Newohioreview.org is archiving previous editions as they originally appeared. We are pairing the pieces with curated art work, as well as select audio recordings. In collaboration with our past contributors, we are happy to (re)-present this outstanding work.

Issue 5 compiled by Logan Weyland and Jade Braden.

Newohioreview.org is archiving previous editions as they originally appeared. We are pairing the pieces with curated art work, as well as select audio recordings. In collaboration with our past contributors, we are happy to (re)-present this outstanding work.

Issue 5 compiled by Logan Weyland.

By William Olsen

Everything I’ve always wanted, want me was the haiku I was working on when I thought I heard the mail come, some metallic hello of the mailbox lid creaking open and slamming shut, but I think it must have been my heart instead because there wasn’t any mail at all inside there, not even a bill, not a cancelled stamp. And there was nothing but emptiness in saying it was empty. Just thinking of saying so was heartless. So now in place of my heart was a deep well, a well that didn’t end well, a well that didn’t end at all. Meaning, what I was was what I saw, and what I saw was, and is, a seesaw down there in my deep well looking back at the seesaw I saw in the mirror at the bottom, O. Or was it, because it was a reflection, a sawsee? Yup, and after that mental yelp what should I see but a hummingbird, just a glimpse, rare occasion, first edition, last run, print on demand. I saw it! Here in Kalamazoo, particularly in the last three letters of this place name, having left the mailbox and halfway up the stairs to the front door and half done eating this banana like, well, a stir-crazy monkey! Read More

By William Olsen

The earth is the subconscious of the subconscious.
—Bachelard

1.
Half a block inland and safe from genius gulls
local and alone in their dishwater droves,
up out of reach from beach inland-eaten

by gutless waves,
opposite the passage from two fresh green-furred
ursine islands, one lighthouse-flicker lit, one not,

safe from shark-toothed sails and trolling trolls,
unseen by one old crow
patrolling a fire-log-charcoal-pitted shore,

innocent, green, unschooled, dimwitted, featureless,
foregrounded by the imponderable plumpness
of the crimson motherships, summer’s end’s tomatoes,

encephalitic, all intelligence,
stupidly, yet astonishingly so,

By Kim Addonizio

Bone-stick
partially stripped

I hang you upside down
with your sisters
above my mirror—

all drooping heads all trophies of desire

O rose thou art past-tense

Even your brother the worm
has shriveled and gone

Your silks are best
like this unkiss-

able
and therefore bearable

By David Rivard

The brain bounces forward too, right?
so why return to what yesterday seemed to be becoming
before it became today?—
there’s no need for meanness or envy
when waking in the morning, no reasons for fear—
just an unlikely Rose of Sharon blooming by the branch library
and the balanced light of a warming
late October as it shines on a sheet of week-old social studies homework only recently
dropped from the book bag of a wandering Violet Neff
(5 points extra credit—according to Ms. DiNardo, a “nice job”):

nice job say the Tibetans by lugging the rolled-up rugs to air
in front of Yala Carpets mostly the smaller
prayer mats that are colored with clairvoyant vegetable dyes,
nice job says the scent of heavenly inventions like the breakfast plantains frying,
well done says the toddler with the jelly-fish haircut,
all answers perfect say the hedgerows of boxwood left
untrimmed by the vestry at St. Augustine’s

(a coven of swallows with attention deficit disorder muttering one-liners within),
perfect say the chicken legs in the freezer case at Fresh Killed Poultry,

while you wait for the 91 to the Green Line at Lechmere,
a vaguely Wordsworthian subway stop you think
(because the brain knows it’s well within its rights to do so)
a second or two before it occurs to you
to wonder if Ms. DiNardo’s grading is strict—

so what if it is? thinks the brain,
I can still imagine her first name is Julie whenever
I need to.

By Sydney Lea

to do sweet Jeanne with you this wild urge to leave behind
all that I treasure by zooming away on my old silver Norton
road bike with clip handlebars and mean engine never mind

that the two of us did that so often and country towns’ small winking
street lamps briefly lit us as we rumbled and roared below them
though we were lit up already by our idiot epical thinking

that we’d be the first ones ever to outspeed what kept on chasing us
which I suddenly ache to race from again as though we hadn’t
learned this was hogwash because even we in our garish glamorous

leathers could see how we played a script that in fact was an old one
familiar to lord knows how many people before us who’d enacted
their own absurd escapist narratives complete with explosive

trappings like the famous instance of the late Jimmy Dean who’d run
his fantasy Porsche right into something that turned out to be
much bigger than he of course and that’s not to mention my drunk

unfamous friends Mike Knott and Harry Robichaud
but wait I meant to be saying that this had nothing really
to do with you since just now I wish I could ride out solo

