Cover image: "Lost in Translation" by Alec Ward
Gallery 3
Dig our way out
Xiaoly Li
Solstice Night
Ice curtains the window
the mosaic light paints
the wall a colored ghost
suddenly I see your photo —
radiant clouds hold the village
light in the glint of the water —
ah you are where
sky and river meet
here wind makes snow crazy
and I trace it in all directions
good enough for this long darkness
Xiaoly Li is a poet and photographer who lives in Massachusetts. Prior to writing poetry, she published stories in a selection of Chinese newspapers. Her photography, which has been shown and sold in galleries in Boston, often accompanies her poems. Her poetry is forthcoming or has recently appeared in Spillway, American Journal of Poetry, PANK, Atlanta Review, Chautauqua, Rhino, Cold Mountain Review, J Journal and elsewhere, as well as in several anthologies. She has been nominated for Best of the Net twice, Best New Poets, and a Pushcart Prize. Xiaoly received her Ph.D. in electrical engineering from Worcester Polytechnic Institute and her Masters in computer science and engineering from Tsinghua University in China.
Micaela Edelson
Blackberry Season
Blackberry juice runs bloody down my arm. Sticky flakes of black skin pepper my white. Sweetness radiates from the tip of my tongue, while the insides of my mouth sour with the underripe pickings of impatience.
“I saw a bunny!” My brother calls out from the other side of the large thicket. We only arrived 20 minutes ago, but my plastic Tupperware bowl is nearly a third full of the fruit. Late August for the first picking marks a late season—like the cherries in late June and the apples waiting for the school year to start. Either the seasons come later or my impatience grows with the bulbous kernels, filling with juices ready for release as the mouth clamps down.
The wind hums.
Every year, we repurpose our popcorn and salad bowls and stride to the cemetery down the street. Arms swinging, heads high, the summer activity that guarantees smiles and full bellies. The cemetery, contrasting with the discomforting connotations of death and decomposition, boasts big and beautiful as the soft green landscape lays dotted with marble remembrances, a dormant foundation for a flooding of willows, oaks, cherries, and maples. Steadfast in their commitment to giving us oxygen, even in our death.
City View Cemetery, appropriately named only in the winter when the naked trees expose West Salem across the river from the crest of the hill. Recently, new construction on the Willamette River has shielded all semblances of a City View—winter, spring, summer, autumn.
My bucket nears half though my belly starts to swell with the juices of death’s givings. Blood rain stains my fingers and thorns cease to prick as a layer of juice thickens to armor.
The wind sings.
Hailing from Salem, Oregon, Micaela Edelson is a passionate writer of prose and poetry that aims to shed light on humanity’s prioritisation of profit over the planet and its people. Her work continues to probe readers into questioning the dominant western worldview of individualism and wealth accumulation. Micaela’s writing has been featured in a variety of literary journals, including Gothic Nature Journal, Wild Roof Journal, and The Write Launch, among other platforms. Website: www.micaelaedelson.com
Sara Hailstone
Gardening the Canadian Shield
fingers creep into her
shallow recess
crustaceans gripping fist claws
in pine needles and that
sticky earthworm
the unceasing bedrock
metres below holds stories
of others who have
knelt for hours on aching knees
their fingernails earthen
sharp as fossils
a thrum of wings
hush and haunting
in bare-branched trees before
the first globular raindrops
of the season
are pulled down
id open my mouth and let
the world come crashing in
id cradle the hollowed out
souls in the warmth of
my throat and hope that
this earth caked to my skin
won’t burn
Note: This poem was previously published in Defunkt Magazine’s Anthology II, July 2021.
Sara Hailstone’s writing is born from navigating the raw and confronting connections that living in a small-town project by scouring collapsed domestic landscapes. She is an educator and writer from Madoc, Ontario who orients towards the ferocity and serenity of nature and what we can learn as humans from the face of forest in our own lives. A graduate of Guelph University (B.A.) and Queen’s University (M.A. and B.Ed.), Sara is currently completing her Masters in English in Public Texts at Trent University.
