Cover image: "Detritus" by Kathy Haynes

Gallery 2

Ahimsa

Lisa López Smith

Thankfully

Thankfully my ancestors also walked into the unknown

of a new country, spoke a new language;

I too, and had to learn to herd sheep, ride a horse bareback,

diagnose goats, how to bottlefeed rabbits, deliver lambs,

move cows up to graze, how to live a lifetime

away from Starbucks, parallel parking,

grocery stores with air conditioning and full shelves.

Thankfully comfort is disposable.

Thankfully there is a gap between solid ground

and learning to sing;

thankfully singing can keep us afloat.

Thankfully we only get to see one step ahead by starlight,

dim enough to make out the guamúchil tree

and where hope waits.

Thankfully I can navigate this ship with sextants

and the distant orchestra of crickets in the back.

Thankfully the guinea fowl can defend themselves.

Thankfully there’s half a sign, and the children can interpret well.

Thankfully I can get by with the light of a poem, one step at a time.

Thankfully this isn’t a test run.

Thankfully the answers aren’t required.

Lisa López Smith is a shepherd, writer, equine therapist, and mother making her home in central Mexico. When not wrangling kids or rescue dogs or goats, you can probably find her making magic in the kitchen or the backyard! Recent publications include: Huizache, Live Encounters, and The Normal School, and some of these journals even nominated her work for Best of the Net, Best New Poets, and the Pushcart prize. Her first chapbook was published by Grayson Books in 2021.

Dana Kinsey

My Classroom Needs a Baggage Claim

You scurry to check-in
               stack luggage
between us
               tall leathery walls
cumbersome trunks
               questions bulging
                                                         out the sides

We strap down our pasts with bungees
               so nothing delicate unfolds.

We hand over our devices,
               but what can airport x-rays see?

Do                       you                       know                       me?


Because I don’t

                                             know you yet.

Give me your heaviest
               bag, the one that cost
extra      wrenched your back
               as you bore it
through dark tunnels
               to reach the gate.

There’s just us now,
              dying to go far          away
                           places together
                                             find space to rest our heads
                                                                                                        in flight.

Dana Kinsey is an actor and teaching artist published in Fledgling Rag, Drunk Monkeys, ONE ART, On the Seawall, West Trestle Review, MacQueen’s Quinterly, The Champagne Room, Star 82 Review, SWWIM, Wild Roof Journal, Prometheus Dreaming, Prose Online, and more. Her poem “Show Me, Earth, Your Day” was a finalist in Sweet Lit’s 2023 poetry contest. Dana’s play WaterRise was produced at the Gene Frankel Theatre. Her chapbook Mixtape Venus is published by I. Giraffe Press and was selected as a “Best Dressed” feature for The Wardrobe at Sundress Publications. Website: www.wordsbyDK.com.

Ethan Mershon

Breaking Storm

The morning almost makes me forget
                the floundering– Last time I waited until everything
                               exploded– Shaken soda.
My psyche is a galaxy, it swirls, it crowds, it wants to love, it wears many hats,
I approach my next supernova.

                Where now is the light brigade turning the tide? Did it forget to charge?
                I treated myself as a means to an end, after promising not to.
                Give me a light– I’ve been putting gasoline in my bicycle.
                I smashed my mental guitar, then asked for another song.
                I plugged in my phone, but it forgot
                                              to charge–

Stars shining over Riverside, stay this madness!

Recalling a fevered Iowa diner with my Mother–
                She was scared– I was manic–
                Flashbacks are random hand grenades.
                               It’s a different insanity every two years

                                              or so. I keep seeing

the image of a man, his head changing from an eagle to a buck.
                In one hand is an emerald necklace. In the other, a goblet of water.
                He wears a breastplate. He wears a skirt.
                               He exists in a ring of fire, dropping the goblet, pointing right at me as it shatters–
I didn’t mention it. I walked out of the house, alone in the cold and stars.

                               This is America– A bottle.

I see a friendly dolphin wearing flowers– Cupid’s arrow stabs it in the brain.

                               That’s show-biz.

                Fine. I’ll stab Caesar myself.
                I am the Judas to my Jesus. I am the star-crossed lovers.

                                                             Once
I passed out on the concrete floor in a church building
                surrounded by mimes without make-up, speaking concern.
                               Don’t make a big deal out of it.
As we say in the industry– Stand
facing the wall
with your hands at your side.

Harsher and harsher weathers– The engine light is on
so turn up the Music. This is America.
The senses, the seasons, the animals
will be obliterated.
Already blind, tell-tale dying.
I am the Earth, you are the Earth, we are not important.
We are not allowing ourselves to be important.

This isn’t over.

Ethan Mershon is a poet living and writing in Wichita, Kansas. He has previously published a poem with The Paris American.

Laura R. McCullough

Two Witnesses

Discovery, and the Garden of War

They sing in the silence, these
inheritance hymns. Demanding

a mooring while eating the
ground. The bowl of her

palms would cradle
the moon, but my

hard crescent of temple,
jawline and wingspan

could never accept the rest.
Arms twining and out –

stretched, rather grappling
[hungry] for a Swan stance,

the Owl and the breathe
deep. With a canvas left

blank and painted hands, we
learn empty from the nesting

trees and flight from
voices like our own.

