Cover image: "Voyeur" by Leah Albert

Gallery 2

Visual Art, Poetry, and Prose

Nicole Winters

molting

press thumb to shoulder.
& the fingerprint lingers.

later, heat leaves
chills & skin prickles
               against sheets

preened flakes slough
to the floor;
               one feather at a time

nails sharp; a beak
picking away at plume

               change happens slow
               like that;

sometimes you don’t even notice.

Nicole Winters is a writer, yoga teacher, ceramic artist and Marine Corps spouse. She grew up in Virginia Beach, VA and has always felt a deep connection to the ocean, and nature in general. She currently resides in Escondido, CA, where she makes and sells pottery out of her home studio. When she isn’t writing or wheel throwing, she is studying to become a Yoga Therapist.

Sean William Dever

Callused Memories

the air outside my childhood home settles my lungs –
it’s colder here up north, just shy of Boston;

air is denser, knocks against bones while I carry
logs inside. A swaying pine gave out last night.

I heard the final snap and tumble while lowering my blinds,
paused halfway; total darkness feels too finite, too definitive –

instead, I invited the moonlight in to settle against my skin,
making its way down my torso, emerging into the greater canvas of me.

Each severed piece of wood is to be stacked beside the fireplace,
and each sends splinters that nestle under my callused hands,

but I like sting, take pride that these hands can still carry, build,
and create. Friction and strain birth these little memories,

stretching from base to fingertip, but the earth is still home to the pine,
the trunk still settled deep, and the rings remain, an echo.

Sean William Dever is an Atlanta-based poet, educator, and editor with an MFA in Creative Writing with a focus in Poetry from Emerson College. He is a Lecturer of English and Writing Studies at Clayton State University. He has recently been published or is forthcoming from Anapest Literary Journal, October Hill Magazine, Wild Roof Journal, and The Raven Review. Additionally, he was a nominee for the 2019’s Best of the Net. Sean is the author of the chapbook I’ve Been Cancelling Appointments with My Psychiatrist for Two Years Now, published by Swimming with Elephants Publications.

Leah Albert

Leah Albert is an artist working from Tucson, AZ. After graduating with a BFA from Lyme Academy College of Fine Arts, Leah moved in 2010 to explore landscape painting in the open spaces of the Sonoran Desert. She continues to draw inspiration from the West; the modernist structures and unusual nature inform her acrylic paintings and mixed media works on paper. In 2018, she embarked on a full-time studio practice and currently lives and creates from a tiny home and mobile studio space: a renovated 90’s Airstream Excella and 60’s Shasta trailer nestled among the Saguaros of southwest Tucson.

In her current work, she explores neighborhoods in bright abstracted forms, depicting developed spaces that contrast nature with man-made artifice, quietly reflecting themes of climate change and the paradox of contemporary isolation.

Stephen Ground

The Little

She hurried home as streetlights puttered to life like bare, dangling bulbs in unfinished basements. It was the first summer she’d been allowed to venture beyond the boulder at the end of the street, and she and her favourite cousin had spent it honouring a pastime relayed through whispers of older kids when grown-ups were distracted or drunk: combing East Bay, sharing puffs from smokes pocketed from packs left unsupervised, and poking rotten, bloated fish with sticks till they deflated like untied balloons. That evening, they’d stumbled on a beached, wide-eyed jack, gaping gills mirroring fanged, gasping jaws. When it stilled, they emptied their pockets of skipping stones without discussion, piling them on and around till it was indistinguishable from the muck. Daylight taken for granted, evening rose quickly, silently around their ankles, and they abandoned the ceremony.

Splitting from her cousin at the fork between uptown and down, her pace quickened as she approached the hill by the school – favouring the middle of the road, its glowing mucous warmth, eyes straight ahead to avoid shadowy ditches. Her street branched off darkly at the top of the hill, two minutes from home if she ran; lights on the slope hadn’t worked in years, however, long before Mom decided she was old enough to shamble freely while school was out and days were long. Her brothers had already spent years vanishing during summer, appearing occasionally to change their gitch or devour what little stained the fridge, so she wasn’t surprised Mom and her latest man had been anxious to pump the tiny house with Jones, Jennings, clinking glass, and smoker’s coughs without needing to feign concern for quiet required by children for peace and rest. She was happy to oblige as long as they’d fought the night’s war and were passed out when she was too tired to roam or better, he’d crawled back to wherever he went when he wasn’t punching holes in their drywall or forgetting to flush.

