What Is There To Do in Akron, Ohio?

By Darius Simpson

Featured Art: Open Lock, Akron, Ohio by James Henry Moser

complain about the weather. wait five minutes
watch the boys you grew up with outgrow you
bury your cousin. go sledding on the tallest hill you can find
keep a family warm until their son thaws out of prison
ice skate between the skyscrapers downtown
inherit an emergency exit sign from your father
spray-paint your best friend’s brother on a t-shirt
daydream your way through a semester-long funeral
watch jeans and sleeves and family portraits unravel
play soccer with the black boys who almost evaporated
with the icicles. kick it outside with the skeletons
from your childhood. go to columbus and pretend
to be a grown-up. spend a weekend at kalahari resort
and call it a vacation. go back home. leave. shoot dice
with the dead boys playing dress up. stay long enough
to become a tourist attraction in a city nobody stops in
mount bikes and ride until the sun dribbles
out of the sky’s mouth. wade through the oatmeal july makes
of morning air. swim in a public pool where everyone
is drowning and no one knows how to survive
what happened last month. stop runnin in and out unless
you got somethin’ on the gas bill. seal yourself with cold air
while the trees melt. bet the boy down the street, who’ll have
the best first day fit. come out amid orange leaves lookin fresher
than all the food in a five-mile radius of granny’s house.
eat jojos from rizzi’s on sunday after pastor guilt trips you
on your way past the pulpit. dream about a city
where headstones don’t show up to dinner unannounced
where fried chicken isn’t on speed dial and diabetes
isn’t the family heirloom. where grief isn’t so molasses
root for lebron in whatever he’s wearing. become
an athlete as a way out of corner sales. never escape.
start a pickup game that never ends. rake leaves
with a rusted afro pick your older brother left you in his will.
let the leaf bags melt into the chimney on the side of the house.
play basketball with the ghosts who don’t know what year it is
volunteer at your local funeral home. open a cemetery
across the street from the playground. mow green.
cut ties with your grass-seller. survive the summer.


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It Was As If We Were on Vacation

By Jen Ashburn

Featured Art: Sunset, Oxford by George Elbert Burr

I was driving. The sky was pink with sunrise or sunset.
The road banked left. We drove straight—through the guardrail
and over a valley with gray houses stacked on a hillside.

You were so calm. I didn’t understand at first that we would die.
This was much worse than forgetting to pay the phone bill.

Then you were driving. The car soared. We looked out the windows.
Around the houses, people trimmed hedges and hung laundry.

You changed gears. I don’t remember the landing. I think
there was music. We held hands. I’ve never understood
forgiveness, but this is what it must feel like.


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Self-Imposed Exile

By Lucas Cardona

Featured Art: Tongue amulet in the form of a cicada (hanchan) by Unknown

My limp body lulls through the hot, humid days
like a lukewarm dog’s tongue hanging off the edge
of time, begging for disaster, for that rotten stench
of nostalgia to drift away & be buried in the brain’s
contemporary fiascoes. Night after night,
caught gaping out the window in the same chilled,
sterile room. Only the shadows of bats flitter into
view, and the dark, lush limbs of American elm trees
groping toward evidence of further tangibility
with a desperation akin to worship. Something in me
must cherish the sound of cicadas feeding off each other
in their suburban, summertime mania, like the soulless,
asinine chorus of a fraternity chant. The girl at the
7-Eleven in the purple hijab restocks the Cheetos
and the world goes on devouring itself for no other reason
than something must be devoured if we are to continue
loving one another in this crudely selective fashion.
It’s terrible but it’s true, all heartache inevitably
resolves in that surreptitious method pain can only
accomplish with the brain’s private blessing.
I know now what I did, I did to destroy you.
I know, too, that I’m the one who’s destroyed.
But somehow that still feels like forgiveness.


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Invisible Bodies

By Aza Pace

Featured Art: (Children Swimming) by Unknown

Meanwhile, plastic particles
burrow in the Arctic snow

and in the sea’s deep trenches,
its legion bellies.

Meanwhile, a galaxy bursts
across my cervix—bad cells

someone will slice off
with electric wire as I sleep.

There is nothing untouched
in the whole furious world.

But the water today
in Galveston is blue,

with not a hint of tar.
In each wave, hermit crabs

and no bottle caps.
Babies in life jackets

tumble and squeal in the surf
while an older child bobs

out to the first sandbar
to fish. Meanwhile,

I think—I’m happy.
Under my tongue

sit the names of children
I will not make.

I roll them over and over
and love them.


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Daughter Poem

By Lisa Dordal

Featured Art: The Artist’s Daughter by H. Lyman Saÿen

Sometimes I see her pressing her palms
against a windowpane in a house that is real

the way a house in a dream is real
until you start to describe it and all you can say is:

it was this house, only it wasn’t. It’s winter
and she likes to feel the cold entering her body.

Or it’s summer and it’s heat she’s after.
She wasn’t born, so she can’t die.

Sometimes there is a window but no girl,
and I am the one walking toward it.

Sometimes I see her peering in—
forehead against the screen of our back door—

or running ahead of me on a path that is real
the way a path in a dream is real, saying:

this way, this way.


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A Coyote Runs Down Michigan Avenue

By Sara Ryan

Featured Art: “The Bridge: Nocturne (Nocturne: Queensboro Bridge)” by Julien Alden Weir

and she is a phantom. gray blur on
gray pavement. green lights flicker

their rhythmic patterns. in the right building,
at the right angle, she becomes one

thousand coyotes shimmering in glass.
she screams and Chicago screams

back. howls. scavenges the oily corners
of the train stations. the river gulps

through its channels and feeds the lake.
she is a wild thing. she crosses high bridges.

she becomes the color blue. she becomes
the color blood. the city is haunted

now. by the trees. by women, their mouths
full—bulging, really—with fur. she is one

of the lucky ones. she runs unjailed without
worry for traffic, turn signals, speed limits.

ghosts wearing masks yell from
their windows. they’re warning her.

they’re warning her.


