Home Tags Posts tagged with "poetry"

poetry

Stairs

by Hoyt Rogers

I unlock a side-door,
step into a waterless
well. Blind, I wait
until my cat’s-eyes
brighten in the dark.
Warily, I climb a hundred
stairs: they angle off
like branches, creaking
in a funnel of wind.
I pause; pause again.
I frame pictures
engraved on air.


Room


A cramped landing
before a convex door.
I turn the tarnished key.
A cylindrical room,
a ring of portholes,
scattering yellowed
disks along the floor.
I seem to be in a tower;
I look out, safe at last.
The sea is taut, a ribbon
of navy-blue foil.
A quarter-moon
skims the horizon,
its prow and stern
on an even keel:
a shiny boat,
a primitive toy.
I reach out
and pick it up
with one hand.


Boat


I hold a toy boat,
but I am inside it,
the only one who knows:
we’re adrift, lost at sea,
and will never come back.
The passengers and crew
still believe in a port.
They talk in their sleep:
their babbling coma
keeps me awake.

My only refuge
is the captain’s deck.
No one remembers the day
when he fell overboard.
I lie in his hammock
and stare at the sunset.
The sky tilts
from red to gold,
aquamarine to blue,
violet to indigo,
sinks at last
into limitless black—
and then reignites,
a cinder-cloud of stars.



BIO

Hoyt Rogers is a writer and translator. He translates from the French, German, Italian, and Spanish. He has published many books; he has contributed poetry, fiction, essays, and translations to a wide variety of periodicals. His edition of Yves Bonnefoy’s Rome, 1630 received the 2021 Translation Prize from the French-American Foundation. His translation of Marco Simonelli’s Will: 24 Sonnets appeared in February 2022 at Mudlark Editions online. His forthcoming works include a poetry collection, Thresholds (MadHat Press), the novel Sailing to Noon (book one of The Caribbean Trilogy), and a translation of Bonnefoy’s The Wandering Life (Seagull Books). For more information, please visit his website, hoytrogers.com.



What It Means To Escort Her

by Jason Visconti

To soften the body at its creases,
a deranged animal in a zoo of kisses.


If I Were A Father

I would come into this world as well,
Just mark me in your inventory,

I would bait the sunrise to a newsreel,
If that’s my child’s story,

The disclaimer to love is so very small.


If Nature Were Natural


The flower of the grand ode should bloom,
Tree stalks airbrush into their journals,

The sun keeps west as landscape for a poem,
The true moon is rolled like a marble,

The night sky fills with hungry phantoms.


Imagination


He is bending the scene from the lake shore of his crib,
for the swans of his mind have joined in a circle,

the sun is color coded upon the cloth of his bib,
the space between the bars means something whimsical,

he kicks up his feet with a modest stab.



BIO

Jason Visconti has attended both group and private poetry workshops. His work has appeared in various journals, including Literary Yard, California Quarterly, Valley Voices, Allegro Magazine and The American Journal of Poetry. He especially enjoys the poetry of Pablo Neruda and Billy Collins.





Diluted

by John Maurer

Another year has slithered past me
Left me in knots that can’t be untied
Like being pinned between a car hood
and a tree; they are all that holds my organs in

The deceit of sheepskin I pull over my own eyes
So I won’t have to recognize that I’m the wolf
the one left behind due to injury but who refused to die
Too brutal for the masses, too gentle for my own kind

I’ve grafted my own skin to replace itself
Like eleven eggs split across two baskets
I either have six in one or a half dozen in the other
Neither both, what is given must be taken, life’s a balancing act

I’m lying on the ground with half my bones broken



Sophomore Year



I’ve got a pill box on a necklace
A cigarette behind one ear and a pencil behind the other
A regret I continue to commit in my hand

Drafting this poem with a tattoo gun on my forehead in a mirror
Like it’s the best idea I’ve ever had
Cut off the bloodline like honestly, where was it leading?

I have whiskey on my breath; she says I remind her of her dad
She says my cigarette smoke reminds me of her mother
I don’t say anything at all, I drink, I smoke, I try to smile



BIO

John Maurer is a 26-year-old writer from Pittsburgh that writes fiction, poetry, and everything in-between, but their work always strives to portray that what is true is beautiful. They have been previously published in Claudius Speaks, The Bitchin’ Kitsch, Thought Catalog, and more than eighty others. @JohnPMaurer (johnpmaurer.com)  




JUST GO AWAY

by Juanita Rey

Sorry.
I refuse to be hit on
in a laundromat.

I sit on this bench,
expressionless,
senses shut down,
as if I’m in a coma.
So don’t speak to me.
I am not a person.
I am not here.

And you’ve mistaken
the intent of that green dress.
the message in
that strapless black bra.

You misread the situation.
My clothes did not
put you up to this.


MY NEIGHBORS

Sounds pass between
these adjoining apartments
but bodies do not.
My neighbors dine
at their small kitchen table.
I pick on leftovers at mine.
I hear their shower
but I don’t rinse under it.
We each have our own water,
our own bodies to scour.

I say hello when I see them
in the corridor.
And they return my greeting.
But we each go in our own doors.
There’s no comingling.

My neighbors are a middle-aged couple.
I am a young single woman.
If years and situations
were a wall,
they’d be the ones I hang my paintings on.


THE GOOD NEWS WON’T LAST


I am learning,
for the first time in so long,
that all my tests are normal.

The doctor advises:
more calcium in my diet,
exercise regularly.

She still prescribes something.
It’s in her nature.

She knows
wellness is the first step
toward sickness.
In the meantime,
have a cure.



BIO

Juanita Rey is a Dominican poet who has been in this country five years. Her work has been published in Pennsylvania English, Opiate Journal, Petrichor Machine and Porter Gulch Review.



Indigo and Half Moon

by Paul Rabinowitz


11:46 a.m.