Emily Salisbury
Emily Salisbury is a graduate of the University of Portland. This piece, “Succulent Dream,” is one of Salisbury’s mixed media pieces, combining photography and digital painting. Salisbury painted the cover for the chapbook Come What May, published by Finishing Line Press in 2014. One of Salisbury’s digital art paintings was published in Beyond Words Literary Magazine in 2021. Salisbury’s first published photography piece will appear in Spry Literary Journal in 2022.
Stephen Coates
Putting Things Right
I slipped the Post-it notes out of their case and looked around for positive objects to stick them on. I started with orange because it was bright and cheerful, two things which had been in short supply this year. First up was my mug, dependable and comforting. The label fitted snugly along the outside of the handle and I smoothed it into the bend with my thumb. The part without gum immediately curled up again. The coffee jar next, and another on the chocolate biscuits. The tag went on crooked and I swore. Still, no one said it was going to be easy. And after all, this was probably my last chance.
In the fridge I came across a carton of fruit juice I didn’t remember buying. I wiped off the condensation, placed the orange on the orange. There wasn’t much else in there—a floppy celery stalk, a dried-up lemon, a pottle of yoghurt. Yoghurt is healthy, so I gave it the official seal of approval. Then I spotted the expiry date stamped on the lid. When I pried off the top, a sour smell filled the kitchen. I washed the slimy gunk down the sink.
I needed a different colour. Something bad. The deluxe edition, Twenty-Six Vibrant Hues to Liven Up Your Day, had been ridiculously expensive, but this was no time for false economies. I selected chartreuse, which reminded me vaguely of vomit, and applied it to the base of the offending article, now upside down in the dish rack.
I’d made a start, anyway. Getting some order back into my life. Sorting out the sheep from the goats. I cast my eyes around the kitchen, searching for things I disliked. Beginning at floor level, I worked my way up, rummaging through the drawers, climbing on a chair to peer into the recesses of the top shelves. I found three. The gap in the corner of the lino near the laundry, where the mould grew in winter. A jar of Marmite at the back of a cupboard. And the honking sound the pipes made when I turned on the cold tap. I didn’t put a Post-it note on that.
On the other hand, I did come up with a lot of pinks, for neutral but necessary. Stuff that I didn’t have strong feelings about, but which would have been a pain to be without. Teaspoons, toaster, cooking oil, pepper, flour, detergent, the buttons on the microwave, light switches, windows, gravity, air. It was surprising how many of them there were.
I nibbled a Tim Tam. It didn’t make me feel a whole lot better—not that I deserved to. I took out a pizza to thaw for dinner and realized I’d managed to overlook the freezer. Four more pizzas. I only used one orange, though. I couldn’t afford to squander them.
Before I knew it, the biscuits were all gone. I studied the packet. It was the contents that were desirable, not the container. I removed the tag and put it on the back of my hand. The wrapper itself was just a harmless piece of cellophane, neutral but hardly essential. It could self-destruct in a puff of smoke and my life wouldn’t change one iota, apart from fleeting amazement at the miracle of spontaneous combustion. Indifferent, that was the word. I was indifferent. I chose beige, the blandest colour of them all. Then I threw it in the rubbish.
I moved through to the lounge. A two-bar electric heater, a worn sofa, a leopard-skin beanbag. But the elephant in the room, the fly in the ointment, the snake in the grass, was the telephone, crouched like a gargoyle on the table in the alcove. Even when I turned my back, I could feel its red eye glaring at me. You have one new message. Not that it was new—I must have listened to it a dozen times already.
“You know, ever since we were kids, I always thought you were different from other guys. I thought you were a friend, someone I could trust. Just goes to show how stupid I am, right? And by the way, fuck—”
The tape cut her off in mid-rant and beeped at me. I stared at the phone, placed a pink note on the receiver. The message was chartreuse, of course, but that didn’t do it justice. She was still the closest thing I had to a sister. I needed another category. Ambivalent. Wildly ambivalent. I added a royal blue sticker below the first. Then I pondered some more. It was only natural that she was livid. But at the same time, if I was honest with myself, I couldn’t have acted otherwise. Being who I am. I put another Post-it on the side of the machine. Lemon yellow, the colour of fatalism.