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Circumstances of Disappearance

By Sara Ryan

it is easy enough to say it: I want
                               to be an orange
harvest moon. cantaloupe sky, people
                                 driving into the dark
country just to see. bitten

                                 by mosquitoes. burrs
clinging to milky ankles.
                                that dappled moon
photographers click
                                the long exposure for. those pains-

taking details. every wrinkle
                                on my face. I am not
sure when I stopped believing
                                that I was beautiful, but I did
& there is no going back.

                                I want & the wanting
just becomes easier. my body
                                swallows it up until my bones sing
with the stuff. I want to be a puddle
                                with a world living inside.

slick that never dries up,
                                pooling in the craters
of uneven parking lots. forever
                                wet & weeping things.
I want to be the small sliver

                                of metal in my mother’s finger.
the scorched wall
                                of my father’s aortic valve.
I want to be blood—
                                its intricate, deliberate maze.

I want to be a planet &
                                a canyon. splinter & a tear
in the sky. I will admit it:
                                sometimes I just want
to hear my name out loud.


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Chickens in Your Backyard

By Miriam Flock

They come, like the dishwasher, with the house.
“No trouble,” swears the seller, and—presto change-o—
for handfuls of Layena every morning,
the pair of hens trade one or two brown eggs.
The chick, if we approach with proper coos,
will let itself be stroked. This we learned
from our new bible, Chickens in Your Backyard.
Like neighbors of a different faith, we practice
tolerance, let them grub among the bulbs,
ignore the way their droppings singe the mulch.

Meanwhile, we are intent on our own nesting.
My husband paints the nursery; I quilt
a golden goose with pockets shaped like eggs.
We hardly register the added squawking
from the coop or look for more than tribute
when we rob the nesting boxes. Then
one dawn, I’m roused by what can only be
a cock-a-doodle-doo. And in the breaking light,
our chick-turned-rooster struts, ruffed as Raleigh,
shaking his noble scarlet comb. What waits

inside me to astonish like this male?
Such sudden majesty, sudden red.


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Live From the Met

By Miriam Flock

Not the baby but the baby’s clothes defeat me—
the cunning socks, the piles of onesies.
A descant to the washer’s thrum, the strains
of Pagliacci drift in from the study,
dislodging a memory: a stormy weekend
stranded at my cousin’s, the window wells filling
with snow like the heaps of dirty laundry
my aunt was sorting in the other room.
Around us spread the scraps of paper dolls
we’d wangled in the market, peeled now,
and finished like our tangerines.
We’d tired of mimicking Corelli
whose whooping rose above the drone of the dryer
where my aunt and uncle’s shirts embraced.
“There isn’t anything to do,” I whined
until my aunt emerged, a bar of Naptha
gripped in her raw hand. What struck me
was not her slap, nor even the stunned giggle
before my cousin got hers like a portion,
but the tenor’s voice dissolving in sobs,
and the Clorox, smelling as a perfume might,
if she had splashed it against her wrist.


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Another Refugee Poem

By Pichchenda Bao

This poem has already been written.
The nausea, familiar.
You’ve been left, bobbing
bereft, in water, watching
flames eat home and hearth.
Or vicariously felt
that dread suck of time
elongating the slim barrel of a gun.
You’ve picked your steps
through a landscape of corpses,
fumbled through each level of grief.
This poem, your companion.

But who will read this poem?
Not the ones with the guns.
Nor the ones cheering them on
or silently assenting
to their menace.
Not even the ones who are carrying
their children away from their fears
toward your fears
of what you know
about this country.
This poem does not
traffic in saviors.

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I’m Only Dancing

By Chris Ketchum

At ten, I meet myself in the mirror of my sister’s vanity, squeezed into the tiny
corset of her pale blue dress, Cinderella’s image printed on the breast like a
brooch. My little-boy pecs puff out like cleavage. The tulle skirt brushes against
my thighs, rising above the knee, billowing around my Fruit of the Looms as I
prance down the staircase to the dining room where my mother lights a candle
before dinner. She laughs to see me skip across the hardwood floor, turning and
twirling on the ball of my socked foot—and when she does, I know I want to
keep her laughing. I’m not sure why, but I speak in a higher voice, with a lisp,
and she laughs harder, and as I’m preening, brushing my cheeks with the back
of my hand, leaping into the air like the hippos in Fantasia, I notice the tears—
how they run down the corner of her nose, wetting her upper lip. I don’t know
why she’s crying—maybe I’m really that funny. So I keep dancing.


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Love Letters

By Susan Browne

autumn leaves glitter in their brittling
someone plays the french horn on the shore
beneath the blue flame of sky      the sound
like silver glinting across air like tinder

dear california
when I’m gone
will you still be here
will there still be a shore

someone stomps out of the reeds
holding a fishing pole
commands the horn player to stop
I walk by into silence

missing the music
wondering what else I want
on this hot november day
a cloud spilling rain

a voice that’s kind
not so many demands
not so many desires
I imagine mother earth is tired

our tumult & trash
our french horns & fishing poles
our eyelashes & elbows
our hands wanting to hold

dear humans
beautiful & dangerous
what will we do next
I keep thinking about love

about a man
who wrote to me years later
to say he was sorry for loving badly

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Icarus

By Robert Cording

After our son died, my wife found him
in coincidences—sightings of hawks, mostly,
at the oddest of times and places, and then
in a pair of redtails that took up residence,
nesting in a larch above our barn, and how
their low, frequent sweeps just a few feet above us
before rising over our kitchen roof
made it seem as if they were looking in on us.
In a way, it all made sense, our son so at home
in high places—the edges of mountain trails,
walking on a roof, or later, after he became
a house painter, at the top of a forty-foot ladder.
So many mornings we woke to the redtails’
jolting screeches and, even if I was a casual believer,
their presence multiplied my love
for the ordinary more every day. We never thought,
of course, any of those hawks was our son—
who would ever want that?—but, once,
watching one rise and rise on a draft of air,
I thought of Icarus soaring toward the sun—
as if an old story could provide the distance
I neededwaxed and feathered, his arms winged,
and remembered a babysitter’s frantic call
to come home, immediately, after she’d found
our ten-year-old nearly forty feet up
in an oak tree. I can almost hear him again, laughing
high up in the sky, throned on a branch,
his feet dangling, knowing nothing but the promise
of heights as he waved to me—
and I must have looked very small
calling up to him, staying calm
so falsely as I pleaded with him
to come down, to come down now.


