Cover image: "Light" by Kamakshi Lekshmanan

Gallery 3

Of play and plenum

Emily Kerlin

Pears

last year I was bitter,
citrus peel, kale,
karate chop
maim

anger pinched every
soft thing:
inner arms,
temple,
lip

bile swallowed
over and over,
teeth, tongue,
green,

but this year,
a bowl of pears
on the table,
just ripe and too many

I am back
from dark, cold
kitchens,
abandonments,
stacks of ramen wrappers
spilling from the trash.

I am back
from hard
hits, empty boxes,
trickles of blood
snaps of bone,
microplastics,
bad trips,

the ones that got away,
the ones I pushed away,
the ones that stayed,

the sharp stick
of old trauma
I whittle
down daily,

and now,

the overeager daffodils,
embarrassing themselves
in February

the delicate
eggs of fritillaries,
clinging to chaff

to step lightly into the garden,
two perfect pears in my hand

Emily Kerlin has published poems in journals such as Bridge, Cider Press Review, Storm Cellar, Sheila-Na-Gig, Blue Mountain Review, Split Rock Review and MacGuffin. Her book, Twenty-One Farewells, won Minerva Rising’s 2023 chapbook contest. She lives in Urbana, Illinois, where she teaches the difference between “chicken” and “kitchen” to English learners. Find her at emilykerlin.com.

Kathy Pon

Coyote at the Perimeter

Here, long before you,
here, long after you’re gone.

You see me in daylight,
my coat flashes across the alfalfa field
before your dogs whiff my scent.
Sprinting acres, fresh kill in mouth,
I pause at the treeline
glancing behind. Then, shadows
of almond trees swallow
my elongated muzzle, long legs,
black tipped tail.

My pacing seams a smokey furrow
on the horizon of a land
loamed with old creeks,
salted in drought. Negative space
beyond your borders.

A pack could stay fat eating
mammals on your homestead,
squirrels and rabbits, voles and mice.
Opportunist, I chew irrigation
line to quench my thirst,
feast on your early nuts scattered
upon the ground.

When the veil of evening descends
I will emerge again to chase down
my hungry hollows.
Body lean, fleet, leaping
through fields, rows of trees,
dashing furrows, hurtling ditches.

You will lie in bed listening
to my rapid shrieks and yips.
My howling pulsates the night, persuades
a wary moon all is well
as I cast my dogsong spells
along the edges of these flatlands.

My ancient song, a shiver in time,
wild thriving on the perimeter.

Kathy Pon earned a doctorate in education, but in retirement has turned to her life-long passion for reading and writing poetry. Her husband is a third-generation farmer, and they live on an almond orchard in rural California. Her poems have been featured in The Write Launch, The Orchards Poetry Journal, Eunoia Review, Penumbra and Passengers Journal.

Jackie McClure

Postcard of Both – Place and Path

Clams and midnight blue
mussels seed an agate beach
where the clams absorb the flames
of sunrise falling down the hillside.
The water dawns at their lips
and lightly opens them a breath.
The path includes a coil of
silver bends and detours, and wanders
off the map to return
a little further down
toward the need to wade
across a shallow overlay of water
that is a tidal sunrise.
Fertility is fed by downhill paths,
wading water and hoping flaming landscapes
into a wetness of evaporation
that is and will be the passion
to shake the eggs into creation.

Jackie McClure writes poetry and fiction aiming to illuminate commonplace segments of our shared landscapes. She is currently working on a manuscript of poems inspired by plants. She has an M.F.A. from Goddard College and has published poetry most recently in Humana Obscura, with pieces forthcoming in Indelible and Hellbender. She lives near the Salish Sea in Northwest Washington State. Her preferred state of being is swimming. Instagram: @pouringwordtea

Sarah Kilgallon

Burst

Case for Inefficiency

In the woods I meander. A spirit such as mine skips along the trail dazzled by the freedom of the relative silence.

I pause at an oak and lean against its trunk. The tree’s rough grooved bark presses against my spine, as if one holds up the other. Within the folds of a leaf, an early morning dewdrop sits patiently waiting for the sun. I squint hoping to see the world within its tiny dome. I’ve fallen deaf to the desires of the efficient clang and bang of commerce.

Oak trees are not efficient.

Acorns hang from the oak’s branches but soon the change of season or a swift wind will send them tumbling to the ground with nothing but their spikey hats to soften the blow of their fall.

