Cover image: "Thinking Hut Window & Antler" by Anthony Procopio Ross

Gallery 1

Knocking on wood : on glass

Rebekah Warren

Midnight Sun

I am not 
particularly 
well-traveled. 
I imagine, 
however, 
places I’ll never see
and how they’d look 
with you there. 
You know, 
way up north,
in Alaska,
in the summer, 
the day almost 
never ends.
What a gift, 
to see you bathed 
in light, always.
But would we miss 
the dark? 
By winter, I’d crave
you in moonbeams, 
crave your shape 
not by sight 
but in my hands.

Rebekah Warren teaches writing by day and breathes life into her own words by night. She has published creative nonfiction pieces and is currently querying a historical novel. Always inspired by the matriarchs of her Cherokee bloodline, she writes poetry about the earth and her own roots, learning about herself along the way. When she’s not writing, she’s likely chauffeuring her two daughters to their endless activities, hiking, or reading in the hammock, under a shade tree. Instagram: @rebekahwarrenwrites

Fleur Lyamuya Beaupert

Before the Temple Door

half an hour he stands there knocking
pressed against the glass island

they can be seen behind glass
moving their mouths : moving things around
on the long row of desks

they can be seen pretending not to see
as we stand there knocking on wood : on glass
on the noiselessness of impact : tapping

the bog floor

typing on computers

they crawl between our dependable visions
we can see ourselves in a mob of protesters

as they enter the real      as they enter the mainland
the big deal : the new age      as they abduct the mainland
the whole question      as they banish the island
the estate : the swamp      as they exile the waterfront
the propertied pavement      the real estate agent

as they storm the supermarket of language : so gracefully
browsing : selecting : purchasing : leaving empty trolleys

all over the mountaintop

it makes us swoon      how they pull us apart
with elegant words      they make us sweat 
visions of our looking      dripping from their pens
how we laugh & yell & feel strong emotions
leak out of our orifices as they shelve us
as if we’re manila folders or rarely used punctuation

inside the folders

so many of us in the long queue

as they enter the bakery      as they occupy our bodies
the simplest pleasures      take possession
as they cry out to us      of our hiding places
the clinics in our skulls      as they barricade queues
deep within the queue      deeper within cues

we are sullen : solemn
serving out our sentences
on the right or wrong plane
of ebbing glass

we can be seen there
seated at an epic desk
as their words walk into us
as their language discovers us

swinging in clouds

navigating the air

Fleur Lyamuya Beaupert majored in linguistics and received their PhD in law at the University of Sydney. Their words appear in Rabbit, Sonance (Red Noise Collective), #EnbyLife, Speculative City, Science Write Now, and elsewhere. Fleur is a recipient of the Charles Rischbieth Jury Poetry Prize and a shortlist honoree for the 2024 Dzanc Books Poetry Prize.

Jack Phillips

Liquid Indigo

Nature as I find her (like love) a sea of songs an aural bog to swim/muck muddle more than merely listened to, the courtship of frogs (all the world

a fertile drum-skin) with passions sounding slick and bounce. Listen to a bunting: indigo binds our wounds blood-bound to the cosmic throb sonic shapeshifts and loops

with swallows over the pond, each polyphonic drop could be grosbeak, towhee, tanager (two kinds) oriole (two kinds) and all these flycatchers an elixir (each according to its kind)

but as I find Her one water-body of being and the only taste and heal is Bless-ed Mother-wild a liquid love, and from her we drink/dribble cup and puddle and pour.

Jack Phillips is a naturalist, poet, nature writer, and founder of The Naturalist School, a nonprofit organization devoted to connecting with nature more deeply through creativity and deep encounters with wild nature. He is a Pushcart nominee, poetry editor of Magpie Zine, author of The Bur Oak Manifesto: Seeking Nature and Planting Trees in the Great Plains, and co-editor of Treasures of the Great Plains: an Ecological Perspective. His poetry has appeared in Hymn and Howl, Wild Roof Journal, Flora Fiction, EcoTheo, Canary: a Literary Journal of the Environmental Crisis, The Good Life Review, THE POET, and Saffron City. He lives in the Missouri River watershed of eastern Nebraska and teaches ecopsychology at Creighton University School of Medicine.