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Epistle to Myself on my 70th Birthday

By Robert Cording

“How’s business?—
Slow as a white man in slippers.”
—The Wire

Listen, nobody wants another overworked sky
of Beethovian sun and cloud,

or starlings loop-the-looping as they gather.

You’re standard issue, friend. Where’s the market unrest,
the ups and downs of soybean and pork belly,

the tango of selfie and brazen litany of self-invention?

Where’s your Twitter handle and your presence
on Facebook? OMG, you’re an old white man in slippers,

still daydreaming about Truth and Beauty,
still earnest even, taken up once again

by a titmouse just outside your study window,
(who still calls it a study?)

lifting one translucent wing in the afternoon light,
its beak cleaning and rearranging a downy under-layer

of feathers. You’re incorrigible, a puppy splashing
in dirty puddles, unaware of your puppy-ness,

happy as your silly puppy-feet plunge.
Pal, the Four Horsemen are riding in, the planet’s

burning up, and there’s enough lies going around
to fill Baltimore’s dumpsters. And what are you

proposing to do?—give a good Wordsworthian Hark 
at some celandine or lark to lighten your mood?

Go on, schlep down to your rural mailbox—
you’re a fountain pen and letter guy, aren’t you,

and maybe someone’s written you, or at least
sent a birthday card rather than an email.

And, if not, there’s always this poem—
place it in its little stall, pull up the red flag,

and shuffle back tomorrow in your slippers
to open the door on yourself.


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Ode to the Impossible

By Matthew T. Birdsall

A cerulean warbler scrambled up and down the shaggy spine
of an elderly bitternut hickory whose reach darkens half of my backyard
and I tried to follow it, but it became impossible as the bird
vanished and appeared in the shadows numberless—
the futility of finding the bird again sharpened my focus
because I’ve always longed to experience the impossible

because looking for the impossible in blotters of LSD during high school classes
and staring out the window at the animated, neon leaves on oak trees
didn’t just make me look at leaves differently, it made me want
to whisper tales of anarchy in the waxy ears of greedy marketing majors,
to digitally protest the World Bank, to distribute loose doobies at Christian chemo clinics,
to dole out dollops of ranch dressing at the homeless shelter on Saturdays,
to slide in and out of varied segments of society looking for pieces of my dull brain

searching for winding, mossy ways to get into the Hegelian principle
far enough to see the overarching irony of oppositions and how
they are the mortar between the bricks of what I really want
to say since mostly my truth is tucked into an ellipsis
holding together fast-flying flippant phrases,

however,
my focus fled when a red-shouldered hawk alighted
on an adjacent ash tree and I lost the warbler entirely,
but I still readied myself for another round of watching
the viewless fringe of fantasy and chasing shadows I imagined
only Keats and I could see, because O, John, I want to hold on
to my trippy teenage faith that there is fractally-hued life
beyond interpretation, to believe in full-throated ease
and sunburnt mirth, that I’m awake and above ground,
which is only possible until it isn’t.


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(R)egret

By Danusha Laméris

I see the word egret, but read, instead,
                regret. A trick of the mind. Its reversals. One,
a white slash, rising from the marsh. The other

a stone, strapped to the heart. The way I’ve carried
                all the would-haves, all the ifs. Each alternate
exhausts. The egret wades in the dark water,

seeking fish. The heart, constancy. I doubt the egret
               has regrets. Hatch, fledge, breed, hunt.
And besides, a lovely name that comes from French.

“Aigrette,” for brush, after the long feathers
               that stream down its back. How do its legs,
bent reversed, move ahead? Who wouldn’t want

to walk like that? There are days I step
               outside my body, arise, fly over the field
of my life, and glimpse—not error—but river,

rock, and oak, a wide expanse. Here and there
               a meadow, dry grass dotted with—could
they be poppies?—some bright-blurred, orange flame.


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Anachronism

By Therese Gleason

One week after
the clock in your chest
clenched and froze forever
at half past fifty,
a crow careened through the door,
grazing my temple
like a stray bullet.
In the aftermath
of shock and startle,
irony registered
bitter in my craw.
I used to think a bird
crossing the threshold
was a harbinger of death,
but by the time
this transgressor
cut a crooked line
through the living room,
our windows
were already draped
in black crepe.
The old wives,
their feathered omen
arrived late, clucked
their tongues
and rent their garments.


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Blue Camaro

By Owen McLeod

I’m up at 6 A.M. to write, but all I do is stare
at the rain and the trees and watch the wind
strip away what remains of November’s leaves.
Somewhere in Virginia, my father is dying.
Not on the sidewalk of a sudden heart attack
from shoveling snow, or in a hospital room
monitored by nurses and beeping machines,
but at home, alone, and almost imperceptibly
from a sluggish, inoperable form of cancer.
That man was never satisfied with anything.
When leaves were green he wanted them red,
when red then brown, when brown then fallen
and gone. Once, after making me rake them
into a curbside pile, he tossed in a cinderblock
meant for the local punk who’d been plowing
his 1982 Camaro through the heaped up leaves
of our neighborhood. Two days later, the kid
blew through our pile without suffering a scratch.
My father didn’t realize that I, fearing for him
as much as for the boy, had fished out the brick
and chucked it in the ravine behind our house.
As punishment, I had to climb down in there,
retrieve the cinderblock, and bury it in the leaves
after I’d raked them back into a mound. My dad
said that was nothing if I dared to take it out.
I can still see him, stationed at the window,
watching and waiting for that boy to return—
but he never did, because I tipped him off
the next day after spotting him at 7-Eleven.
Decades later and hundreds of miles away,
a malignant brick buried deep inside him,
my father still waits at the living room window,
listening for the death rumble of that blue Camaro.


