Caroline Reddy

The Taboo of the Hand

The camp counselor split
our sex in half
so semen
could be saved:
 
beneath the cloth of God
we sat in chairs
to hear the word.
 
trapped under church bells
good boys & girls nodded
as a video spoke of our temples—
 
desecrated
by our obscene mind
and blasphemous touch.
 
Our wholesome nature
was to be preserved
beyond the flesh:
 
but I hadn’t discovered the juice
of my body yet
 
the trace under my belly
was faint—
 
Now—
drawing circles around my
bushy triangle
 
I disrobe and wrap myself
in rose scent and settle into the tub
 
let water drain–
 
tuck myself under the fiber
and feel pieces of flesh
falling like petals
into my hand
 
My solitude has spoken.


Caroline Reddy’s work has appeared in Active Muse, Calliope, Grey Sparrow, Starline, and Tupelo Quarterly Review among others.  In the fall of 2021, her poem “A Sacred Dance'' was nominated for the Best of The Net prize by Active Muse. A native of Shiraz, Iran, Caroline’s work has also appeared in the anthology Iranian Women Speak to raise awareness for ZanZendegiAzadi/ WomenLifeFreedom (International Human Rights Arts Festival, 2023) Her first manuscript Shake the Atmosphere to Reclaim an Empty Moment is forthcoming with Pierian Springs Press.

Judy McAmis

A Field of Blades

I once stood in a field
I stood in a field once
Once, I stood in a field
I stood once, in a field
In a field I once stood
 
Sky reacher
 
A single blade of grass
Among the heather
Rigid and seeding
Unbecoming against the sun
 
A blade of grass in a field
In a field, a blade of grass
A blade in a field
A field of blades
 
I fell once
In a field
Once in a field I fell
Cleaved 
 
A field above my head
A blade jutting from the heather
A spindly, silent marker 
I lie alone in a field of grass


Judy McAmis is a poet, yoga instructor, sound healer, and wild spirit. She is a native New Englander who loves music, nature, travel, and her animals. Her work is heavily influenced by her life experiences, people she has met, the occult, and the mythological diaspora. She has published poems in Deraciné, ParABnormal Magazine, The Banshee: The Leading Magazine for Women Who Scream, The Banyan Review, and Pensive Literary Journal.

Lauren Scharhag

A Food Court in Hell 

I have a strange condition that sometimes causes me to shift from this mortal plane to the Afterlife. Just one of those things, a quirk of genetics, maybe, like tetrachromacy or that ultrarare blood type without antigens. This wasn’t the first time I’d visited Hell, nor the first time I saw my abuela there. The first time, Hell was her shotgun shack, the way it looked when I was a little girl—the avocado-green shag carpeting that had lost its pile, the furniture scavenged from curbsides and construction sites. My abuela was there, but she looked like a zombie, with gray flesh and dead eyes. The front and back door were open and stray dogs wandered in and out. Shit and piss and flies everywhere. The flies were the worst, their buzz drowning out everything. It must’ve been cold because Abuela was bundled up in blankets. We didn’t get to talk that time.

 

If we had, I might’ve said, Abuelita, when you were dying, I was the first to arrive at the hospital. I sat with you in the ICU, alone, waiting for the rest of the family to arrive. I can’t even remember what you looked like, lying there in the bed. I suppose you’d prefer it that way—you’d prefer that we remember you with your hair done and your lipstick on. All I remember was staring at the wrist where you’d lost your hand. Was it the right or the left? I think it must have been the left, because I remember wondering what had happened to your rings—the wedding ring from your last marriage, which had been over for twenty years, and the gold ring I brought back as a souvenir from Madridejos. When the nurse came in, she offered condolences. I said, “She was a difficult person.” The nurse said, “Yeah. That happens.” The others came. A hospital chaplain administered last rites, even though you weren’t technically baptized. When you finally slipped away, your daughter, my mother, nearly collapsed and I caught her. For days, I felt a twinge in my lower back from catching the weight of my mother’s grief, which was also the weight of your grief, and your mother’s.

