Cover image: "Across Time" by Nicole Zdeb
Gallery 3
Swallowed in the quiet beauty
Donna Dallas
We Come So Close to It
The yellow hummingbird outside
our kitchen window
the red-bellied woodpecker
the emerald-green coat you bought for me
in Venice ten years ago
that still resembles a movie star garment
the texture of your hands
across my skin
kind of bristly
yet how I long for it
I’m closer to it now…I think
those necessary things
along the journey
how we fold into the ocean
up to our necks
at sunset
that time is ethereal
a moving stick of dynamite
in our hands
I’ve walked by that caterpillar
on the side of the garage for days
cocooning into its holding tomb
never quite noticed the intensity
of the black carvings along its
plump white furry body
Nothing left
but to get as close as possible
to the splatter of stars
that cover us at night
the long walks to the bay
with the tugging of our dogs
pulling time with us
the reeling of some sad song
on the radio
waiting to be discovered
Later when we see the hickory tussock moth
we realize this
is as close as we will ever get
to a silvery glint off the rocks at the bay
the way your eyes gleam an eternity
with yellow dots amidst turquoise blue
a DNA throwback
that simply cannot
be labeled
The light scurries off
before we can even realize
we were on
the raging horizon
Donna Dallas has appeared in a plethora of journals, most recently The Opiate, Beatnik Cowboy, Tribes, Horror Sleaze Trash and Fevers of the Mind. She is the author of Death Sisters, her first novel published by Alien Buddha Press. Her chapbook, Smoke and Mirrors, launched in 2022 with New York Quarterly. Donna serves on the editorial team of NYQ. Twitter @DonnaDallas15
Morgan Stephens
Better this way
I learned impermanence at an early age
when I would wake up
and the house changed,
my mother sitting in her chair
after a night of slinking, rearranged,
keeping her illness
away from us
surrounding us
inside us,
the lamp on the kitchen countertop
tossed to the living room,
the guest room upstairs,
in a few days the
heat would rattle out
to catch her in her sleep
lift the bones
and move it back to the kitchen
where it was in the beginning
there, the lamp would bring some peace,
there, it would be what it promised,
between me and your dad,
you had no chance, kid,
she said, side eyed in a cackle
then spent the night turning the
furniture on its head,
how many jokes are
not jokes at all,
I left it alone,
it’s better this way,
not to speak of what keeps us chained,
moving in place, room to room
finding nothing,
it looks better here, doesn’t it?
she asked me each time,
I knew better than to get attached
to where the lamp was,
I’d spent nights fumbling
around in the dark,
muscle memory, hand patting
for the switch
while it was plucked up as I slept,
yes, it looks better this way,
I would lie,
stability gone awry,
an hour later it was gone
Morgan Stephens is a journalist, author, poet, and speaker in Washington, D.C. She has worked as a reporter, opinion writer, and production assistant for CNN. Her reporting on Long COVID, homelessness, elections, and political extremism has appeared in The Daily Beast, HuffPost, CNN Politics, The Des Moines Register, and The Washington Post. She’s a contributing author for The Long COVID Survival Guide and Roadmap to Recovery: Overcoming Long Haul COVID Syndrome. She is publishing her poetry collection TILT // poems through the fog via Aldrich Press in January 2024.
John Tessitore
Capuchin
Behind the trees a subtle shift to gray
but not yet the dawning, the brightening.
Soon I will lift these warm covers and stir.
Soon I will begin another changeling day
but I miss my old routines, the monastic
order of my life in segments, the specifics
all mine, before I was devoured, my bones
pecked, picked apart, scoured, sucked clean.
In these early hours I am skeletal, an empty
frame trying to remember last night’s dream:
always the same small cell, the melted candle,
my aging hand scrawling someone else’s lines.
Such a good preparation for the crypt…
perhaps the chapel on the Via Veneto,
across the street from the hotel where she and I
made love when we were still free to roam, and
where I might be buried alone, to be seasoned
in the soil of Jerusalem, and after thirty years
exhumed to adorn a rising sun, ossein, and know
exactly how I will be spending the rest of my time.
