass
of earth and rocky,
with 18 day orbits.

Perhaps life has existed
near Wolf 1061
the decade we’ve watched,

and bodies warm
in a gulf stream
like Southerners here,

2 weeks to decompose,
8-12 years to finish…
But perhaps not. I can

imagine that world
still unwilling to
loop to death, still pristine.

The chance is as
real and as fun
as the skeletons inside us.

 

 

David Rodriguez is a writer and teacher based in New Orleans with an MFA from Florida State University. He has previously been published in the New Orleans Review, The Southeast Review, The Sandy River Review, Hawai’i Review, and Jarfly, among other places.

Two Poems by Marta Shaffer

Carcasses

We are hibernating, but it’s not winter.
We are in the middle of the lake,
but we are not swimming.
We’ve made an island of a canoe.
I brought berries, nuts and plums
and you brought beer, and some poems
that I wrote. Staring out into the woods,
I wonder how many mountain lions are prowling,
scraping their huge paws against bird carcasses
on the ground. They don’t eat dead animals,
you correct me. And they’re nocturnal.
And I point out that we’re not swimming,
but we’re still in the middle of the lake.

 

 

First published in the collaborative chapbook, Five by Five. 

 
Imbalance

The pills aren’t for me: they’re for
the man who lives in my stomach,
who is hoisting up my spine with a stick
upon which he is trying to balance
the spinning plate in my head. It wobbles
like a warped record on a player.
The man’s neck hurts from always
looking up at the bottom of the plate.
The pills are to ensure he does not lose his
job.

 

 

Marta Shaffer is completing her MA in English at California State University, Chico, where she received first place in the poetry category for the 2015 Intro Journals Project Award. She has worked as a student co-editor/poetry slush pile reader for Watershed Review. She was the winner of the haiku contest judged by Kazim Ali at the Wordspring Writing Conference in 2014. Marta has upcoming work appearing in the fall issue of The Finger, and was also a Chico News & Review finalist in the 2015 Poetry 99 contest. She cannot roll her tongue. She hails from Minnesota.

 

Photograph of a mountain lion in Grand Teton National Park (not at night) courtesy of the National Park Service. 

Three Poems by Rishitha Shetty

Why we speak

My grandmother’s song
grows in fields, where
joy is trapped
in the clap of tongues,
grief twirls between teeth,
and silence is sculpted with
fractured pause.
She sings of words dressed in ink,
drying in the folds of wrinkled spring.
To save them is to
frame them in speech.

Ripples

come from fists
breaking open skin
of stagnant ponds,
cut banana slices in milk,
light kissing folded pages of poetry,
apologies churned out of
stuttering lips,
and in the heel of wise old women
standing over history,
with wind parting their hair.

God of half hill

God-
of half hill.
The other half for
storm goddess, that wily bitch-
he was a sword wielder,
would find stolen gold
from the ear of corn,
spit in faces
Of bystanders.
She chewed,
mouth open-
stepped on his toe
when he stretched.

God –
Striped of fury-
for fury belonged to the storm,
and him, the half hill.

God-
bathed in silver light-
storm goddess pulls snakes
out of her nostril
skin, lilac of
evening oceans-
untouched by spite.

 

 

Rishitha Shetty lives in Bangalore, India. She has been previously published in Spark, The Indian Review, The literary yard and The Quail Bell Magazine. She is a member of Bangalore Writers Workshop.

 

Photograph by Flowcomm.

A Desperate Season by Devon Balwit

Leaves flare
a loosening
of petioles,

a foot-shuffling
rustle
of rain-sticks.

Squash smirk,
lopsided,
match-hungry.

The days fold
ever smaller—
messages

held beneath
the tongue
and passed

through barbed wire
to the hands
of sympathizers.

 

 

Devon Balwit teaches in Portland, OR. She has six chapbooks and two collections out or forthcoming: How the Blessed Travel (Maverick Duck Press); Forms Most Marvelous (dancing girl press); In Front of the Elements (Grey Borders Books), Where You Were Going Never Was (Grey Borders Books); The Bow Must Bear the Brunt (Red Flag Poetry); We are Procession, Seismograph (Nixes Mate Books), Risk Being/ Complicated (with the Canadian artist Lorette C. Luzajic), and Motes at Play in the Halls of Light (Kelsay Books). Her individual poems can be found or are upcoming in Cordite, The Cincinnati Review, The Carolina Quarterly, Fifth Wednesday, The Ekphrastic Review, Red Earth Review, The Fourth River, The Free State Review, Rattle, Posit, and more.

