“At the Piazza, I Remember You” by Laurin Macios

At the Piazza

In four years, I have not forgotten
the movement
and then the stillness.

A coffee maker gurgles its old throat
and I empty it.

The house smells like pills, bitter
in their yellowed bottles, and a full
summer in bed sheets, heavy with everything.

You played music. You jumped the curb.
You flicked penny upon penny
onto the pavement of that time-kept piazza
and fell into death as you would
a fountain, without a wish to save you.

 

 

 

Laurin Becker Macios holds an MFA from the University of New Hampshire and is the program director of Mass Poetry. Her work has recently appeared in Boxcar Poetry Review, Extracts: Daily Dose of Lit, Pif Magazine, [PANK], and elsewhere. She lives in Boston with six plants and one wicked awesome husband.

Read an interview with Laurin here.

“Rescue Dog” by Roy Bentley

Rescue Dog

It would hurt them if I showed them how each angel was plaited
from a dead girl and a living bird.
They would ask themselves, how can a man live with so little hope?
—Rodney Jones, “Ecology of Heaven”

Tonight he’s lying by a fireplace in Iowa, loaded with steroids
and a pill for the yeast that eats skin—Ketoconazole—
from a vet at an animal clinic in Dubuque. Tough, you bet,
with trophy scars commemorating the rigors of Miami.
He argues a gulp of air into a waxworks body like it’s his last day,
rapid-breathing against a backdrop of blue-orange flame.

I call the vet. I say, “It’s clear Jupiter isn’t tolerating this treatment.”
I hate how he has to carry the rot of 21st Century America,
meals of it, in his gut. The lenses of his eyes are iron. A field guide
to quiet suffering that says, What the fuck and Duh, we die.
A dog-smile shimmies up from that time before words and meaning,
before the history that links us became all about failings.

I’m off the phone, watching him. I put in a Jim Jarmusch movie.
Stranger Than Paradise. A black-and-white indie-film.
Wouldn’t you know it, the film is about two Hungarian immigrants
and a New York pal deciding to drive from Cleveland to Miami
because as usual, in winter, Ohio is an Armageddon of snow and ice.
The surface of Lake Erie is two-toned: white, brighter white.

When I was a boy in Ohio, I never dreamed the world was like this.
ever imagined I’d have a Golden Retriever from Florida
fighting to live where the light has come unstitched from breathing,
breathing from a body, that naming a dog after a god-in-charge
isn’t enough. Jarmusch’s characters lose everything but fifty bucks
at a dog track then win that back—more—at the horse races,

as if mythologies come down to not betting on the wrong dog.
This minute, I’m aware of what love is: The mutt breathing
by the fireplace has my heart. If this shadow-body lives to see morning,
it won’t be a miracle. Just luck. And covered in Appendix A
of The Field Guide to Suffering Animals. That other good fortune
we have when whoever dispenses miracles is fresh out.

 

 

 

Roy Bentley has received fellowships from the NEA, the Florida Division of Cultural Affairs, and the Ohio Arts Council. Poems have appeared in The Southern Review, Shenandoah, Pleiades, Blackbird, North American Review, Prairie Schooner and elsewhere. Books include Boy in a Boat (University of Alabama, 1986), Any One Man (Bottom Dog, 1992), The Trouble with a Short Horse in Montana (White Pine, 2006), and Starlight Taxi (Lynx House 2013). He has taught creative writing throughout the Midwest and south Florida. These days, he teaches at Georgian Court University and lives in Lakewood, New Jersey with his wife Gloria.

Read an interview with Roy here.

“Sevenling” by Annie Bolger

Sevenling

I devoted to you
an entire page of an ancient diary,
a small part of a soul.

You gave to me
deliciously generic compliments,
a plastic blue-beaded necklace

and mononucleosis.

 

 

Annie Bolger is pursuing a BA in English Literature and Classical Studies at Swarthmore College. She is currently the Co-Editor-in-Chief of Swarthmore’s daily newspaper, The Daily Gazette. She recently hand made and published Dated, a chapbook of her poetry. Her work has appeared in Prisms and the Swarthmore Review.

Read an interview with Annie here.

“Overdue” by Mikayla Davis

Overdue

First
the earth shivers,
molten blood pumps
through dirt veins,
thrusts
against every surface,
quickening,
thrashing
through walls, scraping
at balance and gravity
and you are excited.

Second
the world stills.
The seagulls abandon
the clouds for the hard
rush of distance.
Silence perches
on shoulders, pierces
the flesh with a sharp ring,
drapes heavy against your neck,
bows you over,

and the sky is split.
Above it is light eggshells,
spotted with white watchers
and flaxen beams,
but below
cobalt rises, cracked
with sunburned teal,
creeps into the brightness,
brings together
calm and threat.

