Salt

 
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By Raymond Camacho

my day begins and ends with salt

i wake up in a maze of tunnels

deep inside myself

Salt Mines.

i was placed here by you,

and even though its been over a year

i’m still looking, trying to find my way out

Seawater.

do you knows what it feels like

to have seawater in your mouth?

I want to swim, but I keep drinking the water.

Flint.

seven years and their pipes are still filled with salt.

imagine your president pretending to drink

water from the pipes from all colors of the rainbow

Tears.

laying in bed going over the memories

feeling your hands wrapped around my neck

lay on top of me, cover my body in

Salt.


Raymond Camacho is a 27 year-old queer Puerto Rican Writer, based out of New York City. Raymond obtained a BA from Hunter College in Creative Writing & The Afro-Latino Experience. Raymond is a domestic violence survivor writes about LGBTQ+ victims of domestic violence. Raymond can be reached via Instagram @RAYDIDTHIS

 

Prison Record

 
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BY Deirdre O’Connor

“1849,

Galway City, Ireland,

Redmond Molloy, Aged 28: Being Of A Party Who Stole Eleven Bags of Meal From On Board

A Boat That Was Conveying A Cargo of Meal From Galway to Round Stone The Property The

Vice Guardians Galway Poor Law Union (NB. Irish Famine)”

from the Irish Prison Registers, 1790-1924

 

Only yesterday I discovered my great-

great grandfather hijacked a boat for cornmeal

during the famine, steered it toward what must have been

the hovel where he lived, islanded in the Atlantic,

and was later sentenced to be hanged.

Somehow, he got off, and that’s the turn

to here: coffee, a/c, peonies in vases,

my white body in pajamas choosing not

to watch the news, instead to play

with languish, language, anguish, ambush


Deirdre O’Connor is the author of two books of poems, most recently The Cupped Field, which received the 2018 Able Muse Book Award. She directs the Writing Center at Bucknell University, where she also serves as Associate Director of the Bucknell Seminar for Undergraduate Poets.

 

The Hungry Land

 
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By Mandira Pattnaik

It’s like holding hands, and standing on the edge of playa,

ready to take a step, leap and drown in sand.

The rustle of dried weeds on fallow land

is a funeral song

corrupting the silent mourning

for acres of healthy paddy

since dried

for want of rain.

 

The family of four — chained to hopes, fettered in prayers,

looks to god

on the shimmering shelves of cotton clouds.

Who or why, they

coast across the inverted void

leaving them to

negotiate a ruthless fate?

 

When the heavens yield, the meadows and

grass are trampled.

All colors are ruined, except a torrent

as white as white as white.

But no one’s left to sigh, marvel at

the shimmer on the pond’s surface

other than a maniac or a fool of a vulture,

mistaking the bones for silvery glitter.


Mandira Pattnaik is an Indian writer and poet. Nominated for awards including the Pushcart, her work has been featured in over a hundred journals. Poems have appeared in Prime Number Magazine, Eclectica, Not Very Quiet, West Trestle Review, The Shore, Thimble and Variant Lit, among others.

 

While Taking a Walk in My Mother's New Neighborhood

 
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BY: ADRIENNE PILON

While taking a walk in my mother’s new

neighborhood I discover the streets

are all named for First Peoples

The path is concrete,

or asphalt.

It winds through

cul-de-sacs

Ohlone, Pomo

 

covering old lands.

The path makes space

between

streets where

 

Miwok, Maidu

people

can walk along paths of the

 

Yana, Yahi

 

community’s making

because this place

is all about community

making, slowing, greeting,

 

Salinan, Modoc

 

stopping

along the path

 

like deer pausing at rustling leaves

like owls steeling for prey

like bears stalking fish in a river

 

where there is now

a subdivision called

Bear River

even though the river

is a drying creek

 

Pudah

 

and there are no more bears.

These names are boldly written

to tell us what has been erased

and though these streets

are plotted, mapped, marked

I still cannot imagine

where we are

going.


