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poem of the week

Lee Ann Roripaugh

 

tsunami as misguided kwannon

her hypervigilance such that

everything becomes a piercing

a harrowing she can’t turn off

 

her superpower a wound

a lightning rod / and sponge / speaking

the language of wounds to wounds

 

like echolocation that dopplers

the contours of another’s sorrow

against her own ricocheted song

 

or touch subtle as the naked push broom

of a star-nosed mole’s tentacles

nuzzling the bruised flesh of worms

 

or a nose for muscling out fresh blood

old ghosts / the sweet fat of lost dreams

like a winter-lean bear come spring

or feathery antennae’s raw quiver

pinched to ash by the hot sparks

of disconsolate pheromones

 

her nervous system a glitter

of neurotransmitters on fire

 

an electric-chaired switchboard

short circuited / fuse blown

 

she’s the exposed nerve:

 

exuviated snake / hulled bean

husked cicada / chaffed seed

peeled grape / shucked clam

she’s the conduit / aperture / cracked

mirror to all that’s scintillant and broken

 

until her compassion mushroom clouds

and swells like a fever / a red infection

a rising tide of salt tears

for the world’s fractured core

 

how could she possibly stop herself

from sweeping it all into her broken cradle

to soothe and rock and weep over ?

 

(her fingers itchy to pilfer and spare

what’s plush and tender

like the rabbit stolen by the moon)

 

how could she possibly stop herself

from the mercy of washing it all clean

in her terrible estuary of lamentations ?

First appeared in Sugar House Review.
_____________________________________________________________

Lee Ann Roripaugh is the author of four volumes of poetry, the most recent of which, Dandarians, was released by Milkweed Editions in September 2014. Her second volume, Year of the Snake (Southern Illinois University Press), was named winner of the Association of Asian American Studies Book Award in Poetry/Prose for 2004, and her first book, Beyond Heart Mountain (Penguin Books), was a 1998 winner of the National Poetry Series. The recipient of a 2003 Archibald Bush Foundation Individual Artist Fellowship, she was also named the 2004 winner of the Prairie Schooner Strousse Award, the 2001 winner of the Frederick Manfred Award for Best Creative Writing awarded by the Western Literature Association, and the 1995 winner of the Randall Jarrell International Poetry Prize.

 

Her short stories have been shortlisted as stories of note in the Pushcart Prize anthologies, and two of her essays have been shortlisted as essays of note for the Best American Essays anthology. Her poetry and short stories have appeared in numerous journals and anthologies. Roripaugh is currently a Professor of English at the University of South Dakota, where she serves as Director of Creative Writing and Editor-in-Chief of South Dakota Review. She is also a faculty mentor for the University of Nebraska low-residency M.F.A. in Writing, and served as a 2012 Kundiman faculty mentor alongside Li-Young Lee and Srikanth Reddy.

BruceCovey

People I’d Like to Meet

Ken Singleton & Emerson Boozer. Wait, I already met Ken Singleton &
Emerson Boozer signing autographs at some kind of auto show when I was a kid.

Haixia Zheng, Otis Birdsong, World B. Free.
Nancy Kerrigan & Tonya Harding. Surya Bonaly.

The Flash. Lucille Ball. Rosemarie Waldrop.
A helicopter. A litter of kittens. A pair of mittens.

A bolt of lightning. Ellen Page, Kesha. Martellus Bennett.
Captain Marvel, Ms. Marvel, & the Blue Marvel.

A raindrop. A footprint. 2,000 years.
An image of an image of Billie Holiday.

Yayoi Kusama, Robert Smithson, Jenny Holzer.
(I already met Henry Rollins & Mike Watt & Vincent Price in bookstores.)

Jane Freilicher. James Schuyler.
A dozen roses or slices of bread.

The He & She from the That’s What They Said jokes.
The They & Them from They’re Making Me Do Things statements.

Kathleen Hanna. Ian Curtis. Yolandi Visser. MIA.
Lana Turner, named after the journal. After Frank O’Hara. John Cage.

Vanilla, almond, cardamom, & coconut.
A poor excuse. A field of wheat.