A woman wearing a down jacket with silver duct tape clutches the hand of a young child. She throws a half empty coffee cup into the bin under the counter, walks past a full length mirror and glances at her reflection. Twisting her torso to fit into the frame she piles her hair atop her head and notices a gentleman in the back of the cafe gazing at her. She turns towards the exit then cranes her neck to check storm clouds gathering over a playground at the intersection of Pitt and Grand Street. She hoists the child and steps out. Moments later they return. She hushes the crying child that clutches her soaked jacket. The gentleman in the corner of the crowded cafe signals to them to take a seat at the table where he sits. She glances at me sketching the scene then releases her wet hair. I watch as it falls around her shoulders. She sets the child down as the gentleman rises, waving to get her attention. The woman saunters across the floor like a prima donna on stage. He reaches into his worn travel bag and gives the mother a bright blue bird. She rubs her hand over the soft fabric. The child grabs the stuffed animal and runs to the mirror. Glancing at her reflection, she sways back and forth with two hands clutching the wings. She catches my gaze and freezes. The mother turns away from her daughter’s reflection, pushes a candle jar to the edge and leans across the table close to the gentleman. She remains focused on the movement of his lips. The child stomps her feet, puts the bird under her jacket then disappears among the crowds gathering on Grand Street


2:53 p.m.

If I use
a phrase
like
bird enthusiast
with
blue eyes
gentle
voice

in the
first stanza
of my poem

will I need
anything
else
for the middle
or end

to explain
why you
grab

star chart
and dream catcher
earrings

and meet
a bird watcher

to view
a male
bunting

perched
atop
a cactus
singing
to stake
its claim

plumage
brilliant
and shiny
illuminated
under
indigo
sky

waiting
patiently
for nightfall
star patterns
to appear

for clues

to navigate
a vast
intoxicating
desert

while
half moon
in the distance
rises

4:43 p.m.

In a state
of hypnotic
hyper-focused
confusion
a moth
hovers
near a chosen
candle

thinking
the flame
is the moon
glowing

the nocturnal
creature
rises
then falls
unable to
break
its evolutionary
navigational
system

as when you
limp
past the mirror
check
storm clouds
eyes glazed
like a boxer
hit on the jaw

neck snaps
light dims
while falling
to the ground
wishing
someone
laid a pillow
on the canvas

and in a state
of hypnotic
hyper-focused
confusion
you twist
your head
glance at me
sketching
the scene

throwing fresh
words
on my paper
like a painter
under night sky
full moon
igniting
desert
landscapes

as you rise

order coffee
extra cream
and sugar
find a cushioned
chair
to rest upon
until storm clouds
break

as I slide
my poem
across the table
revealing
colorful phrases like

new places
we’ll travel to

sand soaked
in orange light

eternal summers
with no past

break the chain
around your neck

like Jackson Pollock
day after day
I’ll splash
new words
against adobe
walls
indigo dripping
over
raw sienna

so when your offspring
returns
finds us
burning
from both ends
we’ll watch
as she throws
the animal
into the air

and wait
to see
which direction
the dry wind
blows

where
the bird
lands





BIO

Paul Rabinowitz is an author, photographer and founder of ARTS By The People, a non-profit arts organization based in New Jersey. Through all mediums of art Paul aims to capture real people, flaws and all. He focuses on details that reveal the true essence of a subject, whether they be an artist he’s photographing or a fictional character he’s bringing to life on the page.

Paul’s photography, short fiction and poetry have appeared in many magazines and journals including New World Writing, Waxwing Literary Journal, Pif Magazine, Courtship of Winds, Burningword, Evening Street Press, The Sun Magazine, Grub Street Literary Journal, The Montreal Review, The Metaworker, Adirondack Review, Bangalore Review, Grey Sparrow Journal, The Oddville Press and others. Paul was a featured artist in Nailed Magazine in 2020 and Mud Season Review in 2022. Paul was nominated for Best of the Net in 2021 for his Limited Light photo series and also nominated for the Maria Mazziotti Gillan Literary Service Award. Paul is the author of Limited Light, a book of prose and portrait photography, and a novella, The Clay Urn. Paul is working on a multimedia novel called Confluence, and has completed a poetry collection called truth, love and the lines in between. His poems and fiction, Little Gem Magnolia, Villa Dei Misteri, Confessional and The Lines In Between are the inspiration for 4 short films. Villa Dei Misteri and Little Gem Magnolia won best Experimental Films at the RevolutionMe and Oregon Short Film Festivals. 

Paul has produced mixed media performances and poetry films that have appeared on stages and in theaters in New York City, New Jersey, Tel Aviv and Paris. Paul is a written word performer and founder of The Platform, a monthly literary series in New Jersey, and Platform Review, a journal of voices and visual art from around the world. Paul’s videos, photography and poems appeared in his first solo exhibit called Retrospective With Reading Glasses at CCM Gallery in New Jersey. He is currently at work co-writing a television series with author Erin Jones called Bungalow.

https://www.paulrabinowitz.com/

Fragment

by Stephen Mead

To rip the stars out of yourself
you must first become sky, a horizon with tugboats,
foghorns blasting underneath. How, though dulling sight,
mist amplifies everything. Poke it, a piñata, you pierce your own flesh,
shower panes, cut crystal, a tinkling crescendo.
Swirl, retrieve all. After this, feeling is easy.



Mesmerism

Black lake, paddle boats, the foot bridge silhouetted,
an elegance crossing over as mist slowly blots,
mist taking the waves, the small shores,
the surrounding woods into a Chinese scrim,
its dogwood images in ink, hand-painted,
& the liquid of all of this, the fluidity being
damp London rooks lifting from the gray,
the nostalgic brown, the stark branches…

Here happiness comes upon me,
happiness as childhood travels, adolescence prolonged
over soggy fields, hills, grass blades, all a twisting
vine of half-winter, half-spring before the boundaries
of parks, undesignated, nature preserves, nature stakes
claim in with every crooked creek a jagged ribbon
streaming through…

Cool tributaries swollen with thaw, my veins are
the life blood of some legacy’s landscape bequeathed fresh
from my parents for, god, how I love, taste
all this old agelessness calling us spirituous as we shift,
dissipative, return true again surely as this great lace of air,
air everywhere, holding us out, in, out, in, out, in.



The Loss

Rooms return you, rooms, the cafe, hallways, memories in a flood of flickers & you, suddenly back, Jack-lovely in this destiny pack.

I hold the cards still & you are not missing any more than a cloud floating from my gaze to trace the entire sky.

Maybe heaven really is so planetary & global with you one of the stars over a very private sleep.

From dreams I wake wondering if you’ve been here & I slept too sound except your gone face shows up, intensifying the lack.

