Busamoya Phodiso Modirwa

FILLING AN APPLICATION FORM FOR MY NATIONAL ID

i) NAME: Mother, is this the part where I tell our story packed tight into the one word your tired eyes told the nurse will be my name? 

ii) SURNAME: This is the space my father could have sat in. Could have dug himself a sure foundation to ground me but he was away when they named me. This man is always away, anyway, my mother gave me her grandmother's, said that will do between now and the time a man tethers me to himself like a branch. ‘Till I want kids with him to add to this shrubbery of a family tree. 

iii) GENDER: Female, but this one time a family member said I should have been a boy because, ‘What's with the funny music and pants, hairstyle and legs as far apart from each other as men's ways from God’s.’ I didn't think it made any difference when all I ever saw was women being asked to sit down while men stand, run, dance, do whatever it is they want with their legs. Should I sit down though? Will that tell you?

iv) NATIONALITY: I don't know, you mean within which boarders do I belong? As in like where I will always be from even if I leave for years and years? I belong to a country whose descendants came here running from battles, Nfexane.... . Sometimes something blasts loud and bright and even in the face of danger, we wear our curiosity like running shoes to go see what would be so brave to try to end us, what in the hell would want to kill us. I belong within this fearless borders.

v) DATE OF BIRTH: There are twenty reasons inside the five that made nineteen ninety-two a song. The five, poetry, solitude, questions, questions, questions. It was in the dusk of autumn. 

vi) PLACE OF BIRTH: The story goes my mother was so deep into the desert when her water broke it was the only thing that saved her- her water. I came tumbling down from between her legs and fell in between her relief and joy. I think I was born in her survival. 

I swear that the information I have provided is true to the best of my knowledge.

Please sign on the dotted line 

This space is small and I was asked questions that dug too shallow. So let me say, My name is of one who carries healing in the shape of other people's ache and not mine. I was born and raised fast running away from a war inside myself to my mother's people. Sometimes when I'm sleeping I can feel the violent gallop of a small animal running fast and fast past me. I am the small animal. I am a girl who grew up wanting to be a boy if that's what it took to do what I want. Play all day and come back to cooked meals and praise about body odor because that would mean I am becoming a man. I would have become a man but I'm still a girl. Also, I'm still learning the curve of letters inside my name to make it a signature. 


Busamoya Phodiso Modirwa is a Motswana writer and poet with works published on Jalada Africa, Praxis Online Magazine, Ake Review, Kalahari Review and elsewhere. She writes poetry and creative non-fiction between her day job and evening accounting studies.

Courtney LeBlanc

Antilamentation

after Dorianne Laux

Regret nothing, not the night you stayed 
awake till 3am reading even though your
alarm was set for 5am because you had 
to know whodunit. Those dark circles 
can hide behind concealer and an extra 
cup of coffee – the plot twist at the end 
was worth it. Not the extra glasses of wine 
or the salty cheese that melted on your tongue, 
the conversation with friends that carried you 
through four bottles and probably 1,000 calories. 
Don’t regret the movie you watched on the 14-hour 
flight, the one that made you ugly cry and caused
your seatmate to hand you a tissue and pat 
your arm, as if he too understood the heartbreak 
Bradley Cooper can induce. Don’t regret the time
spent traveling his body with your hands, the 
salt water smell that always takes you back
to the island of his love. Don’t dwell 
on the tattoo you got on your 18th birthday, 
even if they didn’t call them tramp
stamps yet. Don’t worry, just sit with 
your journal and a pen and the early 
morning sky and write and write and write.


