Cover image: "Overnight" by Tracey Ormerod

Gallery 2

notquite invisible / a presence appreciated

Nicolette Daskalakis

The woman in the office building is staring into space

She’s in the lobby
so I assume she’s waiting for someone,

next to the fake plant
thriving in its fiction.

I don’t know how I look
when waiting for someone.

Sometimes strangers come up to me
and ask if I’m alright.

Oftentimes it looks like I’ve been crying
or am about to start.

I’ve never cried in public,
               except that one time

in the bathroom of a Barnes & Noble,
standing, in a locked stall.

A woman yelled
over the roar of the hand dryers

It’s gonna be alright honey!
and I wanted to believe her,

I really did.

Born in the fog of San Francisco, Nicolette Daskalakis is a writer, filmmaker, and visual artist. Her work has appeared in Rattle, The New York Times, Pride.com, and elsewhere. She is the author of Portrait of Your Ex Assembling Furniture. Nicolette holds a BA in Film & TV Production from the USC School of Cinematic Arts, and is currently pursuing a Masters in Fine Arts in France. You can find her at www.nicolettedaskalakis.com or on Instagram @hellonicolette and @nicolettepoetry.

Amanda J. Bradley

Is It You I’ve Murdered in My Sleep?

I’ve been lost, like a balloon
a child released accidentally.
I wish your mother had tied
me to your wrist. Your mother
doesn’t like me, though.
She says I’m not good enough
for you, like sugary cereal.
I am Froot Loops.

Enough of children. Except . . .
I wonder how many you have,
by how many women. I wonder
if you would have convinced me
to carry, bear, and raise yours
if we hadn’t lost touch.
The sorrow manages me so.

It is exhilarating to imagine myself
your lover, your muse, to feel
this secret-that-is-not-a-secret
savage me.
                         I often dream
that I have murdered someone
and gotten away with it. The horror,
though, proves that I keep forgetting.
Oh no! I startle awake.
How could I forget?

Amanda J. Bradley has published three poetry collections with NYQ Books: Queen Kong, Oz at Night, and Hints and Allegations. She has also published fiction, essays, and poems widely in anthologies and literary magazines such as Paterson Literary Review, Griffel, Chiron Review, Lips, Rattle, New York Quarterly, Kin, The Nervous Breakdown, Apricity Magazine, and Gargoyle. Amanda is a graduate of the MFA program at The New School, and she holds a PhD in English and American Literature from Washington University in St. Louis. She lives in Indianapolis, and her website can be found at www.amandajbradley.com.

Linda Eve Diamond

Scaling the Onion

Linda Eve Diamond’s award-winning poetry has been performed by the Poetic Dance Theater Company, screened by the REELpoetry International Film Festival, and published by numerous journals and anthologies, including Hoot Review, The Ekphrastic Review, and Encore: Prize Poems. Her photographs have appeared on the covers of Thema Literary Review, Pithead Chapel, Of Poets and Poetry, and elsewhere. Visit Linda Eve’s website at www.LindaEveDiamond.com.

Chris J. Bahnsen

Garage Spuds

They seem of a breed content to fester, buying a house only because you can’t get the garage separately. Exuding a vapid bliss, conjoined to folding chairs or picnic benches, they stare down their driveways as if expecting a parade along our street.

On morning walks I used to wave to them, offer a neighborly greeting. Never a response back, not even a blink. Then I got it. Of course they’re dumbstruck some poor bastard is chancing the world.

Of gauzy skin, they refuse the sun, faces like moons waxing from shadow. They keep just inside their large rectangular opening, as if stepping into the light would be a vampiric mistake. They’ve learned to survive on protein from green flies that mistake them for corpses. And though they sit shoulder-to-shoulder, one speaks not to the other. Their eyes follow me whenever I walk past, the way eyes in a painting follow.

See it long enough and it starts to look tempting: subsisting in a garage, each day a carbon copy of the one before. No involvement. No getting your hopes up or dashed to pieces. No fear, because nothing’s been risked. Time is a toothless hound dozing at your feet, the wheel of karma a tire hung from a tree just beyond. Until one day the hound rises and licks your hand. Death comes that easy, without you knowing even, there was something to lose.