I make coffee, smoke a cig, & divine your life in mine yet heart by heart, the flow of rooms, hallways, walks, those paths that crossed to last beyond the knowing of my time or your’s.



We’re a Little Nervous

Lighting a firecracker with a cigarette – pops, pops
all around the picnic table, old knots blown smoky—–
Watch the wood fly. Count your fingers. Check
your hearing. Dad’s reliving a ten-year-old’s Fourth:
gun powder, gun powder, a Western shoot-out
in his hands.

No wonder the dog’s hiding & mom went in the house.
Listen, I’m trying to keep my eyes open.
Whose turn is it? Uh huh, uh huh. Give me that thing.
Don’t go ’til just before the moment – come on, come on
This time let dad sweat a bit.

Now comes lightning, hours later, a storm watch incarnate:
winds slamming doors, toppling plants, hard rain sheeting
the screens, the too-long heat wave & fireworks gone to ash.

Dad’s pacing somewhere. Mom’s wishing she didn’t quit
Virginia Slims. Leagues away, here I am, sound-wired
& wondering where is the cat. Flash. Bang. Crackle.
Damn that animal—–

Any candles? A flashlight?
The tempest rumbles crash.
This umbrella’s got a metal tip.
These loafers aren’t leather.
Hell, Zachary, where are you?

Coffee in a slick fist, gas for the search party—
I breathe fire, wet silver, yellow gasp
showing sea-blue depths, & I think of Hitchcock,
& I think of warfare, & I think of the dread-laced thrill
of a cracker, little soldier, combusting sparks
in fingers just ten years here on earth.



BIO

Stephen Mead is an Outsider multi-media artist and writer. Since the 1990s he’s been grateful to many editors for publishing his work in print zines and eventually online. He is also grateful to have managed to keep various day jobs for the Health Insurance. Currently he is resident artist/curator for The Chroma Museum (The Chroma Museum), artistic renderings of LGBTQI historical figures, organizations and allies predominantly before Stonewall.



This Road Has Clearly Been on a Bender

by Marcella Benton

 

a flock of spandex cyclists take the unexpecting road like fighter jets

a blunt contrast to the rickety wheeled meth head
twitching towards them

cars oink by
quaking over that too thin white line
quivering to devour them all

because this road
has clearly
been on a bender

cars can barely hang on
as it jokes and chokes the hillside

with corn stalking the banks
wishing it was a river or the seaside in summer

just at the right time of day
when the sun and the moon shine down together like a cross-eyed girl

 

 

Hibernation

 

hibernation today
stuck in the warm fluffed bed
wreathed by domesticats and dogs snoring

made a sandwich of myself
I will live off the stored fat
until there is nothing but crumbs

the purrrrr of the skin and bone feline
king of the mountain

syncopates with the rumble of cars
patting down the street
rat a tat tapping my windows

unopened books and a revolver on the nightstand

not enough blanket to cover my cold feet

 

 

A Ghost in the Kitchen

 

I thought I heard you in the kitchen
running water dirty feet

saw the tip of a head above the door behind me
reflection of someone riding a bike in the hall mirror

must be the ghost you insisted we had

dog toys rolling uphill
the cat staring down the corner
but where are you now

maybe you just could see the future

so who is haunting who…

running each other over every day
sandwiched like a mack truck

maybe we made it
but no

no death comes early for the poor man
with a wink and a nudge

and vultures don’t give a shit

 

 

Whiffs of Nostalgia

 

we pass yawns back and forth
almost as intimate as french kisses on the porch swing

catching whiffs of nostalgia

of him
needling into that summer dress

and I was such a good girl
sit lay roll over

play dead
it’ll be over soon

 

 

Spring

 

so lily livered
swallowing poppies like candy

staining the grass with her perennial gardens

glads winking at her nose
changing her diaphanous mind
quicker than a soiled diaper

a little too late for the wrist cut roses
trickling warm and salty over her cuticles

telling her to replant before someone else does

 

 

BIO

Marcella Benton lives in Lakeland, FloridaMarcella Benton, with her husband and pets. She and her husband own and operate a screen printing and embroidery company, Whatever Tees.

empty streets

Domenic James Scopa

Empty Streets…

by Bakhyt Kenzheev

 

Empty streets, deep gaps beneath the doors.
The autumn world is cool and fleshless.

The forty-year old poplar above my head
still rustles with its tinfoil foliage.

Its owner, by next summer, is bound
to saw it down—so it doesn’t block the sun,

so it doesn’t rustle, doesn’t sing above me,
doesn’t wreck the pavement with its roots,

and you can’t breathe deep enough—but want to—
of even the September bitterness, the final feeble sun…

 

 

Willow

by Anna Akhmatova

 

I was raised in checkered silence,
in the chilly nursery of the young century.
The voice of man was harsh−
it was the wind whose words were dearest to me.
I cherished burdocks and nettles−
most of all the silver willow.
And, gratefully, it lived
with me all my life, its weeping branches
fanning my insomnia with dreams.
−Strangely−I outlived it.
Out there a stump stands, and other willows
speak with foreign voices
beneath our skies.
And I am silent…as though a brother has died.

 

 

Someone Is Beating a Woman

by Andrei Voznesensky

 

Someone is beating a woman
in a car so hot and dark
only the whites of her eyes shine.
Her feet batter the roof
like berserk searchlight beams.

Someone is beating a woman.
The way that slaves are beaten.
Beautifully whimpering,
she yanks open the door and drops
                                    onto the road.

Brakes squeal.
Someone races towards her,
flogs her, drags her
face down in the stinging nettles…

Scumbag, how deliberately he beats her,
Stilyaga, bastard, tough guy,
his dashing shoes, as slender as a flatiron,
stabbing into her ribs.

Such are the pleasures of rebel soldiers,
the delights of peasants…
Somewhere, stamping under moonlit grasses,
someone is beating a woman.

Someone is beating a woman.
Century on century, no end in sight.
It’s the young that suffer this. Somberly
our wedding bells stir up alarm.
Someone is beating a woman.

And what is with the blazing welts?
Last-minute slaps?
That’s life, you say—how so?—
someone is beatin a woman.

But her light is steadfast,
death-defying and divine.
Religions—no,
                        revelations—no.
There are
                        women.

She lays there placid like a lake,
her eyes tear-swollen,
yet still, she doesn’t belong to him
any more than the stars to the sky.

