Cover image: "Trekking to Eternity and Beyond (No. 2)" by Bonnie Matthews Brock

Gallery 2

We Are Kin

Nicholas Trandahl

Stories
for Story

We rest in the shade
of creekside oaks
somewhere along the trail.

Walls of red stone
hold this valley and its creek
like an emerald secret
in the dry death of summer.

My daughter is four.
She’s enchanted
with what she’s seen today
in these pinewoods and hills,
this winding canyon—
what she’s heard
in the creek’s endless hymn.

She tells stories
which I know to be true—

                two horses
                she met on the trail
                and how she rubbed their muzzles,
                how they drank curiously
                of the warm aromas
                in her golden hair—

                                a frightened fox,
                                dark with water,
                                dashing across the gulch—

                                                a snake, as sinuous
                                                as a living current
                                                over moss and stone—

                                a doe
                                dashing up the hillside—

                butterflies and grasshoppers
                startled into flight
                with each of our steps
                through the wildflowers.

I want to tell her stories too—

                how my blood was distilled
                from this cold creek
                and its mysterious trout—

                                how my bones
                                were forged by this place
                                of timber and stones—

                how when I came back
                from that faraway desert,
                I closed my eyes and prayed
                to a primal wood god
                roaming these hills
                in cold morning fog.

                                                But I don’t
                                                tell her these things—

                                                                not yet.

Instead, I tell her
we’ll go soon
into the mountains,
where moose and elk live,
and roving bear.

I promise to show her
all the secrets of the wild.

Then, maybe,
I’ll share my stories with her,
and she’ll know they are
her stories too.

Nicholas Trandahl is a U.S. Army veteran, poet, newspaper journalist, and outdoorsman living in Wyoming with his wife and three daughters. He was the recipient of the 2019 Wyoming Writers Milestone Award and was nominated for the 2021 Pushcart Prize. He has published four collections of poetry and his work has appeared in various anthologies and literary journals.

Yvonne Morris

I Can’t Buy Your Book, Poetry Girl:
Middle-Schoolers at the Book Festival

I can’t buy your book because I only have

this apple, explains the apple-cheeked boy,

holding up his burnished trophy, the shiny

scarlet fruit of fairytales, the totem of spells.

The image of his smile beams a flash of sass

among composed customers browsing tables.

Moments later, another child appears before

me and inquires, What do you write? When

I tell her, she points a finger, proclaims, You

are a Poetry Girl! And so it was to be, then

in the realm of festivals and ever after.

Yvonne Morris is the author of the poetry chapbook Mother was a Sweater Girl (The Heartland Review Press 2016). She has been published in a variety of publications and her second chapbook, Busy Being Eve, is forthcoming from Bass Clef Books.

Elissa Leibowitz Poma

Elissa Leibowitz Poma is an award-winning watercolorist and illustrator from Silver Spring, Maryland. She is also an environmentalist, having worked for World Wildlife Fund for the past 15 years. These scenes are from a trip to India, where Elissa saw tigers in the wild for the first time.

Sharifa Oppenheimer

Plant

Rivanna riverbank
damp earth a fecund womb
gestates plant embryos

who dream of water
               grace fallen from stars
who ache toward sun’s warmth
               his sovereign ascendency.

Plant ancestors live
through our cycles
moon to moon
               blossoming
               fruiting
               seeding
               resting
We are kin
to seductive honeysuckle
               unfurling first leaves
               opening blossom’s
               fertile whorl into
               crimson dawn light
kin to masting beech trees
               sisters, cousins
               who together as one
               launch their precious
               young, making forests
               fill with music:
               nuts cascading
               from upper stories
               squirrels gathering
               gossiping amid leaf litter
kin to blackberries who open
               their taut, sweet fruit
               into lustrous solar face.


Author’s Note: Beech trees do not fruit yearly or biennially. By a mysterious communication, beeches in an entire bio-region will set, mature and launch their fruit at the same time, a process known as mast fruiting.

