Raphael Jenkins

But It Got Rave Reviews and A Pulitzer

One final orchestral hit as curtains kiss
boards.       (BLACK OUT)
Feet slap a thunder, filling
to the rafters as lungs into brittle ribs,
while palms chirp their sweaty
song in time like brined lightning,
glassing the sands beneath them.
Strung from those aerial bones is
a man now a flatline, he had popped
all the jazz hands and charlestons
he could, to the delight of tapeworms
and yellowjackets who’d paid to see
a sap sing until his song became blood.
And what a show it was— it was a show of blood,
sung by a sap paid in jackets and
yellow tape. Worms of light
charlestoned to his jazz, popping
off lines of bones charmed with sandglass,
lighting rafters in time with the thunder slap—
efforts deserving of this curtain-call.
The man, being a pendulum of flesh,
did not stir; for his death was written,
though not for show. His sorrows had
become his sole currency,
so when the house-lights gorged on
the darkness, they revealed his suicide pact:
a vow to fountain every ribbon in his veins,
for a stage to hang closure on.
Still, the ovation marches into the maw of night—
his family weeping in their luxury box seats.

(BLACK OUT)


Raphael Jenkins prefers to go by Ralph, as he feels it suits him better and he’s heard every Ninja Turtle joke ever uttered. He is a native of Detroit, Michigan currently residing in Kentucky with his Boo-thang and their four-year-old boy. He is a chef by day and an essayist, poet, screenwriter in his dreams. He, like Issa Rae, is rooting for everybody Black. His work has been featured (or is forthcoming) on his mama’s fridge, his close friends’ inboxes, HAD, 3 Elements Review, HASH Journal, Frontier Poetry, Flypaper Lit, All Guts No Glory, Passengers Journal, and Alien Literary Magazine. Currently available works: https://linktr.ee/RALPHEEBOI. Follow him on TWITTER & IG: @RALPHEEBOI

SG Huerta

I Hardly Knew My Dad Before He Died by Suicide

but I know he hated fireworks. This hotel is across the street from Six Flags Fiesta Texas and they’re popping them off the night before his funeral. He’s not yet able to roll over in his grave. Does PTSD go with you? I pray bipolar doesn’t go with you, sheds itself in Purgatory. I wrote poems about his death before his death, predicted his last actions. Did he think of me in the end? Any of us? I can’t find solace in any words, mine or otherwise. I don’t want to find solace where he did, self-medicating. He didn’t live long enough to see me become the poet he always encouraged me to be– he hardly lived. I stand at the window for a few seconds more, the last red firework becoming past tense, just like him.


SG Huerta is a Chicana poet from Dallas. They are pursuing their MFA at Texas State University and currently live in Texas with their cat Lorca. SG is the author of the chapbook The Things We Bring with Us: Travel Poems (Headmistress Press, 2021). Their work has appeared or is forthcoming in perhappened mag, Kissing Dynamite, and various other places. Find them at sghuertawriting.com or on Twitter @sg_poetry

Dick Manning

Saturday, November 14, 2020

I walked up the hill of 165th street
To the hospital on Fort Washington Avenue
To visit my recovering mother in law
Laying in a bed, to her delight, with a view

The view satisfied her,
for it stretched across the Hudson
Her marital home of 40 years
Was between a mountain and the River, a satisfying juxtaposition

She was felled by the usual suspect
Cancer in one of its many shades
Her pancreas was engulfed by renegade cells
Doctors gutted her twice in 5 days

It had been cool for many years
Between this woman and me
I missed her dead husband
But she was not him, and I, not he

But obligations as they are
Are a mix of nostalgia and duty
And so I trudged down to Manhattan
To bring her the New Yorker and toiletries

We sat pleasant enough
Weather and view discussed
I held back the emotional strain
Of years and unresolved fuss

And I do love parts of her
Her ease and her cooking and independence
My daughters admire the same
Finding her the fun grandparent

So we chatted a bit more
What’s the plan, when will we know?
How to escape this horrible place
Despite the new, well-polished floors

But answers weren’t clear
And I got the emerging sense
That this was only the beginning
Of a long, stretched-out descent

Which, given my selfish nature
Made me turn inside
Will my mark not be made
And my chance deprived?

