Cover image: "Branch on a Shallow" by Leni Paquet-Morante

Gallery 2

Sly Melioration

J. Maak

On collective wing

we, society, all of us
dangle
curled J-shape
a silk button all that affixes us
to some branch, ledge, precipice
of hard reality.

our skin is splitting
the veneer of all that we called us
our pride, our reputation, our wealth
our place over world order.
soon we shall digest ourselves
dissolving
into seemingly amorphous goo.

the caterpillar does not panic
grasping at guns, larceny, violence.
for survival we
embrace present moment.
can enough people understand
that we shall make it through

as imaginal discs
latent since our egg stage
our pilots
agricultural knowing, to feed ourselves
indigenous conception of interconnected life
sociologic impulses
to gather, build communities
guide us
reforming
til one day we spread our collective wings
to fly.

J. Maak is a writer and change-maker in urban Los Angeles. She teaches environmental sustainability at a private college as well as to the general public. When not writing, she can typically be found in a garden: helping others with their vegetable plots, maintaining her own fruit trees and veggies, or watching birds and butterflies in the backyard wildlife habitat she stewards.

J.D. Goodman

Gull

I backstroked too far upriver
and a little white bird made Emerson circles around me.
Decaying docks which dot the water
held out against a soft tide, keeping me
company. I thought I might drown.
The eye is the first circle
The little white bird, clucking his jaw
and I, gritting my teeth, felt
as one. I thought of Moses in reeds
and Leviathan in the deep, when
that dead-eyed gull floated off somewhere.
Every action admits of being outdone
When Patrick sent the snakes out of Eire,
two caught their breath in Beara and said
“I’ll see you in America.” I can’t say
if they made it, but
to swim against the tide,
or to presume to, is to
see the world made plain.

J.D. Goodman is a writer from Maryland’s Eastern Shore. His fiction has been published in the Belmont Literary Journal and Lighthouse Weekly. He also maintains a Substack Newsletter (Post-Cultural Amnesiac), regularly updated with criticism and occasional personal essays.

GJ Gillespie

Return to Forever

GJ Gillespie is a collage artist living in a 1928 Tudor Revival farmhouse overlooking Oak Harbor on Whidbey Island (north of Seattle). In addition to natural beauty, he is inspired by art history—especially mid-century abstract expressionism. The “Northwest Mystics” who produced haunting images from this region 60 years ago are favorites. Winner of 19 awards, his art has appeared in 56 shows and numerous publications. When he is not making art, he runs his sketchbook company Leda Art Supply.

Pat Daneman

Walking with a Ghost in the Deerfield Forest

And if you wander, how will I know where you are?

I will call to you twice…like an owl.

And how will you know I have heard?

You will cry into the air like a crow. I will hear you
before I see you, walking downhill through the trees,
your boots slipping, light traveling each cobweb strand of your hair.
I will have lit a fire. You will find me and sit close to the flames.

And will we eat?

We will drink tea brewed from pine needles, eat berries
stolen from bears, and cake dug from the hollows of trees sweet with sap.

When will we sleep?

You will go home to your bed once the sun sets. I will lie down
in the leaves, the cap of a mushroom a cold nudge on my cheek, half a moon
trying to find me. My body still, your body restless, wound in the rags
of remembering, almost awake, even as midnight slips by.

How will I know I’m alone?

I will call to you twice—like an owl—and you will not answer.

Pat Daneman’s work appears in The Poet’s Touchstone, The Atlanta Review, Freshwater, The I-70 Review, and Typehouse. Her poetry collection After All (FutureCycle Press, 2018) was first runner-up for the 2019 Thorpe-Menn Award and finalist for the Hefner Heitz Kansas Book Award. She is the author of the chapbook Where the World Begins (Finishing Line Press, 2015) and co-author of the libretto for We, The Unknown, an oratorio premiered in Kansas City, MO, by the Heartland Men’s Chorus. For more, visit www.patdaneman.com.

Clela Reed

Transmogrification: Three Options

1.

I Become Amber

Once fluid resin,
the yearning
coagulates and sets
into sunlit transparence.
All I’ve touched and
what’s touched me
through consequential years,
gathered and held,
inclusions in honey.

My history glows in buttered light.

Solid, yet when warmed
I can give off fragrance
rare and earth-begotten,
tree-steeped.
I can heal; I can soothe.
Even now I beckon.