And the stars? They’re pounding
like raindrops on black glass.
Slipping down
they cool
her grief-fevered forehead.

 

 

The Cemetery

by Miguel Hernandez

 

The cemetery lies close
where you and I are sleeping
among blue prickly pears,
blue ancient-plants and children
screaming full of life
if a dead body darkens the road.

From here to the cemetery everything
is blue   golden   crystal clear.
Four steps   and the dead.
Four steps   and the living.

Crystal clear   blue   and golden,
my son, out there, seems far away.

 

 

BIO

Domenic James Scopa is a two-time Pushcart Prize nominee and 2014 recipient of the Robert K. Johnson Poetry Prize and Garvin Tate Merit Scholarship. His work was selected in a contest hosted by Missouri State University Press to be included in their anthology Proud to Be: Writing by American Warriors, volume 3. He is a student of the Vermont College of Fine Arts MFA Program, where he studies poetry and translation. He is also a staff writer for the literary journal Verse-Virtual, a book reviewer for Misfit Magazine, and a professor of literature at Changing Lives Through Literature. His poetry and translations have been featured in Reunion: the Dallas Review, here/there: poetry, Touchstone Magazine, The Bayou Review, Three and a Half Point 9, The Mas Tequila Review, Coe Review, Cardinal Sins, Boston Thought, Howl, Misfit Magazine, Poetry Pacific, Untitled with Passengers, Gravel, Crack the Spine, Stone Highway Review, Apeiron Review, Diverse Voices Quarterly, Literature Today, Tell Us a Story, Verse-Virtual, Malpais Review, Les Amuses-Bouches, Shout Out UK, Fuck Art, Let’s Dance, Sediments, Birds We Piled Loosely, and Empty Sink Publishing.

 

 

 

Images for Inga

by Kjell Nykvist

after Richard Aldington

 

I.

Ice encased the rosebushes—
The frozen flowers’ colors
Like fluorescent fish
In cloudy water.

 

II.

The elk at the water’s edge,
Massive and horned and red,
Look back at the towering limestone
Adorned with lodgepole pines.
The highest of the green needles,
We think, seem to scratch
The azure sky. To this mountain
Of green and grey, the elk are like
Red sparks from a distant fire.
And we are even smaller—like
White specks floating in a cave
Filled with water.

 

III.

Seeing you there—blue on blue—
Your feet in the warm Adriatic
Is the licking of a pleasure-tongue
Inside my sleepy head.

 

IV.

The merry completion of anticipation is
An empire of catkins sending
Dreaming gleaming grains
Across tender fields.

 

V.

Fears from the past, at last, vanish
Like a swirl of angry blackbirds:
All that remains of self-loathing
Can fit inside a pyx.

 

VI.

The thinking of strange thoughts, and with a loss of words:
Faint shapes in a faded tapestry, on fire.

 

VII.

The darkness deflected merely by candlelight.
The scent of satiety. On a table,
The cool wetness of empty shellfish,
Bread crumbs, the remains of asparagus,
Two punch bowls of chardonnay.
In the background, a melodic web
Of Otis Redding. Close your eyes,
My dear, and you become Otis, singing.

 

VIII.

To a child of winter, the cattails of heat.
To a child of summer, a barrage of ice.
To a child of fall, a pint of pollen.
To a child of spring, a cup of colored leaves.

 

IX.

The rain falls round the patio
In clear lines ending in clear starbursts.
Here is a crystal architecture
Where what is built was never fully designed,
Where what is designed can never be built.


 

Melting Into Portraiture

 

The sun perches
On creamy clouds. The day
Through the oaks makes
An adagio. There’s the
Happiness of honeysuckle.
There’s mint. Birds skip about
And thoughts coalesce.

The mind drifts
On the eyes’ sea until
There’s a soft rupture:

Light yellow bleeds through
Fluffy white, pale blue
Descends on green leaves,
Everything moves more,
Moves more in a sudden breeze.

In my eyes and
Through the breeze

A woman stirs
On a green knoll, her flesh
Fusing with a shower
Of shadows sprayed onto
The ground by the oaks.
Her hair dances round her.
I can see

The amber of her eyes
When she stares back.

It’s a subtle refinement of nature,
The ability to shift, to sway,
To change eternally, to tower above
The mind and eyes, only to shrink
Into grains of thought.

And this new woman,
In the wind and sun-play,
Like the land itself,
Shifts and sways too.
As do I.

We each adopt the attributes
Cast upon us by the other. We each
Consent to the other’s vision.
If joined as one
We’d be a kaleidoscope revealing
A thousand moving shapes
Through a single lens.


 

What is Poetry?

after John Ashbery

 

A Melanesian girl, in Sami clothing,
On the road to Dushanbe? The glissandi

Of birdsongs, how they’re draped in carmine?
Lake Louise? Or this striving

Towards something? Something
Arcane? Though we plead

To know it and clarity too? Will no one
Envisage the different visions

We have envisaged? Perhaps
They will. But it’s all been shattered

Like a fish bowl striking wooden floors,
The wooden shelving having collapsed.

So what? Will an empire of palm leaves
Still fill the vision of she who sees?

 

 

BIO

NykvistKjell Nykvist was born in Kalmar, Småland, Sweden, but grew up in Butte, Montana. He earned undergraduate and graduate degrees in Museum Studies from Baylor University. Kjell is currently a museum curator in Houston, Texas. He recently married his long-time love, Inga Stefánsdóttir, who is a harpsichordist. Kjell’s work has appeared in such publications as Poetry Super Highway, La Noria Literary Journal, The Deronda Review, and Asinine Poetry, as well as in several American and Canadian anthologies. (Kjell Nykvist is a heteronym of Bryan Damien Nichols, who writes his poetry through Kjell, and another heteronym, Alexander Shacklebury. Kjell and Alexander’s debut collection of poems, Whispers From Within, will be published later this year by Sarah Book Publishing, a small, independent Texas press.)

 

 

 

 

 

to the Utter East

by Josey Parker

 

If the ocean was
full of flowers,
how long would it
take for them to wilt?
How long before petals became chips?
Natural with sea salt.

And would they look
like bouquets
or accordions?

When you bite a clover flower
and press it between
your molars,
somehow that blossom
unfolds on the buds
of your tongue.

