Cover image: “Don't Let Them Tame You” by Natalia L. Rudychev

Gallery 2

Suspended at the Edge

Tresha Faye Haefner

How to Identify the Body of God

who has no body. The God whose body
is glacier and apostrophe? Whose language
is lagoon, and Chinook salmon swimming upstream.

A God who keeps hiding shells
in her pocket. Destroying the dinosaurs
and keeping their bones tight in tar-light.

If I chase these chalices
across every lunar eclipse,
shine like a horse, and powder

my eyes green,
as the fins of a fighter fish,
if I spin myself into sunset,

Ferris wheel forward
and chisel my image into the side
of a church,

if I follow this scent,
fill each footprint with alabaster
and stone,

if I leave my tooth
lodged in your heart,
can you tell me

what kind of God you are?
What kind of animal I am?

Tresha Faye Haefner’s poetry appears or is forthcoming in multiple journals and magazines, most notably Blood Lotus, Blue Mesa Review, The Cincinnati Review, Hunger Mountain, Mid-America Review, Pirene’s Fountain, Poet Lore, Prairie Schooner, Radar, Rattle, Tinderbox and Up the Staircase Quarterly. Her work has garnered several accolades, including the 2011 Robert and Adele Schiff Poetry Prize, and 2012, 2020, and 2021 nominations for the Pushcart Prize. Her first manuscript, Pleasures of the Bear, was a finalist for prizes from both Moon City Press and Glass Lyre Press. It is still looking for a publisher. Find her at www.thepoetrysalon.com.

Sarah E N Kohrs

An Axion

It’s quiet in the kitchen.
Dawning drizzles magenta
across the pizzelle-hued

table, burnished to a waxy
gleam. Draped with
lace like a frozen lake.

There, teacups await
a tarnished welcoming,
while the kettle broods

breaching a boiling point.

Grieving is an axion.
Frizzled into starbursts.
A white rose, perfect

until it fast-forwards
into wilting, like browned
onions in a wok /

edge-etched to sienna and stems
settled in nacreous water.
I’m in that bit of quiet while

storms plasma-ball around me.

And I wonder why the sunset-
sunrise-sunset continues
its shore-broken rhythm

when all I want is for it to cease;
for everything to pause
while I learn to walk on an ice

that refuses to melt away.
Perhaps I’m scared of thawing.
Or a refreezing that keeps

me subdued from savoring

the clink of cups in the kitchen

by the translucence of our skin cells.

Sarah E N Kohrs is an artist and writer with over 80 journal publications, including poetry in Cumberland River, Lucky Jefferson, Rattle, and The West Trade Review, and photography in CALYX, Glassworks, Gulf Stream Lit, and iō. Sarah has a teaching license, is endorsed in Latin and Visual Arts, and homeschools, as well as works in her pottery studio, creating clay art to savor. SENK lives in Shenandoah Valley, Virginia, kindling hope amidst asperity. Website: www.senkohrs.com

Natalia L. Rudychev

Natalia L. Rudychev is an award-winning Russian-born New York-based photographer and multidisciplinary artist (writer, performer, and printmaker). She is best known for her work with the aesthetics of wabi-sabi. Natalia’s work has been exhibited in New York at Foley Gallery, Soho Photo Gallery, Culture Lab LIC, Westbeth Art Gallery, Brooklyn Art Cave, and Cargo Project Gallery, as well as in Los Angeles, Minneapolis, and Portland and internationally in Berlin, Glasgow, and Tokyo, where her work on sustainability was awarded the Bronze Prize. Her work is in the public collections of the California State Library, Haiku Literature Museum in Japan, and Duquesne University Library. She is a Fulbright Scholar, a member of The Photo Group, a poet, and a dancer, and studied Philosophy of Art in the PhD program at Duquesne University.

Stella Reed

Unfinished Survey of the Lotis Blue Butterfly
               last seen 1994, by the Xerces Society for the Conservation of Invertebrates

1. Her wings, were they close to the robe of Mary? The color of Heaven?

Her wings: veins beneath vitiligo skin, a turquoise stone marbled with white lies, the percentage of moonlight that reaches the forest floor.

