by Sarp Sozdinler

They said she was born
with salt beneath her fingernails
and a mouth full of birdsong.

They said she whispered to onions,
peeled secrets from their skins
until the kitchen was thick with prophecy.

She had the evil eye in her wallet,
a passport in five languages,
none of which she believed in.

On Mondays,
she dissolved into vapor
and reappeared in another century.

Once, she loved a man
who tried to draw a map of her body
but every time he reached her borders
they shifted, laughing.

Even the gods
sent her DMs
she left on Read.

A Turkish writer & poet, Sarp Sozdinler has been published in Electric Literature, Kenyon Review, Masters Review, Trampset, JMWW, and Normal School, among other journals. Their work has been selected or nominated for anthologies including the Pushcart Prize, Best Small Fictions, and Wigleaf Top 50. They are currently working on their first novel in Philadelphia and Amsterdam: www.sarpsozdinler.com | @sarpsozdinler.

by Oluwaseyi Daniel Busari

They say the earth has no mouth, but it speaks in warnings.
The sky holds its breath before it cries.
The harmattan is a messenger, but we refuse to listen.

A woman buys salt at the market, and the seller smiles.
She says, “Salt is never cheap.”
She means, Be careful what you ask for.
A man buys salt and licks his fingers,
Tasting the debt before it is due.

It is easy to forget that salt is the ocean dried up,
The river without forgiveness.
It remains on the tongue like regret.
Too much, and even sweet things turn bitter.

The elders say, “Do not waste salt, it is a bad omen.”
They mean, “Do not waste what is earned with sweat.”
But a child laughs and throws a pinch into the wind,
Thinking that the wind is kind.

At night, when the sky is dark enough to hold secrets,
The old women sit outside and whisper:
“Did you hear? She married a rich man but cries at night.”
“Did you hear? He built a house but cannot sleep in it.”

They say what is sweet must cost something.
And so, I adorn my food carefully with salt.
Too much salt, and the tongue forgets what is real.

Oluwaseyi Daniel Busari is a budding Nigerian poet/essayist whose driving force is his affinity for language and its uses. He draws inspiration from Joseph-Jean Rabearivelo, Christopher Okigbo, John Donne, Alfred Lord Tennyson, Leopold Sedar Senghor, Kofi Awoonor, among others. You can find him on X, Medium, and Substack as palmwyndrinkard.

by Todd Dillard

Walking home from school I heard a kitten crying in a tree,
its body braced against a switch-thin limb.
I climbed up and took off my shirt.
I had this idea I could make a net out of it,

cast it over the kitten and drag it to safety–
but as I inched across the branch I slipped
and the shirt drifted to the grass below.
I kicked off my shoes and slid out of my jeans.

I thought maybe, if I laid them across the limb,
the kitten would crawl onto a leg and I
could tug it towards me on a denim sleigh.
But the kitten leapt, raked my stomach,

and lunged down the trunk. I grabbed the branch and
let go of my pants, which crumpled beside my shirt.
That’s when I heard girls on the sidewalk
talking. Something about Ms. Nevasham’s homework.

I had barely hid against the trunk when
Penelope from my class saw my clothes and screamed.
“The Rapture! Someone’s been yanked to heaven!”
The girls argued. How could it be the Rapture

if they were still here? How could someone
with a mustard-stained t-shirt go before them?
It was one of those moments when the world turns
away, no cars hushing down side streets,

no airplanes puncturing clouds, all the dogs busy
eating, all the wolves silently mourning the new moon.
“Why are we so alone?” Penelope asked
in a voice like a train pulling away.

“Hi sorry,” I called from behind the tree.
“I’m an angel. The Rapture hasn’t happened yet.
This was just a practice run. We wanted to
make sure everything is working as intended.”