-no, the flowers
aren’t bouquets or
accordions but carousels like
sticky fingers, maybe?

But the ocean is full of them and so
is your mouth-
your lips spit pollen;
there is no ark to
save us.

Your head is a buoy,
bobbing in
stems, sepals, petals, seeds.
Close your mouth
before
your tongue
catches mine.
I told you I’m allergic to pollen.

 

 

Greensleeves

 

hand me that leaf
we rescued last fall
to press between the p’s

it paled anyways
with veins
like a dry wrist

all we have are the photographs
of our fingers
dusty with chlorophyll

 

 

what will we do with the princes?

 

It’s hurricane season
-so sue me for
boarding up my windows

you didn’t tell me you would
be here throwing
pebbles

 

 

BIO

Josey ParkerJosey Parker is a frazzled student and coffee enthusiast who somehow finds time to write copious amounts of poetry and flash fiction. Her work has previously appeared in the Claremont Review. Although she is an author, she is not in fact, dead.

 

 

 

Tableau

by Karen Corinne Herceg

 

The world
scaled for living
presses against a zero-degree sky,
the day’s beginning light
opening like a book.
The morning so frozen
will not allow the gibbous moon
to retire,
hovering over still-waiting lamplights,
poor imitations,
all their nightly duty done.
And I: supine across the linens
before this scene
as in a Rousseau tableau,
lying like a cut-out
in my own jungle,
each part outlined clearly
like the white snow-capped roofs
against the icy blue horizon.
And still
I think that you will edge me off the canvas
and paste me to the section
where you live.

 

Hudson History

                            honoring Pete Seeger

We’ve assumed you
beyond your natural shifts and turns,
morphing historical perspective,
birthing ourselves into your river grace,
iron and metal bridged
across your girth,
wave against will.
Adaptable in a marketable world,
your iconic flow
no exception,
your pristine nature filled
with natives and intruders,
the lush natural and
the burden of the built,
from ambitious towers
to towering trees
to the tread of silence
near old wilderness.
You begin at the north,
the top,
and push your power south,
carrying all,
delivering in a democracy of spirit,
challenged, fierce then passive,
history glinting off your journeys,
truth remaining in your depths,
powering through the harbor,
your own story
obscured by ours.

 

A Wake of Frogs

An early April day, arms full of grocery bags,
frost in the air not yet done,
I walked toward the house, stopped,
shocked by the sudden sight,
their gleaming bodies
laid out across rocks rimming the fountain
like civil war soldiers
waiting to be recognized and buried.
The porch where I sat evenings
watching the small waterfall
leech through rocks,
frothing into a pool rimmed with tiger lilies,
was far from soothing now.
How to know the autumn before
that ice would seal a wet tomb
before those innocents could escape?
A city girl, I couldn’t warn them
of nature’s ways.

Bags fallen at my feet, I spotted him
through our picture window,
sitting casually, New York Times in hand.
How he loved the crossword puzzle,
its setup of boxes, the clean, neat lines,
the completion of tiny words,
the supposition of victory.
This was complete, too:
death at the end of long years,
memories frozen over with no future,
laid out to view.
He thought those frogs were a warning
but they were only seeking a proper burial,
an affirmation
of what was long deceased.

 

Betrayer

The truth is
this is a fearful place,
constant trembling
flanked with platitudes,
with magical thinking,
failure drowning in cocktails,
lust laughing in a sophomoric comedy
and smoke curling
the clouded forbidden air.
There’s a lot of leftover
hippie love
and broken philosophies.
We assent to camouflage,
a whimsical toast,
a sea of well wishing,
the rejuvenation of a spa weekend.
Before the dusk of empty bottles,
pill prompted memories,
a closing door,
we consider praying again,
measures of redemption
kicking us back onto the cross,
always just shy of resurrection.

 

 

BIO

karen hercegKaren Corinne Herceg graduated magna cum laude from Columbia University with a B.A. in Literature/Writing. In 2011, she received graduate credits in an advanced writing curriculum with emphasis on editing and revision. She has published in independent, small press publications and has published a book of poetry, Inner Sanctions. As a recipient of New York State grants, Karen has read at various venues, universities and libraries on programs featuring such renowned writers as Pulitzer Prize winner John Ashbery and has studied and read with such well-known poets as David Ignatow and Pulitzer Prize winner Philip Schultz. Publications include Literary Mama, The Furious Gazelle, Immortal Verses, From A Window: Harmony and Inkwell. Her short story, “Knitting In Transit”, was published in Chrysalis Magazine, and she has completed her first full-length novel, Diva! Her current writing projects include a new volume of poems and co-authoring a memoir with award winning music producer Glenn Goodwin. Karen is a featured poet on the Hudson Valley poetry scene. She resides in Orange County, New York.

Visit Karen on Facebook and at her Website: karencorinneherceg.com.

 

 

 

alan reese

So Alive

by Alan Reese

 

how do we bend the mind
to fit the sound of what is?

what is the tone and notes
of the chords of our dreams?

who asks the questions we
struggle to answer?

when do mind and memory
marry and live happily ever after?

where are we and what are we doing
when they come for us?

why do we vibrate like bees in a glass jar
when we are so alive with love?

 

 

TEOTWAWKI

Fish will walk on land, and frogs drop from the sky,
zeppelins will explode and rain fire,
newscasters will turn a blind eye to joy,
and meteorologists will forecast non-existent weather patterns.
My sweater is too tight, and my pyjamas don’t fit.
When Archduke Ferdinand starts out in his armored vehicle,
the world, at prayer and unsuspecting, will be caught off guard
and wobble off kilter the rest of its days.
Signals from space will be misinterpreted
as cosmic static and interstellar background noise.
My nose will be elected president
and declare a state of apathetic disenchantment.
Black ants and red ants will form an alliance
that will elevate water cooler small talk to metaphysical
speculation and force governing bodies to take stock
of entomological trends as socio-economic indicators.
Masturbation will become a national sport.
Hand towel stock will skyrocket.
Personal declaration will be denounced as capitalist claptrap.
My undershirts will go in hiding with the Witness Protection Program.
Pensive moments will be outlawed outright.
Last one to leave will be expected to turn out the lights.