Courtney LeBlanc is the author of Beautiful & Full of Monsters (Vegetarian Alcoholic Press), chapbooks All in the Family (Bottlecap Press) and The Violence Within (Flutter Press). She has her MBA from University of Baltimore and her MFA from Queens University of Charlotte. She loves nail polish, tattoos, and a soy latte each morning. Read her publications on her blog: www.wordperv.com. Follow her on twitter: @wordperv, and IG: @wordperv79

Tristan Cody

Netflix is My Safe Word

see, it means we can sit on the sofa
with pillows between us. it means i
am within reach. it means that the 
mood can be right, we can move in 
and consent when possibility meets 
affirmation. it means i need to view
you like i view myself; full outer drip
with a mental physique nowhere 
near as thicc as your physicality. 
this isn't a way to make you simp for me. 
it simply means i want to court 
your soul to Love and Basketball. 
it means i want to know you by 
the number of episodes completed
in the silence of animated introspection. 
it means that somehow i will find
ways to quote other people and 
make it sound like me. 

"This is where I fell in love with you.
                         - Michael Scott"
                                            - me.


Tristan Cody is the Creative Director of POCKETFIRE and Poetry Editor for the winnow magazine. Poetry published in HARK!, Mad Swirl, Emerge Literary Journal and more.

Alan Parry

Liverpool Street

schools of pedestrians
upstream contra to course 

buskers tune their instruments by
ear while impassioned activists in matching t-shirts jounce
collection tins in 
narrow doorways of cosmopolitan 
restaurants 

caravans of students 
loiter in fragments of shadow 
cast by the bombed-out church
while locals read poetry, weep
for children & sing songs 
that changed the world


Alan Parry is a poet, playwright and poetry editor from Merseyside, England. He is an English Literature graduate and English teacher. Alan enjoys gritty realism, open ends, miniature schnauzers and 60s girl groups. He has previously had work published by Dream NoirPorridge Magazine, Black Bough Poems and others. He cites Alan Bennett, Stan Barstow and James Joyce as inspiration. His debut poetry collection, Neon Ghosts is available from thebrokenspine.co.uk/store

Howie Good

Oh, Mercy

I board the subway at 72nd Street carrying a metal briefcase like the one that contains secret nuclear launch codes. A busker playing guitar at the far end of the car is trying to make up in enthusiasm what he lacks in formal training. He apparently adheres to Lou Reed’s dictum: anything with more than three chords is jazz. The passengers ignore his musical pleas for attention. They nap. They text. They shed virus. When the train emerges for a moment above ground, the sky looks as if it’s been digitally erased. There are colors in nature that birds can see, but humans can’t.


Howie Good is the author of THE DEATH ROW SHUFFLE, a poetry collection forthcoming from Finishing Line Press.

Amy Lerman

Reincarnation

I.

“Moonglow” resolves into tonic
way up in the blue.

II.

What if a girl, unable to sleep, leaves
her bed for the blinded window,
then spreads her fingers between 
two slats, so metallic slivers angle 
the waxen floor? What if her eye
follows that light stories above
to the moon’s dimpled smile, 
its long, curled eyelashes waving
her hello? And, what if moments 
later, the girl sees flashes, one, maybe
two at first, dangling below the moon, 
orbiting down until their fluorescence
deblackens the field outside? Then, 
she smiles back at the moon, blinks
her sleepy eyes twice, and in return,
the moon births again, this time hundreds,
a torrent of mini-moons streaking the sky,
funneling to the ground in seamless,
silent divots, descendant white orchids 
once flowering the land. As she watches,
the girl’s dark ringlets transluce
into her pale nightgown, all glowing 
in lunar light and matching her to the field 
she could run through unhidden—
valanced by her siblings’ glow, 
their likeness, their invitation 
to flower.

III.

Go ahead, move closer,
smell the solar center
that could be you standing 
tall in this line of soldiers
all wrapped by a mother’s hand, 
a mother who twisted 
and twirled mesh-like ribbons
in her daughter’s hair.
Don’t mind the Segueways 
or wind-splashed fountains
watering the petals, the cat 
on the leash won’t hiss—

this is for you, the sun warming
your shoulders, then rippling
ultraviolet off the flowers’
edge; PJ Harvey singing from 
a sixth floor window—
Little fish, big fish, swimming in the water; 
California poppies blooming
months too early. Give way, look
both directions, converge
across the canal where visitors spin
in sculpture. You can be that girl
again, loose and diaphanous
as you walk among these
mini-moons, be like the moon,
dendritic, remarkable, adhering
to visitors, a powdery surface 
crevicing the soles of astronauts’ 
boots, long after
their return home.