Sharifa Oppenheimer is the author of the best-selling book Heaven on Earth: A Handbook for Parents of Young Children and its companion workbook How to Create Your Family Culture. She recently wrote With Stars in Their Eyes: Brain Science and Your Child’s Journey Toward the Self. After writing extensively from her experience and love of young children, she now focuses on what she calls “Nesting Circles of Belonging” ~ the family, the more-than-human earth and the Spirit that animates all. Her new book A Litany of Wild Graces: Meditations on Sacred Ecology (Red Elixir Press, 2022) explores these themes through essays, poetry, litany and dreams. Website: www.sharifaoppenheimer.org / Instagram: @sharifaoppenheimer

Elodie Barnes

Blue

Blue. Blue. Blue, blue, blue. She says the word over and over again as she walks, one foot stumbling in front of the other over the scree that stretches all the way to the headland.

Blue. Sea-swept and light-drenched.

Blue begins to bulge with the waves and the sky. The ‘ooo’ at the end, the ‘loooo’ drawn out and soaked in salt spray, the sounds filling her mouth like a full August day. Blue becomes deeper in August. Blue burnishes on the edge between summer and autumn, darkens to lapis.

She walks through blue, and through sun that’s abrasive on the skin. Below, far below where the cliffs cup the bay, ancient tides pull below the surface, ripping water from land and land from water, her from her mother, her mother from her. These tides slow down in August. Blue ebbs and flows in a softer wave, rhythmic like the splash of a clock. Endless. A kind of blue so profound it hurts to look. Her mother would have said to always begin a story at the beginning, but how to separate one shade of blue from another? Blue currents swell and the blue wave breaks, and in that wave is another one already formed. There is no beginning. There’s no end either.

Blue blurs with her sister, walking ahead of her in a vest top the colour of seafoam, ocean swells and foamy ribbons. They are each mapping the path with their bodies, piecing it together, memorising it with their feet. She can feel it inside her, rolling and curving and swelling azure. They are charting their lives until that moment, making sense of them through gull-cries and sea-cries and the gentle blue gust of air currents that mirror those below, only her sister is charting a different map. Her sister’s feet are tracing tracks that she doesn’t recognise, memories that aren’t hers. She doesn’t know when they diverged. Perhaps too long ago to remember; perhaps as far back as the car park at the bottom of the cliff.

She calls to her sister to wait. Sweat drips down her back, a painting running in the heat, pooling in the crevices of her rucksack and t-shirt. Her mother is heavy in the urn on her back, slowing her down. Her mother has always been heavy, and that, she thinks, is why her sister’s steps have always been lighter, more free. Her sister’s steps have traced faint blue lines like veins all over the cliff-top. When her sister waits and she catches up, there is a moment when their feet merge and she absorbs some of her sister’s heartbeat. A pulse, lingering, dropping below the sea’s surface to be carried out on the tides.

A deep blue, a midnight blue, a blue that is so dark it’s almost black. An entire world that’s invisible and unknowable, miles and miles where sunlight doesn’t reach. She wonders if her mother’s ashes will stay on the surface, or sink into a nameless blue that she will never be able to fathom. Her sister offers to carry the rucksack for a while, but she says no. This view must also have been her mother’s, and visions overlap. So far out to sea, there is no telling anymore where she ends and her mother begins, and she thinks it’s strange to think of it that way round when her mother is the one who’s dead.

Did she ever talk to you about Dad? she asks her sister. She thinks of the man conjured in her mind from scraps of sentences, from the descriptions and longings and regrets that sometimes spilled from her mother’s mouth. No, her sister replies, she just said she didn’t like him anymore. Or her childhood? She remembers gentle stories spun out over afternoons and evenings in a blue bedroom, swimming in soft shades of rain on water, the grandfather and grandmother she’d never known forming gradually like shapes in the mist, her mother seeping out from them into something solid. No, her sister replies, she told me she didn’t want to, that it was too unhappy. Maybe she made it all up. Or maybe you really were the favourite.

The spot her mother wanted is dipped, sheltered, prickled with the blue-grey of sea holly. She doesn’t know how her mother knew of it or when her mother came here, and neither does her sister. You looked after her, her sister says, you knew her best. Further out to sea, she catches sight of something that then disappears. A seal, a wave, a sinking boat, a mirage. An invisible force that pulls and caresses, her mother’s voice holding her close, telling her she can swim on her own when she can’t.

