Thursday, 23 February 2017

A poem by Jennie Owen

Pastoral care


Your voice is cramped and tinny at the end
of the line. Is it you that crackles
or the bad connection? I do not know.
I do not know you. But I see the bitten
peach of your face, the juice staining
the down on your cheeks. 

You tell me how
the neighbours steal your fruit for drugs;
that you’re bugged, a microchip
in every last grape as they fuzz and jelly
in the bowl. You do not know what you
will do. I do not know what you will do.

You’re afraid to unbolt the door,
to allow anyone in. To let anything out.
When I disconnect, I still do not know you,
but your sighs in the darkness
are like family playing to a different chord.









Jennie Owen is a teacher of creative writing and has been widely published in anthologies and magazines. She lives with her husband and their three children in Lancashire.

Monday, 20 February 2017

A poem by Mandy Macdonald

wages for housework


‘not working?’
not getting paid, i was thinking as i
rearranged the furniture
staked my best geranium, which hitherto
had been fending quite well for itself
against the windowpane
you’ll not call me in-
efficient (liberating the ex-Oxfam
armchair from behind the door where
no-one ever sat in it)
just hand me that feather duster and

well?
don’t say i never get anything done
you think i’m lazy but i’m just
sensual
and you can’t complain about that
(filing papers in chronological/alphabetical order)
when i have the time i go through the motions
making new rooms for old
getting paid
getting laid
getting laden
with guilt is getting
nowhere

ha! there’s a pound here
down the side, i knew it

the geranium nodded its heavy scarlet head
agreeing with every single word i said








Mandy Macdonald lives in Aberdeen, trying to make sense of the 21st – and earlier – centuries. Music and gardening keep her sane. She lived in Cuba for a while in the 1980s, and it still pops up now and then in her poetry. She has been writing poems for most of her life, but only recently could be persuaded to show them to anyone. You can see some of them in the anthologies Outlook Variable and Extraordinary Forms (Grey Hen Press), Poetry Scotland, The Fat Damsel, Triadae, Far-Off Places, Three Drops from a Cauldron, Ground: Poetry, faith and doubt, and elsewhere.

Thursday, 16 February 2017

A poem by Sharon Larkin

Lone wolf


All alone on the canyon rim,
he sniffs the air, deciphers scents,
to find out what a state she's in
and where she is, right now.
He watches as she skips along,
mindless to danger overhead.
He squints to see beyond mere skin
to former wounds, panting heart.

She's no more than a little kid,
neat feet silent on the scree.
He melts, a mystery, back to stone,
snaps lids tight to dim his gaze,
drops to haunches, tracker-mode,
stalks with stealth the undergrowth.
Now she senses that he's near,
nose to earth, sniffing musk.

He visits every place she's been,
studies what she's left for him,
tastes, licks lips, laps her up
just to dismiss this oral bliss
to deal with a more base desire.
Soon his teeth will gnash on bone,
saliva, froth and blood will blend.
She will learn what's eating her
is him alone.







Sharon Larkin's poems have been published in anthologies (eg Cinnamon, Eyewear, Indigo Dreams), in magazines (including Prole, Obsessed with Pipework, Here Comes Everyone, Reach), on-line (eg Clear Poetry, Stare’s Nest, Ground, Rat's Ass Review, Grievous Angel, Open Mouse) and she has work forthcoming at Ink, Sweat & Tears. Sharon is Chair of Cheltenham Arts Council, was Chair of Cheltenham Poetry Society (2011 - 2015), is on the committee of Gloucestershire Writers' Network and organizes Poetry Café - Refreshed in Cheltenham. She has an MA in Creative Writing and a passion for Welsh language, literature and history.

Wednesday, 15 February 2017

Nominations for 'The Forward Prize for Best Single Poem'

For the first time The Forward Prize is open for all online poetry sites to submit nominations for the best single poem. An opportunity I didn't want to squander the opportunity, so I spent some time revisiting the past year's poetry and what a brilliant pleasure it was. After shortlisting, I have put forward the following three poems as Amaryllis' nominations. I hope you enjoy them too.

Leila K. Norako - Teaching on a Gun-Friendly Campus: A Brief Guide*

Maggie Mackay - How to Distil a Guid Scotch Malt

Ryan Warren - The Ravens of Japan

I'd also like to add a special mention to the following poem which was not eligible as it was part of a collection before the cut-off date - but it is one of my favourites.

Catherine Ayres - Single-breasted

Tuesday, 14 February 2017

A poem by Kathryn Alderman

Roll Up The Rug


Let’s wind the years to a tight rug-roll,
pin it out to air to huff
past participles
from its comfy nap.

We’ll unlock the cellar door,
open the high windows
for strange breezes charged
with vanilla and spices.

We made this house with Lego and lullabies,
sweet nights, responsible days,
the ebb and flow
of shouts and songs,
and daemons battled
with our wooden swords.

The path ahead runs shorter
than the one behind.
Come love,
let’s travel light —
here’s a picnic of our favourite things.








Kathryn Alderman -- @kmalderman1 – was an actor for 15 years before becoming a mum and her poetry often dramatises the nuances of human life. Competitions: won Canon Poets’ ‘Sonnet or Not’ (2012), Gloucestershire Writers’ Network runner-up (2012). Publications include: Dear World (Frosted Fire Press, 2014), Salt on the Wind (Elephants Footprint 2015), Last Word in Art (Wilson Art Gallery/Museum 2017). Readings: BBC Radio 4; Cheltenham Literary Festival; Poetry Can Bristol and regularly at Cheltenham’s Buzzwords Poetry Café; Poetry Café Refreshed and with Cheltenham Poetry Festival’s ‘Festival Players’. Kathryn and husband Cliff are herded around Gloucester by enthusiastic Border collie, Isla.

Monday, 13 February 2017

A poem by Abigale Louise LeCavalier

Sweet Jane


She's in love
with the moon
in black cherry skies,
it reminds her of the killing
dark waters
of her mind.

Swept away and under
feeling the pressure
like a Spanish butterfly,
her brain is on fire
walking on dark sands.

And she doesn't feel the rain
it's already a part of her,
the thunder
a play on words
she heard so many times before;
a not so comforting reminder
of how broken
she's become.

Alone in the tide
with a turtle and a fish,
she waits to be carried away
or to drown and die.

And she knows she's mad
and she knows frustration.

Sick and tired
of waiting for something to happen.







Abigale Louise LeCavalier lives in San Diego California by way of Mammoth Lakes California. An admittedly 'self absorbed poet' and full time Alien, Abigale writes from the heart. Most of her pieces are dark and revealing narratives of things and issues she has had to deal with in her life. Giving the reader a look on the not so bright side of life.

Thursday, 9 February 2017

A poem by Quinn White

~Aesthetics~


What's beautiful?

          Floating, daughter.

Starfish.

          Applause.

Mermaids. Bluebirds. Karate Tuesdays.
Paisley diamonds. Daisy tiaras.


          You're a cowlick of air,
          dust beneath books. I talk to myself.

Fairy tales. Glow sticks. Rapunzel's hair.
Willows. Ghost story shivers.


          I call you "Ghost Daughter."
          I build a house for you to haunt.

I already live on Peachtree Street.


          Your haunted house
          is close to complete.