2. Did you hunt for the chrysalis?

Bracken swayed in wind. Trees whipped low to the ground, bent like the arching backs of women. Her eggs, diaphanous, a pearling thread left on vanishing leaves.

3. How did she fly through the rain?

Raindrops sugared the silk of her kite string.
She would not be tethered, though she moved with the speed of loneliness, the time it takes to recall a dream.

4. What did she take with her?

Bird’s-foot trefoil, cones that open only in fire, a map of disappeared rivers, christening gown of a stillborn, the relict heart of a monk who set himself aflame, Saigon, 1963.

5. Where did she go when she left?

Through a jenga of fallen trees. Lilies were not the escape route, nor lightning-split bark, but a child’s hand slack in sleep. Who can say that moving at the speed of loneliness does not bring one to open or flourish?

6. How do you know she was suspended there, at the edge of the forest?

Don’t you feel how trees want, with cones that open only in fire?
How they thirst for one another, how we thirst for their fog?
Surrounded by thorns to keep the world away, she slept as if poisoned, her chrysalis lined with wolf down.

7. Perhaps wings did lift her?

We conclude not.
At the edge of the forest is a pond. Geese crane their necks,
look out over the water as if expecting a lost ship.

Stella Reed is the co-author of We Are Meant to Carry Water (3: A Taos Press, 2019), recipient of the AZ-NM Book Award. She is the 2018 winner of the Tusculum Review chapbook contest for Origami. Stella is a novice beekeeper from Santa Fe, NM. You can find her work in various journals and anthologies, most recently The American Journal of Poetry, Little Patuxent Review, About Place Journal, The Fourth River, and Terrain. She is a Best of the Net nominee for 2020 and holds an MFA from New England College. Stella works for Audubon Southwest, where she is a proud member of the Queer Affinity Group.

Hunter Liguore

A Life Swept Away

Imagine being a child on the riverbank, the waters rising so rapidly, above the banks, spreading out in every direction that there is nowhere to run. In a moment you cannot stop, your mother collapses with the current, arms flailing to keep afloat, to keep from being carried off. You can’t reach her, as the flood overwhelms her body—and she’s gone.

This is the lasting image that informed the life of Enku, a Buddhist monk living in the 17th century. His mother, like many of the inhabitants of Kisogawa, Japan, had left behind many orphaned children and a township in ruin. As a result, Enku’s path was chosen for him and he entered a monastery. Once older, and time to venture from the safety of the temple, Enku, like many monks, dedicated his life to ending the suffering of others. On the anniversary of his mother’s death, this traveling monk returned to the river of his childhood and made a vow of 120,000 actions.

During his travels, as a form of mediation and prayer, Enku had begun carving crude wooden statues of the Buddha and leaving them with the people he’d encountered—farmers, artisans, children, the poor, homeless, and sick. Each Buddha carving held a particular feature, that of a ‘faint, gentle smile.’ This was Enku’s signature, the teaching he’d lived, experienced, and now passed on, through the statues, which was the understanding of the power of a smile to ease the suffering of others.

Coming full-circle, Enku returned to the riverbank of his childhood, and vowed to make 120,000 wooden carvings—a vow of a lifetime. No matter where he walked, he could find pieces of wood to work with. If someone gifted him food, he was able to repay the favor by gifting a statue. If a child was sick, Enku would sit at their bedside, carving and meditating for the child and family. The historic record holds evidence that those who received the statues treated them as treasures, often noting they felt uplifted, proof of the energetic imprint Enku had left in the making of each one, like goodness, kindness, and love.

I began to think about what it means for a modern person to make this kind of vow and if it’s even possible with the hubbub of life sweeping us up like Enku’s mother in the river. When and how are we committing to a single, unfaltering action—and one solely to serve others? I broke it down to something like this: 

5 carvings a day x 1 year (365 days) = 1825
1825 carvings x 65.75 years = 120,000

Or…

10 carvings x 1 year (365 days) = 3650 carvings
3650 carvings x 32.8 years = 120,000 carvings

If at the time Enku made his vow he was anywhere from 25-35 years old, he may’ve viewed it as an unattainable goal, or not necessarily with the outcome of ever completing the task—but rather, in contrast, something he would act upon relentlessly, not necessarily through striving, but an active-will to serve others: when one was completed, he went on to the next, as one long infinite action. I imagine he didn’t actually count or keep track of his creations, but rather, worked without ceasing, a single-pointed focus on the present task and moment.

