Three Poems – Spring 2019

By August West


Arms rise: tongues

in dark


voice night

rooms, song broke


from ground

so quick, what


we said of fear—

your hands, each


bone, soft

warm counting.






as he handed me a drink, he began to hum a song
and all the boys there at the bar began to sing along
—Lowell George



…I feed sparrows and

I feed hawks



in mist dark


azalea, spin


vine, almost

not quite

sideways, that





paint, tar, no soap:

clouds know—


drums first, click

the roof


of your mouth—dance

blue water



end stage :first day

of school


got you crying

—a drop of


morphine for

your tongue, swallow


air, see you there



…tan pants blue

jacket white shirt


little blue, mother

shopped for you



in advance, can’t

tell which


you get—scrub

the cellar late


night, bitter

stalk discarded


animal fat, red pepper

we eat.






Spoon don’t

know what

mouth, bee

say where

the flower at


ghosts: too

damn many

Don’t snuff

that wick!

want smoke


a crush of


tomato stalk

rain sweet

the shell


and bone

dog bring

big medicine

Oh, Mary

there’s a baby


on the stone.



Nothing, beyond folklore, is known about August West.


Twelve Selected Poems – Spring 2019

By Simon Perchik


Lost and you watch the sun worsen

already falling as the nights

too weak to warm your shadow


though you read only in the afternoon

crouched under this kitchen table

with nothing on it that could sag


and without a sound weigh too much

let you open the mail, return to life

the window left in this small room


–you can tell from the stamp

it’s easy to fear

–so frail is its darkness


only your hands can be seen

holding your forehead, pushing it back in

to remember where you live.






By yourself though the sun

still needs more water –all that land

dried for just one afternoon


sent back alone and every morning now

you let the coffee try, boil

the way this table is spreading out


become the dirt for what’s in store

ready made as that small mouthful

that swallows you whole


to look for thirst inside a cup

side by side this one kept full

as if it was at home.






And though this pillow is enough

you still come by at night

safe from sand and salt


–with both elbows on the bed

your clothes in a heap

–what you can’t say


is soaking in sea grass

and her clothes too

no longer moving, piled close


for encouragement, lift your head

–on a dark bed, stroking an empty dress

Mickie, Mickie, Mickie


as far as it can reach

with her hand over your mouth

one sleeve at a time.






You no longer dig for shadows

as if this hillside depends on you

for water –what you hear


is trapped between two suns

one circling the other till nothing’s left

but the afternoon and beneath


letting its pieces fall off –you dead

are always listening for the gesture

the lowering that sweeps in


those pebbles mourners leave

as words, overflowing, certain

now is the time –it’s not the time


this dirt is afraid to open

become a rain again, be a sky

let it speak by throwing the Earth


and over your shoulder, eyes closed

though there is no grass

and your arms a Weber, Miller, Marie.






Even as silence you dead

favor knots, brought here

the way each grave is tightened


counts on constant gathering

and the arm over arm

that hold the skies together


as if some nesting bird

would fly out from this hillside

and leave behind its wings


spread-eagle, letting go

those small rocks mourners bring

for your shoulders –you want rope


not for its name but the weight

still taking shape inside, kept empty

and all around you the lowering.






Wobbling on rocks and salt

scented with little goodbyes

–you’re drowning in wood


–don’t fool yourself, this door

can’t save you now, it’s filled

with corners still into the turn


already seawater and on the way down

a warm face though talk won’t come

is hiding in back your mouth


naked, afraid your lips will move

as the silence the dead adore

without leaving the room.






It was a brook, had names

though these bottom stones

are still draining, passing you by


before letting go the silence

that stays after each hand opens

–you dead are always reaching out


–end over end unfolding your arms

the way each star ends its life alone

in the darkness it needs to move closer


become the light in every stone

as the morning that never turns back

keeps falling without any mourners.






It’s grass growing on the mirror

and every Spring more smoke

blacking your teeth –the dress


looks like hers, tossed off

piece by favorite piece and death

not yet shoulders and hips


–without a fuss she is touching you

though you are moving closer

as the lips that wait inside


and smoldering –it’s half a mirror

hardly enough for its kisses to fall out

look at each other and the afternoons.






You lace one shoe with thread, the other

as if this wooden spool could be held

spin end over end and hold you


by the hand, let you feel her body

no longer moving as the careless tug

in all directions at once –you learn


to limp, to hear dirt struggle

and the step by step as if it could escape

not yet leaching in your hands.