The same wave never comes twice; the shade of blue is never exactly the same. Blue, blue, blue. Swollen on her tongue, a depth she can dive into. When she does dive, chasing her mother’s ashes for answers that she’ll never hear, light strikes droplets and cleaves them apart. A momentary arc of colour; a split-second rainbow suspended between sea and sky; all the colours, not just blue. All the answers, impossible to catch. Blue is the only one she can hold. She grasps blue as the mother she thought she knew dissolves a little, hovering like the soft tendrils of spray that catch over the waves before falling in a graceful pirouette to the water.

Elodie Barnes is a writer and editor living in the UK. Her short fiction has been widely published online, and is included in the Best Small Fictions 2022 Anthology published by Sonder Press. She is the Books & Creative Writing Editor at Lucy Writers Platform, where she is also co-facilitating What the Water Gave Us, an Arts Council England-funded anthology of emerging women and non-binary writers from migrant backgrounds. She is currently working on a collection of short stories. Find her online at elodierosebarnes.weebly.com, or on Instagram @elodierosebarnes.

Dan Wiencek

Rain In Miniature

rain falls twice, the second time
never as satisfying

                                    rain larded with stealthy poisons
                                                     we catch in our mouths

rain soaked in a dog’s coat
incubating dander

                                          rain on a car’s hood, foiled by
                                                   rubber gaskets and solid
                                                       German workmanship

rain like pearls from clouds
of oysters pelting and leaving
dents in metal awnings

                                                    rain brushes off prayers
                                 offered on a pitcher’s-mound altar

rain drapes oil-slicked
highways, making mirrors
of unreflecting blacktop

                                            rain shuts down the rainbow
                                                          spits in a picnic’s eye

rain sighs and rolls over
choking the sewers

                                                    rain soothes a crumpled
                                               bumper, whispers of steam

rain meshes air and water
sound and breath as
its trail down your neck
freezes every other memory
shrinking the cosmos to the
distance from the taxi door
to the nearest sagging canopy

                                            rain ends, having been there
                                                                     the entire time

Dan Wiencek’s poetry combines empathy, a surreal imagination and a healthy sense of the absurd, creating poems that grapple with profound questions of personal identity while remaining grounded in authentic lived experience. His poetry has appeared in publications that include New Ohio Review, Sou’wester, The Briar Cliff Review and The Timberline Review. His first collection of poems, Routes Between Raindrops, was published by First Matter Press in 2021.

Siham

Fusion

Siham is an abstract painter born in Morocco and residing in Kuwait since 2008. Having experimented with many methods and mediums, she uses acrylic, oil, and mixed media on canvas and paper. She holds a university degree in “agri-business” from the University Caddi Ayyad in Marrakesh and aviation courses and qualifications in Kuwait. She has various art certificates from the Museum of Modern Art in New York and a certificate in healing with arts from the University of Florida. This diversity of experiences has an influence on her artwork, which creates paintings that you can feel and fly to our planet in a lovely way.

Naomi Bess Leimsider

Pact  

Let’s never speak of it again. Chalk it up to lesson learned: a universe all caught up in itself controls nothing. But every so often the blunt true force of that thought strikes and I am suddenly shook. What might have been, could have been, pulls me down, shakes me out. My oneling, in her solid singleton physical form, remains her maverick self, out wandering the world. She is still here.

There won’t be a next time; I came home a humbled woman. You’ll find me in the next phase of my surge, where errant electrical charges, and the metallic taste of potential tangible loss on my tongue, remind me I’m just energy. Made up of aching bits and pieces, twisted building blocks, alive and able elements. Baffled by the terrible, unknowable future. Ready to surrender to sacrifice, offer up sand and salt in massive hourglasses or what’s in my own skull in my own smooth and empty head. Uneven bargains, whispered epiphanies, covenants sworn and kept. I will live lightly after this.

The animal within groans to life, searches far corners for the one who is of itself, who grew inside. No one else — definitely not me — can be trusted. This is what is left: human-like middle space organs skirting past shady parts. It insists I consider the cost of my ongoing allegiance to multiple magical thoughts, the dissembling versions of why I appear and disappear, the way I was just humming along under clouds, under sky, under the deadly weight of the give and take of time, endlessly waiting for the inevitable fall and rise.