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The Elks at the Watering Hole

By Steve Myers

Sundays they’d meander down from surrounding hills
                                                                                                  to the watering hole
just south of French Creek, where it joins the Allegheny, maybe twenty,
thirty on a good day in summer, the fog in no hurry to lift off the river,
& if I were visiting,
                                 my father-in-law would take me along, because
this was the rhythm of Venango County men, week after week, season
on season, for the members who hadn’t lost wives to dementia, cancer,
or a cheating heart,
                                    a chance to get away from the women, bullshit, maybe
win some money in the big drawing,

                                                                 the Iron City flowing & Wild Turkey,
not yet noon, a thumb-flicked Zippo, cover clicking back, scratchy rachet
of the wheel, flame-sputter, flame, head bowing, a face
                                                                                                  sudden, illuminated,
the long fhhhhhhhhhhh, with smoke stream, & a story would begin:

an Army jeep bouncing into a bombed-out Rhineland town, & in an old church
cellar, great shattered wine casks, you drank as you sloshed through it, dark,
fuck-cold;
                   someone’s uncle down the Mon Valley, the Gold Gloves boxer
who lost an arm; a lieutenant’s first whorehouse.
                                                                                       That was the talk,
and everything was Eddie, almost whispered, a shibboleth:
duck boots, fly rods, the Eddie Bauer Ford Bronco—Elks Masonic
to the nth degree.

                                 Laugh, move among them, wear the flannel, stand them
a round—still, I carried the scent of a distant country. One slight shift
of wind & heads would lift, the circle tighten.


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Memorial Day on Fire Island w/ Laughing Buddha

By Ed Falco

Arthur is, look, you don’t want to, fine; and Bee’s, good, I’m glad.

It’s about a billion degrees out. They’re on a clothing-optional beach. Arthur had to practically drag her.

He gets up and walks away, which makes her mad. She’s all about how men retreat to their caves. Arthur stops and puts his hands on his hips and looks out over the Atlantic Ocean. There’s a half dozen guys on blankets to the left and behind him chattering. They’re all young and nude, built like Greek gods. One guy’s putting sunblock on another guy like he’s practicing the art of sensuous massage. Next to them’s what looks like a straight couple, the girl’s young, topless, with a bikini bottom. She looks good. She’s in fact gorgeous. The guy’s probably at least twice her age, well into his forties. He’s tanned a golden bronze and built solid, stretched out, arms under his head, got on one of those skimpy bathing suits Olympic divers wear. No belly at all if not quite a six-pack. The girl’s sitting up looking off at the horizon, her hand wrapped around his kneecap like she’s holding a stick shift. Arthur goes back to their blanket.

You’re back.

Look, if you don’t want to, okay, but I’m going to.

Go right ahead. Who’s stopping you?

All I’m saying is, we’re here, right?

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Aubade From the Snake Pit Alehouse

By Maggie Glover

—West Hollywood, November 2019

I get a whiskey. I do not call my father back. I text you. I try on my new dress
in the bathroom among the western decor. I get another whiskey. I write a poem
about cowboys. I text you. I finger out the cherry from the glass. I take the cherry
the bartender offers me, red-glow-glop in a bare palm. I don’t text you for 24
minutes (I count it). I let someone down. I smoke a cigarette. I think of my mother
smoking: outside restaurants, department stores, in the kitchen on Sunday mornings,
late-at-night while typing, the cigarette dangling from her mouth with its long,
tender arm of ash. I order a whiskey. I don’t answer my phone. I ask the bartender
for another cherry but I’m way ahead of you, he says, offering a dish of alien
jewel-fruit. I like the dish: shaped like a cowboy hat, porcelain. I am being
trusted with breakable things. I joke: I don’t need to eat dinner now thanks
to all these snacks
. I know I’m not joking. I don’t text you. I write a poem in
which I am the cowboy and you are the O.K. Corral and I make good choices
and my father is sober and my mother remembers me. I smoke another cigarette
and the bartender joins me. I know what this is. I say it out loud: I know what
this is
. I pretend I mean something different from what I mean. I order a whiskey.
I listen when he explains his tattoo. I text you. I let him touch my shoulder. I
go to the bathroom and change into my dress. I ask him to clip the tags from
the hem. I write a poem in which I know exactly what I’m doing though I don’t
know it yet, do you?


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Something Implausible

By Gregory Djanikian

Death in his dark cowl is testing his scythe
against the roses in my garden named Hope-to-Be.

He says there is a mountain within you
that is shifting and the river is slick with feathers
.

He says the way inward is always more frightening
than any simple migration.

Sometimes I don’t know what he means.
He is all nuance and innuendo.

Sometimes he grins, showing his lighter side
as if he’s told a once-in-a-lifetime joke.

Sometimes he makes a sad face, pursing his lips,
his fingers sliding down his cheeks like imaginary tears.

I’ve spotted him driving around the neighborhood
in his rattletrap with a cracked windshield

and a bumper sticker that says
My second car is always available!

I’ve seen him rummaging through garbage cans
picking out slices of pizza.

I’ve seen him dining at Chez Philippe
sipping mignonette sauce from an oyster shell.

When my father lay curled on his bed,
he was there, spooning him, his body being of two bodies.

Once, I found him lying by my mother, cooing,
until she woke and swatted him off with her cane.

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Prenup

By Marcia LeBeau

Featured Art: Bonfire on Green Grass Field by Gantas Vaičiulėnas

I can’t promise you I know how to sit across from a man,
as he lights his campfire heart, without letting it
warm me. And I won’t pour water over it before it glows
down to embers in the lambent hours of the morning.
As shadow flames sashay across my face, I might throw in
the branches I’ve gathered from my forest. Make it blaze.


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Eleventh Anniversary

By Marcia LeBeau

Featured Art from rawpixel.com

We communicate like animals. I bark, he recoils.
I howl, he waits, howls back. It’s been like this

for over a decade. Sometimes our offspring try
to separate us. Last night the youngest guided me

into the dining room. The three working bulbs
of the chandelier spotlit smashed peas and a jack

under the table. We never learn. No, sometimes
we learn. A moment lying in bed ripples

for a week. We burrow into each other’s eyes, faces
slippery with tears. I have made him proclaim to himself

the scariest of truths: I am perfect. He has made me
do the same. Our perfection hangs in the air.