 

Original photograph by Khlim28. 

Two Poems by Mark J. Mitchell

Pacific Heights

The man saw fog
swallowing the top
of every building
that made up downtown.

He walked up
the long hill
and looked back—
A city in eiderdown.

Feeling a lack
of city, missing buildings,
he closed a tiny door
on the gift-wrapped town.

Somewhere he knows fog
will melt and soft-topped
monuments will show up.
The sky goes from gray to black.

fog two

A Secret Craft

The only time to tune foghorns
is when you can’t see them, when mist
will lick fingers and lashes form
prisms, breaking light. You exist—
a shadow cast by foreign storms—
your ears cold but soft as the fist
that taps this bell up. That one lists
to starboard—twist it hard a-port—
the only way. The tunes foghorns
sing can’t be seen, just felt through mist.

 

 

Mark J. Mitchell’s latest novel, The Magic War just appeared from Loose Leaves Publishing. He studied writing at UC Santa Cruz under Raymond Carver and George Hitchcock. His work has appeared in the several anthologies and hundreds of periodicals. Three of his chapbooks— Three Visitors, Lent, 1999, and Artifacts and Relics—and the novel, Knight Prisoner are available through Amazon and Barnes and Noble.. He lives with his wife Joan Juster and makes a living pointing out pretty things in San Francisco.

How to Become an Artist by Anthony DiPietro

a river in chaos. brave existence. sudden
roads. kidneys in chaos. sleep, sleep. a mother—
she is everyone’s mother. when you wake, you remember.

a bridge crumbles of its own will. then
it is no bridge. ask the tumbling river, what
shall I say? sleep. place at the ocean floor

the name you give yourself but never
speak. reserve the right to grasp for it
tomorrow. a child dies at noon. you must sit

with faith. you must sit with a genuine loss
of faith. this is not something you can fake.
become a child with no understanding. death

comes to your door in triumph & soon.
rivers continue to carve. if you let
your enemies freeze then you too must be consumed

with uncertainty. fill your goblet again & drink.
you will sit in a hollow valley. feel your strong
lungs open up. you will feel mud

fill those lungs. if so, tell only lies.
give me something to make me sleep. give me
something to burn the barn, destroy pink flesh.

 

 

Anthony DiPietro is a Rhode Island native who worked for 12 years in community-based organizations that addressed issues such as violence, abuse, and income inequality. In 2016, he moved to New York to join Stony Brook University as a candidate for a creative writing MFA and now teaches undergraduate courses. A graduate of Brown University with honors in creative writing, his poems have appeared or are forthcoming in The American Journal of Poetry, Anomaly, Assaracus, The Good Men Project, Helen, Rogue Agent, The Southampton Review, Talking River, and The Woman Inc. His website is AnthonyWriter.com.

Image: Junction of the Yukon and Koyukuk Rivers, Alaska, August, 1941. USGS. 

Attack of the Fanatics by Mary Meriam

Detail of Sappho Leaping into the Sea, by Theodore Chasseriau, 1840.

Breathe, darling, breathe. I cannot
for the life of me patch the ocean.
Ghetto on the fraught sea, blinding.
Did they question the men also?
Or did they only question the women?
The lesbians are policing the lesbians.
Who are you? How do you define yourself?
I list weakly as the interrogators
peer through my telescope backwards.
I am all adrift in the spring fog, trembling.
Port to starboard, keel to mast, mainstay,
my sails a-shiver in the salt-stained waves,
I am unknown to myself, with only a word
my sisters found on Lésvos and gave me.

 

 

First published in The Gay & Lesbian Review.

 

 

Mary Meriam is the founder of Lavender Review, cofounder of Headmistress Press, editor of Irresistible Sonnets, and author of The Lillian Trilogy. Her poems have been published by The New York Times, the Poetry Foundation, Oxford University Press, National Public Radio, Penguin Random House, University Press of New England, Seal Press, and many literary journals.

Everyday Disciples by Monique Gagnon German

Sometimes you see one in traffic,

a Samaritan in a Mazda parting

the sea of angry commuters

so you can finally get in.

Sometimes it’s a guy in the street

who gets a hundred bucks

and immediately spends it on a feast

for other homeless people around him.

