Living in the Woods with Mom, 1970 by Nicole Michaels

You are wearing an un-tucked white blouse over slacks and drinking jug wine.
Something on the stove not a curry – those came later – smells divine

and you are letting me help cut the root vegetables, steadying my hand
on the mascara-black handle of a knife while I stand on a stool.

The stool is painted to look like a mushroom, and I am barefooted
and on tip toe like a visitor from a damp kingdom of ferns and morels.

The day before, you were ironing in front of TV with a poor signal,
first the body, then the sleeves, careful not to singe the buttons.

Your dark hair was pulled up, pin curls made with spit and bobby pins
to hide your ears as if they were pointed and would give you away.

Your eyes were the color of moss in indirect light
and the thick charcoal of the times lined your lids, turning up at the corners.

Not everyone’s mom looked so mysterious doing the housework.
Not every house had a feral daughter, pockets filled with shade flowers

and gem stones. My scabbard caught in the door as I came in to wash up,
my leather armor smelling of fresh battle with dragons.

Only a silver pleat of antenna separated us while you picked up another shirt,
and maybe a little mist as you pressed down.

 

 

Nicole Michaels is a Marin County, CA native who makes her home in frontier Wyoming. She is a working poet with a degree in English from Stanford University where she studied under the late Diane Middlebrook and chose an emphasis in feminist studies. She spent some time in the American South as a journalist for small papers.

 

 

Photograph The Winter House at Forest Lodge by Beverkd.

#MeToo: Still Life with Road Kill by Tina Barry

Spooled across the dirt road, the bear,
dead. A melodious spent planet.
I smelled its hold-your-breath,
kick-to-the-gut of life
stopped short. Whirring atop
its flattened skull’s tire-track
tattoo, an unlucky wreath of flies.

I stood near the bear, hand
on chest. Not in some form
of prayer, but to press back
what had lain still.

I had a boyfriend who was struck by a car.
His death arrived like a gift.
I had wanted him to die.
His rage gobbled color,
blotted sound.

I thought of him afterward
with a kind of shorthand:
Our legs beaded with lake water
His aversion to birds,
then beans. How good food
tasted when he wasn’t there
to share it.

The bear was left on the road to rot.
It seemed undignified, the menace
reduced to a malingering mass.
Now I see the wisdom
in allowing its slow surrender.
Why bury what will never stay dead?

 

First published in Red Sky: Poetry on the Global epidemic of Violence Against Women, (Sable Books, 2016).

 

 

Tina Barry’s work has appeared in The American Poetry Journal, The Best Short Fictions 2016, The Peacock Journal, b(OINK), Nasty Women Poets: An Unapologetic Anthology of Subversive Verse (2017), among other journals and anthologies. She has two Pushcart Prize and several Best of the Net nominations.

 

Photograph by Shizhao.

By the Chicken Coop Dust by Tracy Mitchell

A Response to Thunderstorm Coming by Tom Hennen

By the chicken coop dust
I feel it too.
My ankles become electric.

Frogs and crickets
cut fringes on the bottom of the night.

Clouds ripple
above the yard light
as though they are blankets
on a clothes line
strung
between nearing stars.

 

 

Tracy Mitchell is a newly retired native Minnesotan, recently relocated to the splendor of Colorado. His free verse writing is largely inspired by the vagaries of this frail and transitory life. Fair game subject matter includes nature, ourselves, and each other. His best work has been imagined by the campfire in a clearing somewhere near sleep. He is a contributing member of Poetry Society of Colorado, MyWritersCircle, Writers Among Us, Poetry Circle, and PigPen Poetry Forum. His work has appeared in Lake Region Review, and the poetry anthology As the Kettle Wolf-Whistled.

 

Painting detail of The Coming Storm by John Frederick Herring.

A Field of Prayer by Michael H. Brownstein

This is the word of my mistaking:
Hike with me through this field of prayer,
through mudflats and iron foot,
the eulogy deep and dried passion fruit,
the salt of columbine, a terrain of frenzy,
lacewing and the yellow mollies of spring,
milk and milk thistle, a porcelain of words.