 

In my latest Afterlife drift, we met up at a food court in Hell. Abuela didn’t look like a zombie this time, but she wasn’t wearing lipstick either. She was wearing her housecoat and slippers. Mall food courts are always on the top floor, so I wondered if this was the top floor of Hell. I don’t know if the Devil was trying to tell us there’s nowhere to go but down, or if this means she’s managed to move up, leaving Cerberus and Beelzebub behind. But even if this was the outermost circle of Hell, it was still Hell. We were surrounded by demons. Some looked like demons and some looked like people, but I knew they were all demons. Demons buying Auntie Anne’s pretzels and Jamba Juice. We browsed the vendors, Original Pizza, Cinnabon, Panda Express, searching for tacos, a seemingly endless maze of mall lighting, stanchions, nylon ropes, counters, red plastic cafeteria trays, and napkin dispensers. Remember, towards the end, how you liked going to the Furr’s Cafeteria at a dying shopping mall? A depressing place where senior citizens got quivery cubes of Jell-O and salty entrees smothered in gravy. Here in Hell, we found the taco stand and you ordered me lengua tacos. You told me to eat up because I’d need my strength. The food court reminded me, too, of long afternoons in line at the charity hospital where we’d go to get your diabetes medications refilled—bright and crowded, packed with uncomfortable chairs and general misery. We found a table and sat down to eat. I said, “I’ve carried you like a wound for the last fifteen years,” before I bit into my tongue and swallowed.

 

Yes, carried you. The way I carried innumerable moments: Sitting in a Psych 101 class when I was eighteen, realizing that you were a sociopath, that your father should have let you stay in that hospital. I don’t know if they could have helped you back then or not. Maybe the antipsychotics they would have fed you would have done more harm than good. A second cousin died in the state hospital, raving about the Devil, convinced that he had stalked her since childhood. Maybe the Devil was in all of us. I carried your disability checks—you claimed disability, but not for the reasons you actually needed it. I carried the screaming and the cursing. We breathed violence. We consumed it like our meals, chile de arbol salsa sitting in the stone molcajete like a bloody sacrifice. There can be no violence without violence to the self, and you threatened suicide more times than I can count. Then you tried to make yourself sick in the dumbest ways imaginable—skipping your shots, eating an entire jar of jelly to give yourself sugar shock, just so you could tell the hospital workers that your family neglected you. I carried how it was more important to be beautiful than smart, how I should use beauty as a currency, as a profession. You hated that I rebelled against lipstick. That time when I was 15 and you wanted me to kiss the 35-year-old neighbor because he’d done the family a favor. You didn’t see anything wrong with a teenager dating a grown man because that’s what you did. It was the only way you knew how to relate to men. I carried how your own mother betrayed you more than once, starting with how, when you were still a baby, she fobbed you off on your grandmother, who let you drink beer and smoke cigarettes before you were six. How you later fobbed your own daughter off on her grandmother. How every hurt you dealt was a hurt you yourself had once been dealt. What did you ever care about? Did you really care about anything?

 

I ate my Hell tacos and returned to this world, carrying the reminder that I am forever stuck between here and there. They say death is a transformation, but you looked the same to me. They say that to commune with your ancestors is to benefit from their wisdom. What wisdom did you ever impart? You said I’d need my strength. That’s all I’ve ever needed. They say to dream of death symbolizes a part of you that has died. It’s true, part of me died when you did. They say if you don’t use a language, you lose it, and since you died, I don’t have anyone to speak Spanish with. I’ve lost the lengua. If only I could figure out how to travel through time the way I do through dimensions, maybe I could reclaim it. We scattered your ashes in your mother’s backyard. Bisabuela, abuela, mother, daughter. (I’ve heard it said in numerology that four is a number of stability, but there’s never been anything stable about the four of us.) I know your afterbirth was buried on this hill somewhere, so you came full circle. Your old house is still standing, but it’s been renovated. You wouldn’t recognize the inside of it now. Gone is the old heater with isinglass windows, the 27” TV, that I think might have been the largest set you’d ever owned, your record collection, Pedro Infante and José Alfredo Jiménez and all those old ranchera crooners that I listen to now when I’m feeling nostalgic. Nostalgia is the pain from an old wound. You were something to endure. But there would be no here for me without you. The strength I needed was for healing. I will be the first of us to travel whole.