Sometimes it’s a dog who sobs

and leaps with joy

when his owner returns

from hospital or war.

Sometimes they pop up, bobbers

on the murky stream of your day:

a smile in a hallway, a genuine question,

“How are you, really?”

Some disciples hide in words,

in gratitude, in every thank you said

but also in the middle finger

of the pissed off driver behind you now,

the one behind the guy that waved you in.

We can hear them in all the voices

that criticize and approve

every failure and win. The rub: we

are their witnesses. Our job: to recognize them.

How we react is just a stone cast into a pond,

an addend in an ongoing equation in signs.

Maybe our responses are disciples too;

watch them ripple and roll over time, trying

to gain momentum, trying to sculpt our shoreline.

 

 

Monique Gagnon German is a graduate of Northeastern and Northern Arizona Universities. She is a wife, mother, a former Copy Editor of Ragazine(www.ragazine.cc), and former Technical Writer for a laser manufacturer in San Diego, CA. Currently, Monique works as a Content Developer and document QA Specialist for a small veteran owned company in TX while continuing to write poetry and stories in CO. Her poems have appeared in over 30 journals/anthologies including Rosebud, California Quarterly, Tampa Review, Off the Coast, and The Wayfarer. Her micro-flash, flash, and short stories have been featured in Kalliope, A Journal of Women’s Literature & Art, The MacGuffin, and Adelaide Literary Review. In October 2017, she was nominated for a Pushcart Prize for poetry so she is actively crossing her fingers as you read this. Website for Monique: http://www.moniquegagnongerman-com.webs.com/

 

Photograph by Ikiwaner,  Lausen, Gombe Stream National Park

Looking Away at Lambert Airport by Beth Gordon

Female twins, black-haired, arm in arm, like blind newborn
werewolves, identically addicted to meth,
disembark the plane
in St. Louis, walk into our square of terminal, so craven in eye
and mouth that we collectively believe
that when the moon
blocked our planet’s star for 160 seconds, fur began to sprout
between their talons, behind their knees,
spreading like poisonous
mushrooms, only to recede when cicadas stopped singing, when
sparrows fell from trees like petrified
bones, more arachnid
than mammal, they twist their cracked lips into utterings that only
the other twin can decipher,
and then only with
the aid of potions brewed from fresh anteater blood. Unmoved
by visible magic, we return one-by one
to our screens, like sedated
vultures waiting for someone to die in front of us, bubonic plague,
rabies, salmonella, something
riddled with bullets
and primary colors that we can photograph and share with our high
school classmates whose skin we
haven’t touched
in years or our online food-addiction support group as we browse
through 81 recipes for heavenly hash,
while eclipse stragglers
with souvenir tattoos and mildly damaged retinas scream obscenities
at their precocious children
who are using a gift
shop magnifying glass to aim the sun’s holy rays onto unattended
babies to see if they will
burst into ash.

 

 

Beth Gordon is a writer who has been landlocked in St. Louis, Missouri for 16 years but dreams of oceans, daily. Her work has recently appeared in Into the Void, Quail Bell,Calamus Journal, By&By, Five:2:One, Barzakh, and others. She can be found on Twitter @bethgordonpoet.

Five Poems by Barbara Henning

Mar 27, 2016

—rows of rear windows—pricey tenements—raindrops on shrubs—drips gliding off the fire escape—“Look!” says a boy on tv—“Real water!”—a dictator waves his hand—never would I—tarnish my own name—a silver necklace over Ganesh’s nose—I rub it shiny—a volcano in Alaska—a cloud of ash—more than seven miles upward—in Kansas—their house now a pile of bricks and ash—this locket—between my mother’s face—and my own toddler smile—his ashes won’t stay put—some on the table—my fingers grainy with a body—like fingernails—on the ground a clutter of acorn shells—the dream—like an albatross—pulling me into the pillow—

Aug 4, 2016

—the sun’s hot—a cool breeze off Lake superior—a path along the shore—peddling behind a woman—on a turquoise upright bike—a polluted sky—does not have—the advantage—of producing these atmospheric colors—a cuticle brittle and dull—every drop of water—hangs from a twig—sunflowers follow—the rising sun—up, over and westward—as I pass the turquoise bike—“I’m going slightly faster than you, dear”—by law—many mothers—are unable to pass on—their citizenship to their children—but for fathers—a different story—when a pass is made—four defenders charge—from the net—trying to block—the oncoming shot—a year later—a committee of American men—will meet to decide—the rights of women—the woman on the turquoise bike laughs—“Thanks,” she says, for letting me know—”

