By Sharon D. Kennedy-Nolle

Item Number EV-69-16 Case Number, CE-1896-16/SJS 64544:
Date, Time, Place of Recovery (12/29/16 @16:30 hours, Shaft 18 by boat launch),
Recovered By Det. Yemena Cortez. I must sign.
I must sign again after the Date, Time, Place of Receival,
From Locker 9 To Det. Carlson, Date (7/10/17).
An invoice, the detective in sunglasses called it.
It came envelope tidy,
and in that, officially sealed,
the last baggy
so hard
to scissor open; but when done,
it breathes the aftermath of you,
one month under, to the day.
(What strange moss-made creature
might you have become
if you had stayed at the bottom?)
Orange dust pimples the wallet,
faintly sprinkling my hands, my lap, like fairy spice.
Awful anointing, odd sachet,
all day I wear the smell of your death.
Must on my hands, old mold sweet,
sweet,
must on my hand, lips.

---

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By Hannah Sullivan Brown

My mother calls to tell me she can no longer 
tell the difference between memory and dream. 
As she talks I walk the backyard—all day

I have watched a fat bee plunder
the same plush marigold, slowly
sinking his velvet face into the pollen, 
raising it up again. My mother has been

dreaming of her dead father, has to ask 
her sister what is real. Next to the bee
the eggplant vine has been fooled
into late flowering, lavender blossoms 
swirled with white. In the warm
slow light I want to say to my mother,

who is still talking, with me it’s memory
and desire, losses that cling to branches
like glossy black clusters of chokeberries
long after the leaves have blown away.

Years ago a friend and I fell out—he insisted
on being in love with me, I couldn’t lie
that I liked his poetry—though I still 
remember the line apricot skin, flush
in the morning.

I wish I had an apricot or an evergreen,
something sweet, cleansing. I like
to walk barefoot on dewy grass 
to greet the day, though I’ve never 
actually done that. I’ve done it
in my mind. Does that count?

---

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By Hannah Sullivan Brown

One hundred and five degrees and everyone wants a taxi. I wait too long at the
stand in Plaza Nueva. The driver gets a call from his wife. He tells her he will
just finish this ride. He turns to me, ¿Entiendes español? His family adopted a
rescue dog that sleeps on a bed next to his daughter. The dog was abused and
has seizures during which he shakes and froths at the mouth. When a seizure
ends, he is disoriented, unable to walk straight. Slowly, the dog begins to smell
again and goes from family member to family member, remembering them. This
morning the seizures are worse than they’ve ever been, coming one after another.
The driver’s wife has tried everything and doesn’t know what to do. The dog
is stumbling around the house—delirious and frightened. I never understood, the
driver says, eyes meeting mine in the rearview mirror, why people were so obsessed
with their dogs, but now—I don’t know what we’re going to do. We have to
let the dog go and my wife, my daughter . . . he shakes his head. Getting out of
the car, I tell him how sorry I am and wish the best for his family and the dog.
He speeds away.

As I enter the museum, the man at the front desk points a thick finger at an
oversized wall clock—I am four minutes late for the last tour of the day and one
may enter only with a guided tour. I ask if there is a group inside and if I may
join late. He responds that yes, there is a group but no, I may not join. Hay un
horario, y hay que respectarlo. There is a schedule, and we must respect it. We
argue. I explain how I’ve tried to visit several times, but the kids, the heat, the
taxi, my last day. He repeats, Hay un horario, y hay que respectarlo. When it is
clear that I will not be allowed to enter, I sit on a bench in the orchard and study
the parched black apple trees. The man and other workers leave the house and
lock it behind them. There was no group; they wanted to leave. Inside the house
where Lorca spent the last summers of his life, his large writing desk remains,
his drawings, his piano—positioned as it was when he lived there. I have read
that it’s very moving. I have read Toda la noche en el huerto, / Mis ojos, como
dos perros. All night in the orchard, my eyes, like two dogs.

By now the taxi driver must be home. He scoops up the dog, wife and daughter
leaning into each other. The driver’s wife will lay a blanket from their daughter’s
bed across the backseat and he will set the dog on it, shushing him calm. The
dog’s heart races, white foam around his mouth. Soon the dog will be in the orchard.
He will see Lorca there and Lorca will take the dog’s heavy, healthy head in
his hands and off they’ll go to sit in a plaza, near a fountain, eating oranges,
trying to breathe in the jasmine so deeply that it will be impossible to forget the
sweetness, the brevity.