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Lucky

By Marcia LeBeau

Featured Art: Colorful carpets hanging on wall by Meruyert Gonullu

The Lucky store a few towns over is going out of business.
That doesn’t seem so lucky to me. Every year, my husband and I hit
their After Christmas sale. We try on jeans with zippers that tell us—
Lucky You! when the teeth unclench. I once got a sweater
with LUCKY that stretched across my breasts. We pile clothes
in dressing rooms facing each other. Yay or Nay outfits.
With conjugal knowledge, we are ruthlessly honest. Whoever finishes first
takes a seat and watches the other model consider and reconsider.
The other day, a woman I barely know told me how much she loves
my husband, the way he always refers to our life experiences with “we.”
We have decided. We went there. We bought that. She tells me how lucky I am.
When my husband and I leave the store, we clutch shopping bags,
we are satiated. Sometimes we hold hands, if we have one free.


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The Love Poem

By Marcia LeBeau

When he read it out loud in the small orange basement
on the street lined with old trees that fell
too early in storms, the wind lost its breath,
the molten core of the earth slowed slightly, and someone
poured a Slurpee down at the 7-Eleven. It might have been
just a poem meant for the whole group, who all playfully
fanned themselves and over-swooned after he’d lipped the last word—
but she sat knowing that everything she’d done
had brought her to this beige suede basement couch
to hear, to embody, to take these words
and press them into her—first shaking, but later softly
and with more force. Until they walked, ran, and flew
with her. So when she rose above that suburban town,
its baseball fields and slate-gray schools, on the days
when the screaming and demands and the mac-n-cheese dinners
became too much, they would be with her. He would be with her,
whether she wanted him or not.


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Fulminate

By Kimberly Johnson

Featured Art: Lightning coming from the Sky by Johannes Plenio

I saw you coming from a mile away,
               Thunder. You play
       Coy, sly your pretty in winks

Around the cumulus, but up close what colors
               You show, all shazam
       And tantrum while the Wham-bam

On the wireless crackles with static. What the swagger
               Are you after?
       Whose the heart you do not stagger

When you rattle through the bracken, knocking
               Branches at the casement?
       I betook me to the basement

When you batted first your lashes, flashed
               Your distant
       Dazzle—I’ve been whiplashed

By your type before: you come on easy
               But want me on my knees,
       Want to flutter my transformers

And shut off all my lights. You throw a glam show
               And then you blow
       Along to the next hapless,

Leaving blank fuzz across the radio dial—
               No tune, no storm
       Warning, no Thank you ma’am.


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Fusion

By Kimberly Johnson

Featured Art: Water Bubbles by Pixabay

Oh, my quantum soul—restive, sizzling
               In its nimbus
       Of need. How it dizzies

In the orbit of another’s passing
               Fancy, fickle
       As it flirts its vacant shells

Hey there sexy fella can you fill
               My spinning empties
       With your any loose electrons?

How in relentless ciphers it scrawls
               On any bathroom wall
       My atomic number.

It is a light element, an errant
               Sphere with strong wants:
       Come Lover, let’s charge ourselves

A spark, a star, a dark and secret
               Supernova, let
       Us cleave ourselves: attract,

Repel, attract, repel, let us fall
               In common gravity,
       By which I mean love, and then fall

Out.


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Ode to the Wild Heart

By Mary Jo Firth Gillett

Featured Art: Female making manicure to ethnic woman with tattoos by Skylar Kang

See how I clasp it to me, thunderclap
my way through. Oh constant invisible,
oh emperor of the unruly, tell me—
do I consume you or you me?
Downcast, you stain me indigo
but I love the blues—lapis lazuli
and Billie Holiday and the neon tetra’s
iridescence—is it biology?—
I the algae, you my luminescence?
But no, that’s too much—
a fleshless excuse for excess.
Hyper heart, you tattoo me,
every inch of skin inked,
but you are not indelible—
see how I embrace the pleasure
of erasure, the fleeting this, then this,
the smudge and blur,
the quickening pulse of swerve,
of word, the veiled, the reviled,
the revealed. And so, lost song
of nightingale, swoop of lark,
you are the ghosts of night,
the smidgen of hope,
the low-hanging, the high-flying—
my wisteria, my hysteria,
my gilt-edged book,
my glint in the dark.


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Prime Cuts

By Lara Palmqvist

Their fights had always been drawn-out and passionate, thrilling in their possibility. The subjects of their arguments ran the gamut; Malcolm and Clare could employ almost anything as flint to spark the heat between them, setting their hearts leaping and their sharp tongues running wild: the empty soda can rolling around the Subaru, the knife marks grooved in the laminate countertop, the lack of remaining hot water in the morning, or that time, years ago, when the dog bowl had been left dry on a sultry day. The rhythm to their relationship was marked by peaks of tension, a pulse that proved their marriage was still alive—unlike those of some of their friends, whose flatlined politeness was so painfully false, resentment straining up beneath pert compliments and cute smiles. Malcolm and Clare were authentically in love, four years married and still willing to weather the turbulence of melding two lives together. Yet it was also true their latest fights seemed rote, their jibes more personal. The cause was lack of material, Clare felt. She blamed their unchanging surroundings.

“Your manner of blinking,” she said, interrupting Malcolm as he sat reading the golf report in his favorite recliner one February morning. “It’s bothersome.”

He glanced up, eyes fluttering, bewildered. “Excuse me?”

Clare set her turmeric milk on the coffee table. “There’s some kind of stutter to the way you blink.” She flicked her fingers off her thumb in two short bursts. “Like this,” she said. “I’m not sure you’re aware. It’s making me anxious.”

Clare spoke from her heart—she was genuinely bothered by Malcolm’s mannerisms, more so with each passing day. He’d developed a habit of repeatedly clearing his throat in the mornings that made her grab fistfuls of her dark hair and pull until her scalp felt strained. Just last week she’d noticed new strands of gray growing in along her part.