The orange label on my hand went on the maidenhair fern, twisted loosely round a stem. The TV, that was orange, pink and chartreuse in three business-like columns. The stereo was vomit too, because it hadn’t been working for months. The skirting board, beige. I wondered what kind of man could get excited about skirting boards. Anyway, I was making progress. I experimented with a faint smile, but it was too early for that.
Then I came to the dolphin. When I saw it lying on the speaker, I recoiled and forgot to breathe—I’d grown so used to it that it had become invisible. A gift from her, back when we were young and life still held promise. A stone no bigger than my fist, with gentle curves and a couple of odd protrusions. She carved it, sanded it, polished it, whatever it is you do with rocks, and gave it to me for my twenty-first. Happy Birthday, here’s a memento mori for your self-esteem.
I sank to my haunches, seeking inspiration in my Convenient and Perky Labels. I fixed a lilac paper on one amorphous bulge, to represent something which I felt I should like but couldn’t. Not through any defect in the statue, nor in the sculptor who made it. The problem was me. The dolphin set standards that I was unable to meet, no matter how much I wanted to. It wasn’t disappointment, exactly. More like unworthiness.
I shut my eyes and tugged at my earlobe. Every cloud has a silver lining. The night is darkest just before the dawn. Empty vessels make the most noise. Then I went through to the cupboard in the hall, a goldmine of junk. A beginner’s guide to quantum physics. WTF turquoise. A pair of batting gloves from my brief flirtation with indoor cricket. Purple, a brand-new subsection of things I used to like and didn’t anymore.
But I’d known all along that I was going to have to mend some fences with her. If I was serious. That required discipline, and sometimes discipline is hard. I walked to her place yesterday afternoon in the blazing sun. Outside her gate I did a few deep breathing exercises to calm my nerves, and then strode contritely up the path.
I knocked on the door until my hand grew tired. I guess it was one of those days. I’ve been having one of those days since October. Standing dumbly on the veranda, I raised my arms, palms upwards, and let them fall in a show of vulnerability and remorse. It would have been quite effective if she’d been there to see it. Even so, it perfectly summed up my state of mind, so I did it again. And again.
I shook my head free of the memory and entered the bathroom. Then my brain froze. Just after the indispensable but disgusting toilet brush, burnt sienna, an unhealthy diarrhoea shade. I found myself clutching a tub of hair wax, purchased years ago and never opened. I knew I was indifferent, but couldn’t for the life of me remember if that was beige or pink. For a second I panicked. If I lost my bearings now, all my efforts would have been in vain.
I retraced my steps. Orange, like, check. Chartreuse, dislike, check. Indifferent was beige. I knew that. I wandered from room to room, taking stock. It was a riot of colour, like an exploded kaleidoscope. My Post-it notes had earned an orange sticker of their own for getting me back on the straight and narrow. Obviously life could never be the same as before, but at least I’d achieved a semblance of order.
Yesterday, once I’d accepted that she was either out or hiding behind the couch, I sat in a canvas chair in her back porch, drumming my fingers on the lid of an old paint tin—Vivid Vermillion. Slowly, an idea took shape. I levered the top off the can with a handy screwdriver. Only an inch or so remained at the bottom, so I poured in some water from the tap jutting out from the stucco and stirred it to a thin sludge.
Returning to the front of her house, I scrunched up my hanky and dipped it in paint. Then I reached up to the window and wrote my apology, a single letter in each pane. The liquid ran down my wrist, soaking my shirt and splashing Rorschach blots onto the decking. Halfway through I realized I’d miscalculated, but by then it was too late.
There was only one room left. I started with my bed. I like that a lot. Orange. The space underneath was full of dust, especially near the back where I never vacuumed. I began to remove a chartreuse sticker, but then it hit me that I simply didn’t care. I changed it to beige.
Curtains. I was down to my last pink, so I pretended I hadn’t seen them. Alarm clock, chartreuse. A royal blue marker for my reading lamp. When I added a purple tag to the Tibetan mandala pinned on the wall, it disappeared in the swirl of colour.