---

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By Amy M. Alvarez

My father called me chiba, mi primer hijo—
tomboy, my first son—knuckling the crown
of my head. He said I sat too mannish—

my knees splayed, forearms on thighs, 
watching the Knicks on the couch
in his apartment. When I began my model

plane phase, he came to my mother’s house
to help me build an A-10 bomber—each piece
primordial green. We labored over landing gear,
inhaled foul rubber cement.

He mentioned boyhood dreams of building planes, 
watching the work of his hands soar instead of clunking
to life like the radiators and refrigerators he worked on.

I told him I was proud of how he fixed what was broken.
My father half-smiled before burying himself in silence
and instructions. We added decals, painted a shark- 
toothed mouth on the plane’s snubbed nose.

---

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By Kate Gaskin

Whatever was there has gone
         to three and a half billion years
                        of dust. On Mars

a rover picks up a rock
           and turns it over
                  in a river delta webbed

with dried arteries cauterized
             by the sun. Daughter,
                          who lived for only an hour,

I too search for you
           in the most barren places,
                           a vein that rolls before

a needle, a dawn that breaks
             dim and drawn. I wish for you
                        an emerald canopy,

sapphire water, a world
            where belief is a fact
                         that can be held

in my palm like a stone.
           Here on Earth, you disappear
                        star–ash, sun–soot, moon–glow

while somewhere above
            in the red star of another planet,
                         a robot measures

ancient silt into a vial
             for human hands to touch
                           with wonder. What do I do now

                           with all this love?

---

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By Kate Gaskin

It’s a terrible thing to say,
            but imagining my son’s death
                       comes as naturally to me

as watching a cat trot off
            with a bird clenched in its jaws.
                       Today, there is a crushed

cedar waxwing in the street,
            its golden tail feathers splayed,
                       the red cherry of its chest

popped open like a mouth.
            I found it on my run and thought
                       how impossible it is

to be so small, so easily undone.
            This boy of mine runs
                       away from me into busy streets.

A museum’s noisy crowd
            swallows him whole. At school
                       he cannot sit still or listen.

Once, his teacher said he threatened
            another child with the sharp end
                       of a pencil. I did not

believe her, but what I believe
            will not keep him safe
                       from how others

inevitably perceive him,
            and so I imagine
                       what it would be like to lose him

as he tells me about dragons,
            how there are four types:
                       sun dragons, moon dragons,

rain dragons, and, his favorite,
            lightning dragons that hatch
                       from eggs that erupt

in shocks of electromagnetic
            radiation. See them flying now?
                       He points to the night sky,

its feathery moon and stars
            like puncture wounds, while above us
                       heat lightning unsettles

                                 the dark.

---

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By Jessica Poli

Yesterday I saw a tree the color
of the sky it stood against
and thought of Rothenberg’s painting 
of the translucent horse
barely outlined in a pink haze—the same color 
that lit the glass buildings some mornings

in Pittsburgh, where I studied photography 
for one misplaced year. There,
in a darkroom, a girl held my hips 
while I mixed chemicals that smelled 
like sweat licked off of skin,
and the shape of her hands
felt like shadows touching me. I told her

about the horse that lived
at the end of the road where I grew up,
how I fed it handfuls of grass
and dandelions from across 
the electric fence. That horse

was a kind of shadow too, forgotten 
by the neighbor who asked for it
for her birthday
and then never rode it. Rothenberg’s horse

is mid-gallop, legs folded,
body suspended
in the pink air. Where is that girl
from the darkroom now? She’d been living 
in a tent in the woods when I knew her.
Her arms were covered in red crisscrossed lines. 
She told me not to worry about her,
and I, young, didn’t. Later, I had dreams

of pink fields, a figure blurring
along the tree line.

---

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By Lisa Alletson

Magenta is a trick of the brain 
my sister explains, her hair 
abandoned like a trick of God.

I take her photograph as sunlight 
muscles in on her bald head,
her daughter hugging her legs.

She glances at it, laughs. 
Mom will like this one 
because I look like an angel.

She does, backlit near Durham Cathedral 
fourteen strands of golden hair—
a halo of wisps.