My mother saws invisible wood.
Nails invisible planks.
Raises a haunted house.


I walk within her mirrors.

Who are you talking to?


          A question.

A crush.

          An orchid pinned to satin.









Quinn White is the author of My Moustache (Dancing Girl Press, 2013) and Orienteering (Origami Poems Project, 2013). Her poems have appeared in journals such as Sixth Finch, Word Riot, Hot Metal Bridge, and The Adroit Journal. She is a graduate of Virginia Tech's MFA creative writing program and is a two-time Pushcart Prize nominee.

Monday, 6 February 2017

A poem by Al Ortolani

Roseland Road House 


You left me after I was
knocked to the dance floor
by a boy with storied knuckles, more
seasoned, more muscled than I,
one of many who couldn’t hold
your gaze. As I was shuffled
from the back door, supported
by two of my friends,
I wish you had followed me
into the parking lot, and explained
the gap between us.
Anything would have sufficed,
even a lie, a story about the man
I was trying to become.






Al Ortolani’s newest collection of poems, Paper Birds Don’t Fly, was released in 2016 from New York Quarterly Books. His poetry and reviews have appeared in journals such as Rattle, Prairie Schooner, New Letters, and Word Riot. His poems been nominated for the Pushcart Prize and Best of the Net, and he has recently been featured on Garrison Keillor’s The Writer’s Almanac. Currently, he teaches English in the Kansas City area.

Saturday, 4 February 2017

A poem by Stephen Mead

From Fotheringay Maze




A resident of NY, Stephen Mead is a published artist, writer, maker of short-collage films and sound-collage downloads. His latest P.O.D. amazon release is an art-text hybrid, “According to the Order of Nature (We too are Cosmos Made)”, a work which takes to task the words which have been used against LGBT folks from time immemorial. In 2014 he began a webpage to gather links of his poetry being published in such zines as Great Works, Unlikely Stories, Quill & Parchment, etc., in a site called Poetry on the Line.

Thursday, 2 February 2017

2 poems by Kitty Coles

The Pain


Drops from on high, sudden as an inkblot,
seeps its Rorschach fingers through clear water.

It stirs and churns, dark birds against pale sky.
Its bills come into play, its eager claws.

It creeps my bones like insects, like an army.
It colonises, takes up residence.

It spreads its roots, weighs anchor, builds a nest,
flooding the limbs like lava or like blood.

I wear it like a coat. It wraps me tight
and blankets me in dark for days and days.

Like ivy, it winds me with creeping arms.
It feeds itself on me, grows sleek and fat,

a kraken-squid breaking the ocean's surface,
claiming my territory as its own.






Kitty lives in Lightwater, Surrey, and works as an adviser for a charity supporting disabled people. She has been writing since she was a child and her poetry has appeared in magazines including Mslexia, Iota, Obsessed With Pipework, The Interpreter's House, Frogmore Papers and Ink Sweat and Tears.

--------
First published 21/07/2016

Homunculus


You were the best of all my progeny,
chip of my soul, a sprite of fire and air.
I watched you grow, I taught you how to be,
believed you pure as the breath I made you with,
blood of my blood, eyes wet with my own tears,
gave you my hair and nails, dear voodoo imp.

It was from love for you I turned you loose.
You bayed for freedom and I set you free
to scuttle like a leaf down night-time streets.
I feared the wind would blow you in the river,
feet stomp you flat, a starved cat gulp you down,
but set my fears aside to please you, heart-mouse.

Now you're full grown, o how you disappoint me!
You're dirty faced and pick up dirty habits.
Your words are scraped from gutters, dregs of bottles.
You strut like a cock on a muckheap, crow and cackle.
You're red of wattle, feet scabby as a pigeon's,
rat-toothed and greedy, muncher of old peelings.

Your clothes are heavy with ribbons, tawdry sequins,
you seize in your magpie fists and scarper with.
Your nails grow long and click like a dog's
as you beetle up walls, through windows,
in search of gewgaws. The sound of them scares
decent people indoors, closing their curtains.
O ram of many horns, o mucky baby,
o bull-bellied roarer, o my nasty pet!


Monday, 30 January 2017

A poem by A.J. Huffman

The Sensation of Light


is like the soft petting of a hand
intent on delivering pleasure to skin
starving for warmth. This subtle
silken movement designed to generate
the slightest friction becomes a kiss
that could shatter glass. The explosion
that follows is a slow-motion montage
of erotic misery, not that it matters.
The falling, not the remaining,
pieces are the point.






A.J. Huffman has published thirteen full-length poetry collections, thirteen solo poetry chapbooks and one joint poetry chapbook through various small presses. Her most recent releases, The Pyre On Which Tomorrow Burns (Scars Publications), Degeneration (Pink Girl Ink), A Bizarre Burning of Bees (Transcendent Zero Press), and Familiar Illusions (Flutter Press) are now available from their respective publishers. She is a five-time Pushcart Prize nominee, a two-time Best of Net nominee, and has published over 2600 poems in various national and international journals, including Labletter, The James Dickey Review, The Bookends Review, Bone Orchard, Corvus Review, EgoPHobia, and Kritya. She is also the founding editor of Kind of a Hurricane Press. www.kindofahurricanepress.com.

Thursday, 26 January 2017

2 poems by Paul Tristram

Top Hat Lane’s Furthest Lamppost


They found him dangling
by a knotted, old, dirty cravat
she had given him, with smiles
and kisses, five Christmases before.
Swaying slightly anticlockwise
above a puddle of piss the shape of Wales.
A jackdaw squawking the alarm
from just above his right shoulder.
As Milkmen churn their early hours
and the petrichor steamed off his Crombie coat.
He had climbed an invisible yet mental
and emotional makeshift ladder
up and into the waiting room next door.
Those tattooed hands
which had once fought battles
and lovingly cradled babies
now hung limply by his side.
They found a broken crucifix
inside his waistcoat pocket
next to a folded police station bail form
and a lock of woven Celtic red hair.
He was cut down by the Butcher
and laid in the gutter by the side of the road.
Until the horses had eaten their oat breakfast
and the Undertaker a signature to spare.

---------
First published 23/05/2016

No More Punches


She’s the oldest
homeless person in town.
Scuppers down
in one of the old
disused shunt
railway wagons
close to the edge
of the industrial estate.
Spends most of the day
in the private doorway
next to Mothercare.
She has the only case
of Tourette’s
I’ve ever heard
not involving swear words.
Instead she spontaneously
crow-caws
“No More Punches!”
Obviously
everybody calls her Judy
and the youngsters
have fun baiting her
with their cruel gameplay.
And it’s hard to approach her,
what with the extreme smell
and the verbal outbursts.
But the few that do,
I watch intently.
For although
I’m more spiritual
than religious.
It’s the closest thing
I’ve witnessed to Heaven.





Paul Tristram is a Welsh writer who has poems, short stories, sketches and photography published in many publications around the world, he yearns to tattoo porcelain bridesmaids instead of digging empty graves for innocence at midnight; this too may pass, yet.

