© Cheryl Snell
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
I lean against a white wall in the hot sun,
considering the outnumbering dead
encircled close within high walls and synagogues,
where stingy paths wind through crowding stones
considering the outnumbering dead:
thirty thousand lie buried layer on layer
where stingy paths wind through crowding stones
climbing over each other jostling for space.
Thirty thousand lie buried layer on layer
densely packed and wedged
climbing over each other jostling for space
in the old Jewish cemetery in
densely packed and wedged
encircled within high walls and synagogues.
In the old Jewish cemetery in
I lean against a white wall in the hot sun.
© Margo Roby
Egg White Lies
The snow's a foot deep and you're late again.
I order anyway:
bacon, grits, biscuits, two poachies.
Ten minutes and I'm served:
grits in center, eggs an inch apart at one edge,
bacon and biscuits on a second plate.
I drop a biscuit in the middle of the grits,
lay one strip of bacon opposite the eggs,
one strip each above them.
The waitress gives me a dirty look.
I
glance back at the plate.
The round, yellow eyes stare at the ceiling,
waiting for my fork to vent their tears.
But I'm in no hurry, time to prod the limits
of breakfast art and waitress indulgence.
My phone rings.
"I'll never make it there on these roads," you say.
"Let's re-schedule."
"No problem," I reply, declining to mention
the last flake fell a week ago.
© Thorsten Taylor
Waiting for the
Watch
Take the cigarette from between his
fingers.
His eyes are hammered
shut,
boarded up by
sleep.
Like some great coastal
surge
or the slow undertow of
dreams,
my father's body is a force of
nature:
soot, bone, muscle and wrinkled
skin.
Look around this
house–
the asphalt shingles and siding tick like a
clock
radiating the heat of a long summer
day.
The sun and a drunkard of a
foreman
both beat him
down.
Everything he wears is blue going
black.
See the high water
marks,
the sweat and soil, the diet of grease, tobacco,
coffee.
He nears the age of his father's
death,
hasn't put up a calendar in
years.
We could bury him in these stale
clothes,
the heavy boots, his worn
recliner.
My father's estate is his
body.
He wills it to me too soon.
© Brent Fisk
A Rock-bottom Opera
Jesus Christ, Superstore,
what is the end cost of saving more?
Jesus Christ, do you think
you have us fooled with that yellow wink?
Yellow wink? Like golden-skinned
children of Bangladesh that you’ve locked-in?
Or Yellow wink, as in mean,
faux all-American stock machine?
Businesses, large or small,
find out the deal’s at your beck and call.
They must fall in line; or fail,
then settle their debts with an auction sale.
Vlasic had pickles cold,
till they became strapped by ‘gallon gold’.
When they tried to back out–
Jesus, they found out who had the clout.
Superstore, you pulverize
company’s coupons to advertise
product lines. “Cut our price.
No need in giving the credit twice.”
Kinkade won't care–he'll concede
ghost painters paint till their fingers bleed.
Irony? "Cottage" art
take-offs are sold by a discount mart.
Jesus Christ, Superstore,
most of your stuff's from a foreign shore.
Recalls claim, "Paint with lead
mistakenly used." (Geez–no kids are dead!)
Stoners stock, late at night.
A stretch of the Equal Employer, right?
Shoppers dodge, if they’re swift,
high-speeding forklifts that have the shift.
Watch young Moms grocery shop:
10 lbs. of french fries in one big plop.
Generic foods can be dull.
Does she need cheaper bean casserole?
By-the-hour wage is poor,
but work on a Sunday, they’ll pay you more.
Yes, they know–Sunday's Church.
But they can't leave their patrons in the lurch.
Jesus Christ–Union Free.
Workers, according to you, agree.
Income in Quebec stores slowed–
So that’s why their new union stores have closed.
Benefit counseling:
No health, for two years–the state will spring:
staff insure with Medicaid
or spouses’ employers, whose costs cascade.
Jesus Christ, we're enticed,
but who in the long run is sacrificed?
Mom & Pop's. Factories.
Families,
both here & those overseas.
Jesus Christ, Discount Mart.
who’s on the top of your Business Chart–
Jesus Christ? Superstore,
your Chief of Staff's on a lower floor.
© Christy Armistead
Boadicea in New York
You look at her and think of whalebone–
scaffolding and width and girth
of clipper ship–a latitude
and longitude of hip: a horizontal sway–
she is the scarifying blue and white
and freezing day–billowing
like some unleashed revenge–
an uncontained appalling female might:
she aims her breasts like cannon–
sails right at the brittle city–woe
to its fragility!–I bow as she proceeds–
and watch her court catastrophe:
striding
off the curb: a grudging
cab stops short of her disturbing mass–
she deigns to let his growling engine pass.
Large lady, are you what you
seem–what I surmise?–a cold dream
fallen from the skies–Boadicea
come to rescue us from battle-gray
Manhattan and our January sighs?
Outside the Blue Goose Inn, the men, some
thirty,
who gather for a game or something dirty,
lean on their trucks and de-crack their
breeches.
Schmoozing
among them, the owner, Tony bitches
about uneaten food, the chip and
dip.
Patronize Tony's, you get Tony's lip.
The men don't seem to mind. They eye the
trail
that exits by the plum bush where, without fail,
for eighteen autumns, Waterboy's
appeared.