Edward Field. Some kind of statement. A lemon tree.
Kafka. An undocumented week.

 

_______________________________________________________________

Bruce Covey’s sixth book of poetry, Change Machine, was published by Noemi Press in 2014. He lives in Atlanta, GA, where he publishes and edits Coconut magazine and Coconut Books and curates the What’s New in Poetry video reading series for the literary web community Real Pants. He also serves as Small Press Editor for Boog City and has taught at Yale, Emory, and the Atlanta College of Art.

Rachel Eliza Griffiths

The Human Zoo

Soon I appear through the fog, my face presses against the cage. There is a scrim of dark edging the metal. You are there, pushing life toward my mouth with your fingers. Now I reach without biting. In the dark my own hands grasp how small & tame I am. You say, stay wild with your eyes & ideas. But imagine if my hand could not find your hand. Through the skin of what has survived. If I come up for air but then slip again beneath the current, remember how I glittered, with water pouring from every pore. You would walk down into our earth & watch me race behind the captive green glass. I leave you the gills of my faith, the jaw of my empathy. The flowers will remember my rain & my murmurs. How absurd I am. Even the thunderheads will remember a woman who shook with fire. You sink my net to the floor & work fast. It is how we must perform kindness. My flesh opens like a black claw. Why are you still not afraid of me? I want to see how close the sun will near the water. How the end will hold a woman’s wings above the flames.

______________________________________________________________

Rachel Eliza Griffiths is a poet and visual artist. She is the recipient of fellowships including the Cave Canem Foundation, Millay Colony, Provincetown Fine Arts Work Center, and the Vermont Studio Center. Her visual and literary work has appeared widely. Griffiths is the creator and director of P.O.P (Poets on Poetry), a video series of contemporary poets featured by the Academy of American Poets. Griffiths’ fourth collection of poetry, Lighting the Shadow, will be published by Four Way Books in 2015. Griffiths teaches creative writing at Sarah Lawrence College and lives in Brooklyn, NY.

Lighting the Shadow is now available: http://www.amazon.com/Lighting-Shadow-Rachel-ElizaGriffiths/dp/1935536575/ref=sr_1_1?ie=UTF8&qid=1424987994&sr=8-1&keywords=lighting+the+shadow

terri witek

The Street Where I Lived
______________________(on one Facebook thread, I asked for a childhood address
______________________and a detail from that house. 24 hours later, I asked for an
______________________address where something bad had happened and one detail
______________________from that house)

I think it was on Reservoir Street
_____on 1234 Fremont Street
I think it was on Elemetra
_____on Huckleberry Road
named for Desert Avenue
named for Humble Avenue
named for Swallow Lane
_____for South Layton Boulevard
_____for the oil company
I think I lived on Park Avenue East then
_____on Primm Road then
_____on Lydale Place then
it was was Smith Drive then
where I lived__Denver Avenue
___________Buffalo Avenue
then orPrinceton Road
named for Paseo Primero
named for Menahan Street
_____for East River Road
I lived on East Fairfax then
_____on Northwest 60th Court then
or maybe it was Brookview Drive then
_____or Olympic Drive then
_____or Independence Avenue
where I livedPuritan Avenue
_____livedGreenbriar Avenue
_____livedSer Del Drive
where ISt John’s Avenue
_____ISwiss Hill Road
_____IRiver Avenue lived
on___17th Avenue South then
_____Offenburger Strasse 45 then
_____105th Place Northeast
whereIUniversity Avenue
_____-IRua Madalena
lived__Aleknagik Road
there_-Cain Road
there_-Bomar Avenue
there_-2234 Winnebago Trail
there on Elm Grove Road
_______Linda Lane
_______City Park Avenue
and__I think it was 3rd Street
instead of 4th__I’m sure
it wasn’t__5th or 2nd
where it all__ripped
__________climbed
__________sneaked
__________happened
behind the alley
behind the orchard
_____the playhouse
_____the orange tree
_____the splintery
_____the fire escape
_______balcony
__red porchwith raccoons
__________-with ice tea (hello)
__________-with brick light post leaping
__________-with low-hanging maple limb
our first and only dog
is buried there
where I livedwith red shag carpet
___________with windowsills 2 feet deep
_______________a swimming pool
_______________a big rock
_______________a ufo
_______________a wood-seated swing
my dad made
_______________mayonnaise on white bread
my dad made
and air conditioner
meantblue sky with clouds
meantbaked asbestos shingles
meant3windows too large for the rooms
_______2 windows too small
meant poster with presidents
only through Kennedy
only red bicycle
only the dock where
company coming
only the torn corner
_____of a screen
_____of a cherry tree
_____of a porchlight
_____of grandmother’s cello
and I think it was there
storm torqued black crack
mustard yellow crack
emphysema there
divorced there
shot in the driveway there
_____my one-block-white
_____one-block–black tile there
_____sky turned yellow-green there
where I came home from school
______________from the neighbor’s
(that was Bit’s mother)
______________from Chris and Mandy’s
via satellite phone
via clock radio
via Old Time Rock and Roll
there waiting for my dad
_____2windows too big
and I lived there
_____purple sheets
I lived there
_____school bus
I lived there
_____rushed the fence
_____whippoorwill
_____splintery
_____2 windows
_____my father’s swim trunks
tied to the railing