Amy Lerman is residential English Faculty at Mesa Community College, and when she’s not teaching or grading, she writes about space a lot. Her poems have appeared and/or are forthcoming in Clementine Unbound, Slippery Elm, Ember Chasm, Rattle, Smartish Pace, Common Ground Review, Prime Number, and Solstice.

Maria Bobbitt-Chertock

FOR(A)GING

We woke to the sound of wilderness rushing into a vacuum. Its steam held us in good faith, as for a moment we forgot to corset ourselves. Vines too relaxed their green fists. We helmed a creative period with our encounters. And foraged it.

There, in a valley beneath the town where some held keys and others did not, pearled an anchor. There, clouds and reams of blue heather. A shameless waltz. Graffitied ruins. The couple unpacking history to relieve their dewy web. Mourning doves. Dairy cattle that could not strike for themselves. Hidden radio waves that listed love up and down. And again you paraphrased the Gramsci quote. I collected each ounce of your words so mine would seem less precious.

All held, there. Our thoughts looked like amoebas and sounded like rain. Calling far and warped, the unaccounted for sung maps for accountants’ retirement. A bridge we could not compete to cross. I returned to you that evening horribly dressed. The river gutted me. I was grateful to be surrounded by more interesting debris than myself. Leaves and dynamite. The horror of architecture, reflected. Description and critique chased each other melodically, and their tail formed a long, exhausting day. But even in irony, we communed with meaning. We had to. It survived our passivity. 


Maria Bobbitt-Chertock is a writer whose work can be found in SUSAN and other corners of the Internet. They went to college in Vermont, where they graduated with a degree in Feminist Studies, and grew up in Ohio, which haunts them. Sometimes they tweet @lachrymalevents.

Anthony Aguero

A White Cis Gay Man Writes a Thing About Not Being Beautiful Enough

And I hate being placed back into the bar
In a sea of a hundred-cis, white, gay men
Filing my nails because I know how this goes:
Check my pulse (rapid heartbeat), dab my
Forehead ethnically prone to surface oil,
And double-check I am wearing the correct
Hued button-down that forces my skin, which
Is a few degrees over-colored, to really pop 
For affect or love, because the only cis, white,
Gay man is going to ask my ethnicity and say
Yum or That’s hot or Do you have an accent?
In which I’ll respond no and I’ll burst into flames
Because I’ll have realized I have put myself 
Into a room where a hundred of these guys
Say they are not beautiful enough while I have
To continue dabbing my forehead with a napkin
Retrieved from the bar to maintain a sense of self.


Anthony Aguero is a queer writer in Los Angeles, CA. His work has appeared, or will appear, in The Bangalore Review, 2River View, The Acentos Review, The Temz Review, Rhino Poetry, Cathexis Northwest Press, 14 Poems, and more.

Abigail Swoboda

RECIPE FOR THE UPSWING

Cayenne pepper, paprika, and dried oregano live
in the alcove above the drone of the dishwasher;
sometimes, I hide there, too, mouth open
wide like the vault of the sky-blue sky,
precious in the way that blue things always are.

Corncobs, Glass Gems, a daughter—a daughter pretends 
to sleep as time creates itself quietly around her.
We have been held in the same hospitals, she and I,
by the cold-handedness of extended hunger—
scalded and plucked clean to the endless changeful music
of the singing kettle.

Down there—down at the roots—
devouring light blooms like perspiration
between two clasped hands. 
Down there, soft grass glows under 
bare feet over electric earth.


Abigail Swoboda always keeps a piece of black obsidian on their person, just in case. They also write poetry and live in Philadelphia, PA. You can find them on their website abigailswoboda.com or on Twitter @orbigail or Instagram @honeymoonbeam.