Hike with me past the girth of oak,
the prayer tree of Cambodia, the blue iris,
purple passion, the field of glories
behind the back forty no one touches.
Share with me wild onion, mint,
dandelion leaves and acorn meat,
the edible leaves of the Acacia.

The storm will pass. The forest will replenish.
Rivers will not run dry. Nor will they shrink.
Hike with me five years from now. Share
my bounty anytime. The eulogy premature,
prayer alive in flower and grass, blossom
and honey bee, a porcelain of words.
and a strength in who we really are.

 

 

Michael H. Brownstein has been widely published throughout the small and literary presses. His work has appeared in The Café Review, American Letters and Commentary, Skidrow Penthouse, Xavier Review, Hotel Amerika, Free Lunch, Meridian Anthology of Contemporary Poetry, The Pacific Review, Poetrysuperhighway.com and others. In addition, he has nine poetry chapbooks including A Period of Trees (Snark Press, 2004) and Firestorm: A Rendering of Torah (Camel Saloon Press, 2012), The Possibility of Sky and Hell: From My Suicide Book (White Knuckle Press, 2013). He is the editor of First Poems from Viet Nam (2011).

 

Photograph, Field of Thistle, by John Newcomb.

Red Velvet by Ankita Anand

My first view of the red velvet gilt-edged diary
Was of its opening page, of a declaration in my newly-wed aunt’s hand
On my uncle’s behalf
Saying he will never hit her again
Signed by my uncle, with love.

In the bottommost shelf of her almirah
I saw the book again today
When her teenaged daughter was rummaging for a favourite top.

Skipping several blank pages after the first one
I saw my aunt’s grocery lists
And miniscule digits secured in ovals
That showed how much she had managed to save.

 

 

First published in Muse India.

 

 

Ankita Anand’s writing has travelled through India, Pakistan, Singapore, Ireland, South Africa, Canada, the US and the UK. She also facilitates writing workshops. An archive of her publications can be found here: anandankita.blogspot.in

 

 

Photo a detail of the Book of Hours by the Master of Zweder van Culemborg, 18th Century.

when your mother convinces you to take in your homeless younger sister by Alexis Rhone Fancher

She will date your boyfriend.
She’ll do it better than you ever did.
She’ll have nothing but time.
He’ll start showing up when you leave,
train her to make him the perfect BLT,
(crusts off, avocado on the side),
encourage his cheating heart,
suck his dick so good he’ll think
he’s died and gone to Jesus.

Your sister will borrow your clothes,
and look better in them than you ever did.
Someone will see her with your boyfriend
at the Grove, agonize for days
before deciding not to tell you.
Meanwhile he’ll buy her that fedora you
admired in Nordstrom’s window, the last one
in your size.

When you complain, your mother
will tell you it’s about time you learned to share.

While you’re at work, your sister will tend your garden,
weed the daisies, coax your gardenias into bloom.
No matter how many times you remind her,
she will one day forget to lock the gate;
your cat and your lawn chairs will disappear.

Your mother will say it serves you right.

Your sister will move into your boyfriend’s
big house in Laurel Canyon. He will ignore her,
and she will make a half-hearted suicide attempt;
you’ll rescue her once again.

Your mother will wash her hands of the pair of you,
then get cancer and die.

Smell the white gardenias in the yard.
Cherish their heady perfume. Float them in a crystal bowl.
Forgive your sister as she has forgiven you.

 

First published in RAGAZINE, 2015

 

 

Alexis Rhone Fancher is published in Best American Poetry 2016, Plume, Rattle, Diode, Rust & Moth, Nashville Review, Verse Daily, and elsewhere. She is the author of How I Lost My Virginity To Michael Cohen and other heart stab poems, (2014), State of Grace: The Joshua Elegies, (2015), and Enter Here (2017). A multiple Pushcart Prize and Best of the Net nominee, Alexis is poetry editor of Cultural Weekly.
http://www.alexisrhonefancher.com

 

Detail of Rembrandt, The Sisters, Eleanore and Rosalba Peale.