As a writer, I conceived committing to writing 120,000 short stories for others, then shortened it to crafting haikus, believing it to be more manageable. Worry arose as I imagined trying to arrange my day to accommodate writing at least ten haikus! This manipulation was like a virus in the mind—a raging flood—creating a duality of failure and success. Questions about the rules of the vow took over, like what would happen if I forgot one day, or what if life-circumstances made it impossible to write for weeks, would that mean I’d get behind or wasn’t serious enough?

As I asked and answered the thoughts arising, it allowed me to see the limitation that can perpetuate and manifest as soon as we make a vow. This is the ‘suffering’ that Enku understood and vowed to ‘root out,’ or battle. His vow was the determination to surrender control, not only to outcome, but the pursuit of suffering, which arises the moment we no longer trust that all is perfect and unfolding right now.

When I look around, I see the many vows I’ve made daily throughout my life. Like Enku, I suffered my own ‘flood,’ one that altered my path similarly, putting me on the road to an ascetic life and without formality, my choices once the waters receded, so to speak, created a seamless vow towards ending my suffering in the world.

Vows of 120,000 actions are available to us in each moment. It can be a daily vow of lighting incense in the morning and night. It might be 120,000 smiles, putting into practice Enku’s teaching that a faint, gentle smile can alleviate the suffering of others, especially in times of most need. We might cook 120,000 meals for others, or bow 120,000 times in front of a flower or tree giving thanks, or ring a bell 120,000 times to signal the present moment. We might even offer 120,000 thank-yous to everyone we meet.

As soon as we make the vow, we relinquish our need to know, to do, to forecast, but can rest inwardly, and with our own faint, gentle smile, unfold and become the next moment.

Hunter Liguore’s stories have appeared in Spirituality & Health Magazine, Orion Magazine, Irish Pages, and more. The Whole World in Nan’s Soup is now available from Yeehoo Press. Website: www.hunterliguore.org

Christopher Paul Brown

Untitled: Abandoned Factory — Dubuque, Iowa

Christopher Paul Brown is known for his exploration of the unconscious through improvisation and the cultivation of serendipity and synchronicity via alchemy. His photography career dates back to 1978 and he has been active in improvised experimental music and motion pictures since 1974. Over the past four years, his art was exhibited twice in Rome, Italy and in Belgrade, Serbia. His series of ten photographs, titled Obscure Reveal, was exhibited at a Florida museum in 2017. He earned a BA in Film from Columbia College Chicago in 1980. Brown was born in Dubuque, Iowa, USA and now resides in Buncombe County, North Carolina. Website: www.christopherpaulbrown.com

Amanda McLeod

La Niña

Each canyon in the bitumen surface collects rain, puddles of slate sky. Summer has declared us unworthy; she flicks a temperate skirt in our direction but her demeanour stays chilly. I pull on hiking pants in what should be bare-legged weather and consider retiring to my bed. My hair is still damp from this morning’s shower and I tease the brush through it. My reflection stares back, an ivory shade of its December self.

The grass bows seedheads as I pass and red-browed firetails swoop and dive with thin urgent calls. I wonder if it is warm enough for snakes, or if the sudden downpours and lack of sun have sparked a retreat. It’s too wet for bushfires, some say with two summers ago still smouldering at the edge of memory. But the torrential rain coaxes the grass ever higher and when the boy returns, there will be even more to burn.

Amanda McLeod is an Australian creative with a passion for wild places. Her work has appeared or is forthcoming in Craft Literary, EcoTheo Review, Wild Roof Journal, and many other places both in print and online. If you’re looking for her, try near the river. No luck? You could also look on Twitter and Instagram @AmandaMWrites, or at www.amandamcleodwrites.com.