Adrienne Pilon is a teacher, writer and editor. Recent work can be found in Misfit Magazine, Porcupine Literary and elsewhere. The natural and human-made landscapes of California provide her with continual inspiration.

 

The Lost Vowel

 
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BY P.S. NOLF

1.     The Pittsburgh Chain Shift uniquely identifies Southwestern Pennsylvania.  Neither tectonic nor glacial, it is a linguistic distinction.  As the nineteenth century Scotch-Irish, English, and Germans searched for homes in the Allegheny mountains, the settlers mingled their dialects and lost a vowel.  Through monophthongization, the vowels /a/ and /ɔ/ merged to /aw/.  “Naughty doll Don caught in his cot in the knotty hall at dawn” is all internal rhyme. 

2.     When I was a child, we lived in the family home in Putneyville, Pennsylvania.  Nestled between two forested ridges, forty residences clustered along the creek, its waters flowing to Pittsburgh.  Clans of cousins played endless baseball games in the summer and crack-the-whip skating on the frozen mill race in the winter.  Nobody remembered who owned the coal rights in their backyards.  We mazed at the granite tombstones filled with a century of Nolfs, Putneys, and Schreckengosts.  Until we rode the schoolbus, we never knew there was a Catholic graveyard of Bukoskis, Rossis, and Hlavics in the next town. 

3.     “I bet I drop six of them when I get over there” said the deputy on September 10, 1897.  That day the police shot nineteen unarmed Polish and Lithuanian strikers at the coal mine in Lattimer, Pennslyvania.   Two years later, John Mitchell, President of United Mine Workers of America, pleaded, “The coal you dig isn’t Slavish or Polish, or Irish coal.  It’s just coal.”

4.     When I was ten, my family moved to the Philadelphia area.  We lived in a three-bedroom, rose and gray stone cottage, the former servant quarters to a mansion owned by a founding family of the city.  Mrs. S. invited my sister and me for visits.  We learned to conjugate the irregular French verbs of être (to be), avoir (to have) and pouvoir (to be able).  I developed a taste for the bittersweet lemon and quinine of the tonic she served us.  The gin came later. 

5.     Pittsburghese is commonly considered the second ugliest accent in the United States. Linguistic studies indicate women tend to care more about the social stigma attached to regional dialects and transition to standard pronunciations during formal discourse. Men are more likely to celebrate their dialect with T-shirts: “Yinz are a buncha jag-offs.”

6.     Through the years, I practiced saying “water” for “warter” and “wash” for “warsh.” I no longer pronounced hill with the drawn out lilting /l / of the Appalachians. I swallowed “yu’uns” and purged the Scotch “slippy,” “redd up,” and “nebby.”  I accumulated college degrees, collected obscure words like Shaker baskets, and wrote in syntax as elaborate as fraktur manuscripts. I was still trapped by the Caught-Cot Merger. I never found my lost vowel.

7.              I still dream of Putneyville in the rain.  Basements fill with water. The height of the Mahoning leaps from inches to yards to Biblical rods.  The house backs up to a steep hill.  I see flickering white from the tails of deer followed by the red plaid-clad hunter crossing the ridgeline.  Water keep rising, rising, rising.  I struggle to climb that hill, grasping stunted pine and spruce.  Mud keeps sucking me down to the rushing brown water, stained orange and silver with runoff from long abandoned coal mines.


P. S. Nolf writes articles about horses, humor, and history for online and national journals such as Equus. She is currently working on a narrative nonfiction book Raising Rough Riders in the White House: Archie and Quentin Roosevelt and their Pony Algonquin. In her spare time, she is working on a MFA at Lindenwood University.

 

The Remnants of Fourth Street

 
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BY Ra'Niqua Lee


One year since the flood and that part of the neighborhood had not yet recovered, might not ever. Shades of brown marked the sides of houses like lines in sedimentary rock. No people there but a child with a wagon and his hair cut low, whoever cared enough to tend to his head, and then those others that looked. Most entrances had been boarded over, but some gaped black and open to gaze. Familiar faces watched from the muck of darkness. Fourth Street had irrevocably changed, and return was ill-advised.