Lauren Scharhag (she/her) is an award-winning author of fiction and poetry, and a senior editor at Gleam. Her latest poetry collection, Moonlight and Monsters, is now available from Gnashing Teeth Publishing. She lives in Kansas City, MO. https://linktr.ee/laurenscharhag

Cynthia Atkins

MY BODY IS AN ECO-SYSTEM

Down to a stick of gum someone
spat out on a sidewalk.   My body is a courtyard
of blooms in Spring.  My body is a vintage gas station,
smelling of diesel oil.  Or a lonely landlady
in a nightgown washed too many times.  My body
is a rainy night in Pittsburgh, a city
of taxicab horns.  My body is an inferno
of other people’s grief. Invaded by a boss
with clammy hands, my body is a plantation.
My limbs are a painter’s studio of colored rags,
a wall of tears in brushstrokes.  My body has been
leased and swindled.  Has waited in offices, feet
cold on stirrups.  My body has been evicted, sprayed,
cropped, graphed, subjugated, interrupted, terrorized.
My body has flown out of conversations on parachutes. 
Has sometimes had to leap from buildings. 
My body has been tendered by soft hands.
My body is a sanctuary. A dictionary, a long hallway. 
I never knew my tireless vessel had this many rooms.


Cynthia Atkins (she/her) is the author of Psyche’s Weathers, In The Event of Full Disclosure (CW Books), and Still-Life With God (Saint Julian Press 2020), and a collaborative chapbook from Harbor Editions, 2022.  Her work has appeared in many journals, including Alaska Quarterly Review, Barzakh, BOMB, Cimarron Review,, Diode, Green Mountains Review, Indianapolis Review, Los Angeles Review, Rust + Moth, North American Review, NYQ, Permafrost, SWWIM, Thrush, Tinderbox, and Verse Daily. Formerly, Atkins worked as the assistant director for the Poetry Society of America.  She earned her MFA from Columbia University and has earned fellowships and prizes from Bread Loaf Writers’ Conference, Virginia Center for the Creative Arts, The Writer’s Voice, and Writers@Work. Atkins lives on the Maury River of Rockbridge County, Virginia, with artist Phillip Welch and their family.  More work and info at: www.cynthiaatkins.com

Jacqui Zeng

Dyke Sonnet

After that dress I wore to shreds in 2017


I was wearing an ankle-length dress
the first time a man leaned out of his white
pickup truck and yelled “DYYYYYKE!”
at my sunburnt face. Each of the five Y’s
bounced off of my head, landed at my feet.
Rubbed against my legs, curled their tails, followed
me like a slink of cats on the sidewalk.
Curious, how quickly I took to them.
That was the moment I stopped trying
to render myself discrete, hollow.
Stopped letting the wind howl through me.
Because the people who fear me the most
can still spot me from a mile up the road.


Jacqui Zeng's poems appear in Black Warrior Review, Up North Lit, and Aquifer, among others. She received her MFA from Southern Illinois University, Carbondale and now lives in Chicago, IL.

Nathan Hassall

The Doorway the Doorway the Endless Shattering Doorway


Nathan Hassall believes in poetry's transformational potential. He weaves dreams, altered states, numinous experiences, and the natural world into his work. Hassall's poems have appeared or are forthcoming in Anti-Heroin Chic, Hare's Paw Literary Journal, Red Noise Collective, La Piccioletta Barca, The Inflectionist Review, and more. He currently serves as the Poet Laureate of Malibu, California. Find out more at www.nathanhassall.com.

Mela Blust

When The Tide Comes to Take Us

I fall asleep and dream of a beach town with docks covered in cheerful flags, bustling tourists, smiling vendors selling fruit and jewelry. In the distance, an ocean roiling with anger bubbles to a frenzy, inching closer and closer, unbeknownst to the happy faces.
 
You see, even in slumber, we know that terror can lurk just moments from bliss.
 
Suddenly, the waves arrive like a monster, tossing people into its belly, never to be seen again, while sparing others who run away into the distance, escaping certain death.
 
I cling to a dock post, yelling to a small boy to hold on with me. He does not know how, or he is too afraid, or there is nothing to cling to, I don't know, it's like he's in a different country, right next to me.
 
The turbulence takes who it takes, but this is not to say that there is no choice.
 
When I look again, the boy is gone.
 
When I awaken, I am angry at my dream-self for clinging to a dock post, while a little boy stands helpless facing a raging sea.
 
The sea of my dreams is not so different from the land of my wakefulness, where it is possible for me to be lying in bed asleep and dreaming, while elsewhere, bombs fall into the homes of the dreaming. Where my own child is tucked safely in her bed, and another child trembles. Where it is possible for you or I to cling desperately to our one bedroom apartment, our rattling sedan, our aging mattress, while right next to us, in another country, someone cannot find a single, solid thing to cling to.
 
You have to know that we are all that dream-self.
We are all that little boy.
We are all the raging sea.
 