Laura R. McCullough is an artist and writer happily nestled with her family in the North Georgia mountains. A “lover of faith and believer in what is beautiful,” she and her husband work in ministry and music in their community. Laura uses her writing and mark-making to explore how deep wounds can make room for the deepest roots. Her work has been published in journals such as Rattle Magazine, The Blue Mountain Review, Right Angle, and Solum Press, and her artwork is featured in several regional museums and galleries.

Brent Atkinson

Spanish Hollow

Marlon stood waist-deep in Oregon’s Sandy River, scrubbing the dirt and sweat and stink from his skin. He glanced down at his tanned midsection, drug a finger over his ribcage. Like a baton across the bars of a jail cell.

He stood just outside of a shadow being thrown off by the Stark Street Bridge. The August morning sun was radiating a warmth that he knew would make for a hot afternoon, particularly once he crossed the Bridge of the Gods onto the sunbaked Washington side of the Columbia River Gorge.

He finished washing himself and walked up out of the river, a river whose sand suctioned his feet, trying to keep him there in its water. Before pulling his shirt on, he tucked his chin to his chest, noticing a cigarette burn on his right pectoral. He couldn’t remember how he got it.

Each day, he rediscovered his own body, peered out the window of consciousness as if for the first time. He had some memories, mostly in the form of knowledge, but it was all disjointed, out of order, in no way a straight line, no structure with which to form an identity. A photo album that’s been dumped on the ground. He knew this wasn’t normal, but whatever caused his mind to work in this way, well, that was one of the memories he didn’t have access to.

Some part of his mind would occasionally crop up—almost as if it were another person—and try to arrange these memories, and to recall those beyond recollection, attempting to formulate a Self. A personal narrative, a cohesive definition, of the word Marlon.

Then, like a stranger ducking down a dark alleyway, the part would dissipate, and Marlon would feel the wind in his hair, smell the butterscotch of a ponderosa, watch the sun fall off the edge of the earth, and once again, he existed as nothing more than a cloud of sensory experience.

Washed and dressed, he lit a cigarette, climbed onto his bike. He noticed movement in the devil’s club at the edge of the road. Garter snake. An earthy, slithering body disappeared into the brush. Time to go. He puffed clouds of smoke as he started east down the shoulder of the old, mossy Columbia River Highway, caught in an undulating tunnel of emerald.

*

Marlon boarded the Bridge of the Gods around noon. His tires vibrated over the bridge’s steel-mesh surface. There was a semi behind him, but the bridge was narrow, no shoulder, so Marlon rode in the middle of the lane. He imagined the semi grumbling behind him to be a dragon, nipping at his back tire. He pedaled harder, the muscles in his thighs and calves burning. He imagined liquid flames erupting from the mouth of the steel beast behind him, eviscerating him.

He glanced over his shoulder. As he did, the trucker waved. Marlon knew that wave. It communicated that it was alright, don’t sweat it, I won’t run you off the side of the bridge, I won’t blow my horn to try and scare the shit out of you, I won’t shoot flames up your ass from the mouth of this dragon I’m saddled to. Take your time, buddy, you’re working harder than I am.

With a beaming smile, Marlon refocused his gaze on the road ahead, then raised an arm and returned the wave in the most emphatic way he could manage. A few moments later he was in Washington, where he’d ride along the Lewis and Clark Highway and watch grain barges float toward the ocean for the next six hours. The evergreen woods would slowly give way to white-oak forests, and once he passed White Salmon the forests would concede their shade to the sagebrush and bunchgrass and dry heat.

But he’d get there, he’d reach that bridge at Celilo Falls, and he’d cross back over the rolling Columbia, he’d return to Oregon, and he’d make it to where he’d camp that night: Spanish Hollow.

*

Marlon rested his bike against a beige railing and looked east toward the massive L-shaped concrete structure that ran from one bank of the Columbia to the other: a hydroelectric dam. He was standing near the halfway point of the Dalles Bridge, staring at what once was Celilo Falls but was now a reservoir, inundated by the dam. He tried to imagine what this place had been before, back when the river was narrower, the water more swift and raucous, carrying a volume that rivaled that of nearly any waterfall in North America. He wondered about the ancient, submerged graves of American Indians behind the dam, people from tribes such as the Yakama, Nez Perce, and Warm Springs, who had been fishing those falls on treacherous overhangs for thousands of years. Legend had it the salmon once ran so strong a person could walk across the river on the backs of jumping chinook.

He didn’t know if souls existed, but if they did, he wondered if the souls of those people had been trapped down there in the reservoir on the other side. He wondered if his own lost and rearranged memories were submerged in his brain in a similar way. Maybe they still existed, floating around just outside his ability to consciously recall them, trapped behind a wall of stardust.

Or, maybe they never really existed in the first place, not in a way that a person can actually hold onto. Maybe memories were just former versions of ourselves that were endlessly, simultaneously, being born and killed in each instant. Maybe the separation between life and death was not a binary, but the two states danced on the same plane, divided by nothing more than illusory veils.