Whether by a failure to act
Or a failure to succeed
Or by circumstances “beyond my control”
As Malkovich repeatedly bleated

So I walked back down the hill
Toward the upper-est of Riverside Drive
That view of the Hudson and Jersey
Was certainly a pretty sight

And I thought of my mother in law
Laying up there with a similar sweep
And hoped she could gather some strength
From the old Hudson’s majesty
And fall into a needed, medicinal, deep sleep


Dick Manning is a New York, exurban dweller.  He has the duality of living on a dirt road fifty miles north of the City and (before COVID) a daily commute into Manhattan.  He loves words, truth, and finding truth through words.  He believes in place and service.  Between October 2020 and January 2021, Neal created a poetry series called, “100 Days, 100 Emotions, 100 Poems”, in order to capture the impact of the highly concentrated space and time that COVID created.

Joseph Goosey

Amid Growing Concern Frank O'Hara Is Utterly Tone Deaf

after getting a gash in the head from falling off a cliff at Black Mountain 


Super sloppy midnight lines of the heart,
oceans, and light just don’t digest too well 

to those in possession
of recently unearthed consciousness.

It’s not every day
                            your idols become ether

screams this withering brain over a bed
of rice pilaf and worry.

Only with cats locked out
can one manage the dream
of alternative realities
distributed as equals. 


Joseph Goosey is the author of the chapbook STUPID ACHE (Greybook Press, 2013) and one full length collection of poems, Parade Of Malfeasance (EMP Books, 2020). He lives in North Carolina.

jd hegarty

The thing about turning thirty during a pandemic

is that all I wanted to do was play spin the bottle
with all of my beautiful friends to celebrate hitting
an age that’s at least two years past when I thought
I’d have already killed myself, but instead I haven’t 
kissed anyone in over a year despite falling in love,
despite myself, because the CDC is kink positive
and we kept the masks on because I know I need
to be better with boundaries but I knew enough to
abide this one in these trying times because the risk
of disease cannot stop my seeking heart, cannot 
make me keep my hands to myself, cannot stop me
from chasing after the things I want, the people I want,
the love that I want, and I am not getting any younger,
or even any wiser, but I will love my people more and
more than I ever thought possible, because I have it
on good authority that we’re gonna fucking make it
through this because not making it through this is
not an option because we need each other now
and forever more than we have ever needed anything
and there is absolutely no going back to the way things
were and there is only a future that is wide open and
far flung and no one can predict what it will look like
but I know I am bringing my whole heart with me.


jd hegarty (she/they) is a poet, an anarchist, and a sunflower living in Minneapolis, Minnesota with two loud grey cats. jd’s work can be found in Name & None, Crab Orchard Review, Mortar Magazine, 45th Parallel, Inscape and elsewhere. Their first chapbook, On Passing, was published by Red Bird Chapbooks in 2017 and their self-published chapbook of sad gay love poems, the clearest blue, is available for free at jdhegarty.com. They can be found on twitter @YourAuntieJD

Michael Montlack

Cultural

Anything worth celebrating
was salted with the dread
it could be snatched away. 
God willing uttered like 
a spell to ward off jinxes.
They saved their stories 
about the old country— 
how their families fled. 
For when you’re older.
Like our college funds.
But openly discussed 
politics and the Holocaust 
at the dinner table. More 
likely to overfeed than hug, 
sarcasm an instrument 
they tuned to serenade 
or discipline us. The dryer 
the humor, the bleaker 
the warning. Well, if 
that’s what you think best—
what do I know?
Usually 
enough to halt us in our tracks. 
They taught kvetching
was healthier than seething.
Hardly drank. But got high 
on coffee and crumb cake. 
And finally learned to stop 
asking if our dates were Jewish
once we learned to ask
if we’d be having Pork cutlets
again for Passover?