 

 

BIO

alan reeseAlan C. Reese owns and operates an independent subsidy publishing business, Abecedarian Books, Inc. He is the author of the chapbook Reports from Shadowland. His work has appeared or is forthcoming in Smartish Pace, Gargoyle, The Baltimore Sun, Maryland Poetry Review, Potomac Review, Delaware Review, Welter, Grub Street, Attic, Bicycle Review, Danse Macabre, and the Loch Raven Review. He teaches writing at Towson University.

 

 

 

bruce mcrae

Perception Management

by Bruce McRae

 

How it is and how it isn’t…

We look for you as if a lost key,
retracing our steps, constructing models,
comparing the right eye to the left.
We employ statistics, the blunt instruments
of guesswork and guesstimates,
and see little harm in chicanery.
Lies can be good for you.

We’re building a better monster,
history airbrushed, the rain holding off,
sin considered an accomplishment.

Now we’re tapping the collective consciousness,
a ready source of gods and archetypes.
We’re instructing you in the art of complacency,
the law on the side of the lawyers.

A hush falls over the Earth
as we prepare our presentation,
including suitable lighting and soothing ambiance.
Even the dead are invited to dine.
Even the living.

 

Identity Crisis

You were the Wife of Bath
and I was Claudius Ptolemy.
I was your sixth or seventh husband
and you were my invisible lover, Mrs. Succubus.
We played games in the sack by candlelight.
We crossed deserts.
Some days we didn’t even know each other.

Little wonder I was so confused.
How does one label their experiences
when rampaging Visigoth’s are at the gate?
With biblical floodwaters rising?
In these damnable firestorms?

One minute we’re Bedouins in a Saharan caravan
and the next we’re planting tomatoes back in Omaha.
“Now you see me, now you don’t,”
you cried out from behind a burning mulberry bush.

And I couldn’t have said it any better.

 

Step Forward

They wanted a volunteer.
I brought them a head on a silver salver.
I pulled your name out of a hat.
I gave them my neighbour’s phone number.

They required donations;
all for a good cause, we were assured.
So I took the loose change out of your pocket,
the gold fillings out of your mouth,
the two pennies reserved for your eyelids.

The gods demand a sacrifice, they insisted.
Of course, we nodded in unison,
jostling for the honour of being first,
taking turns jumping into the bonfire.

Unrestrained in our passion.

 

 

BIO

bruce mcraePushcart nominee Bruce McRae is a Canadian musician with over 900 poems published internationally, including Poetry.com, Rattle and The North American Review. His first book, The So-Called Sonnets is available via Silenced Press and Amazon. To see and hear more poems go to ‘BruceMcRaePoetry’ on YouTube.

 

 

 

L Vargas

Laughing Until It Becomes A Cough

by Lauren Vargas

 

The thin-lashed girl gets it,
a single spinal chill at every roadkill.
It’s not real, she repeats, picturing
a purple pig balloon that’d careened
through the sky, tangling about its
one dimensional, curly-tailed string
and fell at such high speeds that it hit
a telephone pole line, exploding ham
on either sidewalk. Waiting

and watching for a good laugh,
the kids give her a home and lodge
their popcorn kernels behind her tonsils.
She shoves a finger through her ear
to scratch the roof of her mouth, to
speak again if a loved one has been affected
by mesothelioma, legal compensation is
just around the corner. As children use their
heels to scrape sulphuric tar from the
defrosting water line and then

examine candied teeth with a
knife’s thinnest glittering edge between
waves, sweat beads accumulate on
the girl’s palms like transparent
bowling balls. She holds them out and
notices tremors. Asbestos rains down.
The kids ask her to drink fluids to cure
that dry cough but all the water is
leaving to house fishes in the dictionary.

 

 

At The Open House, My Aunt
Describes How To Deadhead

My aunt trims conversation with the real
estate agent. Mentions he might come back with a better
offer. All I ever wanted was a place to call home.
Deadheading helps the flower grow fuller, stronger, clearing her
throat with chested coughs, aunt takes cuticle
scissors to infected orchid roots hanging from slatted baskets
nailed to the mantle. Rotted tissue flutters mostly
to the wood. Careful to not slice any live stems, she issues

an apology to the dead leaves. My fingertips churn pots of fern
fiber and volcanic stone. I guide her root
before packing the surface with charcoal flakes. Now firmly
planted in the coconut shell, she emits a white
lemon aura. Her silhouette morphs. Purple fragile now, swallows
moisture from the air, and begs me to sacrifice
the bloom. Mindful of keeping her from lying in water,
I pray she’ll have room when fully grown.

 

 

Carpal Tunnel

But on a molecular level, dryness. No matter
the post-op sweat — her skin, like her emotions,
remains rubbery. To live in a white box shouldn’t cost
this much: a view of the stucco roof, its squares that
protrude from the ceiling to prop up a man in blue
who’s eating a wheat bread and jelly sandwich like
it’s the last meal. Scrubs, a patchwork of used vinyl
wristbands, collect in linoleum basements like fraud.

She drops her pendant cross in a tall glass filled
with denture solution, and hangs a row of teeth
from a silver chain around her neck. Her inability
to inflect certain vowels is as if her lungs occlude
apologies. Like the important things are slipping
away, she asks about the demon men in overalls
sitting at the foot of her bed. It’s hopeful to imagine
she’s talking about the food tray cluttering her toes.

 

 

Upon Hearing Of My Uncle’s Dog-Leash
Suicide, I Realize My Own Neck Pain

His children’s only solace
is desiccation. I say
sorry, he’s hanging around
in my mind pissing himself.
The doorframe — humor and bloat
are observed by relatives,
I hate their stiff face muscles.
Were you close to him? I’m just
asking how a two hundred
fifty pound man fits in a
small mahogany box. Voice
mail condolences begin
jarring birds from telephone
pole lines. After falling through
a cracked window, their necks thud
against marble countertops.
Chaos is the only true
family history. Home-
made soggy meat loaf leaves blood
streaks along the sink’s steel walls,
but I don’t speak because none
of this can be removed with
bleach. The oven light’s broken,
treats smell guilty. Duct taped glass-
ware fails to keep the juice in,
and cellophane bubbles up
around paper plates holding
stale brownies. I’m wondering
why a blue dog leash would kill
a man. You may be seated.