Chris J. Bahnsen is a half-Mexican writer based in Northwest Ohio. His work has appeared in The New York TimesLos Angeles TimesSmithsonian’s Air & SpaceHobart, JukedRiver Teeth, The Maine Review, and elsewhere. His short story “Sign Followers” was runner-up in Iron Horse Literary Review’s 2018 Long Story Contest. Recently, his short story “Octagon Girl” appeared in Palm Springs Noir, an anthology from Akashic Books.

Rae Diamond

Rae Diamond is an artist, educator, and nature advocate who weaves language, breath, sound, movement, and things found outside into intricate doorways that lead to vast worlds. They began self-publishing zines as a homeless youth in the 90s, and their poems now appear or are forthcoming in Petrichor, Pidgeonholes, Litro, Unleash Lit, and Sinister Wisdom. Their poetry and drawing collection floating bones will be published by First Matter Press in September 2023, and her book The Cantigee Oracle is published by North Atlantic Books. Find Rae online at www.raediamond.com and on Instagram and Twitter @rae13diamond.

Debra Mihalic Staples

Distilled: The Legend of Jane Bald

On a September morning, I’m hiking the Appalachian Trail from Carvers Gap toward Jane Bald, retracing the 150-year-old steps of the woman for whom it’s named. Sun and clouds pattern the mountains with wandering shadows as the trail’s white blaze leads me across the balds, a stretch of open summits known as the Roan Highlands, on the borderline between Tennessee and North Carolina. Ascending Jane Bald on feet made heavy by altitude, I still feel I might levitate, so intense is the alchemy of light, wind, and space. It’s a warm day, but autumn has already arrived here: gusts ruffle blond grasses, yellow-leaved beautyberry twigs hold blue clusters, Roan Mountain goldenrod glows.

When the wind subsides, scents of rock and soil arise, along with sounds of small creatures scuttling unseen through the brush. Then the wind rises again. Abrasive, it tears through the meadows, skirls down the slopes, scours particles from my skin to make me part of the landscape. The trail is rocky in places, worn down into the soil bed in others, over-loved. Maneuvering my bulky, booted feet past each other in the trenched parts narrows my attention to the trail’s history and how its existence reaches into time the way the mountain silhouettes stretch into shades of blue—not in a line, but in folds and waves.

A weathered wooden sign marks the 5,807-foot summit of Jane Bald, named for Jane Cook, a young North Carolina woman. One long-told version of the story is that she was hiking home from visiting relatives in November of 1870 when, after falling ill with milk sickness, she collapsed here and died. Back then, milk sickness, a form of tremetol-poisoning, was a common but poorly understood affliction, caused by drinking milk from animals who had grazed on a frothy-flowered plant called white snakeroot.

But the truth is Jane Cook didn’t die here, according to the late Elsie Cook Yelton. In an interview with the newspaper Johnson City Press, published March 29, 1999, she said Jane was accompanied by her sister, Harriet, and it was Harriet, not Jane, who was stricken with milk sickness and collapsed on the bald. Elsie Cook Yelton was the daughter of Harriet’s son, Flem, who was a young child when his mother died. Harriet and Jane’s sister, Judy, raised Flem and told him what happened to Harriet, which he later related to Elsie. She told how Jane and Harriet, both in their early twenties, made the long trek across the Roan Highlands to visit two of their sisters who lived on the Tennessee side of the mountains. Elsie also included this account in a collection of family stories she published in 2005, Where the Dogwood Blooms.

Pausing on the trail, I wonder if a landscape holds remnants of what happened there, retaining the intangible, shadowy afterimages of events, reverberating with what’s left unresolved. Sorrow is stitched to Jane Bald by my knowledge of its naming story, so it already had an association of sadness for me before I arrived, yet I don’t sense it here today. Instead, I feel the buoyancy I experience in high, windswept places. Maybe if you go someplace expecting to feel a certain way, you’ve already stifled whatever primal sense might have been stirred by shades of past incidents. Or it might be that the presence of so many other hikers enjoying the trail today distracts me. I want to test my hypothesis, visit Jane Bald at a time when no one else is here and lie for a while on the tufted grasses—smell the plants and earth, hear the wind strum over it all, watch the clouds travel the broad expanse of sky.

