“A Lived Poem” by Elizabeth Hykes

1.
Awake at 3:00 AM ruminating
Dried tears scrape my skin as
I brush them from my lashes.
I want to understand the language that wakened me.
I want to understand the poem I am living.
I could write.
Instead, I turn to Ross Gay
contemplate his grandfather’s hands,
his grandfather watering his own grave.
2.
Neuropathy is what they call
the nerve damage caused by chemotherapy.
Neuropathy tingles between my bones
and the pen, numbs my writing.
You could compare it to lightening
though it lacks self-importance.
It seems determined but
disinterested in language
disinterested in tears.
An alarm I cannot silence
it does not speak
but rants its screech
in the hands of its only listener.

3.
This poem I am living has no meaning.
This poem I am living did not arrive bound
in a book, words scattered on pages.
This poem that I am living might better
have been left unstated.
This is the poem I am saying:

     There was a little girl
     with summer burnished skin
     who fell to the ground
     from the ancient apple tree
     lost her breath,
     then got it back
     and is breathing yet today.

4.
One cannot revise a lived poem.


Elizabeth Hykes lives and writes in a small town in Southern Missouri. Previous publication credits are few and local.

“Undertow” by Daragh Hoey


God bless the undertow
and the cold slap
of waders on the Sound.
Above are the black echoed waves
of nervous fiber,
a Jesus bug tension
that fills and lifts the fly line.
And between current and surface
is just a heaven
that touches here and back there and back then.

Pray with false cast after false cast—
the line like a lifting shawl unfurls and licks the sky—
breach the caul of the water with a tongue,
a dialect, and call the god of it all
with mumbling and tasting.
Hook the sea
and set its course
to amniotic waters.


Daragh Hoey is an Irish emigrant who has lived on all three American coasts and earned his degrees in computer science and law from Dublin City University and the University of Houston, respectively. Now settled in Seattle with his wife, son, and cat, he is a new writer, learning, and happy for it.

“Photographic Evidence” by April Best


Black and white photos fill the wall –
a platinum blond in a bikini
holding her baby in a pool,
three gangly kids in skis,
a curly haired teen in a football uniform,
three senior photos of women with
glowing skin and feather bangs.

Around the corner a bookshelf
piled with photo albums –
kids pausing to smile for the camera.
Behind the camera,
mom and dad sip rum and coke,
gin and tonic, beer, wine,
smoke virginia slims and camels –
documenting evidence life happened
because most mornings they’ve
forgotten.


April Best is the writer and photographer behind stillsmallmomentsblog.com. Her pursuit of living wisely is a hopeful one, filled with dog-eared pages of books, and attempts to start and end each day in kindness. April studied English and French at York University in Toronto and has her Master’s Degree in English Literature.

“Epitaph” by Sara O’Rourke


Along the pier into the blackly swelling sea
We amble in the queue, and cold

While nearing the last planks

Some stop the waves
And some fall


Sara O’Rourke is a teacher and mother of two from Derby, UK who likes to write about all the messy bits of being human while drinking too much tea.

“Il Penseroso” by DB Jonas


It’s said you say that one who knows
does not speak, while the chatter
of thoughtless souls
never ends.
I think perhaps, dearest
master Lao-Tzu,
you might consider
that the thinker has no choice
but speech, yet can only speak
in the unheard, unaccustomed
voice of thought, captive
of the strange inflection
of unfamiliar word-strings,
sounds that sound suspiciously
like silence.


DB Jonas is an orchardist living in the Sangre de Cristo mountains of northern New Mexico. Born in California in 1951, raised in Japan and Mexico, he has returned to poems after a long hiatus in business and the sciences. His work has appeared in numerous journals.

“The French Woman” by Deron M. Eckert


Why do you keep watching her? What is it that’s so appealing? Maybe it’s just that you can. After all, her curtains are open. Are the curtains usually drawn? They must be because you would have noticed her by now, someone that beautiful.

She must be getting ready for a date. Of course, she has a boyfriend coming over. How could she not? But maybe she doesn’t. There’s food out and some wine. Although, the table isn’t set and the only wine glass is the one in her hand. Look how gracefully she holds the glass, how she slinks and dances without spilling a drop.

How have you never seen her? Surely, you would have spotted her in the courtyard. Maybe even crossed paths at the coffee shop on the corner or the bar downstairs. Did she just move in? That explains it. You couldn’t miss someone that perfect, so she must be new to the building.

What could she be listening to over there? You can only imagine it’s something cool, some jazz you’ve never heard, or something French, like they play in Godard films. It’s probably something French. She looks French with her red lipstick and bobbed hair.

You open the sliding door and move onto your balcony to get a closer look, to maybe hear the music. How cool would it be to date someone French? Not just someone, but this woman, the one who looks so free and alive. You remember what that was like, don’t you? Before all the bills, being strapped with the mortgage on this cramped condo you can barely afford, and all the jobs with their slightly increasing salaries and corresponding increases in hours. You think she must rent. Could be that her parents pay for the place while she’s in school. No one with a house payment could be that full of life.