By Mary Biddinger

At school they were too polite to call it hell, though she heard the word on her
mother’s eight-tracks, seeping between damp towels in the bathroom, hover-
ing in the silver of the old hall mirror. Monica knew who went there and why,
regardless of time spent fluffing the chrysanthemums outside the rectory. She’d
go to the Devil’s Place herself if it meant one hour alone with Kevin McMillan
in the falling-down barn. Sister Rita said it was hot, but Monica could live
with that. Mrs. Dettweiler next door crushed cigarettes out on her daughter’s
back. She was on her way to the Devil’s Place, along with the Simmons twins,
and Monica’s uncle who thought he could piss out an electrical fire, ended
up burning down the Kroger instead. There were, of course, exceptions. If he
was mean enough you could take a cinderblock to your husband’s head in the
middle of the night, as long as you called the police afterwards, produced the
notebook of grievances when officers arrived. You could sign your husband up
for a war, then dash your face with mauve lipstick on the night they handed
him a gun. If you were married to one of the Simmons twins you could toss
the car keys down a sewer grate, sprint to JC Penney for a white sale bonanza
with the charge card, knowing you’d be safe until Randy or Ricky made it
out of the sludge. Monica would not go to the Devil’s Place over shoplifted
Raisinets or hair gel, but she would sign away her soul for an afternoon swim-
ming with Kevin McMillan in the pond at Raccoon Park, as long as they could
both be naked and the water above fifty-five degrees. Perhaps there was hope
for Monica’s uncle, provided he sold the Firebird, wheeled the recliner to the
curb and found a job. If they ever married, Monica would never torch Kevin
McMillan while he read the newspaper in his slippers and flannel boxers, or
dig a six-foot three-and-a-half-inch hole in the backyard while the children
planted daffodil bulbs. She would not include the Devil’s Place on her college
application list, as Rhonda Phillips did the day she broke her sister’s arm play-
ing darts. When the Simmons twins winked at her, Monica looked away. When
Kevin McMillan winked at her, Monica unbuttoned her shirt, showed the hot
pink swimsuit underneath.

Wisława Szymborska was born in Poland in 1923 and has lived in the city of Krakow since childhood. Her first published poem appeared in 1945, and her first book of poems in 1952, followed by books in 1957, 1962, 1967, 1972, 1976, 1986, 1993, and 2002. In 1996 she was awarded the Nobel Prize for Literature.

By Kathy Fagan

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By Lawrence Raab

One of the ways a poem can be eloquent is by pretending to have nothing to do with eloquence. This strategy has many dangers. If we catch the writer cultivating modesty, putting on airs by pretending to do the opposite, the poem’s plain clothes will appear calculated for effect. Of course we know that all good art has been calculated for effect. Nevertheless, the directness of certain poems can seem wholly natural, as if the poet desired only to speak in the clearest possible way, saying just what needs to be said.

By Carl Dennis

Go in fear of grand generalizations is the usual advice we give our students; let particulars carry the thematic burden, not abstractions. But we all know many poems that defy the rule successfully. One that I particularly enjoy is a poem by Wisława Szymborska entitled “A Contribution to Statistics,” in her most recent collection in English, Monologue of a Dog. This poem is of special interest in this regard because the will to generalize is itself part of the subject of the poem, and seems, on the first reading at least, to be treated critically, as the poet gives us the statistics about the prevalence of various character types in the population at large. Here is the opening:

By Jennifer Clarvoe

I go back again and again to one of the first poems of Szymborska’s that caught my attention, “Autotomy.” In it, she incorporates a Latin phrase, from Horace’s Ode III.30, “Non omnis moriar,” which means (the notes tell us helpfully), “I shall not wholly die.” The slightly disorienting pleasure of finding a Latin phrase in a Polish poem stands in part, for me, for the continuously disorienting pleasure of reading any poetry in translation—at least as much pleasure in what carries over as in wondering what is lost. The “I” in “I shall not wholly die” seems to me to be the phrase itself speaking, the poem speaking from the page, even more than it speaks for the poet, either Horace or Szymborska. In my facing-page text (in Krynski and Maguire’s translation), the Latin remains untranslated, identical, on both pages—the part I don’t entirely get in the English version, and the part I recognize with relief amid the Polish.

By William Olsen

Wisława Szymborska has the practical self-regard I imagine an anthropologist might have, all that much more functional for being a little off to the side. She does not deal in ironies as cosmic betrayals, as Milosz does, but in ironies as human fictions. Her poems are often written in a mood I’d describe as defenseless yet deliberate. They may maintain comic perspective on mood, but they do undergo their emotions. They can wince and smile at once, if doing so makes things clearer.