Buy his books ‘Scribblings Of A Madman’ (Lit Fest Press)  ‘Poetry From The Nearest Barstool’ and a split poetry book ‘The Raven And The Vagabond Heart’ with Bethany W Pope. You can also read his poems and stories here! http://paultristram.blogspot.co.uk/

Monday, 23 January 2017

2 poems by Abegail Morley

Lifting the Lid


We aren’t supposed to meet in life. It’s so wet,
pavements have lost their grip, a stretch of salted path
carves its way between us. When we do touch

it’s like a sudden call from a darkened room,
an ungloved hand plunged into ice, a shrapnel wound.
And so we meet in this scrubbed city, shed our skins

in doorways where bygone women scoured steps
till their knuckles bled, hands buckled like old machinery.
They’re archived too, shelved by age, arranged by date.

We clutter the stacks, feel his hands hover over us –
wonder if he’ll pause, single us out, lift lid, spill
contents that babble in lost tongues. But he doesn’t. 

Boxed in 


I’m the girl trapped in the box, stomach
an empty honeycomb,
gold drained,
dull lustre,
tinny when touched
by a raised hand.

My sentence noosed, half-said,
latches to lips,
a parasite with arrhythmic heart.
Dust-mouthed, 
I recite a shopping list
of incidentals:
daylight
daylight
a quarter pound of cherries

(I can almost taste their sweetness, but not quite).









The Skin Diary from Nine Arches Press is Abegail Morley’s fourth collection. Her debut, How to Pour Madness into a Teacup was shortlisted for the Forward Prize Best First Collection. Snow Child and Eva and George are published by Pindrop Press, The Memory of Water is an Indigo Dreams pamphlet. She is co-founder of EKPHRASIS commissioning poets to respond to, and perform at exhibitions including The Royal Academy and The British Library. She was Canterbury Poet of the Year 2015 and blogs at The Poetry Shed abegailmorley.wordpress.com

Thursday, 19 January 2017

3 poems by Gareth Culshaw

Empty Headed


The box sat on his neck
is the coffin of his father.
His eyes have not woken
since that last turn of spade.

He is vacant of the world
like a hand in a glove.
He walks the aisles as if in a
procession.

The different voices that come
from his grave gut. Sometimes
make you wonder if he knows
what he’s saying.

When will the door be opened
to allow him to leave I do not know.
But we are all dead to him
just like cattle awaiting the hook.




Gareth Culshaw is an aspiring writer who has been published in different magazines across the U.K.


------

First published on 18th August 2016.

Passing Trees


I see old friends like passing trees
their lives spreading maps and rings.

One, for all his strength, stare and growl
was struck by a storm that brought him down.

Some sprouted branches like sea anemone
gasping for air, gasping to be seen.

Another has left behind a skeleton of himself
having been and gone, life too short.

I see old friends today as I pass by and by.




------

First published on 9th February 2016.

Tryfan


Once there was life upon you,
growing up, growing strong.

Until you came to a stop
setting out your figure amongst the rest.

Today your shadow weakens
as you erode back to the earth:


As a child I came to you for support
to build my cartilage and bone.

Your rock face in morning light
deep in slumber, ravaged by weather.

For years we have walked all over you
pushing you deeper, further away.

One day you will be gone
then we will walk in silence, grieving.




Monday, 16 January 2017

A poem by Patricia Walsh

Razor Wire


You cut yourself on a path to freedom
gouging a desire, a nature discerning
through a glass brightly, a revelation sure.

Beautiful creatures cut you to the quick
the dead carve memorabilia on your able skin,
powdered initiatives sucking dryness bare.

Cat bell on my wrist, no impending danger
necessitates the sound of a caged cat's wiles.
An antichrist's calling, a damned's response.

Climbing over illicit walls, wires to be cut
could you walk for miles and miles and miles
after various incisions, bleeding from tenacity.

You make your escape, ragged though it is.
Paths to freedom wet from endurance
immaterial, for the last time, now defunct.

Relationship status, disappeared
once over the edge, you are gone for dust,
hitting the ground stumbling, speaking mania.

An open coffin eats at your speed
at which your escape is found wanting
flourishing in headstones, a triumph remembered.

No funeral can cull you, no burial discern
a cartoon existence suiting you fine
a remembrance of a kind, a suture redeemed.








Patricia Walsh was born in Burn Fort in 1976. Previously she has published a collection of poetry, titled Continuity Errors, in 2010, and has since been published in a number of journals across Ireland, the UK, and the US.

Thursday, 12 January 2017

A poem by Ann Leahy

Cellulite Bandits

for (but not about) my sisters   

We are the cellulite bandits.
We threaten with a flash of thigh.
From editors of Tabloids, we enquire
‘Why stick to breasts if you like wobbly bits?’

We strut on beaches wearing scarlet
thongs, urging other bathers not to hide -
‘Admit it, dimples do look cute on thighs.’
We are the cellulite bandits.

Coffee, clotted cream, chocolate with red wine –
we publish diets that are good for it,
campaign for stipple, champion wood chip
and threaten with a flash of thigh.

We raid department stores, mount pickets
over sales of firming gel. ‘CHOOSE CELLULITE.’
our placards say, ‘THIGH-DIMPLE PRIDE.’
We are the cellulite bandits.

On Rubens’ birthday, we arrange for picnics
at pool sides – dress optional. Guests vie
to win the titles ‘Lumpiest’, ‘Ms Jellified.’
We are the cellulite bandits.
We threaten with a flash of thigh.

(This poem was previously published in the collection 'The Woman who Lived her Life Backwards' Arlen, 2008)









Ann Leahy’s first collection, ‘The Woman who Lived her Life Backwards,’ (Arlen House, 2008) won the Patrick Kavanagh Award. Individual poems have also won or been placed in national competitions in Ireland and the U.K. (such the Gerard Manley Hopkins, The New Writer, the Poetry on the Wall, Clogh Writers,’ and others) and she has twice had poems commended in the British National Poetry Competition. She was also shortlisted for a Hennessy award. Her poems have been published widely in journals and anthologies. She grew up in Co. Tipperary and lives in Dublin.

Monday, 9 January 2017

A poem by Jeffrey Heath

Wedding Rings You’ve Lost Along the Way


I.

The first
                   (not your real mother's
but she took you to raise)
sleeps like ashes in a box,
etching smoothed to a sigh
over years of turning it 'round
holding the stone in her palm
through every Sunday service.

II.

Your husband's,
                    cut away in a sterile room
from a swollen, bloodless finger,
a day after you disclosed the affair.
Stray fist against the stone walls of
a home in a storm, slowly melted,
never realizing what was broken,
No way to save it, they said;
now he wears it as a groove,
bone raised around empty space.

III.

Then it was your own
stolen by a whisper of current,
surfacing from the Gulf waters.
You renewed your vows there:
a beach outside Pensacola,
salt in your hair & a sting on your lips.
Eighteen years, give or take a separation.
Hands naked,
                     broken,
                                  joined together
remarried to an ocean.








Jeffrey Heath formerly lived as a cat stalking the shores of South Florida. He currently lives in Memphis, TN where he works for a non-profit. His work has appeared online and in print in PSH, Eunoia Review, Synesthesia Literary Journal, The Syzygy Poetry Journal, and as a Goodreads monthly feature among others.

Thursday, 5 January 2017

A poem by Stuart Bartholomew

Bird/Glass


At swingball speed, the wren
arcs towards the square
of light. The spittoon clang
of beak on glass chills;

the bird hitting laminate
is the soft touch of a brush.