Jacob Riyeff

For my Father
               —Lake Michigan, 6-27-20

Here in my shelter from the sun,
tree limbs lichen-caked,
undulation of the clear mind’s ocean—
he’s there walking above me.
His quiet walk in the air’s dew,
elms and ash looming green shadow life,
on our fresh way to Stop-N-Go
two blocks over before cars begin.
We walk in the neon lights
and he pours the coffee from the glass pitcher—
slightest scent of scorch on the recycled air.
From here in my perch on the sea I see
him in my mind’s eye, shifting coolly
to the raised counter, his small printed
styrofoam cup filled with caffeine, alkaloids, and water
steaming under its lid. And maybe we walk
straight home, newspaper under arm.
And maybe we walk past the old water quarry,
thru scrubby maple wood. Seeing the whole world
as snapping turtles laze and logs slant
from the surface. And it was quiet,
the quiet dream broken—cold water.

Jacob Riyeff is a translator, poet, and teacher. His work focuses on the western contemplative tradition and the natural world. Jacob lives in Milwaukee’s East Village, just up the hill from the Milwaukee River. Website: www.jacobriyeff.com / Twitter: @riyeff

Suus Agnes

Suus Agnes is a tumbleweed who blows around and picks up bits and pieces encountered on her way. As an author-illustrator she makes visual narratives, and has shown them in diverse places like comics & zine festivals, exhibition spaces, anthologies, journals, and online platforms — first in New Zealand, then internationally. Her work takes an interest in human-nature relationships and unloved creatures. Website: www.suusagnes.com

Cecilia Stancell

Bone Eater (Whale Fall)

All I know, not know,
for I know nothing
and nothingness,
is a liquid thrum, self-wide.
Endless.
I may die this way,
with no sense of
what death is. I might
begin and end with only this.

Then now, there is a now,
a dragging towards
upheaval, cataclysm,
the gong sound
of an all new order
that animates,
that sings a sad
whale’s song as it begins,
and ends with a tender
laying down in the dark.

I make my way by chance,
as seafarers often do,
to a deep place of blind
and slow-bursting life.
I now know life!
Here I settle
and open to receive
its sustenance.
How could I have known to have
faith that this great gift existed?

I root down in a new
eternally-secret world
that will make me an ancestor,
though there’s not much to me at all:
a translucent cylinder of light
where there is none,
a tiny bit of current
where there is nothing else,
but now awakened,
now cradled and nourished,
an infant at a bony breast.

Cecilia Stancell is a lover of words and writing. A lifelong dancer, she also holds master’s degrees in photography and art history. She is deeply intrigued by the worlds of legend and myth and how these live in our minds, memories, and bodies. She lives in upstate New York.

Annie Penfield

Baby at Sea

I have an image fired into my brain like a creation myth: my father, nine months old, strapped to his Austrian nanny, ascending a ladder to the USS Washington. Also strapped to her, was his brother, eleven months older. Above, climbing the ladder hand-over-hand, to board the ship, was his nearly four-year-old sister. The boat was taking on thousands of passengers, leaving the northern coast of Ireland, for New York.  My aunt chattered away only in German, which was less than desirable. It was June 1940. 

I didn’t grow up with this story. I grew up north of Boston, in the woods, surrounded by horses, and dogs and cats, guinea pigs, and pigs we ate. I grew up in a world I liked to populate with talking bears within a wooded sanctuary. My father went to work each morning and came home each evening while I was watching M*A*S*H*. He made a cocktail and watched the news. My brothers and I had already had dinner. He would sit at the big table in the dining room with my mother, who dressed for dinner. When we did have a family dinner, he would tell me to chew with my mouth closed, to lift my elbow, raise my fork, put my napkin in my lap, and wait until he had started the meal. My world had all the pieces: family dinners, a father and mother, my siblings, an imaginary world, woods to roam, animal companions.

I don’t recall when the story of the USS Washington was first told to me. I knew fragments: His father received a commission in the Royal Air Force; His mother volunteered at the cantinas, the kitchens organized to feed the unhomed masses; Their children were shipped to her grandparents outside Boston. Boarding the boat maybe marked safety but also the moment the family fractured. I did grow up knowing his father, a Spitfire pilot, was shot down off the coast of France, that his name was in a book in the Airman’s Chapel in London. The myth of his father loomed so much larger than their transit on that boat away from their parents.