“I see,” Malcolm said. He creased the paper, eyes now flat and focused, strained wide.

Clare didn’t want this—she didn’t want him to suffer.

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Thursday Night, DivorceCare

By Jana-Lee Germaine

Featured Art: Faceless ballerina resting on floor with shade by Khoa Võ

Next to the Lost and Found,
our church basement folding chair circle.
Ten of us, week to week, scratch
words in workbooks, read copies
of How to Survive the Loss of a Love.

We pass or fail stages of grief.
Video clips from the other side:
a smiling blonde manages
her checking account, living debt-free;
gray men navigate dating and children.

Stories cycle in Share Time:
Billy the missionary served 25 years
with Kazakhstani orphans—
one day, home on furlough,
his wife drove to Walmart, never returned.

Dan’s wife ran off with the superintendent,
and Sharon’s husband left her at Denny’s
eating Moons Over My Hammy.
She hasn’t had an egg since.
I don’t know why, they said.
Blame always a stick to be thrown.

Not your fault, we agreed.
But maybe the fault was mine,
the unsupportive wife, the wastrel.
I drove 1700 miles, and still his voice,
obscured by barroom backnoise,

Insufferable woman, come home.
Each week I shift seats
on the circle’s farthest curve.
I’ve lost the knack for talking,
afraid the other eyes will shinny up my face
then flick away.

At Trader Joe’s, before group,
while cashiers flip French bread
into paper bags like a magic trick,
I practice words.
How to say I’ve left him,
that he was mean to me.
So I will be believed.


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The Measuring

By Veronica Corpuz

Featured Art: Vintage notebook among photo cameras on table by Rachel Claire

A married life is measured:
each grain of rice, coffee bean, and tea leaf,

ice cubes crackling in a glass of water upon the nightstand,
even the pinheads of steamed broccoli,

every hour of sleep lost when the baby is born
each hour you slept in before him,

the time you say, I am going to remember this walk forever
the neon color of lichen after a long, hard winter,

how your son wobbles, falls down,
how you swoop him off the ground.

Until you walk into the Social Security office,
until you see the words printed in dot matrix—

the date your marriage begins, the date your spouse dies—
until you see what you did not know declared in writing,

then, you have new language for this feeling—
how your heart has become a singularity:

Your marriage has ended in death.


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The Bees

By Rick Viar

Featured Art: Bees on Purple Flower by Pixabay

My sister says I greeted the swarm
along the backyard slope, crawling, fat mouth slack,
sodden Pampers saggy with supplication.
Evidently, she scooped me up while they chased us
through our father’s lavender azaleas
where he dropped his shears and smashed yellow
jackets against my skin, yanking off the diaper
and waving it around his head like a lasso.
We won’t get spanked again until winter.
Everyone watches my sister declaim
the tragic tale at family gatherings for decades
as if she’s Dame Judi Dench. They love her
nuanced performance, the lively hand gestures
and operatic voice, how she tousles my hair
before her triumphant finale: I got stung
on my mouth, but he got stung in his asshole!

I’m always grateful Dad isn’t here to witness
this, or my marriage, or my career,
or my incompetent gardening, the limp cosmos.
I can’t believe you, a cousin smiles, shaking his head.
Me neither, I reply. I don’t even know what I did.


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how we end

By Paula Harris

Featured Art: Light Inside Library by Janko Ferlic

it will be the day after our fifteenth anniversary

we started late, so we were already middle-aged at the start
so after fifteen years we’ll be what others call old

we will have lasted a solid fourteen years, ten months, and most of a day
longer than I expected
and so for fourteen years, ten months, and most of a day
I’ll have been confused by our continuing existence

how will you go through fifteen years and most of a day
without realising what a fuck-up I am?

during that time you’ll have been to more book launches
than you ever expected you would,
and since you never thought you’d ever be at a book launch
your showing up at each of them will be a personal gift;
you loiter at the back of the room with a bottle of whatever
cold beer is your current choice, maybe Heineken that day;
you don’t say much to the other people there,
you sit quietly through the post-launch celebratory dinners
when I’m buzzed and hyper or exhausted and freaked out
and we hold hands under the table;
once we get home we strip down and have sex
and you still look at me like I’m the best thing you’ve ever seen

I won’t watch a single rugby game
but I ask who won and if the All Blacks did alright,
if it was a good game, and you give me your thoughts
in a surprisingly detailed yet concise analysis
because you know this shit bores me
and from time to time I even remember
one of the players’ names and you smile at me
like you would a child trying to show off their knowledge of the alphabet
despite always misplacing the q

we still live in separate houses
because I’m smart enough to have figured out that living with someone
isn’t something I can cope with;
we spend time at each other’s homes
but more at yours, even though your kids hate it
when they drop by unannounced
and we’re naked on the kitchen floor
or I’m sucking you in the living room
or you’re going down on me on the dining table

so your kids always knock on the door, loudly,
then wait fifteen seconds before walking in

we always laugh at this

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sisters

By James Lineberger

Featured Art: Children Playing on the Beach (1884) by Mary Cassatt

As I get you down from the closet shelf
and unwrap the brown shipping paper
to the square white box inside
I lift the lid for the first time and stick my fingers
deep inside you /
What does she feel like Barbara says and I say go on
see for yourself but she shushes me
and leads the way out back
to where the creek used to run
and we just do it quickly without any words
because words are a foolish way of asking forgiveness
for these five years we’ve left you
up there stacked amid the empty shoe boxes
and children’s playthings /
But now with both hands
I swing the box like sand in a pail
and scatter you
into the overhead cave of the old Judas tree
where your tiny parts
glow for a flickering moment
like early snow /
And Barbara whispers
yes Patsy I know
still trying to find your way home again
just like the whole rest
of your life
without somebody’s arm to hold on to


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tree with ice, under amber light

By James Lineberger

Featured Art: A Pond Near Rousillon by Adolphe Appian

it glows in frozen streaks
each of its feathered limbs curved gently upward
and i find myself pausing
at the edge of the drive
to stand very still in the needles of rain
as if anchored here too
stretching my arms overhead
like some arthritic unpainted mime
not because i need to make
a statement about anything
just that every now and then
like the silent unfolding wings of the tree
something stirs within me trying to say
it believes


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North River Shad, c. 1910

By Lindsay Atnip

Featured Art: Green Fish About to Eat the Fish Hook Wall Art by The Lazy Artist Gallery

William Merritt Chase painted numerous versions of fish still
lifes, many of which were quickly purchased by museums across
the country. Because of the popularity of these works, the artist
worried that he would be remembered only “as a painter of fish.”
—placard, Art Institute of Chicago

The real thing rots. Corrupts,
               Decays, time-lapses, hollow to holes.