My bones accommodate;
my shoulders slump,
head bows, knees draw up.
I’m soon to be a rounded nugget
washed upon a Baltic shore,
traces of the old nostalgia
adrift on the tide.

2.

I Become a Pearl

Irritants can be concealed.
Sly melioration,
the process quietly shapes.
Again and again
through salty years,
the layers build and harden,
soothing, coating
whatever jabs,
whatever chafes,
sharp edges of my being.

From the mind, what shines;
from the heart, what glows;
from my soul’s deep keep,
luminescence, apply all.
Repeat, repeat (I’ll be tested
between teeth) as the nacre,
lacquer proves its worth, until
with silky-smooth distraction
that protects all within,
protects all without,
I become a pearl.

3.

I Become an Earthen Vessel

I sense a comfortable return—
my clay-toned skin,
my canyon-colored hair—
in these final turnings on the wheel.
Smoothed and hollowed,
wholly shaped to hold,
I give up all within
that once made solid
my ambitions.

I feel the molding hands of clever time
perform the muddy transformation
(fitting for one from farmers, miners,
swamp woodsmen born)
while my fading self whirls
faster and faster
with the steady pumping.

I crave engravings, perhaps
a tinted glaze to vitrify
within the kiln,
for I want worthiness—
to hold the wine, the fragrant oils,
the budding branch of quince.

Clela Reed is the author of seven collections of poetry. The most recent, Silk (Evening Street Press, 2019), won the Helen Kay Chapbook Prize and then the 2020 Georgia Author of the Year competition in the poetry chapbook category. A Pushcart Prize nominee, she has had poems published in The Cortland Review, Southern Poetry Review, The Atlanta Review, Valparaiso Review, and many others. A former English teacher and Peace Corps volunteer, when not traveling or shooing deer from her garden, she lives and writes with her husband in their woodland home near Athens, Georgia.

Linda Briskin

Tree Secrets

Have a secret. Keep a secret. Save a secret. An incantation.

She walks along the sidewalk, striped scarves draped around her neck. Her flowered skirt, purple bandanna, and red leather shoes are bright against the cracked concrete. Secret, secret, secret, she murmurs.

She holds her secret close. She imagines it wrapped in a finely embroidered cloth, tucked safely in her pocket, her hand caressing it.

Eccentric, she acknowledges to herself with a small smile.

My secret is like light splintering a cloud with glory. It’s sweet and spicy like a cinnamon heart, and smooth like water-washed green glass found on the beach. It’s never going to slip away by chance. My secret is a comfort, she thinks, but like all secrets, it’s also a burden.

She reaches the derelict park and wends her way through overgrown and forsaken bushes to reach the lone tree—a sycamore. She holds a hand still against the dappled bark—in conversation. Like the ancients, she considers the tree sacred.

On some days, when she finds an interior calm like the turquoise of Caribbean water, she can picture herself perched high on top of a rock, closing her eyes, and crying out the secret in her loudest voice. Above a forest of green, her breath eases, and the tremble in her heart stops. Her fingers relax as the secret takes flight.

Perhaps it lands in the uppermost branches of a towering oak tree. She has read that trees talk to one another. They’re not afraid to share. As her secret is passed from one tree to another, its edges soften until it dissolves into tiny luminescent whispers that flutter away with the wind.

She pats her pocket. The secret is gone. She is lighter, freer. Lonelier.

Have a secret. Keep a secret. Share a secret.

Weave

A Visit from Emily Dickinson

I dwell in Possibility—
A fairer House than Prose—
—ED

She’s in the room with me. Dressed in white, sitting quietly, she’s holding a book—its cloth cover worn, gilt letters shimmering in the light from the window behind her. I must be hallucinating. But when I shut my eyes more than once, she’s still there. I hear the page turn.

Like most days, I’m trying to write, and like most days, without much progress. The words are stuck, immoveable like the top of an aging bottle of marmalade that refuses to open. I want to ask her, “Where did your faith in yourself come from, your persistence with words, your certainty, your lack of sentimentality?”

