Cover image: "Sleeping on Socials" by Valyntina Grenier
Gallery 3
A decade of letters
Sarah Karowski
self-meditation on how to stop responding to every difficult thing with dissociation
maybe i’m all
out of baby steps,
maybe my toes wrap
around the rocky cliff
edge, maybe my heels
have blistered then
calloused then blistered
again, maybe the early
march breeze whips at
my back, & maybe all
that’s left to do is
descend—
Sarah Karowski is a poet and educator. Her debut chapbook, Americana Folktale (2024), was the winner of the Northwest Florida Poets Write Now 2024 Poetry Chapbook Contest. Sarah holds an MFA from the Mississippi University for Women and teaches English at Tallahassee State College. Her work has been featured in magazines like Passionfruit Review, Macrame Literary, The Dewdrop, and The Elevation Review, as well as anthologies with Five South, Moonstone Arts Center, and Quillkeepers. Sarah currently lives in Tallahassee, Florida, with her found family and two dogs. She spends her free time trying to call dragonflies to her telepathically.
Kyla-Yến Huỳnh Giffin
Mudslide
Wish the earth would pull me back into bed. Want to fold against the mud and worms and roots like arms. Want to let them reshape me. It’s so cold on the surface, but deep under it’d be warm. She said I’d be back on the waste, but I won’t return until it agrees to swallow me whole.
Not sure if I can handle being a person. Dirt made out of a body. Brown-blooded, bulldozing. Muddy eroding face pressing against the glass.
Dreaming of kissing you. Dreaming of killing. Dreaming of friendly ghosts and wretched blooms. Dreaming of being eaten alive alive alive alive or dead. Pasteurized. Fermented. Dried. Frozen. Canned. Rotting. Moldy. Fed.
The only thing I know about being human is it’s common for a birth to happen after a death in the family. The only thing I know is I’ve never seen a grave on the beach. The sand is always running away.
The only thing I know how to do is wake up. Put in my contacts. Look out the window. Pick my skin. Wash my hands. Brush my teeth. Ruffle my hair. Scratch my neck. Feed my cat. Wash my hands. Sit down. Peel my arms. Write my emails. Eat a wall. Eat my stomach. Wash my hands.
Wonder what kind of dirt I would have been. Wonder what kind of body this could have been. Wonder what kind of man I would have been. Wonder what kind of land this could have been.
Kyla-Yến Huỳnh Giffin is a queer and trans, biracial, Vietnamese American diaspora writer whose work revolves around themes of dreaming, fantasizing, and futurizing, and focuses on topics of diaspora, transness, ecology, empire, and intergenerational histories. Their work has been nominated for the Pushcart Prize, Best of the Net, and Best Small Fictions, and appears or is forthcoming in The Offing, ANMLY, fifth wheel press, Discount Guillotine, and other publications. Kyla-Yến is a 2026 BIPOC Fellow for Trans Poetics Archive, a press editor for Half Mystic Press, a co-coordinator for Sundress Publications’ Poets in Pajamas reading series, and an associate editor for Iron Horse Literary Review, and they have also been awarded residencies, workshops, and/or fellowships from Tin House, the Sundress Academy for the Arts (SAFTA), Seventh Wave, Abode Press, and more. Website: kylayenhuynhgiffin.com / Instagram: @yenshrine.
Caitlin Dunn
Why My Favorite Books Are Dog-Eared
I make lunch. Penne marinara,
meatless, while sunlight pours
over the labels in my spice rack,
pours across the alocasia on my cupboard,
puppeteering shadows on an old water spill,
now patina on painted wood.
What else? I found a castoff spoon
between the oven and the wall,
left it there. In the bedroom, far
corner, is a paint roller mark
(in the wrong color) that I don’t want to fix.
I use the full pound of pasta so it won’t
have to return to the cabinet—
I press blooms from my lipstick plant in scrapbooks—
I keep a decade of letters and cut my own hair
like a thing untouched is a thing I’ll forget.
Caitlin Dunn is a finalist for The Poetry Lighthouse Award 2025. Her poems have appeared in High Shelf Literary Journal, Hip Pocket Press, The Journal of Short Fiction and Poetry, Cozy Ink Press, The Poetry Lighthouse, and more. She currently lives in Denver, Colorado with several pets and many books. You can find more of her work on Instagram @caitlindunnwrites.