Will small birds ever
forgive us for erecting
invisible walls across
banks of open sky?

Will we ever forgive them
for being able to fly?








Stuart Bartholomew runs a large bookshop in the centre of Birmingham. He is a founding member of Birmingham’s new Poetry Society Stanza Group, and was recently asked by Writing West Midlands to judge this year’s Birmingham Laureate contest. He is Co-director and Lead Programmer of Verve: A new Birmingham Festival of Poetry and Spoken Word which is scheduled for 16-19 February 2017. Sometimes, he writes poetry.

Monday, 2 January 2017

A poem by Frances Sackett

Fidelity


The stars have kept their places
but youth has vanished, taking
all its haunting love songs.

We push age away but catch it
looming: faces of parents,
dead or alive, freeze the future.

But we are still in love.
The ‘other half’ - that hated phrase -
speaks to Death, asking how

the widowed one will gain their independence,
when independence is a childish whim
and only leaves one bond to form another.

And Death replies dispassionately:
The poison plant, the treacherous cliff,
fidelity is death in one another’s arms.







About Frances Sackett
I have written and published poetry for many years. Poems have appeared in numerous UK magazines and anthologies and I have a poetry collection called 'The Hand Glass' from Seren. I also write short stories and travel pieces.

Friday, 30 December 2016

A poem by Tom Sastry

Before entering 2017


Try to see clearly what it is you love.
Whatever you love, be honest.
If it is your family, more than the world
do not be ashamed.
If it is your cat
or the smother of the morning bed
or a certain goal scored at Wembley in the 1970s
have no regrets.
Be proud of your love.
Bring it to mind. Bring it to the front
ahead of all other concerns.
It is hard to do but not impossible.
Hold it, as literally as you can, in your hands.
It is touching you. Touch it back.
Say goodbye.
You need to get it out of the country.
You need to preserve it.
Write it, draw it, pickle it, cure it
freeze it, hide it, bury it,
put it in a bottle,
tell it to a friend,
carry it in the hollow sole of an old shoe
to wherever it will be safe.

And when hope has bolted
into the deepest cave of your belly
hiding from all the temporary things,
the memory of your love will have a form
and you can summon it -

when its lightness feels like an insult,
when you need it most.






Tom Sastry is a poet and spoken word artist living in Bristol. He has been widely published in print and online. In 2015 six of his poems were selected from tens of thousands for inclusion in the anthology The best of 52. He was chosen by Carol Ann Duffy as one of the 2016 Laureate’s Choice poets and his debut pamphlet Complicity was published by Smith/Doorstop in October 2016.

Thursday, 29 December 2016

2 poems by Grant Tarbard

The Process of Becoming Smaller


When the days go timid as a blind mouse
my goose flesh will sag like a rice pudding.

Eyebrows of a thousand motions,
as alive as a galvanised corpse.

The reanimated quiver of a left eye,
adjoining muscles contort into an ox jaw grimace.

A morel nose designed to shatter,
fighting the solid shade of it's being.

The cadaverous contraction of a smile
is in the process of becoming smaller,

callous as a rosary
beneath a bistro of greasy hair.






About Grant Tarbard

I am the former editor of The Screech Owl, co-founder of Resurgant Press, a reviewer, and a poetry reader for Three Drops From A Cauldron.

I am the author of the collection As I Was Pulled Under the Earth (Lapwing Publications), as well as the chapbook Yellow Wolf (Writing Knights Press). My third book, Loneliness is the Machine that Drives the World (Platypus Press) was released in May of this year. I have two pamphlets on the horizon, one with Indigo Dreams, one with Three Drops Press.


---
First published on 15/12/2015


Winter Garden


The lover, wrapped up in a snug blanket, 
a cocoon she'll prize apart when paper 
cut sheaths of a late dawn break over the 
mechanical tick of the horizon.

Her tangle of eyes, compressed tight into 
the sofa cushion, ignore the chalky 
pigmented powder of a diffracting 
winter, loyal to an image of the 

past. I worry about floating, how long 
do I sit here? I dangle on a string 
of ears listening to your chest rise and 
fall as if its attached to a ballon.

I ignore all sounds but whispers of ghosts, 
thrushes singing in their winter garden.



Monday, 26 December 2016

A poem by Alicia Hoffman

Every Day I Discover Something


A carpenter ant curling the lip of the dog’s dish.
A cutworm moth clinging to the kitchen towel.

Just yesterday, corn tassels grew like unicorn horn
from what we had hastily planted in infertile soil.

There is a man that lives on the corner who speaks
no English beyond Good Morning, How Are You?

Every day I discover him near the garage of his house
trying to tune an ancient radio, unrig a washer, dryer,

fridge. A junk collector, he drives the city on Thursdays,
crams treasures into a rusted-out van. The fact I speak

no Spanish shames me. I smile and nod and wave.
Walk away. I am aging. At night I slather creams

on the creases of my face. I measure appropriate intakes
of sugar, salt. Every day I discover more ants. Unsure

of where they are coming from I take the small hose
of the vacuum and suck them up. If I’m killing them

or giving them a wild ride they can climb out of
I do not know. Too many hold on to God. Only He

gives us what we can handle, the church ladies say. Days
I feel I am saved from some mysterious being coming

to squash me like a bug under a boot I don’t say a prayer.
I see the crabgrass grow and the clover speckle the lawn

like small stars. Most of us are strong enough untested.
By day, I weed out the dandelions. By night, they rise.








Originally from Pennsylvania, Alicia Hoffman now lives, writes, and teaches in Rochester, New York. Her poems have appeared recently in Radar, Redactions: Poetry and Poetics, A-Minor Magazine, Word Riot, Hermeneutic Chaos, The Inflectionist Review, and elsewhere. Her second collection , Railroad Phoenix, is coming out early 2017.

Thursday, 22 December 2016

A poem by Justin Hilliard

the production that is my life


the curtain rises
ENTER wailing child
carried to the next room
by DOC in scrubs
and circumcised

act 1
child grows and is closely watched by
MOTHER who goes back to work in the
factory when he turns 4 and FATHER
who stayed in the factory to pay for
a growing newborn and a high
maintenance wife
churches come and go,
but nothing really sticks with him, nor
does anything noteworthy happen for the
next twelve years until he
gets laid by SUZZIE who
never knew what she wanted
and only has
4 lines of dialogue
child graduates and goes to college
mostly for the solitude of his dorm

act 2
characters dance on and off the stage, but too few
stay until the curtain call
child tries to maintain his grades, but
he drinks and smokes
until life moves along in the
blur he’d been looking for
enter the love of his life SASHA or was it MONICA?
settle on GIRLFRIEND
who moves into his dorm
where their grades can plummet
together
child’s FRIENDS are numerous and mostly the same
coked up party kids and ne’er do wells
he’d ran with his entire life
child smokes a pack and a half a day,
but girlfriend wants him to stop

act 3
during the intermission you missed
child drop out of college after
graduating to two packs a day and losing
his girlfriend
he found a job at the factory
on a recommendation.
he grew old fast and did
nothing noteworthy
child signed up for mature dating
and found someone as lonely as him
named WINNIE, the name lingered in
his throat like the booze
he quit years ago
child retires from the factory
with hardened blisters as his
sole severance

the curtain falls
the show is over








Justin Hilliard reads and writes along the beaches of his native sunshine state, where he also edits his literary journal, The Chaotic Review

Monday, 19 December 2016

A poem by C.J. Miles

Something Not About a Damselfly


There is a sky, I'm told, above
Everything: drunk, dizzy,
Screaming, I gave you rivers,
I gave you cancer, what more?
Why are you always calling to me?
I am always calling to you.
I've spent the last eight hours flirting
With the walls between us.
Living alone, what a dumb way
To be, so I am giving up on being
Good at anything that isn’t you.
There is a sky, I’m told, above
Everything, and today you are
That sky, a scratched record
That keeps skipping: hip thigh,
Hip, thigh, your funny bone,
A laugh track to everything
That makes your spine blush.
Imagine if dragonflies breathed
Fire, imagine the sun stopped
Paying rent. Watch me forget
Everything that came before you.
Watch the sky, always above
Everything, gripping what we know
To be the ends of tomorrow.