Jiaqi Kang

Love sonnet from the perspective of Rod, a jock mouse who lived on my Animal Crossing island for 3 months

My house is blue, inside and out, and I
a purple mouse. The sea and sky are blue
and fish, some bugs, my neighbor Stu: it’s true!!
I’ll miss these colors when I say goodbye
but most of all, my friends, this life, the light
on petals after rain, the music box
that sits outside the shops, the ticks of clocks,
and moths that wander with the ghosts at night.
I’m scared I’ll never feel this way again
without the days that know me well, that trust
in me, a little mouse, to try my best,
to take my pills, to swing my net, and when
I miss the bug I want to catch, adjust:
I gently water plants. I know I’m blessed.


Jiaqi Kang (亢嘉琪) is a Sino-Swiss editor, writer, and art historian. She is the founding Editor-in-Chief of Sine Theta Magazine, an international, print-based creative arts publication made by and for the Sino diaspora. Find her online at jiaqikang.carrd.co.

Stephen Scott Whitaker

Flagpoor

The sound of a flag in wind is come here, come here, come here. The sight of Old Glory waving at the border. That’s how you know you’ve made it. The cages filled with miracles. Come here, come here, come here. Raise a flag. Hangdog it across a pickup’s crewcut. Does anyone believe that the moon belongs to anyone but the moon? Ask America what it owns and the answer is always all of it, all of what you see. Confederates number in the hundreds and convene at convenience stores to complain.  That’s how you know you’ve made it.  The sound of a flag in wind is mine, mine, mine.  A flag, whipping its staff in the wind.  Hand over heart. Sunrise, sunset. All that going up the pole gets the blood pumping, no?  Ask America what it owns and the answer is always all of it, all of what you see. Superman is an alien, a refugee. At night, when he prays to whatever gods pray to, he is grateful for being bulletproof. The sound of a flag in wind is rifle. Fluid dynamics popping. In the driveway, a police sticker cockeyed on the window of the sedan, a football flag flying on the van. The flag snapping into the wind, mine, mine, mine.


Stephen Scott Whitaker (@SScottWhitaker) is a member of the National Book Critics Circle and the managing editor for The Broadkill Review. Whitaker is a teaching artist with the Virginia Commission for the Arts, an educator, and a grant writer. His poems have appeared in Fourteen Hills, Oxford Poetry, The Scores, Crab Creek Review, & Third Wednesday, among other journals. He is the author of four chapbooks of poetry and a broadside from Broadsided Press. Mulch, his novel of weird fiction is forthcoming from Montag Press in 2020. 

Sin Ribbon

Outsider

She fumbles to glue her bones back together,
   aches from sex with the barstool the night before

and confesses a lifetime of diaries while hugging my arm.
   There, she traces the lines between my knuckles,

asks how many valleys it took to stand upright, to
   become invisible to the hands that grab you in the

dark. I know; the youth lost through teeth, the carnal
   discord fading the eyes that hunt you, and regret

like a cord reminding you not to stray too far from home.
   Her fear hangs in the air like a prayer, the struggle

to reform her shape into something lithe, something destined
   and paraded. She vomits cartwheels and shakes from the memories

salted on her shoulders. Her giant, rain pool eyes tug at me
   for advice, but I am a monument of patchwork things,

untattooed by their names and honest only in what I've chosen
   to remember. After years of careful carving, all

I can give her is the mantra I have carried: that
   no one has been strong enough to hurt me.


Sin Ribbon is a storyteller weaving tales of encouragement and consequence through prose, paintings, and poetry. She is the author of the urban fantasy series, Ten of Destiny, and creator of the award-winning podcast, In Her Burning: A Surreal Diary. Her work has found homes with Ruminate, Barrelhouse, TERSE., Moonchild, Luna Luna, and other magazines. Her debut poetry collection, Dead Star Rituals, releases winter 2021. Find her on Instagram and Twitter via @sinribbon or at https://sinribbon.com

Ellen Higgins

So far now

The sun going down beneath a shelf of cloud, highlighting redbrick
and copper roof of Bird Avenue Church on its way out. 
It has been hot and the people wear t-shirts 
returning home. In this cooling sleep-washed suburb
they close their windows and houses exhale barbeque smoke and fabric softener. 