Jan 12, 2017

—damp and unseasonably warm—fast walking—an unscheduled bus—run back and hold my hands in prayer—he reopens!—zoom no traffic—Union Square Station—escalator broken—a woman with baby buggy—standing at the stairs—young man on cell phone—drooping pants—could you help her?—he looks at me—with scorn—then at her—she’s black—ok he takes her stroller down—over shoulder—he snarls at me—the way—throughout time—we have slaughtered each other—each death a negative charge of unbearable loss—through the human community—anger and retaliation—why then–do we believe—in so much possibility?—man begging on Dekalb—I give a dollar—as if—I’m doing something—stop and talk with Lewis—story about 1974—this and that anthology—a student said the NY School was sexist—I say all men are sexist—to some degree—subway to the village—a midrange buzz, distant whistle, relentless throb—

Mar 20, 2017

—even with banks of icy snow—alternate side parking—inside my radio ear— Russian hacking—with tiny hands—and a tiny brain—like the tyrannosaurs—ha ha—the bully had to develop something—an ability to lie and deny—even when myths are dispelled—their effects linger—it’s possible to hack into a phone—or a car—with only sound waves—tiny accelerometers—under the scholar’s trees—open an envelope—rent increase $200.00—google mania—first floor, no fee, rent stabilized—Brooklyn studio—quiet, tree-lined—a commuter—but I like living here—come on, Barbara—says the landlord—when you get older, you should move—we will never give you—a rent stabilized apartment—a commodity—a troublemaker brainiac—Tony Conrad—crooks his finger—come here—I’m gonna wreck your brain—a crack—in the cave—with ulnar nerve repaired—DeGrom’s back on the mound—a 97 miles per hour fastball—

Apr 28, 2017

— on Houston—a garden—with young people—smoking and snapping—an ex-coal worker—can’t breathe—wants his job back—coal ash arsenic mercury lead—in landfills and bodies of water—between Saturn and its innermost ring—the patter of a summer squall—then a drifting tone—in the branches—of a giant elm—the baby and me—fading—into flickering leaves—a Himalyan crevasse—the rock climber falls—he keeps climbing—into the subway station—a young woman—with two little ones in tow—talking on her cell—to hold a fossil—to clutch a fragment—thirty-five years—in this same spot—with Né and Mook—it’s raining today—and the baby is a man now—he drills a hole—in the ceiling—of my new apartment—for a plant—the leaves spilling over the pot—

 

 

Editor’s Note: These poems are part of Barbara Henning‘s in-progress series entitled DIGIGRAMS. Her digigrams have been published recently in Recluse, Chill and Rascal; others are forthcoming in the Brooklyn Rail, Downtown Brooklyn, Live Mag! and Local Knowledge. Another five of Henning’s digigrams, curated by Wren, will appear soon in PoetryCircle.

 

 

Barbara Henning is the author of several collections of poetry, her most recent A Day Like Today (Negative Capability Press 2015). Other recents include A Swift Passage (Quale Press), Cities and Memory (Chax Press) and a collection of object-sonnets, My Autobiography (United Artists). She has published three novels, Thirty Miles to Rosebud, You Me and the Insects andBlack Lace, and she is the editor of Looking Up Harryette Mullen and The Collected Prose of Bobbie Louise Hawkins. Born in Detroit, Barbara lives in Brooklyn and teaches for Long Island University, as well as writers.com. http://barbarahenning.com

 

Original photograph by Michah Saperstein.

Zelda by Sneha Subramanian Kanta

“She refused to be bored chiefly because she wasn’t boring.”

― Zelda Fitzgerald

Zelda, unbeknownst sister of Ozymandias
accompany me to where the sun rises
east of Bhagdad, west of Byzantium

let us make our spot for pilgrimage there.
Rub fertile mud on our skin whilst
the approving sun shines –

I, your brown sister, will bring you tales
from the other side of the Mississippi
you tell me about the Americas

you have seen in one country.
To speak of roots and corkscrews,
bottles and potions, we will read

Rumi to find out how much the heart
can hold. Beyond the yellowing
sand dunes, let us recall the last bird

who sang in the middle of a desert.
What shall we plant here, in the middle
of a heatstroke land – cacti, seeds of

wild blueflowers, or do we bury
carols for Christmas?