But yours—immortal, silver-scaled, so round
               (Why should its roundness be wrenching?)

               Realer than the real.

You were afraid this was what they’d remember you for.
               Afraid—as if there were somehow more than this.

Here one sees, forever, how it could fill the hand—
               How it would feel, filling one’s hand.

               One could do worse than be a painter of fishes.


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Long Division

By Jessica Tanck

Featured Art: Green and White Press Drill on Table by Lisa Fotios

We have split the phone plan,
emptied the safety deposit box.

My dad is moving out of the house:
gone, the sentinel from his office

in the basement, plastic Star Wars
figurines tipped into a box.

It is hard not to imagine all of us
in our old places, hard not to fill

the house with past. Alesha (sister,
I still think, not ex-. ex-step.)

cross-legged on the futon, remote
in hand, a bowl of macaroni

in her lap. She peels home
on repeat, inside in a jangle

of keys, stays up with me all night,
perpetually lights and leaves.

Myranda (blood sister) half-absent
in her eyrie, moves from floor to desk,

floor to desk. My stepmom flickers
in the dark bedroom, in the mirrors,

on the stairs, in the corners of halls.
I am always underneath all of this,

in the skin of the basement or crossing
the yard. How many times do I tread that

bed of needles, climb to the freshly sawn-off
branches, wish a kinder mending, wish

an absence gone? Press my hands to trace
the drip of sap, what cannot be divided,

to touch what bubbles forth, what empties,
amber, from the knotted heart.


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We Are the Bachelorettes and We Insist

By Susan Finch
Winner, Editors’ Prize in Prose: selected by Mandy Berman

Featured Art: Woman in Silver V-neck Long-sleeved Dress by Inga Seliverstova

As bachelorettes, we solemnly promise the next forty-eight hours will include three brunches, two happy hours, fifteen moderate disagreements, one unforgettable fight, eight matching T-shirts, one bar crawl, one pedal tavern, one sprained wrist, three twisted ankles, sixteen hangovers, too many tearful promises to count, and one sober regret. We are the bachelorettes and we insist.

We must begin with brunch, and in order to fit three brunches into forty-eight hours, we will congregate Friday morning. After all, brunch is the most important meal of the day. We can eat French toast and French fries, and getting tipsy or emotional (i.e., Lydia has too many feelings after bottomless mimosas) will not be frowned upon. Not every restaurant serves brunch on Friday, so we must select carefully, find a place that has an all-day breakfast menu, and really, why shouldn’t a restaurant serve breakfast food all day. It’s not so hard to whip up a couple of poached eggs, is it? We will reserve the table for 10:30; the proper time to eat brunch is 11, but we already know that some of our bachelorettes will be late—particularly Tara, the bride’s sister. She’s a musician and runs on her own schedule, and of course, Felicia. She hasn’t been able to get anywhere on time since the new baby.

Event attire is outlined in the invitation—brunches are for sundresses or rompers paired with cute cowboy boots or wedge sandals. We do not do flats—flats are for business casual events or maybe if you’re trying to let someone down easy. Matching T-shirts will be provided for the pedal tavern that begins promptly at four. The shirts may be knotted at your hip or tucked in with a cute belt, but please do not leave your shirt untucked. Evening wear will have two themes: Friday red and Saturday sparkle, and the bride, of course, will wear white. No one else should plan to wear white or anything white adjacent —no cream, no ivory, no pearl, no silver, no soft grays, no misty light blues or sugary beige. Don’t pack it. Don’t even think about it. We don’t want anyone to steal the bride’s thunder. After all, we are the bachelorettes, and it is our job to insist.

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Last Night I Told a Stranger

By Mary Leauna Christensen

Featured Art: Hand of crop woman on crumpled bed sheet by medium photoclub

I am very go with the flow—

I used to wipe down airplane
trays only when they were sticky.

Now my hands have dried
from soap and alcohol.

But they are still the same
hands that fixed your hair

and earring against the pillow
that most likely was not silk

because we did not buy
the premium package

from the funeral home.
Everything is packaged nowadays.

I try not to use plastic bags
for produce. Not because

I’m environmentally conscious
but because I want to slow down

rot. Just a few weeks ago
I finely chopped cilantro and

green onion while the man
I was cooking for drank wine.

He was nervous and high
so we danced to the music

that came from his phone.
He tasted like peach Moscato.

I led him to my room
though I knew nothing would happen.

And by nothing
I meant between the two of us

because here I am
in bed and alone

wishing I could live in that sentence—
nothing will happen.


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Life Through Glass

By Jonathan Duckworth

Featured Art: by Giuseppe Barberi (1746-1809)

—for Kat Flinn

blurs become faces & eyes for me

as I see through layers of glass

& now that my fiancée is half

a continent away we speak through

a tunnel of light bound by twin

screens, more layers

& there are boats with bottoms

that let you see the underwater

in perfect safety & I wonder if the fish

in my fiancée’s tanks see us that way

huge ugly misshapen things safely

on the wrong side of the pane

lyretail mollies harlequin rasboras

bettas of swish & swirl green blue red

how they circle & gape & watch us

watch them & maybe sometimes

they wonder if we are happy & maybe

they see her on her couch as she

cradles my glowing face & they think

that’s how the finless frolic

& navigate this the sometimes

joy of being


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Polar Bear

By George Bilgere
Winner, Editors’ Prize in Poetry: selected by J. Allyn Rosser

Featured Art: Mounted Model of a Polar Bear from United States National Museum Photographic Laboratory

A father died heroically in some Alaskan park
while trying to save his kids from a polar bear.