_______________________________________________________________

Terri Witek is the author of Exit Island (2012); The Shipwreck Dress (2008), a Florida Book Award winner; The Carnal World (2006), Fools and Crows (2003), Courting Couples (winner of the 2000 Center for Book Arts Contest), and Robert Lowell and LIFE STUDIES: Revising the Self (1993). A native of northern Ohio, she teaches English at Stetson University, where she holds the Sullivan Chair in Creative Writing. In 2000, she received the McInery Award for Teaching, and in 2008, she received the John Hague Teaching Award for outstanding teaching in the liberal arts and sciences. Throughout her career she has worked with visual artists, and the reverberations between mediums is explored in much of her work. Her collaborations with Brazilian new media artist Cyriaco Lopes have been featured in galleries or site-specific projects in New York City, Los Angeles and elsewhere.

 

Lynn_Levin

Faux King in the Parking Lot

 

It was in the parking lot
at the Samba Club
between sets at the Huxley wedding

and he was an Elvis impersonator.
We’d eyed each other during “Love Me Tender”
through his heavy lashes he nodded me over.

Ah, to be taken without being adored.
Though to be adored without being taken
is also a wonder.

Those silver studs on his white suit.
The Brylcreem (I didn’t know
they still made it)

left oil stains, dammit, on my nice
linen skirt. Techno boinked from a passing car
and we pumped to it.

He said his wife didn’t
understand him. “I never sleep with happily
married men,” I told him.

Curling his lip, the faux king shot
“Then you ought to sleep
with your husband.”

I should have slapped him.
But his thighs were hot
and the side of the car was cold.

 

From Miss Plastique (Ragged Sky Press, 2013)

______________________________________________________________

Lynn Levin is the author of Miss Plastique (Ragged Sky Press, 2013), a Next Generation Indie Book Awards finalist in poetry; as co-author, Poems for the Writing: Prompts for Poets (Texture Press, 2013), a Next Generation Indie Book Awards finalist in education/academic books; and a translation from the Spanish, Birds on the Kiswar Tree (2Leaf Press, 2014), by Peruvian poet Odi Gonzales. A two-time Leeway grantee, Levin is also a Bucks County, Pa. poet laureate, and a 10-time Pushcart Prize nominee. She teaches at the University of Pennsylvania and Drexel University.

Egan 1

Datura suaveolens

If there were flowers
on the moon they’d look like this,
droopy and luminous,
butter-colored, fading down
to white, I’m thinking,

swinging my bare feet,
sipping at some moon-hued wine
from the lunar landscape
of Sardegna, just as he
asks me if I know

they’re often called “moon-
flowers.” I did not know that,
but I’m not surprised that
he does, nor that he’s read my
poem-thoughts again.

