Cover image: "Descending Into Los Angeles on the Cajon Pass" by Lawrence Bridges

Gallery 3

Our Suspended Selves

Sabrina Herrmann

Gentle

Let me leave my backpack at the door,
let me dispose of my shame in the sink
wash the guilt from my bones
watch it disappear down the drain.

Take my unsaid words
and place them on a plate.
I want to see them out in the open first.
Let me brush the questions from my teeth
the yearning from my lips.

After this, let me sit in the quiet.
Let my soul know the song of
the summer, my lungs learn the
feeling of freedom, my bones
the color of July.

Let me grow tougher skin
and find gratitude in this space.
Let me be without worry.

This is how it feels to be celestial.
This is peacefulness. This is forgiveness.
This is change. This is rebirth.

No one will know the violence
that it took to become this gentle.

Sabrina Herrmann is an emerging writer who resides in New York City. She graduated from New York University with a BS in business. Her work has been featured or is forthcoming in Eunoia Review, Voices, Wingless Dreamer, Poets’ Choice, The Closed Eye Open, Cathexis Northwest Press, The Write Launch, Free Spirit, Sad Girls Club, Beyond Words Literary Magazine, Sunflowers at Midnight, and Peregrine Journal.

Eric Wittkopf

Poem for a New School

They built the new school looking
like a crappy brick warehouse on
a vacant lot watched over by a
bunch of stuffy Victorian homes.
The last seat at the dinner table.

Inside, the shining corridors sang
with dreams of the future and a
magical present, as if to say, here
is a metaphor for the empty
warehouse of your mind, fill it
as you will. Your ghosts will
always haunt these restless halls.

It leaves a mark of sorts walking
into a new school as a kid after
leaving your friends, your home
on the prairie, your childhood,
and traveling so many miles to
reach a place where people don’t
even use the same words as you.
Luckily you speak boy language.

Across the country are millions
of boys that you will never meet
but you came here, to meet these
particular boys face to face. And
it can’t be avoided and maybe it
was meant to happen that way.
We are walking flypaper, castles
without walls inviting conquest,
and we will not open up again.

Too bad they could not afford a
decent architect or competent
teachers. Remember the one who
said to you when you flinched,
“I’m not going to hit you.” Did
she not know how the world works
or were you supposed to explain
that to her?

Eric Wittkopf is a queer-identified artist who holds a couple of degrees and has published a couple of poems, most recently in High Shelf Press and Sepia Quarterly. He won first place in a themed contest run by House Journal in 2021.

Joseph Kerschbaum

Now that we have nowhere to hide

we stand stripped of our foliage & plumage,
transparent through our thin branches. We see each other

down to the bone again. Every year
this abscission occurs. This is different.

How many torrents have we survived this year?
Too many storms to remember.

In our exhausted dormancy, we dream
of recovery. Retreat from the hazards of winter,

we become ghosts who haunt
our suspended selves.

Under snow-covered ground, our roots
stretch & strengthen. Just before we break,

we thaw & shake loose the ice. Come back
to me. Soon we will reclaim our estranged bodies

like putting on new pale green party dresses.

Joseph Kerschbaum’s most recent publications include Mirror Box (Main Street Rag Press, 2020) and Distant Shore of a Split Second (Louisiana Literature Press, 2018). Joseph has been awarded grants from the National Endowment for the Arts and the Indiana Arts Commission. His recent work has appeared in journals such as Hamilton Stone Review, Panoply, Flying Island, Ponder Review, Main Street Rag, The Inflectionist Review, Last Stanza Poetry Journal, and Black Coffee Review. Joseph lives in Bloomington, Indiana, with his family.

Sarah Kilgallon

Womanhood 50+

I began the Womanhood 50+ project to give women over the age of 50, like myself, a voice. Many women feel ignored at this stage of their lives as if their voices, their images disappear from art, culture, and society once we’ve crossed the imaginary line into middle age.

In 2020 I turned 50 and promised myself and my friends that I would continue to create images and stories that reflected our feminine strength. We are intelligent and creative, passionate and proactive, brave and strong.

This is our evolution.

This is not comparison. This is not exposure. This is capturing a moment of ourselves.

The paintings seen in the photos are two of my creations representing our sexual hormones. I leave it to each viewer to conjure their emotional and artistic significance.