John Tessitore has been a journalist and biographer. He has taught history and literature at colleges around Boston and directed national policy studies on education and civil justice. He serves as Co-Editor Across the Pond for The Wee Sparrow Poetry Press. He has published five chapbooks and a novella, all available at www.johntessitore.com, and his poems have appeared in a variety of journals.
Michelle McElroy
Michelle McElroy is a native New Englander who started painting at age 14 and went on to study at the School of the Art Institute of Chicago. Michelle gravitates towards creating scenes of quiet moments with strong use of light and shadow. Often inspired by what she sees during early morning runs, midnight snacks in the kitchen or simple observations of everyday scenes, Michelle enjoys conveying the intimate feeling of having space to oneself and creating a connection of that feeling from ordinary places that are actually special moments worth contemplating.
Katie Pack
The Kitchen
Grenadine spiders spinning webs of golden threads and laying eggs made of saccharine.
A bright blue pane of glass in the window of the kitchen door, framed by yellow trim with a chipped missing splinter. A thin screen of mist on the outside.
Three clear crystalline jars lined up on the counter: one, big, with flour, another small with sugar, and one for Goldilocks. All glinting in rays of light, shades of blue, flecks of gold, shimmering red.
The window, half open, letting in the breeze and smells of grass, dirt, laundry and tomato leaves. The curtain, flowing in the breeze. White with small yellow flowers that are orange in the middle, and sweetly accented by bees that nestle themselves into the loose cotton weave.
Pale yellow tile on the counter, where a finger can trace the raised corners from years of grout being scrubbed away. Little four by four squares, bending kindly in a curve down towards the cabinets.
The cabinets, golden brown wood with delicate line borders, thin deep grooves that reiterate their shape. They say again “this is how I have always been.” Little cabinet pulls, round and flat with only specks of varnish hanging on. So many openings, so many closings, so many hand-holdings.
An old gas stove with the numbers all worn off on the knobs, even the ones that were once repainted by a caring hand, above an oven that seems too small. All measured by fire and feel.
Oven mitts hanging on the wall, all crocheted with bits of leftover yarn from sweaters and hats and loving, warm shawls.
Pale blue wallpaper, with a thousand painted horses all jumping and running, whinnying, rearing their heads in play. All in their own perfect little field of sky.
Deep brown tiles on the ground, so large your feet can fit stacked into one. It’s cold against your toes, save for the spots where the morning sunlight catches it. It’s a silence you could shatter, a peace you could busy, a place that is meant to bustle. But you just stand there and soak it all in.
Katie Pack is an artist and poet living in San Diego, California. Originally from an oil town in Texas, she moved around all over the country before falling in love with the magic of Southern California. Since coming here, she has soaked up all of the beauty of the deserts and mountains, the plant life that inspired Dr. Seuss, and the brutally elegant granite that makes this place special. Her work focuses on beauty, joy, humor, and intense description that aims to pull the reader in headfirst, make them laugh, bring them peace, and share in moments of intimate vulnerability.
Julian Clini
Last Night at the Cottage
I carried the logs in the dark
To keep the bugs from following me in,
I stacked up three strategically
To facilitate the burning.
The kindling was never to blame:
Newspapers, birch bark, pine cones and
Pine needles, dry but still filled with
Sticky sap that popped in the flame.
I threw on a movie
By Studio Ghibli
And sat there, cold, light-less,
Just waiting for warmth.
The flames wouldn’t hold.
They’d flicker and rise,
All thunder and noise,
As the wood refuted
Their scarlet-tongued kisses,
Then sizzled and fell away.
Three, five, seven times I rose
To breathe life into the fire;
I could feel the mounting ire
As sensation left my nose.
After a while I got sick of its shit.
I poured myself some whiskey,
Clad myself in a thick sweater,
And sat down to watch the goddamn film.
A part of me wanted to cry:
My time here was limited,
And I would have loved to spend it
Warmed by the delicate blaze
Of a tenderly heated hearth.
Birds outside, unaccustomed
To humans and their creature comforts
Cawed deep and heavy
Over some carcass or other
While my misty exhaling echoed
In the undead abyss of night
Unmitigated by the pale laptop glow.