C.J. Miles lives in Iowa with his wife. His poetry has appeared or is forthcoming in Forage, Eunoia Review, and Algebra of Owls. Follow him on Twitter at @cjmilespoet.

Thursday, 15 December 2016

2 poems by Maurice Devitt

Mrs Mourinho’s Weekly Shop


She plans with liquid precision,
her hand-written list a fragment
of cursive joy and every week
she tailors the formation.

When she learned that attack
was the best form of defence,
she front-loaded with red meat
and carbs, added extra sugar,

leaving the fruit and veg to sweep
up at the back. When she thinks
the going is likely to be soft
she will pick a team of cereals

and pulses, enough roughage
to facilitate a passing game.
Is comfortable in Tesco’s
but when playing away

in Lidl or Aldi, she expects
a more continental form
of open shopping, parks
the bus and believes every item

to be ripe for substitution.
She was one of the first to spot
the potential of kale, scouted it
in a small speciality shop

on the other side of town
and completed a swap that included
the young, sprouting broccoli.
Happy at first with its

performance, particularly
when partnered with potato,
latterly she found it
too green and had fallen back

on two experienced heads,
cauliflower and cabbage,
old-fashioned but reliable.
As the shopping window

closes, she has been tipped off
about a young, versatile
foreign star, but is worried that
quinoa may just be a flash in the pan.



-----
Previously published on 2nd February 2016

Raft of the Medusa

After Gericault

The sea swells and the boat bares its teeth,
stands tall, pushes into the crowded waves,

His skin becomes porous as he clutches
loose handles of air, weight drains

and his arms are like ribbons flapping,
his face flattened by the wind.

He feels himself swallow the storm,
gulp it down until it rages inside and out,

eyes rolling in concert with the sea. No time
to consider the sacrifices made to get here,

no time to scan for the cropped shape
of Lampedusa, for now he must scramble

with the flotsam of death, swaddle his son
against seething eyes and treacherous hands,

count every breath, forget the words
for panic and fear, because today

may never spell tomorrow, and hope
is impossible to calibrate, when every hour

seems to sneak in extra minutes and the men,
who survived last month, are found

smothered in an English lay-by.


About Maurice Devitt


A graduate of the MA in Poetry Studies at Mater Dei, he is the recent winner of the Trocaire/Poetry Ireland Competition 2015. He has been placed or shortlisted in many competitions including the Over the Edge New Writer Competition, Cuirt New Writing Award, the Listowel Writers’ Week Collection Competition and the Doire Press International Chapbook Competition. He has had poems published in various journals in Ireland, England, Scotland, the US, Mexico, Romania, India and Australia and is a founder member and chairperson of the Hibernian Writers’ Group.

Monday, 12 December 2016

A poem by Luke Schamer

You Must Squirrel


A lone squirrel sat on the roof’s edge
and nipped at fall leaves, trying
to contain a leaf with only
one front leg.

Maybe she was deformed, or lost
the other front leg in an accident,
maybe a switchblade left open
in the woods she called home.

Suddenly she was not alone
but instead encircled by other
squirrels, just like her.

Except the others had all
four legs.

The other squirrels obviously
came to assist Lost Leg’s feeding.

But rapidly the family of squirrels
—most likely Lost Leg’s own—
bit harshly at her body and neck
as Lost Leg opened her jaw
in pain as she attempted
to clamber away.

At school, she sucks in her
stomach that presses too hard
against a soft heart,
wishing to be invisible.





Luke Schamer teaches English at a juvenile detention center in Dayton, Ohio. He has had writing published by Star 82 Review, Matchbook Literary Magazine, Eunoia Review, and Maudlin House, among others. In addition, Luke is a produced screenwriter for three films: Drop of a Cane (comedy, 2017), Before Flame (drama, 2016) and Fire, Rain, Wind, and Snow: A Story of the Prairie (documentary, 2016).

Thursday, 8 December 2016

A poem by Pippa Little

My Other Body 


might be wildly unafraid of oceans
and how it feels to be rubbed in lard, with strong lungs
and hot sting of piss against icy thighs

might be a stunt double famous for soaring dives
or mother of dozens, climbing a mountain of babes;
maybe an inmate, pacing my six by eight cage,

nearly humanoid but for a fuzzy orange hide:
somewhere, my other body has pleasured a hundred lovers
bloomed like the queen of the night
and goes with me always, on the insides of my eyes








Pippa Little is Scots and now lives in Northumberland. She is a Royal Literary Fund Fellow at Newcastle University. Her latest collection, Twist, is forthcoming from Arc and a pamphlet of Mexican poems, Our Lady of Iguanas, published by Black Light Engine Room Press, came out this spring.

Monday, 5 December 2016

A poem by Louise Robertson

My Brother's Biological Father Asks for Forgiveness


When my brother
Facetimes me Sunday
at 4:30 pm,
with the tablet half-pointed
to the ceiling so I can
just see his chin
and a bottle bobs into
view like he’s showing it to me
on purpose,
I start walking. Phone
held away from my head, I get
out of the house. I go
over the grass yard and falling-apart
driveway, head toward the bike trail
by the creek. This is a year
with cicada. They shiver and the sunlight
sieves through the leaves of ash trees
marked with red exes and the ash trees
soon-to-be thus marked.
My brother
confesses what
his biological father told him
when he tracked them down.
They tried to abort him. Why’d
you do that? I don’t say.
We know where we come from.
The creek folds its own water.
Our lives are supposed
to be filled with shame,
start to finish. Let me
illustrate: 20 to 40 pounds heavier
and I’m sorry. Two whiskey bottles
down and my brother is
sorry. Get born at
the wrong time: Sorry, sorry.
My brother's biological
father is dying, is dead,
has to pull off that coat,
had to get
out his secret truth
to the one he did it to.
My brother
made the sign
of the cross and
ate the sin and let his
biological father go.
We know where we come from.









Louise Robertson has completed the following checklist in no particular order: Journal publications (Crack the Spine, Red Eft Review, Gyroscope, and others). Poetry event organizer. College (Oberlin). MFA (George Mason University). Awards (Mary Roberts Rhinehart, Columbus Arts Festival, and others). Slam teams (Rustbelt, NPS, and others). Full-length book (The Naming Of, Brick Cave, 2015). Has trouble sleeping. Tries to be nice. Likes biking and swimming. Hates running. Does it anyway. Loves her two kids.