From her gate, I had surveyed my handiwork. The paint was already bleeding down the glass like the credits on a B-grade horror, but it was legible enough. It occurred to me that she was going to have to clean it all off again, so it might not have been the best way of getting back in her good books. And I wished I’d spelt SORY with more than one R.
I opened the wardrobe to sort through my clothes. Instead I was confronted by my reflection, gawking wide-eyed from the mirror behind the door. Now there was an unexpected pleasure. I gazed at it for a long time, both heads aslant, flicking my teeth with my fingernail as I considered my options. Definitely not orange, nor pink. Ambivalent blue? Revolting shit? Lemon or lilac or purple?
Finally I made my choice. I peeled off the Post-it note and placed it precisely in the middle of my forehead. Then I smiled at myself, and my reflection snarled back. It was over. I was done.
Stephen Coates comes from New Zealand but is currently living in Japan. His stories have appeared in Sky Island Journal, So It Goes, Landfall, Takahe and elsewhere.
Nicole Van Dyken
Nicole Van Dyken is a mother of 4 small children including twin boys. With her husband, they live in Chicago, Illinois. After a career in Human Resources, Nicole made the decision to become a stay-at-home mom. This allowed her to rekindle her passion for art. Nicole has now committed to dedicating more time to making her passion for visual art a career rather than a hobby. In 2018 she achieved her goal of being accepted as an exhibitor at ArtPrize 10, a 19-day international art competition in Grand Rapids MI. Nicole is now a 2-time ArtPrize exhibitor. She enjoys using a wide variety of media like pen, acrylic paints, pastels, pencils, and even digital apps. Nicole’s artwork is along the lines of surrealism and is often inspired by music. Follow her work on Instagram via @artisticnic and on her website www.artisticnic.com.
J. Maak
Call it off before the divorce is final
it won’t be spaceships
it won’t be tech palaces, peak tech blink and you’ve missed it
clean rooms, motherboards, rare earth molecules, tech
medicine, sanitizing chemicals—sci-fi fantasy we’ve been
playing
a/c hydroponic towers won’t feed 10 billion
as power-generation upends climate
if we are to survive
it’s gotta get dirty
gotta be lots more mud
and butterflies
and flowers
seeds birthed by ancient fingers, 10,000 years saving one
generation to next, mixed muddled lineage, landraces
overtake patents
mangrove forests, wetlands rushes, storied rainforest, treetop
toucans, pines and cedars with underground networks
capturing carbon atoms like contented child stringing beads
locked into place
this: security
living soils on farm and rangelands
rivers, streams, oceans teaming with flashing scales
bugs—everywhere, bugs—foodstuffs, decomposers across
entire system
life
anything that’s alive
cultivate
celebrate
nurture
regenerate
pick up a shovel, dig our way out of this one
J. Maak is an environmental activist and community builder in Los Angeles, where she teaches sustainability at a private college. Her debut poetry chapbook is Imaginal Discs. Her work explores what it feels like to navigate this era of massive social and environmental transformation, with particular focus on what grassroots communities can do about it. Maakturned to poetry later in life after a business career, raising two children, and nearly three decades of activism. Her creative nonfiction and other writing can be found through change-Making.com/jmaak.
D.C. Leonhardt
To Root, To Branch
(After Katie Farris and Nicole Foss)
There is a season of trees to the east,
Heavy with leaves, aging in the thin
Mountain air. Beneath one of them:
A man. He is not there regularly,
Rarely leaves his apartment sixty miles
Away. But he is there. On a whim.
His eyes close as he leans back against
A tree’s trunk. A stiff breeze, and some
Of the leaves fall on his head. In his
Sleep, he shivers. He dreams of a great
Tree in late autumn, almost winter.
