Cover image: "Angel Deer" by Emily Falkowski

Gallery 3

Floating in green water

Erin Riordan

The Handless Maiden Speaks

I.

Father, how dare you.

When you traded the apple tree
for your fortune,
you made a deal
with the devil

for I was there
the tree’s leaves turning,
as I reached for a ripe apple
that fell into my hand.

Even with your gold,
you are still a miller,
not a king.

Do you remember
when together
we planted this apple tree?

Only as tall as your thigh,
I delighted to be close to you
as we buried the sapling’s roots.

You smelled of sweat, pine, and whiskey.

I smiled imagining
the tree grown strong enough
to hold me in its branches,
as I longed for you to hold me,
a red apple in my hand.

But that was many moons ago.
Now the moon bleeds me.

At last, I rested in our tree.

The apple’s skin snapped
under my teeth
as you shook the devil’s hand.

That firm grip struck my memory
so it shattered like glass
and all that remained to recall of you
was the day our tree took root.

II.

The day came for the devil
to claim me.
But the devil cannot touch
my fruit’s knowledge.

I made a circle of my tears
and sat in the center.
The devil could not touch
my tears’ innocence.

But I, your daughter, am still your debt.

Even then, you were silent,
Even then you would not return the gold,
so when the devil told you
to cut off my hands,
you brought out the cleaver
and sliced them off cleanly.

Father,
I have no home here.


III.

I learn
how
to survive
in the dark
forest.

I learn to love
the night

for the daylight
strikes me down
summoning what
I cannot stomach.
I retch and heave
in its clarity.

My home is the gentle night
that will not expose
the scars over my wrists,
or speak of what I’ve lost
to the demanding sun.

I learn the savor
the fruit stolen
from the king’s orchard
at midnight.

Eaten
from where it droops,
heavy on the branch.

I learn
to eat sorrow
slowly.
By night,
it tastes sweet.

When the juice
drips across my face,
I cannot wipe it away
so it stains me.

Look, the king,
a secret gardener,
sees me bend under the branch
where I am helpless
even to hold an apple
in my hand.
Biting the fruit
like an animal
slipped through a break in his fence.

Not pity, he loves me.
He sees how I cherish
the fruit he tends.

But what can he give me?
Not my hands.
Not my family.
Not my father.
A child
that still I cannot hold.
A heart as tender
as the ripest fruit
in his orchard.

What can I give him?
Night vision.
A map of the stars cast on water.
A black pearl forged
in the fire of my madness.

I wonder
if he knows
what that’s worth.


IV.

Father, do you know
what you’ve done?
You may have cut off my hands,
but you never cut out my tongue.

Erin Riordan studied creative writing at Marlboro College and practiced Zen Buddhism at the San Francisco Zen Center. Her writing articulates intersections between the felt human experience and place. She sees writing as a life-affirming practice, affirming the mysterious wildness of being human, language, and land. She has been previously published in The Braided Way, Creatrix, and Forum Magazine.

Claire Walter

at the pool’s edge

we name ourselves masters
of love and sleep
and count the leaves
floating in green water
there are sixty-seven
if you consider the ones
stuck to each other
as one leaf instead of two
it is winter
but today it is spring
and the sunlight
celebrates our flaws my
toenail protrudes
through crimson polish
like an infant crowning
the wart on your shin
is no less exceptional
than an ant-hill
meticulously constructed
by thousands of devoted souls
who know it will last
only a day
even the green water
shows me all the shit
apartments where we sleep
on a surface shared
with the sky

Claire Walter is an awarded writer and filmmaker from Alabama. She currently lives with her beloved dog Winslow in Los Angeles, California, where she works on and off set. You can find her at mclairewalter.com.

Hannah Tennant-Moore

Having It All

There must be a woman
who spent thirty, forty, fifty years
digging
with nothing but a sharp rock
and her hands—
                                 bleeding fingernails,
                                 cracks and fissures
                                 cut daily
                                 into soft, open palms—
through a limestone quarry
filled with precious gems
—sapphire and ruby and huge ugly uncut diamonds—
a pile of rocks worth more than the world
revealed in a dream
to the woman who is
seventy now, eighty, ninety.
Still digging.

There must have been seventy women
seventy million women
who dreamed of the gems hidden in the quarry
on the edge of town
where one could trade corn maybe
for wool or an old sheep for a sick cow
or just a couple of hens.
They must have spent all their lives
digging because
one does not ignore such a dream
and they must—
                                 one woman maybe,
                                 two, three, half a dozen of these women—
must have reached the center
of the quarry

and found

a hole.
A pit.
Solid grey rock on all sides.

