Snowbirds

 
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BY Jen Karetnick

Over the Australian pine, the Dutch pipe vine lattices.

Our backs ripen with humidity as we guide and prune it,

heads trickling the briny tint left by trapezius industry.

 

The vegetation doesn’t know that we, too, are invasive, winged

outflow of northeasterners making improvements

of a different nature. A colony of caterpillars has also

 

disturbed the leaves, the flowers that lick moisture from

air with their wide, floppy tongues. The word “carpetbaggers”

is no longer in vogue. But while we can pretend to be

 

almost symbiotic, we are parasites, laying eggs. The truth is

visual and fleeting, our flight painted by our ingested hosts.


Jen Karetnick's fourth full-length book is The Burning Where Breath Used to Be (David Robert Books, September 2020), an Eric Hoffer Poetry Category Finalist and a Kops-Fetherling Honorable Mention. Co-founder/managing editor of SWWIM Every Day, she has work forthcoming in The Comstock Review, Matter, Terrain.org, and elsewhere. See jkaretnick.com.

 

All Saints' Day

 
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BY BRUCE MEYER

Even after market on the last Saturday of October there were still too many pumpkins left over. Some had been rejected at the stall where the first waxed turnips and the last of the autumn apples had been snapped up leaving an empty space where they had been displayed. Some were misshapen through no fault of their own, having grown next to a larger, more determined gourd that became a successful pumpkin, ridged, nicely and evenly orange without a touch of green on its girth, and swollen to a perfect jack-o-lantern shape with a sturdy green stem. The failures had been off-loaded from the flatbed while their forsaken siblings floated in the sea of mud as the first snow melted in a sweat upon their skin. The fields would have to be cleared before the heavy snow so a crop of alfalfa could take the place of the pumpkins once the soil thawed and April made the ground new again.

This is the time of year when on a drive up and down the back roads pumpkins sit on people’s porches and smile back with evil, ghoulish expressions cast by the candles inside them. Some are found on the roads, their bodies smashed and their faces broken beyond recognition, but at least they made it to their purpose. They lived and died according to the code that governs pumpkins. They became what they did even if they ended badly. What is troubling are the disappointments.

Understand that the disappointments have their uses. They end up in pies, but only so long as pumpkin pie is in season. The taste for it wears thin after a month or two. The elongated, the overly flat, the ones that grew at odd angles and did everything they could not to look like pumpkins, they too had a destiny to fulfill that was not fulfilled. Imagine them at night, their roots rising from the earth in sinewy, dusty threads of fingers, and as the first snow falls to declare there is nothing permanent – not even in the sky – picture them clutching their heads with those tendril hands and fingers and shrieking silently to themselves with faces they were never given, rotting where they were born, knowing they could have been something better but never achieving it. They are lying beneath the cold sky and waiting for the voices of intercession to hear their prayers from mouths they never had.


Bruce Meyer is author of 67 books of poetry, short stories, flash fiction, and literary non-fiction. He lives in Barrie, Ontario.

 

Sometimes Idaho Isn't Unlike Jazz

 
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BY CODY SMITH

for Jonathan Johnson

 

They’re both better when someone shows you how

to love them, and so we took a Saturday to cut

a rick of wood, the two of us driving up to Sandpoint

from Spokane in my wife’s Mazda, a chainsaw in the trunk

wrapped in dirty clothes. He pointed from the passenger seat

toward his memories just off the road: this is the logger

bar where I’d write. This is the land I wanted to buy when I was kid.

 

When the red suspenders are pulled over the shoulders,

it’s time to work, and we took turns with the chainsaw

and wood maul. I fell into a rhythm, whistling

When the Roll is Called Up Yonder even though

the two-stroke engine swallowed the tune. The whop

of the wood maul shook the veins of my arms;

the weight of the chainsaw pulled apart my back.

 

When the sun threatened to drop, an October wind chilled

my clothes wet with sweat. Just before we lost the light,

we walked up the tram to the cabin he built for him and Amy

to raise a daughter by candlelight. We walked the field

to stand on a rock, to hold open the barbwire fence

for each other on our way to the ridge.

Everything my hands touched, his hands had held in time, too.

 

Sawdust in my beard, in his long hair,

sawdust in the laces of our boots. We shook

what there was to shake and drove back

home trying to remember poems.