Congratulations to the women who participated in this series of photo sessions in Lisbon, Portugal. Each woman had an opportunity to make the setting their own. The frames used in the photo allowed each woman to have a sense of openness and possibility but still have a sense of place.

The other props used in the photo sessions, the paintings, blankets, and unexpectedly my dog, Fred, were chosen by each woman.

We are vibrant. We are here. We are here to stay.

Samples of this project are included below; see the full story of Womanhood 50+ at sarahkilgallon.com.

Sarah Kilgallon is originally from Boston, MA and now lives and creates Lisbon, Portugal. Her visual and written works have appeared in Willow Creek Press Calendars and Bark Magazine. Her photo series, “The 6 Feet Project,” appeared in two galleries (UMass Dartmouth and Women’s Art Institute at St. Catherine University), in addition to folk singer Monica Uhm’s debut music video, “Anthem.” Her wall-sized photo collage of 2,000+ dog photos curated from her 13 years photographing them, is on permanent display at Boston Children’s Hospital. Her photographs of iconic Lisbon are featured in Salta Restaurant in Lisbon’s city center, and she has recently exhibited in the “Thank You Ocean” group exhibition in Lisbon. She’s currently exhibiting “Womanhood 50+” photo series and working on mixed-media pieces inspired by the beauty and artistry of Lisbon.

Bruce Parker

Ledbetter Point, Washington, November

The trees peer in,
black lace in fading light.

In the afternoon
blood mushrooms by the bay,

the sound of surf,
miles of trail travelled the way back

to a beginning,
art, weather-bleached map, in the dusk.

No birds attract attention,
heron on the wing

only slightly disturbed
over oyster beds asleep, mud under their feet.

Nothing is more gray
than this sky,

silence is folded away,
answerable to no one.

I thought I knew what it was,
what I wanted, the gift of days,

what slipped away, its gaze faded.
And that is how I came to be here,

as sunlight slides through
half-closed limbs.

Bruce Parker holds an MA in Secondary Education from the University of New Mexico. His work appears in Triggerfish Critical Review, Pif Magazine, Blue Unicorn, Cerasus, and elsewhere. He lives in Portland, Oregon, and is an Associate Editor at Boulevard. He has published a chapbook, Ramadan in Summer (Finishing Line Press, 2022).

Heidi Zeigler

Rock Pigeons

                                                           in the second decade
of our returning to the ancient land, we met rock
pigeons mating and nesting and whirring and shitting
on mop bucket, heater, suitcase, ladder, forgotten
back balcony, little bothered by us,
reclaiming with mineral what has always been animal
by their shitting showing us the elemental return

to my feet disappearing in rising seas, I lean forward

to the antediluvian, before sowing and reaping, back to

piling bottle caps on corpses, I drag cans to the curb dropping

shells in heaps on our dead, breathing

polypropylethylene and fishing gear into the Great Pacific

red on our hands deep inside the sacred

Garbage Patch, I step to the counter ordering tall bleached

caves, before the earliest sayings of I,

plastic and cardboard, I tap my phone hauling home

to the circling we of surviving, to our growing

another flat of water bottles, I wool-gather days into sterling silver

wing and fin alongside matrix and mouth,

skeins wound into zeros, I sit on a golden toilet uploading

plastic and steel forgotten for flint and fur, feathers, scales,

eyes shut these lines singing aye I to somenoanyone’s ear

letting marble and gold go to skin and stone

Heidi Zeigler’s poems have appeared in Kaleidoscoped Magazine, descant, Heritage Blue Anthology, di-vêrsé-city anthology, and très di-vêrsé-city anthology. She teaches, writes, and translates, and received her MFA from UT El Paso.

Marcy Rae Henry

Cosmic Companionship 

May 2020  | Chicago, IL

—for Soledad Sosa

Two months into isolation, I find myself thinking of a place where the sidewalk ended and the desert continued for miles. A place I loved and couldn’t wait to leave because, in those days, my motto was: quiero action. I didn’t mean I want action in the sexual sense, although that was part of it. At that time, I wanted to trade the darkness of the desert with city lights. I wanted to meet people completely different than me; to experience other ways of living, loving. But just as the 80s and my high school career concluded, I left my childhood home and followed my boyfriend to a one-stoplight mountain town surrounded by Colorado’s Fourteeners, mountains peaking at 14,000 feet or higher.