Léni Paquet-Morante
Léni Paquet-Morante is a multi-disciplinary artist who has lived in Jersey since 1984. Her interpretations of landscape through painting, drawing, sculpture, and monoprint projects have been featured in solo and group exhibitions throughout the northeast region, garnering several awards in recent years. Solo exhibitions include Princeton University Art Museum’s Art@Bainbridge 2025. A full-time artist working in a studio at the Johnson Atelier Studio Program in Hamilton, she was awarded residencies at Wheaton Art Glass Center 2025, Peter’s Valley 2023, and Vermont Studio Center 2024. She was awarded a 2024 NJ State Council on the Arts Finalist grant and is listed in Women Artists of America National Directory. Her work is held in private, corporate, and institutional collections internationally.
Lisa Thornton
Glory Days
A family of four tromped through fallen oak and elm and birch leaves. Their soft feet clothed in leather and vinyl and polyurethane pushed down on piles of pine needles. The father said don’t enter the swirls alone. The mother with the tired look on her face, almost like sadness but not quite, said don’t walk quietly, girls, stay together.
Long and slender earthworms, thick, slick slugs, and centipedes who prefer darkness and quiet raced at their own speeds to avoid the family’s footfalls. Mosquitoes, black flies, and gnats as small as fleeting thoughts hovered around their ears and nostrils. Beetles with backs as black and shiny as polished tap shoes swung through the air with loud buzzes and slapped their cheeks, leaving purple marks as if they had been biting each other. Chickadees fluttered like friends above their heads. Invite us! the birds chirped. We’re coming too, flitted the wrens and the house finches and the sparrows, swirling capital Os between the branches. Let’s go! Let’s all go! A northern cardinal sent out a silver icicle of song, his two sweeps up followed by seven sweeps down. He wouldn’t follow them, the youngest of the family could tell by his solemn voice. He’d stand guard.
When the four reached the bramble, the canopy of trees gave way to blue sky. The older sister with the long yellow hair announced she would collect the most blackberries (Rubus Fruticosus, she said) as usual. As usual in that she usually said this, not that she usually collected the most. Remember girls, warned the mother with the tired face as she held up her tin bucket and shook it, be noisy and don’t split up.
A blackberry bush grows in places that were once something else. This bush grew tall and unimpeded where there were trees but now only power lines, its branches long arms pointing in all directions. Thorns snagged the youngest’s blue jeans. Her sister climbed quickly through the bramble. Soon the youngest was alone amidst the tangle. The chickadees and wrens and finches and sparrows were gone. The cardinal was quiet. She rattled her bucket as she’d been told. She carefully picked three plump berries and plonked them inside.
The buzz of a bumblebee interrupted her progress, and she watched it cling to a honeysuckle bloom like a little white trumpet. She climbed inside a flower herself, and then another and another until powdery beige pollen covered her hair and cheeks. She heard her sister singing Bruce Springsteen songs many swirls away. A hawk hung overhead, and she saw her house so small below, the river trickling behind it, winding across the state and into other rivers and through the city and past the Cape that beckoned like a giant finger into the stormy sea.
A monarch fluttered by her nose, open and closey and clumsy with enormity. It was the king of all butterflies. The younger sister knew that’s why it was called that. Her wings were also orange and black and if you touched them, she would die. Lazy and drunk on flower dust, she turned the corner into a big swirl with a cache of berries. On its bottom, legs outstretched and feet pointing upward, was Ursus Americanus feasting. She had not been making any noise, she realized. Bruce Springsteen was silent.
The bear’s eyes were small compared to the rest of him. They said he hadn’t known his mother very long. They said these berries were his, but just because he had to make it through the winter. He didn’t have SpaghettiOs where he lived, he said.
The youngest smelled his den. It smelled like the locker room at the YMCA where she had swim lessons on Mondays and Wednesdays. The bear moved his giant paw, and she saw it was scarred on the edge. He broke a long branch and ran it through his teeth, collecting the berries in his mouth as he pulled it left to right. She tasted the tart sweet. She felt her huge belly rumble. It won’t be enough, she knew.