Robin Young

Clouds in the Sky, Ground Below

Based in Borrego Springs California, artist Robin Young works in mixed media focusing mostly on collage and contemporary art making. From large, life-sized pieces, murals and 3D sculptures to small postcard-sized arrangements, Robin’s keen eye and gripping aesthetic guide her viewers into her own semi-readymade world. She repurposes nostalgic images for lighthearted and sometimes disquieting messages.

Dagne Forrest

Weights and Measures

Don’t let me complain about it, this daily
rearranging of the known world,
old spoon by mismatched spoon,
the distracted sweep of crumbs
into an expectant palm, followed
by a wipe of the cloudy constellation
of cats’ pawprints across the dark glass
of the cooktop, the adjacent recall
of a science column that compared
the density and weight of a tablespoon
of neutron star with something we know
from the warmth of its distant stare
a tablespoon of sun five pounds or so,
equal in heft to an old laptop, like
the bulky off-white model with glowing
orange display my parents gave me
all those years ago, the future weight
to be found in spoons, crumbs, cooktop
through the mining of the written word.

If you could lift it, a spoonful of neutron star
weighs much the same as a mountain,
the star’s collapse a tense fist
of a whole world, condensed so tightly
more squeeze is impossible, the laws
of the universe keeping two neutrons
from being on the same spot at once,
like thoughts running so seamlessly
their bonds seem to fuse, while remaining
separate, distinct, one thought unable
to follow the next until another second
ticks by and another, each gone for good
while the cooktop is daily wiped clean,
the untapped energy of its atoms at odds
with the apparently dull rinse and repeat
of spoons, crumbs, cooktop,
a trio fizzing with potential at its core,
explosive as a neutron star shedding
its gravity and coming to earth.

Dagne Forrest is a Canadian poet with recent work forthcoming or appearing in Rogue Agent, Tar River Poetry, The New Quarterly, december magazine, Unlost, Prism International, and Rust + Moth. She belongs to Painted Bride Quarterly’s senior editorial and podcast teams. Her chapbooks include Un/becoming (Baseline Press, 2025) and the forthcoming Falldown Lane (Whittle Micropress, 2026).

Samantha Malay

Realm

I am late June
in a hillside apartment
windows held open with rain-swollen phonebooks
where sparks fly
as streets intersect
and buses break free of overhead cables

I am sunbeam on beer bottle that starts a grass fire
bumblebees in nettle shade

I can give you a haircut
sew a button back on
show you the shape of the city by night
and how close we are to the water

 

Metronome

curtains closed to afternoon sun
on a piano bench beside my mother
surrounded by the fragile and heavy belongings
of friends who’d followed my father’s letters
to settle near us in the woods

my hands mimicked hers above the keys
but I thought the music lived in the fingers
that rolled cigarettes and loaves of bread
and pushed my hair behind my ears

as we walked along the edge of the field
and saw the work of underground animals
I wondered if she begrudged her time with me
and my lack of the tuneful genes
she shared with her overseas sisters

Note: “Realm” was first published in Soliloquies Anthology, December 2021.

Samantha Malay’s poetry was recently published in Blood Tree Literature, The Passionfruit Review, and The Closed Eye Open. C&R Press long-listed her chapbook Inland for their Summer Tide Pool Award (2024), Steel Toe Books short-listed her chapbook Realm (2023), and Shark Reef Magazine nominated her poem “Between” for a Pushcart Prize (2020). She grew up in rural northeastern Washington State, where her family built a cabin with timbers salvaged from an abandoned homestead, hauled water from a creek, and read by kerosene lamp. Website: samanthamalay.com

Jaime Rodríguez

ruta central

barbed wire sags
  silver, border-chilled—
    whitetail, gray-backed
      noses the trembling metal
        hooves print thawed loam
          beyond rows of onions
            anacua shadows stretched thin

geese ribbon the evening
  wings loud in their silence
    night folds in
      directions written in marrow
        not maps