I say this to tell you that there is a world in which we can choose to hold our hands out to each other when the tide comes to take us.
Maybe there's already a world in which we do, somewhere in our minds.
 
I say this because you have to know that if one of us is drowning,
we are all drowning.


Mela Blust is an award-nominated poet whose works have appeared in various literary journals and magazines. Her debut poetry collection, Skeleton Parade, was published with Apep Publications, and her most recent full length collection, Men and Their Flowers, has just been released by Blue Horse Press Press, and is available on Amazon now. Mela is a contributing editor for Barren Magazine and can be followed at https://twitter.com/melablust.

Teddi

Untitled

The music skipped 
and it felt like being stabbed
Hudson apologized for the calluses on his hands 
I apologized for not remembering how to pray
the weight of his body and things unsaid crushing my ribs
it was almost biblical
but nothing would come from them 
my ribs 
Hudson tasted of liquor and apples and pillars of salt
He was all marble, heat, Horatian odes, those calloused hands 
 
Sister used to read the obituaries in the morning paper while cutting herself 
she wasn’t good at arithmetic or taking tests or dying
I sat on the roof with my books and thoughts of summer–
biking to the beach with friends and stealing sips of warm beer beneath the hot sun 
I would swim out as far as I could 
so far that I knew I wouldn’t have the strength to return to shore
somehow I always ended up back on the sand
with the crushing feeling that girlhood is not being given the choice to be clean in
the way you’re expected to be
I guess we weren’t all that different 
 
The sofa was beige and I dug my hands into the hole between the stitching 
fingers no longer needed for anamnesis
The emergency radio played jazz 
While the world ended outside
The hurricane took all of our power for the rest of the week, and by Sunday my body wore a
seemingly permanent sheen of sweat
my stomach and inner thighs slick with it 
the wind and rain and constant cover of clouds made the house dark and weepy 
and the dog licked every bowl that collected the dripping water from the cracks in the ceiling 
shooing him away was useless
like trying to pry off rough hands squeezing my hip bones 
while I pretended to sleep on that beige couch that grew mildewed in the damp house–
Just another thing that the storm stole from us
 
I wish I could tell you he changed again 
and that being with him meant I didn’t always have to keep a bottle of rubbing alcohol on hand
See, everything was so sweet for so long
earl grey strawberry cookies I baked on Saturday mornings 
and Hudson telling me he thought he was in love after only two weeks 
giving me drugs and saying he liked that I was a good girl for everyone but him 
It would be nice to say that when my mother taught me to sew, it wasn’t because
mothers always teach their
daughters how to hold everything together
I can still feel the wet, sticky heat of a bloody nose 
I can still taste the words swallowed
conversations left unfinished 
stains we thought we could get out but couldn't
it was all oxycontin and cartoons
I remember when the lampshade caught fire and how we both jumped up to extinguish the
flames 
flesh blistered and burnt 
 
He was so beautiful in the way twilight is 
and often held me gently
but still I woke up in the middle of an autumn evening 
hurricane season was over
there was a crisp chill in the air
the apartment was pristine and orange 
my breath snuck away from me suddenly and all at once 
and I left 
I, a worm
That, my turning
Once I was on the plane heading somewhere I had never been 
I thought of the lightning that struck my little cousin in a southern field at dusk
how the smell of burning hair gets stuck in your nose, but the sounds of a screaming mother
stick with you for longer
how someone so small can be so salient 
And how in that moment I knew I would never pray again


Teddi is a coming-of-age screenwriter and poet who came of age in the Natty Lite of the United States: Florida. The daughter of a Mexican Immigrant & a zany Jewish entrepreneur, her childhood was spent embracing all parts of her culture. Now located in Los Angeles, Teddi is a professional copywriter and has written for reality TV. She is represented by 3 Arts Entertainment.

