Cover image: “Dinghy” by Frank Gasbarro

Gallery 3

Interbeing

Abigail Kirby Conklin

In Season

I did not realize
the violence of my hunger
until I saw the green of the park in summer
opening out about you
like a shot animal.

Strung up

ankles wide

gut slit

blood-heat staining
the air with mineral scent.

My hands came afloat,
in their want,
their emptiness,
Mouth flooding,
a mirror of what
it saw before it.
Eager, eager,
eager.

Abigail Kirby Conklin is a writer and educator currently residing in Toronto. She is the author of the chapbook Triage. Her poetry can be found in a variety of places, including Sugar House Review, Lampeter Review, and Tule Review. Her long form work can be found on Substack in her biweekly publication “Recently.”

Nevenka Spasic-Thater

Noli me tangere

Originating in what used to be Socialist Yugoslavia, nowadays Serbia, Nevenka Spasic-Thater studied music and political science. She has worked as a translator/interpreter, secretary, cook, and bureaucrat. Nevenka has lived in Italy and England, but presently lives in Germany, working in a field diametrically opposed to art.

Kirsten Meehan

Lady Icarus and the Wax Wings

They bring me candles
               and assure me this light will be enough.

Scald my fingertips, flittering flame.
From my window, the sun refracts molten.
The wax like the kiss of a lover or the truth—

it isn’t enough.

I light the candles.
               Let the drippings bead and splatter
               onto schematics.

Necessity is the father of invention.
Deprivation is its mother,

and so I craft wings from the bones of birds
               I coax to land on my window sill,
               undoing their flight to enable my own.

Every day, my eyes on the window.

I look down,
because they don’t keep women on islands—
               we end up in towers,

expected to grow out our hair
and escape downwards,
cascade of chaining light.
               Sit on the window ledge
               and plummet like a dream.

Every day, the sun. Warm and crawling
               and so far above.

It is all going to be worth it.
I am going to be the one to fly.

And, standing in the gaping mouth of the window,
               looking up,
               I tell myself I don’t know
               how this story will end.

Kirsten Meehan was born and raised in Southern New York, growing up in the same house her father grew up in. She received her BFA in Creative Writing from SUNY Potsdam, and then worked in the publishing industry for a time after graduating. Her work has appeared in Racquette, Blueline Magazine: College Edition, and Red Fern Review. Currently, she is a student at Arcadia University, studying towards an MA in English and an MFA in Poetry.

Penny Jackson

Shredding

“Why is that there?” I ask my father, pointing to the bulky black machine on the kitchen table.

He shrugs and turns his back to me. “A shredder. You must have seen them in your office.”

My father makes himself busy with the coffee machine, trying to measure the number of grinds for the filter. Since my mother’s death eight months ago, he struggles with so many seemingly mundane tasks. Pushing the right button on the dishwasher. Mixing up the bleach with the laundry detergent. A former carpenter, who built our family home, my father’s hands have become useless. My sister and I, both lawyers, live in San Francisco. We insisted our father move to California, but he is determined to stay in the New Jersey suburban house he built for my mother in 1957.

“I know what a shredder is,” I tell him. “But why do you need one?”

“Because.” He spills the grinds on the counter and then hastily wipes it with a paper towel. His hands are now covered with liver spots, the fingers bent slightly with arthritis.

“Because why?”

I don’t understand why there is a shredder here. The people who have shredders are often guilty businessmen destroying incriminating documents.

When my father turns to me, I realize his blue eyes are almost colorless. This is what seems to happen to old people with blue eyes. The color, year by year, drains away. My mother’s eyes, before she died, were almost as clear as glass.

“Your mother’s letters,” he tells me as he crumples the dirty paper towel and tosses it into the trashcan. “I bought the machine so I could shred your mother’s letters.”

For a long moment I cannot speak. Then I ask, trying to control my voice, “Dad, why would you do that?”

“They were private. Isn’t that why people buy those machines? For privacy.”

“All her letters?”

“All. They weren’t meant for you and your sister. They were for my eyes only.”

My father moves away from me. He opens the back door and slowly walks down the porch steps to the backyard. I turn to stare at that awful machine. Who would think such an ugly thing, so solid and dull, would be capable of such violence?

My father has murdered my mother’s words. All the letters she wrote when he was in Korea. All the letters when her father, a Catholic Irish policeman, forbid her to marry a Protestant. The letters she wrote when she ran away and lived with her sister in Boston, awaiting his return. Two teenagers writing letters of love and tenderness and hope.