Friday, 2 December 2016

A poem by George Morehead

This is our first poetry film - depending on the number of submissions received, we hope to intersperse future posts with Poetry and Poetry films. I highly recommend that this film is listened to with headphones.





George Morehead used to follow foxes through the dark. In 2016 he buried all manner of cursed things in a hole beside a tree. He is the determined survivor of a brain that went bang, and prays with hope for light to fill any terribly wounded hearts. He's very certain your next adventure will be better than your last, and told me to tell you, "Bon nuit mon amour, bon nuit."

Thursday, 1 December 2016

A poem by David Henson

This Time, Swords


A giant sword rises through the floor,
skewers the sofa,
pokes through the ceiling.
She turns the page.

A blade crashes
through the window, slides
behind her neck.
She tilts the book out of the shadow,

then lifts her feet
as another sword nicks at her heels.

She fights to stay awake
as a half-dozen more
criss-cross around her.

The land line sounds.
When she picks up, a pin
juts out of the mouthpiece
between her open lips.

Applause crackles in her ear.
She hangs up then twists
and limbos to bed --
tomorrow's another day.





David Henson and his wife live in Peoria, IL. His poetry has appeared in two chapbooks as well as various journals including Ascent, Lullwater Review, Pikestaff Forum, and 7x20.

Monday, 28 November 2016

A poem by Christopher Iacono

Earth, Waving

Inspired by Bridget Riley's Fall (1963)

A rumble outside the window
trickles into your ears
like shooting drops of rain.
A waving floor shifts your feet,
bends your legs.
Then the first picture frame
slides down the wall,
the second one
collapses on the mantle
before crawling over the edge,
broken glass streaking
into your veins,
cracks growing like ivy
against the wall,
sheet-rock powder
sprinkling on the carpet.
Hundreds of crashes
pummel the wet sand
of your skin, rivers of noise
overflow in your skull, linger
until you yank the door open,
run from the threatened shore.
When the flood recedes,
you gaze into the last shards
of glass intact in the mirror
before the sight of the damage
sends the final tremor.






Christopher Iacono lives with his wife and son in Massachusetts. He has been published in Zetetic: A Record of Unusual Inquiry, Dirty Chai, Pidgeonholes, among others. You can learn more about him at cuckoobirds.org or find him on Twitter (@ciacono1973) or Instagram (@ciacono761).

Thursday, 24 November 2016

A poem by Colin Crewdson

Sprites


Prompts, night flares:
      
Last night you were blond,
      
bobbed.  You had a small sharp nose.
You left for Paris.

Before:
       
You walked like a farmer,
       
solid, mistrustful,
your mind on the technicalities of minutes. 

In the darkest night of grief
you carried off the last light, a thief
softly unbodying herself.
 

And then:
               
You leant over
               
created a bridge over the years
       
        with whisps of golden hair.
Should I feel grateful?

Photogenesis:
                
neurones briefly flash,
                 
noctilucent,
                 
as your torch beam
swings by in the dark, randomly. 






Colin Crewdson lives in Devon where he works as an osteopath, after a career in other european and middle-eastern countries. He's been published in Ink Sweat & Tears, The High Window, The Open Mouse and The Journal.

Monday, 21 November 2016

A poem by Julia D. McGuinness

Not Muriel


Low sun through the windows
gilds dust in a bone-weary lounge.
A rasp cuts the air; specks whirl.
That's my sister! It's Muriel!
A stranger spears her finger
at me, pins me not Muriel

with a rigid stare, shadowed
in sockets dark with old grievance;
Her stiff hand needles my sleeve.
What's happened with the house?
I flinch, like a Muriel clamped
and mantled to fix the family.

Stumped, I scan bodies slumped
in Care and see Mum asleep,
mouth open, in a tan chair:
upright; plastic; urine-resistant.
I crouch low, whisper by her face
the name she gave me once.





Julia D. McGuinness lives in Cheshire where she writes, counsels and runs writing workshops for creativity and wellbeing. Her poems have been published in anthologies and online appearances include Clear Poetry, Nutshells and Nuggets, Spilling Cocoa over Martin Amis and Ink, Sweat and Tears. Her collection Chester City Walls, was published by Poetry Space in 2015. She belongs to Lapidus, the network of therapeutic writing practitioners, and the Mid Cheshire Stanza BLAZE.
Visit her at www.creativeconnectionscheshire.co.uk

Thursday, 17 November 2016

A poem by Louisa Campbell

Feral You


Oh no, no, no do not forgive,
but grab on tight to all your grief.
Don’t take your fury by the arm
and frogmarch it into the street:
It will survive on scraps of thoughts
and memories left out for it

and sometimes scrawny, sometimes sleek,
at night time it will stand and screech as
bold as brawn, outside your gate,
when you're grown up,
when it's too late.







Louisa Campbell is a product of a weird religious upbringing, happily married (third time around) mother of two children, who hangs around spa towns. A psychiatric nurse in the past, she now has a bizarre illness that can make her everso slightly psychotic, but has the bonus that it provides lashings of material for creative writing. Her ambition is to reach out with her poetry and connect with, or even comfort, someone. In the mean time, she adopts stray dogs, stray people and stray thoughts. And bakes cupcakes.

Monday, 14 November 2016

A poem by Hilary Hares


Illusion

Braque expands upon a collaboration between himself and Picasso  (Céret, 1911)


Come, let me be your guide, I know the cypher to its depths.
   We call it Clarinet and Bottle of Rum on a Mantelpiece.

Pull the bottle from the cork, drink from its geometries,
   attune your ear to subtle notes of ochre and grey.  

Now, abstract your gaze.  See how the images surface and dive,
   overlap, distil.

What?  What’s that you say?  You see no clarinet, no mantleshelf,
    no bottled rum?






Hilary Hares has a BA in Creative Writing from the University of Winchester in 2010 and an MA in poetry from Manchester Metropolitan University. Her work has appeared in the following:
Anthologies: Lines Underwater 2013, Inspired by my Museum 2014, Hampshire Writers’ Society Anthology of the Best of 2011-2014
Competitions: Grey Hen Poetry Competition 2016 (shortlist), Christchurch Writers Competition 2013 (First Prize for Poetry), The Plough Prize 2011 (longlist)
Collaborations: Elemental Dialogues (www.elementaldialogues.wordpress.com), Writing Hampshire (www3.hants.gov.uk/writing-hampshire).
Magazines: Antiphon, Bare Fiction, First Time, South, Obsessed with Pipework, Orbis, The Interpreter’s House, The New Writer

Thursday, 10 November 2016

A poem by Elizabeth Gibson

As the darkness fell


Red spots, ink stains on your back became a
flowing stream; fear in my mouth, my legs, as I
ran upstairs the way I would always run after my
big brother but there was no man to hold me,
hold us, when the darkness fell.

You sat in the office with Mr Jump, holding his
soft green body, bandy legs dangling. You knew
something was wrong but you were serene. Emily
bounced about and then came to cuddle you, eight
condescending to six as the darkness fell.