But I’m here now, and I don’t know when I’ll be able to return. I move off the trail, turn away from the stream of other hikers. Leaning on my hiking pole, I gaze over the meadow and follow the path of the wind through the grasses, listen to its wails and whispers, wait for the story.

***

Harriet and Jane, wrapped in shawls against the chill of the November morning, ascended Roan Mountain. At times when the trees cast shadows across their path and reminded them panthers, bears, and wolves roamed these woods, they broke into a song for courage, relieved when the trail finally emerged from the forest. They paused, hearts pounding from the climb, and then, after catching their breath, they set out across the high, rounded balds. They walked the path at a swift pace; their skirts, one blue, one green, rippled with their movements. Jane carried a basket holding wedges of cornbread wrapped in a cloth, a few apples, and two jars of water. It would take the rest of the daylight hours to cross the spine of the Highlands and descend into Tennessee, where they’d spend several days visiting with two of their sisters, who had settled there with their husbands.

Their hard-soled, boot-like shoes, worn over home-knitted wool stockings, chafed their feet, but discomfort was so common an occurrence in their lives it was something they could easily ignore during this rare spell of freedom from housework, farm chores, all the tasks and demands of their days. For Harriet, it was also a respite from caring for her two-year-old son, Flem, who was being looked after by Judy, her older sister. She marveled at how she already missed him.

They’d initially planned their journey for earlier in the year but postponed it when Harriet first fell ill with milk sickness, and she hadn’t felt well again until lately. Now it was November, but they were having a stretch of fine weather; shorter days and winter snows were coming, so if they didn’t go now, it would be months before they’d have another chance to visit their sisters. The weight of their absence had grown too heavy to bear. The recent Civil War had taken loved ones from them, including their brother, Bill, whose loss grieved them deeply. They’d lived through raids from both armies and the desperation of surviving on the meager leavings. After what they’d endured, the prospect of a lengthy, strenuous journey on foot was worth it to see their kin, despite the risk of a turn in the weather. The beauty of the route was already lifting their spirits.

Their long day on the trail gave them the luxury of talking with each other uninterrupted, a scarce occurrence in their large family, yet often they fell into contemplative silence. They stopped on the crest of the Highlands and perched on a sun-warmed outcrop to rest while they ate their food and drank the water they’d carried from their home spring, gazing out over the waves of blue-gray mountains that reached toward the horizon in every direction, awed by the magnificent breadth of open sky. Then, propelled by anticipation of the reunion with their sisters and the knowledge that they had just enough time to arrive by dark, they headed down the mountainside into Tennessee.

Jane and Harriet remained a few days with their sisters, then on the day they departed, they left with plenty of time to arrive home in Dogwood Flats before nightfall. But the steep climb and the altitude on the Highlands strained Harriet’s illness-weakened body. Their progress slowed as she struggled against pain, nausea, shortness of breath.

They made their halting way back across the balds, following the path through pale grasses whipped sideways by a wind-driven cold front. Their flapping skirts, muted to tones of gray in the failing light, impeded their progress as Jane supported her sister, her steps paced to match Harriet’s, whose arms wrapped her torso, her head bowed. Suddenly Harriet folded to the ground. Jane kneeled beside her, alarmed now. She pleaded with Harriet to get up, to try again, but when she realized Harriet was far too ill to go on, she pulled her to a softer place, then curled around her. She sheltered Harriet with her own body through the long hours of roaring darkness, of bitter cold, of Harriet’s cries of pain, then delirium, convulsions, and finally comatose silence.

As morning light leaked into the sky, Jane murmured to Harriet, who was still breathing, that she was going for help. She stumbled down the mountainside through clouds gone to ground, keeping her gaze to the path so she didn’t lose her way in the fog. So cold she could barely move her limbs, she reached a cabin below Carvers Gap. The man who greeted her agreed to retrieve Harriet in his wagon, and they rode back up the mountain as far as they could, then climbed the rest of the way on foot. Together they carried Harriet down to the wagon, then carted her over the rough road to Dogwood Flats.