When lead, zinc, silver, and gold were being mined there, the town had several smelters as well as a few saloons and bordellos catering to those seeking metal. We found it was cheaper to live a few miles from the stoplight and the rehabbed, infamous bars, so a long five miles west, in a town with just over two hundred people, we rented an apartment in a converted chicken coop. The bathroom had a sheet of metal wrapped around a pipe poking from the wall as a makeshift shower and a wobbly toilet angled toward the shower drain. The kitchen had a small fridge, a stove, and tiny curtains on the windows. The other rooms had shag carpet, coppery-colored in one room and infection-green in the other. Whatever we dropped in it, we considered lost.

To this day, then-boyfriend’s sister and I swear that place was haunted by its former feathery residents. She recalls a heavy presence and the feeling of nonhuman eyes blinking in the dark. It was cemetery silent out there at night and whenever the distinct sounds of cucurucú ​woke me, I woke the boyfriend, who laughed it off. I finally concluded that fantom clucking didn’t cause much harm, but I warned him about cooking taquitos de pollo.

We ate a lot of macaroni, baked brownies from boxes and drank beer with the Forest Service crew with whom he worked. Sometimes I went to work with him and just walked while they cleaned and maintained trails. On the weekends, we’d hike, bike, ride horses and soak in hot springs. The blue-green peaks were undeniably inspirational, but the old mining towns in the area didn’t provide many opportunities to show off a 90s outfit. I longed for museums, live music in packed coliseums and murder mystery dinner theatre. After a few months, it was clear I wasn’t ready for that kind of isolation.

***

***

Since arriving in Chicago a little more than twenty years ago, I’ve been going to school in The Loop—to study or to teach—surrounded by some of the world’s tallest buildings and close to the world’s first skyscraper. One of my friends, with whom I used to ride the school bus to and from our homes in the desert, lives in Boulder and thinks riding a train to The Loop every day exciting. She likes the idea of anonymity, of watching different people and being free to read and daydream. She sees the advantage of being close to museums, restaurants, theatres, parks and train lines fanning out through the city. And I do too. But truth be told, I’ve grown tired of it. Tired of noise, crowds, being smashed together with strangers and not seeing the sun properly set. Sometimes, I tell my friend, I stand with a bag of books and papers on my bad back for at least half an hour before I can get a seat. Other times, I insert a book between my face and the crotch just inches from my face.

If Chicago is a different beast in summer than winter, in a pandemic it’s a different city altogether. One that shrinks down to a handful of ‘The 77’ while the other areas seemingly recede into the burbs. I’m fortunate. I like my neighborhood and my neighbors. And had I been in my 20s, hormones alone would’ve propelled me into the pandemic. But now, I think I could easily become a shut-in if not for my beagle. We stroll through streets, parks and along nearby trails. A few others meet up with us to walk together-in-distance. We have play dates in backyards and courtyards and soon, this becomes a sort of happy hour for us as well.

Some bosses are sending employees working from home boxes of wine and people are joining wine clubs so, in our building, there’s no shortage of vino. Only one young person is desperate to go to the bar so she can paint her nails and flirt. The rest of us don’t ever want to wear a bra again and are happy to hang out on our back decks, sharing a bottle of La Fin Du Monde and homemade fries. We discover the list of what can’t be delivered to our hood within the hour is short and local delivery services that bring popcorn, chips and frozen pizza sell things like vibrators, lube, and edible underwear. Not an egg to be had, but by God, you can be getting your candy pants kink on before the latest episode of Dateline ends.

My diet reverts to arroz y frijoles, what I ate college. Rice and legumes, the same meal I ate twice a day when I lived in India. Whenever my neighbors venture out into the world, which mostly means to a grocery store, they leave oranges, chocolate, tulips and, one day, six eggs at my door. I’m so touched by the huevos I don’t know what to do other than start slicing potatoes and heating the oil.