Everything comes back to that morning. You and I do not know what will happen, who goes next: the things we don’t tell children. I went in wild, went in flailing, seizing on mixed signals. I came out questioning the world of my false face, my seemingly comfortable place nestled in the warm body of the mad universe, came out stripped, afflicted, stunned.

What have I done? What have I done?

Naomi Bess Leimsider has published poems, flash fiction, and short stories in Planisphere Quarterly, Little Somethings Press, Syncopation Literary Journal, On the Seawall, St. Katherine Review, Exquisite Pandemic, Orca, Hamilton Stone Review, Rogue Agent Journal, Coffin Bell Journal, Hole in the Head Review, Newtown Literary, Otis Nebula, Quarterly West, The Adirondack Review, Summerset Review, Blood Lotus Journal, Pindeldyboz, 13 Warriors, Slow Trains, Zone 3, Drunkenboat, and The Brooklyn Review. In addition, she has been a finalist for the Saguaro Poetry Prize, and she received a Pushcart Prize nomination this year.

Melody Wilson

Another Way to Think About Little Red Riding Hood

I might not mind
being eaten by wolves,
clutched in their big paws:
rank thrash and scramble,
glitter in their yellow eyes—I
don’t mean to romanticize.

I almost hear tearing, my own
squeals, crunching between
curved teeth, sinews ripped
bit by bit, pups mewl
for regurgitated meat.

It’s not that different really,
the struggle to survive.
Slow sacrifice of self
across so many afternoons.
Denial, compromise,
the inarticulate lies,
when all I want to be
is pure. Not animal
but blood, howl,
power as she bounds
hungry through the dangerous night.

Melody Wilson’s recent work appears in Quartet, Nimrod, and VerseDaily. New work will appear in Sugar House Review, Minnow, and The Fiddlehead. Her first chapbook, Spineless: Memoir in Invertebrates (2023), was a finalist in Finishing Line Press’s New Women’s Voices competition. Find her work at www.melodywilson.com.

Nicole Farmer

Mattress In the Rain

This beautiful miserable girl
only four years old
who whines and cries daily, hourly
for the attention it affords her—
hurts to look at her she is so stunning.
Believe me she knows it.

Pity her lover, yes, I do
when years from now she’s sauntering
down Fifth Avenue with that pouty scowl
her reflection mirrored in the shoe store window
disappointed again,
never having her expectations met
the way she knows they should be.
Her current devotee

running circles backwards,
pleading, promising the sun
or the shoes she covets
or the hairstyle she needs
or the convertible she requires,
if only she would smile again
in their direction.

Now she’s climbing the jungle gym
the boys a rung below gazing up her skirt
the girls on the ground with craning necks
she spits down venomous words
“You can’t play!”
to her girlfriends, then adds
“Only us,” to reassure the lads.

They all follow her anyway
mesmerized, yearning, confused
trailing behind
chasing beauty so blindly,
coming to believe they must suffer for it.

Leaning against the lamppost
this soggy teary girl
once new and adored as layers of fine linen
ideal for laying or spooning
drenched and discarded in the storm.

Nicole Farmer is a writer and teacher living in Asheville, NC. Her poems have been published in The Closed Eye Open, Poetry South, The Amistad, Quillkeepers Press, Capsule Stories, Haunted Waters Press, Sheepshead Review, Roadrunner Review, Wild Roof Journal, Bacopa Literary Review, Great Smokies Review, Kakalak Review, 86 Logic, Wingless Dreamer, Inlandia Review, Levitate, In Parentheses, and others. Nicole was awarded the First Prize in Prose Poetry from the Bacopa Literary Review in 2020. Her chapbook Wet Underbelly Wind will be published in November of 2022 by Finishing Line Press. Way back in the 90s, she graduated from The Juilliard School of Drama. Website: www.nicolefarmerpoetry.com

Bonnie Matthews Brock

Bonnie Matthews Brock is a Florida-based photographer, as well as a school psychologist. She enjoys capturing raw, single-capture photos of a wide variety of subjects and learning and experimenting with shooting techniques such as long-exposure and intentional camera movement, as well as with editing methods. You can find Bonnie’s images on the covers of publications such as Ibbetson Street, Poesy Magazine, Wild Roof Journal, and Humana Obscura and on the pages of Oddball Magazine, Beyond Words Literary Magazine, Ember Chasm Review, and other poetry and art journals. Her works are archived at institutions such as Poets House NYC, Brown University, University of Buffalo, and Harvard University. Find more of Bonnie’s images on Instagram @bonniematthewsbrock.