In other words, maybe a soul had nothing to do with any of it. Maybe it was all just energy and matter, matter and energy in a constant state of transition, transformation, a secular, spontaneously-occurring form of transubstantiation.

He climbed back on his bike. He didn’t have far to go.

*

“This fucking desert is what’s oppressive,” the shirtless man with skin like leather said to the man with a gray beard and hair like Einstein. “It pushes down on you like a big hot ball of foam, and it doesn’t let up until you find shade.” The shirtless man patted the trunk of a lonely, drought-stricken white oak. It was the only tree on the sun-bleached bluff, baking in the triple-digit heat. “But, if you find shade, you’ll be alright.”

Marlon didn’t know the men’s names, so he’d just been thinking of them as Tanhide and Graybeard. Tanhide appeared to be closer in age to Marlon than Graybeard, who Marlon figured was somewhere between sixty and ninety. Marlon didn’t know his own age. Thirty-six? Forty-seven? It didn’t matter.

“Bullshit! This heat ain’t oppressive. The heat is the heat is the heat. It’s the damn corporations that are oppressive! It’s ExxonMobil and Amazon and Walmart that are oppressive! It’s Soros and Zuckerberg and that spaceship jackoff!” Graybeard stamped at the gravel, threw his hands in the air. “It’s Trump and Biden and the Clintons and the Bushes and all those fucking suits that are oppressive! The goddamn oligarchy! You think they care about you? Do you? They don’t care about you and they don’t care about me and they don’t care about him”—he pointed at Marlon, who was sitting on a rock, plucking at a mouth harp he’d found in the ditch—“and they don’t care about no damn hot foam ball pushing down on your skin-cancered ass.” He took a great gasping inhale at the end of his rant.

Graybeard wore a threadbare t-shirt that had an infamous photo of Woody Guthrie screen-printed on it, the words “This Machine Kills Fascists” scribbled on the face of the guitar in Woody’s hands.

Marlon continued plucking, only half-listening to the two men he’d met an hour ago. He’d camp with these men tonight—these fellow societal opt-outs, these dirt-smeared, ditch-riding philosophers—on this sagebrushy bluff where dry, stiff-stocked ryegrass stood waist-high and slowly starved out the rabbitbrush.

He had arrived at Spanish Hollow in the late afternoon. The signs at the freeway exit read Biggs Junction, but “Biggs” was just the name of a man who had named a place after himself. Marlon knew it as Spanish Hollow. He knew a story of how it earned that name, long before the name of the settlement was changed to Biggs Junction. He didn’t know where he’d heard it, but it was one of those memories logged in his brain, a memory that kept him returning to this place.

The story went that a Spanish ox had died there. A wagon train of pioneers on the Oregon Trail had a run-in with a rattlesnake den, and the ox had been sacrificed to a throng of vicious, venomous serpents. So the pioneers did the only sensible, European-minded thing they could think of: they immortalized the beast by naming this nameless, godless place in its honor.

Maybe the story was true, maybe it wasn’t, but a story about an ox killed by rattlesnakes on the Oregon Trail was a good one, and Marlon wondered if that was all that mattered.

“—it was an old-timer telling me about it. He was from one of the tribes around here. Umatilla, I think.”

Marlon turned his attention back to the talking men.

Graybeard went on, “He was talking about this big waterfall used to be there at the Dalles Dam. Can’t remember the name of the falls, though.”

“Celilo Falls,” Marlon said, the mouth harp still pressed to his lips.

“Yeah, Celilo. But before that it was called something else…Wyam. Yeah, Wyam. It means ‘water crashes on rocks,’ or ‘sound of water on rocks.’ Something like that.” Graybeard shook his head. “But see, that’s what I’m saying. I been livin’ in Oregon all my life, and I’d never heard any of that. No one knows. They just know the dam. Don’t think about the salmon or them tribes who fished there for however long, none of that. Don’t care. Progress, they call it. They kill folks and flood their homes and they block the fish that keep the forests and oceans alive and they call it progress.”

“What do you mean they don’t talk about the salmon? Folks are always screamin’ about the salmon,” Tanhide said.

“Yeah, and they get laughed out of the room!”

“What about the fish ladders?”

“Fish ladders ain’t doin’ enough!”

“I don’t know. The dams brought a lot of good,” Tanhide said. “Prosperity.”

“Prosperity? Good? How prosperous are you? Livin’ on the shoulder of a highway.” Scoff. “You think forests dying upstream are good? Them trees ain’t got no salmon to eat!” Graybeard set in on another lecture.

The sun fell completely below the hills of the Gorge in the western distance, turning the August sky into a layered, pastel cake. Powder blue at the top, morphing into a light ginger, then to ochre, and to pink; a deep burning red settling at the bottom. The heat, the place, the warble of the harp, all of it, combined with thoughts of names and dams and the land having its blood drained and ceremoniously drank by its occupants, it all led to a sadness that formed as a heavy ball in his gut.

Then, the stranger in his mind emerged, stepping out of that dark alleyway. Marlon pulled the harp from his mouth, stared at the saliva on it for a moment.

“Hey,” Marlon said in the direction of Tanhide and Graybeard, who were still arguing. They didn’t hear him.

“Hey!” Marlon said, a bit louder this time, to no avail.