You’ve got to meet her. Someone with that energy and those looks is exactly what you need to pull you out of this rut you’re in. You can’t just keep going to work and doing the same thing everyday. It’s not healthy. You feel dead, but you’re too young to feel dead. You’re not that old. Plenty of people get married in their thirties. Why couldn’t you?

But how? How would you meet her? Can’t just wait downstairs on one of the garden benches. That would be creepy.

She’s drinking wine. That’s good. Maybe she’ll go to the bar after dinner. You can head down there now and get a few drinks in before she gets there to loosen up a bit. It’s Tuesday. Joe’s bartending, and there might be a band. She loves music.

There. The music from her place. You can hear it, but it’s not what you imagined. She’s still dancing, but it’s to “ABC” by The Jackson 5.

You’re watching her when you see something run down the hall of her apartment through the open window to the right. Was the window open this whole time? Could be a dog, but it’s not. It’s a kid, a boy. She grabs his hands, and they dance together until her husband puts down his wine glass and cuts in. You grab your coat and head to the bar. There might be a band.


Deron Eckert is a writer and attorney who lives in Lexington, Kentucky. His poetry has appeared in Rattle Magazine, and his fiction has appeared in Sky Island Journal. He is currently seeking publication for his Southern Gothic, coming-of-age novel, which explores how personal experiences change our preconceived notions of right and wrong.

“Retreat” by Sue Alison


Every year I leave my work and my family and all the many distractions of my everyday
life behind and go on a five-day retreat in a remote monastery in the country to clear my mind by
doing and thinking of nothing. I take long walks in the mornings and in the afternoons sit quietly
reflecting on the essential meaning of life. The purpose of this, what I would in my everyday life
call being idle, is to rejoin the world renewed, refreshed, rejuvenated, restored.

But I can’t help noticing that the monks spend those same five days not in the idleness in
which I am engaged, the idleness I have been led to believe is essential to renewal, rejuvenation,
and restoration, at all. Not at all. No. They spend those same five days cooking, cleaning,
weeding the garden, harvesting the vegetables, and bottling the honey they sell by way of a lively
mail-order business. They spend their quiet moments not sitting in meditation, but mending their
own worn-out and wretched habits.



Sue Allison was a reporter for Life Magazine; her writing has also been published or is forthcoming in Best American Essays, Antioch Review, Brushfire Literature & Arts Journal, DASH, El Portal, Harvard Review, (mac)ro(mic), New South, Streetlight Magazine, Threepenny Review, Flights, Fourth Genre, The Diagram, Isacoustic, Potato Soup Journal, Puerto del Sol, River Teeth, and a Pushcart Prize collection. She holds a BA in English from McGill University and an MFA from the Vermont College of Fine Arts.

“Lunch with Mother” By Gwyn Gorski


I watch you order your food
Your head slightly bent, expectant
Your soft black hair falling out from behind your ear
Your eyes focused on the awaited sustenance
I have never loved you so much in all my life
It hurts like hell
It settles in my neck like cold porridge
And scratches my eyes with salt
I love you so much that I wonder
If the God that you pray to could understand
What it is to have a love so hard and imperfect
So mixed with hate and hope
That it makes me want to drop to my knees in the food court
And sob it into something
You could touch


Gwyn Gorski is an amateur poet, inspired to write by the people and the salty, verdant scenery of her home on the North East Coast.

Three Short Poems by Carson Pierpont


-Drench-

Rainy day
Sketch

The dogs
Are so unhappy

They look human.


-Sermon-

The rain
Now falling harder,

At the mention of God.


-Thief-

Where’d the moon go
She said
And slipped her hand,

Into a coat pocket.


Carson Pierpont is a writer living in New York City who enjoys strolling Washington Square with the ghost of Mark Twain.

Two Poems by Susan Wilson


Pij

Matted.
Down and out.
The dust of crumbs
threaded through the sweat of rain,
preened out by an idle beak.
No matter that
the child kicked you,
the hawk hounded you
down and out.
You were Nelson’s friend
and you’re still mine.


The Worth of Words

Terse reply traded for verses
deemed mediocre laments
and lame attempts affirmed
in critique. Poetic powers weak
in designs drawn and quartered
among throngs of others’ work
executed with equal expectations.
Yet, failure
fans the heat of expansion
in mind where liberation
succeeds inane inspiration
freeing worthier words from a hand
then lacking but now intact
ready to be read again.


Susan Wilson is looking for people who not only hear what she is saying but are also listening. From East London, UK, she began writing poetry after her mother died in 2017. That loss opened the door to inspiration. She has been published by Lucy Writers, Snakeskin, Runcible Spoon, Dreich, Areopagus, Streetcake, Rue Scribe and Amethyst Review and her debut chapbook is “I Couldn’t Write to Save Her Life” (Dreich, 2021).