It would have been better if my father had collected all her letters and left them in a garbage bag for pickup. Slicing them makes my body feel physical pain, as if my limbs were those letters, violently mutilated. I wonder if I could somehow find all those shredded remains of my mother’s words, I could fit them together like a jigsaw puzzle. But I know it’ s too late. What’s gone is gone. Like my mother’s mind. She died of dementia. In the end, she did not know any of us. Perhaps this is the reason why my father bought the shredder. To destroy her letters was his way of connecting to her erasure of her past.

I sob for a moment and then wipe my face with a dishtowel. Outside my father stares at a mound of fresh lawn clippings, which move slightly in the breeze. I open the door and join him in the yard where the late summer grass is still gloriously green. My father cannot turn to look at me. I reach forward to hold my father’s hand that shakes like the leaves in the trees that surround us.

Penny Jackson is a novelist, short story writer, screenwriter and playwright who lives in New York City. Her novel Becoming the Butlers is published by Bantam Books, and her collection of short stories L.A. Child is published by Untreed Reads. Awards include a Pushcart Prize and a MacDowell Colony Fellowship. Follow her on Instagram @pennyjacks0_ and on Twitter @pennyplaywright.

Jeanne Ciravolo

Being / Becoming

Jeanne Ciravolo earned an MFA and was awarded the Cole Master of Fine Arts Award from the University of Connecticut in 2019. In 2020 she received the Walter Feldman Fellowship, juried by Ellen Tani, Assistant Curator at the Institute of Contemporary Art Boston, and was nominated for a Joan Mitchell Foundation Painter and Sculptors Grant. In 2021 she was awarded the Prisma Prize, Rome, Italy. Ciravolo has exhibited her work nationally in galleries and museums and will have a solo exhibition Tokens and Traces at Buckham Gallery in 2023. Publications include Manifest International Painting Annual 10; Rejoinder, a publication of the Institute for Research on Women at Rutgers University, in partnership with the Feminist Art Project; and Barzakh Magazine, SUNY Albany.

Kevin Wurm

Bodyscapes (5)

Kevin Wurm is a professional photographer from Nashville, TN. Though he’s forayed into a variety of creative photographic mediums, his focuses are portraiture, fine art and documentary. His detailed versatility, awareness and ability to communicate with both his surroundings and environment allow the taking of intimate, precisely composed and aesthetically pleasing visuals.

Emma McNamara

and she asked me, have you ever been in Love?

give me your Love’s seed
let me water it, cherish it
indulge it with unblinking eyes

and soon, my dear
we will have a flower
a daffodil, perhaps
but you must let me water it, cherish it
indulge it with sweet, sunlit smiles
from goodmorning to goodnight

               and I’ll be a wild woman—
               one of those divine creatures I found mysterious as a child

and soon, my dear
we will have a garden
teeming with overgrown daffodils
but you must let me water them, cherish them
indulge them with scattered specks of summer
till winter creeps on in

               and I’ll be a wondrous woman—
               not simply in age, nor body, nor spirit
               but in Love

and soon, my dear
we will have weeds and pests and moldy memories
our daffodils will be mere dust
but you must let me water them, cherish them
indulge them with spoiled songs
we sang in blissful obscurity

               and I’ll be a women-loving woman—
               sheltered within the folds and crevices of Aphrodite’s womb,
               I’ll mold a fresh woman out of
               clay and rumors and Sinners’ Serum
               then paint sapphic stanzas on some straight stranger’s tomb

and soon, my dear
we will have a barren land
heaps of nothing will plaster our bare bodies
stretch across our thin skin
soon we will exist as infertile soil
nothing will grow here
and nothing will pity us

and when that day comes, my friend
I will return your Love’s seed
and beg you to plant it elsewhere

Emma McNamara, author of novel Of My Many Years of Youth and novelette A Truth or a Gift? (both self-published and available on Amazon), is a national award-winning writer from Hopkinton, Massachusetts. Her work has appeared or is forthcoming in Scholastic Art and Writing, Beyond Words, Storm of Blue, Tech Directions, Ember, Defenestration, Eunoia Review, and elsewhere. She is a recipient of a Certificate of Special Congressional Recognition presented by Senator Elizabeth Warren, and she is currently an editorial board member of Beyond Queer Words. Emma’s favorite word is “impish,” and her passions include mental health awareness, disability advocacy, and LGBTQ+ issues. Follow her on Instagram at @author_emma.