Ursus Americanus had ears like a stuffed bear she kept on her bed. Two small, perfect arches. When the gnats bit them, they did not move. The younger sister felt winter, the pinch of frost in her fingers and toes. She emptied the three berries from her bucket into her hand and held it out. Ursus Americanus watched her with his small eyes, chewing. She laid them in the clover at his feet. She wanted to pet him but didn’t need to. She felt his warm, dirty fur filled with ants like a living, breathing coat. He looked away and broke another branch. Thank you, he said.
Let me see what you got, said the father when the youngest made it back to the big rock where they agreed to meet. He grabbed her bucket and turned it over. Told you, said the older sister. Not enough for cobbler, the father said. Or muffins, said the mother, frowning.
On their way home through the trees, the father stopped abruptly and held up his hand. A family of white-tailed deer lifted their heads in the twilight of a stand of birches. For a moment, all was suspended. Then the small one with the spots turned and fled.
Lisa Thornton is a writer and nurse. She has stories in SmokeLong Quarterly, New World Writing, The Cincinnati Review, and other magazines. She has been shortlisted for the Bath Flash Fiction Award and the Bridport Flash Fiction Prize. Her work has been nominated for the Best of the Net and the Pushcart Prize. She lives in Illinois and can be found on Bluesky and Instagram @thorntonforreal.
Matthew Isaac Sobin
On the Third Anniversary of His Death (or reading Encounters with
the Archdruid* by John McPhee while escaping the urban sky show on
the Fourth of July in Placer County)
For Leslie Carol Roberts
After the words have gone out into the world, I sit with three deer
and drive toward a bargain: to admit each thing is at least a scintilla
of something else. Air is three-quarters nitrogen, its weight mostly
useless to us. I’m searching for representation in the world outside
myself, but only find life itself. Seeing one’s self, the deeply human
part in something else, is less empathy and more defense, a level of
projection and removal. Now the deer depart, spindly fawns dappled
in their new beauty. For a moment it feels right to say all beings deserve
a red crown, like the pileated woodpecker on the elevated palm. A book*
I open asserts a logical poetic claim: “. . . possibly the reaction to dams
is so violent because rivers are the ultimate
metaphors of existence, and dams destroy rivers.” I’m rushing down-
stream: stoppered Hetch Hetchy Valley, a reservoir I’ve personally
siphoned for 15 years, never wiser to its identity as twin, a flooded
mirror of its more famous neighbor, Yosemite. During a recent
conversation, a mentor, an ecologist with expertise in the arctic
recommended that my reading mirror my environment, digest
John Muir when visiting the Sierras. It’s a lovely thought my mind
agrees with then resists, not to feel compelled into ecology, into under-
standing. My poems are made of internal stuff, just barely brushing
Mother Nature, light echoed off flora and fauna, locked on metaphor.
But metaphor is ephemeral, a lesser truth, and the Steller’s jay hidden
high in the oak is all himself, full of tricks. He looses a throaty gobble,
and I search doggedly for turkeys perched in the branches.
Matthew Isaac Sobin’s first book was the science fiction novella, The Last Machine in the Solar System. Recent poems have appeared in ONE ART, Stanchion, ballast, Stone Circle Review, and Hog River Press. His poetry has been nominated for Best of the Net and Best Spiritual Literature. His chapbook, Blue Bodies, was published by Ghost City Press in their 2025 Summer Series. He received an MFA from California College of the Arts. When he’s not teaching middle school, you may find him selling books at Books on B in Hayward, California. He is on X @WriterMattIsaac, Instagram @matthewisaacsobin, and Bluesky @matthewisaacsobin.bsky.social. His Linktree is linktr.ee/matthewisaacsobin.
Cleo Griffith
Bluebird, Leaving
Like a toad in the garden
as the bluebird leaves the fence,
I can admire, but imitation is quite impossible.
My journey must be lower, not as smooth.
I could have hopped closer,
exercised my right to your attention,
which, now I think of it, I do not have.
See how this is all about me? Truly, then,
this is no love, this is only fascination
with a being from another world—
the toad,
the bluebird,
leaving.
Cleo Griffith is widely published in such journals as Main Street Rag, Straylight, and Westward Quarterly. She has been on the editorial board of the poetry quarterly Song of the San Joaquin since it began in 2003.
Valyntina Grenier
What Is This Video I Made of Testing My Childhood for a Second Wave?
I’ll be here
to catch some peers
and if or before they pierce
the lyrical hours
splice and devour.
Will it not come?
Ha ha
I hope
my irony is unfounded.
