Cover image: "When There's Light at the End of the Storm" by Iris Koffijberg

Gallery 2

Visual Art, Poetry, and Prose

Kerstin Voigt

Kerstin Voigt was initially a doctor and later a marine biologist, then she co-founded a rehabilitation and rescue center for wild birds, together with her husband. Kerstin grew up in East Germany (GDR) and lives now with her family on the Isle of Wight in the south of England, being the main carer at Corvid Isle (corvid-isle.co.uk), a sanctuary for wild rescue birds, mainly corvids.

Recently, she had time to take up photography again and wants to share her pictures, mostly taken on the island, to a wider audience. Her photography work was exhibited at Dimbola Lodge, Freshwater, Isle of Wight (the home of photography pioneer Julia Margaret Cameron) in 2006 and at local hospitals. Intentionally, she omits titles for the photographs so that viewers can play freely with their imagination, making sense of what they (want to) see.

Katherine Roth

Blue Jay

River at the bottom of her mind
brings her to the window

where the blue jay perches
on the trellis,
a broken branch in its beak.

Now the river has no bottom
and everything rises
like the bird

to the crown of the old maple
carrying the blue
tips of feathers into sky.

Shine

I sit down to write
a poem
to save our planet
but the fire needs to be tended
the garlic planted.

In the light of dusk,
we push each clove
into earth’s still soft folds.
Cold hands in thin gloves.
Bright yellow straw
in growing darkness.

The silver moon above
singular in its shine
remembers
what I have forgotten.

Katherine Roth lives in Traverse City, Michigan and is a practicing physician. Her poetry has been published in Open Palm Print and by The Poetry Society of Michigan. She co-authored with Greg Holmes their memoir, The Good Fight: A Story of Cancer, Love, and Triumph. She is the founding member of Freshwater Poets. Her chapbook collection of poetry Circling the Center will be published this summer.

Elizabeth Galoozis

Portents

I. Swimming

We rammed as many waking hours
as we could into the days
before you went back,

a hoard to break open later.
Every night, we dived into the pool
at the empty house.

Obscured by submerged light,
I flushed at my mistakes.
We raced storms, spent caution

to save desire, time. The manmade valley
full of motion and blue
bore us to the day you left, rushed and avaricious.

II. Drought

A slash of fire-colored flowers:
the prairie has its ways
of calling attention to what you lack,

its own set of signs. My body (traitor)
maintains silence in the face of local rules.
You taught me to endow

obliqueness with meaning. Right
my wrongs; tell me I’m making
something out of nothing; ration

us out of this. Answer the phone. Tally
all the days, overdue –
with every one, your face diminishes.

III. Skyscrapers

I came east as planned. A dour
fall rain today pays
the debt of summer drought. While I’m awake,

all I want to do is work. I stand straight
to counteract my disoriented body, my schooled
features composed. I see it all now –

the small windows, the hospital, the river – from this height.
Drops fall, dull, in each boat’s wake.
I think about her: what motivations

and missteps she could have made, the alleys
and stations of an imagined life. I only know
one thing: her sign. It would have been the fishes.

Elizabeth Galoozis is a poet and librarian living in Los Angeles. Her poetry has been published in Faultline, Sinister Wisdom, Mantis, and Not Very Quiet. Her poem “The Grove” was a finalist for the Inverted Syntax Sublingua Prize for Poetry. Her scholarly work has been published in The Library Quarterly, College & Research Libraries, and ACRL Press.

Danielle Klebes

Danielle Klebes has exhibited at notable galleries and museums all across the United States and in Canada and Croatia. She had been spending much of 2019 and 2020 participating in domestic and international artist residencies, but is now in quarantine in Vermont. Danielle received her MFA in Visual Arts from Lesley University College of Art and Design in Cambridge, MA, in 2017.

Tracy Melvin

A Long and Colorful Sunset

One of my most treasured memories is of my now husband readying his Jon boat in his parents’ backyard, on the sandy shore of Sunset Lake. It was a hot and humid July day. He was in his olive drab Marine Corps shorts. It was one of our first dates.  We trolled around the lily pads. We packed sandwiches. We jumped in.

