Amanda Adrienne Smith

BE CAREFUL NOT TO LOSE YOURSELF

I couldn’t talk about marriage.
The ways to shape snow into 
men that melt every spring. 
 
The careful packing of 
wet particles—
making it hard,
making it ice,
making it melt.
 
This snow.
Man.
 
Like Alaska cold, these men
cage a summer sun,
 
a woman that never sets.
 
These men and their words
that mean nothing.
 
I do.
I do!
 
(Wake up, I say.
 
My wedding dress is soaking wet 
from the pond
 
I fell in.)
I fell in love.
Mr. pull me out.
 
You are all the water 
I’ve become.


Amanda Adrienne Smith is a one-time indie horror actress and currently works in aerospace. Her poetry can be found in Right Hand Pointing, The Rising Phoenix Review, Ghost City Review, and MEMEZINE to name a few. You can find her on social media @amandaadrienne.

Irving Benitez

Do you remember the Monarchs?

Our friends say it’s always darkest before the sun rises, we’re pretty sure they’re all wrong.”                                                                                                                              — The Mountain Goats

                        I lay on my bed listening to
The Mountain Goats sing No Children. Except Darnell never
opens his mouth, no,
                        it’s the crowd alone that sings this one.
As they sing, the sea of people, a Greek chorus, I think of her,
            the Monarch.
 
I caught her when I was barely four or five,
I was small, and her smaller. I somehow managed to catch her;
somehow managed to box in a miracle, somehow smuggled hope
                        into the house with my bare hands.
            I opened the container she was held in for just
            a few seconds.
 
I had pet her wings so softly, gently
            So that only the barest hint of her scales shed
            onto my fingertips.
She flew out of the box and towards the ceiling then.
            She sat just long enough for me to gaze 
                                                                                    in awe.
                        In just seconds we opened all the doors in the house,
            and kept the cat away from her as she made
                        her break for the border of the house and
            towards the southern US border to roost among
her own. 
 
All these years later just for me to find out we 
have wiped out ninety percent of them, the Monarchs.
 
                                                            And as I hear the crowd sing 
                                                                        “You are coming down with me
                                                                                                hand in unlovable hand--

                        I can’t help but wonder if she knew that day,
                                    with those compound eyes staring at me,
                                                that she cursed me to know that
sometimes miracles are not always profound, not always immortal. Sometimes, they’re 
fragile 
Sometimes when they disappear, 
you disappear with them.


Irving Benitez (he/him) is a trans, queer, multi-disabled poet, writer, performer, and podcaster from North East Ohio. He has been published in VoidspaceZine, The Bitchin' Kitsch, and Ghost City Review. He hopes you enjoy his work. You can find Irving everywhere online under either @Jellyfishlines or @Sea_Minor_ on Twitter and at Bluesky @jellyfishlines.bsky.social and @seaminor.bsky.social.

Michael Chang

Who’s Laughing Now

he fell in love w/ her family’s chain of supermarkets

she fell in love w/ his string of car dealerships

how he painted w/ his penis

many faces of loneliness

like a long game of telephone

one man’s poison being another man’s dopamine

he reached for his wallet

ostensibly to play sad & sensitive male

but pulled out a pair of chopsticks

as judge judy let puppy

find real owner in courtroom

raw, the best kind of vulnerability

mind like a steel trap

kimono rippling in the wind

u deliver ur hart to someone else

ur poems abt cancer

really bumming me out

i fully intend to live forever

neon signs flashing

< R U IN TROUBLE >

then

< BETTER YET SEND A TEXT !!! >


Michael Chang (they/them) is the author of TOY SOLDIERS (Action, Spectacle, 2024) and THINGS A BRIGHT BOY CAN DO (Coach House Books, 2025). They edit poetry at Fence.