Isaiah Yonah Back-Gaal

Auguries for my once and future lover

I saw a West Virginia license plate outside the bookstore
where I'd come to find a book to teach me about love.
For a while, I didn't get out of the car. And I saw
a boy I'd only ever seen online effusing, gesticulating
to the air. Some secret conversation was had. His voice so
Wild & Wonderful. I saw the streetwear store
with all the new sneakers and the shirts that said something like Sporty & Rich
which you loved. I saw a great dane zigzagging its great head across the sidewalk,
blocking absolutely everyone. I saw a ribbon caught
in the updraft. Beyond the sidewalk, I saw mountains.
One time, before I knew you existed, I ate grilled cheese at this diner here
with the dark glass windows, which reflected (your eyes, which will see a meadow
on the mountain and know it a strip mine, see lilac growing in the dark crevices
of an armpit, see a voice trying to change) my hunger. It wasn't very good,
my grilled cheese. I sat in the driver's seat with the engine off
until the gray seats warmed and I sat for a while longer after that. I saw
a bicyclist. I saw a walker. I saw a drag queen strutting down the sidewalk
flaunting hearts on her tits and no tights,
swinging a jack-o'-lantern in February. I would have liked to look
like her in broad daylight. A wide mouth painted on plastic. Daylighting
as something that holds sweets. Something irreducible. Two heart-shaped pasties.
I took my foot off the break. I saw a grand opening, opening.


Based in Columbus, Ohio, Isaiah Yonah Back-Gaal is a queer poet, climate justice organizer, and drag performer. They are currently an MFA candidate in creative writing at The Ohio State University and Managing Editor for The Journal. Their work can be found in Seventh Wave, TIMBER, and the Cuyahoga Valley National Park Poetic Inventory and has received support from the Greater Columbus Arts Council. Their poetry has been nominated for Best of the Net. 

Matthew Isaac Sobin

Warriors

The distance between January & June is monumental.
Just ask my father in winter watching Steph Curry
through his worst shooting slump. Sitting up in bed
in my brother’s old bedroom, his voice is still
 
his voice. He doesn’t look great. I offer legit
but defensive explanations: Draymond is out injured
& PT will restore strength to his legs, arms, tongue.
I just want everyone to be healthy at the same time.
 
So they perform their best as a unit. When I return
in June for the final run, there’s new geography
& modes of language. He’s not interested in interesting things.
Even Aaron Judge fails to quicken his blue blood.
 
Bedtime is quarter to nine because the job takes nearly an hour.
Sometimes he ingests bits of the game from his hospital bed
in the dining room. Do you want juice? A forty-five degree
thumbs up & I get the sippy cup. When we lose game three,
 
he asks, did   they      win?        I want to say yes so badly.
To answer his whisper of broken breath with plumes of uplift.
But this June basketball is busted. When they win game four
we rewatch the final minutes reflected in the only body part
 
fully controlled. Unfathomable power in words.
As I go he goes. I want to give joy’s fragment peace.
So badly, I want to give one more piece of good news.
To prove I’m going to be okay. That his belief is correct.
 
Like my belief in Steph was correct. One more good thing.
Like how I’m going to be okay as a writer in a breaking world.
A golden gift to take away. Wasn’t he great, 30?
His eyes turn. Then his thumb. I did not exaggerate.


Matthew Isaac Sobin’s first book was the science fiction novella, The Last Machine in the Solar System. His poems are in or forthcoming from The Lumiere Review, South Florida Poetry Journal, Midway Journal, Orange Blossom Review, Does It Have Pockets, MAYDAY Magazine, and The Hooghly Review. He received an MFA from California College of the Arts. You may find him selling books at Books on B in Hayward, California. @WriterMattIsaac https://linktr.ee/matthewisaacsobin

Alexander Gast

dog eat dog

my uncle loved that dog to death. to death
not in the [worries me] [bored us] [scared me half to]
sense – love killed her. it can do that sometimes
if you’re not careful. my uncle dragged her on hikes,
to work, afternoon jogs. sang her to sleep. and i’m not sure
if it was all the running, or the stress of the nine-to-five, or
two shattered eardrums, but her little body gave up. stone
dead. he buried her in a pasture on the family farm, between
the weeping cherry and the haybales, but you’re
supposed to seal the body in a bag, i guess – for the
dirt and the worms and the smell – but he must’ve
forgotten, because last thanksgiving his new dachshund
went sniffing and dug up a femur. strolled up
to the table and punctuated the prayer with a proud thump
at my uncle’s feet. and his eyes got all wide, and my
little cousin threw up on the turkey. sunk the gravy boat.
and god, i’ve never heard want like that – that gnawing.
each crunch a quest for marrow. tooth on bone. and all the time
i’m trying to make it beautiful. old dog living on
in the new, maybe, sustained on unused cells and patches
of flesh. but i just can’t. maybe some things have to be
ugly. it’s just i’d always hoped life was more than that –
than finding something you love badly enough
 
and starting to chew.


Alexander Gast lives and writes in Chapel Hill, North Carolina. He enjoys loud music, homemade pesto, and clouds that don't look like much of anything.

