“I Can’t Stop” by Don Clark


What sense is there in words?
They won’t feed you,
They won’t bathe you,
They won’t cloth you, or keep you warm

They won’t hold you and love you,
They can’t kiss you
Or pay you (believe me),
They certainly won’t provide a comfortable life —

For you children and your wife
(husband, dog, whatever).
They won’t cheat you
They won’t wrong you

They won’t lie, steal, or plot against you,
They won’t even put up a fight —
So what sense is there
In these words?

I don’t know,
but I can’t stop.


Don Clark is a Iraq/Afghanistan veteran and recent graduate from Geneva College. He writes everything in small notebooks he finds at the bookstore down the road, and only writes in pencil. He once saw a space shuttle launch from the top of a submarine . . . that was pretty cool. He hails from Pittsburgh, PA, where he is NOT a steel mill worker.

“Autisms of Subtle Worlds That Do Not End” by Rob Cook


It’s hard to see beyond the drizzling winters.
Restaurants closing.
Apartments falling into the street at night,
without noise.

And after the naming
of the deserted pigeon parks,
the people listen to the anti-
ratflight podcasts:
let the fetuses live,
let them be born and told
there will be nothing
but a life of school followed by a life of hiding.

I always think I hear screams on the moon.
Or the rain that’s lost there.

Maybe it’s where catamites conceive and are born.

Maybe they don’t believe in the Earth,
its gazing wound of snow and wind
that can’t be proven.

An Asperger’s teenager
dismantles the thoughts of the one who said,
“Tell me what you are, I do not know what you are”
upon his shaky walk-by.

And on a world
of subtle lightning mountains
that do not end,
he copies and pastes the spinal foliage,
adding color, thinking he, too, can create summer.

A woman shivers
from the face he uses for “hello,”
and quickly turns away
because she can see them there,

in his shallow troughs of worry,

the only angels left,
scavenging.


Rob Cook’s most recent book is The Charnel House on Joyce Kilmer Avenue (Rain Mountain Press, 2018). His work has appeared or will appear in Epiphany, Notre Dame Review, Harvard Review, great weather for Media, Rhino, Caliban, deComp, Interim, On the Seawall, Borderlands, Barren, The Bitter Oleander, Hotel Amerika, Birmingham Poetry Review, The Antioch Review, and Crab Orchard Review, among others. He is currently working on a novella.

“A Plea” and “A Thought” by Gad Kaynar-Kissinger

Translated by Natalie Feinstein


A Plea

I plead my immense fatigue to subdue
Me like the dragon beseeching Saint George
To grow from his fertilized, defeated body a kingdom on the banks
Of the Lethe River and graceful oblivion models will trot beside it
Adorning a wreath of witless smiles.


A Thought

When a thought plummets at my feet
Bruised
I bandage its wings
Which I clipped
Until it revisits me
In faltering
Flight.
I then shoot it again.


Gad Kaynar-Kissinger (70) is a retired Associate Professor from the Theater Department at Tel Aviv University. His poetry was published in major Israeli literary periodicals and supplements, and compiled in seven books, including a bi-lingual Hebrew-Spanish publication Lo que queda (What Remains). For ADHD he won “The General Israeli Writers’ Union” Award (2010). Kaynar is a stage, TV and film actor, and translator of 70 plays from English, German, Norwegian and Swedish. For his Ibsen translations he was designated in 2009 by the Norwegian King as “Knight First Class of the Royal Norwegian Order of Merit.”

“Slow Motion Meals” by Mara Lefebvre


I wanted to thank you but you drove off before I could say a word. It’s the last day of an eight day silent meditation retreat and you have sat across from me during every conversation-less meal without a whisper or even any eye contact. Since we are in our assigned seats, I was able to secretly observe you day after day eating your food with complete focus and with a look of secret pleasure on your face.

Our single bowl of rice and vegetables took me little time to finish but you savored each sliver of broccoli, mushroom and bamboo shoot. I was determined to slow down, be mindful of my simple meal and I’ve tried for six days to finish after you. When I thought for sure that I would be the last to leave the table and clean my small metal bowl you started to eat a banana. You put it on a thin paper napkin on the table and gently peeled back one length of spotted yellow outer skin. Then you took your teaspoon and surgically cut it lengthwise precisely down the middle and then carved that into little chunks. Slowly, in almost stop action slow motion, you consumed each piece. I’m struck by your concentration and painstakingly peel my mandarin orange into sections to match you bite for bite.