Squirrels scurry to collect the best acorns for their lairs while the rest are left to be swallowed by the land. In defiance of certain death, a stray sunbeam strikes a forgotten acorn. Revived and energized, a green sprout appears and breathes in the crisp forest air.

A year goes by, the sprout takes root and bravely reaches for the sky. With its new skin and a frothy head of leaves, the seedling becomes a mighty little tree.

Each year, the sapling grows a handsbreadth taller, forms another ring to thicken its trunk. But the relentless timekeepers of efficiency are frustrated with the oak’s progress. It will take 100 years for the oak to reach maturity and produce acorns and shade. But they forget the abundance the oak will give for the next 600 years.

I do not envy the lifespan of an oak, but I do wish for its patience. Nature gave the oak longevity, and in exchange the oak agreed to disregard what humans value most — time.

The thin voice of efficiency scolds me. The oak is a waste of time. Innovation can’t wait for centuries.

“Innovation does not equal life,” the oak whispers to me.

Whether trees are sprites or spirits, the old souls must be laughing at our idea of progress.

I close my eyes and rest my forehead against this common oak tree. The world is lush and green standing beneath its foliage. Everything tells me to stay. Grow wild, crooked, and free, and allow time to become a forgotten season.

Sarah Kilgallon is originally from Boston now living in Lisbon, Portugal. She’s a journalist for the sexual health sector focusing on women’s health and mental well-being. Recent exhibits include: Covid-19 social distancing series; a wall-sized photo collage on permanent display at Boston Children’s Hospital, Boston, MA; and Welcome to the Wilderness (photography and essay series), which completed a two-month showing in 2024 at Centro de Interpretação de Monsanto, Lisboa. Her long-term ongoing projects: Womanhood 50+, defying self and society imposed limitations; Liberdade, a study of freedom; and a mixed media project, Re-imagining the Island of the Amazons. Website: sarahkilgallon.com / Instagram: @sarah_kilgallon_artista

Esteban Rodríguez

Hawkers

Because they wanted to be seen,
I’d spot them on street corners,
near intersections, by the sides

of roads just outside the city limits,
or sometimes just within, each surveying
the traffic, unconcerned if they lacked

a permit, if they were waiting for what
seemed like days till someone stopped,
took an interest in what lay scattered

on their tables. Some sold Easter eggs,
bouquets of roses, chocolate boxes,
baskets with teddy bears and heart-shaped

objects. For others, it was homecoming
garters, mums, tricycles, grapefruits,
watermelons, lemons, oranges,

Dallas Cowboys shirts and blankets,
pottery, plants, pure-bred puppies,
or piñatas molded into exotic animals,

superheroes. But for those that had
no theme, whose assemblage of things
suggested no pattern, plan, I stared

a little longer, wondered how they managed
to haul the used washers and dryers
on the small, dented cars resting

just behind them, or how they could sit
in the heat all afternoon, lounging
on lawn chairs, chewing sunflower seeds,

as though the world in front of them
were moving at the pace of a baseball game.
And there were times when at a stop light,

or if my father was driving slow enough,
I watched, from the backseat, a boy
or girl playing off to the side, bouncing

a ball, or fiddling with some device
that would later be sold, all while feeling,
as I couldn’t help but think they felt,

that when they ran up to a table, slumped
their heads against an old A/C unit,
their sweaty, sun-beaten faces

would soon be cooled.

Esteban Rodríguez is the author of eight poetry collections, most recently Lotería (Texas Review Press, 2023), and the essay collection Before the Earth Devours Us (Split/Lip Press, 2021). He currently lives in south Texas.

C. John Graham

Residue

Dear Death Valley: Your runways and roads
are rut-furrowed now, that thousand-year downpour over-
vetted by park rangers’ Biblical renditions. To them, we’re just dirt
lost but not misspent, building alluvium
down east of Baja Norte. Does that make sense,
direction-wise? Poles wander, but we sedimentary brethren seek

our level like water, except when thrusting plates look
for an occasional shoulder shrug. The humans, you ask? Gravity is one road
to abasement of the sapien senses,
and there’s a load of prone examples: fleshly feelings super-
devastated or outright canceled by quake or virus, Delta
or Omicron, ashes drifted to river bottom, just dust

at every ending. While a billion light-years past Earth’s
partitioned rotation, two tons-per-teaspoon neutron stars seek
union in an unsteady minuet, planting
scant ripples on space-time’s jouncy blanket. The globe rode
a likewise potholed highway once (before that over-
active brood arrived) when some semi-molten unthinkable