M.A. Scott

[Shame, little sister]

Shame, little sister, remember hiding our words between the mattress & box spring, thinking no one would look there (& of course they did)? Some parts of us still live scratched on cheap scrap paper, afraid of discovery. How old were you when you first noticed that other families did not keep a bone bowl on the table, did not gnaw every shred of meat clean down to the glistening cartilage? Shame is the voice that asks me why I’m crying, not because it wants to know, but because it wants me to know it’s always watching. The voice that followed me to Mammoth Mart when we picked out my first junior department bikini, then wouldn’t allow me to leave the house in it. Are we all just trying not to admit that every day is terrifying? Mother is eighty-six & won’t say period. Yet still I avoid the body, the liquid shames that pool between thighs, collect in the hollows. At the new moon, our priestess had us write the names of our shame-sources with beet juice on a white plate, &, together, we washed them away. At midnight, I released the rinse water into a storm drain.


M.A. Scott is the author of Hunger, little sister, forthcoming from Kissing Dynamite. Her work has recently appeared in Cease, Cows, The Westchester Review, and DMQ Review. She grew up in Rhode Island, currently lives in the Hudson Valley, and likes to spend time with trees.

Natalie Marino

Surrender

You were born
to open
like a flower,
 
made to grow
in language.
 
Your cupped hands
are full with sea water.
Your skin prunes.
 
Memorizing
the morning fog
 
before wrinkles
are drawn in ink,
 
before forgetting how
to read,
 
you know
your sprouted face
was not cast in stone.
 
You know
you are a fading
moon,
 
that you too will turn
to dust.
 
When the sun scatters,
when the afternoon
darkens
 
you will plant a garden
of green and burgundy.
 
You will let go
of needing to always be here.


Natalie Marino is a mixed-race poet and physician. Her work appears in Gigantic Sequins, Plainsongs, Pleiades, Rust + Moth, Salt Hill, South Florida Poetry Journal, West Trestle Review and elsewhere. She is the author of the micro-chapbook Attachment Theory (Ghost City Press, 2021) and the chapbook Under Memories of Stars (Finishing Line Press, 2023). She lives in California. You can find her online at nataliemarino.com or on Instagram @natalie_marino.

Emma Conlon

Lady Lazarus


Dying
Is an art, like everything else.  
I do it exceptionally well.
— Sylvia Plath

 

I do not rise up from the ash.
rather, I crawl on splintered limbs,
sputtering and coughing and
baptized by soot. untwist my
gnarled spine, spit out my teeth.
 
resurrection is a parlor trick
with which I am well-acquainted.
I am a phoenix in the sense
of self-destruction, but I am not
reborn in illustrious flame.
 
the aftermath is a gift I did not
ask for. and I was only seventeen—
too soon, too soon. too young
to surrender myself to the pyre.
martyrdom doesn’t suit me.
 
I do not worship at the altar
of destruction, but I’ve been
known to strike a match or two.


Emma Conlon (she/her) is an emerging poet and a recent graduate of the University of Virginia. Her work is published or forthcoming in Eunoia Review, Pen & Pendulum, Merak Magazine, Red Noise Collective, Sweet Lit, and elsewhere. Her debut poetry collection, Changing of the Tides & Other Poems, was self-published in 2022. Find more of her work at emmaconlon.com.

Natalie Eleanor Patterson

I Keep Forgetting to Mention I Was in Love 

                        But it was the explanation for everything—
bruised landscape, starving myself out of a touched skin, my loose hair
 
                        a string of wet stars paving the cellar stairs.
I was paid nothing to serve as witness.
 
                        What am I supposed to say—I’m still not over Idaho? 
 
The issue, of course, is that time passes,
                        but it doesn’t pass me. I’ve made it almost to twenty-four
 
without living a single day of twenty-three.
                        Clawmarks in the doorframe are only cute for so long. 
 
I text my friends, Let’s have a crisis together, & they ask
                        if I’m okay, but they no longer ask if I’m eating.
 
Through the phone, Dad said Time heals all— before Mom cut him off.
                        I just don’t know what to tell you anymore, honey.
 
Down South, scrub pine scratches the sky like a rash, 
                        & I’m no closer to healing the burn on my hand.
 
I try to capture in still life the way it feels to wait for you:
 
                        I write, Verses of time lay horizontal in the patio light. 
I write, Evening birds cry out as if in pain.


