Cover image: "Red Leaves No. 1" by Bonnie Matthews Brock

Gallery 2

Visual Art, Poetry, and Prose

Amanda Barnett

I Can’t Write Enough

when the sky falls into the side
of earth. When magenta and lavender stretch
long, like unraveling bandages. These are times when lines
become & and & and &
and corked-up symbols engulf my messes.

E comes to me for coats & keeps his hands warm
under my legs. When I coax
delicate words into breathing they hover over his candlesticks.
E collects remnants for scrapbooks.
Like me, he stores them
in piles where tiny spiders hide.

He knows where the poisons live
then lives atomic theory.
What do poets know? Theories of mites, of harvest moons.
All sacred things we hope to know
& build altars of ampersands.
& need encouragement from tar pits deep inside land.
& need words to concoct tender hiccups in language.
& know not enough words are used for beauty or kindness.

The sky is falling into the side of earth
but this November is not falling apart.
This November is resurrection and preservation.
E is pressing his worries into glass
while I press mine into wax and gently
mold them again.

Amanda Barnett is a writer, visual artist, and mother based in San Francisco. She is also an adjunct professor of writing at University of Maryland Global Campus. Her work has been featured in journals such as So to Speak and The Frantic Egg. She is a graduate of the MFA program at George Mason University.

Rachel Myers

If Even Emily Waited

“Mr. Higginson, are you too deeply occupied to say if my Verse is alive?”
–Emily Dickinson, April 1862

I.

wornwood. pace–

unyielding [violent]
             high neck dress
a creaking room. She wrote- perhaps

from her quarantine     hell

O creaking & O yielding
     O tone yoked & once she strode
she whispered  & O how soft
 sharp nails on my face.   My mouth opens

wider, wider       impossible black moths
               & their delicate feet
                     & down my throat so

              uneven, my breath

II.

do you think–my poetry–is alive

my poetry   do you think
               O my poetry–
                    i of the sheaths     burning, burning

alive    my     p o e t r y
       & sing of   burning, burning, burning

                                              alive

i, i, i       is     i        alive

               message send       burn & sing

                             of what we lost
                                        of what we     survive

III.

still
& submit

train    will & whispers
     through door frames    white

gossamer stretched mouth

the worn wood. Pace–
     burning     alive & O how
                soft     sharp     nails on my face

burning      alive i am
              burning, alive–

msg send       i of the sheaths

is my poetry alive

Rachel Myers was born and raised in Reno, NV, and she still calls it home. I grew up in low-income areas in the outer valleys and finds particular beauty in the downtrodden. She writed about trauma often and lived consistently in the shadow of worsening wildfire smoke. She participated in the 2020 Community of Writers poetry program, and her work is previously published in The Moving Force Journal.

Jocelyn Ulevicus

Jocelyn Ulevicus is an American artist and writer inspired by nature and the unseen. Themes of exit and entry, change, and transmutation are dominantly present in her work. Both her visual art and poetry are a direct response to her emotional life, as she explores what it means to be a woman today. Her work is either forthcoming or published in magazines such as The Free State Review, The Petigru Review, Blue Mesa Review, and Humana Obscura amongst others. Ulevicus is a 2020 Pushcart Prize nominee and her in-progress memoir, The Birth of a Tree, was shortlisted for the 2019 Santa Fe Literary Award Program. She is currently in Amsterdam completing research for her first poetry collection and her art-making.

