Lachryphagy

by Christina Linsin

CW: Medical procedure, patient restraint, and self harm.

 

I still remember the taste of the tube,
charcoal powdered worm inching, one-eyed,
it burned, choking out charges, then slurping slurping
more intimate than fucking, insatiable depths,
eternal sucking. Flashes of fighting, voices insistent
I gave them no choice; I tied their hands.
They tied down my hands. I still remember the
empty quaking. They said it would hurt more
later. In the morning my mother, crying
consternation, my father still, distant. I remember
each an accumulation, passing down more
than length of bone. Every tragedy is second-hand,
they’d passed down their alone – look
what you’ve done to me my mother demanded;
I could not speak. Her hands leaped in waves from her lap,
seeking someplace to go. I wanted
someplace to go. Still. Slow. I remember
the ward quiet except at night, keening
echoes amplified; everything white – floors, sheets,
walls, wounds – all fluids licked clean.

 

 


Christina Linsin is a poet and teacher living in western Virginia. Her poetry examines connections with the natural world, the complexities of mental illness, and the difficulty of creating meaningful connections amid life’s obstacles. Her work has been published in tiny wren lit, and she has work forthcoming in The Milk House, and Still: The Journal. She can be found on Twitter @ChristinaLinsin.

2023-05-20T11:44:05-04:00May 20, 2023|

A Seascape to Drown In

by Kaitlyn Dada

 

A seascape to drown in
has rock walls to sit on,
individuals scattered,
perhaps sand farther down
it reminds me of what
came. Love is a wet word,
blossoming, with claustrophobic
vines, endless drops moments
unrepeatable, can’t
purchase a tear from a
starfish. A relief to
realize despite drowning,
because I’m drowning, wading
through waters fearing death
and absence of you, treading
water spitting something
stupid there is no shore
no hole no reason to
fear: faceless, smothering
breath, past suffocations,
eyes too focused on tears.
We met there I thought passing.
Here you are still, with me.
I sing of moments returning
to form memory. I
carry you with me my
mind in this sea, beside
me a boy holding my
hand as if only mine
fits, one moment lifts me
to the surface I can
breathe I can blossom isn’t
nature specific look
where you came ashore, slowly
beside me.

 


Kaitlyn Chisholm Dada is a playwright and performer utilizing memoir to embrace humanity through documentation. She began her love of storytelling as an actress and produced her first play in South Carolina in 2017 but most recently graduated in 2021 with an MFA in creative writing from the School of the Art Institute of Chicago. She aspires to be planted and present deep in the outskirts of the Windy City as she explores what nature has to teach her, and as a result of this philosophy is not active on any social media pages.

2023-05-14T09:43:02-04:00May 14, 2023|

Condensed Version

by Fred Pollack

 

In that language, a friend is the Sun,
a lover Night, a loved one Air.
There are many forests, and a horror of forests,
so Forest makes its power felt
in many of the few crimes
(which don’t seem few to them) that culture has.
For the most part, Fire goes unmentioned.

Strangers to metaphor,
plants, people, animals cluster
agreeably, for the most part, around their nouns.
An earthly missionary
would find himself a sort of stingless Bee,
forget his knowledge of what they should know,
accept a seedbag and pick up his hoe.

Of course not everything or everyone
belongs. If, late in youth or late
in life, you seem too sad
or lonely (an untranslatable word), they
call you a Pilgrim, though to no known shrine,
and consecrate you to the nameless stars,
and send you away.

 


Frederick Pollack, is author of two book-length narrative poems, The Adventure and Happiness (Story Line Press; the former reissued 2022 by Red Hen Press), and three collections, A Poverty of Words (Prolific Press, 2015), Landscape with Mutant (Smokestack Books, UK, 2018), and The Beautiful Losses (Better Than Starbucks Books, forthcoming 2023). Many other poems in print and online journals.

2023-05-07T11:35:04-04:00May 7, 2023|

If I Were a Language

by Amorak Huey

 

What shapes would your tongue make
learning me? What if a single word
meant sky and kiss and stranger? If another
meant both touch and hush?
What if every word of me — every one of them —
came from your body, what then?
What would you name me?

 


Amorak Huey is author of four books of poems including Dad Jokes from Late in the Patriarchy (Sundress Publications, 2021). Co-founder with Han VanderHart of River River Books, Huey teaches writing at Grand Valley State University in Michigan. He is on Twitter @amorak and Instagram @amorakhuey.

2023-05-06T10:56:03-04:00May 6, 2023|

After the fires

by Lynne Ellis

 

they came back to air
still full of ash. An orange sun.

 

A likewise orange moon.
After the fires they unpacked the car.

 

After the fires
they thought nothing had changed.
Their house still intact—one of the few.

 

They thought the orange sun was
a friend calling down to them.

 

They thought
the orange moon could sing
their travel story—they’d driven clasp-handed

 

across the burning hills, as smoking trees stood
still by the highway side.

 

As they passed by, their fingertips
blistered and lifted up to the atmosphere edge.

 

After the fires they sat on chairs
in their spared house, unmoving, in fear
for their singed skin. Orange disks rose and fell,

 

steady in the ways of twenty shared years. One said
What have we made here? One said Don’t you see?

 

Ash fell out of the air, covered the car,
covered the magnolia tree. After the ash
their skin pinked again, they moved again.

 

They walked outside to air and white moon.
Lay back on charred bark.

 

They watched the sun
rise as a yellow star.

 


Lynne Ellis (she / they) writes in pen. Their words appear in Poetry Northwest, Sugar House Review, The Shore, Barzakh, Pontoon Poetry, and elsewhere. Winner of the Missouri Review’s Perkoff Prize, and a nominee for the Pushcart Prize, Lynne believes every poem is a collaboration. More on Instagram @stagehandpoet. Ellis is co-editor at Papeachu Press, supporting the voices of women and nonbinary creators.

2023-04-30T10:50:07-04:00April 30, 2023|
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