rock flung a moon’s worth of Earth into orbit, at least that’s the theory.
Physicists of one ilk or another claim to have the dirt
on our hypothetical origin—“condensed matter” they call it—really
not a conversation-starter for a species seeking
clean air while scribing skid-marks on the rock-hard avenue
to oblivion. The chronicle of layered

leavings includes plenty of residue
to go around, e.g. two oxygen, one carbon, a sensible
molecule now seeding heat exhaustion. Highway 61
is their anthem to entropic deconstruction—Earth
urging do what you want, Abe, but run while gazing
knowingly out at cosmic pandemonium. (Yes, I’m over-

stating the case, but the bipeds applaud excess
and out-of-proportion allusions
all the time.) So, what’s to uncover
in this mussed-up anthro-muddle? I suspect
it’s just us, shouldering robes of restless dust
churned up from a well-worn road.

Very sensibly yours,
a few layers of leftover sediment
seeking passage to a final valley.

C. John Graham’s poetry has appeared in The Laurel Review, Birmingham Poetry Review, Painted Bride Quarterly, Kestrel, The Inflectionist Review, Taos Journal of Poetry, and the anthology Off Channel, among other publications. He lives in Santa Fe, New Mexico, and until retirement worked at Los Alamos National Laboratory’s particle accelerator facility. He now volunteers as a search and rescue pilot, owns an aerobatic aircraft, and continues a lifelong spiritual inquiry. Website: sites.google.com/site/cjohngraham/home/poetry

Jennifer Handy

The Oasis

The summer of 2023
was one of record-breaking heat,
but I don’t remember it that way. To me,
it was the summer of saguaros.

I discovered them
while I was running,
though I had seen them before
of course. But I hadn’t really,
hadn’t seen so many,
hadn’t seen the way the spines
when viewed at a distance
generate, in a certain light,
a glow around them
like a halo,
hadn’t seen the way they differ
from one another
in the same ways that people do,
some short, some tall,
some with more arms than others,
their bodies segmented
in different ways
so that when I ran along a different path
I watched them,
picked out a distinctive one
at every fork,
then followed them back
safely home,
or what passed for home those days.

We were living that summer,
that whole year really,
out of an old Volkswagen van,
about the same age I was.
If the van had been a cactus,
a saguaro,
it would stand a mere ten feet high.
We had no air conditioning,
only a tiny solar fan to cool us
as the temperatures began to soar.
It wasn’t so bad at first.
The thermometer would rise
some five or six degrees higher
than it did the day before.
We sweated more
and sought the shade
as though it were a sacred space
where our prayers might be heard,
our body temperature regulated.

Each night, around sunset,
I would go for my daily run.
When I was young,
and ignorant, in that certain sentimental way
that you lose as you grow older,
I heard of a marathon
in Death Valley,
and I wondered why anyone
would want to do that.
Why not run somewhere more pleasant?
But now that I was here,
and had experience,
I saw that you run here
because you live here,
and that running, or any other exercise,
does something to your body:
it helps you take the heat.

It helped to look at the saguaros,
to know that something else out here
was alive and green and full of water
in a place full of rocks
and minerals
and sand,
a place so dry your skin cracks open
in deep chasms
like the desert washes.

I used to think of the saguaro
as the cartoon cactus,
the cliché of Arizona,
not something real,
like the lizards and the ocotillo,
which grew upward in elegant splendor
their delicate branches stretched and curved
like the limbs of a ballerina.
But the saguaros grew on me,
their steadiness, the one thing
that didn’t sway or move
in the high winds that swept the desert
and blew sand into our van.
I started taking detours on my runs
to circle tight around them,
the saguaros,
to get a closer look,
at which point I discovered
they die from the bottom up.
The bottom few feet of most of them,
the tall and stately ones,
but also the shorter, ugly ones,
were all dried up and brown,
riddled with holes,
encrusted with some sort of exotic desert rot.

In July, the heat intensified,
and we slept with every door and window open,
wrapped entirely in wet towels
trying not to touch each other
to disperse the body heat.
My runs grew shorter
each passing day,
but one day I made a greater effort
and I went all four miles,
all the way to a saguaro
I called the Great Forked one.
But when I got there,
to the spot where it had stood,
I didn’t see it.
It had fallen over, given up.
It couldn’t take the heat,
which had grown unnatural,
excessive.