Skaidrite Stelzer

Piano Lessons

          Miss Honeybee says my hands are too small. So the piano lessons must end. My mother breathes a sigh of relief. The Jolly Kid factory where she sews infant clothes does not pay well.
          Still, I have mixed feelings. I don’t like to practice and often resist it, yet once I get going it isn’t too bad. I’ve got the beginner’s book, with a watered-down mustard cover, just like the advanced ones, and I like a few of the songs. I especially practice the happy ones; my favorite is the one of the animals marching two-by-two, although even there they seem to be headed toward the zoo. Cages.
          I’m not sure her real name is Miss Honeybee. I’ve translated from the Latvian, bitite, which means just little bee, a diminutive of bite. Nor is she likely a Miss, since we call her kundze, which means Mrs. Yet she has emblazoned herself in my memory as the ultimate sadistic spinster, found only in literature and children’s small hands.
          A petite, polite woman, she always greets my mother with a smile. We need to go up a hill to her home, which is near the top—halfway between the elegant Oakland Hill area and the grim-towered mental hospital. Like so many immigrant children, all the Latvian children in Kalamazoo must take music lessons. The lessons demanding the costliest instruments are, of course, most prestigious. The piano-lesson kids outrank the clarinetists and flutists. And one especially-envied child has the good fortune to play a full-sized harp.
          My cousin John (name changed from Janis, which had caused much bullying) does not succeed with his lessons either. His mother cleans houses for wealthy families such as the Schwartzes, who own our favorite drive-in, where we take out shrimp baskets on special occasions.
          John’s family does not have a piano, so he comes to our house to practice after school. More often than not, we end up playing games where our closet leads to the magic, leiputria, the land where everything is made of food.
          During one especially unimpressive lesson, the gentle-looking Miss Honeybee keeps rapping John’s knuckles with a ruler. His mother takes him out of the lessons. His parents buy him an accordion, which he prefers anyway, and to balance things out, he is the first in the family to obtain a pet. It’s a rabbit and his father builds a hutch which can be taken into the garage during the winter.
          Once my lessons end, I barely miss them. Now and then, I still practice, or just mess around, trying to reach the pedals below while tinkling the higher keys. My parents decide the piano is not worth keeping. To remove it, they chop it to pieces and a junk dealer hauls it to the dump. I most regret the intricate carvings on the front. The piano had been second-hand even when my other cousins used it—the successful ones whose parents replaced it with a baby grand. My parents are in the new world, and it is the new stuff that counts most.
          Still my parents keep the decorative stool, on which my grandmother tacks a new cover and on which my sister and I twirl each other around and around.

Skaidrite Stelzer is a citizen of the world whose poetry has appeared in Glass, Struggle, The Baltimore Review, Storm Cellar, and many other journals. Her chapbook Digging a Moose from the Snow was recently published by Finishing Line Press. She enjoys watching cloud shapes.

Kaleigh Spollen

Shower Beer

There are small creatures in my blood vessels.
I feel them them when it rains and the day is just opening
so I say hello, gently.
The light across the room feels like a watery prayer.
The train sends the tiles rattling every
hour at 23 minutes
past the hour, a soft kind of
shattering, a shaking off of limbs wet
from the bay.
The bones of this house
are good
like the warm animal deep in your marrow.
In yours too, you saw the stairs become sloped like
a spine that has so many times
bowed to brush dewy hair.
The gravity of many beings
and the gravity of many years
can bend wood that way.
I’m still stunned by storms in June, bricks, and
the humility of the Atlantic ocean.
After all, bent can mean
having shaped something or having
been shaped.
I am both the sand-strewn palms and
the castle. It’s summer and I go out
into the river of the rainy world,
the smell of worms all around,
bodies without bones,
swimming and dreaming.
My bones
are not good but can you pick me up
and watch
them all fall back
as one clinking piece?

Kaleigh Spollen is a writer living in Philadelphia, PA. Her work has been published in Hobart, The Offing, Epiphany Magazine, Potluck Mag, and elsewhere. You can find her online at www.kaleighspollen.com.

Corinna Board

Embla

I am Embla, first of my kind,

Last of my kind;

Born from bark & the will of a one-eyed wanderer.

My mother, the sea, shaped me to please

The deity whose breath brought me to life.

Some say my name means ‘Elm’

& it is true that, like the world tree,

My roots delve deep,

But no dragon gnaws my graceful feet,

No god hangs from my gallow-boughs.

Yggdrasil, I envy you,

How does it feel to carry the cosmos in your arms?

Each world an apple ripe with promise,

But tainted with original sin,

Wizened roots softly cradling

The depths of Hel.

I envy your longevity:

One day I will return to dust;

My life another ring upon your ageless trunk,

For I am only Embla, first of my kind,

First of many;

Mother to humanity,

A woman who once dreamt she was a tree.

Corinna Board lives in a small village in the Cotswolds and currently works in Oxford, where she teaches English as an additional language. She rediscovered poetry-writing during the pandemic, and she can be found on Instagram @parole_de_reveuse.