I’ve been with him nearly a decade now, long enough to have a good long think about the lake that framed his childhood: one spent catching bass and snakes and map turtles in the summer, falling through the ice in the winter, and leaving its mark on his soul forever. A mark that I recognize in me, from my childhood on a small lake. We grew up a different sort of wealthy, because we were filled with the wonderment and adventure a natural place provides. Lakes have played an indelible part of the most indelible part of our lives. As I age, I ponder how these two lakes are perhaps intertwined in the cosmos of our life paths. They are an opportunity to realize our shared experience and to celebrate what we loved as kids – the haunting pop and groans of shifting ice at night, the buffleheads and teals that appeared in the fall, letting bluegills kiss our toes, the spectrum of its changing moods. We ultimately became children and adults of the outside. We were compelled to take on park ranger jobs in college, where we met. Now it is the place we go on cheap dates.  We take the canoe up the channel where, after a few minutes, we feel as if we are in an untrammeled wilderness, complete with toddling baby beavers, yellow-rumped warblers, canvasbacks, deer, coyotes, and oil-pan-sized snapping turtles.

We are who we are, to the depths of our identity, because of this. I see this place as sacred. I feel it as a living, sentient being. I become small when I think about who I would be, and who my beloved would be, if this place was not here. How often do these small places…ordinary and overlooked, serve us as teachers, beacons, refuges, or redeemers to the soul? If they aren’t there, what have we lost, intangibly and beyond the obvious? Most startling, I believe, is not knowing what could have been gained, when we don’t know in the first place, that a place and a time existed, yet is no more.

What is a sense of place? What should it be? What, in a world of 7.2 billion people, should we rally around and protect?

Click here to read the full essay

Tracy Melvin received her M.S. in 2017 from Michigan State University, studying the direct and indirect effects of novel prescribed fire on Eastern box turtles, a species of special conservation concern. She is currently working on her Ph.D. in Fisheries and Wildlife, and Ecology, Evolutionary Biology, and Behavior with a certificate in spatial ecology. Her dissertation focuses on stewarding climate-induced ecological transformation, in the context of global biodiversity conservation. She works in collaboration with the U.S. Fish and Wildlife Service, at the Kenai National Wildlife Refuge in Alaska. Tracy is a Leadership Fellow for MSU’s Graduate College, a trustee with the Nature Conservancy (Michigan Chapter), and a Science to Action Fellow with the U.S. Geological Survey. Tracy teaches an award-winning study abroad program, titled “A Fragile Fiji: Integrating Ecosystems and Human Dimensions in the Face of Climate Change” with Michigan State. She graduated from Western Michigan University with bachelor degrees in Aviation Flight Science, Environmental Studies, and Biology.

Marcy McNally

Turquoise Journey

A full moon slips away, veiled within shadows of another hushed night;
fierce morning sunlight breaks early as the drumbeats of my heart resound
through the walls of Canyon de Chelly. I hasten, gathering a rough woolen
blanket around me, warding off mesa wind chill, as my hands are warmed
by glowing campfire embers. I prepare for the day’s sojourn, beginning
my cloud promenade through primordial creviced rock and shifting sands.

Others had wandered before me, over this wild, untainted, irregular earth,
with turquoise amulets adorned, armored by ancient, sacred stone, protected
from dangers that lie in wait. Rattlesnakes slither. Tarantulas crawl. Lizards
skitter. Wolves howl. Coyotes yip. Igniting my wand of desert sage, perfumed
incense permeates my winding trail. Swaying pinion and juniper unite in song,
their shaggy, winter boughs reaching out to the fading stars.

Climbing, head bowed, feet scuffling, I rustle amidst cliff and ravine, chanting
deep prayers of my ancestors, mantras offered to distant horizons. My dreams
become crystal, as I inhale pristine air, fulfilling promises made long ago, before
I was born, before this world became known, before time, as my journey beckons.