Clare Flanagan

Night Sky #6 

after Vija Celmins

If it were good to be easily deceived, the way 
it is good to cry at sad movies, or to know,
 
intuitively, the right way to hold
an infant, maybe more people
 
would like me. If you told me that painting
was a photograph, I would believe you. If
 
you said it was an accident, a freak spray
of paint, I would believe that, too––
 
most artists are trying to trick you, but I’m 
not. I’m just watching the streetlamps 
 
blink on, feeling like I’ve witnessed 
a secret proceeding, some phenomenon
 
I wasn’t supposed to see. Like when his legs
were too broken to stand, so he’d piss
 
in a plastic container, or the childlike way
his mouth would tremble, when he said
 
a life without me was no life
he felt he could live––never mind
 
that when he jumped, he knew
that I loved him. Never mind 
 
he’d grown strong enough 
to pin me to the bed. Each threat
 
became gospel, each scar 
hard currency, each star an eye
 
staring through me. I can behave, 
with increasing consistency, as if 
 
none of it ever happened––
did he say no one would love me
 
as he did, or that no one 
would ever love me? There is 
 
a blankness and resistance filling in 
what must be the world’s emptiest 
 
ballfield. There are dog
or maybe coyote tracks
 
in the red silt. If I came here
with a son, if the son
 
were mine, there is no world
in which I wouldn’t be afraid of him. 


Clare Flanagan is a Brooklyn-based poet and editor. Raised in Minnesota, she is a recent Wiley Birkhofer fellow at NYU, where she is currently working to complete her MFA thesis. Her poems are published or forthcoming in Poetry NorthwestPoetry Online, Grist, and OSU's The Journal, among others. 

Noah Powers

Reading TC Tolbert’s “My Melissa,” & Fantasizing About Self-Mutilation

Once, I was confident in being a man. 
I wanted kids, God, a blonde woman with a name
easily found on gift store keychains. I saw myself 
as a tardigrade, sack of flour, uncouth collection 
of unrecognized cell-blocks. Whose trans body is a house 
without a hacksaw
—I have read gospel before, 
this sounds like what my grandmother tells me 
gospel sounds like, something I have not heard 
in the space between punching bag, ungloved fist, 
cut-up fingers, hairy thigh, mustached lip, bearded mouth, 
and so on. Is this gospel? How long did it take to tap into my skull,
drain the liquid from my heart? How long does the plane curve 
before it ceases to be shape and becomes something more? 
I dream of shaving my body down to a doll’s neutered blankness, 
of guillotining my manhood. There are people who have nuanced takes 
on masculinity, who feel secure, like men. I watch them 
from the other side of the fence. My mouth open, tongue draped 
across grass like a picnic blanket. I don’t exist here, 
I want to say. There is a space between the walls in which I will live. 
It won’t be weird. Why would it be weird? I dream of a strong man 
penetrating me vaginally, and there are several complications to this. 
Sometimes my guillotine dreams turn to dreams wherein I am a bird 
eating out a tree’s core. Sometimes I’m afraid I am afraid / of me
I echo, I push around meat and bone in my face.
Something guttural erupts like a howler monkey’s screams. 
I scream like a howler monkey and claw like one, too, if they claw, 
do they claw? I feel unsure. I feel violence churn in my stomach, 
pitchforks in hand, lit torches, a monster to kill or set free. 
It is hard to tell where the sun explodes and where no one
gives a shit about how I dress. I am afraid of being exposed as myself—
is it violent to want to be seen? My reflection blurs into: a haze of smoke, 
pink strobe lights lining the ceiling, full volume Carly Rae Jepsen, 
warm wood benches separating the gays from the girls 
and doing a bad job. Can you look with me into a future 
where I do not masturbate to the thought of evaporation? 
It is obscene—a fan blade rotates through my intestines, shreds them 
into small, red ribbons, now pinned to my skull 
like prizes onto donkeys. My smooth head glitters with rivulets 
of blood, christlike, absolved of everything permanent. 


Noah Powers (he/they) is a queer Kentuckian and MFA candidate at the University of Alabama. Their writing has been published in Rejection LettersBullshitScreen Door ReviewMany Nice Donkeys, and Autofocus. They can be found on Twitter @_noahpowers.