(in the valley, headlights follow sky migrations—
    i count wings
      when i can’t count borders)

shadowlines crisscross
  frosted grass
    javelina finds a gap
      rusted strand
        buffelgrass needling through

  once, my father carried me
    over a fence
      to pick cilantro before sunup
        our boots muddied
        our spanish quiet
          as owl cries go unheard

i search crossings
  culvert, corridor, passage, escape

    none fit the curve of antlers
      the still between checkpoint questions
        the arrow-flight of nighthawk

  spring returns
    to unfinished maps
      arroyos splayed
        where borders cut through
      sugarcane fields
        stripped raw
        yet marked as whole
          a seam of feathers
          scattering at dusk

no sign
  only the old hunger
    pulling like a tide
      where the wire thins

      last night i dreamt
        in a language
        with no word for border—
          woke with dust on my tongue
          feathers, again, in my mouth

Jaime Rodríguez is a Chicano poet from the Rio Grande Valley. His work explores memory, survival, and silence across cultural and ecological landscapes.

Christie Cochrell

Or Die of Namelessness

“we must call all things by name out of the silence
again to be with us, or die of namelessness”
—Wendell Berry

Jayce recognized the man right away but couldn’t remember his name.  Seeing the arrogant toad here, of all places, out of the blue, quite ruined the otherwise flawless spring morning — and surely the whole week which he had worked so hard to organize, and had been looking forward to so much. His first major symposium, in the almost sacred precincts of Jemez Springs, with all his favorite colleagues and a carefully curated group of indigenous fossil experts and museum staff he’d come to know from around the state. Spoiled unaccountably by this jerk from Europe somewhere, one of the famous universities, whose distinctive appearance (that beaky nose and frizzy widow’s peak) set Jayce’s teeth on edge, bringing back instantly the fellow’s irksome manner — stagy, lavishly insincere. His monologues, the way he couldn’t stop spouting Latin fossil taxonomies with every self-important breath.

Having the man turn up again was a big shock, for sure — but worse, Jayce knew, was the stress of trying to hide his own failing mental state. The continuing disappearance of names:  another gone, another blank space where he knew something had been. He couldn’t care less if this foreign louse was named for a bad Roman emperor or a second-rate hypnotist, or even for that guy who got famous jumping his motorcycle over canyons and fountains back in the 70s, but all the other names that had preceded his into the void were troubling, haunting. (So many already today.) The syllables garbled, confused, bumbling meaninglessly in the young scholar’s ears like that hearing affliction, whatever it was called, something tinny, fuzzy, a hive of bees with no hope of cohesion or direction, no honey, no queen. Even the names Jayce had known as inseparably as his own christened self. Those he had cherished, built his life and his career in science on, were increasingly the source of nothing but despair. The names were all deserting him, while predatory voices without nuance or signification yammered around him.

One in particular, with its distinct accent and arrogance, thrust its way into the aching holes. Just over there, ten feet away, asseverating to a captive audience waiting impatiently to get within reach of the catering table and in particular the mound of bagels with green chile cream cheese and smoked trout. Apparently he’d contacted the department chair from overseas and made known his desire to come to New Mexico over spring break to the symposium, as a good opportunity “to further my research and check out some Pennsylvanian crinoids, bryozoan, and brachiopods from the Madera limestone.” Summarily, he descended on Jayce’s home turf, this southwestern state where he’d been born, studied, and a couple of years ago been hired as assistant professor in the Department of Earth Sciences. The land he cherished, its distinctive reddish earth colored by iron oxide — sandstone, siltstone, shale; flat-topped mesas, snow-topped mountains. The Sandia-Manzano range, and Sangre de Cristo, the volcanic Jemez, names he kept circled on his worn road map in hope of not losing the mountains too.

*

Jayce left the crowded meeting room, took coffee in his mug patterned with Hopi petroglyphs out to the patio, and sat on a low flagstone wall with native desert shrubs behind, hoping without much hope that his favorite dark-roasted Brazilian beans and the lucent blue sky would help calm him down, out of sight of the others. To nurse his grievance with this plunderer.