“Oh,” Penelope said. “Makes sense,” Fatima agreed.
“Is it bad that I’m happy?” Carissa asked.
But then an icy wind unfurled from the woods.
Cold rain shattered on my back, and the girls,

laughing and screaming, ran home.
For the next hour I held on–not crying–
but wishing there was something, someone
who would save me. Years later,

Pen still proclaims: “The end is near!
The angels are just working out the kinks.”
Even as the Rapture arrives, as her body
brims with light and rises above our bed,

she tells me not to worry. “I know a guy,”
she winks. “We’ll get this sorted out.”
And afterwards, like the darkness that follows
prayer, when all the stars are revealed.

Todd Dillard’s work has appeared or is forthcoming in Threepenny Review, American Poetry Review, Southern Review, and elsewhere. His debut collection Ways We Vanish was a finalist for the 2021 Balcones Poetry Award, and his chapbook Ragnorak at the Father-Daughter Dance is available from Variant Literature. He lives outside Philadelphia with his wife and two kids.

by Kevin Grauke

for N.O.

There’s something perverse about a match, capped as it is by its own destruction.
If only I could let this be, yet another fruitless observation, but I can’t, of course,
not here, where it must be made metaphor along with dawns and depths and all darkling
things. I could say, We’re not so different, but you always knew this better than I.
Life is death’s delay, you said. And death life’s decay. Also: adolescence is senescence,
because small print ruined your eyes. I remember how much you read Millay,
who wrote of candles burning at each end, the loveliness of their short-lived light.
This was in that tiny poem “First Fig,” the name of which never made sense to me,
especially seeing how the second fig went on to speak of shining palaces built on sand.
Were you here, you’d be able to explain, no doubt, as both poet and double-end
burner of figurative wicks yourself, but here you’re not, and for so long now.
And where you might be I haven’t a clue. Have you? You might be floating
inside clouds of holy light and halos, I suppose, but if so, how you must despise it there,
considering how you gleamed like a fang the day you told me the truth about brimstone,
which the Lord rained down on Sodom’s sinners and burned in the lakes of Revelation:
It’s nothing but an old word for sulfur, the thing that makes a matchstick burn.
And so here I am, back where this all started, staring at this thick, red-headed toothpick,
thinking of you laughing down there in Hell, naming each of its licking, frolicking flames.

Kevin Grauke has published poems in such places as The Threepenny Review, Ninth Letter, Louisville Review, Minnesota Review, and Bayou. He’s the author of the short story collection Shadows of Men. Bullies & Cowards is forthcoming from Cornerstone Press in 2026. He teaches at La Salle University and lives in Philadelphia.

by Carrie Chappell

I know a bed can hold more than a sleeping body.
I know a body can hold more than a sleeping girl.
Parts of me, like branches, have always been erect,
Have never slumbered. Under this plaid comforter,
I have lain aroused. I have lain a construct. I have lain myself.
After I have come, after I have come to, I come again
And come to again. I know a body comes to thoughts,
That a fallen leaf, though low to the ground, still cups a heaven.
Sometimes I think all I have ever felt originates from this place,
My body alone, supine yet watchful, piqued by the idea of a tree
Outside the window. When a woman lays herself in this bed,
She lies with her first awakening. A hand she knows stokes
The box springs, a slimmer leg fidgets inside her own,
A thought she left here holds more than her past.

Originally from Birmingham, Alabama, Carrie Chappell is the author of Loving Tallulah Bankhead and Quarantine Daybook. With Amanda Murphy, she co-translated Cassandra at point-blank range by Sandra Moussempès. Presently, she teaches English as a Foreign Language at Conservatoire national des arts et métiers (CNAM). Each spring, she curates Verse of April, of which she is the founder and editor. One of her newest ventures is writing Spiritual Material: Musings from My Second-Hand, Parisian Wardrobe, which she hosts via Substack. In 2024, she began the bilingual reading series Mnemosynes. Carrie is currently completing her doctoral work on a research-creation project on the poetic novels of Hélène Bessette.