Harriet died at home later that morning. Jane went on to live into her nineties, bearing the memory of that November night when she did all she could to keep Harriet in this world.

***

Standing on Jane Bald as the cloud shadows wheel over the mountainsides all around me until I feel I’m in the center of a kaleidoscope, I think about this story I’ve conjured. Bits of it came from what I’d already learned from Elsie Cook Yelton’s accounts. My imagination supplied other parts. Perhaps the rest was simply here, in this landscape—truth fragments drifting on currents of time, snagged by my attention.

But that fable of a woman named Jane who died of milk sickness on the bald continues to surface from time to time. While most of the trail guides I’ve consulted carry a summary of the facts behind the naming of Jane Bald, the persistence of that inaccurate version—as a woman’s solo journey that ended in tragedy—is telling. When it comes to legends, who gets a say in what is presented as truth, and why? Often, cultural attitudes creep in to shape the narratives. In this case, a fable was condensed from the vapor of truth until it not only eliminated Harriet completely, but also truncated Jane’s role, leaving out her efforts to keep Harriet alive. It implied that Jane perished from illness on the bald after walking the trail unaccompanied. Thus distilled, it became a cautionary tale: Women shouldn’t walk these mountains alone.

This is an admonition familiar in some form to women who hike solo. It’s not unusual to meet a lone female thru-hiker on the Appalachian Trail, yet it’s still more likely that she will encounter precautions from others, however well-meant, than a male hiker will. The same holds true for us female day hikers; we are cautioned against hiking alone, as well as hiking only with other women. Yet we go anyway. We understand the risks, we’ve seen the news stories, but we also know the presence of companions, regardless of gender, is no guarantee of safe travel. Sometimes we need to go hiking with only ourselves, or a kindred soul or two, for company.

I imagine this was true of Jane and Harriet. They probably received resistance when they planned their journey; they lived in the nineteenth century, a time when young women’s daily lives were weighed down with rules of propriety. However, I suspect many of those rules were impractical, if not impossible, to apply to the lives of rural women. Raised in these mountains, Jane and Harriet didn’t feel the need for an escort to visit their sisters in Tennessee; they wanted to go, so they went. If Harriet hadn’t been ill, chances are they would have made it home safe by nightfall.

Watching a patch of sunlight glide across the slope below, illuminating each leaf and blade of grass, turning the red berries on the mountain ash into Christmas lights, I want to believe that at some time in Jane’s long life she climbed to the Roan Highlands again. I hope she stood alone on this bald and let the winds scour away layers of grief until she could smile at the memory of the day she and Harriet set out on the last journey they would ever take together. This place officially bears Jane’s name, but a few local folks haven’t forgotten Harriet; I’ve heard them refer to a lower nearby rise as Harriet Bald, and the shallow gap linking it with Jane Bald as Sister Saddle.

When I resume my hike over Jane Bald, I pass the remnants of someone’s recent camp—ashes marking where a fire burned inside a stone circle, flattened grass in the shape of a solitary sleeping bag. I wonder if that sleeper, lying in the meadow under the September stars, heard the wind and dreamed it was the voice of a dying woman. Or perhaps they dreamed instead of two young women passing by on the trail, laughing together as they journeyed across the Roan Highlands, their long skirts ruffled by the wind.

Debra Mihalic Staples lives in north Georgia. Her writing has appeared in Still: The Journal, High Country News, Catfish Stew Volume III: Tender Morsels of Fine Southern Literature, Pine Mountain Sand and Gravel: Contemporary Appalachian Writing, South Carolina Wildlife, and elsewhere. She is a two-time winner in the South Carolina Arts Commission Fiction Project.

Tracey Ormerod

Tracey Ormerod is a Canadian writer and photographer, educator, and former big city dweller. She sees and hears what the natural world freely offers, and she dreams of sharing the magic we so often fail to see. Instagram: @tracey_ormerod / Website: www.traceyormerod.com

Gary Grossman

The Emotions of Trees

Who knew trees communicate—
that Douglas firs sooth white alder,
and fallen tulip poplars
nourish yellow birch seedlings
at their breasts—nurse logs they’re called.