Michael Montlack is author of two books of poetry and editor of the Lambda Finalist essay anthology My Diva: 65 Gay Men on the Women Who Inspire Them (University of Wisconsin Press). His work has appeared in North American Review, The Offing, Prairie Schooner, Cincinnati Review, Court Green, and The Gay & Lesbian Review

Stephen Langlois

Outside Agitator

The ontological as outside agitator. 
Mind as bus barreling towards the 
close-knit community of the brain. 
Creator as brick made manifest 
by the shattering of its very own 
corporeality. Allow me to elaborate: 
If the personal is political it stands 
to reason the metaphysical has 
been fully radicalized. Talk of 
extremist tactics abound. Anarchy 
is hinted at. The struggle between 
potentiality and actuality is like that 
of class warfare, the inexplicable 
attempting the shutdown of reality’s  
production. Pantheism is like that 
of opposition to the ruling class, 
the universe itself encompassing 
that which the monotheistic would 
confine to a single-party platform. 
Yes, the rumors are true: The mystic
will abolish society’s very design. 


Stephen Langlois is a writer and photographer living in Southern California. He is the recipient of a NYC Emerging Writers Fellowship from The Center for Fiction as well as a writing residency from the Blue Mountain Center. His work has appeared in Glimmer Train, Joyland, Lit Hub, Hobart, Barrelhouse, Yes Poetry, and Split Lip Magazine, among others. Visit him at www.stephenmlanglois.com.

Ashley Hajimirsadeghi

His mother was strange

in the notorious Chanel No.5 
fame. In spring she sold hard
liquor at noon & cosmetics during 
third shift. Everyone in this little 
town knew of her tall tales; 
they called her Mad Molly while 
waiting by her counter, anticipating 
the telltale sign of her white 
sling back heels announcing their
departure. They say she’s ravenous, 
eats men like cherry pastries. They 
say her rose lipstick was pristine even 
when she pulled back the sheets 
and found her son’s carcass, even 
at Sunday mass. It’s baffling, 
they say, as they hear the click-
click-click come close, almost 
satisfying. She says a mother’s 
grief rings with the clamor of the 
rusting church bells in the square 
but no one listens. She burns 
family Polaroids in between shifts, 
calls it an act of civil liberty, 
applies lipstick in the darkness 
of a child’s bathroom, where 
the lightbulbs act like fireflies—
but only on Tuesdays—and she 
gurgles mouthwash until foam 
is spilling out and over onto cracked
teal tiles. But still she dabs on 
sample size bottles of Dior perfume, 
still has white French tips done every 
Saturday, still drinks to oblivion, alone, 
underneath the triceratops duvet 
faded by years of sun exposure.


Ashley Hajimirsadeghi’s work has appeared in, or is forthcoming, Into the Void Magazine, Rust + Moth, and The Shore, among others. She is a poetry reader at both Mud Season Review and Ex/Post, attended the International Writing Program’s Summer Institute, and was a Brooklyn Poets Fellow. Her website is http://ashleyhajimirsadeghi.squarespace.com/ 

Rhianna Herd

Powell Station: San Francisco

for Allen Ginsberg 


Gnawing, gnashing at the heels of tourists,
we step off the underground into the golden 
light of Westfield mall   stand clear of the doors
the doors behind broken minds and scholarly hearts, 
a distance unable to pass save the 
passage of Time which slips down 
cable car tracks    along a live wire 
gasping and gripping at that electric shock 
(she’s disgusting) praying for something after 
the zap smoke pumping through our veins 
(she’s queer) the smoke of smog and Karl 
the Fog, it’s a gas mask it’s a fire/the vineyards 
burning/a pandemic/a distance of the mouth/choking 
on the oppression of tongues (she’s loveable
to no one) swallowed in gauze chokes 
a Nation Under God indivisible by the number
of brow-skinned people he castrates at the border, 
I hear one say to the other that the wall 
is higher than his ego and what’s dead in the night 
is a living breathing flashback, (she’s quiet) of the 
things that tear our minds apart (talks too much)
out of turn, out of time, out of step, out of practice
out of obscurity, the fog the fog it’s choking me 
The inside of my brain is chafing a raw red 
(she’s anxious) trying to breathe 
through a plastic bag to comprehend 
the dim light reality of a back 
room (she’s cracking) of a Castro bar 
where I see you, the multicoloured deep pink, 
purples, and blues wash you 
in sexual light and I long 
to order a whisky sour and for you 
to lick my thoughts like maraschino cherries 
from my mouth (she’s drowning) 
but I have a train to catch
that will carry me back
into the fog.


Rhianna Herd is a recent graduate of The University of San Francisco, where she wrote her poetry thesis through the theme of isolation. She is an emerging poet who is always looking to better herself and her poetry through exploration of the world. 

