Cover image: "Imbalance " by Andrea Damic

Gallery 3

Within reach

Jenna Wysong Filbrun

Our Violence

When joy
brittles

like a leaf
or a bone

it becomes something
to release

and to tend.
It is ok

to get heartsick
over all our death.

Love runs with
suffering

never in spite of it.
It is winter now.

Where the bare trees
merge and feather,

a light glimmers
between the trunks —

the sun
in the far-off creek water.

At night, the owl
calls from somewhere

among the bone-white
branches of the sycamores

behind the barn.
Joy is somewhere

in the folds of his voice
as it ripples

through the empty limbs
in reach of the moon.

Like the next heartbeat.
And the next.

Jenna Wysong Filbrun is the author of the poetry collection Away (Finishing Line Press, 2023), and the chapbook The Unsaid Words (Finishing Line Press, 2020). Her poems have appeared in publications such as Deep Wild, The Dewdrop, EcoTheo Review, and others. Find her on Instagram @jwfilbrun.

Susan Shea

Civility

Confusing offerings play with us
starting in a line we know, going
in a direction we like, then darting
up or down, surprising or shocking

we go along for a time, saying we
like the jazz of it, we can handle it

like lawns rippling, gesturing, from
growing too tall, or grandmothers
slowly dying when we are too young

making us have to deal with what our
fingertips can’t reach or lay down

canopy of softness is not always wide
enough for us to keep waltzing to chimes
sounding in the paths we’ve made

Susan Shea is a retired school psychologist who was born in New York City and now lives in a forest in Pennsylvania. She returned to writing poetry in 2023 and since then has been published in several dozen journals, including Across the Margin, Ekstasis, The Bluebird Word, Last Stanza Poetry Journal, The Bookends Review, Poetry Breakfast, Book of Matches Literary Magazine, and The Agape Review, as well as three anthologies. Recently, she has had poems accepted for Feminine Collective, Military Experience and the Arts, Tiny Wren, Crowstep Poetry Journal, Green Ink Poetry, The Avalon Literary Review, Vita Poetica, Clayjar Review, The New English Review, and others.

Lawrence Bridges

Buttonhook

Moose. I don’t laugh at you.
I’m silly-upright with soft
and painful parts facing forward
while yours face down safely down.

I can see that both crow and dog
are looking at me, thinking,
but they don’t know they think.
I’m self-aware but by how much?

I get the fact that we need a few tens
of millions of years to solve lower back pain
and to re-employ our rage, in a body that uses
lobster circuitry to regulate our self-esteem.

This slim bit of flesh sculpture
we do possess makes it fun as hell
to be here and fear only death,
others with hatchets, tsunami

and ourselves. Our self-consciousness:
Our eyes see us seeing but can we
see outside of time? The little stop-
action animation from the side

sending us down roadways
and across terrain that, viewed
from space, spells hunger,
selfish love, a mere buttonhook.

Lawrence Bridges’ poetry has appeared in The New Yorker, Poetry, and The Tampa Review. He has published three volumes of poetry: Horses on Drums (Red Hen Press, 2006), Flip Days (Red Hen Press, 2009), and Brownwood (Tupelo Press, 2016). You can find him on Instagram @larrybridges.

Kimberly Schneider

Kimberly Schneider is a visual artist, educator, and printer who has been dedicated to the art of the handmade (darkroom) print for over two decades. She holds a BFA in photography (and minor in philosophy) from Colorado State University. Specializing in true infrared film, spiritual landscapes, and experimental photograms, Kimberly exhibits her work regularly and has received multiple awards. She is honored to have work in the collection of Susan Herzig & Paul Hertzmann (San Francisco) and thankful to have a fully functioning darkroom in her NYC apartment, where she not only prints all of her own work but also teaches remotely and prints for other artists/photography enthusiasts. Kimberly is thrilled to have Veritas Editions as the publisher of her upcoming monograph, EQUIVALENCE: Spiritual Landscapes of the Western United States. Linktree: linktr.ee/kimberlyjschneiderphotography / Campaign for Equivalence: www.gofundme.com

David W. Berner

Reflections of Light

My friend calls from his home in Indiana. He says he can see again.