Long ago, when his mother gave birth
one summer afternoon in Bakersfield, California,
could anyone have prophesied,
as in an old myth, that the baby crying
at her breast would one day be killed
and partially eaten by a polar bear?

Has anyone from Bakersfield, California been killed
and partially eaten by a polar bear? Yet her son
was. He looked up from making camp,
pitching the tent or lighting his Coleman stove,
and there it was, white and immense. His fate.

And he died heroically and was partially eaten.

Of course, the bear had to be killed. The rangers shot it,
which makes sense. You can’t have polar bears
running around in the wilderness!
The wilderness is a place for dads and kids
and Coleman stoves. Polar bears just . . .
they just kind of ruin the whole thing.

As for the bear, it didn’t die heroically.
It just got shot and fell over
and was sent to a lab for testing.


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The Scar

By George Bilgere

My son slipped on the concrete
by the pool and smacked his head.
Blood cauling on his small shoulders.
The doctor stitching him whole.
Three years on, after a haircut,
the scar still rises, a quarter moon
a woman will ask about
as they lie there one night,
her fingers in his hair,
her voice in his ear, the secret
delight of him—a bit
like burnt toast—in her nostrils
as she takes his strangeness
into her. What she won’t know
is how the frail, Phidian skull
I held that day in my hands
resounded on the hot concrete.
It echoed all summer, less
like an egg cracking in a bowl,
or a world breaking, than the wild
knocking of love against my heart.
Dear girl who will one day win him,
that part of the boy is mine.


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Homecoming

By Christopher Brean Murray

Featured Art: United States National Museum Library from United States National Museum Photographic Laboratory

At the edge of town, you pass a water tower beside train tracks.

A shopping cart blocks your path.

The telephone poles have no wires.

Someone has spray-painted Fuk Yo on the train station.

A breeze bathes your face

as seed pods click overhead.

How long’s it been since you sat in a theater?

The marquee says JAWS, but the ticket booth’s empty.

The jewelry store says: 40% off weeding rings.

Brass clips clink against the flagless pole.

The library is a house that’s rumored to be haunted.

The librarian recounts tales of the first settlers’ deaths.

She’s seen books flung from shelves,

a woman at the bottom of a staircase.

You pass a garage where mechanics yammer.

At the nursery, a sprinkler douses the curb, leaving shrubs parched.

A Corvette peels out in a mini-mart parking lot.

Smoke drifts over storefronts.

At the Dairy Queen, a woman buys cones for kids.

She snaps at them, but they remain buoyant.

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Currency of Survival

By Natalie Taylor

Featured Art: Scott Catalogue USA PC7 from National Postal Museum

A half-eaten waffle, syrup-logged in a plastic takeout container,
       dropped in the middle of the street. Bald man in a blue truck slows down,
cranes his head out the window to get a closer look. Suited folk

coming home from church swerve. It’s finally cool enough, after 37 days of dry heat,
       to turn off the air conditioning, open windows.
Hooting and hollering from the apartments as someone on TV scores a touchdown.

Last night a friend came over. She has 16 pets, most of them rescue animals:
       dogs, cats, rabbits, and ducks. She installed a heated pond in a spare bedroom. She’s worried
about how to transport them when she moves to Maine as a climate refugee.

A grandmother and grandkids carrying leftovers in Styrofoam walk past
       the waffle. Dark feathers brush across the storm-swift sky.
A car drives over it, wheels straddling the soggy breakfast. Something exciting happens in the game:

Yeah! Then clapping. My friend with 16 pets has no hope life on earth will get better.
       If you think we have an immigration crisis now, wait until Mumbai is uninhabitable,
she says. Everyone on the planet is moving to Canada.

I think of a fable where a rich man buries a bag of gold
       in the middle of the road and covers it with a boulder. Then he watches.
Some people are angry. Some ignore it and walk around it. Only one boy

thinks to move the stone. My friend thinks that by 2050 the high desert will be too hot to survive.
       We’ll run out of water. She thinks we are hurtling ourselves out of
the habitable zone. But I think of pyramids and vaccines and walking on the moon.

Humans adapt. Imagine, all of us trying to fit in the northernmost region
       of North America
. She thinks it’s impossible because
the rich are already buying up all the land and building homes there.

A girl in a striped shirt and red pants walks a dog with an upcurled
       toffee-colored tail. The dog stops to sniff as thunder growls across the valley.
Four teenagers on bicycles. Another couple with three dogs, hair and fur rising

in gusts. Wind rhythms the chimes, thunder drums closer
       and the first sweet slaps of rain hit burnt tips of leaves, brown grass, dried lily stalks.
Smell of wet cement. Soon, a miniature river bounces in the gutter.

Clatter of rain drowns out the game. A neighbor checking his mail—leopard-print kimono
       sticking to his long legs, arms waving wildly to shoo the storm, yelling out as if in pain—
bends to pick up the waffle. Raindrops plinking like millions of silver coins.


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Gothic

By SM Stubbs

Featured Art: Bird by Robert Frederick Blum

Upon a hill, a house. Upon the house,
a roof. On the roof, a bird. The bird—
oiled feathers, beak like an awl—grooms
the roof’s moss, subsists on ticks
and silverfish. Inside the house, a man
without a tongue and a woman
who loves him. The woman grooms
the house, subsists on potatoes and rice
and whatever rodents roam the slope.
The man hunts every day until noon.
Every day he returns empty-handed,
his shoulders tense as flywheels,
his jaw the floor of a collapsed cave,
crowded with everything he cannot say.
She brews his tea. She washes the corners
of the house. She chases the bird away.
At sundown the man leaves again, hunting.
Upon another hill, another house. Another
woman waits inside. The man without
a tongue feasts on rabbit she trapped
in a pit. From fireplace ashes she makes lye
and scrubs his back. She fills his canteen with it.
By the time her sister misses him, his body
has sunk to the bottom of the pond.


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