Both incense cedar and madrone
have confided that all trees admire
coastal and interior redwoods—
even some envy—but avoid
that needy, millennia old,
bristlecone pine—he mistakes
every minute for a new day.

Once, while hiking in Oglethorpe
County, two water oaks stopped me
to join their healing chant for a
cousin, a black tupelo with
terminal heart rot. So strange, a
minyan for trees is only three.

Over time, I’ve watched our local
black walnut shake with laughter
as English ivy first tiptoed
over roots—only to tremble
anxiously six months later
as the vine reached its crown,
thieving sap and light.

I can’t even discuss the selfishness
of mistletoe.

Trees incessantly demand
intimacy—branches straining
outwards—secrets awaiting.
Many times I hike back to the
car little more than a husk.

Gary Grossman is Professor Emeritus of Animal Ecology at University of Georgia. His poetry has been published in 30+ reviews, including Verse-Virtual, Your Daily Poem, MacQueen’s Quinterly, Poetry Superhighway, and Delta Poetry Review. Gary’s creative non-fiction appears in Tamarind Literary Magazine and his micro-fiction piece “Mindfulness” was nominated by MacQueen’s Quinterly for inclusion in The Best Small Fictions Anthology 2022. For 10 years he wrote the “Ask Dr. Trout” column for American Angler. Gary’s first book of poems, Lyrical Years, is forthcoming in 2023 from Kelsay Press, and his graphic novel My Life in Fish: One Scientist’s Journey is available from todaysecologicalsolutions@gmail.com. His hobbies include running, music, fishing, and gardening. Website: www.garygrossman.net / Blog: garydavidgrossman.medium.com

Victoria Dym

Cherrywood

Fiery reds, oranges and brilliant yellows, the forest is Fall —Cherrywood,
Writhing black snakes, silver owl, one wing outstretched, perches.

A moonlit skull, picked clean. Within twelve full moons’ time, this stand, these
Trees will be cut down, made into doors, rectangular bottoms domed-arched tops,

Pointed at the top, like a door you might find in a cathedral —Cherrywood,
And within twelve waxing moons’ time, those doors will be decorated,

Cornstalks, pumpkins, orange and white, with gourds of every size and stripe,
And within twelve waning moons’ time, this new tract of houses, fenced off yards.

—Cherrywood, will push foxes, wolves and deer into dwindling square footage,
Bear, rummages garbage cans, looks into windows, sees only her own reflection.

Victoria Dym is a graduate of Ringling Brothers Barnum and Bailey Clown College with a degree in Humility, a Bachelor of Arts in Philosophy from the University of Pittsburgh, and a Masters of Fine Arts in Creative Writing-Poetry from Carlow University. Her two poetry chapbooks, Class Clown and When the Walls Cave In, were published by Finishing Line Press in 2015 and 2018. Victoria’s chapbook Spontaneous was selected by Northwest Poet Laureate Katherine Nelson-Born as the winner of the 2021 Poem-A-Day Chapbook Challenge Contest, won a cash prize and subsequently was published by the West Florida Literary Federation in 2022. Ms. Dym’s full-length manuscript The Hatchet Sun is forthcoming by Finishing Line Press in 2023. Victoria lives in Tampa, Florida, where she hosts the Annual October Haiku Challenge, teaches poetry and storytelling, and facilitates Laughter Yoga workshops for Cano Health Wellness Centers.

Joshua Silavent

Kudzu Lines

My eyes are clasped by buttons of kudzu
Green curtain leaf thick with sleep
& vines for lashes wrapping, holding
The coils of my eyes in a tight spin
Circling the anguish of growth
One noodle root, a finger or two,
Digging thru time
And my spine is rebar
Grown into pine bark
Wood shavings are caught on the wind
Drifting seeds looking for new skins
To drape over this Southern land
& burn every few years
To stretch again, hanging
Like long hair
Before the next shaving.

I’m veiled in spring/thorn climbers
Ears choked by the brown helix creepers
My blood/flowered hands raise the water
Just as melted ice
And my neck is a stencil
Outlining a suspension bridge
Across the Piedmont
Where every turn in the road
Brings a blanket of tangled, wooly monsters
Serving as cover for our lovers.

