Featuring stories by Barbara Ganley, Kate Wisel, Laura Jok, and Alan Sincic: an essay by Kay Gram; poems by Francesca Bell, Dan Clark, Janice N. Harrington, Matt Prater, James McKee, Kathryn Jordan, Adam Tavel, Jacqueline Balderrama, Katie Pynotek, Maria Nazos, and Kerry James Evans. With art by Madara Mason and others.
by Barbara Ganley
Featured Art: “Holy Holy Holy” by Yan Sun
Because it’s Thursday, nearing five o’clock, Lucie is well into a doozie of a headache. Every week at this time little Jenny Baker hands her one as they sit side by side in the dining room and Jenny busily tortures the piano. She’s a narrow slip of a thing with a distracting, gum-baring smile made stranger today by a drift of tiny metallic stars sweeping across her cheeks like cosmic freckles.
Her orange high tops smack the stool’s taloned feet bapbap as she bludgeons the keys in an apparent heavy-metal version of “Long Long Ago.”
The piano, old and patient, takes it. Lucie, who is neither of those things, says, “A bit slower and softer now. See if you can find the melancholy.”
by Francesca Bell
Featured Art: “The Sea of Memory and Forgetfulness” by Madara Mason
I always knew
a man waited for me somewhere
with hands that fit the particular curves
of my treacherous body.
Whether I watched for him or not.
Whether I believed.
Sometimes, in dreams, he entered me from above,
like a coffin lowered slowly into a grave.
Sometimes he held me hard from behind.
by Dan Clark
Featured Art: “Basa de Maya” by Madara Mason
The priest swings a thurible. Incense,
swirling and nebulous, encircles the cremation urn.
A few feet away, a husband weeps.
He’s not thinking how Oregon came to fill the ocean
of itself, how island arcs docked like icebergs
against the Idaho shore, where Mesohippus,
diminutive proto-horse, grazed beneath the juniper.
He’s not considering how Oregon drifted through
several versions of itself—savanna, jungle, desert—
then settled for a time as a placid, inland lake.