Frosted, but not yet fully frozen. No
Snow on its branches, just the fragile
Crystals of frost. Its leaves have
Almost all dropped. Maybe a dozen of
Them are still stubborn enough to hold
On. They are thin and break against
The branches they beat on. The branches
Of the tree. The branches are wizening
And curling toward the ground. Toward
Him. Their wrinkled, gnarled hands
Are feeling their way through the air
Toward his naked head. And he cannot
Move. He is bound in place by some
Invisible roots. Perhaps the tree’s, perhaps
His own. But he cannot move. Can only
Stare up as the branches grow closer,
Stretch for his eyes, begin to scratch
His scalp. He tries to speak, but his
Mouth is full of roots erupting upwards.
And why now? he thinks as his skull is
Shot through with switches and sudden
Trunks, as his body becomes botanical,
Leafing even in the air that is so cold,
Skin turning rich green, ribs hugging a
Straining trunk, which burls. Why not?
D.C. Leonhardt is a poet living in central Wyoming, where he works in a hot rod shop. He holds a BA in Philosophy from the University of Wyoming where he also studied Creative Writing. In his spare time, he binds books by hand, makes specialty coffee, and plays acoustic guitar. His poetry has appeared in Zone 3, Waxing & Waning, Book of Matches, SPECTRA Poets, and elsewhere. On rare occasions, he writes blog posts/essays about poetry, which can be found at www.dcleonhardt.com. In addition, he is on Instagram @d.c._leonhardt.
Heidi Jaimes
Heidi Jaimes is a painter who lives and works in Brooklyn, NY. Her work explores symbolic surrealism through themes of alienation and self-identity by way of bicoastal landscapes and dissociative figures. Self-taught, she uses her distinctive style as a homage to her grounded roots of pink stucco, spanning skies and valiant matriarchal upbringing in the southern California grasslands.
Julie Benesh
Walk
Your eyes meet over the rat corpse
in rueful, mute acknowledgment
What you gonna do?—it’s the city…
Sidewalks framed in wrought iron, geraniums
in planters, squirrels raiding bird feeders,
crystal spider web gleams from a branch
swaying overhead. Everybody’s
gotta eat, breathe and reproduce,
or at least produce.
That wrapper you drop in the bin
will become bird’s nest for a crow
that will become a snack for the dog
whose owner meets your eye
over the rat corpse, pulls on the leash
and walks away
as you walk on alone, the bottom-heavy
common denominator of your
every experience.
Julie Benesh is recipient of an Illinois Arts Council Grant and graduate of Warren Wilson College’s Program for Writers. Her poems, essays and stories have been in Bestial Noise: A Tin House Fiction Reader, Tin House Magazine (print), Crab Orchard Review, Florida Review, Gulf Stream, Hobart, Cleaver, Journal of Compressed Creative Arts, and other places, with more work forthcoming in JMWW and Proem. Read more at www.juliebenesh.com.
Yvonne Higgins Leach
Unanswered
I set down my book in the shadow of the disheveled night,
the never-knowing unraveled. I will never be ten again,
innocently showing off my rabbit’s foot keychain.
Engraved in the pages is my never-going-back.
I cannot unsee the minks being pressure-washed while in their tiny cages,
or the pregnant sow that cannot turn around in her crate,
or the dolphin deprived of food until he learns
to bounce a ball on his nose. The hollow-eyed moon
sweeps my bookshelf, disappointed at how we mis-
understand use and pleasure for our own good.
The world’s indecency drowns in suede shoes, dissections, and zoos.
The ruckus in my mind sees only
straps, traps, snares, whips, guns, drills, cages, and poison.
The cost of loss happens away from my eyes
and easy not to ask: At what cost are my bones raised,
and still I do not change my ways?