The movie had run about half its length
When suddenly the fireplace
Began to gleam on its own:
“An omen” I thought,
Warm tears in my eyes,
Feeling less alone.
Julian Clini is a storyteller, a rogue scholar, an uprooted polyglot, a failed musician, and an occasional poet. His work explores the meeting points of past and future, heart and mind, wilderness and civility. He currently lives in Toulouse, France.
Colby Flade
Colby Flade is a queer writer, artist, avid drinker of coffee, and student based in Chicago. He is the author of The Smell of the Light Blue House in Summertime (2021), Menthol (2022), and Short Sweet Simple: Love Poems (Bottlecap Press, 2022). His poetry & visual art pieces have appeared/are forthcoming in The Oyez Review, Beyond Words Literary Magazine, Beyond Queer Words, Wild Roof Journal, Drunk Monkeys, and elsewhere. Find Colby on Instagram @theflade.
Kelsy Johnson
This and That
I’d traveled far to find this.
Turns out, this, as defined by the dictionary,
and as a matter of fact,
is here.
So, therefore, this was
never there, the
elusive time and space
after which I hunted.
This is, and always will be,
here.
And that, all which is there,
no longer entices me.
Therefore, I will dedicate myself
only to the discovery of this,
as I search deeply in your eyes
and see a reflective pool
twinkling with
the love of creation,
and as a fire erupts
spectacularly northward
and the men play their drums
with increased vigor,
and as I sit, decorated
with a pink sparkly bucket hat,
swallowed in
the quiet beauty
of my small town.
This, quite dearly,
and quite literally
is all there is,
and I am in love with that fact,
but as a precaution
in anticipation of my repeated
(and vexing)
amnesia,
I write to you
to ask that if,
and when,
you find my soul
poor and lost in
a kaleidoscope
of tangled brambles
as a result of my ill-advised
search of that,
please be kind to me
and whack my stupid head
with a stick.
Kelsy Johnson is a poet living in Safety Harbor, FL. She is inspired by nature, human connection, and spirituality. She lives with her best friend Brittney in an apartment full of flowers.
Nataliia Burmaka
Nataliia Burmaka graduated from Boris Danchenko’s National Studio of Fine Arts (Sumy, Ukraine) in 1999 and worked as an artist designer from 1999 till 2005. Later she made illustrations for books and worked together with her husband creating murals (private orders). She moved to Finland in 2022, escaping from war in Ukraine. She took part in 4 two-person exhibitions in Finland.
Trapper Markelz
Nature Games
I watch the government refill the pond
with trout in spring. A dump truck arrives
with two stocky men in fluorescent vests.
An appointment was scheduled, and they show
up with a truck that lifts its back leg,
dumps more fish than I’ve ever seen
into the gathered water. I’ve watched them
stock a lake by airplane; how fish will fall
a hundred feet, splash down with a stunner
to the face, an abusive welcome slap
from their new broken home of hooks
and fake meals. This is all some dumb shit
we are doing. Pour animals into a hole.
Wake up the next day—pick them out again.
These are the new nature games.
Even the fish are status now; a story
for the gram, a taste of survival, a life
we allow ourselves to discard or keep.
This is what it takes. I go back to the pond
in spring. I go back to the things I know
& know them again & again, more urgent
this time, this year. I look another fish
in the eye, cut it loose with no time to waste,
follow the ripples until they reach the shore.
Trapper Markelz writes from Arlington, Massachusetts. He is the author of the forthcoming chapbook Childproof Sky, a Cherry Dress Chapbooks 2023 selection. His work has appeared in the journals Baltimore Review, Stillwater Review, Poetry Online, Wild Roof Journal, Greensboro Review, The Journal, Dillydoun Review, Passengers Journal, and many others. You can learn more about him at www.trappermarkelz.com.