One evening I soak in a bathtub with lavender and Epsom salts and listen once again to MLK’s 1967 Christmas Eve Sermon on Peace, on his dream deferred. The sermon transports me from D.C. to Birmingham to impoverished black ghettos and riots on the street. I think of shootings all across Chicago, the riots, the looting and the BLM protests where we mask up and try to distance ourselves while raising our collective voices. I think of people who’ve lost their jobs and insurance, those who never had the latter, essential workers who work in fear and confusion and all the people in my family who’ve perished during Covid, almost all of them because of it. A cousin my age had to decide when to disconnect her mom and brother from ventilators, when to say goodbye via Zoom. I meditate on the dream of life deferred. And I try to figure out exactly what King meant by ‘cosmic companionship.’ 

It’s not hard to see all life is interrelated—we’re reminded every time someone coughs without a mask. Beyond that, I’m searching for something to do with faith, in the interconnectedness of our current struggles and in the struggle with the self in and out of isolation. Over the long run, how will isolation affect the balancing act of ‘peace within and peace without’?

***

When I was young, I believed I had to go out into the world to understand the cosmic. I didn’t think it was accessible in my small desert purview. So, after college, quiero action​ prompted me to strap on a rucksack and hit the road. Alone.

While hitchhiking through Portugal’s southern beaches I befriended some Algerians. We’d hang out for hours, passing around a joint and eating ice cream. After a couple of days, they began inviting me back to their place, where they lived communally, for home-cooked meals doled out of enormous pots and pans. They admitted they found traveling unaccompanied peculiar and thought Americans living alone mentally unhealthy. I confessed that after living with others my entire life, I found living alone a luxury to be savored. They asked if I ever got lonely and I blithely replied, “I long to feel as free with another as I do in solitude.”

Today, I imagine my Algerian friends would find it hard to believe that, after two months seeped in solitude, I haven’t experienced boredom or loneliness. When not reading, writing, popping in and out of dog pose or walking the dog, I bounce back and forth between the piano and the get-to-someday projects. After nearly a decade in the same place it’s time to go through shelves, cabinets, clothes, a VHS collection, and boxes of correspondence. While playing CDs, I organize photo albums, recycle unbelievable amounts of paper and contemplate closet space, space between houses, buildings, bars, cars. I fantasize about returning to the desert or a spot insulated by Fourteeners, where cucurucú ​would wake me instead of trains, sirens, leaf blowers and those whose floors neighbor my ceilings. And I imagine children playing in spacious desertscapes instead of sneaking beneath yellow caution tape at playgrounds.

As kids we spent hours playing where the sidewalk ended and the desert continued, by ourselves and with others. We had no problem spreading out in the prairies. And we didn’t worry about coughs, germs, or serial killers. Our parents rarely reminded us to watch for snakes, scorpions, and coyotes. We knew they were there, sharing the space with us. We knew we were interconnected.

Who knows when I’ll be back to my desert, or at what point I’ll grow tired of being alone. Admittedly, I miss hugs, kisses, massages, movie theatres…and I’m often tired of myself, which is what booze is for. Solitude is a kind of spaciousness. And though it may not guarantee attention to the relationship with the cosmic or the self, isolation encourages it. So, in isolation, I try to look at what’s behind being tired of self and how deeply it’s tied to loss, grief, space, and place.

 Though no one asks directly about the relationship with the self, everyone asks: How are you doing in seclusion? I explain how I’ve been picking at May Sarton’s Journal of a Solitude​, savoring it because it’s bound to end. Todo se acaba en este mundo​, said my abuelita, whose name was Soledad, which means solitude. So, I add, “I come from Soledad. And, like Sarton, for years I’ve found the return to soledad​ something to look forward to after obligatorily—or even after happily—spending time with others.” 

In my journal I write: We make sense of being in relation by being alone.

Marcy Rae Henry is a multidisciplinary artist, una Latina de Los Borderlands, and part of the LGBTQ community. She is delighted by tablas, tulips and the theremin. M.R. Henry’s writing has received a Chicago Community Arts Assistance Grant, an Illinois Arts Council Fellowship, a Pushcart Prize nomination and first prize in Suburbia’s 2021 Novel Excerpt Contest. Some stories and the first 50 pages can be found online. Other writing and visual art appear in The Columbia Review, PANK, Epiphany, The Southern Review, Cauldron Anthology and The Brooklyn Review, among others. DoubleCross Press will publish her chapbook We Are Primary Colors this year.

Lawrence Bridges

Descending Into Los Angeles on the Cajon Pass

The Dark House

A dark house. A stage in the middle

with one worklight off to the side.