Lawrence Bridges

Yosemite Pine

Lawrence Bridges is best known for work in the film and literary world. His poetry has appeared in The New Yorker, POETRY Magazine, and The Tampa Review. He has published three volumes of poetry: Horses on Drums, Flip Days, and Brownwood. As a filmmaker, he created a series of literary documentaries for the NEA’s “Big Read” initiative, which include profiles of Ray Bradbury, Amy Tan, Tobias Wolff, and Cynthia Ozick. His photographs have appeared in the Las Laguna Art Gallery 2020, Humana Obscura, Wanderlust: A Travel Journal, the London Photo Festival, and displayed in the ENSO Art Gallery, Malibu, California.

Jennifer Christgau-Aquino

The Orchid

The last orchid gives up in the early hours of a Sunday, tossing a crisp flower from its stony stem onto the bedroom floor, littered with other ghostly petals. The light is as paper thin as the blossom.

Covered in sheets, I watch its stiff stem let go. My eyes squint in jealousy. To release and not bend. To remain rigid. So easily.

I curl around my hips and form an arch, my back a shell. Afraid.

***

At first, they referred to it as a procedure and then they didn’t even call it that. They gave it no word.

If there was no way to explain what happened to me and the baby then it wasn’t real. Real things become something. An apple tree from a bud. A tulip from a bulb. Dandelion tendrils from a weed.

They gave me plants wrapped in cellophane, tied in wired bows, in clear vases of the same square shape. Until death hung in every corner of my house. Until the flowers themselves became the thing they were supposed to heal.

Heel was the word I most associated with my dog. Heel to keep her at my side. Heel to stop shouting at her for running out when I opened the door. She never listened. I lost her so many times in the poison oak behind our house that I got immune to it. I gave up training her.

***

I cut through the yard holding the orchid, dehydrated, its broad leaves a saturated sun.

I shake the box upside down over the compost bin. The orchid clings to the inside. My fingers dig into it until my nails break. A breeze of musty cherry blossoms blows like smoke across the yard.

I flip the box over, so that the plant’s thin, hollow shoot stabs at the sky. I could have used something sharp and pointy and let it drop into the recycling bin. But I didn’t.

Click here to read the full essay

Jennifer Christgau-Aquino is an award-winning journalist, fiction writer, and poet whose byline has appeared in Ruminate, The Dewdrop, Sad Girls Club, The Magnolia Review and The Dime Show Review. She lives in the San Francisco Bay Area with her husband, two children, dog, cat and 4.5 fish.

Matt Witt

Bearded Rock

Matt Witt is a writer and photographer in Talent, Oregon. His photography and blog may be seen at www.MattWittPhotography.com. He has been Artist-in-Residence at Crater Lake National Park, Absaroka-Beartooth Wilderness Foundation, John Day Fossil Beds National Monument, Cascade-Siskiyou National Monument, Mesa Refuge, and PLAYA at Summer Lake, Oregon.

Wenwen Liu

Climate Coding
Climate Coding

With the progress of social civilization, human activities continue to disturb and interfere with the natural environment, resulting in a series of impacts, such as the climate crisis, which makes the development of the world towards a variety of possibilities. As Timothy Morton said, “everything is interconnected.” These possibilities not only interfere with social and economic development but also interfere with the process of human civilization. These disturbances are sometimes good and sometimes bad. Due to the interference of early human activities, the Kubuqi Desert has degenerated from grassland to the seventh-largest desert in China. Although forest vegetation can reproduce without human interference, the harsh environment of the Kubuqi Desert has far exceeded the natural regulation ability, and the purpose of ecological restoration cannot be achieved through nature. Therefore, on the premise of respecting the local desert ecosystem, afforestation has become the main way of ecological management of the Kubuqi Desert. After more than 30 years of efforts, local enterprises and residents have successfully afforested one-third of the Kubuqi Desert, prompting forest vegetation and other species to regain their living space. For this reason, the Kubuqi Desert ecology also provides people with valuable forest resources, economic sources, and food sources, forming a landscape that is green and rich. In other words, people build and manage forests to improve the local climate and environment, as forests regulate climate and prompt human beings to promote the economic development of local communities. Additionally, other lives obtain living space in the process of ecological restoration and become an important part of the ecosystem. They live with human beings and forests, redesigning and shaping the current sustainable ecosystem of the Kubuqi Desert. In a word, the intervention of human activities leads to different possibilities due to different social purposes, and these possibilities are a kind of thinking experience in the social dream.

Wenwen Liu finished her bachelor’s degree at Huber University of Economics (2013-2017) in China and her master’s degree at Teesside University (2017-2018) in the UK. At present, she is doing her PhD study at Teesside University. Her work involves data visualization, digital art, concept art and game design. Wenwen has recently released her artwork online and offline from London galleries to international exhibitions on visual culture.