When he was in his 70s, my father was sequestered to home and a chair because of the brokenness of his body, worn down by age and use, by the scale of his 6’7’ frame, and the punishing exercise he pursued over his lifetime to work his weight down so he could ride his horse.  By 76, he could hardly walk. It was great effort to rise to his feet, even with the tilting chair. His breathing labored; his balance wavered. He sat for hours. I would visit with him. I couldn’t talk with him during the news, late afternoon was better. I would turn on the recorder and ask him for stories. What did he remember of the day his mother returned to him? He was five years old, standing in the driveway clutching his granny’s hand. What it was like after the war to have a new father, and be moved to Vancouver Island? He liked farm life, but the marriage and a pastoral life lasted only three years before he returned to his grandparents. Now a mother myself, these stories fascinated me: how was it his mother chose to stay in London and ship her children to the states? How she believed solace could be found with a new husband on a farm in Canada. How was it that I grew up with such a protected idyllic childhood, unaware of my father’s own childhood? How was it he knew how to be a father? To protect us in our wooded home, to encourage us to pursue our interests, to create safety so we could take risks.

And how was it possible he liked boats? The most relaxed I think of him is sitting aboard a sailboat. Early in our marriage, my husband and I lived aboard the wooden ketch Star Rover. After Kent was discharged from the Navy, he sailed her north to Seattle, a long and final voyage before he sold her. I did not sail up the coast with him. Sailing is not really my thing. I was living in the mountains of Wyoming; I met them in Vancouver My father joined us. He spent most of each day at the helm. I remember how his shoulders slumped, as cares seemed to roll off them. One hand on a knee, the other on the helm. He sat off to the side a bit, maybe hard to fit the length of his legs behind the helm. We listened to the sea against the wooden hull, and the wind fluttering the sail. His white hat pulled low. His expression soft. His blood through his veins like ocean tides. He drifted on wind. He softened into the seas. Comforted. That place calmed him, offered a solace apart from daily battles.

I had this myth of the courageous pilot of his father, but I think the courage is that of the child, in the hands of a woman not his mother, in a berth roiling at sea. The faith of a child that trusts in the sea—without the embrace of a mother. A baby that leaves his mother, descends a gangway with his siblings, delivered into the arms of grandparents. Somehow, that baby developed a sanctuary aboard a great ship at sea. Aboard, the baby was held in some kind of faith like what you might find when you turn yourself over to a boat held by the ocean. Shattered he would say of his mother, having survived the bombing of London, the death of her courageous husband, the short farm life on an island that diminished her, certainly her capabilities as a mother. Maybe the sea offered something whole to him, just a baby. But whole, and content, and bobbing on the currents, and trusting in the care of the ocean, surrendering to the force of the sea. 

Annie Penfield’s essays have appeared in Ninth Letter, Whitefish Review, Under the Gum Tree, Catamaran Literary Reader, Fourth Genre, r.kv.r.y. quarterly literary journal, Equestrian Quarterly, Assay, Beautiful Things and Prairie Schooner sports blog. In her writing, she explores her awe for the natural world, our relationship to place, the healing of our lineage, and everyday challenges and how to cope with them. A graduate from the MFA in Writing Program from the Vermont College of Fine Arts, she is working on a linked collection based on her essay “The Half-Life,” winner of Fourth Genre’s Steinberg essay prize and named a Notable Essay by Best American Essays. She lives in Vermont, spends time in Alaska, and works to reconcile it all on her blog at www.anniepenfield.com.

Pamela Viggiani

Throw Caution to the Wind

Pamela Viggiani is a mixed-media artist and art educator living in Canandaigua, NY. A native of the Finger Lakes region, Pamela received a BS and MS from Nazareth College of Rochester. She began teaching art in 1986 and continues to foster enthusiasm and creativity in her students to this day. Pamela’s art has been featured in Small Works, Light Space & Time Online Art Gallery, Another Chicago Magazine, Press Pause Press, From Whispers To Roars, Sunspot Literary Journal, and Beyond Words Literary Magazine. Her works can be seen annually in the member exhibitions at both the Rochester Contemporary Art Center and Mill Art Center and Gallery. Website: www.projectspacefruitcellar.com

Ryan Diaz

Tulsa

We drove through the backwoods of Tulsa
In a hatchback red with fading rust

Past red-wood barns, water towers, and
Miles and miles of open field

Where herds of black cattle crowded the golden lawns
Like dust mites circling ’round a sunbeam—

A remnant of a bygone age where men
Knew the land and pasture and prairie

Were one and the same: wild and untamed, endless and
Free, all horizon line and zephyr sky.