I like numbers, so I walk ahead
to read the date on the Statue of Neptune
between the Kate Spade store

and the old pub, looking back to watch
my sister cross the Elvet Bridge.
Her four kids trail behind her

as a busker sings Elton John,
How wonderful life is 
while you’re in the world.

We fight about who will buy lunch, 
not in a teasing way
but a way that makes her cry

big hard ugly tears. 
Nothing makes her cry,
but her youngest is only five.

And I cry too, because 
this is the fourth last time 
I will see her.

---

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By Brock Guthrie

Converted historic train station—perfect place
to sit with my family at this reclaimed farmhouse table 
in view of the corrugated-metal-paneled bar
with its bowls of hardboiled eggs 
instead of pretzels or peanuts
and to observe, with the intent to eventually eat, 
this grilled watermelon salad
while waiting for my herb-crusted duck
which was free-ranged in nearby Marengo County 
as Mina redacts with purple crayon
any semblance of the comical panda 
on her coloring placemat
and Brooke says Manny kicked her kidneys 
from inside her thirty-week womb. But look:

there goes Dennis, father of three, newly divorced 
from his wife of fifteen years, and with him’s
old Pete, engaged to a woman we haven’t yet
seen proof of, each carrying a stein of golden lager 
into the warm Thursday evening
of the spring-dappled beer garden
to watch, no doubt, underdog Auburn
take on top-seed UNC in the Sweet 16
on the bistro’s new 85-inch 4K Ultra HDTV.

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By Susan Kress

This mail is been
writing to you
because I have come
to understand
you want
to have received
your reward for
succeeding to rescue
me, a prince of royal lineage
with seven palaces
and still a wife
of beauty and resplendence
to find.
I will have been awed
by your patience shining
in its box of gold
but for you to stop from living
solitary
in the desert
and to have enter
in a garden of soft green
leaves, all I will have needed
is your name and date
of having been born
and a check you will
have written now to me
care of the federal government of
Nirvania.
Link here to make good
my trouble in sending you
a horde of dollars.
If you will have trusted
in this translucent
arrangement of letters,
I can promise you
a future perfect and
forever joy.

---

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By Susan Kress

We are at breakfast, he and I, enjoying Sunday
tea and buttered toast, browsing sections

of the newspaper. Here’s a thing, he says, a letter
written by a dying woman. She’s listed

all her husband’s assets, commending him—
a handsome, smart, kind, loving, pancake-

making man—to some future spouse.
I sip my cooling tea and do not offer any future

letter of my own as I watch him lick his
forefinger to mop up toast crumbs—

see beyond him through the window heavy
heads of peonies bowed down from summer storms.

Here’s the thing:

I most surely do not want my husband
to be happy without me. If I die first, he’s got

to miss me every minute (my cold feet, chili meat
loaf, helpful interruptions when he tries

to make a point). No one else can wear my opal ring,
put on my oven mitts, warm my yellow teapot.

When he turns the pages to another section,
looks up again, he’ll see that I am gone—

my orange chair quite empty—our cross-
word puzzle on the table, one clue left to solve.

Outside, the peonies have straightened up a bit.
With stakes, they’ll last another day or two at least.

---

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By Jeff Tigchelaar

Don’t buy that, nothing will happen
I said to Johnny Cash
played by Joaquin Phoenix
early in that movie
when he was in Germany
when he was in the service
and saw some six-strings hanging in a store
and was like huhh guitars huh
and for some reason my wife cracked up
and had to press pause and use Kleenex
on her eyes and I thought
yes
because I hadn’t made or even heard
her laugh in a while

we were separated almost or mostly
her dad was dying plus Trump and Covid
then about an hour or so later (oh it’s a long one)
Johnny sees June
Carter alone in a diner
and figures what the heck
and starts heading over
and I figure what the heck and say
Don’t talk to her, nothing’ll happen
and my wife didn’t crack up like before
but she did laugh again
a real one not just courtesy
and I was like hell yes but of course
there’d be hard times
and there would be scenes
like the one where he rips
the sink from the wall
though it wasn’t in the script he just
summoned his rage up and did it somehow
and you can hear the gushing of the water off screen
as it all hits the ground
but an hour or so later in the credits
(toward the end but we stuck around)
the real June and Johnny start singing

and sing Maybe we can work this out
Oh honey I think we can

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By Kathleen Holliday

Despite blistered heels
in new shoes,
I can’t seem to leave this gallery
of sarcophagi.