I didn’t run any more that summer.

When the fall came,
my husband and I moved into a house,
a place with ceiling fans,
pipes and ventilation,
running water, central heat,
and air conditioning.
I reinstated the daily run,
though it’s no longer through the desert,
just a suburban neighborhood,
where the only saguaros are in gardens
where they grow tall and green and stately
from water pumped out of the earth
or diverted from the Colorado River,
water that no longer freely flows
along its ancestral channels.

When I think of the dead saguaro,
I can’t help but think I am a thief.

Jennifer Handy explores sexuality, psychological trauma, mental illness, homelessness, severed family relationships, and environmental issues through poetry. Her poetry chapbook California Burning is forthcoming from Bottlecap Press in Fall 2024 and her poetry chapbook Dirt is forthcoming. Her poetry has been published in Chalkdust, The Closed Eye Open, CommuterLit, Last Stanza Poetry Journal, Loud Coffee Press, The Rising Phoenix Review, Tangled Locks Journal, and the anthology Hey There, Delilah! and is forthcoming in Nathaniel Hawthorne Review, Poe Studies, and The Wallace Stevens Journal.

Mark McKain

Handprints for Asawa

Mark McKain’s work has been exhibited at the 92NY Art Center and his visual art and collages have been published in Tupelo Quarterly, Gulf Stream Magazine, Action, Spectacle, and petrichor.

Jocelyn Ulevicus

Blue Is Not Always Blue

Jocelyn Ulevicus is an American artist, writer, and poet. Flowers remain a common motif across her visual work, and the theme of human identity and search for self-discovery underpin her exploratory process of form, color, and emotion. Her work is either forthcoming or published in magazines such as SWWIM Every Day, The Laurel Review, The Free State Review, and elsewhere. Ulevicus is a recent artist-in-residence at El Sur in Tlalpan, Mexico City. She is a Best of the Net, Best New Poets, and two-time Pushcart Prize nominee. Her favorite quality in a person is kindness to strangers and animals. She currently resides in Amsterdam and is working on her first full-length book.

Dominique Margolis

Blue Frog Looking for Her Words

Luz is also a blue frog.

She is not a navy frog. Navy frogs get trained in underwater combat, but she never was.

She is not a gray blue frog. Gray blue is the color at the edge of water and sky, where she cannot remain. She is not a turquoise frog. Turquoise is from the American Southwest where she gets chiseled into carvings, but she cannot bring rain to parched land, although she does in her dreams. She is not a French blue frog because there are many shades of French blue on the Pantone scale that her skin won’t accommodate. Luz is nevertheless a blue frog. She is not blue like the Blues. She is not blue like a bad heart, but she used to wish that she could die and remain dead. She is not blue like the small piece of larimar that she lost between moves after the one who loved her shot himself through the heart on the only island where larimar grows in the raw.

“Don’t talk about the larimar,” she asks Luz.

Luz does not, although there was a time when Luz treated blue frog as if she didn’t exist, the same as everybody else did.

Still, Luz cannot un-see the blood splattered on larimar blue.

“What can I do about it?” she asks blue frog. “Words have failed us from the start!”

*

The wallpaper was a medium shade of French blue. Luz was in a second-hand crib wearing cloth diapers and a cotton onesie. The wooden crib was pushed against the wall to the right of the door that her grandparents used to check on her. It was summertime. The sun shone through the white muslin on the window kept ajar. Voices and noises coming from the village’s main street were still, to her, mostly inert and inanimate objects, not that different from the window or the crib in which she spent her days after breakfast, lunch, and dinner.

In flashes of exertion, Luz stood and remained standing for longer periods of time. Her fingers, gaining strength and dexterity, pushed back the wall. Couldn’t. Scratched at it, instead. A thin strip of wallpaper lifted off, revealing the plaster of Paris underpinning her four walls.

The little girl kept scratching. The texture at her fingertips did not fight her. It allowed her to dig in further until the sensation that she was in an expansively safe and happy place reeled her in.

That was the eureka moment of her incarnation because she was now certain that she had come from somewhere else where she belonged and where life was worth living. She had traveled through a tunnel-like road of the faintest blueish hue within the plaster of Paris whose entrance she had just rediscovered.