I wonder how long we will stand here
lost inside our only reward.

Hannah Tennant-Moore is a queer novelist, essayist, critic, and poet. Her novel Wreck and Order (Hogarth/ Random House, 2016) was longlisted for the PEN/Robert W. Bingham Prize and the Center for Fiction First Novel Prize. She is a contributor to the New York Times Book Review, and has also written for The Sun, Tin House, The New Republic, and Tricycle: The Buddhist Review. Her poetry appears in the Shō Poetry Journal, ONE ART, and Josephine Quarterly. She is at work on a collection of poems called The Virginity I Should’ve Lost, which deals with queer desire and the prison of nuclear family life.

Timothy Clancy

Center is King

Timothy Clancy is a lifelong resident of the Buffalo, NY area. He is a husband, dad, gardener, artist, musician, and writer. Nature and his life experiences are his main influences.

Jessica Whipple

Poem on the Last Day of My Thirties

I find a can of beans in the kitchen.
Great Northern, left there open the night before.
They’re past their prime now. Into the trash they go.

I’m ashamed of the waste. I didn’t intend to wake
wondering if I’ve spent well the years in this vessel
but sometimes a question needs to be left out on the counter
to know what should be done with it in the morning.

Jessica Whipple is a poet and author of two children’s picture books: Enough Is . . . (Tilbury House 2023, illust. by Nicole Wong) and I Think I Think a Lot (Free Spirit Publishing 2023, illust. by Josée Bisaillon). Her work for adults has appeared in Philadelphia Stories, ONE ART, McSweeney’s, and Gastronomica: The Journal of Food Studies. “Splinters,” appearing in Door Is A Jar, received a Best of the Net and a Pushcart nomination. She lives in PA and inhabits the places where picture books and poetry intersect.

Rachel Becker

Huffing Flowers

This is the kind of winter it’s been—

               lousy with crude men and cold rain.

Grey with a side of dread.  Raw

like the knuckle I grated  

               making yet another hot dish.  

And so much dry air,

               that even a slathering of lotion

can’t soothe my degraded skin.

               So when a secret admirer

places flowers      on my desk,

                             I inhale              with my whole heart,

breathe into hyacinths, respire

                                                         lilacs and daffodils,

getting high off their too-good-to-be true scent,

                             off their hotness,

even if they’re hot house

                                           ladies, because of course they are,

nothing grows

                             here, not yet. Hitting it again,

petals lift

                                           my hair behind my ears like a lover.

I get high

on the possibility            (and not the admirer)

                                                         that the ground could thaw

                                           no, for real this time, unfurl itself,

yielding                                           in spite of because of

this long season              of terror

I can taste.

Rachel Becker’s poetry recently appears or is forthcoming in journals including North American Review, Post Road, Rust & Moth, and RHINO. She is also a poetry editor for Porcupine Literary: A journal for and by teachers, and holds an MFA from Lesley University in Creative Writing. She lives in Boston. Instagram: @rebecker30

Nina Nicole Garner

Prayer For Nothing

Fear seeks a physical exit.
I sweep the floor until
I stop seeing myself on it.
Stop filling the dustpan with
prayers for nothing.
There is a new quiet where hope
was left boiling on the stove.

Silence learns the art of small talk.
Power lines look like endless
crucifixes tethered by tightropes
meant for birds.
God answers in lowercase.
A rusted figment stitches itself
into the lining of these tender hours.

Time smells like bleach and wet wood
as it passes the time.
This is a prayer for nothing,
scraped into a powerline like a blister.
I wrap my hands gently around
the barnacled neck of faith.
Walk barefoot across tile,
and whisper:

“I am not healed.
I am here anyway.”

Nina Nicole Garner is a Louisiana-based poet whose work explores survival, memory, and the complicated ways love and loss shape us. Her poems often trace the aftermath of survival: longing, faith, and tenderness. Instagram: @ngarnerpoetry

Michael C. Roberts

Quintessential Nature (VII)

Michael C. Roberts is a retired pediatric psychologist. His photographs have appeared (or will appear) in The Canary, Burningword, The Storms, FERAL, Cholla Needles, Cantos, The Healing Muse, Right Hand Pointing, Door Is A Jar, Camas, Alchemy Spoon, 3rd Wednesday, The Word’s Faire, and elsewhere A photographic book titled Imaging the World with Plastic Cameras: Diana and Holga is available on Amazon.

Justin Karcher

The Great Disappearing Act

While the theater bar circles around like a carousel
it feels like my ex-wife and I are standing
at the center of it. She tells me she’s lucky
to have had two soulmates in her life.

I don’t know what to say
other than the world is falling apart.