I limp closer to a glass case
where displayed en pointe
a pair of tiny sandals lies
pristine, and I wonder—
never worn?

Parting the stream of visitors
two statues rise monolithic
a man and woman, side by side
each an arm circling the other’s waist.

Look at them, still standing
never turning back.

Look, I’d say, if you were here
how they’ve outlasted us.

---

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By Cecilia Hagen

Once, for fixing a car, my husband was paid with a large bag
of small fish—smelt, frozen into a block that was flecked
with scores of silver eyes. I would bring a dull knife
out to the chest freezer and break off a chunk,
let it thaw in the sink and feed it to the cats and dog.

Another customer shaved off some of the cost of her engine rebuild
by knitting my husband wool socks that needed to be washed
a particular way, which I failed to do, because this customer
wanted to do more for him than knit his socks, and maybe did.
After they shrank, I could have but wouldn’t wear the socks myself,

a waste I could live with. In the pantry sat another trade, a jar
of home-canned venison I never dared to open.
Those purplish cubes of meat in their purplish fluid
pushed against the jar’s insides for years.

My favorite trades were the things the metalsmith made:
a hammered a rack for pans, a copper vase,
and three bright numbers that still mark that house—
beautiful things with the tang of the earth inside them.

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By Tracey Knapp

There’s a man with the rope of a cowbell curled
around his Captain Morgan. He whispers his poems
from a stack of papers, sees your own and nods,
buys you a drink. No conversation needed.
Another person adjusts their blonde wig and quietly
sings Mi mi mi mi meeeee repetitively. You wonder
what song they’ll actually sing—their wig slightly off tilt.
A man cradles his ukulele like a baby. Everyone stares
into their drinks, performing their rehearsal, rubs
the dark worn wood of the bar. You doodle stars
on your pages. Half the people here will only show up
once. No one will tip, and they’ll leave their empty glasses
on the sticky tables, their printouts of songs and poems
on the floor. You were the first to arrive, not thinking
to stop home and put on something more formal
than yoga pants. It doesn’t matter. There is some
common urge to perform whatever thought you have,
to share with these strangers. It’s Sunday night
and raining. Why sit alone silently on your faulty couch
with the endless drone of 60 Minutes on the television,
the single-serving life of pasta and tomato sauce, the rain
driving the ants into your kitchen? Someone taps
the microphone, says HELLO, HELLO. The wig rises
to the stage, sings “I Fall to Pieces” unconvincingly.

---

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By Tracey Knapp

1. Tell your online boyfriend your real age.
2. Sweep the seeds and leaves from the porch. The winds were harsh last week.
3. Practice sneezing more quietly. Stop the throat-scratch hacking. Who
   could sleep next to that?
4. Why are you still single? Ask your friends. They know everything about
   your failures.
5. Dump your shitty friends who can detail your failures verbatim back to you.
6. Do the dishes. Remove your socks from the bed sheets.
7. Bobby pins are not Q-Tips. Baby wipes are not bathtubs.
8. Commit to eating like a person. With other people. Stop wasting your
   money on wine and prepackaged food at the 7-Eleven.
9. Spend more time talking to yourself outdoors at night when stoned.
10. Stop drinking wine. Stop drinking. But only when alone. Except if you
    were drinking with people beforehand, and you came home to your dog.
11. Watch less TV. Except, re-watch the movie Frances Ha. You are a dancer,
    and you have dreams.
12. All those goddamn books you buy and barely open.
13. Make the world more beautiful! Take one earring, preferably dangled and
    missing its mate. Hang it from an old nail or forgotten hook. A quiet,
    lucky place.
14. Quit losing earrings. Quit earrings. Quit things.
15. Put your old jeans in a box and then the attic. And someday when you
    move into a new bright house with a new love, you’ll pull them out, thin
    and mothy, you’ll delight: I CAN’T BELIEVE IT! THEY ALMOST FIT!
16. Grow things. Give away things. Give away your neighbor’s excessive
    lemons. Your tight jeans.
17. Recycle more. Stop hoarding the little gifts that someone gives you when
    they kind of liked you because they barely knew you. The broken ceramic
    rabbit isn’t even emblematic.
18. Appreciate your one good knee, your moisturized cuticles, and the hair
    that grew back on your head after you got rid of that fucking IUD.
19. Reach into that folder of old letters pull out the one with the nicest paper.
    Don’t read it. Just touch it and let it be the cramp in the gut of all the
    people who used to love you by hand.
20. Celebrate your old-man dog. In the following order, give him: a walk, a
    scratch, a bath, a treat, a nap, a brush, a walk, a treat, a nap.
21. Write down a list of what you could do to be your best.
22. Narrow it down to ten.