Across the Piedmont
Skulls are shouldered along river banks
Or abandoned in homes
& on tops of propane tanks
Fossilized hopes exposed in the erosion
Of tethered presence
First buried in the faceless dawn
Of vine/robed apocalypse
Where they first planted this liana
That twists & stretches at a foot a day
For the sun, a bottom-up run.

Now, write your message
To a nameless, planted
Ornamental future:
   Spell it in rock
Tell it with dirt & salt
   Licked & spit
From mouths bent
   Like finger/limbs
In a thunderstorm
   Choking, suffocating,
Length by length,
   Even when others dry out
Like a camel marching over dunes
   this will be you.

Kudzu a fine spread & vines a tall fence
Surprise purple blooms edifying lies until then
Covered warm in cold carceral life
Like a decorated jail —
               Eat it all, cook the roots,
               Leaves on top & petals, too,
               Colonized in this new world.

Joshua Silavent is an award-winning journalist and educator based in the greater Atlanta area. His poetry, fiction and creative nonfiction has been published by Driftwood Press, Prometheus Dreaming, Fearsome Critters and Sky Island Journal. Silavent was named the 2016 Beat Reporter of the Year in Georgia by the Associated Press for his reporting on poverty. His reporting and personal homeless outreach also earned him the 2019 Martin Luther King Jr. Drum Major of the Year Award from the Newtown Florist Club, a 70-year-old civil rights organization based in Gainesville, Georgia. Silavent studied journalism at the University of Georgia, graduating in 2005, and completed a Master’s Degree program in teaching at Georgia College & State University in the Spring of 2022.

Robin Young

Interplanetary Brutality with Fruit

Based in Borrego Springs, California, artist Robin Young works in mixed media, focusing mostly on collage and contemporary art making. Her focus on collage art using magazine clippings, masking tape, wallpaper, jewelry, feathers, foil, etc. allows her to delve deep into the whimsical and intuitive compositions she is known for. From large, life-sized pieces and 3D sculptures to small postcard-sized arrangements, Robin’s keen eye and gripping esthetic guide her viewers into her own semi-readymade world. Repurposing these nostalgic images for lighthearted and sometimes disquieting messages, Robin’s artistic universe is strange, funky, sometimes perverse, and always alluring.

Javier Sandoval

A Blind Turtle Leads My Skiff

My turtle friend says, Don’t ever pray for specific outcomes.
                                    When the skiff’s mast nearly topples under flames,
Don’t pray for rain, only for the strength to give it up . . . give it up.

Once captain of a big brass boat, I washed ashore on a big bad rock
                                    and heard, When we ask for things, we lead ourselves astray.
My turtle friend says, Don’t ever pray for specific outcomes.

Clung to bottle, snuff, pearls . . . and any siren if I found one
                                    that clutched back as hard as I should’ve fought away.
Don’t pray for love, it only comes when you give it up, when you give it up.

The serenity to accept thirst . . .
               The strength to look from the sea’s cruelties
                                    to your own . . .
                                                   The wisdom to pray
                                                                   so you can swallow drowning as it comes . . .
                                                                                  And never for an outcome.

When you steered the boat, look where you’ve gone: toward sharks
                                    and krakens, away from loved ones waiting at the bay
for your return; all for rusting treasure—you just couldn’t give it up.

But if this skiff can ramp over every wave, withstand each typhoon, and dodge
                                    each dark mouth, will I be forgiven? Or will I be cast away?
My turtle friend says, Don’t ever pray for specific outcomes.
               For fate . . . To inner god, for inner calm . . . As for the rest, give it up.
                                                   Give it up . . .

Javier Sandoval was born in the Chihuahuan Desert of Mexico, but later grew up in Texas (falling for its blues music) and in North Carolina (living in a shelter for three years). After building a startup invested in by Microsoft, he studied at Brown University on its full-ride Leadership Endowed Award, co-authored 2 Billion Under 20 (St. Martin’s Press), and published his first book of fiction, a literary gang-thriller, Cicada, Ladybug (Thought Catalog Books). His poetry has appeared in Anti-Heroin Chic, Querencia Press, and The Indy, among others. He is now pursuing an MFA in Creative Writing at the University of Alabama. You can follow him on Instagram for updates and jokes @JavierWantsCandy.