#MeToo: Irish Twins (haibun) by Roberta Beary

attic rain
the backyard swing
off kilter

We share an attic room. In the corner is an old double bed that smells and sags on one side. My side. Late at night I hear my heart beat. Loud. So loud he will hear it. He will think my heart is calling him up the attic stairs. His footsteps are heavy. He smells of old spice and cherry tobacco. My eyes shut tight. I know he is there. I feel his weight. Never on my side. Always on the side she sleeps. When the bed-springs sing their sad song I fly away. Up to the ceiling. My sister is already there. Together we hold hands. Looking down we see our bodies. We are not moving. We are as still as the dead.

 

 

First published in Contemporary Haibun Online.

 

 

Roberta Beary identifies as gender-expansive, and writes to connect with the disenfranchised, to let them know they are not alone. She is the author of three books of poems: Deflection (Accents Publishing, 2015), nothing left to say (King’s Road Press, 2009) and The Unworn Necklace (Snapshot Press, 2007, 5th ed. 2017) which was a finalist in the Poetry Society of America annual book awards. Beary is the editor of the haiku anthologies fresh paint (Red Moon Press, 2014), 7 (Jacar Press, 2013), dandelion clocks (Haiku Society of America, 2008) and fish in love (Haiku Society of America, 2006). Her work appears in Rattle, KYSO Flash, Beltway Quarterly Review and Haiku In English The First Hundred Years (Norton, 2013). Beary’s work has been nominated for Best of the Net and multiple Pushcart Prizes. She lives in County Mayo, Ireland.

 

 

Haibun (俳文, literally, haikai writings) is a prosimetric literary form originating in Japan, combining prose and haiku. –Wikipedia

 

Twin Sisters by Ruth Zarfati. White cement.

defeat of purpose by Jess Kangas

listen close,
because we’re
three minutes
away from the
messiah coming
and my name
is on her boot
and you’re going to
want to know why.

it all started
harmlessly,
and then fire rippled
my teenage face
like an electric surge
of candy
proportions.

if this doesn’t make sense,
it’s not going to,
and I apologize for
twisting words into foul play
and smoking up a storm on
your mother’s piano last week.

but ten days ago,
i came across a box,
blue, leather, unusual
with diamonds on the corners.
it puzzled me and inside
were all your thoughts-
every one of them.

i know where you went that Monday-
and why you don’t like me
wearing buttoned shirts,
and how you laughed at your father’s
death not knowing what it meant.

listen, I’ve only got
about thirty-two seconds left
and I know you’re going to try
to lather me in calm bubbles
and sweep me up, so I’ll
hold still the night,
but these actions
are too devoted.

no, you and i
will part and perhaps
you’ll live in high peaks
of pearl colored satisfaction
while
i delve into the horrors
of my charred body
cracking over street corners,
mixing with the tar like
how you and i used to
dance.

 

 

Jess Kangas is a strawberry siren poet located in Buffalo, NY. Her poetry is rich in sound, structure and secrets.

 

Photograph by Nessa Land.

Clothes Make the (Wo)Man by Devon Balwit

“It was a hat for the great and lonely” —Hein Donner

Where is my page to arm me for the day,
fastening greaves and hauberk? Where
my factotum? Must I do everything myself?

I lean towards the mirror, draw on a mustache,
powder my sideburns to be taken seriously.
A wig adds gravitas. I oil both smirk and frown.

One never knows what face will be called for.
There was a time when I had only one, when
I stood in my nakedness before hoodlums.

I learned, swallowing teeth and coppery blood,
smearing snot and tears on coat sleeves.
Now, I dress as though I’ve already won.

No one dares tell me otherwise. And if
they snicker behind my back, no matter.
My suit is thick, my shoulders well-padded.