Did she sit quietly staring out the window, looking for moments to capture in poetry? Or did inspiration erupt from within? She certainly found grace and transcendence in nature. The growing and pressing of common flowers like buttercups and clover and violets were expressions of the Muse, she said. In a period of eight years, from 1839 to 1846, she pressed 424 flower specimens into a leather-bound herbarium. She also cultivated scented exotic blooms, claiming she could visit the Spice Isles in her conservatory, the heady scent of jasmine not unlike the wilderness of her imagination. “Bring me the sunset in a cup,” she said.

But the loneliness of writing in solitude, with few readers, without mentors. A recluse. “It might be lonelier / Without the Loneliness.” Her turn of phrase touches me, but I wonder about loneliness as a companion. Maybe I’m projecting my own uncertainties and weary isolation. Maybe she delighted in the seclusion, the silences, the space. “I am out with lanterns, looking for myself,” she once wrote.

Perhaps she channeled loneliness into voluminous writing. She did gather together more than 800 of her poems in forty homemade books, bound with red and white thread. Hundreds more written in her eccentric script with idiosyncratic, open-ended and challenging punctuation were tied up in packets with silky ribbons and hidden away. She also scribbled lines on scavenged paper: envelope flaps, chocolate wrappers, bits of newspapers, backs of letters. After her death, this abundance was found by her sister Lavinia.

The detritus of our inspirations. I can’t help but smile at the Post-it Notes stuck on my desk and the wall above, in various hues and sizes, maybe like ED’s cache of scraps: with fancies and reflections and queries about life and advice to myself and words that resonate (heart-art-heat-hear / moan-morn-moon, not unlike her slant rhyme).

Momentarily I forget she’s in the room with me. Then I glance up from the page, certain she’ll be gone. But she’s not. Her white dress with its tiny mother-of-pearl buttons is almost luminous. Her book is now resting in her lap. She’s looking at me with great fierceness. Then she tucks a strand of hair behind her ear, turns the page and continues reading.

A line of hers drifts back to me: “I dwell in Possibility—.”

I pick up my pen and start to write.

Linda Briskin is a writer and fine art photographer. In her fiction, she is drawn to writing about whimsy, fleeting moments, and the small secrets of interior lives. Her creative nonfiction bends genres, makes quirky connections, and highlights social justice themes—quietly. Her writing has recently appeared in Barren, *82Review, Masque & Spectacle, Canary, Tipping the Scales, The Ekphrastic Review, Rise Up Review and Cobalt Review, among others. As a photographer, she is intrigued by the permeability between the remembered and the imagined, and the ambiguities in what we choose to see. Recently, her photographs have been published in Humana Obscura, Ilanot Review, The Hopper, Flare Journal, Alluvian, Canadian Camera, Tiny Seed Literary Journal, Burningword Literary Journal and High Shelf Press. Website: www.lindabriskinphotography.com

Rebecca Thrush

Rebecca Thrush works in property management in Massachusetts. Through her poetry she explores interpersonal relationships and what might be behind the veil. Her artwork focuses on urban spaces, botanicals, and self-portraits. Select pieces have appeared with oddball magazine and decomp journal. Her poems are available across a variety of print and online publications. Find more on Instagram @rebeleigh92.

Patrick Moran

Question for Emily:
Grace Paley Interview—Ilya Kaminsky and Katherine Towler 2008

You have said that when you are a poet, you speak to the world, and when you are a story writer you get the world to speak to you. Could you say more about this?

(a poet)                                          (a story writer)

The seed of                                   disappointment grew          1264
A word dropped                          careless on a page                1261

Pain has but                                 one Acquaintance                1049
A single Bloom                            we constitute                        1037

A Wind that woke                       a lone Delight                       1259
My Business                                 with a cloud                          293

As in sleep                                    All Hue forgotten                 970
I watch the moon                        around the house                 629

Pass back and forth                    before my brain                    596
A word that breathes                  distinctly                                1651

It would hurt us                           were we awake                     531
Because there was a Winter     —once—                                  403

Earth would have been              too much—I see                    313
A science—                                   so the Savants say                 100

Unto like a Story—                     Trouble has enticed me       295
I heard a Fly buzz                       when I died                            475

At last                                            to be identified                      174
I had Nature—                             in her monstrous house      400

 

Note from the author: “Question for Emily” is a collection of collage poems that use individual lines of the poetry of Emily Dickinson. The titles of the poems are from actual interviews conducted with writers of prose or poetry. In the right-hand margin, you will notice the number of the poem from which the line was taken.