 

 

Sneha Subramanian Kanta is often seen tracing manufacturing of sensibility from the eighteenth century to present day notions of psychology, She pays close attention to concentrated molecules in a jar. Her poetry is forthcoming in Eunoia Review and Across the Margin, and fiction in Indiana Voice Reviewand elsewhere. She is general advisor and poetry editor for her university journal, INK. An awardee of the prestigious GREAT scholarship, she has a second postgraduate degree in literature from England. She is the cofounder of Parentheses Journal, a literary initiative that straddles hybrid identities across coasts and climes.

Things to Tell Your Ghost By Vicki Iorio

I need to tell you I still want to pop that blackhead on your back-
the one you wouldn’t let me squeeze
even after sex ever after.

I shiver when I think of your skin
melting in the crematorium-
did that pimple explode or did it
shrivel like your dick
when you decided I was too ugly to fuck?

I need to tell you that your lawyer won’t let us die,
the legal papers shape shift into you
while waiting to get notarized.

I need to tell you that here, on the beach,
your ghost is a trick of sun glare,
sea birds pick at your eyes every time the tide comes in.

The bartender who is now my boyfriend
sweaters me in whiskey when he sees your name
appear out of nowhere on my arm.

I need you to stay dead.
Skip Halloween.

I need you to stop haunting my love life.
Do we need to discuss this over coffee at Starbucks?

I know you poltergeisted my bathroom mirror-
a shattered mess on the tiled floor,
my feet bleed every morning when I brush my teeth.

I know you unscrewed my light bulbs
and hid them under my pillow.

I need you to know I am no longer afraid of the dark,
you’ve lost your incandescence.

 

 

Vicki Iorio is the author of the poetry collection, Poems from the Dirty Couch, Local Gems Press, 2013 and the chapbook, Send me a Letter, dancinggirlpress. You can read Iorio’s work in Hell Strung and Crooked, I Let Go of the Stars, (Great Weather for Media), The Brownstone Poets Anthology, The San Pedro Review, The Mom Egg, Crack the Spine, The Painted Bride Quarterly, The Fem Lit Magazine, Redheaded Stepchild Magazine, The Paper Street Journal, Poetry Bay, Home Planet News,Concise, Cactus Heart, Rattle on line, South Florida Poetry Journal, Five:2:One Magazine, RatsAss Review, New York Times, Poetry Super Highway, Eratio Poetry Journal, In Between Hangovers, Conches, Anti Heroin Chic,  and Misfit.

 

Photograph by Lidija296.

Sky Chronicles by Monique Gagnon German

I’ve got blues
that surpass navy,
cerulean, sapphire,
cornflower, turquoise,
iridescent, eggshell
and cobalt, baby.
I know loneliness,
the length of days
and nights as they move
through me,
molecule by molecule
cataloguing the sun’s face
while it flirts
with the moon
in broad day
and I examine you
with tips of space,
tendrils upon
your trees,
chimneys,
sidewalks,
freeways,
unable to feel anything
but shapes,
blowing on you
like candles
like dandelion fodder
without wishes
for your sake.
So, don’t look
to me for answers
about the track
the ballgame
your love life
your suffering.
And when you climb
to get above me,
expect me to slap
your face.
I am best,
above your head
out the window,
picturesque
split by clouds
birds, storms,
shuttles and airplanes.
So, keep me there
at that distance
that inspires science
and faith but away
from birthday wishes
demands and property deeds.
You can’t see, can’t reach,
can’t know me,
the keeper
of the smooth
blue notes
that conduct
your weather or fate
as you stroll along
day upon day
beneath the eyes
of giant hurricanes.