You gargle the way each morning

trusts the soft rustle from a dress

becoming dirt, set out on foot


looking for her in shadows

that no longer move though the sink

is covered with something weak


making believe it’s learned where

your fingers are holding the bottle

in a place not even it will remember


how empty your mouth is, lost

day after day spitting into the Earth

that still opens when you whisper to it.






You water her grave with words

–they never dried, were written

at night, sure this stone


would rot inside the note

though you don’t fold your arms

–what spills has eddies, swells


shorelines reaching into the Earth

no longer certain –this stone

doesn’t recognize itself


is growing roots, sags

becomes a sea, the bottom

holds on, unable to stand


or come closer, cover her

without seeing your fingers

or what it’s like.






Hiding on this tiny rock

its light is falling arm over arm

brought down as hammer blows


and mountains clinging to the sun

the way mourners will gather

and aim for your forehead


–it’s not right for you dead

to lower your eyes once they’re empty

–they have so much darkness


are still looking for tears

and all around you the Earth

splitting open a single afternoon


up close –you are touching seawater

without anything left inside

to take the salt from your mouth.


Simon Perchik is an attorney whose poems have appeared in Partisan Review, Forge, Poetry, Osiris, The New Yorker and elsewhere. His most recent collection is The Osiris Poems published by boxofchalk 2017. For more information including free e-books and his essay “Magic, Illusion and Other Realities” please visit his website at

To view one of his interviews please follow this link


Culling Keepsakes

By Mark Belair

“it is complete but never finished”
W.S. Merwin, The Same River




a photograph


A faded

magazine photograph


of an old man

in a torn coat


wrapped in a blanket

on a sheetless


rooming house bed

staring out


with Samuel Beckett eyes

was the first thing—


culling keepsakes at sixty-four—

I discarded.


Back when I cut it out,

I saw him


as an end-of-life



of my blank, solitary, start-of-life



I kept

that stark photograph



for forty-six years

as an icon


of the cost

of not changing, of not


writing my way out of blankness

or of


writing deeper into it

with bogus-Beckett eyes.


I had my own eyes.


And had to silver a page

with words


that would mirror them

to me.




I put down text—

personal essays, screenplays, a novel—


that functioned, in retrospect,

as the fired up


bricks of my meandering



Each brick, each time, in time,

extracted from exposure


and stored; bricks

now rattling around


a dump truck

on their way to be pulverized.


My path of text

set, finally, with small stone


poems I noticed

and dug up


from the hardscrabble





Not diaries, but notes

I kept as I came of age.


Not thoughts of the day, but

thoughts to metabolize.


I made no ceremony

of their dispossession.


Cut me

and I bleed them.






Of music, a supreme art, I made

a humble trade that required tools:


if you want to gig as a drummer,

you need gear.


But with my trade course run, the gear

now ties up scarce apartment space


and all I need to keep are a small set,

some cymbals, and a few pair of sticks.



And even the set, in time, will go,

though not the handful of sticks


that somehow rim-shot-survived; sticks

dented as my grandfather’s, whose sticks—


handed down to me by my dad—

formed me as a boy: I could


hold what my long-departed grandfather

held in the way only musicians playing


old instruments can, the past and present

collaborating in our hands.


The future

of my grandfather and me


to be entrusted

to a bag of our blended sticks


that will keep

what we kept


alone and together:

some time.


drum parts


With their performance use past, the need to

keep my annotated drum parts is past, too.


The printed parts are publicly available;

the markings in a code only I can use.


Unlike recordings, live performances—

the bulk of my career—soon become


history, polish up to the fading story

of one sonic movement through time;


one that leaves no evidence

but for relics


like the parts interred and decomposing

in my storage closet.


The hope I cling to—as I fill

bag after bag for recycling—


the wishful one

that when it counted, when


the demands

of each musical passage


were presented—

above all, the demand


to make its spirit



even when I knew

its body


(the night, the place, the players)

would be forgotten—


I did

my part.






I keep them for reference—

my old calendars and address books—


though I never open their storage box

but to place another one in.


So I keep them, I guess, for sentiment;

keep them because


all the gone days

of my adult life


have a little square

in the calendars


and all the gone people

have a number


I once used

to reach them.


Keep them to

free me


from keeping

within me


a vanishing



of growing



a log


It was a life log

I kept


of dates and facts,




the beginning


of promising



whose end







their promise





while middles

of things



without the context


of a start

and finish,


and some






but their starts

and middles






unremarkable at the time—



of hard dates


soft on truth,

a log


that failed

to tell my life stories


though telling the story

of how I lived.




It was summer, we were newlyweds, and

stoked by this plunge into adulthood (we


were both twenty-one) I stood painting

in the yard outside our first apartment.