Patrick Moran is a poet, translator and essayist. He is the author of five collections of poetry and the editor of Forty Voices Strong: An Anthology of Contemporary Scottish Poetry. He teaches creative writing at the University of Wisconsin-Whitewater.

Charles Weld

Reuben Rice, Supine

To track a released bee’s flight line back to its hive,
Rice lay flat on the ground, looking up at the sky
for its dark silhouette. Then, after a compass bearing
was set, he waited, watch in hand, to determine
distance from rate and return time. Or he might arrive
at the hive’s location by another calculation, moving
his tin of sugar water to create a second sight line,
angled to the first and ending at their intersection
which was, presumably, the nest. Bees fly
straight, he told Thoreau. If little breeze, true within
20 feet over half a mile. The trick was to pick
the beeline that led into woods or a swamp, not back
to a neighbor’s village hive. I love best the unscientific
man’s knowledge, Thoreau wrote—an almanac,
making up in incidents for any other apparent lack.

Reuben Rice, Prone

Reuben Rice lay flat on the ice of the Concord River,
looking down at what he supposed was a tired swimmer
resting. Nose up, a bubble rose from its mouth to spread
against the ice, flattening into a pocket
of air three inches in diameter. For half a minute
the muskrat remained with his mouth in it. Then drew
it in, all but a little, and proceeded. Jacob Farmer too
knew the behavior, and described it to Thoreau. He’d
seen a muskrat rest three or four minutes under the ice,
nose in a bubble, and thought ice didn’t impede
its breathing because it sucked air through it. Rice
refrained from making that claim. Not one to get ahead
of himself, he made work into a long sport—almost play—
that Thoreau admired as right relation to the workaday.

Charles Weld’s poetry has been collected in two chapbooks (Country I Would Settle In, Pudding House, 2004; and Who Cooks For You? Kattywompus Press, 2012) and has been published in many small magazines including The River, Southern Poetry Review, The Concord Saunterer, Better than Starbucks, Evansville Review, Blue Unicorn, Snakeskin, etc. A mental health counselor, he has worked as an administrator in a non-profit agency that provides treatment for youth experiencing mental health challenges, and lives in the Finger Lakes region of upstate New York State.

Elizabeth Templeman

Running in Place

For forty years, I have run the paths where I live. My running trails traverse a parcel of land circumscribed on the east and west by two lake roads, and to the north, bounded by the Heffley-Louis Creek Road. The southern edge meanders along the shoreline of Heffley Lake. I run those trails in any of a handful of variations.

Beginning where our driveway meets the road, I approach the trails by turning westward to cross the cattle guard just past which I turn onto Shaw Road (the old highway, now a well-worn path in its own right).

By a small patch of meadow near where Shaw Road meets the main road, I turn off, pushing through high grasses on a barely discernible path. In late summer, the grass seed pierces cotton socks and bites at my ankles. Just as the trail widens, there’s a patch of stinging nettle. If I’m alert, I lift my arms and pull in my hands to avoid it. Past the tall grass and nettles, the small network of trails begins. Within it, I have run the same two circuits so often that I’ve likely eroded away a few millimetres over the years, setting their groove just a bit deeper. It’s harder to imagine having had no impact, after all those foot strikes, bearing all of my weight, for so many seasons of so many years.

The other day I took the longer loop. Making my way across the northern edge, I took a small detour, one whose cobwebs and hanging branches suggest that it’s little used anymore. Along the faint track there’s a fallen fir to climb over, and to the right, a shelf of rock, high as my shoulders, which never fails to remind me of an altar. Just past the Altar Rock, I notice a delicate scattering of bleached rib bones configured like daisy petals. More pretty than gruesome, it signals a lucky twist of fate for one creature, doom for another.

Moments later, my detour meets the main artery that parallels the lower lakeside road, a wonderfully easy stretch that brings me down to the lake. Twenty-two minutes in, with the lake now in view, I angle eastward, slowing to watch for my next turn where I’ll make my way back upward, to meet the top path that will return me to the scraggly meadow. These trails, mapped out in my mind, resemble the figure eight that a three-year-old might draw: wonky, with its top loop squashed. This route forms one of those variations which keep me running for all the months the trails are passable, when neither deep snow nor thick mud banishes me to the roads.