This one's no different. He lumbers out, face smeared
with kaolin from the plant. The cigar
box,
Tony's collection plate, fills with fives. No one
mocks
Waterboy, though a stream of spittle
hangs
from his lower lip. Maestro Tony
harangues
the crowd to give it up. "Every year, same
show,"
he says. His face, beer-bloated gives off a glow
as he explains that Waterboy's been dumb
since birth. The dumb man listens. He's become
a Caliban who needs this money, though
when one man shoves him to get on with the show,
he shoves back. The man stumbles, spits and swears
at Waterboy before Tony sees and tears
across the yard, shoves his shotgun, a
.410
at Waterboy's temple. Then with one quick spin
they're clawing on the ground and the crowd is
hot
to see some blood. Although a fight is not
on the bill, the cicadas are cheering in the
trees.
The
gun wins. Waterboy, on his hands and
knees,
the .410 pressed against his ear lobe,
gives
them what they came for. As if other lives
were housed inside his burly frame–the
pig,
the cat, the wolfh–he bellows like the big,
dumb black man that he is. It is a cry bred
in silence. It explains what can't be said.
picking
up
when the sun
quits
your corner, you
smooth
your patterns
out
with a needle's
edge
you log into the
fire
embrace the
lamp
demobilise the
phone
and excuse us
all
fallen on easier
times
you knit the way frost
weaves
and diviners
divine–alone,
beyond words
no sleigh-bell
breaks
the spell of
you
or jolts the
prayer-wheel
of your
purls
till inching
sun
works round to
you
and you lay
down
the last stitch
Cinco de Mayo: Anniversary Poem
Spring ripples on the lake,
on the grasses. When he drives
hard and fast along the rutted dirt
of a country lane, they can’t wait
to begin. The cheap motel forgotten
as they sink into the backseat
by the lake: hemlocks fan their heat.
Now, twenty years have passed,
he gathers dust of the same back road,
takes her hand as they conjure up
moonlight, rainfall and peepers.
He senses her readiness to let grudges
fall away with their clothes.
All that is holy is here in this car.
They have dug graves and filled them
with their losses.
Her lips plump when he blows on them,
hemlocks spread their branches.
They listen to spring rain, the creaks
and sighs of their car. He tastes her,
rubs the small of her back
kneads into her hollows
until she lifts her hips to the arch
of his thumbs. He pauses to kiss
her again, lightly like pollen
he covers her stomach with butterflies.
She goes limp. Twenty years gone,
she is crying the same as before.
Her high rapid music slows,
tree frogs, the lull of rain. He brings her back
again and then again, quick
and then another. When he loses
himself into her finally, he is the tremor
that pushes out the windows,
the electric lightning of her eyes.
They have started the slow steady
crawl into the battlefield.
They have followed the beating
of the drums. Despite all
their misgivings, they will win.
I hold the phone,
remembering–
no need to call
today.
Routine's my raft, and as I
cling
I hold the phone,
remembering
a loss. It is a cruel
thing,
this trick the mind will
play.
I hold the phone,
remembering.
No need to call today.
© David Anthony
Poem for a daughter who did not come
home
July gives in to swelter and I am surprised to find
that birds can fly on air this heated. Three swallows
skim past against the fury of the sun; over
the ridge comes the long pull of a train whistle.
A body could not lay cold in this heat. See how dust hangs
over the field like winter fog where the cattle have startled?
I expect to find crystal on the fences and rime under foot
instead of grass long in drought and brittle.
In the back garden are all the flowers we planned for sunset:
honeysuckle, black-eyed Susan, the heavy-headed sunflowers
bowing West. Atop a fencepost the quail cock
is watching his brood, his small eyes vigilant to my
movement. I try to count the chicks diving through the grass,
the hen following like a dervish; I give up; retreat
to the quiet house, open windows then the quail’s call rushes in,
where-are-you, where-are-you, where-are-you
© M.E.Hope
Five thousand years of drinkable wisdom,
as rusty-clear and timely as the rooster's crow,
catch the shower of tiny white diamonds,
swallow their sparkle,
swell away their points and edges.
Two stirs, no more–a day in its starting blocks
deserves a long breath of unforced physics.
The porcelain, a scant degree shy of hot, takes my
hand,
woos a marriage from fingers still miffed
at being torn from blankets and pillows.
My thumb curves upward, at sunrise crawl,
its back tracing the smooth, inner slope of the
handle.
Instinct coaxes my chin and eyelids lower
with devilish promises that submission and darkness
are the perfect escorts to exponential pleasure.
The first sip issues a zesty tenor, almost sharp,
a tinge of wild pecan and green persimmon,
enough to jolt my eyes back open.
The ones that follow wander the orchestra,
finally
settling on tones of comfort
from the morning's mandolin.
I give the cup half a swirl
just to watch the last few granules spring free,
a moment of play for a wrinkling child of fifty.
Boots
And the best present I ever got was a pair of
boots.
They were brown and chestnut, with a swervy
design
which
I slept in and woke in the
night
to caress and to admire the
gloss
And no, wait, the best present I ever
got
was a black horse on springs named
Lightning,
When I had my sword and my cape
more potent than magic, more gorgeous than
gold,
and I wasn't very old then but now I
am
my best present has to have been that
tape
with the Yeats' songs on it that I love so
much
that the tears prick my eyes if I
even
hear it in my
imagination,
with that handwriting more dear to me
than
my breath, my abilities, my
future
and that voice more plangent than
bagpipes
and the strong chords like a scythe in
autumn.
© Judy Swann
© M.E.Hope