I do know, though, that
this blowsy flower’s parts are
hallucinogenic
as all get out, something that
Rappaccini would

have been proud to bring
into existence were he
in that business rather
than that of breeding a toxic
daughter, beautiful

but unlovable.
And just then I remember
how we went for a walk
through the park behind Domus
Aurea one day

and I was angry
because he hadn’t listened
(or maybe hadn’t heard)
and we passed the Datura
in full moony bloom

and he pretended
that the blossom was an old-
fashioned telephone and
he was trying and trying
to reach me. I thought:

This is marriage, not
some lunatic delusion
of my or his making;
this is what you do,
and I
laughed, and we walked on.

Previously published in Southwest Review, and then appeared in Strange Botany/Botanica Arcana, Italic Pequod, 2014.

______________________________________________________________

Moira Egan’s poetry collections are Strange Botany/Botanica Arcana (Pequod, 2014); Hot Flash Sonnets (Passager Books, 2013); Spin (Entasis Press, 2010, for whom, with Clarinda Harriss, she also co-edited the anthology Hot Sonnets, 2011); La Seta della Cravatta/The Silk of the Tie (Edizioni l’Obliquo, 2009); Bar Napkin Sonnets (The Ledge, 2009); and Cleave (WWPH, 2004). Her work has won many awards and has appeared in numerous journals and anthologies in the U.S. and abroad, including Best American Poetry; The Book of Forms; Lofty Dogmas: Poets on Poetics; and Kindled Terraces: American Poets in Greece. With her husband, Damiano Abeni, she has published more than a dozen volumes in translation in Italy, by authors such as Ashbery, Barth, Bender, Ferlinghetti, Hecht, Strand, and others. Their translations of Italian poems into English have been published in many U.S. journals, as well as in the FSG Book of 20th Century Italian Poetry and in Patrizia Cavalli’s My Poems Will Not Change the World (FSG). She holds degrees from Bryn Mawr College, Johns Hopkins University, and Columbia University, where James Merrill chose her graduate manuscript for the David Craig Austin Prize.


Egan has been a Mid Atlantic Arts Fellow at the Virginia Center for the Creative Arts; Writer in Residence at St. James Cavalier Centre for Creativity, Malta; a Writing Fellow at the Civitella Ranieri Center; a Fellow at the Rockefeller Foundation Bellagio Center; and, in 2015, with Damiano Abeni, will be the writer in residence at the James Merrill House. She lives in Rome, and teaches English and Creative Writing.

Allison Joseph


The Downside of Superpowers


Invisibility makes you aloof,

brute super strength makes you an easy mark

for anyone with trucks to haul, no spark

of gratitude from them. The truth?

Your gift is only special if there’s proof

and ordinary mortals want your work

to entertain them day and night, til dark,

your life a kind of superpower spoof


where all you do is turn them on with speed

or x-ray sight or teleported flesh,

the way you walk through walls or dash through time.

Does anybody care about your needs,

grant you vacation days, an empty beach?

No wonder apathy’s become your crime.

_________________________________________________________________________

Allison Joseph lives, writes and teaches in Carbondale, Illinois, where’s she’s part of the creative writing faculty at Southern Illinois University.  Her latest books are _My Father’s Kites_ (Steel Toe Press) and _Trace Particles_(Backbone Press).

KirunKapurFinal

Just in time for November’s end, this week’s feature offers a heady mix of augury and inspiration. Here’s the stunning title poem from Kirun Kapur’s new book, a powerful first first collection that charts indelible histories.

 

Visiting Indira Gandhi’s Palmist

I don’t know when I realized he had one eye that watched me, alive, the other free to read

the heavens. Could he see I grew where others couldn’t? Could he read my face, in its

lines all their faces—my aunt’s that morning, in the mirror beside mine, hissed, don’t

stare, don’t forget details, it’s your honor to look for all of us. Did he see I hated his eye,

sometimes, hated my honor: the hand always above me. Which eye reads that hand?