He flung the mouth harp in their direction. He intentionally missed, throwing it between the two, the instrument cracking against the trunk of the white oak. The men paid him their attention.

“This place.” Marlon got to his feet. “Its name isn’t Spanish Hollow.”

“Yeah,” Tanhide said. “It’s Biggs Junction.”

Tanhide and Graybeard stared at him, looking confused.

Before that. Before Biggs Junction, this place was named Spanish Hollow. Not just the canyon down there, this whole place. But before that, it was nothing at all.”

Tanhide shuffled on his feet, frowning.

“This place didn’t need a name. It was just water and dried-up lava and sagebrush. And there was the big waterfall downriver where people fished and fed their families. It wasn’t new and people didn’t get lost trying to find it, because they never really left. They’d leave for a while, but they always circled back. They always came back. This place was just…here.” Marlon blinked hard. “Everyone who knew of it already knew of it and they didn’t need to name it because it was just another part of themselves. The separation between them and where they lived, it didn’t exist. Doesn’t exist. That separation, it’s an illusion.”

“Are you high?” Graybeard asked.

“No.”

“Then what the hell are you talking about?”

“The Indians. They didn’t need to name those waterfalls. They just called it what it was. ‘Sound of water on rocks.’ That’s just a description. It’s, ‘that spot over there where we do this thing that feeds us.’ They weren’t apart from it. They were a part of it.”

The men stared at him, expressionless.

“Look, you don’t have to name parts of your body, right?” He reached down and grabbed his own knee, flexed it. “You don’t have to give this a name. You just borrow it for a while, and it gives you what it can, you use it as long as you can, then someday, you give it all back.”

“That’s got a name.” Tanhide pointed at Marlon’s knee, then crouched down, cradling his chin between his thumb and forefinger in a way that looked absurdly contemplative for a wild-haired shirtless man with leathery skin. “It’s your knee.”

Marlon shook his head. “No, my knee is a knee like this bluff is a bluff and that sagebrush is sagebrush. Just parts of something bigger, something collective. Not a name.”

“Hmm,” Graybeard said, leaning against the white oak. “I think I’m pickin’ up what you’re throwin’ down.”

“See?” Marlon said to Tanhide. “He gets it.”

“I get it, I guess.” Tanhide stood back up. So did Marlon. “But…who cares?”

“I think…I think it speaks to something deeper. Something bigger.” He thought for a moment, fingered the cigarette burn on his chest, the pain not registering. “I think there’s some difference between people who name things after themselves, versus people who just call things what they are. Says something about how important they see themselves.

“I think people who name things what they are, people who call a waterfall, well, essentially, Waterfall, maybe those people don’t really see that separation between themselves and that place. Makes them, you know, makes them care about it in a different way. It’s not their waterfall to do with what they wish, they don’t own it like I own this shirt. It’s a part of the system, this system that’s bigger than them, bigger than just their community. A system that holds everything together. Keeps life flowing.”

“Ok,” Graybeard said. “So what about the others?”

“Well, I think, maybe these other people see things a little differently. Feel entitled, entitled to keep things for themselves. If they name a waterfall or a mountain or whatever after themselves, or name something in a way that says, you know, I own this thing, then maybe they don’t treat it the same way. Maybe instead of living with it, they use it. Maybe they’re like, ‘I’m gonna use this thing in a way that’s good for me, and it doesn’t matter if it’s good for anyone outside my little circle, because, you know, it’s mine.’” Marlon winced, the pain from the burn on his chest finally registering. “Maybe they see themselves as more important than the system. Bigger than everything around them. And maybe that just serves to hurt them, because it hurts the system, breaks a link in the chain, and if enough links are broken, maybe someday the system will, sort of, collapse.”

The men sat and thought in silence for some time. Eventually, the crickets began to chirp. Darkness enveloped the bluff. Night fell, and the men began to stir again.

Graybeard and Tanhide started a fire, cooked a can of pork and beans. They asked Marlon if he’d like some. He thanked them, said no. He turned from the men, sat down next to the boulder, leaned into it. The sky slowly turned to an endless basket of stars that hovered in the desert night. Marlon watched more and more of them appear the longer he stared into the past.

*

At a different point in space and time, Marlon stood in a light-rail car as it slid through the city of Portland. He was on his way home from his 9 to 5. A man stood nearby, wearing a tattered yellow t-shirt with a coiled snake on the chest, the words DON’T TREAD ON ME written below the serpent. The man stepped close to Marlon, and Marlon could smell the liquor on his breath, and the man told Marlon he would drive a knife into Marlon’s ribs if he didn’t hand over his wallet. Marlon, a young man, full of pride, refused, and he pushed the man, and they fought, and in the struggle he fell, and his head struck a seat ledge, and his brain bounced off the sides of his skull, and he was asleep for many days.

When he opened his eyes, Marlon was no more, and for the first time, he was awake.

Brent Atkinson lives outside Pasco, Washington in a little farmhouse with a leaky roof and sixty-mile views. He writes about the rural working class, the environment, and mental illness, among other stuff he finds interesting. His work has appeared or is forthcoming in Wild Roof Journal, The Blue Mountain Review, BULL, and Tumbleweird. He holds an MFA in Writing from Vermont College of Fine Arts. You can find him at www.writerbrent.com and on Instagram.