Almost beautiful evenings, here and often  
cultivate within me a most quiet anger
that I cannot decide tomorrow
and have all the time in the world.


Ellen Higgins studies European Studies at Trinity College Dublin and writes when she needs to. Her work has previously appeared in Kissing Dynamite Poetry JournalCrossways Literary Magazine and The Piranha: Trinity's satirical newspaper. 

Jon Riccio

The Fairground of Sutured Parents

The carousel replaces its horses 
with recordings of Ezra Pound. 

Think of his asylum years, visitors 
ladling the modernism fondue.

Revelation a dunk tank and 
cotton-candy cystectomy.

The munchie mart’s fliers plaster 
parking rows C-Q. Fathers deserve 

better than windshield marquees. 
A bladder jams the spokes. 

I’d core my retinas with Wurlitzers 
to ward off his stoma.


Jon Riccio received his PhD from the University of Southern Mississippi's Center for Writers.His first collection, Agoreography, is forthcoming from 3: A Taos Press. He serves as a contributing interviewer for the University of Arizona Poetry Center's 1508 blog. 

Corey Hill

Magic Tricks


This is the hotel where the secret police pulled on tongues with pliers. They don’t do
that anymore in this location. 

Marvel at this carving you can visit and grok some facts re: genocide, a somber edifice 
to be sure. You will probably not be thrown out of this helicopter. 

But if you were, thirty years from now someone will be able to buy a hot dog here.


Corey Hill is a human rights activist, journalist, parent, and occasional tree climber. On the masthead at Taco Bell Quarterly. Journalism in The Independent, Yes!, Alternet, others. Fiction and poetry in Elm Leaves Journal, Antithesis, Prole, Sierra Nevada Review, more. Second place in the St. John's County Creative Writing Contest, Grade 5. Still smarting from that one. 

Kaylor Jones

Stone Fruit Suite

After Wallace Stevens


1
A continual veneer glazes the wind-
shorn palm fronds of the tropics. 
The sun is plump and cloying like 
a tender mango, suspended in 
the sky by an immaterial filament.

2
When the earthquake hit, a million 
houses shrugged and settled into 
a novel milieu. Many were full of 
taxpayers. Most kept mangos in 
their homespun pantries. 

3
For many years, girls have perched 
upon tall rocks, boys in the dusty 
beds of pickup trucks. They let 
the mango juice soak into their collars, 
shrugging linen smocks into the laundry 
for their mothers to stoop over.

4
On a first date, cacao nibs and 
roasted nuts are densely packed 
like caviar. He unfastens the picnic 
basket against a timber tree only 
to find it inexplicably brimming with 
mangos.

5
In another universe, mangos are 
corporeal. They take odd jobs: an 
accountant with papier mache ties, 
a fisherman in roller skates,  
a cashier at a store that only sells 
gardening supplies.

6
In another universe, a mango is a 
poet. She writes about the fear of 
precipitating life, of an overripe sun 
whittling promises out of her back 
as she sponges at a hamper full 
of laundry.


Kaylor Jones studies professional writing and psychology in Phoenix, Arizona, where she serves as the editor-in-chief of her university's literary review. Her work has previously appeared in Nightingale & Sparrow.

Matthew Freeman

Short Museum Satori

One of the reasons I dig Starla
is that before we went
into the museum she let me
have a cigarette. I was
so excited! The assignment was
to figure out why a guy like Rembrandt
was so great while everyone else sucked.
And I’d just read some diatribe
about a poetry movement that’s been dead
for seventy years and now
ensconced in academe, so I was ready.