 

 

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.

Grotesque by Amy Lowell

Why do the lilies goggle their tongues at me
When I pluck them;
And writhe, and twist,
And strangle themselves against my fingers,
So that I can hardly weave the garland
For your hair?
Why do they shriek your name
And spit at me
When I would cluster them?
Must I kill them
To make them lie still,
And send you a wreath of lolling corpses
To turn putrid and soft
On your forehead
While you dance?

 

(Amy Lowell, 1874 – 1925)

Nostalgic Hate by Sergio A. Ortiz

My ears listen to you lovingly
until the very end of love.

At the finish my hatreds harken,
my mind figures it’s a weapon

made of paper and tattoo ink.
I’d journey to East Asia and do us

love-making in origami.
Listen to the paper fold finely.

Imagine my ears there,
where the only thing that’s heard

is me disassembling, each time,
every time, at the end of tenderness.

Where hate is nostalgic
finalization of affection.

 

 

Sergio A. Ortiz (Featured Poet, August, 2017) is a two-time Pushcart nominee, a six-time Best of the Web nominee, and 2016/17 Best of the Net nominee. His poems have appeared or are forthcoming in Valparaiso Poetry Review, Loch Raven Review, Drunk Monkeys, Algebra Of Owls, Free State Review, and The Paragon Journal. His chapbook, An Animal Resembling Desire, will be published by Finishing Line Press. He is currently working on his first full-length collection of poems, Elephant Graveyard.

 

 

Origami Spring folded and photographed by Jason 7825. 

Tender Buttons [A Light in the Moon] by Gertrude Stein

A light in the moon the only light is on Sunday. What was the sensible decision. The sensible decision was that notwithstanding many declarations and more music, not even notwithstanding the choice and a torch and a collection, notwithstanding the celebrating hat and a vacation and even more noise than cutting, notwithstanding Europe and Asia and being overbearing, not even notwithstanding an elephant and a strict occasion, not even withstanding more cultivation and some seasoning, not even with drowning and with the ocean being encircling, not even with more likeness and any cloud, not even with terrific sacrifice of pedestrianism and a special resolution, not even more likely to be pleasing. The care with which the rain is wrong and the green is wrong and the white is wrong, the care with which there is a chair and plenty of breathing. The care with which there is incredible justice and likeness, all this makes a magnificent asparagus, and also a fountain.

 

 

From Tender Buttons (1914) by Gertrude Stein, 1874 – 1946.

 

Trip to the Moon, Georges Melies. 

Day after Christmas (haibun) by Roberta Beary

We are at the mother of all sales, scrunched up against the hats, the no-good, the bad and the downright ugly. Try this one, she orders, and this, and this. There is no room to move, let alone try something on. With stone face, I lift my hands and obey. She is, after all, my big sister. Buy the red one, she points, yelling for all to hear, it makes your nose look less big.

snow-mush
my neighbor’s tree kicked
to the curb

 

 

First published in Shamrock Journal #6.

 

 

Roberta Beary identifies as gender-expansive, and writes to connect with the disenfranchised, to let them know they are not alone. She is the author of three books of poems: Deflection (Accents Publishing, 2015), nothing left to say (King’s Road Press, 2009) and The Unworn Necklace (Snapshot Press, 2007, 5th ed. 2017) which was a finalist in the Poetry Society of America annual book awards. Beary is the editor of the haiku anthologies fresh paint (Red Moon Press, 2014), 7 (Jacar Press, 2013), dandelion clocks (Haiku Society of America, 2008) and fish in love (Haiku Society of America, 2006). Her work appears in Rattle, KYSO Flash, Beltway Quarterly Review and Haiku In English The First Hundred Years (Norton, 2013). Beary’s work has been nominated for Best of the Net and multiple Pushcart Prizes. She lives in County Mayo, Ireland.