Shara Janae

Underneath

Brooding, sticky skin, a sunscreened honey
bun, brown as a berry, My mother would say
cool water rinses beaded lip and lycra
I lower myself into deep clear blue
hair spreads like a mermaid’s
hear the siren song to Ophelia
to Madame Pontellier
I dream of water
of rocks in my pocket
an upturned awakening
I dream of
                                   deep
                                             deep
                                                       deep

               of impossibly large fish,
of orcas in a tiny pond
vast underneath.

Shara Janae is a teacher and mother in southeast Tennessee. Her writing has appeared in Poets’ Choice, Black Fork Review and Catalpa Magazine. She holds an MFA in fiction and is currently trying her hand at community theatre.

GJ Gillespie

Green Goddess

GJ Gillespie is a collage artist living in a 1928 Tudor Revival farmhouse overlooking Oak Harbor on Whidbey Island (north of Seattle). In addition to natural beauty, he is inspired by art history — especially mid-century abstract expressionism. A prolific artist with over 20 awards to his name, Gillespie’s work has been exhibited in 62 shows and appeared in more than 120 publications. Beyond his studio practice, Gillespie channels his passion for art by running Leda Art Supply, a company specializing in premium sketchbooks.

Ibby Lanfear

On finding a young porpoise’s skeleton on the beach

We find you amongst the feathers and plastic rope of the high-water mark, in the driving rain of an August bank holiday weekend. An offering of the last spring tide. Mammalian ribs and the remains of a tail, you might have been a mermaid. Your severed skin, placenta-like, lies a distance away, and the smell surprises me. It could have been roe deer, or fox. Or human.

Your head has been taken, and your spine has been worried by dogs. I lift you, heavy bones and heavier scent, and carry you a short distance to the shelter of a rock. We draw curious stares and the children move further away. You are infinitely precious and I am overwhelmed by the urge to protect. You settle into the soft sand and your ribs remind me of my father’s, last breath breathed, on a rainy Tuesday morning weeks before.

The children are swimming now. Lithe bodies dancing and diving in rough seas. Your vertebral curve lies beside me, earthbound, and it is as though they have slipped into your skin and you have lost theirs. And I wonder if your mother is watching my children as I am watching you? Does she sense the leaden quiet of these bones, or is she calling for you still? I trace the ribs that held your heart and my daughter’s laughter catches on the waves.

It’s time to leave and I am torn. I want to keep you close. To keep you safe from shallow eyes and unkind teeth. To take you home and draw you before offering you up to a fierce tide in a winter storm. But the law denies it and anyway your mother haunts the rain. So I leave you. In the shadow of that rock half buried in a hurried grave. An incitement to the sea and some small shelter from the limitless inquisition of the dogs.

My old coat is full of you and in the car the children complain. The smell is surprising. It might have been fox, or roe deer, or human. I can feel the heft of you in my arms and I pray for a savage wind. For the quickening of the waxing moon. For the summoning of the waves that will curl and carry you, dance clean your bones and call your kin. And I think of your mother, and your never-born young, as mine bicker in the back and the rain slants the headlights on the road.

Following a degree in Art History and English at York University, UK, Ibby Lanfear trained as an easel paintings’ conservator at the Courtauld Institute of Art. Since graduating in 2004, she has worked as both an artist and a researcher into paintings and collections. She is particularly interested in the history of making, and in the human relationship with materials and the natural world in the creation of art and telling of stories. Currently undertaking an MA in Arts and Ecology, her practice focusses on the interwoven narratives of the human and more-than-human. Instagram: @ibbylanfear

John Tessitore

Sweet Jain

I’ll tread carefully now, having noticed
the quicksilver slime, the metallic webs
and veins they trailed across dead leaves
overnight like a marching band crashing
a funeral, a shine in this brown corner
of the yard where I pile the slag as if
it were his burial, like the dirt beside
my father’s grave as we stood there holding
cut flowers, waiting to be told when to pray.

This darkness is home again to the spirit.
Life keeps finding its way back to this place,
and I notice. But why am I always surprised?
I have passed through this moment before,
seen the signs with my own eyes, the subtle
ways that nature ignores us. I remember
the tiny snails, cousins to these, that galled
the family long ago, merely by their
presence as uninvited summer guests
to the spacious suburban manse in Queens
(such a leap, leaving the tenement at last
for a backyard patio redwood fence).
Lost, or so they seemed to me, astray, and
even then I was trying to imagine
their shock every evening as they slid
from the swampy earth to a hot sidewalk,
a lick of lawn, gardens of imported stone,
every Our Lady streaked, sparkling with mucus,
faces criss-crossed not with tears of mourning
but the snails’ sluggish confusion as they tried
to climb their way back to…where? To heaven?
(I’m sure some had been climbing for three cycles
or more.) Did they feel their time was wasted
as they wandered a shallow wasteland?
(How my father would mock that tacky borough
as he drove us all back to Long Island.)
Did they consider it a tragedy,
as I did, a maternal little boy
so eager to cry, sensing an ancient
anxiety in the humid reek,
feeling the fear of every frog who hopped
out from under his foot—a lover
of the spider in the geranium,
a protector of the earthworm, always
trying to make new friends? Come all ye thin
and sickly bees to find your purpose
in this small patch, thick with impatiens.