Yvonne Higgins Leach is the author of Another Autumn (Cherry Grove Collections, 2014). Her poems connect to the world in a big way⸺through an empathetic heart that seeks to understand the mysteries of the human experience. She does this through perfectly-chosen images, simple language, and a genuine voice. Her poems have appeared in many journals and anthologies, including The South Carolina Review, South Dakota Review, Spoon River Review and POEM. She spent decades balancing a career in communications and public relations, raising a family, and pursuing her love of writing poetry. Her latest passion is working with shelter dogs. She splits her time living on Vashon Island and in Spokane, Washington. Website: www.yvonnehigginsleach.com
Alec Ward
Alec Ward is a St. Petersburg-based artist who explores colorful multidimensional fields of time and space through his psychedelic blends of collage and liquid acrylic. Inspired by the music and art of the 60’s, Alec sharpened his experimental skills as an Interdisciplinary Art graduate at Eckerd College. Amidst college, Alec created his own business, “Far Out Mojo,” showcasing his multifaceted works of art that went on to be album covers, logos, website design, and photography. Post college, Alec’s versatility guided him to expand his business with unique goods like screen printed tie-dye clothing, wooden acrylic paintings, and postcard decor. Alec enjoys the spontaneity and bliss of diving into the flow of the unknown when it comes to collage and liquid acrylic. Just like life, you never know what you’re going to get. Alec’s work has been published in Beaver Magazine. Instagram: @far_out_mojo / Website: www.etsy.com/shop/FarOutMojo
Nicholas Howard
Take A Seat
It is just before 6 p.m. and I am fresh from the wake for the spouse of a treasured acquaintance, one always affectionate in speaking with warm tones from a place of shared faith.
At the wake and up and down the receiving line, mourners formed pockets of consolation.
I am sitting in something amounting to a formed pocket of time. It rests between the first item on this evening’s agenda, the wake, and what comes next. I am too early to arrive at the restaurant for the reservation I made for dinner with an old friend, even if all I did was sit in the parking lot and read in my car.
So this becomes found time. A stretch of it fully understood not to be long or lasting but equally inviting to be present in.
I am here now on a bench. Constructed in memoriam, it reads (I look back over my shoulder to look at the plaque), “John, Judy, and David Luke, Always in Our Hearts.” A finely tuned sentiment with a human starter pack of names. It is nothing against John, Judy, and David Luke, their names are just familiar.
Perhaps there is some comfort in that.
This bench sits on a patio made of brick in rows running North to South. Little plants (I hold off on calling them weeds, who am I to judge) have wedged their way in between the bricks and grow up in the openings.
I like to think these subletters do not widen the gaps out of respect. Similar to these twenty or so minutes I find myself in, these plants know that they can only grow within a fixed space. And yet, they revel in it and rise up.
Still, the space they are gifted may be the product of people whose names are not carved in remembrance.
Something working within the subconscious of the brick forger paired with the grip and steadiness of hand of the bricklayer.
While ruminating on those thoughts, a bug landed in the space between the two knuckles of my right pointer finger. A little dot of black that sort of rolled around and fidgeted as my hand bobbed up and down traveling across the page.
In the blank space in between this paragraph and the last, I decided to poke (perhaps not lightly enough) my new friend. He simply rolled over and tumbled onto the page. I mourn that he will not be with me to the end of this essay.
I celebrate that perhaps a small patch of my finger was contoured in such a precise way so as to communicate a sense of rest and comfort. That a few mere micrometers could be a pocket of consolation and in place of mourners gathering in shared grief, my friend was in the presence of himself for one final breath.
So this piece is now in memoriam to that little bug. Forever just above my knuckle.
I would be remiss if I did not credit (I look over my shoulder one more time just to double check) John, Judy, and David Luke. It was the love and magic of their lifetimes that led their loved ones to seek comfort in their act of remembrance that sets up this place of rest.
I would be further remiss if I did not welcome in the artificial pond that sits before me. The bricks form it within a rectangle. All across its surface, a layer of algae rests. It is a striking green, light but not faded.
The algae is held up and in place by the water below. I wonder if the water counters the heat of the sun with a cool embrace that holds off any fading. Or maybe the algae forms, matures, and washes away all before any indication of its age could present. The algae always in its prime, living out its quick increment of reign over the pond, only to be succeeded with no one the wiser.
The sadness in this thought works to counter the first impression that came to mind as I walked into this outdoor seating area and saw the pond sitting center stage. The algae is the end result of overfertilization, a habit and practice of modern gardening I can only do so much to balance out in my own garden.
I share my frustration with a couple as they walk by. The woman slows down her gait ever so slightly as to indulge me with an “Oh yeah.” The man more passively listens as he passes through being within earshot.