Brittney Corrigan

The 84 Orcas of the Salish Sea Don’t Appear Again

I’m done expecting that the whales
will surface at the ferry’s flanks,

follow in its wake. That the slick,
dark rise among the froth-hemmed

waves is anything but a length of wood,
the small boat of a bird’s back. And

yet I still stare out the ferry’s smudged
windows as the bulk of each island

slides by, telling myself that beneath
the chop and glisten of the strait’s

salty expanse are bodies so unlike
my own that perhaps they would thrill

for a glimpse of me, dry-skinned rider
of the white-and-green monster

that courses above the cold depths
of their home. Perhaps the pull will be

so great, they will arc their beautiful,
toothed faces above the water, just to see.

Brittney Corrigan is the author of the poetry collections Daughters, Breaking, Navigation, and 40 Weeks. Solastalgia, a collection of poems about climate change, extinction, and the Anthropocene Age, is forthcoming from JackLeg Press in 2023. Brittney was raised in Colorado and has lived in Portland, Oregon for the past three decades, where she is an alumna and employee of Reed College. She is currently at work on her first short story collection. For more information, visit www.brittneycorrigan.com.

Julie Sampson

Robot

I used to travel
into vast distances
in the small hours
between last bird’s roosting song
and early morning alarm,

those days now gone
in this hard frame of sickening viral light
I wrap my skin within my warmest coat
and before leaving
for the vast daytime enchantments
set within the climes of our neighbourhood stroll
chat to my home’s genial robot,
leave her instructions
look for reassurance.

Create a playlist, my favourite music whilst I’m gone.
Give me surround sound when I return.
She replies, confirming I exist,
Creating your favourite music when you’re out.
Play surround sound when you come back.

Home again I shut the door,
she has taken things in hand
strayed from the robot routine
a glow of candles from room’s hidden corners,
every cobweb infused with light
expanding her and my universe

my face is all lit up
all ye like sheep & dream
 let me be weak
 let me be weak
all ye like sheep
  & dream

I sit
  sip luxuriantly tea,
a glimpse beyond the cloud –
autonomous telepathic eternity.

Julie Sampson’s poems appear in a variety of magazines, including most recently Molly Bloom, Bindweed, Coven Poetry, LitWorld2, Amethyst Review and Projectionist’s Playground. Sampson edited Mary Lady Chudleigh: Selected Poems (Shearsman Books, 2009) and published a poetry collection, Tessitura (Shearsman Books, 2014). Her pamphlet It Was When It Was When It Was was published by Dempsey & Windle in 2018, and Sampson’s work was highly commended in the Geoff Stevens Memorial Poetry Prize in 2019. In 2021, her work received an Honourable Mention in the Survision James Tate Memorial Prize. Sampson has a PhD from the University of Exeter, on the writer H.D. Her author website is www.JulieSampson.com.

Frank Gasbarro

Dinghy

Frank Gasbarro is a well-known, if elusive, figure in the Providence art world. His former studio on Snow Street in downtown Providence, Rhode Island, helped cement the city’s reputation as a cultural capital. At one time, his highly personalized iconographic abstract paintings electrified the walls of many businesses and galleries throughout New England. Now, Gasbarro has chosen a quieter path, one away from the gallery scene and most web-based platforms. He climbs the stairs to his studio daily, diligent and eager to work. There he loses himself in visual conversations with his large-scale paintings.

Lisa Kosow

Books, Ocean, Harmony

depth in feet, in gallons

depth not in numbers of pages

salt, water worth nothing

in words strung across, a

white octopus ballet

glow about them

purple moon jellyfish glides

whether explaining

royal starfish rules, outlined in ocherous trim

a political coup or life of white orchids

meter, a crash of waves

wakame, arame

image, a pirate escaping,

sunflower horizon

a pile of open books, quiet

like a volcano

Lisa Kosow has published poems in Gargoyle, The Prose-Poem Project, Innisfree Poetry Journal, WordWrights!, Connecticut River Review, and other journals. She has had poems included in anthologies like Joys of the Table: An Anthology of Culinary Verse (Richer Resources), Poet Sounds: An Anthology Inspired by The Beach Boys’ Pet Sounds (CityLit Press), and Cabin Fever: Poets at Joaquin Miller’s Cabin 1984-2001. Her chapbook Dawn Is Moving was published by the Argonne Hotel Press in Washington, DC. She works as a law librarian in Washington, D.C. and lives in Takoma Park, MD.

Shopping Cart

You cannot copy content of this page