If I thought you would be like saintly invalids
in books I was gladly wrong. You taunted your
sister, black spots beneath your eyes, as she
scratched her head furiously and screamed at you
and all seemed okay as the darkness fell.

Trawling through the zoo with a buggy – mine?
No, it was your cousin who slept, oblivious
to the treat that I had dragged myself out to
bestow upon her. The giraffes didn’t impress you
either, as the darkness fell.

You turned seven and we celebrated in the garden,
your long legs making waves in the grass and Emily
rocked her chair and told you not to rock yours
and the bad meat made her sick but you were
spared, thank God, as the darkness fell.

You went back to school and did well but you
were never like them; never loud, clever, fast.
But you survived, your summer hat perched over
your new curls and my psoriasis erupted and
I didn’t give a damn as the darkness fell.

When the thunder crashed you listened, rapt, while
Emily stood trembling. We watched all night and
she seemed okay, I couldn’t be sure but separating
you would be wrong and taking you from what you
loved would be a sin as the darkness fell.

You couldn’t eat a thing, you said, you cried when
I tried to make you, you were sick and sick and sick
and the doctor looked at me and shook his head and
I knew that was it. How I longed to feed you from a
banquet of the gods as the darkness fell.

The white of the bed, the sheets, as we stand looking
at Emily who will give her cells for you, who is smiley
as ever, cheeks full of colour and you are white and
thin and I know this is our last chance and I love you,
I love you as the darkness falls.

Today, my darling, you will get new marrow and get
better; you will run wild, two little girls keeping up
with one another how it was meant to be. Tomorrow
all will be well so I will say goodnight and hold
you tight as the darkness falls.






Elizabeth Gibson is a Masters student at the University of Manchester and a Digital Reporter for Manchester Literature Festival. She is a member of Writing Squad 8 and has work published or forthcoming in The Cadaverine, London Journal of Fiction, Far Off Places, Myths of the Near Future, The Mancunion, Octavius, Severine and Ink, Sweat and Tears. She tweets at @Grizonne and blogs at http://elizabethgibsonwriter.blogspot.co.uk.

Monday, 7 November 2016

A poem by Jo Waterworth

Shooting photons in the Canaries 


They can get lost on the way, you know, violating inequality.
We need a security guarantee.
Are Alice and Bob truly influencing each other?
If local realism was to be believed
he would likely be enamoured with the flutter of every photon set in stone.
Hardcore diamonds containing potential bugs patched the universe,
but so ingrained into our daily thinking is a property called spin
that every test they did was toast, leaving a gap,
a hypothetical pair conventionally known as
rival teams at the University.

(with thanks to New Scientist)






Jo Waterworth lives in Somerset, is a member of Wells Fountain poets and has performed with Strange Sisters. She has won prizes and been published online and in print, most recently in I am Not a Silent Poet, Hedgerow, Gnarled Oak, Obsessed with Pipework, Poetry Space showcases and prizewinners anthology. Her pamphlet My Father Speaks in Poetry Too is available from Poetry Space. Currently studying at Bath Spa University, she blogs at https://jowaterworth23.wordpress.com and https://jowaterworthwriter.wordpress.com

Thursday, 3 November 2016

A poem by Bethany Rivers

Honeymoon


Laughter flings itself on the walls
of a derelict Spanish village.

He stops on the steps
between two tumbling cottages,

sperm leaking down my leg.

He turns his palm to the sun blenched wall
and listens, as if with a stethoscope

to the baby in my womb
two years from now –

before we know it dies.

I want to be his hand against the wall
skin against stone, warmth of ages

the generational laughter
trapped in horse hair crevices.

I watch the caress of the wall –
those fingers that slid inside

and made me cry out not an hour ago.
I listen to my stiletto heels echo

as I climb up the sandstone steps
to where he is, I catch his glance

lilting between sun and shade
and I forgive him, everything.





Bethany Rivers' debut pamphlet has just come out (July 2016) with Indigo Dreams Publishing, called 'Off the wall' - a collection inspired by a series of paintings on the theme of finding your voice. Previous poems have appeared in Envoi, Sarasvati, Cinnamon Press, Bare Fiction, Picaroon Poetry, Clear Poetry, and many others. She runs poetry inspiration and healing days and mentors writers through writing their first novel/memoir. www.writingyourvoice.org.uk

Monday, 31 October 2016

A poem by Maggie Mackay

How to Distil a Guid Scotch Malt

Separate the Gross from the Subtle
                                             
Hieronymus Brunschwig

Wrap yourself in Mum’s dressing gown, its envelope-hug,
pour a dram of uisage beatha, sip peppery Talisker peat.

Hear the barley grain grind in the mill, conjure a mash in the steel tun,
a flow into the wash, stroked by hushes and baloo baleerie.

Gloamings on salty coastlines, sweet kiln smoke, skin oil grams,
cloud the floor of the tumbler, climb the sides, pull you into the cask.

Acids blend with ethanol, transform into esters, fruity and aromatic.
A Hebridean sunset copper-pots your tongue, biscuit-beaches rise in your throat.

There’s a nip in the air, a lifetime of goodnights fermenting in a kipper fire.
Her arm entwines in yours. She comes home, full flavoured.

Task begun, the heart of the run is now, my middle years of fear and longing.





Maggie Mackay, a retired additional support needs teacher and lover of jazz and whisky, lives on the east coast of Scotland and is enjoying life as a final year Masters Creative Writing student at Manchester Metropolitan University where she is currently working on her poetry portfolio.

She has work in various print and online publications, including Bare Fiction, Ink, Sweat and Tears, The Interpreter’s House, Prole, Indigo Dreams Publishing and in several Three Drops Press anthologies.

Thursday, 27 October 2016

A poem by Helen Kay

Floaters


She swims into herself,
to see the tadpoles darting.

They tease her scarred attention
to the lie of space before her.

Tail whip to free fall. Blink.
Pupils close in to catch them

in a vitreous underworld
of flaking retinal spawn.

Experts gaze in crystal balls,
and predict the changes

of moons she cannot reach.
She foresees latex fingers

fishing out crescent larvae
before eyes spew out toads.





Helen is a dyslexia tutor and proud owner of five hens who inspired her debut pamphlet, A Poultry Lovers' Guide to Poetry published by Indigo Dreams in 2015.

Monday, 24 October 2016

A poem by Catherine Ayres

Single-breasted


Always the echo of what’s left,
a heart’s empty warehouse
the swim of abandoned light.
We fall through afternoons,
find ourselves face down and framed
in bottom drawers, holding hands
with bastards in a tomb of bras.
The saints have lost patience;
they grant us single magpies,
blow-dry halos, dreams of bad sex.
Night skins us. We drink the street lights’
wallow, lie quivering in an absence of backs.
Try our false dawns for size:
blink through a veil of clean sheets,
suck your finger, spit dust.






Catherine Ayres lives and works in Northumberland. Her poems have appeared in a number of print and online magazines, including Mslexia and The Moth. In 2015 she came third in the Hippocrates Poetry Prize. She has a pamphlet published by Black Light Engine Room and a collection – Amazon – to be published by Indigo Dreams Publishing later this year.