Later in the night Tony pulls me aside
and advises me to take every grudge
to the grave. He’s probably joking

but I hate thinking bitterness feels realer
than anything else these days.

I shrug and order another mocktail from Rex
who thanks me for getting him hooked on ZYN.
He’s lost twenty pounds because of it.

Justin Karcher is a Best of the Net- and Pushcart-nominated poet and playwright from Buffalo, NY. He is the author of several books, including Tailgating at the Gates of Hell (Ghost City Press, 2015). Website: justinkarcherauthor.com / X: @justin_karcher / Bluesky: @justinkarcher.bsky.social

Benjamin Brindise

Bonus Land

Until Steve grabbed the half-eaten burrito out of the garbage can, deftly peeled back the wrapper, and took it down in two consecutive bites, I wasn’t sure the story about the raw steak was true.

When I first started working there, another manager Jeff—a twenty-three-year-old guy with a forty-year old’s bald spot—told me Steve was known to unpackage steaks from the foam, plastic wrap, and bloody wax paper sheets, and eat them with his hands.

In the retelling, he first finishes off a cold can of Campbell’s Chunky soup. When asked why he doesn’t heat it up, he tells people, “It comes cooked.”

“The guy’s a machine. Been cranking calls since 1983,” Jeff told me. He says it with an air of admiration. Steve waits until break to go to the bathroom. He makes more calls than anyone. He shows up a half-an-hour before his shift starts so he can be fully prepared when the clock strikes eight a.m.

When asked about the garbage burrito, Steve tells people, “Waste not, want not. Shame to let a perfectly good burrito sit in the trash.” He means it.

In another life, deep in the misty borders of a frontier land, Steve would whittle knives out of tree bark. Instead, Steve haunts a cubicle with the rest of us and hunts monthly bonus checks. “That’s what it’s all about, man. What’s the point if you don’t get the bonus?”

He means it. They all do. An extra five-hundred, six hundred, a thousand. Magic beans and plans to climb the stalks.

One morning, I get to the office early. My third-shift job at the distribution center closed suddenly due to a rat infestation. They knew about it when the shift started, but word didn’t come down from corporate that everyone should leave until six hours and forty-five minutes later. Steve is already there.

“Big hoss, look at you finally putting in the extra effort.”

Steve doesn’t work a second or third job. I smile and nod on my way to my seat and think about the eviction notice still taped to my apartment door. A few minutes later when I go to put my bagged lunch in the employee refrigerator, he isn’t at his. He’s in the break room standing over the garbage.

Shredded foam packages litter the counter. Bloody white wax paper squares plaster the floor and the cabinet doors.

Steve shovels handfuls of raw steak into his mouth. He chews at a rate I can’t quite understand, sometimes at a slow pace with sudden large chomps, then light and quick. Efficient.  

He has a slab in each hand, and he tears new chunks from them with his teeth, hovering over the trash can. The meat stretches and pulls before each new piece releases itself from its former whole. Blood and juice run down his chin and drips against the bag lining.

He notices I’m there. He looks up. “Breakfast of champions.” He means it. “You want some?” He sticks a hand out with one of the leaking steaks, half torn by his own mouth.

I want to step back, but I don’t. Instead, I watch my hand reach out for the mauled remains of the raw steak. It’s cold and wet in my fingers.

“That’s good. That’s how you get to bonus land. You gotta be willing to do whatever it takes, man. Raw steaks. No breaks. That’s what I say.”

I want him to be wrong, but he isn’t. I bite into the steak and blood and juice run down my chin.

Benjamin Brindise is a writer living and working in Buffalo, NY. He is the author of Secret Anniversaries (Ghost City Press, 2019) and Those Who Favor Fire, Those Who Pray to Fire (EMP Books, 2018). His work has been published in places such as Peatsmoke Journal, The Hooghly Review, and Marathon Literary Review. Website: benjaminbrindise.com 

Maya Dally

Maya Dally is an early career writer and graduate student who is pursuing an M.A. in Writing while teaching first-year composition. She grew up all around the Midwest and the South, and has been writing poetry since she was a child.