 

He told me once that everything’s an elegy,

and I’ll tell you, reader, that it’s true,

that our own love quickens the leaving.

That night heading home, lights in the valley snuck up

before I remembered William Stafford’s poem about rivers.

 

When I think of Idaho now, I think of diesel fumes

stirring the smell of wet evergreens, the blaze

of larch on the mountains; I think of the grit

of sawdust rubbing my heels raw,

the high cheatgrass scratching my palms,

the sugary ammonia of sweat-soaked shirts dried

in the dusk breeze carrying chimney smoke.

 

Nic and I burned through the wood that winter

and left the Northwest after two years

taking nothing with us except a few books and pictures,

baby clothes to keep in a box. I stuffed into the trunk

the last log he and I cut and drove it down

to the lower Mississippi River Delta

where what little my people have kneels to rot.


Cody Smith is the author of Gulf: Poems (Texas Review Press). He is the 2018 Mississippi Review Prize and 2019 River Styx International Poetry Prize winner. His work has appeared in Poetry, Prairie Schooner, Willow Springs, and elsewhere.

 

When the Beach No Longer Holds Its Silence

 
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BY Zhihui Zou

For the City of Shanghai, the city that raised me.

The city used to be a village, a small, coastal village called Hu.

 

Fathers returned from the sea with boats carrying catfish and crabs,

Their oars gently patting the water.

 

Mothers hung the fish and crabs below the sun to dry,

Water dripping down from the ropes splashed like glass beads against the ground.

 

Children ran down the beach and created trails of footsteps on the sand,

Their laughter echoed with the chirping of the seagulls.

 

What echo now, however, are the foghorns of cargo ships

And the shrieking of jet engines when landing at the airport

Built above the ports where the fathers had docked their boats

And mothers hang dry the fish.

 

When I watch the faces of the people still living near the sea,

I see the interlocking creases on their faces form into words,

Words that I cannot interpret.

 

My mother says they are the people who used to live in the old village,

People who still guard the boats of their ancestors.

 

I do not see them speak often. In my mind, guardians of history

Should spread their past so the treasure will not enter the graves with their protectors.

 

I watch the creased faces. Their hands are also creased,

Skins wrapping tight around their bones like tape.

 

I watch and wait, wait for their lips to move.

I wait with the rumbling of foghorns and jet engines as my company.

 

When their lips finally part,

I hear no sound.


Zhihui Zou lives in Southern California. His work has appeared in San Antonio Review, Short Fiction Break, Heavy Feather Review, and elsewhere. He is also a fiction reader at Carve Magazine and an editor at Revolutionary Press. During weekends, he likes to play tennis with his friends.

 

Salt

 
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By Raymond Camacho

my day begins and ends with salt

i wake up in a maze of tunnels

deep inside myself

Salt Mines.

i was placed here by you,

and even though its been over a year

i’m still looking, trying to find my way out

Seawater.

do you knows what it feels like

to have seawater in your mouth?

I want to swim, but I keep drinking the water.

Flint.

seven years and their pipes are still filled with salt.

imagine your president pretending to drink

water from the pipes from all colors of the rainbow

Tears.

laying in bed going over the memories

feeling your hands wrapped around my neck

lay on top of me, cover my body in

Salt.


Raymond Camacho is a 27 year-old queer Puerto Rican Writer, based out of New York City. Raymond obtained a BA from Hunter College in Creative Writing & The Afro-Latino Experience. Raymond is a domestic violence survivor writes about LGBTQ+ victims of domestic violence. Raymond can be reached via Instagram @RAYDIDTHIS

 

Prison Record

 
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BY Deirdre O’Connor

“1849,

Galway City, Ireland,

Redmond Molloy, Aged 28: Being Of A Party Who Stole Eleven Bags of Meal From On Board

A Boat That Was Conveying A Cargo of Meal From Galway to Round Stone The Property The

Vice Guardians Galway Poor Law Union (NB. Irish Famine)”

from the Irish Prison Registers, 1790-1924

 

Only yesterday I discovered my great-

great grandfather hijacked a boat for cornmeal

during the famine, steered it toward what must have been

the hovel where he lived, islanded in the Atlantic,

and was later sentenced to be hanged.