So look here now. See the slick scar across
my chest. See how the wound widens. The pain
is worse every year. Ahimsa becomes
a flood as I age, having lost so much love
like a slow leak, and this is also satya,
knowing that so few care, that no one asks
who else once lived in that house anymore,
before the new carpet was installed,
and the new cabinets, and the grottos
for different saints. Knowing the snails suffer—
pollution, poison—but knowing the mire
abides, if only in my blood. And knowing
that I am far away, having left all
the survivors behind, having avoided
the fray, and now stand completely still
over a pile of refuse, branches, grass
clippings, so quiet beneath the poplar
in my own backyard, its coin leaves ashimmer
in the sun, and so much wealth misspent,
and so many souls gone, that this lightning
iridescence is a puja, and today
is the final day of a too-long summer.

John Tessitore has been a newspaper reporter, a magazine writer, and a biographer. He has taught British and American history and literature at colleges around Boston and has directed national policy studies on education, civil justice, and cultural policy. He serves as Co-Editor Across the Pond for The Wee Sparrow Poetry Press. His poems have appeared in The American Journal of Poetry, The Wallace Stevens Journal, The Ekphrastic Review, Boats Against the Current, Wild Roof and elsewhere. His chapbooks, novella, and podcast are all available at www.johntessitore.com.

Lisa Sewell

American cherry tree, Plate 17
          Maria Sibylla Merian’s Metamorphosis insectorum Surinamensium

The tent caterpillars
               with ultramarine skins
wore black chains

               lodged with pearls, and having
devoured the sweet leaves
               of the sweet cherry tree

devoured each another
               in July. The victor spun
an oval bright as silver

               and changed into a moth
with two meagre markings
               on its dull beige wings.

She wrote it all down
               in her notes and etched
their elaborate caterpillar markings

               in the Suriname book
but had little to say
               or paint about the Amerindians,

               Warao, Caribs or Arawaks
(who would not be
               enslaved and broken

on the sugar cane plantations
               along the river), who
brought her strange, furred

               and venomous caterpillars,
iridescent beetles
               wrapped in leaves. Did they

bring them as offerings? Did she
               pay? Was the African who earned
a short note and her gratitude

               for macheting a path
through the impossible,
               and helping her search

for insects not gold a human gift
               supplied by the Governor?
She had nothing good

               to say about her fellow colonialists
and never painted or drew
               the tufted grassy sugarcane,

opportunistic and burgeoning
               in yards and between
houses. The Grammia

               caterpillar that can demolish
a whole field of cane does not
               appear in her book (the plants

must have been everywhere).
               But she was one of them, witness to
the hook, the irons, burnings

               and rebellions. The torn and lacerated
leaves she and her daughters etched
               onto vines and branches, the ravenous

slugs and other bloodless creatures,
               pale, white or wildly colored—
were rapacious but not cruel

               and so like the grimacing
Dutch faces of the overseer,
               face in the window glass or mirror.

Once the hunger stops, once
               they spin or molt into
a clean and sober pupa

               or chrysalis, Merian’s images
insist, the caterpillars
               renounce avarice and excess.

               Everything is redeemed,
and God’s creation, they
               rise up to God on wings.

Lisa Sewell is the author of several books of poems, most recently Impossible Object and Birds of North America, a collaboration with artist Susan Hagen and poet Nathalie Anderson. She also co-edited several collections of essays on contemporary North American poetry and poetics, including American Poets in the 21st Century: The New Poetics (Wesleyan) with Claudia Rankine and North American Women Poets in the 21st Century: Beyond Lyric and Language with Kazim Ali. She has received grants and awards from the Pennsylvania Council on the Arts, the National Endowment for the Arts, the Leeway Foundation, and the Fine Arts Work Center in Provincetown. Most recently, her poems have appeared in Harvard Review, Ploughshares, Laurel Review, and Denver Quarterly.

Jocelyn Ulevicus

Sunlight Over The Mountain Meadow Where I Go To Sleep

Jocelyn Ulevicus is an American artist, writer, and poet. Her work is either forthcoming or published in magazines such as SWWIM Every Day, The Laurel Review, The Free State Review, and elsewhere. Ulevicus is a Best of the Net, Best New Poets, and two-time Pushcart Prize nominee. Her first collection of poems, The Difference Between Breathing and Swallowing, was recently published by Saturday Morning at the River Press. Ulevicus loves weightlifting and ice cream, and her favourite quality in a person is kindness to strangers and animals. Instagram: @jocelyn.ulevicus

Glenda Goodrich

Belonging to the Land

Body of earth . . . Tell the story of pure mirrors. The Creator has given you this splendor. Why talk of anything else?     —Rumi

Unbuckling my hip strap, I twisted to balance the pack on my hip and lowered the bulky bundle to the ground. The size of a small child, the pack held everything I’d need for my stay in Death Valley: sleeping bag, sleeping pad that folded into a camp chair, flashlight, hairbrush, toothbrush, toothpaste, down jacket, sun hat, long underwear, one extra pair of pants, one extra shirt, underwear, socks, flip-flops, small first aid kit, pocketknife, water bottle, journal and pen, and a collection of small personal items for an altar. I had packed four gallons of water out to my canyon questing site, two at a time, the day before.