Several operations. Months of not reading. No driving. Walking with cautious, tentative steps, straining to look at the world and notice its tiny beauties but seeing only haze. Hospitals hundreds of miles away. Doctors and specialists. And now with special lenses in a pair of new glasses, he sees, for the first time in a long time, more than shadows and glints of light. He sees his wife’s loving face, he sees his own eyes in the mirror, he sees the delicate shades of purple in the lavender plants he cultivates on his farm.

It’s been a long haul. And still, there may be complications to come, he tells me. More doctors and experts. The detached retinas could happen again. But on this day, he can see, and he is blessed, he says. Blessed by some higher power. Some force others might call God. Blessed by fate or the fortunes of spirits unknown. And he has telephoned me, he says, to let me know.

I sat in solitude to listen to his words. And now, after saying goodbye, I sit motionless, the phone on my lap. I hear my wife stirring something in a metal pot on the stove. The radio plays NPR. The dog wrestles with a squeaky chew toy. Yet, in my head it is quiet. Stillness has overtaken me, my muscles limp, sensing the careful in and out of my working lungs. On the desk is a photograph of my stepdaughter and stepson. They are young, smiling, sitting together near a pier. It is somewhere in Europe. I am grateful. I enter the bedroom and on the west wall is an enlarged photograph of a tree-lined path in France. My son took the photo many years ago on a trip with his mother. The photographer’s eye is purposely askew, the view not perfectly centered, reminding us that nothing in life is truly balanced—not a path, not a gardener’s planted trees, and not in the way we see our lives.

The eye is a mystery of lens and light, electrical impulses that are carried by the optic nerve to the brain. Complex refractions that somehow give us shapes and colors. But more than this, the eyes are our souls. And to see with them is to see ourselves in the world. To look in the eyes of others can only be described as magical. Voltaire said that the mirror is a worthless invention and that “the only way to see yourself is in the reflection of someone else’s eyes.” But if there is no sight, the mind must search for another way to recognize the love of a partner, a friend, a son, a daughter, and to discover who we are, for Voltaire’s worthless mirror is just that, worthless. Not seeing is not knowing. It is darkness far beyond the lack of light.

I return to the kitchen and at the edge of the granite counter, I stop for a moment and watch my wife. Her back is to me as she works at the sink, preparing dinner. I see her shoulders rise and fall. And in the window beyond her, her image is captured in the glass along with the late evening shadows of the trees beyond her reflection, creating a fleeting, muted portrait that I see only in a flash of time, an image of beauty and home, an image that quickly falls away as my wife moves from the soft lamp light above her, and night devours the final seconds of day.

~

Weeks later, my friend calls again.

“I’m coming your way,” he says. “On the train next week.”

He has an appointment with one of his doctors, one of the specialists. There have been problems. Things are not sharp anymore. The haze is back.

“Can we meet for coffee?” he asks. “I really want to see you. No pun intended,” he laughs.

Of course, we’ll meet. Of course, you can see me.

“I bought a window seat, too. I want to watch the land go by. The trees and the farms. The sunlight.”

No one can tell my friend anything that he doesn’t already know. The doctor will say exactly what he has already determined. There will be no surprises.

“I bought a good camera, too. Did I tell you that? Been taking photographs. Places, people. Early morning is the best, you know. That wonderful light. Photographer’s light, they call it, right? So warm. Perfect.”

I wonder what he’ll do with all those photographs.

When the call ends, I sit on the back porch of my house to watch the bluebirds in the tall trees dance around the top branches against the indigo sky as the last hour of daylight disappears.

David W. Berner is an award-winning author of several works of fiction and memoir. He has been honored as the Writer-in-Residence at the Jack Kerouac Project in Orlando, FL, and the Ernest Hemingway Birthplace Home and Museum in Oak Park, IL.