 

 

BIO

L VargasLauren Vargas is currently working towards an MFA at Queens University and is a full time writing curriculum-tutor in Southern California. She believes in the power of language and poetry. Her works have previously appeared in ElevenElevenAmpersand Literary Journal, Chinquapin Literary Journal, and CalibanOnline.

 

 

 

Michael Brownstein

REHABBING THE HOUSE

by Michael Brownstein

 

Dear wife, everything is not a relationship:
the pipe below the sink leaking water
is not always an example of neglect changing everything
(old age has a hand in things, too)
this mop hair full of brownish grime
no longer able to clean surface scars
will be renewed with bleach and detergent,
even thick grass tangled into stubbornness
can be tamed with an adequate lawn mower.

Dear wife, friends are sometimes
enough. Enough to carry one day forward
into another. Night is not always a comfort,
yet it can be, and we can fix
this old house, reinvent it to ourselves.
Perhaps then you will be able to understand
thinking and passion do differ,
the full moon has the same beautiful face,
we are still invited to the canopy of the forest.

 

 

A VISIT TO THE ZOO

 

I nurture the wrong people,
gangrene girls with color scars,
small breasts like the yellow cusps of dandelion.

I have broken so many fights
the count is beyond fingers,
beyond toes.

We walk the stone paths of the zookery.
Ivy, oat, barley. Great frogs, green shade,
wood ducks, a rock ledge.
water lilies like thick fish, spotted fish,
striped fish turning delicate hoops.

We eat lunch on stone benches jutting out over water,
a breeze ghosting through spiked grass.

Swifts move through the air like Chinese fighting kites
and there by the fallen tree, an egret,
wings stronger than hunger,
wings stronger than selfishness.

My girls do not see the wood duck, the swift.
They do not see the fish, the large frog.
My girls complain about the walking,
this was a trip to the zoo,
we came to see animals

not Lake Michigan,
not the break wall,
not a rumble of rock blocking waves,
the water green gray blue,
not shells, not algae,
not sand thick with alewives.

I nurture caged girls,
meat-eating girls,
and when the rock dove lands by thrown bread,

I nurture girls who glory in the herring gull’s attack,
a rock dove retreating quickly,
wild wings sparking like fields of lasers.

 

 

WHEN THE CAR BROKE DOWN

 

we had to walk two miles into town,
the wind not the rabid raccoon we feared,
but the gentle new boy who also disliked baseball.
The fields snowbound,
streets unplowed,
sidewalks buried,
everywhere fairy dust and stars,
the sky a frozen lake, thistle and cottonwood seed.
When we passed the high school, my son said,
“The new windows look nice.”
On the bridge, he pointed to the four deer
buried to their neck,
body heat creating puddles of snow
and the four of them stared at the two of us,
unafraid, unabashed, silent.
When we entered the first store,
removed our heavy scarves
and freed our hair from hoods
hot spiced apple cider awaited us,
and at the second and at the third.
We lingered with people we knew and people we did not,
shared stories of huge snowmen,
angels we drew with our arms
and then a man much older than all of us
entered the bookstore with a large snowball.
“Perfect for packing,” he said,
tossing it out the door,
We could not wait to get home and go cross country skiing.
First tracks,
the entire landscape a stained glass in whites,
tree limbs transformed into liberty roses
and white poppies

 

 

A REGISTER FOR LIFE

I will tell you this and I will tell you this this time
In the register of the person
In the rhythm of the building
In the stepping stones of one handshake to another
In the bathroom of broken concrete and scarred walls, graffiti and cracked windows
Twice the dream came over me like fog
Only more intense
Like thunder with lightning
A crack with fire
A break in the line
I woke crying and uncomfortable.
The terrible thing about writing in the morning is you forget that someone you love can
            die
Or you never knew them before they die
Or the breath you breathe is meaningless because someone you should know is dying.
Then there is nothing left to tell.

 

 

 

BIO

Michael BrownsteinMichael 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 The Shooting Gallery (Samidat Press, 1987), Poems from the Body Bag (Ommation Press, 1988), A Period of Trees (Snark Press, 2004), What Stone Is (Fractal Edge Press, 2005), I Was a Teacher Once (Ten Page Press, 2011) and Firestorm: A Rendering of Torah (Camel Saloon Press, 2012). He is the editor of First Poems from Viet Nam (2011).

 

 

 

Jon Riccio poet

Streaming

by Jon Riccio                                                                                                     

The revenue a chat room derives from a duodenum
and a stapled pouch,

a stomach’s subculture of gain, cleanse, loss
                                                in the bypass
gifted to me when I turned nineteen.

The buffets it wrested,
            the domain I registered,
all those ethers clamored around a meme,

            the social word-shit one types
“like my lap band”      “tweet my gout”
            streaming on alt-dot haunts.

My searchability full-blown, I’m a phoenix
gone gastric with more boyfriends than you
have optic nerves       and that’s Ohio alone.

Mother, I’ve macerated my tract,
the live feed of a chafing dish
less invasive than bariatric.

Father, meet Evan from Ashtabula.
He crowd-funded my flab,

one download from betrothed.


 

Prompt

 

The writer wearing a mercurochrome corset
gives you a picture of half-eaten pie,
you inure a blood phobia,
the transitive inferred.

She sends the angel
with candy-wrapper wings.
The Rapture is a dinner bill, you
are its Andes mint. You jostle a trinity:

the abortion building
next to the Weight Watchers
near the Flapjack Shack,

rev the Z in Nazareth, smite its arcade.

 

 

Separate Recyclables

 

I am the nightmare of every environmentalist
turned conversion therapist
hoping to biodegrade
the gay away.

Woe to the zealot
who’s chained himself
to my landfill, its damnables
poking out of a cardboard pond,
diorama forsaken because I ran out of tape.

Each morning,
tribunals and a tin glade.

My handrail, on eulogy,
saying, “absence of rings kept me
beautiful, self-realization drained him alone.”

 

 

BIO

Jon RiccioJon Riccio studied viola performance at Oberlin College and the Cleveland Institute of Music. A recent Pushcart nominee, his work has appeared or is forthcoming in Paper NautilusQwerty,RedividerCutBank OnlineWaxwing and Switchback, among others. An MFA candidate at the University of Arizona, he resides in Tucson.