Kimberly L. Wright

Scamming the marks

His bedeviled mom and skirt-chasing dad 
let his teeth rot. The Air Force doted on him  
in comparison – pulling his teeth before sending him  
 
out to Greenland to glare east toward the Soviet Union.  
In the cargo hold, some stowaway froze to death. 
Two decades, two wives and three careers later,  
 
he traipsed around the East Coast as carnie-barker  
sucking down whiskey like mother's milk, 
where he met wife No. 3, a scrawny 19-year-old 
 
who traveled up from Hialeah to the carnival in Belle Glade 
and joined the company because her car ran out of gas, 
leaving her livid mother a letter a week later. 
 
When the prodigal she returned with a fiancee 
the mother gave her a black-eye dowry. 
The girl-woman was dazzled into marriage  
 
amid the kaleidoscope of lights, visions of babies 
dancing to tinny organ music played on a loop 
among a lobster man and bearded lady. 
 
Florida smog of cigarette smoke haloed  
his face, cleancut in the time of hippies. 
He sang Irish tenor and sweet-talked 
 
the marks out of their money, 
his stutter not transmitted on the microphone, 
his false teeth hidden until the marriage license.


Kimberly L. Wright’s poetry has appeared in publications such as Poydras Review, Eunoia Review, Blood Lotus Journal, UCity Review, October Hill Magazine and Southern Review Online. Her first collection of poetry, Not pictured, was published by Finishing Line Press in March. She’s worked as a journalist for 20 years and lives in Woodstock, Georgia.

Ed Taylor

THOUGHTS AFTER “THE AWAKENING”


copy of Chopin from a little library]
maybe dogeared from “Morris” 
on the spine—teacher or student
or cat—long slow freedom of heat 
pouring 
& the boulevard's obelisks 
gleam & await massed hands 
to oil them—monumental sex 
in a handbasket the way to hell
according to gray grandmothers 
gliding without feet behind all us 
couples
making sure the only singing is 
cicadas
while the black & whites police
the perimeter trying to keep 
the seeds 
drifting on the damn wind 
out of godknowswhere-
ville, like flies or ideas, 
from getting comfort-
able here


Ed Taylor (he, him, his) is the author of the novel Theo, the poetry collection Idiogest, and the chapbooks Cardinal Directions, The Rubaiyat of Hazmat, and The Plane Comes Down in a Vacant Lot (forthcoming). His poetry and prose have appeared in a variety of U.S. and U.K. periodicals and anthologies, and his most recent dance/spoken word/theater work is “Black Nikes” (Alleyway Theater, fall 2020).  His Instagram is @toothlessmurgatroyd.

Laila Nawsheen

after the CEO's retirement party 

you dropped a blanket on me while I rolled 
across the carpet with your dog. Told me to move the hair strewn 
about my face while I peered up at you, and I did
left the room when my face broke out into a smile 
at something funny you said. A guy 
from work had driven me home, and I was working
myself up to telling you, but then you said
“I don't care how you get home as long as you come home.”


Laila Nawsheen is an award-winning Sydney-based writer with a Bachelor of Arts in Communication (Creative Writing) and a Bachelor of Laws (Hons). Her poetry has been featured in Baby Teeth JournalNWG Inc Pop Up ZineZineWestEureka Street, Not Very Quiet  and will appear in future editions of Quadrant and Going Down Swinging.

Kelsey Zimmerman

RED LETTER U-HAUL DAY

I drove west through Michigan on I-94
past dilapidated hunter’s shacks, backyards
like scrap yards, & one-stoplight towns,
and wondered if I was ruining my life.

I wondered about the tv, swaddled
in a pink blanket the dog and I
shared in another history. I wondered 
about the heft of my books, glassware I hate,
bedding from a monopolistic mega-corporation, white
Corelle bowls, the inadequacies of bubble wrap.

The train is better, how it winds through
backyards and country road crosses 
where a lone pick-up has stopped 
all accusing impatient headlight-eyes.

The highway is a pool for matches and I lap, I lap,
I lap, I lap, I lap. 


Kelsey Zimmerman is a writer from Michigan currently living in Iowa, where she's a first-year graduate student in Iowa State's MFA program in Creative Writing & Environment. 