These faces were her neighbors, the ones who witnessed her budding to grown in the square yard where her grandma kept watch. She needed the supervision because she let her shorts rise too high when she cartwheeled, and she always strayed as far as she could before her grandmother shrieked, “Girl, get back here.” Neighborhood talk abused the girls who went too far and wore too little. All the judgy pitch came in hot like a party of casted stones. She’d pushed boundaries anyway. In their little corner of Fourth Street, she flirted with the gossip and risked the bruises. Then she got away, thankfully away. Not everyone did. Their faces told the stories the flood couldn’t hold. Not all water got to keep its secrets.

The boy with the wagon must’ve seen the faces, too, considering how he went, marching forward like he knew more about keeping on and carrying on than the plastic wheels turning beside him. When she called out, he didn’t turn around or seem to hear. His wagon continued its jumble roll as he reached the end of Fourth Street and turned the corner.

At her old house, she pried plywood from the window and tossed it to the weeds. She had spent her childhood helping her grandma keep the house clean. Every few summers, they would whitewash the porch. The color had been high gloss, ultra-white, a white whiter than springtime cumulonimbus. The results were her grandma’s pretty as pearls, the hard-earned wares of pennies saved and pennies earned. Inside, daylight exposed where mold had claimed the walls. Her grandmother’s hutch draped the couch and left dishes embedded in inches of sludge. The refrigerator blocked the kitchen, such a mess, but vacation condos still lined the bay. The beach remained loved, by no one more than her. She never blamed the water for the disorder it had created before slipping back to the sea like a bandit with all the memories it could carry.

She had gotten out, too, but not forever, and that was her mistake. Now, her own face waited in the stairwell. She stood on the dirty porch. She also sat in the half-dark with her arms crossed her over knees. There was time enough for both, all at once, and she did not look scared, pissed, pleased, or careful, just alone. She wrapped her arms around herself. She stared at nothing. Held to nothing.


Ra'Niqua Lee writes to share her particular visions of love and the South. Her work is forthcoming in Cream City Review, Smokelong Quarterly, Whale Road Review and elsewhere. Every word is in honor of her little sister, Nesha, who battled schizoaffective disorder until the very end. For her always.

 

Deeded Land

 
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BY TIM RAPHAEL

It’s right there

in the Book of Plats,

D-193 at Page 967,

Records of Rio Arriba County,

our four acres

in the vicinity of Dixon,

as if even one

of these cottonwoods,

blaze yellow in October,

could be flattened

in a file drawer.

 

A deed should be

a watercolor –

a series of them to catch

the river’s swing

of steel and slate

through the day –

a vast palate

of desert rust,

all the tans, reds

and browns around,

but green too,

a splatter of garden,

and gallons of blue

for New Mexico sky.

And music –

moon-filled coyote cries,

the town dogs’ reply,

night frogs and day finches,

the thunk of a hoe

in spring.

 

Bloodless lines

of surveyor’s codes –

Tract 2, Section 28, T23N,

leave so much

unrecorded, no mention

of the King of Spain

or Francisco Martín

who was bestowed

this land in 1725,

as if no one

were here before –

this sweet rise on the Embudo –

as if the Pueblo artisan

who made this pinch pot,

shattered black and white

bits surfacing in dirt,

has no claim

nine centuries later.


Tim Raphael lives in Northern New Mexico between the Rio Grande Gorge and Sangre de Cristo Mountains with his wife, Kate. They try to lure their three grown children home for hikes and farm chores as often as possible. Tim's poems have been featured in Sky Island Journal, Windfall, Cirque, Canary, The Timberline Review, Gold Man Review and two Oregon anthologies. He is a graduate of Carleton College.