Ellen Girardeau Kempler

Necklace of Names (Necklaces of Islands)

          “A favourite reef, a beloved atoll: Marshall Islands parents name children after vanishing landmarks.”
          — headline from an article by Pete McKenzie in The Guardian, March 24, 2023

You are the newest Atlantis, or should it be Atlanti? Because there are many, many of you sinking, drowning, pulling your living ballast down with you, once-lush Edens already disappearing in extreme tides. You, Marshall Islands children, named for submerged reefs, coves & peninsulas, will carry our map’s lost places, lifting them like shipwreck treasures with the winch of your lives in other drier places—new islands rising like Pele’s Hawaiian necklace as Haleakalā’s undersea lava flows grow & cool, waiting to be mapped, explored, celebrated & (yes) even mourned in their time, their mythic beauty like your own lost island places, like your own names—unheeded warnings we once launched like paper canoes in a Cat 5 hurricane.

Ellen Girardeau Kempler’s poems have appeared in Wild Roof Journal, Mindful Poetry Anthology, Tiny Seed Literary Journal, Narrative Northeast, Writers Resist, Phoenix Rising Review, Gold Man Review, Orbis International Poetry Quarterly and many other small presses and anthologies. In 2016, she won Ireland’s Blackwater International Poetry Prize and honorable mention in Winning Writers’ Tom Howard/Margaret Reid Poetry Contest. Called “a timely and powerful selection of climate poetics,” her chapbook Thirty Views of a Changing World: Haiku + Photos was published in December 2017 by Finishing Line Press.

Anastasia Walker

Erasure

Color’s no lean-to
in time’s ravenous, just
a quaking dreamer’s threadbare quilt
scraps of love & habit & need
shredded, & you gnawed
down to the gears of sight
dumping their output into
the blind gray brambles of desire

 

Author’s Note: The following image is one of several drawings my brother Bill did based on his journey through Parkinson’s in the first few years after he was diagnosed in spring 2019.

Bill Walker - Erasure (2021)

Maine native Anastasia Walker is a queer poet, essayist, and scholar living in Pittsburgh. Her poems have appeared in several journals, and her first book of poetry, The Girl Who Wasn’t and Is, was published in 2022. Her essays have appeared or are forthcoming in Shenandoah, Fourth Genre, Peatsmoke, and others. She has also blogged on politics, social media, and trans/LGBTQ+ issues for both Huffington Post and Medium. She is on the board of her city’s PFLAG chapter, volunteers for the Transgender Law Center’s prison mail program, and is a passionate amateur photographer and musicologist as well as a lover of long walks and (when she visits home in the summers) swimming in the ocean. Instagram: @staswalker22 / Blog: anastasiaswalker.blogspot.com

Kelli Short Borges & Amy Marques

Why I Did What I Did After Work Behind Titty McGees 

Because my job was the only job in our small town, the only job for a woman like me, because my job was to parade as Little Bo Peep, to parade—was to smile, all blink and blue eyes, was to wear a short skirt, was to wear bloomers, was to wear a pink bow like a beacon a bow like a present a bow like a girl, was to offer to help men find what they’ve lost, what time has stolen, what time has erased, was to serve them Jack another round of Jack another round, to giggle, to flounce, to trifle with trouble, to pretend it was okay to grab my ass, to pretend it was okay to finger my bow, to pretend I liked it in the parking lot after, to pretend I liked it so they’d slip me a fifty, so I could pay rent so I could buy Pampers so I could buy food for my daughter, to pretend, so social workers wouldn’t take her, so I could send her to college, so she could earn a degree, because I was told I was nothing—so she might be something, so she could be something, so she would be something, better than me. 

Note: A version of this poem was previously published in SoFloPoJo.

Kelli Short Borges writes essays, short stories, and flash fiction from her home in Phoenix, Arizona. Her work appears in Gone Lawn, The Tahoma Literary Review, The Citron Review, Your Impossible Voice, MoonPark Review, Ghost Parachute, multiple anthologies, and elsewhere. Often, you can find her at her favorite local bookstore, where she gobbles up lemon cake and books in equal measure. She is currently working on her first novel. More at www.kellishortborges.com.

Amy Marques has been known to call books friends and is on a first-name basis with many fictional characters. She has visual art, poetry, and prose published in journals such as Streetcake Magazine, MoonPark Review, Bending Genres, Ghost Parachute, Chicago Quarterly Review, and Gone Lawn. More at amybookwhisperer.wordpress.com.