W Goodwin

The Footbridge

When I meet the governing council during my first week as a Peace Corps volunteer on a jungly Indonesian island, the headman challenges me to procure a piglet, nurture it to maturity, and then slaughter it for a celebratory feast slated to take place at the end of my tenure. I accept.

I walk half an hour to the local market and search for an old man said to sell piglets. I find him squatting beneath an awning of palm fronds. I note the press of time upon this seller of pigs, the white beard and defocused gaze, the creases of heartbreak and the cheeks dappled with smallpox scars. A wooden crutch, its leather pad worn and stained, leans against a wall beside a small green melon. The man holds an unlit match between two dark fingertips. The match, I assume, will eventually be struck and used to light the contents of a clay water pipe sitting on the ground by the man.

I am two steps away before the man’s bushy brows lift, and I watch his sorrowful gaze twist into a faint smile. Soon we determine we each know a bit of the other’s language. Our transaction commences. People gather about us. Some try to be helpful; most are merely curious. We struggle with our two languages for ten minutes. We reach an agreement too quickly, but what the hell. I place too many bills in his partially opened hand, the hand still holding a match. He squints at the wad of cash for several seconds before nodding. He tells me his animals are at a farm, and I leave with the understanding I am to return tomorrow to take delivery of a young pig.

* * *

Returning to the market to fetch my piglet, I wonder how the critter is going to change my life. I think back to the elderly pig merchant with the unlit match, and hope he understood me. I entertain a daydream of returning to my hut tomorrow with a little pig on a leash.

The path closely parallels a large channel churning with opaque, celadon-colored water. Up ahead, a simple footbridge provides shaky access to a village on the other side of the rushing water. This rudimental, two-tone overpass for feet is only inches above the torrent. I wonder how this humble structure supports even one person’s weight. A wooden stake driven into the mud at the center of the channel supports two boards. One plank from the far bank and another from the near side meet end-to-end on top of the stake where a few nails hold them in place. The shore ends of each plank simply rest on the boggy banks. The far plank has been painted blue, and the one on my side is pink. Every time I walk this path, I hope to see villagers crossing the precariously narrow footbridge because, compared to me, their surefootedness seems like magic.

A kerfuffle on the other side of the water draws my attention. I stop to watch. A boisterous crowd is gathering around a woman where the blue plank touches the far bank. She is wrapped in the pastel-colored apparel every woman on this humid island wears. She is gripping the handles of a wheelbarrow loaded with a bulging burlap rice bag, and she appears to be gathering her courage to roll the thing up onto the footbridge. The crowd, like the barrow’s driver, is behaving slaphappy-silly about all of this.

From where I am standing at the near end of the pink plank, I see the wheelbarrow-wielding woman take a deep breath. Then she squares her shoulders and bumps the wheel up onto the blue plank. She begins pushing the barrow across the footbridge, step after careful step. I expect the crowd and the woman in this small vignette to hush in trepidation, but I am still a newcomer to this culture, and I fail to anticipate their overarching sense of fun. Mirth fills the air as the woman reaches the midpoint of the sagging blue plank. She is smiling so broadly I can see her betel nut-stained teeth.

Something in my peripheral vision catches my eye. A half-submerged water buffalo is huffing up the channel, the occupied footbridge in its sights. Shouted warnings come from behind the woman. She chances a glance downstream, and immediately comprehends the danger. She begins moving faster. Back straight, arms wide, she leans forward and drives that wheelbarrow. I cannot tell if it is bravado or folly, but the woman kicks up her heels. She is dancing. She arrives at where the two planks meet. She staggers. She sways. The rubber wheel flirts with the edges of the wood. Bouncing over the protruding nail heads, the barrow crosses from the blue board to the pink. The crowd writhes. Their noise increases.