This confounded microburst.
When it comes down to it
the world is revolting
and I keep looking
into this machine I answer
in endless scroll.
Smart glass for news
pressed up against class.
Looking for adventures awaiting
a call-and-response.
In answer my heart
pressed an echo.
How can we
be Pom-Poms shaking
exciting news?
Valyntina Grenier is an LGBTQIA multi-genre artist living in Eugene, Oregon. She is the author of three poetry chapbooks and one full length collection. You can find those books at Finishing Line Press, Cathexis Northwest Press, and various places where books are sold. Her work has recently appeared or is forthcoming in Beyond Queer Words, Beyond Words Magazine, Cathexis Northwest Press, Not Ghosts but Spirits, Superstition Review, Vougler Magazine, Wild Roof Journal, and Querencia.
Emily Brisse
Board Games
Inside the cabin, they’re playing a board game.
I like board games. There was a period in my twenties where I played a lot of them with a lot of friends, and we often laughed at how we’d become these friends who loved to play board games together sometimes until one or two in the morning, everybody emptying the fridge and making stupid jokes and belly-laughing, even the ones who were losing and were secretly kind of pissed about it.
Which is to say, when my friends started a board game inside the cabin, and I kept looking over my shoulder out the window at the glass-top lake, it was not for want of appreciation for strategy and domination and general good times.
Doing my best to explain, I stood. Made my apologies, squeezed a few shoulders. And then I left through the screen door, dragging a standup paddleboard through the quickening dusk across the lawn.
Behind me, the cabin lit up like a candle, I knew the kitchen table was being spread with cards, and coins, a board, and small squares on which were printed the rules of how to win. What does it mean, really, I wondered while walking away — to win? What did we believe, my friends and I, those years ago, when we were halfway between the systems of youth sports and curated Christmas cards? When we were grown kids without kids of our own? What did we think of each game’s objectives? Of the game? Must be nice to be out of the game, a friend said to me at a board game party, a few months after I’d married. I laughed at this—it was said with a smile — but then I looked across the room at my husband, my eyes seeing him and seeing us afresh through the regulations of that comment, the questions it raised. Had I felt pressure? How loud had ticked the ticking clock? What would have happened if this round had reached its end and I was not where I was supposed to be? What did it mean that I was—out of the game, apparently beyond it? Were these the questions printed between the lines of the rules that, for a long time, I let others explain to me?
The paddleboard under my arm, I stepped into the cool water and shivered.
We were all of us belly-laughing back then, yes — no doubt. With the inescapable heft of our current mid-life constraints, it’s easy to remember those years as free. For us, to be twenty-five was to be agile, early-careered, new-moneyed, and alive. But the drive to win, the terrifying need to prove ourselves capable of following the rules to our own best ends — late at night, we were all a little pissed about it.
I wrapped a strap around my ankle, tethered to this board now, certain I didn’t need the strap, that I wouldn’t lose my balance and fall off. But rules.
I looked back toward the cabin. What they were playing up there, it was just a board game, begun on the second night of a full weekend we were spending together with our young families, so, earlier, my friends and husband too had grinned and waved me out the door. The oldest of the children, an eleven-year-old, had dropped into my place at the kitchen table, which I could tell by their still-playing game-smiles when I returned an hour later was a different kind of winning for everyone involved.
The cabin a candle. I can see their young and changing bodies leaning toward each other.
They are playing a game.
I suppose there comes a point — or many points, spread throughout a life — when we all are, inside.
I balance atop the paddleboard. As I push out into this winless, windless night — summer truly arrived, pontoons slowly circling, fish flopping, birds diving and singing, dragonflies flitting, bonfires blazing from shores, and other circles of friends laughing from a ways off, their voices carrying across the lake, talking about how they’re chiropractors now, how they haven’t seen Danny in a long time, how they remember when they had no idea how any of it would really turn out — I float into the middle of the lake, guileless and dark, then lay flat on the board, my fingertips in the water, just drifting.
Emily Brisse’s essays have appeared in publications including The Washington Post, The New York Times, Creative Nonfiction’s True Story, Ninth Letter, River Teeth, and The Sun. Her work has been shortlisted for the Curt Johnson Prose Award and Invisible City Award, nominated for Best of the Net and the Pushcart Prize, and awarded a Minnesota Arts Board Artist Initiative Grant. A lifelong advocate for the power of language and storytelling, she teaches high school English, creates guided journals for individuals and parents, and writes about presence and positivity (not the toxic kind) on Instagram at @emilybrisse.