Third
you are drowning.
Bodies cling to your limbs,
mouths wide and black.
Waves of stress pull matted
hair from your scalp,
peel the skin down from your eyes,
leave behind dark pits.
Pressured, bones splinter,
are buried in thick
denial

and you are lost.

 

 

 

Mikayla Davis is an undergraduate from Spokane, Washington. She has a BA in English from Eastern Washington University as well as several two-year degrees from Spokane Falls Community College. She is the editor for The Wire Harp and has poems published in Railtown Almanac, Northwest Boulevard, Gold Dust, and CandleLit.

“Alternative Therapies: See ‘Juicing'” by Hannah Baggott

Alternative Therapies

You and I fight in the kitchen—juice splattering the walls,
kale flesh on the floor, ginger dripping down our vertebrae—

because I had taken too much Ritalin, but it’s fine;
the neurologist said it’s fine, it’s fine. And I am crying

over the dirty dishes in our old sink that doesn’t drain well.
Recycled saline, I say. But your fingers whisper small circles

behind my ears, singing bluegrass hymns over the train whistle
we hear every hour. It’s okay. It’s okay, you say, holding up

a straw to my deaf mouth. After, my teeth beet-tinted, I shiver,
so you run the shower hot because you know

how Solumedrol makes me cold and Interferon makes me cold
and IVs make me cold. You take off your clothes

and mine; the carrot juice washes off my hands like rot.
Then, you see the bruises— the space

between the skin and the veins pooling to shades of blackberry
and eggplant. You trace the holes.

I tell you how yesterday, I watched the blood spray out
at the sweaty nurse in the faded scrubs.

I keep seeing him jump back and goddamn,
forcing gauze so fast on the opening,

I thought I burned him. You’d never burn anyone,
you say, planting your feet to rinse the brine off us both.

 

 

 

Hannah Baggott, a Nashville native, is a poet of the body. She is pursuing an MFA in poetry at Oregon State University while teaching writing courses. She has received awards for flash fiction and critical writing in gender studies. Her work can be found in Tupelo Quarterly and other journals. Learn more at hannahbaggott.com.

Read an interview with Hannah here.

“There Is No Such Thing As Spring” by A. Inguanta and S. Squillante

Spread Your Wings

but airplanes, they are such a thing.
My body, steel-encased and careening,
and waiting, always waiting
for the pressure drop, for the forced air, for the budding
between lips, the bloom worked for,
worried over, open, finally, flown.

The woman in the painting beside my bed wants to know this: “flown.”
Only part of me cares to respond, the other part rifles through.
This woman aches just as I do.

There are three main types of flight:
Echo, arrow, and spiral.
Crocus, Iris, Fiddlehead unfurling.
Her body: Intuition, God.

 

 

 

Ashley Inguanta and Sheila Squillante have both published poetry collections with Dancing Girl Press. Sheila is Associate Editor at PANK, and Ashley is the Art Director of SmokeLong Quarterly.

Read an interview with Ashley here.
Read an interview with Sheila here.

“SAGO: Buckhannon, WV–January 2, 2006: 6:30 a.m. ET” by Mark DeFoe

Sago

Only I alone escaped to tell you—Ishmael—Moby Dick

They’d see they were moving along at sixty minutes an hour
on a mountain road, into a future that was a mirror with no glass,
there was nowhere to pull over, and cars lined up behind them honking
“The Briar Plans a Mountain Vision Center”—Jim Wayne Miller

Outside my window rise stalks of bamboo,
planted by my home’s former owner, clums
brought from the Pacific as a prize of war.

I think of Sago. The mine is long closed.
The story is cliché and typical,
but the memory still soaked in sorrow.
The miners not crushed in the usual roof fall,
but trapped by the ubiquitous blast caused by
unknown factors, starved of air by
ubiquitous methane and carbon monoxide.

We like miners living on the edge
of the good old days, but not too high-tech,
singing of fate. We want times to get better,
but not too fast. We need them to gnaw
the shank of the hog. Corporate HQ
likes trickle down safety, after the coal dust bomb
(see Upper Big Branch South) after the last black lung
victim wheezes his last(see WV hospital records 1913—2013)

We have trudged down this road before. We vote
for good ol’ boys(and gals)–a hearty slap
on the back and request that they tar-and-feather
the EPA and OSHA and chase
that Socialist Nigger out of Our White House.

They stood in the mud and waited for word–
kin and hangers-on and media types.
The country preachers worked their moment,
got folks drunk on desperate GLORY GLORY
HALLELUIAHS. The Nazarene would hear their pleas,
and the saved would float from that dread portal
on the waters of Galilee. But it all came

to a bad phone line, a sad misunderstanding.
It all came to emptiness times twelve dead men,
the stunned hours times the clueless questions
of the talking heads, times the ceaseless
strobe of spectral light, garish orange and blue.
Today, up in the sun, on the granite slab,
the faces of the lost regard the present.
Their images etched by Laser, precise,
though before if I had met them on the street
I would not have known them. Nor the kid
who did not succumb, Randal McCloy Jr.,
whose own slow, maimed voice could tell us little.