Robert Guzikowski

Aphasia Poem 14

return-dwell inside the
thermocline’s aromas decomposed.
birds vie and din in leftover soft

just tasted mountain air
evanescing as sun breaks high ridge
and re-verderant-ates wood’s moss lume.

resist identifying the
right word phrase sentence paragraph or
narration enunciating the

ordinary earthly
experience of ineffable
phenomenon met with every sense.

unexpressed inexpressible plight
is only sharing noon light’s moonlight.

Aphasia Poem 15

return to word woods burned
ground succeeded by sprung-scape scrub
stump suckers glowing green a place where

this disacquainted land
always will somewhere else be no one’s
home be will never for dwelling be.

encounter this place as
bathed bliss enduring relentlessly
natural earthly perfection where

only the dehiscent
come to fruition by mimicking
catastrophe by exploding death.

be the fire that consumes word woods all
anatopic sentences meaning’s wrawl.

Robert Guzikowski published work in the 1970s and 80s in several magazines, including Grub Street (Bronx, NY), Letters and Tightrope. He co-edited The Parlor City Review. In the 1990s he had encephalitis which caused brain damage. Aphasia was one of the sequelae. He has resumed writing poetry and some of these poems have been published in Kissing Dynamite, The Raw Art Review and Rogue Agent.

M.A.H. Hinton

Thoreau Goes West

curiosity
and a bobolink’s pitch

Thoreau upon the Minnesota River
the final year of his life

his winding trip West
ending in Redwood Falls disappointment

just these few lines in his journal
nothing more

“cottonwoods lining the banks
snagging the river”

now
on the edge of that same river
I stand beneath
giant cottonwoods
that remember everything

M.A.H. Hinton grew up in Montana and lives in Minnesota. His publications include poetry in Minnesota Review, Into the Void, The Under Review, Wild Roof Journal, Temenos, GFT, West Texas Literary Review, Blue Heron Review, Aji, and Emerald Coast Review. His chapbook Ordinary & Minor Mystics was a finalist for NDSU Press’s 2021 People of the Prairie and Plains Award. He has also published several Western short stories.

Marilyn Woods

Twilight Time

We were together at twilight time.

As we strolled, holding hands after Cadillac margaritas and carne asada fajitas at our neighborhood haunt, the song “Twilight Time” drifted into my head. The Platters’ harmonious blend of the lyrics and the melody resurfaced from my girlhood when I first emerged as a hopeless romantic. No wonder the timeless love song came to mind again at this twilight time when I am very much in love with life. Twilight time, the mesmerizing time after sunset between daylight and darkness.

As a teenager, I played the 45rpm record over and over, waxing poetically and innocently over whose kiss might thrill me deep in the dark. And when?

All these decades later as purple-colored curtains around us marked the end of day and blackened silhouettes of statuesque queen palms stood out against the last of the sunset in the western sky, I found myself immersed in the romanticism of the song again.

At my home, he and I, keeping a rendezvous beneath the blue, nestled ourselves on my terrace to savor the last of our precious moments together as fingers of night surrendered the setting sun.

In the silence, I wondered what inspired the song. Who prayed to be together at last at twilight time?

I live in an extraordinary time. Sitting in the afterglow of day, I reached for my iPhone. “Alexa, play ‘Twilight Time.’”

Instantly, the stylized sounds of The Platters, reminiscent of The Ink Spots blended with Doo Wop, filled the evening air.

We couldn’t help ourselves.

We slow-danced.

Together at twilight time.

He departed and so did another twilight time.