Somehow, he got off, and that’s the turn

to here: coffee, a/c, peonies in vases,

my white body in pajamas choosing not

to watch the news, instead to play

with languish, language, anguish, ambush


Deirdre O’Connor is the author of two books of poems, most recently The Cupped Field, which received the 2018 Able Muse Book Award. She directs the Writing Center at Bucknell University, where she also serves as Associate Director of the Bucknell Seminar for Undergraduate Poets.

 

The Hungry Land

 
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By Mandira Pattnaik

It’s like holding hands, and standing on the edge of playa,

ready to take a step, leap and drown in sand.

The rustle of dried weeds on fallow land

is a funeral song

corrupting the silent mourning

for acres of healthy paddy

since dried

for want of rain.

 

The family of four — chained to hopes, fettered in prayers,

looks to god

on the shimmering shelves of cotton clouds.

Who or why, they

coast across the inverted void

leaving them to

negotiate a ruthless fate?

 

When the heavens yield, the meadows and

grass are trampled.

All colors are ruined, except a torrent

as white as white as white.

But no one’s left to sigh, marvel at

the shimmer on the pond’s surface

other than a maniac or a fool of a vulture,

mistaking the bones for silvery glitter.


Mandira Pattnaik is an Indian writer and poet. Nominated for awards including the Pushcart, her work has been featured in over a hundred journals. Poems have appeared in Prime Number Magazine, Eclectica, Not Very Quiet, West Trestle Review, The Shore, Thimble and Variant Lit, among others.

 

While Taking a Walk in My Mother's New Neighborhood

 
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BY: ADRIENNE PILON

While taking a walk in my mother’s new

neighborhood I discover the streets

are all named for First Peoples

The path is concrete,

or asphalt.

It winds through

cul-de-sacs

Ohlone, Pomo

 

covering old lands.

The path makes space

between

streets where

 

Miwok, Maidu

people

can walk along paths of the

 

Yana, Yahi

 

community’s making

because this place

is all about community

making, slowing, greeting,

 

Salinan, Modoc

 

stopping

along the path

 

like deer pausing at rustling leaves

like owls steeling for prey

like bears stalking fish in a river

 

where there is now

a subdivision called

Bear River

even though the river

is a drying creek

 

Pudah

 

and there are no more bears.

These names are boldly written

to tell us what has been erased

and though these streets

are plotted, mapped, marked

I still cannot imagine

where we are

going.


Adrienne Pilon is a teacher, writer and editor. Recent work can be found in Misfit Magazine, Porcupine Literary and elsewhere. The natural and human-made landscapes of California provide her with continual inspiration.

 

The Lost Vowel

 
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BY P.S. NOLF

1.     The Pittsburgh Chain Shift uniquely identifies Southwestern Pennsylvania.  Neither tectonic nor glacial, it is a linguistic distinction.  As the nineteenth century Scotch-Irish, English, and Germans searched for homes in the Allegheny mountains, the settlers mingled their dialects and lost a vowel.  Through monophthongization, the vowels /a/ and /ɔ/ merged to /aw/.  “Naughty doll Don caught in his cot in the knotty hall at dawn” is all internal rhyme. 

2.     When I was a child, we lived in the family home in Putneyville, Pennsylvania.  Nestled between two forested ridges, forty residences clustered along the creek, its waters flowing to Pittsburgh.  Clans of cousins played endless baseball games in the summer and crack-the-whip skating on the frozen mill race in the winter.  Nobody remembered who owned the coal rights in their backyards.  We mazed at the granite tombstones filled with a century of Nolfs, Putneys, and Schreckengosts.  Until we rode the schoolbus, we never knew there was a Catholic graveyard of Bukoskis, Rossis, and Hlavics in the next town. 

3.     “I bet I drop six of them when I get over there” said the deputy on September 10, 1897.  That day the police shot nineteen unarmed Polish and Lithuanian strikers at the coal mine in Lattimer, Pennslyvania.   Two years later, John Mitchell, President of United Mine Workers of America, pleaded, “The coal you dig isn’t Slavish or Polish, or Irish coal.  It’s just coal.”

4.     When I was ten, my family moved to the Philadelphia area.  We lived in a three-bedroom, rose and gray stone cottage, the former servant quarters to a mansion owned by a founding family of the city.  Mrs. S. invited my sister and me for visits.  We learned to conjugate the irregular French verbs of être (to be), avoir (to have) and pouvoir (to be able).  I developed a taste for the bittersweet lemon and quinine of the tonic she served us.  The gin came later. 