Feathers of eagle and owl descend softly upon ochre earth. A hawk swirls high
above arcane caverns buried within infinite layers of granite and shale. Winged
flight touches a sky that I cannot yet reach, but one hour soon, will ageless insight
gain, claiming wisdom as my own, my wilderness escape into freedom soaring,
as wildflowers bend and dance upon the graves of my ancestors. Desert tortoises
plod. Jackrabbits scamper. My turquoise tears of joy spring forth, cosseted by
eternal creviced rock and sheltered within endless shifting sands.

Florida-based writer Marcy McNally’s extensive communications career includes award-winning international advertising, public relations, and marketing campaigns. Her poetry, short stories, and articles have appeared in numerous print and online publications. A sampling of published poems includes “Homeless” in Vagabond Press’s EXTREME Anthology, “Chekhov Reverie” in the Spring 2019 issue of Willawaw Journal, “Homage to O’Keeffe” originally in Spring 2019 Issue 1 of Tiny Spoon and later in Volume 15 of Interstice, “Crystal snowflakes” in Haiku Journal issue #62 by Prolific Press Inc. in April 2019, and “Taxidermist” in Volume 1, Issue 2 of Lily Poetry Review in Summer 2019.

Remy Bargout, Hannah Evans, & Timothy Martin

Remy Bargout is an artist turned agrarian researcher, wrapped in the comforts that madness brings, rifling through the trash bins and flower beds of this global political ecology. Hannah Evans is an artist working with paints and analogue photographic processes, exploring themes of intimacy, loss, and indefinable truths. Timothy Martin is a poet caught up in the crumbling, artful mannerisms of city life, and learning the languages of local and migratory birds, walking, and listening. 

Hayden Moore

Electric Sky

“Time is a game played beautifully by children.”   -Heraclitus

In the flameless temple where muddy trees reached out of the barnacle hills of Boetia, the girl struck a shard of black rock on the smooth marble. Weeks after the flood had subsided, everything was still saturated and the clouds hung heavy to marvel at their own work. In this place where the Mississippi River fed into the Gulf of Mexico, everything was either too much or nothing at all. Thirty-nine and a half days of rain swelled the river until it invited the sea in while the months of drought were washed away leaving nothing more than a flooded wasteland. But even the sky needed rest and the little that was left of Boetia stood with its feeble marble pillars pointing obliquely at the heavens. Pyrrha traced the engraved letters on one of the pillars:

Church of the One Above

Pyrrha looked up and saw many things that seemed to be One. The many grays of the cumulus clouds and their tattered pieces, the dark carrion that were its attributes, a stray balloon and the thin air between. Nobody remembered the name of the One who wielded the thunder. The god or goddess who held the three-pronged spear was just as nameless as the horn of dawn or the wet-bearded lips of an old drunk. But the tide swelled just beyond the pillars and the air was heavy with saturation. Whether the hidden sun was rising or setting was of no matter to the girl. She had to start a fire to bring it all back again.

Boetia was the sort of place where books were written to fit the common fantasies of the people. The earth was six-thousand years old and fossils were implanted tests of faith for the chosen few. Rising waters were acts of the One and science was holding court with tarot card readers. Those who were solid in their faith were turned to water when the floods took them in their homes and temples. Only the heathens had fled to higher ground to see what the gods were doing to their own nest. Pyrrha remained alone, the forgotten daughter of Prometheus, the only god whose name she could recall.

Click here to read the full story

Hayden Moore was born and raised in Georgia and has lived in New York City for the past twelve years. In the past five months, he has been published fifteen times for his short stories: twice in Corner Bar Magazine, Metonym Literary Journal, Drunk Monkeys Literary Journal, The Fictional Café, Modern Literature, Calliope, Wood Coin Magazine, Wink Magazine, Verdad Magazine, Wilderness House Literary, Blue Moon Literary and Art Review, Deep Overstock Journal, and La Piccioletta Barca. He lives with his wife and cat on the waters of Jamaica Bay in Queens.