Oakley Ayden

autistic empath

after Yasmin Khoshnood


your kind just cannot empathize — that’s the
lie. actually — i erupt whole tides of empathy

transparently — and honestly?  how could i 
not? as othered as they’ve made me. i’ve felt

first-hand inflicted pain that’s consumed
full days outright; distress that’s left me 

barnyard sobbing too many times to
cite. no, actually. when others cry the

cries of the tyrannized it saturates my core. 
as a matter of fact i feel it all, for i know it

all too wholly. actually. if anything. those like me are made
of ample empathy; possessed with such affinity that for my

kind
— others’ pain embeds within the mind.

and actually — on more nights than not i can’t evade / un- feel
it. if i am to sleep at all — i must sleep swaddled in their sore.


Oakley Ayden (she/her) is an autistic, queer writer and social justice activist with North Carolina roots. She currently lives and works in California's San Bernardino National Forest with her two daughters. You can find her on Instagram @Oakley.Ayden

Caroline Mao

Poem in the Mount Holyoke Forest

the house is white & quiet
& armed with wasp-flecked rose bushes
with lush sky-devouring trees
with jagged pieces of ghost

pried out on dust-darkened days,
the forest gilded into night,
the aria of crickets,
the nocturne of the creek.

the dirt gets caught in
the creases of your mouth,
finds its way into the spaces
where our fingers enlace

as we gather crabapples
by the side of the road —
like small, sour suns in our hands
measuring just under the weight
of you knocking 
into my shoulder

the gnomes on the lawn,
the symphony of the beehive above our heads,
the swing, its ropes yanking down the tree branch,

& the house, echoing with its ghosts,
sings its garden further toward the road
calls to us

maybe our ghosts will rest there someday,
a two-story house half-drowned in forest,
coughing up rose bushes
& sunlight trying to tame us
& us offering each other our hands
to stumble down the slope,
away from the wasps in the garden,
away from the glare of the windows,
down into each other.


Caroline Mao is a writer and computer science student at Barnard College Columbia. They love bubble tea and good design.

Oliver Ignatius

Autobiography

I was born inside a moving jet plane,
At 1 they took me away once again.
When I was 2 my brother joined my world.
At 3 the snows of Moscow whipped and furled.
4 years old, and music became my call.
At 5 we flew to Belgium, fled the squall.
I turned 6 and didn’t speak the language,
By 7 we rounded up our baggage.
At 8 I sang in Chinese children’s choirs,
At 9 I dreamt of psychedelic spires.
10 when a teacher groped me in Beijing,
11 when I said “Fuck everything.”
I turned 12 and chaos became my job.
By 13 I had joined the Brooklyn mob.
14 and I was beautiful and gay,
15, guitar, and all I did was play.
Then the music biz came pounding on doors,
By 17, I’m wasted on the floor.
18, red-haired, and throwing up on stage,
19, eating acid to turn the page.
At 20 I got off the bus for love.
At 21, put on my boxing gloves.
We were professionals at 22,
And if you missed out, where on earth were you?
When I was 23 the world loved me,
At 24 the cracks came out to see.
25 - what choice but to double down?
Now 26, the cult will raze this town.
The next year was when all the lights blinked out.
Now 28, and all is cast in doubt.
We almost did not survive 29,
And 30 was the year to realign.
At 31 I’m banking years of fun-
Still waiting, waiting, waiting for the sun-


Oliver Ignatius is a bipolar autodidact who grew up overseas as the son of traveling, career-driven journalists. He formally entered the music industry at age 15, although he admits that he found it pretty horrifying there. Still, he lingers - what else is there to do? - and is the co-founder and head producer at Holy Fang Studios, a network of exquisite and affordable recording studios. In 2020, Oliver and his partner Bernadette Higgins founded Chaos, the Magazine for Non-Believers together. 