***

***

Ten years ago, tucked in the years between our kids leaving, one by one, for university, another run stands out in memory. It was late afternoon of a rainy Sunday toward the end of September. I was no doubt trying to salvage the gloomy weekend with a loop along my trails. Just above the lake, along that southward path, I would take a flying stumble, managing to throw my right leg out with remarkable force while airborne and attempting—with no conscious marshalling of thought—to land on my feet. The attempt, however unconscious, was misguided. I landed in a heap, crashing down onto my right shoulder. Dirty, damp, teary, discouraged, and with no further to sink, I arose, only to realize that my right leg would not bear weight. Pain surged from the back of the knee to the base of my butt.

Seconds before the fall, I’d been enraptured, in the zone—charged with one of those runner’s highs that keep even us older runners lacing on our shoes. The dreary weather had only served to make that joy sweeter. Such was my state of mind as the damp root passed across my field of vision on that narrow, twisting pathway at the base of my loop. I saw the root, but my right ankle failed to catch the brain’s signals, nerve damage from my early thirties having left that right leg obstinately non-responsive to perfectly clear signals to lift. That’s how I found myself, a few long seconds later, a muddied, deflated heap.

Two months after, on a chilly Sunday in late November, I was heading back out across the meadow, at the top of my beloved trails. The snow had yet to accumulate, and the early dusk hadn’t yet overtaken the afternoon light. I was still injured but filled with happy anticipation. No runner’s high: this was a mature, measured joy.

There’s little chance of a runner’s high—not even a zen-like moment—when recuperation condemns you to alternate two minutes of running with a minute of walking, scrutinizing the digits on one’s watch with full attention. While there would be progress from week to week, my torn hamstring had asserted itself like a tattoo onto the front of my consciousness. I remember its tightness, its snakelike grip at the knee and the butt, as if taking umbrage for a moment’s abuse. And I learned from it.

***

I’ve been running for a long, long time: a lifetime, really. I took it up, in a serious, intentional way, at fourteen. The choice to run was special, a divergence from what running had been up to then: that mad dash to safety in a Steal-the-Bacon game on the lawn outside of St. Bernard’s Church, or racing with friends alongside the railroad tracks on our way home from South School on the late June day that released us into summer. The running I took up at fourteen was serious stuff: no route to greater joys, it was an end unto itself.

It’s been more than fifty years—a long, sweet (but sweaty) stretch, this relationship between me and my running. I remember, at 28, realizing that I’d been running for half my life and tossing off some wishful dream that I’d run till I was 60, 70 even. But after 65, I took the longer view. Peering ahead, I envision my mother, who at 92 still walked a mile every morning. I’ve upgraded my earlier dream: gods willing, I want to be running into my 80s.

My part will be to keep tinkering with the fine balance between what the mind and spirit need, and what the body can manage. Hold the pace to slow and steady. Crank those lazy arms harder when the uphill gets tough. Keep the eyes sharp and the mind engaged. Step high to clear tree roots and loose stones. Tune into the aches and twinges. Keep it loose. No more than two running days in a row. Warm up before and stretch after. It’s all about compromise. Gone are the hectic days of tugging double knots tight as I backed out the door, leaving kids to their supper the moment their dad returned from work, deciding my route as I approached the road.

It used to be about compulsion and perfection and straining toward goals, about personal bests. Now? It’s all about tracking, about navigating between limits and accommodations. About keeping fit and sane, and happy. Now, it’s closer to managing a temperamental syndicate—or sometimes, like coddling a cranky relative.

Why? I ask myself. Why keep striving to run (or to write, for that matter)? Running and writing: my twin obsessions. Both act to keep some sense of myself intact, to manage all that energy. The running (like writing) serves as a release valve.

***

Far back, from the fringes of adolescence, I remember watching longingly from our front porch, late afternoons, for Bobby—an older boy—to run along South Main Street. He was a track star, a loner, and my hero. I would hang around forever, waiting for him to lope past and then watching for him to return. He was tall and lanky, and moved with a loose and fluid stride. I have no memory of him standing still, or speaking, though he must have done both.

My own running would begin that same year. Memories surface, affirming the significance of this: I remember the rush, a sweet sensation of release, running down the paved back roads of Maine in the summer of Grade Ten. I could do this: alone, on my own steam, pushing myself, for myself. This was mine. An eccentricity, surely, but—unlike the nervousness, the tendency to go quiet, to hide myself—this eccentricity was more quirky than troubling; an act of strength, acceptable even.