Which eye can judge its weight? I wanted to look away. Wanted to cry. His untethered

eye was milky as a teacup. Why have you come here, daughter? Couldn’t say, My father

made me. Couldn’t blame, You looked at Her hand, but you didn’t save Her from a firing

squad. I wouldn’t confess, I am afraid I’ll spend my life under a hand that I can’t stop or

hold. He never touched my palm, imbedded with pencil lead, or the moon under my

thumb, scarred while opening a can. He assured me I’d make a fine wife, a fine mother of

fine sons, prove to be a credit to my family, while his iris swiveled like a wobbly fan. I

made up my mind right then to open my hands—their forked wires, their lines of names

and places—take them.

 

First appeared in FIELD

__________________________________________________

Kirun Kapur grew up in Hawaii and has since lived and worked in North America and South Asia. Her work has appeared in AGNI, Poetry International, FIELD, The Christian Science Monitor and many other journals and news outlets. She is the winner of the 2012 Arts & Letters/Rumi Prize for Poetry and the 2013 Antivenom prize for her first book, Visiting Indira Gandhi’s Palmist. She is co-director of the popular Boston-area arts program The Tannery Series and is poetry editor at The Drum. Find out more at www.kirunkapur.com.

Potts
Potts

From the recently published collection, Trickster (University of Iowa Press), Randall Potts offers some uncanny arithmetic.

Math

I put 0 and 0 together
And arrived at nothing.
Nothing was accomplished.
I had done it perfectly.
I made 0 disappear into 0.
I made sure nothing was left.
There was no doubt of it.Next, I made 2 into two.
It was easy: numbers are words.
I made sure nothing was left.
I made sure nothing was said.
I made sure nothing was written
It was getting complicated.My thumb was black with ink.
So, everything I touched became
itself plus me.
Every addition complicated it.
Every mark was a number.
Every number mocked.

I settled on the number one.
I refused all manner of addition.
I was careful to touch nothing.
That’s impossible,” someone said.
I knew someone was right.

____________________________________________________________

Randall Potts is the author of Trickster, published this fall by the University of Iowa Press, Kuhl House poetry series. His previous collection of poems, Collision Center was published by O Books in 1994. His chapbook, Recant: (A Revision) was published by Leave Books in 1994.

He attended the Iowa Writer’s Workshop and has taught creative writing at the graduate and undergraduate levels at the University of San Francisco and California College of the Arts. He lives in Berkeley, California.

For more information on Trickster, visit: http://www.uiowapress.org/books/2014-fall/trickster.htm.

Dubrow

 Photo credit: Cedric Terrell

 

Casualty Notification

            The Only News I know / Is Bulletins all Day / From Immortality.

            – Emily Dickinson

 

Switch channels, stop

the breaking news,

press mute to hush

the anchorman’s reviews

of war, his litany

of each device

and bomb gone off today.

Silence the price

of bread or medicare

or gasoline.

Make the black pinpoint

on the TV screen.

Unplug the blackbox

from the mouth of the wall.

Uncradle the phone so

nobody can call.

Let the venetian blinds

blind everyone

to what’s outside—the dead,

indifferent sun,

the car pulled up along

the curb, the vexed

men in uniforms

looking for next

of kin. They bring a check

to pay the cost

of grieving. Their dark sedan

puffs out exhaust.

And now, the only sound

a daybird singing,

the only bulletin

a doorbell ringing.

 

Previously appeared in West Branch (issue 74, Spring 2014)

 

______________________________________________

Jehanne Dubrow is the author of four poetry collections, including Red Army Red and Stateside (Northwestern University Press, 2012 and 2010), and is the co-editor of The Book of Scented Things: 100 Contemporary Poems About Perfume (Literary House Press, 2014). In 2015, University of New Mexico Press will publish her fifth book, The Arranged Marriage. Her work has appeared in Southern Review, The New England Review, and Prairie Schooner. She is the Director of the Rose O’Neill Literary House and an Associate Professor of creative writing at Washington College, where she edits the national literary journal, Cherry Tree.

 

 

Kathryn Rhett

Photo credit: Cade Leebron

As autumn deepens, poet and essayist Kathryn Rhett meditates on the magnetic forces of inner weather.