 

 

Monique Gagnon German is a graduate of Northeastern and Northern Arizona Universities. She is a wife, mother, a former Copy Editor of Ragazine (www.ragazine.cc), and former Technical Writer for a laser manufacturer in San Diego, CA. Currently, Monique works as a Content Developer and document QA Specialist for a small veteran owned company in TX while continuing to write poetry and stories in CO. Her poems have appeared in over 30 journals/anthologies including Rosebud, California Quarterly, Tampa Review, Off the Coast, and The Wayfarer. Her micro-flash, flash, and short stories have been featured in Kalliope, A Journal of Women’s Literature & Art, The MacGuffin, and Adelaide Literary Review. In October 2017, she was nominated for a Pushcart Prize for poetry so she is actively crossing her fingers as you read this. Website for Monique: http://www.moniquegagnongerman-com.webs.com/

 

Art: Starry Night, Vincent VanGogh

College Park by Margaret Young

Front yards lacked sidewalks and curbs,
backyards flowed together with no boundary
marks but stripes in grass from lawnmowers dads rode,
and looming shrubs to hide under
and sycamore and black walnut
shedding their furry or smelly fruits
so we all ran everywhere except
Miss Howe’s, her Dalmatian
Pepper chained to the garage.

Breakfast was orange juice we squeezed
half-thawed and glistening from cardboard tubes
(add three of water, stir with the longest spoon)
and cereal poured from boxes with toys inside
and once a Jackson Five record right on
the box, we cut out the disk with them
smiling in candy-bright jumpsuits,
played high-voiced songs on the turntable
pulled from its shadowed cabinet,
the smell of Sugar Smacks mixed in.

 

 

Margaret Young’s poetry collections are Willow From the Willow (Cleveland State University Poetry Center, 2002) and Almond Town (Bright Hill Press, 2011), plus a chapbook Blight Summer just out from Finishing Line Press. She is translating the work of Sergio Inestrosa (Mexico) and Débora Benacot (Argentina). Young is on the faculty of the Global Center for Advanced Studies and Endicott College in Beverly, Massachusetts.

Those Two Spiders Died Loving Each Other by Anthony DiPietro

The poets go to bed like nuns to their cells: narrow rooms in the boarding school dorm: some, like me, awake, playing with sediment left after workshop: suddenly through the deep-woods facing window: a primal scream: a man’s: then deep shrieks of pain: like an animal’s: poets scatter to the four directions: then return to the middle: I join them: tell them Nathan’s missing: my dorm-mate: he’s gone to stalk the dark before: to feel damp dirt on his feet: to wound wind with a frightened face: he went at sunset while we sat for the reading: we listened: the voice of an eight-year-old girl: her innocence stolen by the neighbor-boy: listened: the song of a countertenor nuzzled in the hollow left by a lover: dead of a vicious disease: that first night, Nathan and I took turns asking each other questions: What was your worst sex: Give me grotesque: nastier than politics: Who on this flailing blue orb are you closest to: he’s thirteen years younger: we spoke of my fear of thirteen: Judas phobia: he draws Tarot cards each morning: today, for me, the Empress: tonight small schools of poets shine flashlights: murmur his name: Nathan creeps in shadow: now emerges to his bed: arms crossed over his chest like a saint in the making: he assures the seminar director he’s found a stay for what caused the scream: I won’t hurt myself again tonight: we agree I’ll keep watch: alone again, Nathan and I declare the light too brutal: Why don’t we remove some bulbs: we climb two chairs: unscrew the platter-like fixture: inside, a spider the size of my thumbnail entombed: only Nathan looks closer to count: sixteen legs, copulation: and he says: Those two spiders died loving each other.

 

 

Anthony DiPietro is a Rhode Island native who worked for 12 years in community-based organizations that addressed issues such as violence, abuse, and income inequality. In 2016, he moved to New York to join Stony Brook University as a candidate for a creative writing MFA and now teaches undergraduate courses. A graduate of Brown University with honors in creative writing, his poems have appeared or are forthcoming in The American Journal of Poetry, Anomaly, Assaracus, The Good Men Project, Helen, Rogue Agent, The Southampton Review, Talking River, and The Woman Inc. His website is AnthonyWriter.com.

Image by Comfreak. 

While Jean Doesn’t Write by Wren Tuatha

While Jean doesn’t write, seditious phrases make their escape
to parallel dimensions where mothman aliens hunt and gather them,
eat them silently and then look through at us knowingly.
This phenomenon is entirely Jean’s fault.

While Jean doesn’t write, seventeen wars that we know of continue
like a second day of rain, race relations in America harden
into pre-1970’s pessimism and 2/3 of her neighbors fail to recycle.
Indeed, for every day that Jean doesn’t write,
another Republican actor runs for office.

While Jean doesn’t write, her lifelong friends don’t change.
Her adult children do what they will.

 

 

First published in Five:2:One Magazine. 