The rising sun cast a narrow flamingo-pink strip under a stratum of surging gray clouds. To the north, the fan-shaped alluvium wash disappeared into a V with a fifty-foot sheer rock wall on each side. To the south, great aprons of rocky debris spread out toward the valley floor. Beyond, the cascading ranges of the Panamint Mountains towered in the distance. This was Hanaupah Canyon, the remote, desolate place where I would live for the next four days.

I fished a bottle out of my pack, twisted the lid off, and took a long drink. I’d been instructed to drink one gallon of water every day to flush toxins from my system and stay hydrated—my wilderness quest guide’s voice played in my head: You want C2P—clear and copious pee. Even in November, daytime temperatures in Death Valley ranged as high as ninety degrees. The water was my lifeline in this desert.

I stood there, surrounded by millions of rocks in all shapes, colors, and sizes—boulders, stones, gravel, and siltstone. I was dwarfed by the immensity of the place. I had brought myself there for a reason. And I was terrified.

At midlife, divorced, my children grown and on their own, I was searching for meaning and a remedy for the unnamable longing that had led me into a series of disappointing relationships. The trauma I had experienced in life—teenage motherhood, marrying abusive men, and serial infidelity—left me with lingering shame and self-doubt. I’d gone to therapy and read a dozen self-improvement books. I’d sat in women’s circles, shared my deepest secrets, and listened to others share theirs. Still, something was missing.

More importantly, I wanted to do something meaningful for my fiftieth birthday. A wilderness quest sounded like exactly the right thingmysterious and challenging with the promise of spiritual growth and insight.

What healing gifts would nature bring me if I opened myself up to the possibilities?

In the months before the quest, I lost my nerve. I was an experienced camper and backpacker, but the idea of spending four days in isolation without food was unnerving. I had already paid the deposit and told all my friends; I couldn’t back out. So I gathered up my courage and showed up. I flew to Las Vegas, rented a four-wheel-drive vehicle, and drove the scenic road west through Red Rock Canyon to Death Valley.

There were two other questers with me on this journey. Karen, a university executive from the East Coast, was questing up the canyon a quarter mile to my right. Debbie, a psychotherapist from Southern California, made her camp three-quarters of a mile down the canyon to my left. Linda and Sara, our guides, held vigil back at base camp, a half mile away on a flat sandy rise.

I wiped drips of water off my chin and caught the faint smell of sage smoke on my hand from the send-off ritual that morning. I remembered Linda and Sara draped in shawls as they fanned sage smoke, prayed over me, and sent me on my way.

“May you get all that you need from your solo time on Mother Earth,” Linda whispered into my ear.

“Blessings on your journey,” Sara said.

After the send-off and with my heart fluttering in anticipation, I loaded up my backpack and headed west toward my site, or power place as the guides had called it.

The memory of the morning sent a surge of loneliness through me. I already missed Linda and Sara and the other questers. I brought my arm to my face, inhaled the musty scent, and looked around at my surroundings. Ton upon ton of rocks spread around me like eons of ancient volcanic memories. I had no tent and no food because exposure and fasting are integral parts of a wilderness quest. It would be the first time I’d attempt to go without eating for longer than five or six hours, let alone four days, and I wondered if I was up to it. I wore an emergency whistle on a lanyard around my neck.

A line from a Mary Oliver poem popped into my head, offering momentary inspiration: When it’s over I want to say all my life I was a bride married to amazement. I was the bridegroom taking the world into my arms. I had come this far; I would let the Death Valley marriage dance begin, for better or for worse.

I scanned the canyon where I stood, and noticed, for the first time, that my fasting solo site was, regrettably, on a downhill slant. Every traverse across the wash would involve walking cockeyed over the rocky scree. Why hadn’t I noticed the slant when I chose this site?

Our two guides had explained to us three questers that choosing our power site, the place we would spend our solo time, was an essential part of the ceremony. We were to spread out and let intuition guide us to a place no farther than a mile from base camp. When we found a place that felt right, we were to approach, ask for permission from the plants and animals to be there, and wait for an answer. The answer might come in the way of a sign from nature or from inside us. The idea of nature as a conscious being with a voice and an opinion was new to me, and I questioned whether it could be true. But the more I thought about it, the more it felt right. It was as if something I had known as a child, but had forgotten as an adult, was coming back around.

On the afternoon the guides sent us in search of our spots, hot and tired, I found this canyon about a half mile from base camp. I chose it because the fan-shaped wash offered early-morning and late-afternoon shade. I didn’t remember to ask permission to stay there and didn’t notice at that time that the canyon wash was at a gradual downhill angle. I had already messed things up and had only just begun.

Damn it. This wasn’t a good site. I should move, I thought to myself. No, I couldn’t move. My guides had made sure they knew where I was, had even drawn small maps with location X’s. I was too embarrassed to consider what would be involved in moving. I perched myself on a rock. Pleading ghrelin growls from my stomach announced the first twelve hours without food. Could I do this? Four days alone in a slanted gravel wash with nothing to eat? No one to talk to?