It had been bad enough at the overseas conference in December, when he’d first encountered the man over the fossils he’d been so wanting to see during the much-anticipated field trip to the German museum. (He still carried the museum brochure in his pocket as a cheat sheet. Jurassic fossils they had been.) After the condescension he had been subjected to, the battering by Beaky Nose’s insolent display of erudition and one-upmanship, Jayce had had to go to ridiculous lengths to keep out of the man’s way the whole rest of the meeting. The workshops and poster sessions, the annual address and dinner — all had been spoiled by the testy presence of the more senior paleontologist. By Jayce feeling obliged to skulk around in undistinguished groups of graduate students or fossil enthusiasts, to slip furtively out the nearest exit whenever the boor came near. He’d skipped promising sessions and receptions, and finally — disastrously for his career, no doubt — had simply fled. Taking refuge at one of the famous Christmas markets, which had been recommended in the conference packet, where he’d drowned his sorrows in mulled wine (followed by rather decent bratwurst grilled over beech wood, and giant rounds of chocolate gingerbread) instead of networking as he had wanted with colleagues, making new contacts and friends.

But there’d be no getting away from him this time. The group was much smaller, only a couple dozen scholars besides Jayce. And the raider from overseas had already begun to spoil everything he cared about — even his footing with the woman he loved more than all the shells and other traces of the past which thrilled his soul, the woman to whom he could now only stammer out his affection in wary phrases less intelligible than some of the fossil fragments he chanced on.

“Professor Doctor” was how he’d heard the fellow introduce himself to her over her display table of southwestern fossils and moss agate chunks, brought to the meeting from her shop in Jayce’s trustworthy old camper van. Bowing over her hand as if to kiss it in an irritating old world way.  Inwardly fuming, Jayce had stood helplessly by, watching them both. In turn she’d handed her card to the double-barreled pompous ass, saying “Joelle.” (Jayce savored that revelation like a slow sweet on his tongue, a Werther’s caramel, hard outside but filled with soft sweetness. Another name he kept losing somewhere, despite how close they were, how much he needed her.)

She quite adored those spiral shells (he’d shot a glance at the descriptive tags under the most impressive — ammonites). For many years he had been scouring the San Juan and Chama Basins for her (locations also mentioned on the tags), pleased to provide especially fine specimens for her to sell or keep at home on the wide windowsill behind her reading chair. As he had written in an email to a college friend when he first met Joelle (he checked the message frequently), he cooked for her often, intriguing types and colors of heritage beans cooked in the antique stoneware bean pot of his grandmother’s, flavored with earthy chile pods and a bay leaf or two, combined sometimes with sauteed Swiss chard and toasted piñons, at other times with pork loin marinated with cumin and smoked paprika and then deeply browned.

On their first date they’d ridden horses into Pacheco Canyon, with orange mezcal sours in a thermos carried along. They’d kissed like fallen angels — though he didn’t write that to his friend — and found themselves entwined at the foot of a stately tribal elder cottonwood in almost unendurably lovely fall light.  

But now his names were going, and that man with his hawk beak was here. She had invited him along to dinner with them that evening in Santa Fe, where most of the group was staying, where Joelle lived on the west side of the river. She and the foreigner talked animatedly in the language Jayce had once been fluent in, while he, the silent third party, moodily picked at his blue corn enchiladas, mostly just drinking the Dos Equis XX Amber (name lost, his only suggestion “that dark beer”) which, after shooting him a funny look, Joelle had told the server was what he wanted. Though she knew nothing of his loss, not yet, not if he could help it, since that would mean losing her too, Jayce was immensely grateful for the kindergarten teacher she’d once been, and the words she came up with and offered as a matter of course.

But then the invasive Professor Doctor started needling and quizzing him, showing him up in front of his friend and lover. And she was edgy too, not standing up for Jayce at all after naming the beer. She was flirting flamboyantly in that bright way she had, enjoying the man’s seemingly endless knowledge of fossils — their esoteric names pronounced in his sultry accent further attracting her, binding her in their spell.

Jayce laid down a twenty-dollar bill for his uneaten enchilada, for what was left of the warm beer, and silently got up and left. Left them to it. He didn’t have the energy to fight the words, which he was literally lost for. He knew he didn’t stand a chance of keeping her; love too was fading fast.