Between the rotating cast of dirtbags, a mother content with disinterest, and three feral brothers, surviving her house had taught her two things: don’t be afraid, and lock the bathroom door. Leaning heavily on the first, she stared holes through grubby, duct-taped sneakers and began the climb between shadowy copses spilling like tipped inkwells across the slope. Breath short, striding hard, she tripped on an untied lace and skidded face-first, pebbly grit grinding her palms and chin; turning her gaze to awakening stars, she stopped an inch off the ground – a minuscule shadow. Pinprick in the void. Squeaking a dreamy melody, it skittered off the road and into the blackened treeline. She leapt to her feet and pursued.

Threading groping pines and ghostly birch, she chased singsong chitters, bursting into a moonlit clearing as the sprite glanced back with its tiny, soft-furred face, then dropped between twisted roots of a gnarled tree, its shimmering needles pulsing softly. Saucer eyes – yellow and veined with iridescence – peered from the lightless cavity; creeping closer, she snapped a stick with her toe and the saucers blinked out. The song echoed deep in the cavity and she stooped, collapsed, crawled to the chasm, squeezing inside like a hungry mouse sacking a grain pantry. The roots snapped slowly shut, leaving a lonely, duct-taped sneaker dozing in moonlight on a bed of dull, dried needles.

 

Stephen Ground graduated from York University in Toronto, then moved to a remote, isolated community in Saskatchewan’s far north. He’s since relocated to Winnipeg and co-founded Pearson House Films. His work has appeared in Lost Balloon, Umbrella Factory Magazine, Bending Genres, and elsewhere. His work has also been nominated for Best Small Fictions, featured on the Micro Podcast, and won Inkwell Literary Magazine’s 2020 Our Barbaric Yawp! Contest.

Goldie Peacock

So Long

Warm cool grit of sand,
chill Atlantic dip,
sun of danger and delight,
I used to yearn, deficient.

Now it’s been so long,
missing is amiss.

“Imagination’s just as good”
repeat repeat repeat,
until the sentiment
is grooved like rock
eroded by the waves.

As a performer and art model, Goldie Peacock spent 14 years making a living off frenetic movement and absolute stillness before chilling out and becoming a writer. Their work has been published in HuffPost and DRAGS, a coffee table book showcasing NYC’s drag superstars. They live in Brooklyn, New York.

Timothy Clancy

Eyes

Timothy Clancy is an emerging artist in his early 60s from West Seneca, N.Y. just outside of Buffalo. After nearly 5 decades of battling drug abuse and addiction, early miseducation, and traumas, he has produced in recent years many colorful abstract acrylic paintings and complex black and white graphic abstract drawings. The complex blend of colors and design found in the natural world are his greatest creative influences. He is a member of The West Seneca Art Society with some works being featured at www.buffaloartwall.com.

Dana Trupa

Self-Portrait as Krill

There is still life left on Antarctica.

Mother & baby albatross part—

a delicate touching of beaks.

Torture sprung of Death & Night

& Heaven help us

as brutality ravages

the windiest continent on earth.

Where does wild honey

linger on the fuchsia tongue

of a bull-elephant seal?

Where are the lush pads

to appease the penguins

afloat in warm sea-glass?

To be nothing special in this world.

A polyphony of humpbacks

gulp in syncopated groans & thwops:

Tail-slap! Spy-hop! Krill!-joy!

I am translucent

& lined with phytoplankton—

alive in whale-mist.

Dana Trupa is a poet, and her work has appeared in The Night Heron Barks, The Bangalore Review, Indolent Books’ “What Rough Beast” series, Poetry Well, Kairos, and elsewhere. She is an MFA candidate at Randolph College in Lynchburg, VA.