Alone, after he had gone, I read that “Twilight Time,” written in 1944, became an anthem in the thick of World War II for returning soldiers, the prayer of those who waited. The Platters’ version pushed it to greater fame as the war ended and the Baby Boom began.

I thought of my mom. Did she know of the song when my dad served overseas in the army? I know she prayed for his safe return.

I remember a time later when my father traveled extensively throughout the world on business, my brother had left home, and I returned for a visit. At twilight time, Mom shared, “I really don’t like this time of day. All the lights in the neighbors’ happy houses go on, families gather, and I’m alone.”

How different twilight time is for me.

Those magical moments of soft diffused light when the sun is below the horizon. A sliver of moon might hang in the sky.

Gloaming. Eventide. Dusk. In French, entre chien et loup (just before night when the light is so dim you can’t distinguish a dog from a wolf). Crepúsculo in Spanish. That twinkling when day turns into night.

Whatever one calls the exquisite lapse between light and dark, it is sublime.

I live in a sublime time. Twilight of my life.

Marilyn Woods is a published author based in San Diego. Her current book, The Orange Woods: Seasons in the Country Artfully Lived, debuted in 2020 during the pandemic. Her work has appeared in numerous anthologies, iō Literary Journal, From Whispers to Roars, The Twin Bill, Wild Roof Journal, and NOMADarsx. “Life’s Second Acts,” her blog, is featured at www.marilynwoodswriter.com.

Mal Cole

Three Leaves

Mal Cole is a science and nature writer and botanical artist based in Massachusetts.

Note: This piece was first published in Rock Salt Journal.

Sarah Croscutt

Darkness

Until a few years ago, I was afraid of the dark, especially when hiking in the forest. As soon as the late afternoon shadows began to settle in, I would panic. My breath became shallow, and my pace would quicken to ensure I would reach the trailhead before it even remotely became dark. Darkness changes our perspective.

Living deep within the Arctic Circle, I gained a real sense of place and position on this planet. It was humbling. I arrived by bush plane on October 31, 2018, to a small Inuit village entombed in snow. In the days leading up to the polar night, the 24 hours of darkness from November 22, 2018, to January 19, 2019, I observed the hours of daily sunlight decrease rapidly. It is a phenomenon that only those living closest to the ends of the Earth experience. As the sun struggled to make its appearance over the horizon, I realized that the daily celestial cycle of sunrise and sunset, an event that most people take for granted and perhaps never ponder, was not going to materialize for 65 days in Wainwright, AK. As I watched the last bit of pink light drain from the sky on November 21st, I experienced the familiar fear of the dark. Darkness changes our perspective.

Most plants begin their life in darkness. In the darkness of the Earth’s soil, protected and nourished by the seed, the tender young plant grounds itself with its roots. It slowly pushes through the darkness to spread its leaves to the light and, in using the Sun’s energy, begins to grow, bountiful first in flowers and then in fruit. Plants use the warmth and the darkness of the soil to rest, awaiting optimal conditions for germination and growth. Moreover, many species of plants are night-bloomers, unfolding their beautiful, fragrant flowers in the dark of night to attract nocturnal pollinators.

There is beauty in darkness. It brings quiet rest, solitude, and time to dream. It gifts us the opportunity to change our perspective. By enveloping ourselves in darkness, we can cultivate our ideas, germinate our creativity, and grow our fortitude and courage. We transform ourselves from mediocrity to greatness, unconsciousness to spiritual awakening, and meaninglessness to purpose. As the veil of darkness is lifted, we return to aliveness as brave, determined, sovereign beings of light.

Sarah Croscutt has spent much of her career working in the field of science and outdoor education. She is the owner and facilitator of From the Outside, a series of plant- and nature-based activities designed to cultivate connection and well-being. With a BS degree in Biology and an MS degree in Environmental Science, as well as a deep love for the outdoors, she has cultivated a rich, sacred relationship with the natural world that nurtures her inspiration and creativity. Through her unique perspective, she has created Lessons from Nature, a series of essays connecting readers more deeply to themselves through the natural world. In addition, her work has been published in Plants and Poetry Journal and Wild Roof Journal. You can connect with Sarah through her blog From the Outside and on Instagram @sarahc_outside.

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