Selena Cotte

I think we gave up too soon


At Trader Joes last weekend
I was sure to leave the bananas behind
nearly asking but resigned
recalling months of leaking rottage

the weakness of the peel,
pressing into pudding-like flesh
even baked bread unfulfilled

we spent mornings in bed, first meals 
with Wendy and Popeye, slumping through fights 
with newly broke fixtures
         this crumbling old haunt
climbing mountains of anthills
letting God choke on the sink

I walked into that market with the note: 
"basics only,
nothing that will go to waste,"

but on this evening most mellow
sausages sizzling in the pan
we plan for an early day tomorrow, 
a closing hug tonight,

& perhaps, what is missing 
but the tender, embracing flesh
of a simple banana
finally remembered.


Selena Cotte is a poet, journalist & shapeshifter living in Chicago by way of Orlando. Her poems are published or forthcoming in journals such as Peach Mag, HAD, Columbia Poetry Review, Taco Bell Quarterly & others. She can be found online @selenacotte wherever you think that may work.

Christy Prahl

Next Door

The day my dog died
you wore your hair in a bun to a party
and my breath caught at the ways we’d come undone,
once accomplices,
twisting the heads off our dolls
divining monsters.

You, dark hair varnished over your scalp,
sun glinting off a perfect egg,
tiny purse at the end of your fingernails.
Me, the carcass of a cattle dog beside me
after he’d eaten antifreeze that spilled on the floor
of the garage.
Bad dog.

“Are you my friend?” I’d asked
as we played four-square on the driveway 
one boring summer day.
“Duh,” you’d said
and I hoarded the word like money.

There goes my friend to a party, I thought.
Silver barrette, silver sedan.
Tomorrow I’ll ask her to help me bury the dog,
and she’ll say that’s something a hillbilly would do,
so I’ll throw his body in a plastic garbage bag.
The men come to pick up on Thursdays.


Christy Prahl is a philanthropy professional, foraging enthusiast, and occasional insomniac. Past, current, and future publications include The Bangalore Review, Boston Literary Magazine, High Shelf Press, The Blue Mountain Review, eMerge, and others. She splits her time between Chicago and rural Michigan with her husband and plain brown dog.

Annelise Eppen

Thrice Denial

In the age of Numbers your powers came to you in threes:
three times Peter denied Christ
and three meals a day.
 
You didn’t understand them
until you stood in shadow
counting ribs in the mirror, and when
 
everyone said their prayers you
smiled, frost-covered earth
against the sharpness of your spine.
 
She who suffers of the flesh performs miracles.
 
Some of us decide at birth to
sleep on a bed of thorns, at first
thrashing, quickly learning stillness,
 
during waking hours admiring
the depth of our wounds,
how hot blood still dribbles
 
down our foreheads and backs
long after the gashes
should have scabbed over.
 
Back then you picked at your skin
but never subsisted on scabs of the
poor and pus of the diseased, like
St. Catherine of Siena, her
shriveled baby thumb in a
glass case in that
basilica where
we discussed
lunch.
 
Still you felt the Holy Hunger
had always been within you,
yearning to be hollower, and
 
once you began to feed it
chewing gum and celery and lack,
it cooed and purred,
so you nourished it with
more and more nothing.
 
You built it a shrine deep in the woods,
ashamed of your idol worship.

But there was no denying you liked it— 
 
You liked how it growled, how it tied you
tight to your thorn bed and lashed you
to sleep, how in your gut it curled up
against your warmest secrets, crushing
hushed confessions into the
pounding of sneaker on pavement.

At some point the Hunger moved from
your stomach to your bloodstream
 
and you stopped craving chocolate
and started craving the way
footsteps echoed through caverns
carving themselves inside you.
 
Nothing is more sacred than the rituals of the righteous.
 
Every night when your headlights hit the two white crosses
where twin girls died in a drunk driving accident,
you added the calories in oatmeal, half a sandwich, and an apple.
 
Of course Eve had to fuck the human race by eating.
 
God made cities from cinder
and girls from play dough;
 
when no one asked to mold your
abdomen with his clammy hands
you stayed after class,
begging Him to let you
take your own supple meat
between your palms
 
to flatten.

Once you started to accumulate debt
you learned to live with deficit.

You claimed not to be a math person
but spoke to yourself
in Numbers, in
 
laps and hours converted to
fractions, using the same pencil
for geometry homework and
 
neat stacks of caloric karma on printer paper.


You went to bed remembering cake
and the way blonde hair would
blow against a wooden cross
 
and woke up cleansed, calculating a
three-digit day:
smoothie for breakfast,
salad for lunch,
and bits of the barbed crown for dinner.
 