Kim Steutermann Rogers

My Old Friend, Wonder

Hello, old friend. I saw you waiting for me, poised in the shade while I took a photo of feathery moss growing on a fallen tree log.

What brings me out here so early, you ask, to this forest atop the Garden Island of Hawai‘i?

You, I say. It’s been too long. I’ve been feeling your call. Walk with me. Let’s catch up. What’s that squeaky noise? Could it be the ‘i‘iwi (eee-eee-vee) with its striking vermillion plumage and curved beak as long as my crooked forefinger? And that luscious smell? That leathery anise scent that stills my feet along with my mind, reminding me to breathe, to take really deep inhalations, the kind that fill my belly? It’s the mokihana berry, isn’t it, native to Kauai? Oh, I don’t know why I’m asking you, quietly grinning as you do. Some dismiss you as a simpleton, a fool, and wave off the beneficial boosts to health and mind you provide.

The dictionary says your first known usage dates back before the 12th century as the Middle English word “wunder” along with its kin, the Old High German word, “wuntar.” A noun, one definition is “marvelous thing, miracle, object of astonishment.”

Remember that time in the middle of the Pacific Ocean? The whale we named Lola hefting her big, beautiful, 40-ton body out of the ocean with the ease of a prima ballerina performing one grand jeté after another across center stage? And that other time, hurtling down a Hawai‘i coastline before dawn cracked a sliver of light between night and day? Plowing through surf to witness Pele’s creation of land as it blistered the sea? Those were marvelous things, miracles, and worthy objects of astonishment, for sure, my friend.

But there have been quieter moments, too, whose gifts patina with time and come closer to your verb form: “To have interest in knowing or learning something: to think about something with curiosity.” That time on the river, kayaking in and out of dappled sunlight, as leafy trees arched over the narrow tributary, and we found our way to a waterfall. You sat in the bow, close enough for me to feel your smile, even with your back to me.

I can tell today in Koke`e State Park it will be one of the latter. The kind of wonder that will penetrate my bones the way stubborn dust settles into the cracks and creases of my hardwood floors. And that will not make this a marvelous essay. I can hear my editor now: Nice writing, but there’s really nothing at stake. No urgency.

It’s the contrasts that please here. The spicy pine mingles with the sweetness of ginger blossoms. The cool breeze entwines with the warmth of the sun. Life sprouts from the death of giant trees, felled like dominoes in a duet of hurricanes decades ago. I kneel to photograph a fern growing from the softening compost of a tree trunk, hoping to capture the way the sunlight turns the spores red on the fern’s leaves. The movement of air tickles the hairs on my skin. An ancient ‘ōhi‘a, the most populous tree in the Hawaiian forest, leans one way, creaks, leans another, creaks again. I scan the treetops for a flash of red, for a bird once so populous in these parts, they could color the sky. Instead, the whisper of wind creates a symphony from what remains in the woods section. Another sound. Is that a woodpecker? Can’t be. There are no woodpeckers in this string of islands in the middle of the Pacific Ocean.

“I didn’t want to startle you,” a woman clicking two hiking sticks to and fro says as she walks toward me. “What brings you out here?”

I hold up my camera, unable to break my silence with words.

“I see,” she says, understanding where peering through a viewfinder can take a person. “Well, enjoy yourself,” she says, her poles pecking holes into the soft ground, as she moves on.

Look. There’s a bend in the gnarled trail of tree roots. Let’s see what’s beyond. More ‘ōhi‘a. Beyond the trees, I can tell the sky is graying. Time to head back before the rains come, as they do in a snap in a cloud forest. You lead the way. I’ll follow.

Right about now in this essay, something should be happening. Those stakes raised. The sky was foreshadowing something, wasn’t it? Maybe the loss of ‘i‘iwi and its recent designation as threatened. Maybe the warning is a fungus that’s killing ‘ōhi‘a, the backbone of the Hawaiian forest.