The guides had instructed us to walk, rest, contemplate, watch what was happening in the natural world around us, create ceremonies, and write in our journals. With only rocks around me, I couldn’t imagine anything much to watch in the canyon. On the positive side, even if the time didn’t result in any spectacular insights, I might at least lose weight, and walking through the loose pebbles would be good exercise.

A strong wind whipped through the canyon, blew off my sun hat, and carried it to a nearby rock where it pressed flat against the stone. The wind dropped as suddenly as it had begun, leaving an eerie stillness. There didn’t appear to be another living thing, only me, the rocks, and the hot wind. I bent to pick up my hat and felt my glasses slip down my sweaty nose. How long, I wondered, before the sun goes down?

I considered putting my pack on and slipping back into base camp, like an errant pet with its tail between its legs. What the hell was I thinking? There had to be easier and less risky ways to come to terms with who I was at midlife and what I wanted for my future. I could be home sitting in my favorite chair sipping tea. I had never even spent a whole night outdoors by myself, let alone in a place called “Death Valley.”

Glenda Goodrich (“GG”) is an artist, art doula, writer and SoulCollage® facilitator working on her book, Solo Passage: 13 Quests, 13 Questions, which will be published by She Writes Press in fall 2023. Her practice of isolation, fasting and prayer in the wilderness over the last 20 years have deepened her relationship to herself and wild places. Her writing reveals the healing and restorative power of the natural world. GG lives in Salem, Oregon and spends her time creating and teaching art, writing, hiking, gardening, and spending time alone in the wild. Website: www.glendagoodrich.com / Instagram: @glendagoodrich

F.D. Jackson

Red

I want to paint the lizard that lives
under the baseboards in my garage.
His body is the color of charcoal, outlined in black.
His tail the richest deep purple one could imagine.
I want to mix blues, reds, and water until I create
the dark passion purple of sacrifice,
the color wrapped around crosses at Easter.
Take my brush and splatter palest turquoise, cerulean, and green
transparent splotches, the colors that I love,
the colors that flood my heart, warm like the gulf stream,
but my hand stops, trembles just above the dark red color.

I remember red-orange and pink sunsets,
crimson strawberry fields,
fat-bottomed reddish aubergine eggplant,
frosty red of refrigerated watermelon,
rows of plump red tomatoes, and hard crusty red clay dirt,
hot against the bottom of my feet.

I remember dripping red around two missing fingers,
snatched away by a hay baler.
My sister and I carrying the farmhand breakfast
on a tray every morning—scrambled eggs, bacon,
tin coffee pot with red porcelain cup—
walking through the fruit orchard, ground scattered with ripe red apples,
toward a tiny one-room shotgun shack with a fireplace.

I remember the male hog, human refuse not enough to fill his belly,
and the red surrounding the half-eaten body of a baby goat,
still bleating for its mother—not knowing.

I remember the red I see as I hold my head and cry,
and pray for the image to pass.

I remember the hand with only a forefinger, middle finger, and thumb,
beneath the blue denim cuff of a barn jacket with red lining,
which holds my hand and leads me to the corn crib,
and the cold sunlight between slats covering the corn shoot.

I remember deep red surrounding the mouth of a bobcat trapped
and held against his blue denim barn jacket with red lining.

I remember my cheek resting against the blue denim barn jacket with red lining,
smelling of old Stetson and stale Marlboros in a red package.

All these things I want to tell you about, when you say to me,
“Growing up on a farm must have been idyllic.”
Instead, I close the red paint tube and decide to paint my lizard’s tail yellow,
the color of Caution, the color that informs me—tells me not to trust red.

F.D. Jackson lives in the southeastern U.S., along with her husband and sundry furry family members. When she is not reading or writing, she can be found wandering the Gulf Coast with a cold drink in her hand. Her poems have appeared in Feral, Book of Matches, Poetry Breakfast and Last Stanza Poetry Journal. She has work forthcoming in San Antonio Review, Cosmic Daffodil, and Plum Tree Tavern.

Lila Byrne

Forest

Lila Byrne’s passion for art began as early as she could hold a pencil. She has since taken many art classes, including programs at RISD, Pratt College and Stamps at University of Michigan. She has designed logos for various businesses in the area and has been an assistant teacher for an art school. She is always looking for ways to learn more about the art world and is excited about this opportunity. She creates her pieces using as many mediums as possible to help her learn exponentially.

Kathy Haynes

Detritus

Kathy Haynes is a contemporary mixed media artist located in Portland, Oregon. In 2009, she began creating art with acrylic paint and paper collage. In 2020, she switched to watercolor, and she occasionally augments her paintings with collage. Kathy is inspired by nature and pattern. Whether it’s her backyard flower garden, the Pacific Ocean, or the Cascade Mountains, Kathy’s art reflects the beauty of the Pacific Northwest. Her piece titled “Into the Pond” was published in Persimmon Tree, a literary and art journal. Instagram: @katerky1

Shopping Cart

You cannot copy content of this page