 

 

Wren Tuatha (Califragile Editor). Wren’s poetry has appeared or is upcoming in The Cafe Review, Canary, Poetry Pacific, Peacock Journal, Coachella Review, Arsenic Lobster, Baltimore Review, Pirene’s Fountain, Loch Raven Review, Clover, Lavender Review, Autumn Sky Poetry Daily, and Bangalore Review. She’s also an editor at PoetryCircle.com. Wren and her partner, author/activist C.T. Lawrence Butler, herd skeptical goats on a mountain in California.

Facing West From California’s Shores By Walt Whitman

Facing west, from California’s shores,
Inquiring, tireless, seeking what is yet unfound,
I, a child, very old, over waves, towards the house of maternity, the land of migrations, look afar,
Look off the shores of my Western Sea–the circle almost circled;
For, starting westward from Hindustan, from the vales of Kashmere,
From Asia–from the north–from the God, the sage, and the hero,
From the south–from the flowery peninsulas, and the spice islands;
Long having wander’d since–round the earth having wander’d,
Now I face home again–very pleas’d and joyous;
(But where is what I started for, so long ago?
And why is it yet unfound?)

Three Poems by Catherine McGuire

Catching a Swarm

Despite variations, they all advise:
spray the clump with sugar water
so they can’t fly, then cut or shake
that living burl into your box –
a hive is best, a basket or cardboard box
will do. Get the Queen.
Always the key. You must capture
the heart of the hive, a tiny Persephone
descending to the dark of your desire.
If she’s there, the others – the ones you missed –
will queue up to enter
as the sonneteers flash their butts and wings
in a strange Rockettes-line at the door,
telling the rest of the group:
Come inside. We’re all here.

And experts say don’t worry about stragglers.
Get the clump and move the hive to the proper spot.
They would howl to see me pick up every twitching bee,
from grass or cloth or twig,
sweep or carry each one to the entrance.
No bee left behind.

 

Persistence

Everything wears at everything else –
breeze rubs pollen, scatters seed; water smooths rock.
The tumbling sands slowly change the coastline.
Even mountains can’t claim eternity.

We carry our edges into the world
and they are rubbed smooth, or raw.

But look! Above my head, a broken, moss-furred twig
balances in holly
the whole summer.

 

(untitled)

A January fog hangs in the holly –
red berries dot shiny spiked green.
The ice tiaras have slipped down
the limbs, buds unsheathed.
Throughout the sodden garden
calendula, lavender, thyme, kale
huddle in sparse straw. Gophers raid
and favorites vanish – dirt mounds like graves
dot the yard. There is no peace
in the pieces – plans seem audacious,
premature. Seasons unreasonable now –
we have no guide; the past unhelpful.
Where will this new climate lead?
Comfrey and borage, their prickly furred leaves blackened,
will come back as surely as the gophers.
Birds swoop and scavenge as always –
they have no almanac; they do their best.
Below the mulch, slugs curl around their eggs,
the caterpillar army sleeps, unaware
that their ancient targets are stuttering, lulled
by weather as willful as any jihad.
They will wake too late,
or too early; they will hump along strange leaves,
searching for scents and shapes
that define their survival.
And our own.

 

 

Catherine McGuire is a writer and artist with a deep concern for our planet’s future. She has three decades of published poetry, four poetry chapbooks and a full-length poetry book, Elegy for the 21st Century (FutureCycle Press). A deindustrial science fiction novel Lifeline was just released by Founders House Publishing. Find her at http://www.cathymcguire.com.

 

Photograph: Rock Bees, Anamalai Hills, India, by T.R. Shankar Raman. 

Three Poems by Maurice Devitt

Sixteenth of September
after René Magritte

The oak tree marks the mid-point
of my run. There and back.
A collector and dispenser
of breath, branches clustered
like alveoli
against the autumn grey.

The relief of tagging,
turning and not looking back.

I never witness the leaves
parting to reveal a nascent moon,
this mere sliver of a thing,
cradled and fattened with light,
later to be craned
into a meaningless sky.

 

A View of the Lake

Maybe you came across this poem
in a small journal
you had never read before, encouraged
to pick up a copy by a friend,
whose poem is featured on page 57
and, as you skimmed through the pages
looking for his poem, were struck
by this title, reminded of a place
you used to swim as a child.
Maybe you started to read it,
wondering would it be any good
or would it be one of those modern poems
that don’t seem to make any sense.
I’m so glad I triggered
the memory, though conscious
that no words I would ever write,
could equal that feeling
of you dipping your toes in the water.