The snorting, wave-pushing buffalo and the optimistic, barrow-pushing woman are converging on the pink end of the footbridge where I am standing. In a few more seconds, either the woman will roll her wheelbarrow off the end of that rosy plank, or the lumbering beast will take out the bridge and its occupant. I step back to make room in case she makes it to where I am standing.

And then, just like that, she bounces her wheelbarrow from the pink plank onto the muddy turf right in front of me. The disappointed water buffalo lurches to a stop. Its wet nose is almost touching the plank. It is so close to me I can see the bristles on its snout. The woman takes a quick look at the water frothing around the animal’s broad chest before turning to me with an exultant smile.

Apa kabar! I am Sushila, daughter of Palan. Yesterday you buy li’l peeg from heem, yes?”

Before I can answer, a strident squeal emanates from the heaving rice bag in the barrow.

W Goodwin’s notable endeavors include building a 43-foot cutter and sailing it from San Diego to the Galapagos Islands and on to Hawaii (a living, moving work of art), venturing to the Aquarius underwater laboratory off Key Largo to interview the foremost expert on giant barrel sponges, and living for six months on the remote Brazilian archipelago of Fernando de Noronha. W’s written and visual art has appeared in many literary journals, the Museum of the Living Artist in San Diego, the Oceanside Modern Art Museum (California), many commercial art galleries, and Birmingham (AL) Children’s Hospital (4th floor Under-the-Sea motif). W has also been honored by the IUCN (Geneva) as Underwater Photographer of the Year 2011, by National Geographic with a first place in their annual photography competition (Nature), by Scuba Diving magazine with two first places, and by the International Symposium of Coral Reefs for Best in Show. The artist was inducted into the Ocean Artists Society in 2010.

Kenneth Henckel

The act of the year

Kenneth Henckel’s paintings show a surreal, subtle, sometimes tormented universe. He pictures anecdotes, crazy humor and modern everyday nightmares. Welcome to reality.

Sharon M. Carter

Blue Torch Cactus
Pilosocereus azureus

You were the camera’s darling,
favoring a three-quarter’s view.
This cactus reminds me of you—

its flowers, bridal veils trimmed
with fine hair. Your eyes echoed
by its skin’s deep blue. You gathered

a like-minded crew wherever
you roamed, lip-sticked cigarette
held askew, long conversations strewn

with bon mots. I hear you voice
from memory’s vault: Speak up!
Stand straight! Sometimes faint applause.

The hottest part of a flame burns blue—
that detail most reminds me of you.

Sharon M. Carter recently retired from a career in healthcare. Originally from the U.K., she currently lives on the Olympic Peninsula. Fortunate recipient of a Hedgebrook residency and Jack Straw Writers program, Sharon has had her poems and art published online and in many journals including Pontoon and Raven Chronicles Press’s Take a Stand: Art Against Hate Anthology. Her poetry book Quiver was published in 2022.

Sylvia Byrne Pollack

Winter Solstice, Unfolding

Someone gets up early   paints
               the sky luminous blue

hangs the sun as far south
               as it can go    Longest night

balanced by brief glorious day
               one of life’s trade-offs

Today is a triumph   azure skies
               crisp temperature   it’s time

for dreams    They come out of the blue
               bizarre or grotesque   you don’t get to choose —

falling or flying or dying   prancing naked
               failing tests   getting pregnant

images in primary colors   or soft subtle shades.
               images retrieved from your memory’s vaults

Petra   Big Ben   Cayuga Lake
               Faces of mother   lovers   pets

show up out of context   but it’s clear
               who they are    At this time when the scrim

between their world and ours stretches sheer
               your dear departed ride the memories in

play at Escher or Pollock or Picasso.
               fill the canvas of your brain with their art

The poems of Sylvia Byrne Pollack, a hard-of-hearing poet and retired cancer researcher, appear in Floating Bridge Review, Crab Creek Review, Wild Roof Journal, The Stillwater Review and many others. A two-time Pushcart nominee, she won the 2013 Mason’s Road Literary Award and was a 2019 Jack Straw Writer and a 2021 Mineral School Resident. Her debut full-length collection, Risking It, was published by Red Mountain Press (2021). Visit her at www.sylviabyrnepollack.com.

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