In Bed

I can’t stop talking about the weather.
You say not to, and I can’t stop.
Did they say it would rain?
The white light pours down—I don’t
think it will rain, but did they say?
I don’t know. It’s eight o’clock
in the morning—
one child has a fever
and another is in a play about death
and nobody’s slept.
He’s performing all the parts about death,
death itself and the one who doesn’t want to die.
The rain and the one who waits
for what they say—
they didn’t call for snow sometimes they’re wrong
it’s no wonder with all this
change in weather he has a fever.
You say not to, and I can’t
stop the white light that filters in
through fabric blinds.
If only you would with your hand
cover my mouth, lay down some violence
like what we watch with satisfaction on TV—
lay down some violence against me
while we wait for
death and what they say we’ll get.

The poem alludes to the play “Death Knocks” by Woody Allen, originally published in The New Yorker, July 27, 1968.

___________________________________________________________________

Kathryn Rhett’s essay collection, Souvenir, has just been published by Carnegie Mellon University Press. She is the author of Near Breathing, a memoir, and her poems and essays have appeared in Harvard Review, Michigan Quarterly Review, River Teeth and elsewhere. An associate professor at Gettysburg College, she also teaches in the low-residency MFA program at Queens University of Charlotte, and in the Pan-European MFA at Cedar Crest College.

For more info about Souvenir, visit: http://www.upne.com/0887485893.html.

Dan Brady

The Lost Ark

Between their wings, space only
for God. The air, charged. Within,
only dust. What shall we put in the ark?

Nothing, but the tablets. The gold
flaked away, baring acacia. The poles
broken. We cannot carry it any further.

What shall we put in the ark? Nothing,
but the testimony. The sand, cemented.
The faces, muted with time. Silent. Eyes closed.

What shall we put in the ark? Only that
which has been commanded. Only that
we may listen. Our attention. Our obedience.

Our vigilance. What shall we put
in the ark? Our ears, our hearts. Nothing,
but the testimony. How He speaks

and moves. The sound of his laughter.
The sound of our cries. His provision.
His victory. The walls, fallen. The necks,

broken. The hands, struck down.
The ark, untouched. Buried, unseen.
What shall we put in the ark? It is over,

destroyed, yet not undone. Nothing,
but what is there. Two tablets. Dust.
The power. The sound. Nothing. The dust.

But what?

 

___________________________________________________________

Dan Brady is is the author of two chapbooks, Cabin Fever / Fossil Record (Flying Guillotine Press, 2014) and Leroy Sequences (Horse Less Press, 2014). He is the poetry editor of Barrelhouse and lives in Arlington, Virginia with his wife and son.

Kate Rosenberg-Minbiole

THE FOURTH WAVE KISSING PARTY

Let’s not invite the whole class; let’s pretend that we are the bosses of the fourth wave. [The Fourth
Wave, JoyceAnn McManus would say. In all caps, she would say] and when she is done being the
boss of the way words will appear, we’ll kick JoyceAnn out of the waves. When we play pretend,
we’ve got on cowboy hats and eucalyptus panties—refreshing!—and go off into the sunset every
evening and to the disco every night. [That would be cow
girl hat or cowwoman hat JoyceAnn
McManus would say and bucking broncos and steers and the dull-eyed cows she would say not
noticing that
girl and woman have been left behind for altogether new pronouns JoyceAnn McManus
wrings and wrings and wrings her hands] and we wouldn’t have time for those words we’d opt out
of consensus we’d just leave her behind so much on speed we’d be. May peace be with the slow-
worded. Yippee Ki Yay the way we are and will be, we bosses of the fourth wave; we labia-ed Bruce
Willises, we ecstatic and drugged and discoed and rocked hard; were we each to pull a book from the
shelves loosening a new cluster is The Way We Were. Is the way these waves go which is all we agree
that we’ll ever agree? JoyceAnn? From behind the shelves whose open backs are portals. Petals we’d
say we’d say slippery sounds all day because we could say them without gagging on them the oysters
sliding perfectly the way they do in dreams the way they do when the party makes our waves
temporal. When we find ourselves sliding backward past the first wave where our loves light slender
torches and we dress in full skirts go braless kiss in corners kiss again in corners where all there is is
kissing and our mouths are too busy to say JoyceAnn McManus shut your mouth all you have is
words and we are kiss

_________________________________________________________________

Kate Rosenberg-Minbiole is a feminist housewife cowgirl movie star who is also a lecturer in the Program for Writing and Rhetoric at Penn State University. She has her Ph.D. from the University of Utah, her MFA from the University of Arizona and has published here and there, but not yet everywhere. Kate’s got a husband and a daughter and if she had a dog, she’d call him Yadi.