 

Compline

 
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BY JORY MICKELSON

Even Walt Whitman wanted

to put me into a city

of his own devising: brotherly

love. But I refuse his landscape, no

ferryboat, no trolley car, no high-rise

by him yet unseen. Instead give me

a field, this field, dazzled by light,

a dayfield. The blessing of sun

and air revealing green

in deep, empty glister.

 

Here the lover comes, even

as the light fades, to watch

it go, to watch the goose,

the sparrow, the owl, the slipform

lake, its shore a string. Every

feathered thing, beaded

and bereaved into an endless

Whitmanian line. Patiently

allowing the night, the tender            

growing night.

 

Let no lover be found, not in

the city, not two men

hidden in its dirty scrawl

of noise, in concrete’s unbearable

narrowing—but let us be

received into this field. Two men

grasping hands, hands pressed

in prayer to wind, to darkness.

Two men pressed against the grass,

given to giving ourselves to one another.


Jory Mickelson's first book, Wilderness//Kingdom, is the winner of the Evergreen Award Tour from Floating Bridge Press, and won the 2020 High Plains Book Award in Poetry. Their work has been published in the US, Canada, and the UK. They live in the Pacific Northwest. To learn more, visit www.jorymickelson.com

 

Rules of the Game

 
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BY BRENT AMENEYRO

The number of unaccompanied migrant children detained along the southern border has tripled in the last two weeks to more than 3,250
- NY Times March 11, 2021

 

The boundaries 

of the field 

were marked 

with sweaters 

and lunch boxes. 

When we played, 

there were no referees. 

Nobody told us 

whose team to be on. 

When the ball crossed 

the invisible line, 

everyone just yelled. 

Before 

a cañonaso—

to alert teammates,

to trick the opponent,

or, sometimes,

as a courtesy—

we’d point 

to the sky.


Brent Ameneyro’s poetry has been featured in journals, songs, and an art installation. He was the recipient of the 2019 Sarah B. Marsh Rebelo Excellence in Poetry Scholarship, 2020 San Miguel Poetry Week Fellowship, and the 2021 SRS Research Award for Diversity, Inclusion and Social Justice.

 

Up from Red Soil

 
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BY BENJAMIN UEL MARSH

I’m from an old place

where no one forgets the past, out of fear

of losing the present.

Fragments from history are the corner stone

of our modern structures. Old wood forms a new desk over which

I scatter my current endeavors.

I’m from a place of shade

where children hide in the summer woods

with bowing arrows bonded from their mother’s thread.

Where a backyard is a battle field and pine cones are grenades.

A place of twisters and thunderstorm,

bright flashes and rumbling booms. Good Jesus,

I miss the rain.

 

I’m from a place of deep roots,

of Black Origin, descendent of dark driftwood

mangled by mannish tides. Africa is lost.

I’m from a place that tested a nation’s resolve.

From which rebels marched to maintain a maliciously lucrative industry.

Where my great great grandmother spent her sweet sixteen lost

in the phonetic features of a presidential proclamation;

free at last.

I’m from a place built on red earth with sturdy steel,

while Liberty was reconstructed. 

Built right up, by men who look like my father, and Anglo-immigrants

just trying to sketch a dream with southern coal.

 

Where Jim Crow was born from the heads of stagnant adults

and buried under the soles of stomping children. That place,

presumed guilty because of its brutal past, the American story

disguised as a Southern narrative.

That place, from which Black men moved on,

to stop being boys and mature to adolescence.

 

I’m from a landlocked island, where good people approach your soul

but trip up on your skin,

where the institution of racism lies in rubble,

yet the dust still suffocates and separates;

you still don’t see me.

 

I’m from a place of worship, where God reigns

and churches blend

among homes as natural fixtures of life.

Where you can be sized up by the pew in which you sit.

Where preaching is the headliner and

the choir is just spiritual pre-gaming.

 

I’m from a small place

where the Other lives over the mountain,

and we struggle in the valley.

Where the money is tight as a mother’s hug,

where dreams are not lost but never dreamt.

A place where fathers fall short, and mothers

make due; there is no luck, only Faith and only Work.