I have no taste for my appetites, no coffee

this morning. Food. Haven’t eaten. Cheryl’s

text sits unread. I’m interested again

in what I see around me, though the house

is dark. I can’t tell if the seats

are occupied. The house is silent

like after a gunshot or a stage shriek.

An expectant hush gets my attention.

Is my introspection not a cue to perform?

Then here I go. Here I stand.

Play music now. Britten’s twee fantasies.

I see dainty dancers. I chuckle, accept,

and praise that in such darkness

fantasy lights up my nerves, creates

a moment neither then nor of but now,

not a waste of time but time earned

by the work of listening without distraction.

On the way home all the night lights

arranged to my use, for purposes

yet unknown, the audience of nature

poised for any story I can come up with.

Lawrence Bridges is best known for work in the film and literary world. His photographs have recently appeared in the Las Laguna Art Gallery 2020, Humana Obscura, Wanderlust-Journal, and the London Photo Festival, and are currently on display at the ENSO Art Gallery in Malibu, California. His poetry has appeared in The New Yorker, Poetry Magazine, The Tampa Review, and Ambit. He has published three volumes of poetry: Horses on Drums (Red Hen Press, 2006), Flip Days (Red Hen Press, 2009) and Brownwood (Tupelo Press, 2016). He also created a series of literary documentaries for the National Endowment for the Arts “Big Read” initiative, which included profiles of Ray Bradbury, Amy Tan, Tobias Wolff and Cynthia Ozick. He lives in Los Angeles. You can find him on Instagram @larrybridges.

Julie Benesh

Frosting

 

It seems to me I’d lost                                                                                    the way

so I asked my spiritual advisor (and dealer) hey as              a crow

flies (to wanton boys) how to get back on the path with heart not expecting to be     shook down

screwed but that’s                                                                                            on me

 

from that first                                                    a dust of snow

I woulda shoulda coulda knew     from a   hemlock tree

goddamn thing looks like Christmas but’s poisonous, and the present it           has given me

was only temporary                                         a change of mood 

from bad to buzzed                          and saved some part   

at the cost of tomorrow                  of a day I’d rued.

Julie Benesh has published work in Tin House, Crab Orchard Review, Florida Review, Another Chicago Magazine, Hobart, JMWW, Maudlin House, New World Writing, Cleaver, Sky Island Journal and elsewhere. Her 48-poem chapbook, ABOUT TIME, is forthcoming this fall from Cathexis Northwest Press. She is graduate of Warren Wilson College’s MFA Program and recipient of an Illinois Arts Council Grant. Read more at www.juliebenesh.com.

Tucker Bryant

Former Sprinter, Rising Star, Better Guitarist

From February (mid) to February
(mid-late) the cherry blossom tree under my window dons
a thousand morganite rings and waves
with each finger every time I step out
and catch it flirting with breeze.
These golden days of its orbit are short-lived but
unfazed by the gravity of nostalgia
or ego or whatever instinct makes me
leave my door ajar after evicting
the corrosives that warm the wide side of my bed
so by the time winter’s fog unspools across
this corner of the city like a lazy dream
the tree has already shrugged off
every scuffed scrap of leaf autumn made
of its jewelry.
It must be cool to let yourself die
year after year knowing that
you’ve always got another glory
season in your spine.
All it’ll take is a little grin
and spit from the sky
and your arms
will sprout something
worth strangers taking pictures of.

Tucker Bryant is a poet and keynote speaker based in San Francisco, CA. He left a career at Google to help businesses explore the connections between poetry and innovation. His work appears in Scapegoat Review and Beyond Words Literary Magazine and has been featured by TEDx, The Prince’s Trust, and other organizations.