There. I spot a green ball, no bigger than a pea. It hangs from a spindly stem that I see is connected to a plant that, like so many others here, is growing from the ones that have gone before, building on the ancestors. The leathery-anise scented fruit is strung in lei and were once placed between the folds of kapa, bark cloth the way I drop a sachet of potpourri in my dresser drawers. But mokihana berries are harder and harder to find these days, like so many other native Hawaiian plants. Nearly one-third of all the plants and animals protected by the Endangered Species Act reside in Hawaii. There’s your sense of urgency.

I frame a few photos of the green berry, hoping they will turn out but not really caring if they do, the camera providing the means to focus on what’s in front of me, not some deadline, a thing on my to-do list.

The sky pushes us on. We follow our footsteps back along the leaf-matted trail with its distinctive sickle-shaped leaves of the prized hardwood koa as it bends a corner, turns upward for the final push to the trailhead, the road, my truck. Already, I can feel you falling back, the distance between us growing.

Here is where the epiphany would go. The insight gained from this experience. I could create meaning about how we live a life blind to the obvious and healthy benefits of time in nature. How the Japanese practice of “forest bathing” has been scientifically proven to lower blood pressure, blood glucose levels, and stress hormones. How the Oxford Junior Dictionary has removed 50 nature-related words from its 10,000-word children’s dictionary—including acorn, blackberry, and chestnut—and what the loss of those words portends about our children’s connection with nature. Acorn? Really? I might recollect my childhood summers with my grandparents, picking blackberries, eating blackberry pies, and slathering blackberry jam on my breakfast toast.

I could write all that, but this is just a reminder—no, wait, it’s really an urgent call—to me, to you to get outside and take a walk in the woods. Then, take some action, any action, all actions, to preserve it, the trees, the birds, the environment.

And there, mere steps from the trail, a flash of red. The sound, I place it now, the bird’s call sounds like a rusty gate. The ‘i‘iwi. I watch it, a single bird, high in the branches of ‘ōhi‘a, slurping from one pom-pom-shaped flower and another. A marvelous thing, a miracle, an object of astonishment. My hand goes to my camera, but stops. This is a memory for the mind, sweetened, because it was a gift from my friend, Wonder. This is what brings me out here.

See you again soon, I say. I hope.

Kim Steutermann Rogers is a writer who lives on Kauai. She was the inaugural fellow at Storyknife Writers Retreat, was recognized for “Notable Travel Writing 2019” in Best American Travel Writing, and has published in Audubon, Smithsonian, Popular Science, Terrain, Zoomorphic, Brevity Blog, Hippocampus, and more. Read more of her work at www.kimsrogers.com and follow her on social media at @kimsrogers.

Rebecca Kanaskie

Trail #002

Trail #002

I have a reoccurring dream in which
I am waist deep in the Tongue River and the canyon walls
stare blank faces at me, ready to slice at any moment.
I know that trout surround me

but I cannot see them,
no matter how many fingers my father points I cannot see them,
I cannot feel their slender tales swishing
around the ankles of my bare feet

as I stand motionless,
transfixed by the orb of the sun in the clouds.
Would a fish bite the ankle of a girl in the same way
that the girl would sink her teeth into the slimy meat of the fish?

It is hard to say.

Both instincts require a lack of understanding
and a tendency toward the animal,
which is to say that perhaps the fish are biting
my ankles and I simply cannot feel them

because there is something in the way
the water moves that amputates the feeling
and replaces it with emotion,
or maybe that is the dream itself.

If I am crying in the canyon
it is because the sun burns my green eyes
and the water soothes my feet
neither of which have noticed the writhing bodies underneath.

Rebecca Kanaskie is a recent graduate of Washington College. She has been published in Burning Jade Magazine and Washington College’s Collegian. You can find her swimming in large bodies of water and running on steep trails, as well as exploring wide open spaces. She currently resides at the foot of the Bighorn Mountains in Sheridan, Wyoming.