 

Yet, I am from a place of joy;

instigated by good food, good folks, and the Father’s Grace.

I’m from that place,

Pittsburg’s younger sister,

who grew up so quick they called her magic.

I’m from a Tuxedo Junction, jazz note

played long and loud.

From a Livingston slave, and a deferred dream

that came to fruition in generational steps.

 

I am from that place where the past is not forgotten,

because the present sits on a foundation

of vintage steel, tattered cotton, and cultural conflict.

The topography

still bears the names of its former residents, and the current tenants

fight old ghost for new life.

 

I am from that place, that I have never forgotten;

it props up my present, because my past is too implanted in that red soil

to ever be uprooted.


Benjamin Uel Marsh is an assistant professor of psychology at the University of Tampa. He was born and raised in Birmingham, Alabama and began writing poetry in high school. As an undergraduate at Birmingham-Southern college, he founded a poetry organization where his love of recording thoughts in creative verse flourished.

 

Sinkhole

 
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BY GEORGE MCDERMOTT

Neighbors’ yard is disappearing

with a distant sound of flowing water

like draining a swamp or flushing a toilet.

Sandy soil cascading inward,

municipal crews erecting barriers,

Action News drones overhead.

      Passersby stop and stare,

      cops can't disperse the crowd.

 

Move along, folks, nothing to see here.

 

More nothing to see with every hour—

the emptiness growing wider and deeper,

swallowing gardens, swallowing toys,

leaving neighbors no place to go.

They stand outside, wiping their eyes,

hugging themselves. Action News

      asks what they feel. They struggle to answer,

      look to each other, struggle and fail.

 

Nothing to see here.

 

People from other neighborhoods

hold their tongues, hold their distance,

hold their hooded eyes averted,

cling to their faith in separation,

in geography as privilege.

Neighbors murmur incantations,

      shading their eyes to squint at the sky,

      flinging flowers into the hole.

 

Nothing to see.


George McDermott grew up in New York, went to college in Massachusetts, and spent most of his adult years in Pennsylvania. He's now living in Florida, which is ... um ... different. His poetry has appeared or is forthcoming in a number of literary journals, as well as in the Philadelphia Inquirer.

 

Stetson

 
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BY MIKE SCHNEIDER


for Melvin “Snip” Snyder



A gunslinger, if topped

by a rolled-brim white Stetson,

stands for justice — the code

was that simple. We were

the good guys. We won

the war. I was older brother, three

of us making trouble for Dad

& Mom, whose life was us. He’d

fought & killed for that. Driving

a Sherman over the Rhine at Bad

Godesburg, he eyed the high slopes

of evergreen darkness & many-spired

castles & veered south to waltz —

not quite — across the Blue

Danube & clank toward Munich,

deep into the land of wiener

schnitzel & striped pajamas. 1945,

he turned 18 that October. I grew up

incomprehending how all-the-way

violence engendered me. My first

therapist wanted me to see my Daddy

as a demon because he’d called me

dummkopf— dumbhead in Pennsylvania

Deutsch, old high-German dialect

that came down to us from King George’s

Hessians. Almost everyone I knew

as a kid originated in a land

where people Sprechen sie. All this

has more to do with who I am

than I can ever know.


Mike Schneider has published poems in many journals, including New Ohio Review, Notre Dame Review, and Poetry. Three times nominated for the Pushcart Prize, he received the 2012 Editors Award in Poetry from The Florida Review, and in 2016 the Robert Phillips Prize from Texas Review Press.