You didn’t understand your control
until you woke with the metallic
taste in your mouth that you called
 
death and held a plank until you
couldn’t remember why people
listened to music.
 
Ass down and abs drawn, you
memorized mantras of Australian
fitness vloggers,
 
then of witches in pots and
the men in charge of feeding
the flames beneath them.
 
The machines in the Pilates studio
looked like the rack; you
imagined at midnight they
 
brought out the rope and turned the crank,
stretching the women until
ligaments snapped, arms and legs
 
torn sloppily from sockets.
 
When they refused to repent
 
their sweat-banded confessor chanted passages
from Make the Connection: Ten Steps
to a Better Body and a Better Life,
 
or whatever your mom half read
then left to fester as she made you
brownies and you
threw yourself to the floor,
foaming at the mouth,
 
waiting for someone to schedule
your exorcism.
 
 
Ecstasy came in the shape of dad’s face
when he saw how much lasagna
you’d scraped into the trash
 
and Meredith walking in on you
undressing, yelling through tears,
I don’t want you to die—
 
(She choked on your purified breath,
you learned when you saw her slipping
potatoes to the dog under the table.)
 

You laughed at them all, swaddled in your
baggy white habit. They craned their necks
and saw your sunken cheeks smirking
 
from a tower on a brink—
glass walls on stacked stones
 
liable to topple
at the brush of a bony elbow.
 
 
When they wheeled you into an
ambulance fallen leaves faded to black,
voices dissolved into Latin hymns,
and you
 
smiled and whispered goodbye.
 
 
A mind in a deficit
must take austerity measures.
The first major cut is the Self,
 
every last drop wrung out by
veiny hands over a fire.
 
As yours burned it barely made a sound,
dainty and disjointed and dead
as the scraps from a paper snowflake.
 
But the space where the Self was remained;
its ghostly outline sometimes glimpsed
 
in the window of someone else’s parked car
or the black surface of the reservoir at dusk,
 
through which you watched it slowly sink
past weeds and mercury-poisoned fish
to settle among bottle caps and mud
and suburban malaise.
 
 
Glass was bent and shattered before
it hit the ground; when you learned
the marble woman holding the mirror
 
wasn’t Vanity but Prudence, you
thought of pulling up your
tank top to see if the handful
of almonds had ruined you,
and of purple where it didn’t belong,
 
and of the concavity of skulls.
 

Cold under the covers you couldn’t want sex.
 
You jumped at the touch of the girl in the
school bathroom as her fingers caressed
the ribbon of your choir dress—
slimming black,
which, said her eyebrows,
made you look like the
line between right and wrong.
 
When she blurted Every time I see your
arms I want to snap them like twigs
, you
almost replied Yeah, and I can’t see concrete
without feeling my brains smashed against it.
 

You were always a gifted liar
but in the pediatrician’s office,
you mastered the art
 
of Yes, I’ve been eating normally,
of Yes, let’s do another blood test for
the thyroid problem we know I don’t have.
 
Did you learn to fear needles or nausea or the milkshake that came after?
 
When you felt your blood pressure drop, you
fell to your knees waiting
for the coma that never came.
 
Still you held your secret close,
that you were receding
like the plant in your apartment
starved of light, its yellow leaves
reaching—
 

You never reached; you auto-cannibalized;
 
when fat reserves are gone
Hunger gnaws at muscle, legs
crumple before they come to
tops of staircases, high school
hallways fill with quicksand.
 
You never felt stronger
than when knees buckled
and no one caught your head
and you floated on cold tile.
 
For Christmas your parents bought
you a glass scale, and when you
stepped on it mom sobbed and dad
 
went to buy a case of the same
stuff they force feed to prisoners
on hunger strike at Gitmo.
 
You made your list for next year:
new running shoes and books
about women who drown. 

 
When you finally became the deficit this is what you saw:
a track, but everything was the smooth white of porcelain plates,
and instead of running you were flying or falling, and instead of
a finish line there was a beautiful saccharine sea.
  