---

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By Kathleen Loe

The gravelly edge of the old macadam
crunches when Daddy Man veers, slightly over
his two-cocktail breakfast limit—whoa!

And Mama’s all, “Bi-ill!”, sherry sloshing
in her Dixie cup, me and my altar-boy brothers
welded to the backseat of red Chevy summer

vinyl, our own trinity, looking and not looking
for a tiny worn-out sign set meekly back
from the scorching road—St. Lucy’s Catholic Church,

faded and falling away, not the go-to
for the church-going in this neck of the north
piney woods. Far from a hundred cathedrals

sinking in the soft black silt of New Orleans,
we aim toward a single consecrated
gray rectangle stuck in the Chitimacha’s

red clay of North Hodge. Lucky pagans,
or even Methodists, might miss the turn
and be flung past the money-stench

of the paper mill, or further still to actual
wet towns with no need for Jubilee—
Jubilee, cross-dressing bootlegger

come to wax our floors and pocket the cash
and slip my mama her black-market hooch
every week in our dry-as-dust little podunk town

in East Jesus North Looziana, the pure
whitewalled tires of her luscious pink
booze-bought Caddy cutting trenches

in the sweet St. Augustine grass
of our front yard. It ain’t me that’s drunk
in this story about having to go to church

every damn Sunday morning all summer long,
no matter how crazy hot, no matter
if my best friend Bernadette is fixin’ to go

waterskiing on Black Lake instead,
worse thing about that being the snakes
you might wake falling in the wrong spot,

but I’d still pick some dozing water moccasins
over this weekly ecclesiastical misery.
Any minor road accident would be welcome

I pray, I pray we hit a huge nine-banded
armagorilla if it means I don’t have to go
to Confession today, having traded

The Examination of Conscience last night
for finishing Catcher in the Rye under the covers,
accompanied by muffled laughs from Johnny Carson

in my parents’ bedroom. Okay. Pinched
my brother, lied to Mama, ate my best
friend’s Twinkie. Wished and wished

that I was the pretty one, instead of her.

---

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By Sydney Lea

An old man sluggishly waves a hand.
He looks spellbound, as if by an apparition:
A stranger, me, in a place few visit.
I’m sidetracked into my own odd spell—
Both sadness at bleakness and fascination.
There’s a sign in another dooryard, bizarre:
Atrini, World’s Finest Files.

A softball arcs on the blistered common,
A father pitching, a son at bat.
One newer car, a Buick, glitters
Like gemstone in front of a postage-stamp store.
Back lots full of witch-grass show unwheeled pickups
Dead amid whips of lilac and sumac.
I drive out of town past further signs:

BECKYS TRUCKERS HEAVEN ONE MILE
COME IN AND HAVE A “CUP” WITH BECK
BECKYS CLOSED FOR RENOVATION
Its windows, boarded over with wanes,
In brush beside it, a bedspring, a dryer.
I notice a black cat eyeing a bird
On its roof, too high for him to consider.

---

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By Nancy Miller Gomez

was after the memorial, her laptop propped on the table
cluttered with half-empty teacups and books
as her mother’s body was buried two time zones over

in Louisiana. After the eulogies and prayers,
and the few people standing graveside walked away
and all the others clicked off, there was nothing to do.

But she couldn’t bring herself to close the screen.
So she sat a long time watching her own face
looking back, and imagined she was her mother,

and watched to see what her mother would have seen
if she’d been there, and in her expression
she could see the love she knew her mother had felt

that last time they’d talked. And then she was crying
and watching herself cry—as if she was her mother,
and the connection was like a counterweight

she could carry, as though an infinity mirror
had opened inside her. It didn’t matter then,
if she hit the red button that said “End.”