I remember being stunned that I had this freedom. All it required was a good pair of shoes. My first pair were Adidas “Italia,” white kangaroo leather with dark green stripes. Bought with cash from my first real (as in, not babysitting) job, they were special—an indulgence—gradually stretching into a perfect fit and lasting for seasons.

Out alone, taking a long ascent in the evening light, I felt agile, resilient. I propelled myself and answered to myself. I learned to ignore the gawkers by resorting to what’s become my enduring habit of never looking into vehicles that pass, likely a natural extension of my solitary ways, that inwardness.

My other hero of running, Mr. McKinney, was a high school track coach, an ex-military man. This would be my sole venture into sport; Mr. McKinney, my first coach. To be on a team—to race on a track—took me, and my running, to a whole other level.

I remember my first official race, an 880, against girls from a rival school. Aware of Mr. McKinney at trackside as I raced past, I accelerated. It felt great! Bursting toward the finish, I was shocked, as I moved alongside her, to notice that the lead girl was crying. Shaken to think I was committing some offense, I seized up, shifted into a lower gear, and finished second. Though competition seemed fraught with peril, I loved it all the same.

***

Running has become a way to make sense of the world, to render my own peculiar relationship with a location. I can ride or drive a route six times and have only the vaguest notion of it, but I run a route once and it’s etched in memory. I seldom forget a run.

Though the act of running pulls me into the deepest reaches of mind, to nearly a dream state, it also weds me to place as nothing else does. Over the years and across this continent, I have loved running on trails or along roadways, in rain or snow, in towns or along country roads. Almost always, I run alone, although I have joyful memories of training with a cohort of teammates on the track in university, or of keeping pace with a pack in road races in Montana, in my twenties. The subsequent decade would carry me into Canada and marriage—and seasons of running in and around Kamloops, the area so new to me, as both the place and people worked their way into familiarity and fondness.

Besides my beloved trails above Heffley Lake, and those early runs along the winding roads of coastal Maine, I’ve run through several seasons and circuits while living in Upstate New York and Montana. Thinking about it, I can retrieve memories of at least one specific run from each of fifteen states and ten provinces.

Now? Mostly I’m back to running alone, maybe only two or three times a week, and almost always along those same trails I loop endlessly, and happily. Now I swim and do core exercises, ride my bicycle, and attend fitness classes—all of that in order to keep on running.

Running today is usually a pleasure, and often a trial. The gaining of distance has become an end unto itself. Speed and stamina are fond memories. Today, running requires wisdom and maturity (those boring twins). Now, the challenge is to resist obsessiveness, to restrain the competitive drive. When I do give in, the sweetness will be fleeting; a resulting injury, sadly, will endure. The clear winner as often as not turns out to be the physiotherapist. But when I do manage to strike that balance and am mid-way through a long, lovely run, I recognize and love it for what it’s always been: a simple habit of strength and independence.

Elizabeth Templeman lives, works, and writes in the south-central interior of British Columbia. Publications include individual essays appearing in various journals and anthologies, and two books of essays, Notes from the Interior, and Out and Back: Essays on a Family in Motion. To learn more about her, check out her website elizabethtempleman.trubox.ca.

Leni Paquet-Morante

Leni Paquet-Morante is a New Jersey artist whose work across painting and sculpture media addresses shallow water systems from wetlands and puddles to storm drains and potholes. Born in Canada and raised in Maryland, Paquet-Morante came to NJ in 1984 to learn bronze casting techniques at the Johnson Atelier. She earned a BFA in Painting from Mason Gross School of the Arts in 1992. She has been exhibiting in group and solo shows in New Jersey, Maryland, New York, and Pennsylvania since 1984, including two solos each at Johnson & Johnson Corporate Headquarters and Princeton University. A member of the National Association of Women Artists, she is also registered in the Women Artists Archives National Directory. Instagram @lenimakespaintings / Website: www.lenimorante.com