So now, when He says you disgust Him
because your pretty blue eyes are windows
to your vacuousness, you scroll
 
through photos from back then, looking
for the one where you stand in the desert
in green shorts, where the abyss between your
 
thighs reminds you of the distance
you would fall from the Williamsburg Bridge
to the East River if you jumped at sunset,
 
which you won’t, not now anyway.
 
Sweating under sheets
you try to envy the queen in the
castle in some European city where it
snowed and you felt alone,
 
but when you think of her sipping broth
and waiting,
blindfolded, for the executioner’s
axe against her tiny white neck,
you end the dream, bored.
 
You would rather see Joan of Arc
smoldering at the stake,
secret ecstasy still
buried in the folds
of her flesh. 

 
You schedule your own exorcism, then show up late;
the priest has already packed his things and locked the church.
 
You stand pounding at the door, cold penetrating your bones,
exhaling softly, careful not to extinguish Holy Hunger’s last embers.
 
At home, warm in your bed, you drift to sleep
dreaming of breakfast.


Annelise Eppen is a burgeoning poet and a student at New York University majoring in Romance Languages. In addition to writing and translating poetry, she enjoys solving crossword puzzles and over-caffeinating.

Molly Zhu

Grandmother-Magic

My grandmother still warns me against over salting – 
unless I want to live my days as a brown bat. Her stories are grainy, sepia-tinged, 
in her milk tongue: a string of lilting chimes and gingered honey
I hear when I’ve helped to roll out dumpling skins or 
politely greeted her friends, my aunties, in our mama’s dialect.
I get a call from her, every week or so, from the other end of the world
she tells me with a wink, 
yesterday I read that eating dates are good for your woman’s day. The next week, 
it will be almonds, ginseng, plump red goji berries
elevated to her gold standard advice. These days, knowing her is like practicing voodoo 
in the information age – I sometimes forget that magic drips from her veins, 
into the pores of my skin, oily and glistening, floating in the air, 
dusting onto the eyelashes of my brother, my sister, my lover, my neighbors… 
this morning I struggle with a pivot table on my third computer screen but
I remember once, she was bitten by a scorpion and a medical man chanted spells to treat her wound…  
it was all nonsense, she told me chuckling, just what we did in those days.
She feeds me these yarns and so I braid them back into your hairs. 
When the time comes, I reach back to my grandmother, drink 
from her clay teapot filled with the mysticism from a different architect. The taste is 
nimble, fragrant, mellow… like the pear juice she brews on the
stove top when my throat sored. I’ve tried with the same fruit, same water, 
same sugars dozens of times.
It’s never quite the same. 


姥姥魔法 (Grandmother Magic)

Translated by John Zhu

我姥姥总是提醒吃食不能太咸
   除非我想变成一只褐色的夜陌虎
她的故事有些失色, 模糊
   只记得她京腔京韵
      抑扬顿挫, 味如姜蜜。
在我帮她擀饺子皮时
    曾听到
在迎接她朋友时
    曾听到
在姨姥姥们和妈妈的口音里
    曾听到
在每周她打电话问候时
   从大洋的哪一岸,她眨眨眼睛, 
   也听到
上次,红枣会缓解经痛
下次是杏仁, 是人参, 是鲜红的枸杞
   在她金钟的语调里飘出来。
 
她竟有这许多魔法
 
在这信息时代
我有时忘记这魔力从她的静脉
滴注到我的毛孔
润泽,晶莹,在空中飘逸
    沉降到我弟弟,
       我妹妹,
          我的情人,
             我的邻居
   的眼睫。
今天上午
我在三个视频上费力地整理数据
   突然想起她被蝎子咬时
     曾请来的药师的念诵
 
这显得荒诞无羁的秘密,
在她呵呵的轻笑中
变成我们哪些日子里的记忆
象她双手上的毛线
一圈圈的放出
让我编织到你的发际
不时的,我转身
   从她世外而神秘的陶壶里
茗一口茶
   口感清快, 芳香, 醇厚
就像我每次喉痛时
   她在灶上煮着的梨汤
 
我曾十数次
   选过同种的梨
      同源的水
         和同季的蜜
从来未曾有相同的效力


Molly Zhu is a new poet and she lives in Brooklyn, New York. For her day job, she is a corporate attorney and in her free time, she loves thinking about words and reading and eating. She has been published in The Rising Phoenix Review and her work is forthcoming in Uppagus.