Tôca

Stand Up Crosstree Leave

delivery life for sale to tree
watch that ‘possum

gloom like movie                new moon eyes two high
only living hump to lengthen         move slo’ mo’ soon darker blur nowhere pickets

window distrust last lost that rusty azaleas greening; not sure little brush tree

others understand; not me. Suspension magic, meets bare rider with flower.

run toward out of types…ah.

don’t know so much of phrases; they age quickly

vary many, pare pretty,

sick low too full of newtons                and as
Cody threaded leather into sky

Don’t make me  loop feathers, bow

now more like when couldn’t
without insides   being stuck in a cartoon. I draw.

consistent sizing breaking damage   plastic fiber facing grid tape stuck to
slather on

My last loss seemed like world turned weapon, maybe man’s. Very
strange. But no more of the particular gone

some refer to normal.
Party, pander, believe. No.

My favorite trees: check cuff – birch, magnolia and I’m interested in maple syrup within one, how could climb around that scuff thighs redlines once more, like cold summer woods; sweet gum leaves; step careful or less leads to dashed callus or fall

live and lightless in what mind is like unwoven on condition suddenly
through

remember forest paint layers, wood, screen open early, often slammed, the bent in jangled hoop could hold; head down, spine crook’d, cracked now, predicted,
not expected, like another dead picture, up lofty among memory thrown against
                                                                                                                  a dense dark cross slow once.

Tôca is the spiritual nickname of an artist in eastern Virginia. Her mysticism informs her work and life. She now writes poetry, plays, essays and memoir. She follows her rules for varied mediums, both visual and word genres. She paints, sews, draws, sculpts, and sometimes photographs with an old camera.

Kateri Kosek

Wildlife Rehab
          After a program featuring a kestrel and a great-horned owl

1. How you got here

Unknown trauma. Vehicle collision.
She points to the pie charts, flips through her slides.
We are all lit up, she says.
You fly into buildings, towers. You collide.
Collapse from exhaustion, caught
in our lights like moths.
You lose your moon and your stars,
fly straight into the ground. You bang
into windows, unable to distinguish
reflections from sky, real from not.
(If you’ve stared at a pool of golden trees in autumn,
or taken a lover, you know the feeling.)
Poisons don’t stop
at their intended target—that sluggish mouse,
an easy meal, you thought.
You will disorient.
You will fall from your nest,
be orphaned. You will fall.
If you like, find more creative ways
to hurt yourself—
tangle up in fishing line,
steer your slender swallow wings
into flypaper, hung in the shadows
of the barn. You will enmesh.
You will collide.
Your air sacs will rupture
and swell. Not to mention cats,
who are hard-wired, can’t help themselves.
(Could you? The flutter of warm bodies,
wisp of feathers flirting within reach?)

2. Kestrel

You were lifted from your dark wild tree hole,
stuffed into a birdcage, a pet.
You don’t know you’re a kestrel, or that you can see
the urine trail of a rodent in ultraviolet.
Don’t know what it’s like to careen between worlds:
body buffeted by wind and sky,
head trained on the precious target,
the velvet fur tracking through the field.
Look at you, clinging to her fist.
He’s not afraid of anything, she says,
See how he takes his eyes off you, lets his guard down.


3. Challenges

If not surrounded by your own kind,
you will forget what you are, what you look like.
If you are a baby green heron,
you must be shown minnows and frogs,
encouraged to eat the things
that you eat. You will need x-rays, warmth,
silence. They will need to set your hollow bones.


4. Great-horned Owl (one wing amputated)

Unlike yours, our eyes, proportionate to our skulls,
are not the size of oranges. No wonder
we can’t see in the dark.
He could crush the bones in my hand, she says.
You could crush the bones in my hand.


5. Release Considerations

Are you fit? Are you able to fly?
What is your proper habitat? Sometimes it is best
to be returned where you were found
but not always. To minimize stress
your release should occur during a period
of mild weather. Your chances of survival should be
reasonable: Do you know your own kind?
Will you know when to fly south, when to bed down?
Do you know how fragile you are?
How lucky?