Kamakshi Lekshmanan
to stand still on an orbiting earth
the tissues of an organism — observant, solitary yet streaming,
in wholeness. revering the ordinary nuances
of a leaf firm on her roots. in adulation the sparrows play a duet.
a stone respires on strength, running is a river
in mystery of her destiny. an egret poses poise,
to an unending downpour. a sonnet in solitude.
the mind alone, a wanderer.
manifesting the imaginary.
Kamakshi Lekshmanan holds MA from the University of Essex, UK. Paperboats and Puliinji is her debut memoir, and her photo essays and poetry can be found in Tiny Seed Literary Journal, Alluvian, Wild Roof Journal, Hopper Magazine, Botany of Gaia: A nature inspired anthology, Quillkeepers Press, The Winged Moon, Writerly Magazine, and The Closed Eye Open.
Michael Fitzer
Michael Fitzer is an Emmy™ award-winning director of photography and partner in the film production company 180 Degrees. He is also an MFA student at the Naslund Mann School of Creative Writing at Spalding University.
Allison Mei-Li
The Water We Swim In
Did you know time existed
before a ticking clock,
before the hungry boxes
of a calendar?
We’ve never owned time.
Still, I’ve been taught
to try and tame it,
to chase it
or stockpile it
in suitcases beneath my bed.
I’ve tried stretching time
like an arrow’s bow
and skipping it
like a scratched record.
But time is only
the water we swim in—
so I’ll climb in
limb by precious limb,
linger until my fingers are pruned,
until I’ve learned
to swim with the current,
to wake with the sun,
to curl up
when the night comes.
Author’s Note: The line “time is only the water we swim in” is inspired by Oliver Burkeman’s Four Thousand Weeks: Time and How to Use It.
Allison Mei-Li is a mixed-race poet, mother, and speech therapist living in California. She is a reader at Turning Leaf Journal and was recently shortlisted for poetry prizes by Central Avenue and the Alpine Fellowship. Her debut poetry collection, A History of Holding, centers on the weight and wonder of motherhood. Website: writtenbyallison.com / Instagram: @writtenbyallison
Jessica Aure Pratt

Jessica Aure Pratt is a Utah-based occupational therapist and poet. Her poems often reflect experiences with parenting, nature, social issues, and many facets of spirituality. She has recently published in Wildscape, Humana Obscura, Moss Puppy Magazine, and Planted Journal, among others. Instagram: @jessaure.poetry
Carella Keil
Note: This image was originally published in The Bayou Review.
Carella Keil is a writer and digital artist who creates surreal, dreamy images that explore nature, fantasy realms, portraiture, melancholia, and inner dimensions. She has been published in numerous literary journals including Columbia Journal, Chestnut Review, and Berkeley Fiction Review. She is a Pushcart Prize Nominated writer, Best of the Net Nominee and the 2023 Door Is A Jar Writing Award Winner in Nonfiction. She is the featured artist for the Fall 2024 Issue of Blue Earth Review. Her photography has appeared on the covers of Glassworks Magazine, Nightingale and Sparrow, Cosmic Daffodil, In Parentheses, Blue Earth Review, Silk Road Review, Straylight Magazine, Frost Meadow Review, and Colors: The Magazine. Instagram: @catalogue.of.dreams / X: @catalogofdream
Deron Eckert
To My Moon
I wish you could open up
the blinds all the way
or pull the accompanying string
that raises the accordion
flat to the mechanism
resting at the top of the frame
of your glowing window
I wish to see all the way
through to the other side
they call the dark side
that receives sunlight
just as we do down here
where our reciprocal tides
keep your full self forever
locked away behind a face
that is always front-facing
and beaming as a clock
that towers above and is
lighted from behind the glass
that is undoubtedly you
but not all of you
since there is something
hiding behind the light
I also wish to see.
Deron Eckert is a poet and writer who lives in Lexington, Kentucky. His work has appeared or is forthcoming in Atlanta Review, Blue Mountain Review, Appalachian Journal, Rattle, Stanchion, Beaver Magazine, The Fourth River, and elsewhere. Instagram: @deroneckert