Why did the miners go where the sun never shines?
For father and grandfather before them?
For lack of choice? For fear of failure in
the world of light? For food on the table?
Check all the above and pass in your survey.

Some wives they left behind stare at the wall,
waiting the company check. Some, tough as any
miner’s wife, weep their allotted sorrow and find
another man. Daughters go off to nursing school,
sons work the Shale, get hooked on Meth or star
on a college team, lose a leg in Kabul.
Some spell in the county spelling bee
or become the lovely Strawberry Queen.

I think of how the men flickered, praying in
the toxic dark, scrawling their notes, their lamps fading,
self-rescue devices not fit to save a dog.
Waiting for the scattered rescue teams to drive
the winding roads, made late by the hills they
all loved, and besides it was the weekend.

What do I know, bystander, trying to
patch the quilt of our history with words?
I listen to the click of the wind, a green song
through my bamboo, rustling like the skirt of
a swaying, sashaying, laughing woman.

How lonely to be a up here, sucking
my lungs full of the good spring air.

 

 

 

Mark DeFoe teaches in the MFA Writing Program at West Virginia Wesleyan. His latest book is In the Tourist Cave (Finishing Line Press, 2012).

Read an interview with Mark here.

“I Tried to Drag Back” by John McKernan

I Tried to Drag Back

That earlier me
That kid with the kite

That child
Carrying a lunch bucket
To his grandfather at work

That I
Wearing his cub scout uniform
Looking for old people
To help across the busy street

When I approached him
He adopted a karate pose
Pulled a Boy Scout knife from his pocket
And screamed   Get away from me
Right this instant     You bloody creep

 

 

 

John McKernan grew up in Omaha Nebraska and recently retired from herding commas after teaching for many years at Marshall University. He lives – mostly – in West Virginia where he edits ABZ Press. His most recent book is a selected poems Resurrection of the Dust. His poems have appeared in The New Yorker, The Atlantic Monthly, Paris Review, Field, and elsewhere

“Pas de Deux” by Patrick Bahls

Pas de Deux

I saw a sliver of sun
like a fingerlake
in the afternoon
rainclouds

I saw clear
if only for a moment we were
the twists in the paper that bind
one piece to its partner

we were the dancers en pointe
and we slid across the rooftop
where a strong wind
would take us over the edge

and we were old branches
worn raw waiting for the cold
to settle in in silence
like snowflakes on a subway rail

 

 

Patrick Bahls is Associate Professor of Mathematics and Honors Program Director at the University of North Carolina, Asheville. He is the author of the recent text Student writing in the quantitative disciplines: A guide for college faculty. His poetry has appeared in Adirondack Review, Eunoia Review, Far Enough East, Unshod Quills, and Walking Is Still Honest.

“Recovery” by Jeanetta Calhoun Mish

Recovery ( At Rest)
At Rest, image by Karen Bell.
(See also “this is not a love poem” by Gina Marie Bernard.)

Just last month I was forced to sacrifice
My Muse on the altar of Our Relationship
and today I read that poets must also give up
the “Confessional I”—
it has become irrelevant and self-indulgent.
It is also recommended that one wean oneself
from the “Lyric I,” as it does not address the
postmodern, posthuman, world—
the “Witness I” might, in some poems,
remain admissible although suspect.
I’m working on it:
it’s difficult to give up one’s Muse
and one’s I’s in the same year.
I’m attending meetings, working the steps…
I’ve made formal amends for having a Muse who
is not my significant other, cut off all correspondence
and promised to stop gazing toward the northwest.
My Muse-dry date is June 29
and I am now a recovering Muse-user
a recovering I-poet
a recovering alcoholic
a recovering addict.
My mind is flooded in clear white light
that eliminates sublimely obscure corners;
my inner-self is an IKEA catalogue
bleached clean, angular, and bereft
of any lingering romanticism.
This subject position is now
obsession, addiction, and poetry-free.
They call this a good recovery.

 

 

Jeanetta Calhoun Mish is a poet, writer and literary scholar. Her first poetry book,Tongue Tied Woman, won the Edda Poetry Chapbook Competition for Women in 2002 and her second poetry collection, Work Is Love Made Visible (West End Press, 2009), won the 2010 Oklahoma Book Award for Poetry, the 2010 Western Heritage Award for Poetry from the National Cowboy and Western Heritage Museum and the 2010 WILLA Award for Poetry from Women Writing the West. Mish has published poetry in The Fiddleback, Naugatuck River Review, Concho River Review, Poetry Bay, Blast Furnace, and others. She is also the editor of Mongrel Empire Press and Director of The Red Earth Creative Writing MFA program at Oklahoma City University. www.tonguetiedwoman.com

Read an interview with Jeanetta here.