Kateri Kosek’s poetry and essays have appeared in such places as Orion, Terrain.org, Catamaran, Northern Woodlands Magazine, and Creative Nonfiction, where, most recently, she was awarded for best essay. Her poetry has won The Briar Cliff Review’s contest, and has been a finalist at Flyway, Writers at Work, Rosebud, and Arts & Letters. She teaches college English and mentors in the MFA program at Western CT State University, where she earned an MFA. Kateri has been a resident at the Kimmel Harding Nelson Center for the Arts, and this past summer, the Tallgrass Artist Residency in Kansas. She lives in the Berkshire mountains of western Massachusetts, where she birds, skis, and hikes regularly on the Appalachian Trail.

Sarah Deckro

Sarah Deckro is a writer, teacher, and visual artist with a passion for stories. She received a bachelor’s degree in history from Connecticut College and has studied storytelling in a variety of venues. Sarah is a preschool teacher in Boston, MA, where she works to support the development of self-esteem and empathy in young children. Sarah’s photography and visual art have appeared in Pidgeonholes, The Esthetic Apostle, Camas Magazine, Arkana, Waxwing, The Bookends Review, Alchemy, Coffin Bell, and the Raven Chronicles anthology Take a Stand: Art Against Hate.

Robin Susanto

What Money Says

I grew up in the so-called third world where corruption was rampant. One time we got pulled over. It was Christmas time, and we were driving around to see the lights. The policeman asked my father to step out of the car. They talked, then walked a little ways into the shadow of a building so we could see only hand and body gestures in silhouette. A good ten minutes passed. My father returned to the car, bent down so as to put his face level with the window. “Don’t stare,” he said. “You are embarrassing him.”

When Father returned the second time, and we were safely driving away, everybody asked: “What happened?” Father’s answer was short. “Money talks.”

“What does it say?” I asked. Everybody laughed. I was serious, but everybody’s laughter was so mirthful that I joined them into thinking that I was just being a clown. I laughed along. I was eight.

Now I live in the so-called first world, where corruption is not rampant but confined to high places. People still say “Money talks.” And now I want to stay serious with my question. “What does it say?” Back then I had pictured printed bills with talking mouths. What would they say as they changed hands between two distant silhouettes? Now I wonder about the set up and the actual words used, when industry lobbyists meet with elected officials. Is it a yacht club or a sports bar? Is it martini, or is it more of a beer and tequila thing?

Money talks everywhere, of course, not just in yacht clubs, which I have never been to, but from boardrooms to back alleys and everywhere in between. We don’t know what it says not because it is hidden. We don’t know what it says because it is not hidden. There is a story about an old fish who went looking for this mysterious, life-giving substance called water. That poor fish looked everywhere, but he couldn’t find it because he was in it. That’s a true story, I am sure.

I was a quiet child. When I was sad I sought comfort in silence. As I grow older silence becomes a second home, one that I need to spend time in even when I am not sad – a mental summer cottage of sorts. I discover that silence is not bare; it has its own furniture and decor, its land, water, and air scape of living things. Raindrops are not silent, but they belong to it. They fit into its contour perfectly. A deafening storm is a thing of silence. You can fall asleep cozily under that blanket of loudness as if you were inside your mother’s womb.

~

Click here to read the full story

Robin Susanto was born in Indonesia. After many departures and arrivals he found his way to this Coast Salish territory, a.k.a. Vancouver, Canada, where he continues to migrate homeward. His works have appeared in various publications and have won prizes and mentions including the W. H. Henry Drummond contest, the Ross & Davis Mitchell Canada 150 Contest for Faith and Writing, and The A3 Review.

Preethi Mangadu

Guardian of Kauai

Preethi Mangadu is currently an Indian American student at Texas State University, blogger, and photographer. She was born and raised in El Paso, Texas. While juggling courses and free time, she continues to write on her horror and true crime blog and have photoshoots when time permits. She also dabbles in writing fiction and poetry as you can see her work in the 2017 and 2019 editions of the SISD Anthology, multiple Montwood High School Literati Journals, and the 2020 edition of EPCC’s Chrysalis.

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