There we were, cutting cross country,
Admiring the view like a postcard,

Rumbling down the flat black asphalt
Unaware of the irony—

Enjoying the seeming boundless stretch
While driving along a boundary.

Ryan Diaz is a poet and writer from Queens, NY. He holds a BA in History from St. John’s University and is currently completing a MA in Biblical Studies. His work has been featured in publications like Ekstasis, Premier Christianity, Dappled Things, and Common Good Mag. His first poetry collection, For Those Wandering Along the Way, was released in 2021. Ryan’s writing attempts to find the divine in the ordinary, the thin place where fantasy and reality meet. He currently lives in Queens, NY with his wife Janiece. Keep up with Ryan’s work at www.avagueidea.com.

Rochelle L. Harris Cox

Sunflowers in a Southern Accent

A triptych is not … simply three very closely related images framed together [,] a mere variation on a single motif [, or] merely selective repetition … [A triptych is] the evocation of a complex and differentiated emotional state … three movements, three contemplative fields, one experience, an entire world.      Rick Visser, Artrift

left

“You should come,” Bill said.  Tall and thin, suspenders a slash of red under a knee-length duster, he waited, hazel eyes holstered behind smoked lenses.

“I don’t know,” I said, fidgeting with backpack straps, my hair caught in a sideways ponytail. 

We stood in our high school parking lot.  I had somewhere to be—chemistry lab or band practice—anywhere but the sedan with its pistol tucked under the seat.  Bill, just released from in-school suspension, jittered with energy.  Surrounded by asphalt that held cars in rows obedient as bullets, the school flashed and popped with teenagers, the volatile fruit grown in this place.

“The rules are that everyone who comes to the poetry reading has to read.  Or draw.  Whatever it is that they do.”  He leaned in the hinged seam of the open car door. 

I imagined myself reciting Lizzy’s dissection of Darcy’s misfire and smiled, a twist of lips concealing braces.   “Maybe,” I said. 

Two nights later, friends sipped from purloined boxes of wine and palmed scrubby bits of paper in a pine thicket on a hollow of John’s Mountain.  Playing the role of prince in his backwoods court, Bill chided, “You can’t do Herrick sitting.”   Glasses glinting in firelight, he cocked a finger, marionetted would-be poets to their feet.

 “You have to get in Herrick-reading stance.”  He propped one combat-booted foot on a rock and leaned over his thigh.  Leering a Cheshire grin, he stirred unease in flickering faces.

 “The other thing you have to do,” he said, drawling his diphthongs, “is read in a Southern accent.”  Smoothing back a clip of dark hair, he sang, “Gather ye rosebuds while ye may, old time it is a-flyin’.  This same flow’r that smiles today, tomorra will be dyin’.”  He swam through the lines, syllables lifting with each stroke of the tongue.  Rhyme sprawled against teeth; lips stretched over words centuries old. 

Click here to read the full essay

Rochelle L. Harris Cox is from Northwest Georgia, where she currently teaches writing and literature at Kennesaw State University. Her essays and poetry have appeared in such journals as symplokē, Crab Orchard Review, Rappahannock Review, and Fourth Genre. She lives on a smallish mountain in the foothills of the Appalachians with eleven cats, a big garden, a fledgling vineyard, and impending chickens.

George L. Stein

Poetry Reading

George L. Stein is a photographer from Northern New Jersey focused on art, street, urban and rural decay, alt/portrait and surreal genres. He has been published in a number of literary magazines such as NUNUM, Fatal Flaw, Wrongdoing, and Wild Roof Journal. Website: www.georgelstein.com / Instagram @steincapitalmgmt

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