“I will remember,” she swore. “So that, when it gets too tough between my walls, I will open the gate and let in the softness and the safety. Everyone else will feel it and know it too, and they will change their ways…”

“You will forget,” interrupted a strange voice from within the space within the wall. “Language has already latched on to you. It will take you down. You will forget what is essential to life…”

*

Language gobbled up Luz, who got scolded for tearing at the wallpaper and for digging a hole through the wall. But Luz never completely forgot where she had come from. That’s how blue frog, with no first name to capitalize and shapeshifting fingertips, and Luz started living as two people in one. Blue frog remained closest to the port of entrance between the safe and hard worlds, and Luz fell into the language native to the hard world.

That language quickly failed her, however, so she returned to blue frog, with whom she could not remain either. Wanting to stay, however, Luz kicked herself out of her native tongue and learned a brand new one. With a foreign language, she hoped to recreate the moment before she and blue frog became two. But Luz was unable to outsmart life, which erected a roadblock at the level of the elbows so that she could not squeeze her heart all the way in and out of the reality hidden by the wallpaper.

She could not come back full of fairy dust powerful enough to change the whole hard world. And yet, with the determination of those who fight for lost causes before they become winnable, Luz dug her feet squarely way yonder where native and foreign languages nearly touch. She sat where she was foreign to herself from the start, like before she and blue frog became two. To try and merge, still, with the world that housed the template to create and articulate what is essential to life in the hard world. To make it soft and livable.

To tell that story to the one who loved her before he shot himself in the heart. So that he would not. So that there would be no blood splattered on larimar stone. To tell herself that story, too. That they came from a place of love, safety, and meaning not all tied up in word knots and in lives lived unwell. That there were other ways.

Dominique Margolis grew up in a rural region of France. Her parents and grandparents spoke Catalán, Auvergnat, and French. She moved to the USA as an adult with limited English skills, but she eventually earned a Ph.D. in English. She is published in various books and magazines in French and in English. Her most recent stories, blog, and translations can be found on her author’s website, dominiquemargolis.com. She also posts on X @dominique_1234.

Andrea Vale

Urticaria

Decades away drops melt off the Arctic caps and slip down my veins, licking a hive map in their wake — I’m itching, unsteady, tugging clumps of mascara off my eyelids and uprooting the lash with it like a planted beet

I try to remember what it had been like before I was born

I can feel my capillaries undulating out into the air around me, unfurling and stretching towards the clouds like bloody ribbon

Roots shoot out from under my fingernails when I dig them into the earth, lifting the nail off the skin and cracking into the dirt below
Vibrating with the ground
Rumbling with moss and acid

Because there is no internal
I know when to humble myself, when I step out of the ponds and the air rushes on me, flooding my pores like porous rock

My innards clench when it’s cold on the mountain
Hemorrhaging with the metallic bite in the wind
The swell in one corner of the world makes a wave in another, and my tendons tugging and pushing with it
While my nerves alight in flames during winter

My hands are bloated when the trees stiffen         
A cold front is coming

My bones align with the rotating of the earth on its brittle spine, those months when my body becomes barren

I can feel that my body is ashes, latent and hardened for now but one day crumbling to a pile and chewed by the earth

I know I am alive because my nerves twitch like the muscles of the mountains stretching down to the riverbed, trails of orange clay dotted with emerald brush

There is a house within these ribs
But if you sliced me open you’d find a hummingbird inside

And when the world shivers so do I, furling in on myself like the receding shorelines

Andrea Vale is a poetry and short story writer based in California. She has an MSc in Biodiversity, Conservation, and Management from the University of Oxford. Her writing has appeared in National Geographic, Anthroposphere: The Oxford Climate Review, The Oxford Scientist, Non Profit Quarterly, USA Today, Oceana, and many other publications. Instagram: @andrealeevale

Julie Benesh

Both With And

They say every dyad is a plant
and its caretaker. Why not two
makers and a made? A weeder
and a floral artist/chef. A fertilizer
with gloves and mask and a nurturer
with a watering can and umbrella,

makers with the ability to roll roles
on demand, despite the dread
and inconvenience of such necessity.

An edible garden ringed with decorative foliage.
A picnic table with salad: tomatoes, yellow peppers,
green onions, cucumbers and humble new potatoes
the makers made and will become made
of, with centerpiece of wildflowers

from seeds scattered like stars
under the blacksoil sky.