I immediately judge him as not caring about the environment and tuning me out after assessing me to be, based on my straw fedora and Thoreau-quoting t-shirt, an environmentalist.
Most likely he just wants time to walk with the person he cares most about and had heard enough idle chatter over the course of a day.
I am wrong to consider him any less of this scene than me. That this place be any less perfectly tuned for him to welcome in the calm that comes in an early summer evening. Maybe he “tuned me out” (I have no real proof) so as to tune in to the leaves as a breeze rustles them.
Admittedly, the algae has a raw scent that is equal parts grass and flora. It is not overbearing and could possibly even serve to orient someone to being outdoors.
Anyone in this space is also treated to the spattering and splashing of water coming from the fountain that springs up in the center of the pond.
Sculpted children hold up the main basin of water. Around the rim of the basin are four faces adorned with horns and beards. They are equal parts goat and Greek God. The four faces spit water forward in a steady stream. Above the basin is a figure that looks to be older than the children but still projects youth. This figure holds what appears to be a wreath and water trickles out of this object.
Perpetually in motion, a constant rhythm forms of water landing and splashing. It is a rhythm of returning.
The fountain draws the water away from itself only to send it back without ever actually separating. The water remains a part of what it is leaving and traveling to.
Being that it is a conduit to this harmony, I wonder if this cancels out how the fountain strikes me as foreign and invasive. Does it actually reflect an experience that this space has always longed to achieve?
There is always water in the ground and in the plants that grow up. It is present in the bugs that hover and buzz about. The humans who visit are almost completely comprised of it. Same for the humans remembered so that other humans have a place to sit while they visit.
Perhaps the fountain is a perfect distillation of this reality.
In these twenty or so minutes, I have been drawn away from my own reality and soon I will return to it, without really stepping away. True also is the fact that this pocket of time is happening but once.
This is an understanding that brings joys worth capturing in words, solace deserving stillness, and the promise that much of this may be met again in resting and writing in nature.
Sitting quiet to comprehend this, comfort arrives.
Nicholas Howard is a graduate student at Bridgewater State University and a writer living in Southeastern Massachusetts. He is an English teacher who aims to say, “Could you kindly please,” at least twenty-five times a day. His work has appeared on Hunger Mountain’s Online Only page and The Hopper’s website. When not reading or writing, he can usually be found cooking (mostly) from scratch, sitting around a fire pit, or listening to local radio. A good day involves all three. He dabbles in the art of Twitter @Nick1845Howard.
Lisa Kamolnick
After a nomadic military childhood, Lisa Kamolnick planted herself in northwest Florida’s sugar-white beach sands. During an inland detour among lakes and live oaks, she earned a B.A. in English from University of Florida. In 2007, she traced an ancestral trail and settled in northeast Tennessee highlands, where she now pursues various creative interests. A poet, writer and photographer, Lisa creates work that explores human nature, the human condition, the natural world, and what lies between and beyond. Her poems have appeared or are forthcoming in HeartWood Literary Journal, Women Speak Vol. 7, and others. Her photographs are featured on Instagram (@lisakamolnick) and other venues.
Linda Hillman Chayes
July Again
Something is askew this summer.
By that I mean it has rained so
often that the garden is bloated,
hydrangeas unfolding into azaleas
astilbe tangling with epimedium,
wild stalks weaving one
single covering of shrub
and then the white butterflies
in pairs,
spinning so close
to each other
you’d have to assume
invisible strings.
Synchronized swimmers,
their dance
choreographed by pheromones
or passion.
They touch down
tickling the angelonia, so
brief and tender
the swollen garden hardly
notices.
Almost unreal, a moon-white butterfly,
but there are so many.
I am full with them,
their kisses, their
philandering flights,
their persuasiveness.
Linda Hillman Chayes’ chapbook, The Lapse, was published by Finishing Line Press. Her poetry has appeared in journals including American Poetry Journal, 2 Horatio, and Ravensperch. She works as a psychoanalyst with practices in New York City and Westchester. She recently published The Voice of the Analyst: Narratives in Developing a Psychoanalytic Identity with Routledge Press.