*

So much of everything had gone. Once he had known by heart entire classifications of fossils.  The four main groups based on the way they formed: impression, mineralized, organic, trace. Processes, sites, composition — resin, wood, etc. — layered sedimentary formations.

He’d lost by name (though not by longing to possess in other ways) a universe of fossil shells. Cephalopods, ammonites, opalized pipi shells, spotted Babylon snails, cowries, dolphin gastropods, miters, moon shells, turbans and vases and urchins, whelks, Venus comb murex, hundred-eyed cowrie, rainbow abalone, sheep’s ear abalone, pontifical mitre, orange-mouth olive and lettered olive, colorful coquina clams, chambered nautilus, tusk. Once he could almost tell the alphabet, starting with ammonite, brachiopod, conch or cockle . . .

And now, what now?  

He had no names, not anymore, but he did have the swirly things themselves, the fine infinite things preserved.  He had his love of all of them, their feel under his fingers, their earthy or salty smell, their grainy taste when he couldn’t resist touching his tongue lightly to them, his instinctive kinship, knowing precisely what they were — if not what to call them.

Shells were his favorites, as they were hers too. Joelle’s. He spent one summer in his late teens studying northeastern Arizona’s petrified wood.  They both loved petrified wood slices — polished or rough. He loved the moss agates given a cabinet of their own in her magical shop, and the gigantic Ordovician fossil crinoid plate from Morocco which she’d taken on faith and sold almost at once. He was equally intrigued by starfish fossils, fossil footprints, fossil salamanders in amber.

He’d been drawn by petroglyphs since childhood, and other glyphs too — thinking that the symbolic images in stone, on canyon walls, in a complex of caves in France, Spain, Australia, India, Russia, Namibia, Indonesia, Argentina, and the United States, were after all kinds of fossilized languages, fossilized names.

Now it was that, the thought of the records of human life in rock, which led him to a solution, a way forward through the anomia he’d been diagnosed with — nominal aphasia (he had a brochure with the terms) — this past November, just a month before the trip to the ill-omened international conference. The terrifying inability (because of something neurological, in his case) to remember names — clearly not good at all for someone who lived to identify fossils. And maybe even more importantly, name people. Students and colleagues. University staff. Neighbors. And above all, her. His indispensable Joelle.

He had envisioned that there’d be only a blank where love had been. Only it wasn’t like that, not really. Love was still fully there, only you had no way of saying so. Even your lover’s name vanished along with the others, though he’d happened a day or two ago upon Venus — goddess of love. Or in fossil circles, saltwater clams. The Belgian fossil bivalve Venus casina, a fossil shell from the Pliocene Age. And then,Venus again.  They said the Venus of Dolní Věstonice, the world’s oldest ceramic figurine, was found to be made from fragments of rocks and tiny fossils, not mammoth bones as previously believed — crafted from a single piece of loess, windblown sediment. This was the stuff of Jayce’s dreams, of both their dreams. He wanted to tell her, his own Venus, his perilous Joelle. He longed so much to share the wonder of this, of the still — touch wood, always — present world. Not to have her gone from him for even a moment of senseless jealousy and fear, much less for good.

*

The wait was days (eons!) too long, but she was there, silhouetted in the moonlit darkness of the late spring night sometime after midnight, wanting to be let in. Into his little house in Bernalillo, between Albuquerque and Santa Fe. Closer to work, the University, than to his love — but maybe not for long. Who knew what might come when he dared call into the silence, knew what to call?

He felt her in his arms. Her skin, the tawny length of her against the length of him, her warmth, her scent of piñon, western pine, the purling chuckle she had always given as her lips felt his forming her name, before the myriad endearments which followed. Her name not lost to him, despite the terror of it all, and what else might still disappear, taken from him by foreign invaders or his own mind. Her name tattooed yesterday afternoon in royal blue, in indigo, the blue of murex shells, a kind of fossil blue, against all loss, against that fatal namelessness, in the soft, hidden crook of his elbow. And in the other, too — to be doubly sure not to lose it.