---

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By Nancy Miller Gomez

I used to keep old black-and-white photos in my wallet.
They weren’t people I knew, just snapshots of strangers

fished out of a shoebox at a junk store: dark-eyed men
in bomber jackets leaning against muscle cars, or sitting

astride a tractor wearing khakis and an undershirt, a pencil
of mustache above their lip. Women with cat-eyed glasses,

dressed up in feathered hats for a night of gin rickeys,
arms draped across each other’s shoulders and angling

for the camera. Even in grayscale I could see their cheeks
were rouged and their lips were slick with lipstick.

Sometimes I would take these people out and show them
to someone I’d just met. This is my family, I’d say

and watch as they shuffled through the pile of strangers
politely noting how nice-looking they were.

I don’t know why I did this. But it felt good
that all anyone could ever know of me was what I was

willing to show them. This heavyset blonde posing
on the steps of a California bungalow wearing a fur coat

in the obvious heat of summer. These children splashing
in a kiddie pool on a lawn cluttered with beach balls

and hula hoops, a spray of water suspended mid-air
as the camera clicked on the girl’s congenial scream,

her brother’s swashbuckling grin, while father watches
from a folding chair, a beaming fat baby on his lap.

I keep them ready, these people I don’t know. That’s me
I say, pointing at the fat baby. I was happy then.

---

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By Nancy Miller Gomez

—a mi esposo

I appropriate your tongue,
your lips, your teeth, the smooth
inner skin of your cheek.

I appropriate your rolled r’s,
and soft v’s, the way you say
wolf without the letter L

(the plural of which is wooves).
I claim the patch of hair
in the small of your back,

your brown skin, your mother’s molé.
I appropriate your mother,
rename her La Loca. I appropriate

your appropriators, the conquistadors
who came with their archangels
and saints, Our Lady of Guadalupe

with a chisel of moon
at her feet. I descend the ladder
of your lineage, past missionaries

and rancheros to inhabit your ancestors’
ancestors, the Nuhuatl gods
with feathered names I’ve learned

to pronounce. Coatlicue, the mother
of mortals, Huiztlilopotchli—
the hummingbird patron of War,

Tialoc—he who makes things sprout.
I appropriate sugar skulls and mezcal,
Día de los Muertos. Your pyramids

and painters, your Kahlo and Orozco.
Your poets, Octavio and Carlos.
I take your lowriders

and La Raza, the happy/sad
ting of mariachis singing.
I appropriate each sweet bite

of pan dulce and tres leches
and eat your street tacos
smothered with guac and tapatía.

I’ll take la plaza with its bandstand
and white ibis, the man selling
balloons and churros. And words,

nights filled with appropriated
besitos y sonrisas. Abrazos
and the rest of the Mexican lexicon,

all mine. I’ll take your lime and salt,
your fire and fault lines. And our son,
see where I have appropriated

your blood, your eyes, your love
of basketball, the sport you say
your people created, a game

played by the victors
with the decapitated heads
of their victims.

---

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By Nancy Miller Gomez

A songbird mimicking the sounds
of emergency sirens has been
caught on video . . . —CNN

A starling has taught himself to sing
like an ambulance. Now the air is filled

with emergencies. Whee-o, whee-o, high and low,
a fire truck rides out of a mockingbird’s mouth.

Grackles impersonate police cars. They dive-bomb
the precinct parking lot, bashing their beaks

into the rearview mirrors of their rivals.
The magpie knows a lovely air raid. Now

she trills like a helicopter, next a chain saw,
then an AK-47. The quail stop, drop

and cower. Take-CO-ver they cantillate.
Whee-o, whee-o, high and low. Juncos,

pass to Vireos. Catbirds steal the flow.
The chickadees have gone on lockdown.

They bore like bullets through the bleeding bark
of the cedars. Crows reload from rooftops.

---

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By Emily Wheeler

A romance developed in my sixtieth year,
which gave me hope, perhaps inane,
surely extreme, especially in my verse,
and affirmed principles of affection and cheer.

My lover was tender, our love serious, useful.
It was as if in the afternoon, gray, crepuscular
an angel had arrived! And we both so secular!
Of course we never spoke of death, its easeful

nest, or the unlikelihood we’d ever alight
together in the tall trees or, quivering,
fly off at the same moment, but that was alright,

because, whenever new or found or at least not lost,
desire adds a drop to the earth’s thousand rivers
and briefly greens the grave, its bed of moss.

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