Julie Benesh is author of the poetry collection Initial Conditions and the chapbook About Time. She has been published in Tin House, Another Chicago Magazine, Florida Review, and many other places, earned an MFA from The Program for Writers at Warren Wilson College, and received an Illinois Arts Council Grant. She teaches writing craft workshops at the Newberry Library and has day jobs as a professor, department chair, and management consultant. She holds a PhD in human and organizational systems.

Cleo Griffith

Twenty-Seven Buds

You tell me the orchid has twenty-seven buds
after two years dormant, yet you do not see
that we, too, could re-bloom, almost like being
young again.

I say “almost” because we are not plants,
our birthings are not to be re-done
by staying in a dark room for months,
nor even by the wonder of sunlight.

But by being still alive, we make choices.
I choose flowering, struggle though it may be,
and I will match your orchid’s twenty-seven buds
and top that.

Cleo Griffith has been widely published, most recently in From Whispers to Shouts, Main Street Rag, and When a Woman Tells the Truth. She has been on the editorial board of Song of the San Joaquin Quarterly since it began in 2003.

Kamakshi Lekshmanan

Light

a dawn that tickled

the light went off,

the slow grind of the ceiling fan paused.

 a dark welcome

to a night with no light.

not even the moon or the stars.

the urban pollutants far from vicinity,

I slip into sleep

over an earth that sang its lullaby.

                                                       Inaudibly.

 

                                       I dreamt of a Thrush’s tweet waking me up,

                                                                                                             But!

                         the forests surprise charmingly.

 a tickell’s blue flycatcher

hidden from the shadowy forests

winds her tunes into my ears,

I stay there, eyes closed

listen her invocate

the verses of woods.

                                                                               I stay, eyes closed.

Kamakshi Lekshmanan holds an MA in Wild Writing from the University of Essex, UK. Memories became Paperboats and Puliinji (her debut memoir) and her love for poetry is a constant work in progress. She constantly looks for opportunities where she can contribute her experiences from the wild to art and poetry. She has recently joined as an editor at The AutoEthnographer. Her photo essays and poetry can be found in Zoo’s Print, Tiny Seed Literary Journal, The Alluvian, Wild Roof Journal, The Bloom, The Hopper Magazine, and Botany of Gaia, a nature-inspired anthology from Quillkeepers Press.

Dylan Webster

American Sonnet on a Night Creature
          After Terrance Hayes

Inside me is a green-eyed animal,
Languid when anyone is looking
But desperately needing to prance,
To arch its back and splay its claws.
Inside me, its eyes glint in darkness —
The dark, its most lively time.
Yet its biggest fear is my beloved place —
The raging tumult of salt water,
Like the briny waves that wrack the highlands
Where my great-grandfather was born —
A fearsome and dark land of striving,
like the stalking green-eyed night creature.
It paws its way all through me,
its depths draw me down into myself.

Dylan Webster lives and writes in the sweltering heat of Phoenix, AZ. He is the author of the poetry collection Dislocated (Quillkeepers Press, 2022), and his poetry and fiction have appeared and are forthcoming in anthologies by Quillkeepers Press and Neon Sunrise Publishing, as well as the journals Ballast Journal, Ghost City Review, Resurrection Mag, 5enses Magazine, The Dillydoun Review, Last Leaves, The Cannons Mouth by Cannon Poets Quarterly, Amethyst Review, and The Chamber Magazine.

Susan Cushing

Shadow Catcher

Susan Cushing paints and writes from the Driftless Region of southwest Wisconsin, where she lives with her husband, dog, horses and an assortment of bones and stones. Her curiosity is endless about all other-than-human creatures she meets while wandering fields and woods. After a career in healthcare, she’s exploring ways to be creative with paint and writing. Her artwork has been exhibited regionally and is in collections in the US and Australia. When not in the studio, Susan has as much fun as possible biking with her husband and playing with her horse Cierzo, special friend Ellie the Mule, and Border Collie Amigo.

Nicholas Pagano

Trail’s end

No farther to walk, we rested
     where wild strawberry
          wove the trail

into tangles. Wild, because look
     how it spreads beneath attention,
          you said, untended and

creeping all the time. Doubt, then,
     seemed gentleness, a breeze by which
          crown sway, leaf and fruit rustled

apart, then together. Our harvest
     was shade-tendered, red. No,
          I won’t say I ate my fill.

Nicholas Pagano has previously been published in Chronogram, Field Guide, The Windward Review, and elsewhere. He lives and writes in New York.

Shopping Cart

You cannot copy content of this page