Christie Cochrell loves the play of light, the journeyings of time, things ephemeral and ancient. Having traveled extensively, she is immensely grateful for the sensory riches and toothsome words she has collected along the way. Her work has been published by The Saturday Evening Post, Tin House, Wild Roof Journal, and a variety of others, receiving several awards and Pushcart nominations. Chosen as New Mexico Young Poet of the Year while growing up in Santa Fe, she now lives on the northern California coast in Santa Cruz, and has published a volume of collected poems, Contagious Magic.

Anthony Procopio Ross

Anthony Procopio Ross is a 2025-27 Charlotte Street Studio Resident based out of Kansas City, MO. His poems appear in publications such as The McNeese Review, Laurel Review, and Bear Review, alongside others. Anthony has been awarded grants, residencies, and fellowships from organizations including the ArtsKC, Art Farm Nebraska, and Minnesota State University. He stewards inner-city teens at a local non-profit while also teaching night classes at an art institute. In his free time, he takes photographs, makes zines, and writes poems. The photographs that appear in this issue were made between attic restoration and poetry-writing during the artist’s May 2025 residency at Art Farm Nebraska (Marquette, NE). Instagram: @fictioncubed & @kcliterarylens.

J.I. Kleinberg

the refuge of place

J.I. Kleinberg lives in Bellingham, Washington. Chapbooks of her visual poems, How to pronounce the wind (Paper View Books) and Desire’s Authority (Ravenna Press Triple Series No. 23), were published in 2023; a full-length volume, She needs the river (Poem Atlas), was published in 2024. Other chapbooks include The Word for Standing Alone in a Field (Bottlecap Press, 2023) and Sleeping Lessons (Milk & Cake Press, 2025). Instagram: @jikleinberg

Mark McKain

Dream of Reason

Today, no waves except that fin, jittering the surface. Yesterday
I walked the dawn, the calls of kingbirds touching the sky.
Today, coral reefs are worried. They evict their algae tenants.

Bleach, bleach, I lose sleep, dreaming
lines from Reverdy: the sky heavy on the trees, a door
opens in the canopy through which night falls.

Oh Darwin, yesterday I believed in the multiplicity of bees,
wasps, turquoise flies, clinging to a flowering cluster.
I prayed for hybrids resistant to my fossil-touch.

Today, I look to the sargassum, the sweet breath
of decay, the aftertaste of salt. The dawn light
tangled up in its jewel-green mass.

Mark McKain’s poetry and visual art have appeared in AGNI, The Journal, Subtropics, Blue Mesa Review, Superstition Review, Western Humanities Review, ISLE, Gulf Stream Magazine, and elsewhere. His second poetry chapbook, Blue Sun, was published by Aldrich Press. He writes, creates and experiences global warming in St Petersburg, Florida.

Brooke Hoppstock-Mattson

Brooke Hoppstock-Mattson is a graduate student of environmental geochemistry living in Vancouver, Canada. When she isn’t collecting salmon, honey, or rocks, she’s writing. Her poetry has been published in Tiger Moth Review, Deep Overstock, Willows Wept Review, and elsewhere. She works alongside the faithful devotion of her ginger cat and the ardent avoidance of her black cat.

Valerie Lawson

Woodlot

Property:
There are no straight lines
in the forest
that which divides
this from that
ignoring where roots
and branches touch
where I cannot.

There are no straight lines
in the forest
except the deer’s spine
the hunter will tell you
shoot below
and to the left
where the heart
gallops
in its bone vest,
a graceful murmur
like the sound of the wind
in the pines.

Inventory:
A-1/M3C: mixed hard and soft wood,
30’–60’ tall, with a high
but not full crown closure

One must walk the woodlot
with arms spread
to gauge the correct distance
between trees

The trees themselves
accommodate
exhibit crown shyness
when you veer off course,
leaving precise gaps
as you confront
an individual
tree.

Loggers would take the ones
you love most. Pine
fetches a good price,
even in small lots,
each sawtimber tree
swathed by blue slash marks,
garish ribbons
encircling trunks
marking
the wounds wrought
when my roots
pierced the soil.