Bonnie Matthews Brock

Bonnie Matthews Brock is a Florida-based photographer, as well as a school psychologist. Her images have been featured in publications such as Ibbetson Street Press, The Somerville Times, Oddball Magazine, and Beyond Words Literary Magazine. Her work is archived at institutions such as Poets House NYC, Endicott College, and Harvard and Cornell Universities. She enjoys capturing raw, single-capture photos, especially of nature and urban scenes, as well as learning and experimenting with shooting techniques such as long-exposure and intentional camera movement. You can view more of her works on Instagram @bonniematthewsbrock.

Matthew Kohut

Red | Black

1.

I spy a cardinal
who does not know he’s red
perched amid a wall of green.

2.

Who watches as the poet
pecks at a feeder

then darts to safety
in nearby brambles?

3.

The smell of death wafts
through an open window
and then recedes.

4.

I do not feel
in words arranged to fall

like black lines of dominos
on a white Formica tabletop.

Matthew Kohut has worked as a writer, teacher, and musician for twenty-five years. His poetry has been published in Leaping Clear, The Dewdrop, Ekphrastic Review, and two anthologies by Beautiful Cadaver Press. He is the co-author of a book on social judgment theory that has been translated into nine languages. For the past decade his work has focused on helping people communicate more effectively in high-stakes settings.

Casey Killingsworth

Bird watching

First, learn some names
and watch for the morphological signs
of wings and bodies.
A crow’s wings
splay out differently than a raven’s,
falcons are built for speed. etc.

Learn that the Latin name for the goshawk
is Accipiter gentilis, so when you see one
run down a Streptopelia decaocto,
or Eurasian collared dove,
just above your head
on your way out of the house
one morning, you will recognize the players.

In the second phase you will know
the names but you will also become
attached–you will add dimension, so to speak—
so that when the dove’s feathers
float down around you like a soft
falling snow, you will feel the talons digging in.

Eventually, your skills will gather into
a third and final level. Here you will
be able to distinguish sounds, even within
a single bird. The dove, for instance,
has at least two calls. The first is rather
brash, as if the dove is calling to you
from a distance, a call,
perhaps, bordering on demanding.
The other is serene, a
peaceful drone, the sound of a small
child sending off to sleep.

When you hear this latter sound as the
goshawk digs in, icing the dove’s fate
in a mask of forever, you will not think
about why, why it is the second sound
you now hear,
the peaceful one and not the imploring one,
but instead you will only move through
the detached down feathers,
not thinking about the
dove’s eyes that seem to ask something,
or even the goshawk’s eyes
as he challenges you to keep
back from his breakfast,
but only that another
exchange in the world has
taken place, one life for
another.

And you open your car
door,
and get in,
and drive.

Casey Killingsworth has work in The American Journal of Poetry, Two Thirds North, and other journals. His book of poems A Handbook for Water was published by Cranberry Press in 1995, and a new book A Nest Blew Down was published by Kelsay Books in 2021. Casey has a Master’s degree from Reed College.

Kelby Ouchley

Crow Concerns

          Old one-eyed crow danced around the fox lying on the roadside. He knew the miracle was coming. Still warm into death, the fox was about to give up his soul. The crow had seen this several times in his long life with possums, coons, armadillos, once with a yearling doe. Regardless of past experiences, the crow never tired of watching the dreadful wonder. It reassured him; at least, it had up to this point. Even now he quivered with excitement. In a while, fox’s prime winter pelt rippled as if by a breeze, but wind was absent this stage. Crow hopped closer cautiously, knowing he often misjudged distance with only one good eye. The rise of a tuning fork hum stopped him short, leaned him back on his stiff tail braced for the happening. The soul broke out abruptly, not out of his feet or out of his mouth, but out of the entire fox. It hung there in the air just above the carcass for a few seconds trying to get its bearings. The crow would tell you that always at this point in the process he was very afraid. With a fox being a fox and doing what foxes do, the crow was especially fearful on this occasion. The soul lifted up a few feet, then higher to the treetops, where it started making shallow circles in the oak canopy. Crow cocked his head and became dizzy trying to follow it with his live eye. When it suddenly dropped straight down toward the road ditch like a plummeting meteor, he gasped a pitiful croak. At that moment, the crow thought he was doomed. But the soul stopped short of going to earth and lifted again, this time never wavering in an ascent as straight up as a rocket shot. In seconds it was out of sight in the deep blueness of the heavens. Crow was breathing hard, relieved as he had ever been in his life. Never yet in his witnessing such events had a soul gone down into the crow-black gumbo soil in spite of crow legends to the contrary. Contemplating that pardons might actually be possible, he flew away with a fresh dose of hope in his craw.