It occurred to me that the first time you
deface a crucifix or put up a big red painting
with nothing but red in it, it’s like, okay,
I get it, that’s witty. But the second time?
Or the third? Pretty soon it starts to
look as if you’re masking the
fact that you ain’t got no talent. After
everything’s opened up the philistines get in.
And looking at the master I felt the real
rebellion in poetry ought to be to write
with meaning and time as a construct and unrequited
love and the fear of a world gone to shit
and autumn leaves and kids crashing
against each other and use language in the right
way. If you can’t see power you’re going blind.


Matthew Freeman's new book of poems, Ideas of Reference at Jesuit Hall, was recently published by Coffeetown Press. He holds an MFA from the University of Missouri-St Louis and has conducted workshops all around the city. 

Robert L. Penick

Funny

I’ve told you this joke before.
The one where the man gets up
every day of his life, puts on
his terrible clothes, goes in
to a job that makes a 
subtraction from his soul
every day without fail.  

He lives in a rented room.
No fridge, no stove, no
visitors after 10 p.m.
so no chance for a love
to cleave his solitude,
to solve his ruined heart
or forgive his longing.

He has written a fine poem.  
It’s hidden throughout a notebook
he keeps by his rented bed with
the pistol and the alarm clock.
It would provide a cure
if only he could fix
the order of all those words.


The poetry of prose of Robert L. Penick have appeared in over 100 different literary journals, including The Hudson Review, North American Review, and Slipstream.  More of his work can be found at theartofmercy.net.

Katie Hamblen

Hannah—

Standing alone in a living room
far from home, I learned
you’d given up your life
and almost shattered on the spot.
I was in Oregon, in the valley,
a place so socked in by fog
it could’ve been Sleepy Hollow—
I wanted to mainline Vitamin D.
Already, I was thinking I might die;
couldn’t sleep, couldn’t find 
any kind of relief. A visit to an old
friend proved ill-planned. 
The daytime dark there was opposite 
of what I needed: sunshine,
warmth, and healing waters. 
Instead, we drank too much, 
in the cloud-dense days,
into the frigid nights. Hannah. 
You died in a hot city. It was January. 
That evening, I read, you texted
a friend for comfort. Hey pal.
Next morning he found you, flesh cold.
I was freezing in Corvallis, OR. 
Trying to get myself out of the hole 
of depression, the same one you were in;
we both found the rope, we were both
falling, but somehow I was caught
and raised to safety while you stayed
down, twisting slow and heavy.
I think I caught myself. I didn’t want to die.
Did you? Hannah?


Katie Hamblen is a poet, M.F.A. candidate, and writing instructor at Western Kentucky University. She has been published in Shift and Good Little Girls, and is a peer reviewer for Whale Road Review. She lives with her family in Nashville, and reads whenever she gets a break from her three-year-old twins.

Ky Lohrenz

Gruene Hall, Mid-August

In the Hill Country we pass as sisters
two stepping in the dance hall on Americana night. 

High pitched tin roof high pitched leather boots. 
Bolo ties hold too tightly on each other’s waists,

gliding on the bright blue neon of a Bud Light sign. 
I don’t drink and drive, but my mind swerves.

These kids they flock to dancehalls to Friday lit stadiums 
sweating singing fingering each other in Hanes white T’s. 

Mothers with bedazzled teeth call us kissing dykes with their eyes
with their crows feet with their Lone Star drawls. 

Call it southern inhospitality call it spit on my clit 
in the swinging door bathroom.

Down South I grew up on shredded brisket,
pulled pork stuck in front teeth gaps for days.

I grew up part of this buffet: slaughtered, slathered,
ripped in half. A gay baby back rib.

It hurts so good knowing we can’t touch here,
unhinged, unraveled in the corner by the jukebox.

Honey, you like when I smell of the Gulf. 
Body swampland, stagnant water, dead mosquitos.


Ky Lohrenz is a queer poet who has recently moved back in with her parents in Houston. As a recent graduate of Kenyon College, she works as an Associate Poetry Editor at Sunset Press. Check out her poetry in streetcake magazine.