5.     Pittsburghese is commonly considered the second ugliest accent in the United States. Linguistic studies indicate women tend to care more about the social stigma attached to regional dialects and transition to standard pronunciations during formal discourse. Men are more likely to celebrate their dialect with T-shirts: “Yinz are a buncha jag-offs.”

6.     Through the years, I practiced saying “water” for “warter” and “wash” for “warsh.” I no longer pronounced hill with the drawn out lilting /l / of the Appalachians. I swallowed “yu’uns” and purged the Scotch “slippy,” “redd up,” and “nebby.”  I accumulated college degrees, collected obscure words like Shaker baskets, and wrote in syntax as elaborate as fraktur manuscripts. I was still trapped by the Caught-Cot Merger. I never found my lost vowel.

7.              I still dream of Putneyville in the rain.  Basements fill with water. The height of the Mahoning leaps from inches to yards to Biblical rods.  The house backs up to a steep hill.  I see flickering white from the tails of deer followed by the red plaid-clad hunter crossing the ridgeline.  Water keep rising, rising, rising.  I struggle to climb that hill, grasping stunted pine and spruce.  Mud keeps sucking me down to the rushing brown water, stained orange and silver with runoff from long abandoned coal mines.


P. S. Nolf writes articles about horses, humor, and history for online and national journals such as Equus. She is currently working on a narrative nonfiction book Raising Rough Riders in the White House: Archie and Quentin Roosevelt and their Pony Algonquin. In her spare time, she is working on a MFA at Lindenwood University.

 

The Remnants of Fourth Street

 
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BY Ra'Niqua Lee


One year since the flood and that part of the neighborhood had not yet recovered, might not ever. Shades of brown marked the sides of houses like lines in sedimentary rock. No people there but a child with a wagon and his hair cut low, whoever cared enough to tend to his head, and then those others that looked. Most entrances had been boarded over, but some gaped black and open to gaze. Familiar faces watched from the muck of darkness. Fourth Street had irrevocably changed, and return was ill-advised.

These faces were her neighbors, the ones who witnessed her budding to grown in the square yard where her grandma kept watch. She needed the supervision because she let her shorts rise too high when she cartwheeled, and she always strayed as far as she could before her grandmother shrieked, “Girl, get back here.” Neighborhood talk abused the girls who went too far and wore too little. All the judgy pitch came in hot like a party of casted stones. She’d pushed boundaries anyway. In their little corner of Fourth Street, she flirted with the gossip and risked the bruises. Then she got away, thankfully away. Not everyone did. Their faces told the stories the flood couldn’t hold. Not all water got to keep its secrets.

The boy with the wagon must’ve seen the faces, too, considering how he went, marching forward like he knew more about keeping on and carrying on than the plastic wheels turning beside him. When she called out, he didn’t turn around or seem to hear. His wagon continued its jumble roll as he reached the end of Fourth Street and turned the corner.

At her old house, she pried plywood from the window and tossed it to the weeds. She had spent her childhood helping her grandma keep the house clean. Every few summers, they would whitewash the porch. The color had been high gloss, ultra-white, a white whiter than springtime cumulonimbus. The results were her grandma’s pretty as pearls, the hard-earned wares of pennies saved and pennies earned. Inside, daylight exposed where mold had claimed the walls. Her grandmother’s hutch draped the couch and left dishes embedded in inches of sludge. The refrigerator blocked the kitchen, such a mess, but vacation condos still lined the bay. The beach remained loved, by no one more than her. She never blamed the water for the disorder it had created before slipping back to the sea like a bandit with all the memories it could carry.

She had gotten out, too, but not forever, and that was her mistake. Now, her own face waited in the stairwell. She stood on the dirty porch. She also sat in the half-dark with her arms crossed her over knees. There was time enough for both, all at once, and she did not look scared, pissed, pleased, or careful, just alone. She wrapped her arms around herself. She stared at nothing. Held to nothing.


Ra'Niqua Lee writes to share her particular visions of love and the South. Her work is forthcoming in Cream City Review, Smokelong Quarterly, Whale Road Review and elsewhere. Every word is in honor of her little sister, Nesha, who battled schizoaffective disorder until the very end. For her always.