 

Shaping the Land

 
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BY JAKOB RYCE

When you migrated to the south, beating your mouth in pitches, you claimed your wealth would bring prosperity for all. When you developed a taste for acquisitions, possessions, revisions, and cut the strings that tethered you to the fruitless land, the scorched land of willow and bark; far from the docks lined with mosquito fossils and the ceaseless choir of fowls. When you renounced the scrub and forest, pine and possum. When you stood up tall against the redwood that loomed over the entire wildwood bastille, said no more, and rallied strangers to bring axes and saws, their children to light spot-fires in the tall grass and burn anything that was not dead. When you rose early to raise steel towers against the flattened granite sky and showed them how to wield combustion. When you grew bored of the mountain’s secrets and cracks appeared in your eyes, you stirred up the muddy waters of want and of what was lost. When you chased the morning down with amber and strolled steaming into the yellow fields, striking down whomever crossed your path. When you mistook the dark women for wives and drove their children away; for all their talk of the seven mothers and magnetic horses and living things that should never touch the skin. When your neighbors spoke of consequences you still boiled with visions of land – land rich with blood, ancestors unbeknownst to you; oppressed in dreams, oppressed in visions, oppressed in earth; appearing in your dreams as rapt pale specters, drinking in rivers of sweat. When you held the branch of black angel flowers to your heart in dreams and held out your thick scoured hands, your family unable to look at you. Only after you churned the red earth for all its worth, for all their worth. Only after announcing that all ancient things be shaped into iron, after every animal had slunk away, and the sons and daughters of the past were rekindled with their shadowed families. Only then did you sit on your porch breathing in fire, master of your domain, watching the blackbirds plough and sweat for crops reserved for you alone – satisfaction on your lips, a hubris glint in your eyes. But even then, the land would remain unchanged, unyielding, and would always be as it had been, long before you and long after you.


Jakob Ryce is a freelance writer, teacher and poet from Melbourne, Australia. He has a B.A. in English Lit, and his work has been published in On The Premises, Drunk Monkeys, and the Wyndham Writing Awards. Jakob’s first chapbook of poetry is due to be published this year.

 

Tributaries: "Hermit Crab Struggles to Move House"

 

BY SARAH FAWN MONTGOMERY

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I know the weight of a home

too small, spiraling

the self to fit in a darkness

that requires shrinking

in order to be held

close by the walls

pale pink, luminescent,

the smell of salt and brine

a terrible comfort,

sound of the sea

swelling around desire

to disappear, exposed

and soft as you leave

a home that never

fit, the filth of family

wet and stinking

at your scuttling feet

dragging tender vulnerabilities

across the hot sand,

seagulls circling overhead

to cry danger at your escape

the search to claim

a space in another discarded

shell, home a construct

you must accept

if you hope to survive

the tide or the muck

of rotting kelp,

the children’s urge

to crush you underfoot,

father skipping you

like a stone to ease

his bored disappointment,

and how you shine,

comma of tail tethering

you back as you crawl feverish,

afraid, toward something new.


Sarah Fawn Montgomery is the author of Quite Mad: An American Pharma Memoir (The Ohio State University Press, 2018) and three poetry chapbooks. She is an Assistant Professor at Bridgewater State University. You can follow her on Twitter at @SF_Montgomery

 

TRIBUTARIES: "Must Have Been a Bridge"

 
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BY: PAUL CUNNINGHAM

society’s weight

floats

on river’s

surface, to such an exten t

I go blank

in the mirror my bones appear closer

closelysyllabled

than most ontological assumptions of

l i f e or m a t t e r

as I imagine every way a body’s blood

could possibly spiral, vortex

beneath my skin

mirror you stop me, the river

sometimes my head

rages,

infinite your touch, a memory above

I feel emptied of unnecessary weight

a river raging, reassembling

I traverse the current, con-

fluent waters, I cannot speak,

drifting, I

catch only a glimpse:

the sharp of a beaver’s

orange hammer-tooth

the noisy orange-red gnaw

of sunlight’s impact

how it alters landscape

surface and depth

how a mirror always

brings us back

into focus


Paul Cunningham is the author of the The House of the Tree of Sores (Schism2 Press, 2020), The Inmost (Carrion Bloom Books, 2020), and translator of Helena Österlund’s Words (OOMPH! Press, 2019). He is a managing editor of Action Books and a PhD candidate at the University of Georgia. @p_cunning