Emily Falkowski

Emily Falkowski is a queer tattooist and self taught artist based out of Providence, Rhode Island. Her work appropriates Christian iconography and martyr texts to tell stories about her upbringing and community. She recontextualizes young queers, addicts, and lust-struck working class teenagers as saints, miracle workers, and holy bodies. Emily believes that art is a vehicle for practicing unconditional love. Instagram: @tattoosbyemilyfalkowski 

Zixiang Zhang

november 4th, 2024 | a portrait of me centered on the rift valley
 
on the banks of your lucid 
dreaming i find 
               in van gogh’s almond blossoms
                                              the insinuation of two arborescence coexisting
               in the solstice of our violet wilting;
                             in reconnaissance of the composition-decomposition
of sporangium
               on a flight aslant pentamery;
the producer exposes crane by accident—
paradoxical in light of wind directions that would send these 
whole white whorls 
to anoint
               each day the same cardinal
teleology of prunus-peach, dewpoint flashing hairy epidermis 
& antenna furling 
sinistrally, 
coiling clockwise
against the momentum of stellar amygdaloid—
drupe in orbit, a false nut unshelling periodicity: uranus lays 
on its meridian & soaks my vision with glaucophane.
               the evening star ascends;
               segmentation of the worm loosens the cambium to parse 
like fine teeth of a horn comb
caving in—
                                       i brew coffee for g. & me.
                                       he takes his flat alkalics & i prefer the anaerobic peat.
two branches of a trunk apposite to the litmus of the soil in which we’d cavort around 
the cotyledon in missionary;
                             dream precedes the flightless to the calving of greenland
                             to ovate islands
after the bees have tasted ammonium;
a tropospheric shelf where-
upon i’ll place—in myself, under your watchful dilation—
a radiation of mbunas in lake malawi.
 

Zixiang Zhang has poems published in Cathexis Northwest, Consilience, Pedestal, The Nature of Our Times, Pensive, Magpie Zine, Sonora Review, and others. He holds an undergraduate degree in geology from Stanford University and master’s degrees from UC Berkeley and the American Museum of Natural History. Once, he published research on brachiopod evolution in the journal Paleobiology. Now, he teaches Earth Science in NYC and enjoys dry gardening, erging, sunbathing, and sundry. He may be active @zzverse.

Charles Weld

Sassenach

There’s something imperial about language—proprietary,
the way it annexes and displaces at any opportunity.
Why my grandfather was the last Gaelic speaker in the family,
bantering with friends, my mother said, over food and tea,
having resisted the squeeze that defined his century.
His ancestors’ forced removal—Skye to PEI—was key
to his identity. I think he would have told me,
if we’d overlapped longer, that the goal of the enemy
is to have your children’s children speak his language reflexively,
forgetting their own. This said maybe with the weary
resignation of an elder. Or that may be fantasy—
my projection—reducing the past to a too-simple dichotomy
like much of written history. I own one of his books. Every
chapter in English, one in Scottish Gaelic—the anomaly
disturbing the narrative’s assured air of inevitability.

Charles Weld’s poems have been collected in two chapbooks, Country I Would Settle In (Pudding House, 2004) and Who Cooks For You? (Kattywompus, 2012.) A full-length collection, Seringo, was published by Kelsay Books in 2023. His poems have appeared recently in Amethyst Review, Autumn Sky Poetry Daily, Eclectica, Emily Dickinson International Society Bulletin, and The Road Not Taken: The Journal of Formal Poetry. A retired administrator for a non-profit agency serving the mental health needs of children and youth, he lives in the Finger Lakes region of upstate New York.

Sean Stiny

Jay (46)

Sean Stiny grew up in Northern California. A writer, woodworker, naturalist, and owl box maker, he lives in Petaluma, California. He writes about the landscapes of the West and our place in them. His writing has appeared in Catamaran Literary Reader, Los Angeles Review, Grit Magazine, Bend Magazine, True Northwest, Kelp Journal, Wild Roof Journal, Cal Fly Fisher, and Whitefish Review.

Marcia Trahan

Eternity

When I regained my senses,
I found myself in the woods,
the oaks monitoring my breath,
the evergreens needling my body.
All I could do was listen
to the rasp of branches swaying overhead.
The chill soaked me in its relentless fashion
as I lay still and whole. The sun’s rays
pressed past the black latticework
but could not reach me. I was not afraid.
I am only afraid to tell you about this
powerless light and the ice in my blood.
You will not believe that I was welcome,
you will say that I should have stood
and fled. You refuse to know
that I was never alone,
that the earth held me in its small soft hands
and would have done so for eternity.

Marcia Trahan is the author of Mercy: A Memoir of Medical Trauma and True Crime Obsession (Barrelhouse Books). Her poetry has appeared in such publications as Cathexis Northwest Press, Two Hawks Quarterly, The Write Launch, Wild Roof Journal, Every Day Poems, Cloudbank, Clare, Anderbo, and Kansas City Voices. Her essays have been appeared in HuffPost, The Rumpus, Brevity Blog, Fourth Genre, and other publications. Marcia works as a freelance book editor and holds an MFA from Bennington College. Website: marciatrahan.com

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