Beck Anson

When My Fingers Feel Like Little Lightning Bolts

cool bruh orders a cold brew                        as I sip on my own

and I watch him work tirelessly,                 the sweat dripping down      

breaking down boxes from                            the side of my pint glass

all of the oat milk                                              and I order another

wondering aloud                                               in the presence of others,

“why won’t my hands stop                             getting clammy and hot and

trembling?” and wonder                                is my anxiety about to burst, no,

internally whether it’s                                    the withdrawal, or is it   

the 30+ shock treatments,                            the electroconvulsive therapy?

emotion sent pulsing                                       electric currents to my brain and

through my body,                                             through my fingertips

into lines on the page                                      forming words from just a spark

Beck Anson is a queer and trans writer whose work appears in Rattle, RHINO, Humana Obscura, and others. They have work forthcoming from The Lumiere Review, Morning Fruit Magazine, Impostor, and the anthology Beyond Queer Words. His poem “I Admit Myself to the Psych Ward in a Pandemic” was a finalist for the 2020 Rattle Poetry Prize and he is an editor over at The Flare Journal. They live in Northampton, MA and are pursuing a PhD in plant biology at UMass-Amherst. Find him on Instagram @botanicalbeckspert.

Marie-Julie Lafrance

Only You

Marie-Julie Lafrance is a Canadian/Métis illustrator. Diagnosed as a Highly Sensitive Person (HSP), she is highly detail-oriented. Some of her work has been published in Eclair Magazine, Passengers Journal, Artells, MARIKA Magazine, and many more. She has worked (as an illustrator) with Leading Edge Magazine, Flash Frog Magazine, and other magazines and publishers. Website: www.mariejuliestudio.wordpress.com

Walter Weinschenk

Questions for a Tree

How do you
Remain so still
As the ground shifts
Beneath your weight?

Resolute, tranquil
In the driving rain:
How do you know
The rain will end?

How do you
Remain so calm
As vicious drought
Begins its onslaught?

The wind breaks your arms,
The living rip your hide
But you are resigned . . .

The storm approaches:
Where is your fear?

Chained to the ground:
Where is your rage?

Your skin is scarred
And so is mine;
Lower your branches,
Wrap me in leaves
Lift me up,
Carry me.

Walter Weinschenk is an attorney, writer and musician. Until a few years ago, he wrote short stories exclusively but now divides his time equally between poetry and prose. Walter’s writing has appeared in a number of literary publications, including Carolina Quarterly, Lunch Ticket (Amuse-Bouche), Cathexis Northwest Press, Lighthouse Weekly, The Banyan Review and others. His first full length book, The Death of Weinberg: Poems and Stories (Kelsay Books), will be available this winter. His work is also due to appear in Sand Hills Literary Magazine. Walter lives in a suburb just outside Washington, D.C.

Barbara Hageman Sarvis

Trinity

Barbara Hageman Sarvis is an artist, educator, writer and activist living in Vermont after a successful career in art education and administration. During the past ten years, she wrote, illustrated and published five children’s books, in addition to having five of her paintings published this year by literary journals. Presently, she works as a gallery teacher at MASS MoCA in North Adams, MA.

Sara Dovre Wudali

Abecedarian for an Abundant Harvest

Anhydrous ammonia for fertilizer. Permethrin for root worm and corn
bore. Glyphosate for weed control that clears a path for the
combine. John Deere converting #2
dent corn and diesel into dextrose,
ethanol. Exactly how many ears end up as
fructose or flakes? Farmers have always been
gamblers, betting on growing seasons and genetics. Grit might get you to
harvest, but you’ll need hydrochloric acid to make high fructose syrup.

In my memory, in the Ago (short or long being
just a matter of relativity)—back to the
kernel, so to speak, of who I am—there was
light through sharp green leaves. And
mud—uneven clumps, the naked flesh of fields. At
night the creak of stalks growing.
Our 500-acre garden. Twist of bean, swish of wheat,
pollen-drenched breeze,
quiet wind. For drama, the unending battle with deer and
raccoons. We’d walk
sweet rows with bare feet
to leave our scent. Fingering silk tassels and an occasional
ugly lump of smut, its
velvet, bulbous surface
wet from dew. Corn with generous
xenia for all: the smut, the coon, the child, the wind. My memory
yields bushel after bushel, which is a lot of
zeal for a crop I never intended to harvest.

Sara Dovre Wudali is a writer and editor from Saint Paul. She grew up on the plains of southwest Minnesota, where the wind blows strong and box elder bugs rule the earth. Her poems and essays have been published in or are forthcoming in Tiny Seed, New Mexico Review, Hairstreak Butterfly, North Dakota Quarterly, Creative Nonfiction, Sweet, Streetlight Magazine, Saint Paul Almanac, and as part of a public art project in Mankato, Minnesota.

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