Kelby Ouchley is a biologist/author and worked for the U.S. Fish & Wildlife Service for 30 years. Since 1995, Kelby has written and narrated Bayou-Diversity, an award-winning weekly conservation program on public radio. He produces a popular Facebook blog titled Bayou-Diversity, and he has written many natural history articles and poems for popular and scientific magazines/journals. He speaks at a wide array of venues around the country on natural history topics. His seven books include a historical novel, works on the impacts of people on the rest of nature, and a memoir on “place.” Kelby has received the National Wildlife Federation Governor’s Conservationist of the Year and other notable awards. With his wife, Amy, he lives on the edge of the D’Arbonne Swamp near Rocky Branch, Louisiana, in a cypress house surrounded by white oaks and black hickories.

Nia Moore

Rainbow in the Sky

Jaime Seno

Taming

Messenger:  I’m not ready for this
In jest:  rewrite
Mess:  what time
Jest:  to say yes
Mess:  was it your bet
               and
Jest:  for some sake
                            [enter just a snout]
Some girl:         [aside]
who gave a curfew
to tailored coats
and crowns
I saw craters for manholes
and fault lines where
the subway was
Mess:  but our point of view
Jest:  I didn’t know
girl:                     [again aside]
you broke my wrists and
bound my feet
                perform again
but fair is fair and
doves are fine
Click Click Cliché

Mess:  only serpent tongues survive
Jest:  only in importance of
Mess:  half thought
Jest:  but none said
                             [still aside]
                             [but throwing meat,
                             Mutton perhaps]
girl:
for the mad we are mad
come with me
it’s not my dress
but would you accept that
I’m burning up
running halfway
Mess: I’ve given up
Jest: higher up

girl:
did you come?

Some witches:
comme ça?

Jaime Seno is a writer with a degree in English literature from CUNY Baruch College. Since graduating she has been traveling and working on her poetry. She is currently residing in Chicago and has been previously published in the Raw Art Review and Ember Chasm Review.

Stephanie Ellis

Bogwater

Stephanie Ellis is an illustrator based out of Grand Rapids, Michigan. She has recently graduated from Kendall College of Art and Design with a BFA in Illustration. Her work is largely inspired by the natural world and storytelling. You can find her on Instagram as @stephellisart and her website www.ellisdraws.com.

Laura Johnson

Guilt

This morning a corpse floated onto my desk with the breeze.
A common gray moth. I do not know when death visited.
Perfectly folded missive, a calling card holding silenced
secrets to life and that which comes after.
Lines, graceful across wings, varying
shades: brown to gray to white.
Body and legs parallel:
prayerful mortis, I suppose.
No discernable face, antennae ruched.
Neutrals all.

I do not know what to make of his short
span; nature offers us each uneven
amounts of time. How well I used the past
week is questionable, but it was his final.
I count forward: calendar pages he does not have.
Intersected time included: each creature
moves from dusk to street-
lights to candles to dark.

The garden is wet this morning. I place
him on a fallen petal, and turning
to go back in, I see his wings have left a faded
gray swipe across my fingers.

Laura Johnson is a poet and writer in Eastern Iowa who is a founding co-editor of the literary journal Backchannels. She is an MFA candidate at the University of New Orleans and is a graduate (BA, MA) of the University of Iowa. Laura is the facilitator for two community writing workshops, as well as a prize-winning slam poet. Her work has appeared in Thimble Literary Magazine, Prompt Press, High Shelf Press, and The Chestnut Review, among others.

Beverly Rose Joyce

Blue Moon

Beverly Rose Joyce lives in Brecksville, Ohio, a suburb of Cleveland, with her husband, Carl, and their two daughters, Mallory and Samantha, along with their two dogs, Shadow and Reggie. She holds a BA in English from Baldwin-Wallace University and a MA in English from Cleveland State University, and she was a public high school English teacher for sixteen years.

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