Jill McKenna Reed

Jill McKenna Reed

To-Do During Riots 1

To-Do During Riots 2

To-Do During Riots 3

To-Do During Riots 4

________________________________________________________________

Jill McKenna Reed is a poet, writing instructor, and beekeeper living in Portland, Oregon. She is co-editor of “Winged: New Writing on Bees,” an anthology of modern literary writing, forthcoming in October of 2014. Jill earned her MFA in Creative Writing Poetry at Portland State University. She is a native of the Chicago area.

Jess Burnquist

 

Jess Burnquist

 

 

 

 

 

 

 

 

 

 

The Difficult Drama of Nature

How cool the air above the horizon—the sky lights up
As you take your leave. And this leaving feels severe
It feels the way trees look as they clutch rough edges of land
All the while being shaped by a persistent wind.

I can be traced by satellite. Here is my house on a virtual map
But what of your soul? What of this next-phase?

I might be the tree clawing to stay. Also, you might be the wind.
The moon pulls these thoughts across a barren sea named Desert.
You dwelled here for a time with your lens—finding the synesthesia
In the mindlessness of the mesquite. What did I forget
To tell you before you splintered from your body
So fraught and pale—so tired of the process of breath?

You should know that your intended stillness
Gave way to the most difficult shifts of voice.
Your lithograph—the tea stained print
Of hallway and woman in three point perspective
Would form a constellation. And, dear friend,
We spoke once about the dead light of stars—the endless travelling
To briefly illuminate. I ask of contrast, why life/death? Why black/white?

There are no areas unmarked by this gasp
Of collective color. I gaze through darkness
Upwards to notice the moon. How it forms
A shy smile—a knowing wisp of light._________________________________________________________________

Jess Burnquist was raised in Tempe, Arizona. She received her MFA in Creative Writing/Poetry from Arizona State University. Her work has appeared in Hayden’s Ferry Review, Persona, Clackamas Literary Review, Natural Bridge and various online journals. She is a recipient of the Joan Frazier Memorial Award for the Arts at ASU. Jess currently teaches English and Creative Writing at Combs High School in San Tan Valley, and has been honored with a Sylvan Silver Apple Award and grant for teaching. She resides in the greater Phoenix metropolitan area with her husband, son, and daughter.

 

Jen Ashburn

Jen Ashburn

The Flight Home                                                                  En Route to Louisville

Remember the laundry that hangs on bamboo fences, on the edges of corrugated tin, on the rafters next to fishing nets that clump together and billow like 18th-century petticoats. Remember the blue jeans, the yellow t-shirts, the thick-hooded sweatshirts. Remember the slender brown legs that slide into the jeans, the fat lips of the toddler who sat on your lap, the hands of the man who, while working his day job as a security guard in front of an ATM, tied the knots that made the nets. Remember the brown waters of the Mekong, the Nam Khong, the Nam Song, the heavy rains in the afternoon, the early morning mist. Remember the clear rising song of a gibbon family at dawn. Remember the Chinese rock music. The gristle and fat in the meat. Even remember the mosquitos and salmonella. Remember how to say, “Do you speak English?” in five languages. And thank you. And please. Let me remember even when I’m hunched with work, when I’m old and crumpled with life. This life. Thank you. Please.

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Jen Ashburn recently completed her MFA at Chatham University in poetry and creative nonfiction. She has work published or forthcoming in Grey Sparrow, Pretty Owl Poetry, Anak Sastra, The Poet’s Billow, Puff Puff Prose & Poetry Vol. II and the anthology Make Mine Words (Trinity University Press). She lives in Pittsburgh.