You taught me with your graciousness to savor and linger.  Like a dancer you moved in the present, seemingly suspending time.

Thank you.


Mara Lefebvre is a writer, visual artist and retreat junkie and has an appreciation of beauty, excellence, and good design in all things. Fascinated with how memory works, she reconstructed her past revealing lies, laments and lunatics. Her lifelong interest in yoga and frequent walking meditations support her creative curiosity. Her studio is in upstate New York in a ranch house with a red door on a dead end street.

“By This Opening, I Know…” by Amber Pierson


The light streaks through the opening,
Taunting me, tugging me, begging me
To explore its edges and push myself
Through, so I can learn what is on the
other side. Reflection fractions, glinting
stabbing and making me squint, but
forward I go. Each splash of light is
distracting, and my eyes wander until
the light in the opening brightens and
catches my breath, pulling me by my
fingertips until I can no longer resist.
I fall, tumbling and tripping into the
New, washing away the old with a
Brightness so fantastic that I must
Relearn how to see.


Amber Pierson writes with the intent to pull emotions with her words.

“What Are They?” by Abasiama Udom


What are the parameters you use,
to judge a life well lived,
a marriage to call it great,
a job to say it satisfies–

What are the parameters you use,
to judge my sheer laziness
my lack, my poverty or wealth,
to judge my life, my actions.

What are the measurement you get
after my speech had been quantified
by linear our quantum parallel equation,
an antiquity to our fault and purpose.

How is it that you can tell,
what my life ought to be.
All a farce.
By parameters faulty and rusted,
for the smiling one does of depression,
the couple spraying kisses fight behind closed doors.

Let man not judge I say or,
Let man judge, never listen.


Abasiama Udom is a Poet and Writer with words scattered all over including at Rigorous Magazine and U-rights Magazine. She lives in Akwa Ibom, Nigeria with her family (parents and annoying brother) and finds the time to sleep, dance or watch football. Twitter:@AneuPoet

“Transparent Singers” by John J. Brugaletta


Crystal goblets that can ring
have a final song they sing;
tinkling sounds of shattered glass
quickly shriek and quickly pass.
Shards now swept into a mound
make no music; only sound.

Some who muse when dinner’s done
let a moistened finger run
round a lip that once held wine,
not a lip that pressed to mine.

Made with breath instead of hands,
they revert to primal sands.
Air remains, and somewhere flame,
wilderness from which they came.


John J. Brugaletta is the first member of his family to finish high school and then three degrees from universities. He is now professor emeritus at California State University, Fullerton, where he edited South Coast Poetry Journal for ten years. He lives with his wife on the redwood coast of California.

“Fudge, A Performance” by Chelsea Grieve


Every year I stand in front of the stove. Wooden spoon in hand, I stir liquid that is magic, admiring the soft caramel color of the fudge. I make sure to scrape the edges of the pot, to keep the sugar from burning, and I hear a voice encouraging me to be diligent in my task. 

Stirring the fudge is my job. 

When I am little, I stand on kitchen chairs, scrawny legs poking from beneath my nightgown. I imagine I am a Christmas witch, stirring a bubbly cauldron – the other witches admire me for my mad stirring skills. I imagine I am a chef, creating delectable candies that melt on the tongue – Oprah will invite me to interview on TV. I imagine I am an expert in candy-making, my skills rivaling the best cordon bleu chefs. My ultimate success, a shiny published book for children, so they can make this delectable confection too. And I, seated at my place of honor, will sign my books at the Borders in the mall.

But I am none of these after five minutes, because my arms ache with fatigue, so mom takes over and I run off to play Barbie in another room.

When mom calls me to the kitchen, it is to lick the edges of the bowl — quickly hardening films of chocolate — and wait for the fudge to set. Later the fudge melts in my mouth, and we eat until our stomachs protest. 

Indulging is a gift — a privilege — an occasion to mark a moment of sweetness. 

Fast-forward: A new reel of film every year or so until there is a library of memories, clouding the hippocampus, brilliant and painful, to ponder at night instead of sleeping.

Lives are built on complex routines and rituals. 

As an adult, I stand in front of the stove. Wooden spoon in hand, I stir liquid that is magic, admiring the soft caramel swirls. I make sure to scrape the edges of the pot, to keep the sugar from burning, and I hear a voice encouraging me to be diligent in my task. 

Stirring the fudge is my job. 