 

 

Haibun (俳文, literally, haikai writings) is a prosimetric literary form originating in Japan, combining prose and haiku. –Wikipedia

#MeToo: “You are my home.” by Hinnah Mian

When I asked you to show the key
you showed me a crowbar and said
I would have let you in anyway,
what’s the difference?

Through the keyhole, you called for God,
a deity, a prayer, you were met with
silence.

Where were you touched? They asked
me to point to parts of my body
still left bruised.

I pointed to the bedroom, called it a prayer room.
Here hands explored, preyed on all crevices
of a body. The bathroom, here knees
met cold tile floors. Here in the kitchen
we started fires and danced in the smog.

They asked if I was okay,
if it still hurt. I told them not to bother
looking for illness inside of me—

just a boy who made himself
at home and never found
his way out.

 

 

Hinnah Mian is a Pakistani-American Muslim poet who studies at Kenyon College. Her work has been previously published in the Blue Minaret and HIKA.

 

Photograph by Tomas Castelazo.

#MeToo: Pine by Tina Barry

Air freshener dangling
from a cabby’s window.
A freshly mopped floor.
The surprise of Christmas trees
in a November farmer’s market
where a woman waved a branch,
proud of its healthy aroma
and I fled.

I thought of going back
if only because she’d said, Miss?
with such concern.

Because she was kind,
I didn’t return to explain,
Your trees smell like a man
who locked me in his car,
or burden her with details:

The warped cross of black
moles on his cheek.

Burnt evergreen of
stale cologne.

His weight, the crush
of an overturned tree.

Chilly fingers in my coat pockets,
I began:

Heart
Mouth
Hands
Breath
Heart

Until the smells became street smells.
The noise street noises.
Until my tongue tasted like nothing
but my tongue.

 

First published in Veils, Halos & Shackles: International Poetry on the Oppression and Empowerment of Women, (Kasva Press, 2016).

Christmas_tree_for_sale

 

 

Tina Barry’s work has appeared in The American Poetry Journal, The Best Short Fictions 2016, The Peacock Journal, b(OINK), Nasty Women Poets: An Unapologetic Anthology of Subversive Verse (2017), among other journals and anthologies. She has two Pushcart Prize and several Best of the Net nominations.

 

Tree lot photograph by Steve Morgan. Trees in netting by Project Manhattan. 

Teach Your Dog to Tango by Nicole Michaels

Use a different glass every time
as you drain, alone, a bottle of wine,
and leave each vessel on the counter unwashed.
It will look like you threw a party.

Exit an empty house listening to music.
The spines of cellos will stand up in your absence,
a saxophone has stretched out on the couch.
A swaying gown has challenged a curtain to a duel.
No telling what you’ll come home to.

Shop a thrift store for T-shirts that lay
claim to many adventures:
Marathons, fundraisers, exotic vacations.
Causes and out of the way bars.
Wear them all and lie when asked.

Test drive cars you can’t afford and tell the salesman
one of your boyfriends will stop by to close the deal.
Tell him to be discreet:
You are not sure which one it will be,
and you don’t want a scene.
Leave him guessing. Leave your card.
Watch him press his nose against the car window like a puppy.

You are unforgettable.

Go around in too much perfume and too much rouge
from the testers at department stores. Buy nothing.
Wear a long dark coat and dark glasses and walk
with a purpose; people will mistake you
for a celebrity they can’t quite place.

Be your own hope chest. Buy yourself a promise ring.

Whatever you do,
forget the brave face.
Cry all you like – you are done
throwing things
and tears are just the ghosts
of all you dry-eyed broke against the walls –
there’s a river in you –

but remember to also dance barefoot on the carpet
and slide in your socks on tile floors.
Teach your dog to tango as the water rises.

57373cefccb46eed21fd89bd5e17e9a7--just-dance-dance-dance-dance

 

 

Nicole Michaels is a Marin County, CA native who makes her home in frontier Wyoming. She is a working poet with a degree in English from Stanford University where she studied under the late Diane Middlebrook and chose an emphasis in feminist studies. She spent some time in the American South as a journalist for small papers.