John Means

At Eighty, The Disappearings

I always forgot, I think, how steep and rocky the trail was. Did not matter, I was still doing the climb. Freddie and I had backpacked up and camped at Black Rock fifty years ago. Each of us carried a load on our backs, but we were young, thirty or so. We labored, first, over the boulders of the side trail up to the Appalachian Trail on the ridge of South Mountain and then up some more over the well-worn trail, still steep, to the quartzite cliffs sticking out of the top of the wooded mountain. There we were greeted by a sign: “No Camping.”

“Ah, pooh,” Freddie dismissed, “I’ve camped here before, and who’s going to know we’re here on a cold weeknight in November. I know just the spot for the tent, with a nice front porch.”     

She led me over to where the top of the quartzite outcrop met the forest floor, and we dropped our backpack burdens. She motioned with her head, said, “It’s almost dark,” and led me through rock crevasses to the top of a cliff that overlooked the Great Valley. We could see a grand panorama—West Virginia to the south, Maryland below us to the west, and Pennsylvania to the north. Directly below the high cliff a broad, treeless boulder field streamed down the west-facing slope of the mountain.

She had brought me here, and I wanted to hug and kiss her, but before I could move, she said, “We’d better get the tent up while there’s still light,” as she pivoted back toward the tent site. Next, onto the leafy forest floor she unrolled her two-person backpacker tent with its front flaps meeting the edge of a five-foot-long, flat boulder of grey quartzite—her “porch.”

Next, as I was driving tent pegs into the ground with her rubber-headed mallet, Freddie said, “Bridget and I set up like this with a stone porch in the Austrian Alps.” It never seemed that just Freddie and I could do something.

Bridget was “mein Freundin Frau von Frankfurt.” And who or what was I? I remembered. I was a stooge who lent her, in those days, an air of heterosexual respectability—with nothing “sexual” about it.

At eighty years old I had made the climb and walked directly to her porch. The fifty-year-old details of our moments on the cliff and pitching her tent were intact. When we inserted the poles, the tent became a room, and I remembered a group of college boys yelling, “Get a room!” to a couple intertwined in a long kiss under a tree on campus. Anyone else at Black Rock might see us as lovers with tent, but no one was here. And I already knew that even though I was in love with Freddie, she was unspokenly not with me. That I remembered clearly. And yet I was still anticipating crawling into our “room.”

It was dark when in the tent she produced a camp candle, Brie, crackers and wine. Romantic? No, just practical, and I remember nothing of the evening. Did I suggest we zip our sleeping bags together or just think it? Was “Ah, pooh” her answer? Does a memory of something count if that something never happened?

In the morning at first light I sat up from my sleeping bag, unzipped the tent flap and looked out to see a skiff of snow covering the rock surface. Cold air blew in. Freddie had not yet stirred.

Dry, powder snow floated across in air, barely visible in the predawn light. A faint westerly wind from the cliff edge was sweeping little, longitudinal wave crests of fallen powder across the flat rock, as if drifting across a prairie in miniature. A magical, mathematical beauty. Freddie had placed us here.

There, dear Freddie, is all that is left of us at Black Rock—even if we were not an “us” then or now. You never awoke to see the waves, but you gave them to me to keep, and I will climb here again and walk straight to the place where we were.

~

Alice and I met at Freddie’s congested, noisy going-away party. All pretense that I was Freddie’s lover had crashed when she announced she was moving to Germany, and Alice, an old Catholic high school friend of Freddie’s, sat and talked with me all evening.

She was interested in my recent purchase of a sixteen-foot, two-seater canoe. She had always wanted to learn how to paddle, and with Freddie leaving, I was looking to find a woman interested in going out on the water. Alice accepted my invitation.

I took her to a shallow, quiet stretch of the Potomac River at Snyders Landing for her basics. She took right to it, a natural. We paddled upstream to the Horsebacks—vertical beds of limestone sticking up in rows across the river—and we practiced maneuvering through them upstream and down. We worked on turns and ferries. She demonstrated an innate understanding of how the force of a current acted on a hull at different angles of incidence. I did not have to explain or anticipate what she needed to do for a particular move because she got it. I was smitten by what was happening to me as we paddled in unison without thought or talk—I was falling in love with her.