J.C. Reilly

J + J 4E, A Golden Shovel

after Emily Dickinson, #269

I.
Carved in the pecan tree out back—where wild
raspberries swell black as those autumn nights
we slipped from my mother’s house, be-wild-
ered with possibilities and fumbling with nights’

cumbersome clothes—I find entwined initials. Were
I more the sentimental sort, recalling when you and I
used to swing in the Hatteras hammock with
nothing weightier thought-wise beyond thee

and me, I’d think back to my own wild-
ing under your hands, those desperate nights.
—Whose initials are they, those two J’s? Should
I whisper ours? But “ours” was not a state to be—
better to let time’s scar fade white. Our
love was really just mine—pallid pearl’s luxury.

II.
How the etching with its letters gleams futile
now—as if chapped wood could lend us the
permanence I sought. How my heart winds

wound—itself like streamers to your maypole to
keep you close.—What follies, 23!—I’d not wish a-
gain to let one harvest that fervent lump of heart
ripe as dragon fruit. Your bite, cached in-
side a rosebud, left bruises like raisins, was a port-

al to domed gardens and dirt fields—I was done-
for, and you knew it, with every sigh, with
every opening. You floated me on e-the-
real breath and heat. Where was your compass-

ion, your sign to halt? Could you have done
it, halted my entanglement? I wonder. With-
in a year came your unspoken goodbye—the
X-marks-love’s-spot vanished from the chart.

III.
My back to the tree, I pluck g-rowing
berries, chuck them in a bowl, or my mouth, in-
spired by summer to make jam. This is my Eden

now—dimpled berries rupture on my tongue. Ah,
sweet quaking taste buds: blot out—no, cast out—the
snake of memory, white diamond as sea-

foam, as a few hanging clusters stunted by the might
of shade. Other floods, other senses—you and I
skirred enough to prod a knife resolute. But
carving wood—and craving you—are moor-
ing lines better cast off youth’s wharf.—Tonight

my heart, plain dented thing, I name for raspberries. In-
side, though: a hint of dragon fruit, a tinge of thee

J.C. Reilly’s most recent collection What Magick May Not Alter was released in April from Madville Publishing. She serves as the Managing Editor of the Atlanta Review. When she’s not writing she plays tennis or practices her Italian (badly). Follow her @Aishatonu on Twitter, or follow her cats on Instagram @jc.reilly.

Hannah Mathis

Hannah Mathis grew up in Nashville, Tennessee and has called Chicago, Illinois her home since 2013. Mathis received her Bachelor of Fine Arts in Graphic Art with a focus in Drawing, Painting, and Printmaking at DePaul University. Her work focuses on human connection with others and the environment. Mathis has exhibited work throughout Chicago, around Nashville, and in Reykjavik, Iceland. She completed a SIM residency in Reykjavik in February 2020. Her work was exhibited at Manifest Gallery in Cincinnati, Ohio in April 2020, and published in About Place Journal in May 2020.

Paul Koniecki

Celadon Compartmentalizations, or Caledonia

-for Henry Darger


My mesolimbic pathway
is a velvet wound. Reward quarry, tetrahedron,
tesseract, violet cube tumbling, dark

pit of rock and running legs, you are:

drawers within drawers within fruit-
skin and

vegetable peels, residuum

littering
precious then contemptible
clocked seconds and calendar dates

dying, shouting, loitering, to be
then to be
put away. You

showed me where we
left them, the opportunities, the times
of our lives, the

clawhammer and the scotch tape.

The difference between moment

(You showed me where they whimpered,
where they cajoled, and they bled.)

and memory is zero.

Did you like what I did there at the end, splitting the entreaty?

The necklace was, in point of fact,
an opal ring.

A long, fine, slim, and verdant hill
came along with us anyway.

I count. I count. I count. I count,
the weather and the days.

Paul Koniecki lives and writes in Dallas, Texas. He was once chosen for the John Ashbery Home School Residency. He is the Associate Editor of Thimble Literary Journal.

Michael Marschner

Michael Marschner is a visual artist seeking to combine art, photography, and science into a true vision of reality.

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