My legs are no longer scrawny, and I sit in the chair while I stir. I balance a  book on one knee, because witches aren’t real, Oprah is different, and I prefer independent bookstores. Still, the smell of the fudge is comforting and the process doesn’t take as long as it did when I was a child. My arms don’t get tired, and even if they did, mom isn’t here to take over. For the sake of the product, I soldier on through every potential arm cramp…

Although, it is never as tiring as I remember.

Afterwards I still lick the bowl and eat so much fudge my stomach protests. Yes, I’m old enough to know better. And I’ve heard it all:

  • straight from the lips to hips 
  • you’re fat, don’t eat that 
  • you’re disgusting 
  • you have such a pretty face 

But indulging is a gift — a privilege — an occasion to mark a moment of sweetness. 

Many of my memories aren’t sweet. They are turbulent, rough, exciting, dull — they taste of ash, alcohol, and coffee. They are like living on a ship constantly tossed around by storms — followed by moments of calm.

Making fudge is sweetness, like the ice cream we’d get at the gas station on hot summer days, and the taste of jam made from berries picked fresh each season. 

Moving through the motions of making the fudge, scripted by the routine carved from memories, with the confidence of a child born with a wooden spoon in hand, I indulge in the sweetness of the privilege.


Originally from Michigan, Chelsea now writes from the desert of Arizona in the company of her fur-family and partner. Chelsea enjoys hibernating during the summer heat, and is always seeking the appropriate creative outlet to keep herself busy.

“Only a Child Can Enter the Kingdom of God” by Hannah Beairsto


Daddy? Daddy, I never believed in God. No one believes
in oxygen or sun rays and moon beams. People ask
questions, I used to, but lost curiosity half a life ago
when I was four. Remember when you asked if I wanted
Jesus in my heart? “No,” I giggled, but no one else got
the joke. What else in the world could I want, Daddy?

I believe in hell, never more than when my overactive
imagination is fueled with fire and brimstone and eternal
flame and suffering gnashing through the skin of bodies
of the children born in earthly places, flashes in a pan,
not special like me who’s going to heaven. I am going, right, Daddy?

I invited Jesus in, and He loves me, this I know, but
the other night as I laid awake staring away from my nightlight
straight at the shadows cast across the empty ceiling where I painted fires of my own imaginings,
beautiful flames to burn and melt in, flames that sink right through your chest, Daddy, that make
your heart beat hot dripping bitter blood down the cuts in your skin where the ashes seep through
I felt an itch.
The itch of sackcloth on bare skin, the itch that can only be scratched
with broken nails and pottery shards until your life beads on your skin.
I stared into the dark and I asked Jesus
to get out of my heart.

Daddy, I think He left.
Daddy, how do I get Him back?
Daddy, I didn’t mean it, I don’t want to go to hell I believe in heaven.

The velvet red carpet and crystal chandeliers of hotel hallways,
the pristine and neat and sanitized ever after. A solitary hallway,
perfect to meditate and daydream and Daddy, in those moments
I believe I want to be there forever. I’ve a talent for forcing whimsy.
What else is the heart of a young child designed for but peace
and wonder and joy in beauty. I am good at shedding my skin,
drifting down carpets, and imagining eternity as an ageless spirit

pretending I don’t want a body long enough
that I almost believe it.

Don’t worry, Daddy. I’ve learned to pine
for God, as He pines for me, ignoring questions
about His intentions in setting me so solidly
down His path, closer to His light and fleeing
the hypnotic temptations of the dark, trekking through dirt
until my feet crack and bleed.

Yet when I lie awake at night and remember Jesus’s holy light
that is coming to melt my flesh and take me home to Him
I tighten my fists on the headboard, and till my knuckles are white,
cling to the earth.


Hannah Beairsto hails from the Poconos in Northeast Pennsylvania, home of ski resorts, waterfalls, and family fun. She spends most of her days holed in her room writing. She has no pets, spouses, or children to brag about, and would like everyone to remember her first name is a palindrome.

“Vinegar Rising” by Paula Kaufman


Fermentation from
Latin: boil.
The experiment fails,
seal, pops—
jar, breaks—
Life.
On knees
around
spilled jar:
cabbage, carrot,
vinegar rising,
seeking
a more flavored life,
bigger jar,
not yet ready to be
opened.

Unlock bubbled heat,
decode time.
Try again.
Another batch
of kimchi.


Paula Kaufman writes from Washington D.C. Her work can be found in Quail Bell Magazine, What Rough Beast, Heartwood and other publications.