 

Property Bubble

Five years ago I bought this house
and only recently I noticed
that, as the price increased,
the rooms got smaller,
until I found myself stooping
when I stepped through the doorway,
sitting with my knees pressed
up to my chin and watching
television through the kitchen window.
I called a man who knows about
these things, he measured the rooms
with an ever-decreasing tape,
lifted the floorboards to check the pipes,
then declared, You’ve got a leak,
there’s air escaping, nothing
you can’t fix with a basin of soapy water,
just be careful what you tell the neighbours.

 

 

Maurice Devitt was runner-up in The Interpreter’s House Poetry Competition in 2017, he was winner of the Trocaire/Poetry Ireland Competition in 2015 and has been placed or shortlisted in many competitions including the Patrick Kavanagh Award, Listowel Collection Competition, Over the Edge New Writer Competition, Cuirt New Writing Award, Cork Literary Review and the Doire Press International Chapbook Competition. He has had poems published in Ireland, England, Scotland, the US, Mexico, Romania, India and Australia, runs the Irish Centre for Poetry Studies site and has a debut collection upcoming in 2018 with Doire Press.

 

Photograph by Linda Bartlett.

Meeting Tink in a bar in Heaven by Kate Garrett

for Tara

When I sleep, she still exists.

Her face peach-bright
and more than just a pinch of skin.

My friend is a tattooed hologram who hugs
me tight and tells me she’s glad to see me

and how she’s sorry I can’t be a bridesmaid
as her wedding won’t be going ahead.

I won’t tell her when she left he changed his mind.
Most people do, when you go the way she did.

And she says she can’t wait for my wedding,
her corset is laced and her boots are shined.

She’s bringing her favourite lover, a leather-and-tartan
skirted sprite, curved in at the waist and out at the hip;

this one makes her feel more alive than ever.

I’ve been here all this time, she says, as music
blasts through black-light clouds – not a harp in sight –

and tells me how I’d love her new friends
because they are absolute angels.

 

First published at Clear Poetry.

 

 

Kate Garrett is the founding editor of Three Drops from a Cauldron and Picaroon Poetry, and her own work can be found here and there – most recently in Dying Dahlia Review, Riggwelter, Hobo Camp Review, and The Literary Hatchet. Her latest poetry chapbook You’ve never seen a doomsday like it was published by Indigo Dreams Publishing in 2017, and the next, Losing interest in the sound of petrichor, will be published by The Black Light Engine Room Press in early 2018. She grew up in rural southern Ohio, but moved to the UK in 1999, where she still lives in Sheffield with her husband, 4.5 children, and a sleepy cat.

Midcentury Moderns by Margaret Young

Drank so many martinis they forgot
to serve the casserole.
He fell into the oval pool.
She told the children not to look.

He lost his hat, a second stanza.
They found themselves in puzzled love
at last. She woke up in a distant cornfield.
He woke up in the empty pool.

They danced on the low-hanging balcony.
She sang songs from a former country
as he fell asleep beside the dying fire.
They woke to watch the blinking satellite.

 

 

Margaret Young’s poetry collections are Willow From the Willow (Cleveland State University Poetry Center, 2002) and Almond Town (Bright Hill Press, 2011), plus a chapbook Blight Summer just out from Finishing Line Press. She is translating the work of Sergio Inestrosa (Mexico) and Débora Benacot (Argentina). Young is on the faculty of the Global Center for Advanced Studies and Endicott College in Beverly, Massachusetts.

#GunViolence: Fish by Paul Lojeski

The man behind the fish counter
weighed out a half-pound of Fluke,
wrapped it, handed it over and said,
Anything else? I wanted to ask him

about the latest shootings but knew
he was strapped to the same machine
I was (flames and sparks shooting
out around his body, halos of gold

and silver stars). That’ll do it. Thanks,
I said. And because we were familiar
to each other, we smiled and nodded.
I put the fish in my green basket and

walked away, feeling the bindings
tighten slightly, heat increasing,
thinking, this is all wrong. Every bit
of it. Then I saw the wave of sparks.

 

 

Paul Lojeski was born and raised in Lakewood, Ohio, and he attended Oberlin College. His poetry has appeared online and in print. He lives in Port Jefferson, NY.