James Butcher
mare
by the time we rode through the
valley of death we were numb
to the various horrors inflicted
in the name of one righteous
cause or another so we told
our exhausted horses to keep
walking because they were in
the midst of the new world order
and the sooner they accepted that
the better off they would all be
and i know it wasn’t what they
signed up for when they agreed
to take the bridle in exchange
for three squares a day and an
occasional day off for good
behavior but i was trying to
impress on them that men are
beastly creatures and so they
were sadly mistaken if they
thought things would be different
once we crossed that mountain
pass in the middle of that
blinding snowstorm and i
must admit that i thought they
would gradually grow accustomed
to all those vicious acts of human
cruelty but i have slowly come
to the pondered conclusion that
they are scarred for life and no
amount of intellectual discourse
will revive their broken spirits
and the best we can do is keep
moving in the hope that i was
sadly mistaken when i said that
man is a loss of his own making
which is sad comfort indeed for
my darling mare in the principled
prime of her vibrant life when
she should be roaming an
undiscovered valley with a
feral assortment of colts and
fillies and mares and steeds
James Butcher has had work published in Box, Hole In The Head Review, Burningword Literary Journal, Rivet, Prick of the Spindle, Midwest Review, and Cream City Review.
Valyntina Grenier
Petal
Rivals make haste I hear
Give good honest soldier
Belief is an apparition
Come sit down awhile
westward beating one peace
Speak to it with wonder
It would be spoken to
and will not answer fantasy
True king to thyself jump
this dead martial watch
Our state toils the subject/
the land brazen for
implements of war
whose sore task
divides the laborer,
the day The whisper
goes as you know
to combat Our known
world as a sealed compact
ratified by law Life/ lands
seized against inheritance
Now mettle hot and full
in skirts list lawless
food/ enterprise/ our state
Strong hand take it,
the main motive/ the source/
the chief head comes armèd
The mind’s eye in little graves,
the sheeted dead
as stars/ trains of fire/
disasters/ the sun
Influence stands
sick to doomsday
Eclipse fear/ fate/ omens
Earth, blast me
The cock crows
Stay and speak
Don’t strike Stand
’Tis here we do wrong
Violence as air
Malicious mockery
started a guilty thing
Trumpet shrill-sounding
Sea or fire/ earth or air
extravagant and erring
confine this sent object
Wholesome power
gracious time
walk our watch tonight
Loves let’s celebrate dawn
all night long
Valyntina Grenier is a multi-genre eco artist living in Tucson, AZ. She works with paint, ink, Neon, encaustic medium, recycled or repurposed materials and words. She is the author of three poetry chapbooks, the tête-bêche, Fever Dream/ Take Heart (Cathexis Northwest Press 2020) and In Our Now (Finishing Line Press 2022). You’ll find her work in Beyond Queer Words, Genre: Urban Arts, Impermanent Earth, The Journal, Lana Turner, The Night Heron Barks, Querencia, Ran Off with the Star Bassoon, Sunspot, and The Wardrobe. Find her at www.valyntinagrenier.com or on Instagram @valyntinagrenier.
Mary Baca Haque
Loons
There is already a plan for her.
She thought about this—
wondering the summary
results, written by them
with first say, none in black
at desks in a class of light, past
folks and company not known,
contributing to her plan
raising their hands—
I have one we can add,
all cackling at once, eager
about the composition of her life
slowly showing itself, with
some laughing
some slapping their knees
some half smiles
some weeping
jotting lines hurriedly, with half glasses
in precise concentrations, grasping
worn out golden pens, scanty in ink
from previous plans, writing
on long linen scripts, trying
to get to her end, before her arrival
She now thinks they are
—a bunch of loons
for the life she has lived,
so far—
oh, how she would truly love to meet them
just for a small moment.
Mary Baca Haque loves to bring natural elements and peace to her writing, hence her forthcoming picture book poem, Painting the Sky with Love (MacMillan, 2024). Her hobbies include dabbling in all forms of poetry, unique paper crafting, reading, and reviewing great books! In her spare time, she loves to spend time with family, bike ride and travel in between working full time as a real estate title professional. She is a mom of two artsy adult children and resides with her partner in Chicago, IL along with her mini goldendoodle named Georgina.
Nicole Zdeb
Nicole Zdeb is a writer, visual artist, and astrologer based in Portland, OR. She holds an MFA from the University of Iowa. Bedouin Books published her chapbook, The Friction of Distance. You can find her at www.angelaalstonastrology.com.