Between canoe trips we discovered another unison. We were both “moody,” with unpredictable ups and downs. She suspected she might be manic-depressive but was afraid to seek a diagnosis. I had suspected the same of myself. We soon found we were often in phase with one another on the emotional roller coaster. This simpatico seemed to help us both. “It’s like us paddling on the river,” she said.

We planned a trip to Boundary Waters in northern Minnesota one night when we were manic together. I knew from experience that manic plans vanished into thin air and never appeared again. But Alice had disciplined herself to try to control the forces of mania and depression. For depression she could often fight her way through by embarking on some project, the meaning and purpose of which she would refuse to question. “The important thing is to stay busy,” she said. For a manic-made plan, she would simply resolve, “We planned it, now we gotta do it.”

Boundary Waters looked scary. Thousands of lakes that stretched between Minnesota and Ontario had been used by the voyageurs in the fur trade. The connecting lakes lay in an isolated wilderness among glacier-scoured granite outcrops of the Canadian Shield, the oldest surface rock of North America at about three billion years.

We learned we had to reserve before paddling in to camp. We found a lake that was accessible only via a half-mile portage, which we planned to train for. Such a trek should give us the solitude in nature that we were seeking, and hopefully we would not get lost.

As our departure date neared, we jointly experienced ups and downs, anticipations and dreads, just as with anything else. But we stayed focused on preparations and on repeating to ourselves that the journey was worth making.

“I see you have reserved a permit for Hegman Lake, and it appears you will have it all to yourself,” the ranger told us when we arrived.

Now the memory of forty years ago begins to play tricks. I remember carrying the canoe in with Alice, watching her walk in front of me. I remember putting in and seeing a vast empty lake before us, its shores lined with pine trees and points of granite-gneiss outcrops. The paddling, the hard work against the wind across the big water was memorable enough. During the day, we saw a pictograph of a moose on a rock. It must have been older than Canada or the U.S.—people who lived here centuries ago, whose lives disappeared just as ours would. The moose? It was their memory, as unfaded today as it was in their time.

By mid-afternoon, exhausted, we found a smooth outcrop of granite-gneiss on which we could land and take out. We knew we had to get the tent set up immediately. When we finished, Alice sat on the rock with her head in her hands. I knew that fatigue would often drop her into depression. I prepared sandwiches and got some food into her.

I can remember nothing of our evening after that, except that I realized she had been just as coordinated and synchronized in paddling as during our first day on the river. And I still loved her. The rest of the evening is just gone, like a blackout drunk, but we had no booze.

We awoke together to the sun on the side of the tent. It was cold, and we did not want to go out. We unzipped our bags and cuddled together in them. We did not make love because I knew that sometimes that could bring on depression for her. I had hoped that the exhilaration of being out in wilderness would lift her spirits to a manageably safe level, but I was not sure which way she was headed.

“Soon the sun will warm everything,” she said. “Let us be cold-blooded reptiles and lie in the sun until we are warmed into movement. You said this granite had solidified in the earth from molten magma three billion years ago and was exposed at the surface when glaciers scoured away the overlying rock. It then would have been exposed to the sun. Let us go back to that time and put ourselves on the rock in the sun.”

We lay side by side for a time we could not determine. We said nothing and only occasionally looked at one another. The sun was good. I could not count time passing, and I was not aware that I was thinking anything. Except: was she in a depression pit? A funk of silence? No. I was not in those, and neither was she. I could read that much. We were reptilian, and the only time was that it was not yet time to move.

When it was time she moved, and I followed. I felt an unaccustomed calm, and I thought she did, too. We hugged for a while. The paddling and portage and drive back out—my memory is blank until several miles down the road when we stopped at an outfitter store in Ely and were looking at postcards, aerial shots of the lakes where we had been.

“You know what,” she said. “When we were reptiles on the rock, I never for a moment had a fleeting ghost of a thought or feeling about depression. It was just not there, and not even conspicuous by its absence.”

“You’re right. It was something different. We were free.”

I have no memory of our drive home from Minnesota. Now when I think about that trip, it seems to have occurred in some previous geological period, one from which we have only scant evidence. Except for the reptile sun. It remains a time which has never moved.