Natalie Eleanor Patterson is a poet, editor, and instructor from Atlanta, Georgia, with an MFA in poetry from Oregon State University. She is the author of the chapbook Plainhollow and the editor of Dream of the River, and has work featured or forthcoming in Sinister Wisdom, Hunger Mountain, CALYX, and elsewhere. She is currently a PhD student in poetry.

Hope Isabella Ruskaup

A finch unfinished & the inner arm

Most of the poets I know still do poet things,
though I went to Mexico.
Packed densely with Emily while she iced her head—
she pretends myseric is a word to describe her state.
I think she means a hollow and unassuming fear
or that the synchronicity we hold is just astonishing.
We sing the states backwards to ensure we remember
that in youth, once, abundance was easy.
On a bicycle a scabbed knee a mosquito bite
to the forehead. That motherhood, too, is not only possible
but that swimsuit handled poor in that stuffed case.
I simply can’t trust a peony from a rose.
Just the beach and her lasting crush which requests
what and what for and fleets again.
Home; my dog, Louise, is currently obsessed with her
flamingo and later will likely move on, like she does
every morning from our sleep, to a pig or to a rope.
Most know winter ought to have been more tender
then and there’s only whom, who knows, to forgive.
I measure the dust that collects on the edging
especially after a colossal rain, purpled favorite.
We wait and wait for what was reported
to be apple-sized hail. I have to ask
what sort of apple ?
Then there’s the fact that joy
just repents for me still.


Hope Isabella Ruskaup currently lives in Denver, Colorado and works with medical students at Rocky Vista University.  She received her MFA in poetry from the University of Montana. Her work is previously unpublished.

Hayley Phillips

Portrait of the Mother in Three Seasons

I was grown when I lifted my arms above my head.
They came muddy from the river and sore from the
travel. I was born in January, but summer always seems
to happen first. Water recedes and the earth comes
up in chunks. I break and give them roots and
with the roots tie my ribs together too.
 
I saw her once in October and there was only a little
blood when I fell out of myself. Imagine dropping
over the dam like that, open throat of a current clamping
tight on the chest. The thing about moving is that
the river doesn’t freeze, but the copperheads do,
 
(imagine venom tucked deep in an icy mouth)
so sometimes you can wade out in the water. Some
viscid morning you can raise your arms as the cold
sun cracks open and finally, a mother, asking where
the scars came from, asking where are your eyes.


Hayley Phillips, a Virginia native, is now a PhD student at Louisiana State University and she received her MFA from Randolph College in 2021. Her work has been included or is forthcoming in Beltway Poetry Quarterly, Whale Road Review, Appalachian Review and elsewhere. She currently lives in Baton Rouge with her husband and two dogs.

Jasper Glen

Heredity

Two-gene theory: gene A
 
X-linked, autosomal
Handy, X-linked
 
Map, sex distribution,
 
Father to an affected 8
Either parents of male manics.
 
Phasic Angst
The usual female
 
Unipolar recurrent.
Or 8 affected fathers.
 
X atypical crossings.
Children of doubly Angst.
 
In early life
Abraham has entered.
 
Gene B.
 
Sad people usually tend to be more silent
Than their wont.
 
No psychopath bears a Mantel
Philosophy. 
 
Loss of a love-object,
Of little aid.
 
The gulf between ego and super-
Ego bridged.
 
Projects self without reserve or
Inhibition.
 
Psychodynamic study of elation
Introjected:
 
Eroticism, ‘vital depressions’.
 
Abraham also lays
Libido at the oral level.


Jasper Glen is from Vancouver, Canada. He holds a BA in Philosophy and a JD. Poems appear in AGOTT, Amsterdam Quarterly, BlazeVOX, Cathexis Northwest Press, Phantom Kangaroo, Posit, WordCity Literary Journal, and elsewhere.

Max Stone

Would you date yourself?

No love
 
               longer than three weeks.

Wednesday was Saturday &

I’m all mixed up.

This girl asked me a too-personal question in the bathroom last night:

                        How big is your dick?
 
                                   
Scared I answered
                                                truthfully.
 
Eating a pickle to come back to life
Deleting his number.
Deleting the pictures.
 
 
What day was that?
           
 
______
 
The bloodstains on my sheets
& the contents of my bathroom trashcan
tell the story so I don’t have to:
 
Plan B package, used pregnancy test, empty testosterone vial, used syringe,
Scooby Doo Band-Aid, empty tube of concealer, champagne cork.
 