Thursday, 20 October 2016

A poem by Sarah L. Dixon

Woodland Burial


Feed nature
let scattered plaques of fat
be a platter
for fatter cats
and Natterjacks

my duodenum
would feed them
for the longest season

Feed nature
An evil force ignores
an enormous dormouse
to gnaw my jaw ajar

Feed nature
Weasels deem it feasible
That feet’ll be
a reasonable neat meat treat

Therapy failed to save her
Now starving strays savour
The flavour of her navel





Sarah L Dixon tours as The Quiet Compere. She has been published in Ink, Sweat and Tears, The Interpreter’s House, The Lake and Clear Poetry among others. Sarah’s inspiration comes from being by water and adventures with her five-year old, Frank. She is still attempting to write better poetry than Frank did aged 4! http://thequietcompere.co.uk/

Monday, 17 October 2016

A poem by Emily R. Frankenberg

A Chronology


My grandmother referenced dates in cats:
“Oh, that was in the time of Pixie the First,”
or “Those were the days of Mittens,”
elevating them to the status of dynasties
or perhaps of Old Testament prophets.
The interregnums were brief and generally
relatable in dogs, or in apartments, or in hamsters.
Thus, a bird flew into my mother’s birthday cake
sometime at the height of the reign of Teddy,
and I was born in the decline of Pixie the Second.
I miss this way of classifying dolls and Halloweens,
kitchens abuzz and yards of fireflies illuminating dusks:
the things that chafe against the measure of a day.
I miss the angle of her lilt bent toward a village in the rain
across the jagged wound of ocean intervening.
I wrote her phrases in a notebook in a print now obsolete
in the era of Snowy and my recurring C’s in penmanship.
Some would have said it was Scotch-Irish dialectology,
but for me it was her voice, and when I try to hear it now,
it comes back staticky and odd. I heard her clearly once,
not knowing it would be for the last time,
in the overlapping reign of Tinkerbell and Mittens.






Emily R. Frankenberg was born in New Jersey and graduated from the University of Delaware in 2004 with degrees in Spanish and English Language and Literature. In 2006, she moved to Seville, Spain, where she continues to live. She writes in both Spanish and English and has been published in the United States, Spain and Colombia.

Thursday, 13 October 2016

A poem by Caty Lee

Who would like to nominate the white blood cell count
For the Zelda Fitzgerald emotional maturity award?

Some skid-free mats,
Misrepresentation by wheel chairs,
A hospital elevator in non-repair.
Sort of reductionist, but

the thin scope down my throat loves my
California-poppy esophagus
denoting acceptance
of scandal by strategic eye contact.

It’s never sunny anywhere except the muscles
Of Mesa, Arizona. Lesions large enough to be seen by the naked eye,
And my platelet count clicks into
Chromosome avalanches in the spinal
tapping irony from the sidewalks of Eastern Standard Time.

The fruitful doubts that emerge when eyeing my CT scan,
Subliminal messages from some German electronic band,
Some cancer of the gut I’ve been meaning to get beyond.







Caty Lee likes third-person biographical information, clementines, the mind-body problem, and synthesizing with literary texts. As far as she understands it, honest writing is about tending to the sore back and the philosophical leanings at the time of deliberation. It isn’t about conforming to a self-sponsored concept of what a reader wants to see. She is an English major at St. Bonaventure University and hopes to embark on an MFA program after completing a bachelor’s degree.

Monday, 10 October 2016

A poem by Linda Leedy Schneider

I Can’t Forget


    the lilac bushes or the secret space
in the center of their circle,
sheltered from the sun.

I can’t forget   
    the sound of bees gathering nectar
from lavender trumpets,
or jazz drifting from an open window.

I can’t forget
    the lingering taste of buckwheat pancakes
and syrup from the sap of our maple tree.

I can’t forget
    the feel of my first grade books
or the joy of reading them over and over.

I can’t forget
    my hideaway protected by heart-shaped leaves,
or the boy, visitor next door, who intruded.

I can’t forget
    the music, the scent of lilacs,
my books, his hands,

or his grandmother who said I lied.



Previously published in Peninsula Poets







Linda Leedy Schneider, poetry and writing mentor and psychotherapist in private practice, was awarded the 2012 Contemporary American Poetry Prize by Chicago Poetry. She has written six collections of poetry including Some Days: Poetry of a Psychotherapist (Plain View Press) and has edited two collections of poetry written by poets whom she has mentored: Mentor’s Bouquet (Finishing Line Press) and Poems From 84th Street (Pudding House Publications 2010).

Thursday, 6 October 2016

A poem by Elena Croitoru

Changes


Two countries ago, mother
spread like the horizon. Immutable.

She is now crayoned in sepia ink.
The borders have shrunk her.
Must not go back,
for she is thinner every time.
A sliver of feeling leaves me.

Her skin is heavy, full of lines assembled into a map
of wrongs and rights.
Her heart is a violin filled with water,
no longer echoing.

She must be looking at the bones of a memory
past the bedroom eaten by black threads.
She must be sliding her fingers
on the umber desk, like I used to.

I did not tell her the stars took me in.
I used to climb up there
when it got too loud.

If she were to see it too
the cold forever, disguised in trembling light,
the cemetery of young thoughts,
her life would fall into mine and
we would fold the world into what
it was supposed to be.





Elena Croitoru is based in London and is working on poetry, short stories and novels. She is currently studying for the Diploma in Creative Writing at the University of Cambridge. Her work has appeared or is forthcoming in Slink Chunk Press, Foliate Oak, The Front Porch Review and other magazines. One of her stories has been selected as an Editors' Choice in Bewildering Stories' Fourth Quarterly Review of 2015. She also works as a software developer.

Monday, 3 October 2016

A poem by Jane Burn

YOUR TRUE LOVES ARE THE END OF THINGS


Rest, they say. The vanquished heart
                                              is a peaceful heart,
no more need for questing. The victory
                                   is soft, soft
as the invisible fall of a wasted eyelash, but definite
as railtracks. You can pass into legend, now. I have
a file for you, between
                        this and that,
            him and her,
   them and it.
            Daedaleum,
                       flicka-flicka-flicka-flicka -
I got you stuck in this moment, just as I come
in a room and your head goes up
                                    goes up-goes-up-goes-up.
The colour of your iris is immaterial.
                                             Flicka-flicka-flicka-flicka.
Smile a little. Who ever knew what you
were thinking anyhow? I made another crock of shit,
that’s all. My zoetrope love, pushing back your chair,
                                half rising-half rising-half rising.
                        tilt-tilt-tilt-tilt your neck
            and smile, look away. You,
pretending not to see me, pretending
            not to see you. You, looking out the window,
                        at an empty glass – you fold your arms and
                                it hurts my heart.
                                        You and me, we wear our scars
like lacework across the skin of tripe. We ought
to be snatches of light, escaping their gyre-ing gaps.
                                   Flicka-flicka-flicka-flicka-
                       flicka-flicka-flicka-
           flicka-flicka-                        
flick.




Jane Burn is a writer and illustrator based in the North East of England. Her poems have been published in a variety of magazines and anthologies, from The Rialto, Iota Poetry, Obsessed With Pipework, The Interpreter's House, the Black Light Engine Room Literary Review, Kind of a Hurricane Press, Beautiful Dragons and the Emma Press. She is also the founder of the online poetry site, The Fat Damsel https://thefatdamsel.wordpress.com/