I think we made a couple of river trips in the months after Minnesota, but I cannot remember anything specific. Then Alice disappeared. With her car, her belongings and her no goodbye.

To this day I cannot tell you a thing about the lives of Freddie or of Alice. As far as I was concerned, they had died. Or it had become time to move for each one.

What have not moved from my old life are the powder snow drifting across quartzite rock and the reptilian sun of granite time.

John Means has published haiku, poems, short stories, novel excerpts and two geological guidebooks. At eighty and still writing, everything he scribbles is some kind of memoir.

Robin Young

Renaissance Punk

Robin Young, based in Borrego Springs, California, 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 develop deep into the whimsical and intuitive. 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. Instagram: @2songbird

Andrea Damic

Imbalance

Andrea Damic, born in Sarajevo, Bosnia and Herzegovina, lives and works in Sydney, Australia. She’s an amateur photographer and author of prose and poetry. She thinks there is something cathartic about seeing your words and art out in the world. Her photographs can be found among finalists in Fusion Art and Light Space & Time Online Art Gallery or in online and print publications such as Rejection Letters, The Piker Press, Mad Swirl, Bureau of Complaint, Arkana at the University of Central Arkansas, Welter at the University of Baltimore, Invisible City at the University of San Francisco, etc. Andrea is especially proud of having her photographs published on the covers of Door Is A Jar, Rat’s Ass Review and Molecule: A Tiny Lit Mag. She spends many an hour fiddling around with her website damicandrea.wordpress.com. You can also find her on X @DamicAndrea and Instagram @damicandrea.

Bruce Parker

Passengers

The stars are new tonight.

                              Light
from far,
               old
from the journey,

its birth

                              a leap,

silent as dew upon a leaf.

The stars promise to keep
                                       at their pass-
                                             age

               until they find

whatever it is
  that makes them shine.

Bruce Parker is the author of the chapbook Ramadan in Summer (Finishing Line Press, 2022). He holds an MA in Secondary Education from the University of New Mexico and taught English as a Second Language, worked as a technical editor, and was a translator for many years. His work appears in Triggerfish Critical Review, LitBop, October Hill, Cerasus (UK), and elsewhere. He lives with his spouse, poet and artist Diane Corson, in Portland, Oregon, where they host a critique poetry workshop, and he is an Associate Editor at Boulevard.

Bart Edelman

Gravity

Simply a matter of gravity—
Nothing more, nothing less.
Everything reaches its lowest point:
Think south, and then some.
The route north appears forced,
Going against all odds, I’m afraid,
Never in nature’s best interest—
Not ready for prime time.

Fight it, if you must,
But know the fix is in.
Any house money you once claimed
Has no real value, whatsoever.
And your safety deposit box,
Locked away in the Bank of Hope,
Offers less security than yesterday,
As you slowly reach rock bottom.

You wonder who made up the rules.
Certainly not Sir Isaac Newton.
He went where the trusty apple landed,
Yet no further, apparently.
Still, it’s worth some conjecture,
If only to pass the idle hours
Between the moments it takes
To drop to your knees.

Note: This poem was first published in Willows Wept Review, Issue Thirty-One.

Bart Edelman’s poetry collections include Crossing the Hackensack, Under Damaris’ Dress, The Alphabet of Love, The Gentle Man, The Last Mojito, The Geographer’s Wife, Whistling to Trick the Wind, and This Body Is Never at Rest: New and Selected Poems 1993 – 2023, forthcoming from Meadowlark Press. He has taught at Glendale College, where he edited Eclipse, a literary journal, and, most recently, in the MFA program at Antioch University, Los Angeles. His work has been widely anthologized in textbooks published by City Lights Books, Etruscan Press, Fountainhead Press, Harcourt Brace, Longman, McGraw-Hill, Prentice Hall, Simon & Schuster, Thomson/Heinle, the University of Iowa Press, Wadsworth, and others. He lives in Pasadena, California.

Nick Russo

A tree in the distance

Nick Russo has spent his entire life in the arts in various forms (theater, film, directing, music and photography). The ability to pick up a camera and snap a moment in time, and then seeing the art and magic you create after an image is finished, is a feeling that few things in life can compare to. Follow more of Nick’s work @nickrussophotography on Instagram.

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