_______
 
Would you ever be my boyfriend?
he asked the first night.
We met under purple and white and blue strobe light
at the last gay bar in town.
Fog of bad decision.
I was everyone’s friend.
And I thought nothing of him—
thought he was straight.
Until he whispered in my ear,
I think you’re so sexy. I want to fuck you.
 
_______
 
The cashier at CVS thinks I’m cis & straight.
Oh, you really don’t want kids right now, he says,
ringing up the Plan B & pregnancy test.
Head up, shoulders back, faking confident,
cough to deepen my voice, Nah, not yet.
He tells me there’s no rush, I’ve got plenty of time.
The woman behind me joins in, pats me on the arm,
Make sure when the time comes it’s with someone you really love.
Walk out into the sun, smile to myself. Success.
 
______
 
He keeps saying he is straight.
But how can that be?
If he likes me.
I like the woman in you,
he says one night,
which makes my skin crawl.
But for some reason
I stay and let him stroke my cheek.
For some reason
I shave my face
because he likes it better that way.
For some reason I let him
come over again.
For some reason I agree
not to tell anyone about
him—about us.
And I let him sleep in my bed again.
And I let him fuck me without
a condom.
Again.
 
______
 
He calls me superstar,
says I’m his prince.
Tells me to keep shining
when I finally break it off.
I am a superstar.
I do shine.
He can’t have me.
 
He calls me a week later,
at 4:53 am. Twice.
I don’t answer.
Calls again on Sunday, 9 pm.
I don’t answer.
 
Firelight on my face, coldness
of stormy beach at my back,
presence of friends. I got love,
plenty of it.
 
______
 
Now, I’m watching the time pass on my toenails.
He wanted to paint them, kept asking—
insisted.
Said he’d never done that before.
Not even for his daughter.
The sky is water.
The last of him
is chipping away
     with the blue nail polish.
 
I am the prince of night, patron saint
          of loveless millennium,
searching for someone like me.
 
 
 
Would you date yourself?
 
I’d be at my window with a boombox and flowers.


Max Stone is a poet from Reno, Nevada. He holds an MFA in poetry and a BA in English with a minor in Book Arts from the University of Nevada, Reno. He is the author of two chapbooks: The Bisexual Lighting Makes Everyone Beautiful (Ghost City Press, 2023) and Temporary Preparations (Bottlecap Press, 2023). He played soccer at Queens College in New York City and is trying to adjust to life as a NARP (Non-Athletic Regular Person).  Basically all you need to know about Max is: baby blue heart emoji, David Rose, baby Snoopy, Phoebe Bridgers, and Heat Waves by Glass Animals.

Rushing Pittman

Sinking slowly, tenuous, down to a safer place…

I’m not perfect. Green is green.
There are entire silences. Country wide.
Here I am. What do you measure?
The man in the audience is weathered and handsome.
In a way that comes from not knowing your personal history.
Firey planet. Practical. Strange city.
Discreet minnows surfing the muddy bottom.
I’m building a new soul.
The world composed of many roses and worn.
Quick, give me your hand.
A wild angel changing the events of my life.
I can’t see you.
There are rocks who are born into being rocks.
Microcosm.
I stood with my heart tearing out all the pictures.
Being beneath the planet is enough.
Or beneath the shower head.
Like ecstasy without God.
A lot of possibilities and finally away forever.
The yellowing tips of my jade plant.
I tempt a shadow with a stick.
Held within myself is nothing but my birth.
Or I miss you and how you taught me a mile.
And how a mile can hold nothing if that’s what you allow.
Or how holding can lead to a lie.
How a lie can hold to wood and how wood burns.
Jeweled, climbing into my heart.
Sweet smelling fragrance. A loaf of bread.
Tending my garden with a noose.
My wheelbarrow is very small.
I can’t sit in it.
Old pond in the woods.
I’m a man who loves in three ways.
Kindness a mouth of locusts and honey.
Scared in my robe at your back door.


Rushing Pittman (he/him) is a transman from Alabama. His writing has appeared in Sundog Lit, jubilat, The Boiler, BOOTH, Hayden’s Ferry Review and other various journals. Work is forthcoming in The Heavy Feather Review and Annulet. He is the author of the chapbooks Mad Dances for Mad Kings (Factory Hollow Press, 2015) and There Is One Crow That Will Not Stop Cawing (Another New Calligraphy, 2016). He earned his MFA in poetry from the University of Massachusetts Amherst. He is an editor for Biscuit Hill, an online poetry journal. More of his writing can be found at www.rushpittman.com.