Medicine:
There is good medicine here,
my friend Fredda says.
White pine (kuwes) makes tea
high in vitamin C.
The old ones remember
Pierre Dugua, Sieur de Mon,
and the ill-fated settlement
at St. Croix Island:
Huguenot
and Catholic
dying from scurvy
surrounded
by salvation.

Pine trees
belong to the wind,
sun, and soil.

We speak
our own language—
you hear only
the wind
moving through us.

Valerie Lawson is a poet, editor, and teaching artist living in Downeast Maine. She is the author of Dog Watch (Ragged Sky Press), and her work appears in The Café Review, About Place Journal, The Catch, and is forthcoming in Flyway: Journal of Writing & Environment. Before moving to Maine, she was active in the spoken word community, performing with the Boston Poetry Slam and Doc Brown’s Traveling Poetry Show. Lawson co-edited Off the Coast Literary Journal and edited the Maine Literary Award-winning 3 Nations Anthology: Native, Canadian & New England Writers (Resolute Bear Press).

Pamela Viggiani

What Does That Have to Do with the Price of Corn?

Pamela Viggiani is a mixed-media artist and art educator living in Canandaigua, NY. A native of the Finger Lakes region, Pamela received a BS and MS from Nazareth College of Rochester. Her art has been featured in Small Works, Light Space & Time Online Art Gallery, Another Chicago Magazine, Press Pause Press, From Whispers To Roars, Sunspot Literary Journal, Beyond Words Literary Magazine, and Wild Roof Journal. Her works can be seen in member exhibitions at Rochester Contemporary Art Center, Mill Art Center and Gallery, and Arts Center of Yates County.

Deborah Fass

Winter Heat Dome

Such pressure our chests
can’t rise and the sky
can’t exhale over the hills
gone bone-gray.

We want to flee, go north,
where a storm settles at the coast,
but we’re rooted here as coyote
brush and we know this

weather is our doing. Hope
doesn’t bloom with the garden
daffodils heralding spring
in the stagnant air.

It’s dormant like black sage,
deep like the oak’s tap,
like groundwater.

Note: This poem originally appeared in the limited-edition chapbook Where the Current Catches (Island Verse Editions, 2018).

Deborah Fass has been featured on National Public Radio and has been published in literary journals including Terrain.org, Plant-Human Quarterly, Heron Tree, Coal Hill Review, and The Fourth River: Tributaries, as well as in the anthologies Fire and Rain: Ecopoetry of California and Erase the Patriarchy: An Anthology of Erasure Poetry. Her recent poetry chapbook, Where the Current Catches, won the Island Verse Poetry Prize. Deborah holds an MFA degree in Creative Writing from Chatham University, an MA degree in English/Teaching English to Speakers of Other Languages from San Francisco State University, and a BA degree from the Poetics Program, New College of California. Between degrees, she studied Japanese Language and Literature and was awarded a postgraduate Japanese Ministry of Education Research Fellowship from Oita University. She lived in Japan for many years and now lives and teaches in the San Francisco Bay Area.

Cecil Morris

Road’s End Beach, November

Between two waves of rain,
between a day clothed in clouds
and one promised to be worse,
a sunny day with light as clean
and bright as sheets freshly washed,
as wishes not yet given voice.
The beach almost deserted,
the sand still rain-damp and firm
underfoot, the light aglitter
on everything—long kelp blades,
yellow-brown, wave tumbled rocks,
rare and much-treasured agates,
wings and backs and eyes of crows,
high flash of gulls’ plaintive calls.
The world beautified by sun.
The waves and wind both becalmed,
breath held back, intermission,
pause in time’s usual roar
and forward rush. Above sea’s
salt scent and chill or below
a darker smell. The black bulk
of a seal rolled up and dead,
deflating, flippers mostly gone,
eyes unblinking fixed and done.
Even that shined by this day’s sun.

Cecil Morris is a retired high school English teacher, sometime photographer, and casual walker. His first collection of poems, At Work in the Garden of Possibilities, came out from Main Street Rag in 2025. He has poems in The 2River View, Common Ground Review, New Verse News, Rust + Moth, The Sugar House Review, and elsewhere. He and his wife, the mother of their children, divide their year between the cool Oregon coast and the Central Valley of California.

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