Ian Schoultz

grandfather passes in the hall

i invoke your death to take from you
the certainty of your hands
that press steel poles into the lakebed
to lay out the dock
in the spring. i carry you
when i am stuffed with caramel corn
“you better get in on this, kid.” i pick up
a fork from the table and hold it close
to my eye regardless of
your warning. i carry
you like a dark heart in the world
i crawl in. philoprogenitive herds
for shelter and warm disinterest.
i evoke your death and ask it
to be memorable. you said
i looked bored at your deathbed.
i guess i was bored at your deathbed
and squirmed in my little body
away from eye contact. i want more
from you now. i want to cross
the bridge north to a wilderness
clear cut and picked over. legions
of copper miners loggers and fishermen
feeding their winnings down the rivers
over lakes. i want more from you now.
birch trees along a highway
whose paper-white bark makes
good kindling though the tree may die
if the bark is removed directly from the trunk.
“i would only do that if it were life or death”
dad said when we went to the cabin
to clean. i will never build a home or
cure deer meats. i will cross a bridge
far too south. small fires on steel
towers burn off natural gas.
the pavement bathes in fog. i invoke
your death to be remembered by you.

Ian Schoultz’s poems have appeared in Dream Pop Journal, Landlocked, always crashing magazine, Burning House, and the tiny journal. He also has poems forthcoming in FEED. Ian holds an MFA in Poetry from Louisiana State University and an MA in English from Miami University Ohio. He lives and teaches writing in Baton Rouge, Louisiana.

Liz Baxmeyer

A Song for Asteria

A comet
reflected in the sea
flies at the speed of sailfish,
yet, in the sky, almost motionless it hangs,
the earth moving around it
as if to hold it in the universe.

Then, gravity inhales,
and it plunges to the deep,
and in its supernova
bursts into a million jewels
and illuminates the ocean
for Kronos.

The afterglow of a watery grave:
aurora in the underworld.
The timeless,
sleepless Elysium
of tides,
and moon,
and salt,
and stars,

forever glistening with the broken light
of a dying celestial queen.

Liz Baxmeyer is an artist, musician, writer, and lecturer living in Sacramento, CA. Her work has been featured on the cover of Beyond Words Literary Magazine, and she’s currently creating a collection of tree-inspired art pieces for an exhibit later this year. Liz studies writing at Antioch University, Santa Barbara, and lectures in the Humanities at a health sciences university. She paints trees inside every house she lives, and takes inspiration from nature, music, and her fading British-ness.

Angelina Martin

Flora Fauna Family

Angelina Martin sews clothing collections by hand and machine with experimental patterns and surface design embellishments. She combines sewing construction with painted surfaces, embroidery, and patchwork quilting assemblages to make fabric, fashion, and fiber art narratives of flora and fauna. Her passion for merging art and agriculture extended into acquiring a Bachelor of Science in Design and a Master of Fine Arts in Textile Arts & Costume Design, both from the UC Davis College of Agriculture & Environmental Sciences, and a Master of Humanities in Art & Visual Media from Tiffin University.

Jack J. Chielli

The Closing

The house held up under heavy rains
and the long evenings of autumn and through winters
while the rafters shouldered the snow
under a bare moon

When the key sliced through the lock
and opened the threshold stillness
and the smell of vacancy spilled forth

So frozen was this place in time
it was as if we never left a day

I saw shadows on the walls
smelled coffee in the kitchen
heard echoes in the hall —
it was a space between the now and then

Onward through the house we went
about our duty to clear it out

That it took days and nights and sweat and dust
should not have been a surprise but was —
to take it all and pack it up and drag it out
for strangers or refuse yet was painful

But the hardest work of all was what to keep

Who knew such instruments of daily mending
— the waffle iron and rusted hammer —
could break us down
or clothes hung in closets
and sweaters pulled from dressers
would hold shapes and loitering, long-forgotten fragrances

When the work was done I closed the door,
stood upon the stoop and drew my phone
to record the view:
the garden grown wild against the path
the stare of vacant windows to the street
but from within it was still there
the house — a home beyond repair

Jack J. Chielli is a writer living in Frederick, Maryland. He has an MA in poetry from Wilkes University and a BA in Writing from Roger Williams University. He has been writing since he was very young; in fact, wanting to write is his first memory. Jack was a journalist for many years before working in politics. He is currently in higher education, where he is a vice president of enrollment management, marketing and communications. His poetry is forthcoming or has been published in Plainsongs, Martin Lake Journal, Schuylkill Valley Journal, EcoTheo, Coal Hill Review, and Hole in the Head Review, among others.

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