 

Rockoff Lizut

April Fool

by Sandra Rokoff-Lizut

 

Why did I believe
our milkman
was leading a cow
down our city street that spring morning

First, weird things
happen. (After all,
it was 1971 in Santa Fe).

Second, we had our milk
delivered then, by a local dairy—
glass-bottled, cream-topped, unpasteurized.

Third, my ex-husband
was absolutely convincing.
I never doubted a thing he told me.

 

 

 

On Pollywog Pond

 

The young girl’s ankles
bend to greet each other.

Red nose drips
colt-legs wobble
mittened hands pose
to hold ice at bay.

Lips and cheeks chap
toes loose ability to twinkle.

But her mind glides,
spins, jumps,
stops so fast
silver blades spit shavings.

 

 

 

As Oregon winter begins

 

autumn weeps
its last leaves
on dark dank
afternoons

bare limbs
bravely
bare
their vulnerability

grey sheets
unravel
in an
unfailing
cacophony
of rain drops

 

 

BIO

Sandra Rokoff-LizutSandra Rokoff-Lizut, retired educator and children’s book author (published by Macmillan, Holt Reinhart & Winston, and Hallmark Inc.), is currently both a printmaker and poet. She is a member of Oregon Poetry Association and first place award winner in their Spring 2014 contest, Mary’s Peak Poets, Poetic License, Gertrude’s, and a weekly writing salon. Rokoff-Lizut volunteers by teaching poetry to middle-schoolers at the Boys and Girls Club in Corvallis. She also studied poetry through OSU as well as at Sitka and Centrum. Previous publications include Illya’s Honey, The Bicycle Review, Wilderness House Review, The Penwood Review, Wild Goose Poetry Review and Verseweavers.

 

 

 

 

Marina Carreira poet

Capela da Nossa Senhora dos Aflitos

by Marina Carreira

 

Here on my side of the ocean, the mist
is a mantle of woolen smoke around the cliff
so many women have jumped from. I walk

steadily to the old chapel so many fisherwomen
have prayed in for the return of their husbands,
but I’m not here to pray. I stand and bear witness

to the crumbling blue and white tiles that form
the Blessed Mother of the Afflicted, the saint
of women plagued by fear and famine, phantasms

of both the mind and the body. No one knows I’m here
to plead for my mind back, for the return of the brain
that belonged to a woman who feared nothing.

To the kneeling woman on my left and the two
to my right, I am nothing more than an overwhelmed
tourist who forgot her camera but doesn’t care.

Rain is coming, and that is one less thing to get wet.
Later, on your side of the ocean, you tell me
about the sweltering heat of mid-afternoon in Newark:

It’s murder out here, even the sparrows stick
to the bark of the cherry blossoms to stay cool.
And we all know how they love to fly, so imagine.

 

 

 

 

Requiem for the Heart

 

Tiny purple gris-gris bags,
swimming in circles in my chicken soup.
I pick them out
and lay them lifeless
on the side of my plate.

The 4×4 cut-out
cards I exchanged with only girls
in my 5th grade class on Valentine’s day
now boxed
in my mother’s unfinished basement.

That pink birthmark,
a wet kiss on your lower back
hip. Your father has the very same
one he covers up every day
with Wranglers.

Hanging off the gold necklace
he gave me the Christmas after
we lost our virginities,
in it, our picture:
eighteen, unwounded, wide-smiling.

What my grandmother says
men are good at
eating. Easy like oranges,
their teeth slowly separating
each chamber.

 

 

 

 

En Route to Montreal, on Our Anniversary

 

  1. 5:36am

Day breaks slowly over the Catskills,
tree trunks scissoring the light.

White and wide as whale teeth,
lines divide us

from other cars on the Thruway.
I’m some spare part

of rib – rheumy-eyed, documenting
all my grandmother would call madness.

 

 

  1. 5:36 pm

We stop at Betty Beaver’s Diner
in Lewis. The heavy-lidded waitress serves us

bread and eggs as curry yellow
as the afternoon sun

breaking through the window’s grease.
Home feels four thousand miles away,

and it’s been nine lives since I overheard you
say Marriage is overrated.

 

 

BIO

Marina CarreiraMarina Carreira is a Luso-American writer from the Ironbound section of Newark, NJ. She holds a BA in English from Montclair State University and a MFA in Creative Writing from Rutgers University. Marina is an adjunct professor of English at Essex County College and a correspondent for the Luso-Americano newspaper. She is curator and co-host of “Brick City Speaks”, a monthly reading series at Hell’s Kitchen Lounge in Newark, NJ. Her work is featured or forthcoming in The Acentos Review, Naugatuck River Review, Writers of the Portuguese Diaspora: An Anthology, and Paterson Literary Review.

 

 

 

Spent Grains

by Kent Kosack

 

Once it was salvation, that

First cold sip, the bitter notes.

So bitter!

The malty sweetness.

The bubbles in my nose.

The sun playing across the

Lot, shimmering with heat,

The empty chairs, the

Barrels of spent grains.

Once it was just so.

Then, things went astringent.

Bad end notes.

So bitter.

The way you stormed out,

Theatrical, past the grains,

Spent.

So bitter.

 

 

The attic

 

Youth is what you loved.

Yourself too. And maybe the

Margaritas we used to drink

Naked and close, in front of

An old air conditioner. Our

Own world, that patch of

Cold in an otherwise

Sweltering attic.

 

 

Your hair

 

Close-cropped it falls,

Thick and full and defiant,

Escaping through my greedy,

Searching fingers.

No one likes

Goodbyes.

 

 

Commute

 

Barreling down the hill towards (a job, I’ll say it, but who cares? It’s not me. It’s life in the cracks that counts) downtown, a piston, Barry Allen, a demi-god.

Yelling, straining more with the song of it than anything else, a half-remembered tune (from the Muppets?) humming inside me somewhere.

Approaching now, the road narrowing, options narrowing. The winnowing of a day. I, the chaff. And silence. Waste. A day-long suffocation.

Stepping heavily up each stair. Each. Stair. A change in atmosphere. Pounds of pressure per square inch, pressing, bearing down. Like astronauts in training.

Astonishing. A vast wonder. Lost in it. You can hear it—or not. What is it? (a tether to an unseen weight) All about, the void.

 

 

BIO

Kent Kosack teaches English and writes poetry and prose. He lives in Seattle.

 

 

 

STAY IN TOUCH