My wife came out and stood behind me.

“What do you think?” I casually asked.


After a gracious pause, she chirped,

“Think of all the things you can do!”


I laughed, and that was that: easel, paints,

brushes—all donated or thrown away.


But the paintings—though inept—

I kept.


Not as art, but as symbols of the start of

what turned out to be a lifetime’s search


for the mode of rewarding work

most mine.


Now those paintings

are gone.


Because after an ever-embarking, faith-and-doubt-dancing,

curlicue quest


I finally

took my wife’s advice


and did—

as best I could—



I could.




As if having been

crunched, stretched, then twisted


beyond recognition—

therefore impenetrable


to others, and, after

twenty seconds or so,


to me—

my handwriting, creeping


into its later life,

seemed well past keeping.


But through trial and (mostly)



it ended up remediable

by assuming the look


of later life itself: smaller,

but more legible.





Dumped into a donation

bin: bags


of barely worn clothes

but for a stash of blandness—


t-shirts and jeans—

that makes me disappear.


These I keep.


Best not to be of note

if a poet


who wants to note

and make note.


the cardboard box


The cardboard box—its contents (if memory serves)

random as a memory bank—has been shut for years.


This box of keepsakes—from my childhood

and beyond—collected by my mother.


This inherited box whose flip top, since her death,

has been impossible for me to open.


I know it holds a red-checkered cowboy shirt and some

grammar school report cards; I don’t recall what else.


Mementos that, if self-chosen, I could edit with ease.

But these were my mother’s selections.


Yet with all my other keepsake culling done—a chore I don’t want,

some future day, to impose upon others—the time has clearly come.


So I take the box down from the high shelf

in the storage closet and open the top to see


memorabilia from my music career, artifacts closest to when she died:

concert programs, tour itineraries, posters, other random souvenirs.


Then come clippings from earlier years: yellowed newspaper or magazine

articles, photographs, advertisements, reviews.


Plus a newspaper with its banner headline reporting Richard Nixon’s

resignation, news right up there, at the time, with a man on the moon.


Next my youth and childhood appear: graduation diplomas, those unimpressive

report cards; then Confirmation, First Communion, and Baptismal certificates.


And a posting, in the local paper, announcing that I—and many others—

had been discharged from the hospital that day; I’d had my appendix out.


Small town life.

My mother even saved a hospital menu with my name penciled on it.


Then comes the list of boys, in her handwriting, who made up the two teams

that played baseball at my ninth birthday party—Yanks and Pirates—and


every name stops me: Dicky Sody, Freddy Machuga, Linny Carey, Bruce Echigary,

Eddie MacDonald, Joey Greco, Kevin Sullivan, David Keepin, Phil Nibeolo, James Hayes.


And each boy’s bright face returns; and even their taut bodies since we boxed, wrestled,

and played sports most every day.


Getting toward the bottom, another list appears, this of my kindergarten roster.

No name rings a bell.


But the first crayon drawing I brought home, so marked by my mother, is

here: a bold, colorful flower captioned in scrawling, childish letters with:



Then a shock.


I don’t remember dropping this in when I got the box, but slipped down

to beside my red-checkered cowboy shirt—indeed it is there—appears


my mother’s smiling face

above her obituary.


And my tears burst forth, tears boxed up for years,

tears for this woman whose overwhelming presence


dominated my early life and kept me

bonded to her up to this difficult day.


Then next to that, on the cowboy shirt, sits

something I had forgotten about, something


she placed, perhaps, as a way to reach out

on this inevitable day of keepsake culling:


the toy handcuffs—dulled from use—

I’d attach—after mock-arresting her—


to each

our wrist.


a continent


It feels as if I’ve landed, for the first time, in Paris—the sky cloudy,

the cafes inviting, the language not strange, but not one I’m fluent in.


The past

an ocean away.


Feels as if I’ve arrived to

find myself drawn to


cobblestone streets, old churches, weathered bridges, mossy monuments.

The newer brilliancies I hardly see; they hardly see me.


Feels as if I’ve alighted as a foreign tourist in this country

of my own later years, disoriented, yet pressed to use this


scant time with its wealth of hours

to learn the local ways


and to reflect upon—

so dream-keep—


my homeland continent,

one that seemed



even subtly—


to break off and—

with no passage


back to it—

drift away.


Mark Belair’s poems have appeared in numerous journals, including Alabama Literary Review, Atlanta Review, The Cincinnati Review, Harvard Review, Michigan Quarterly Review, Poetry East and The South Carolina Review. His latest collection is Watching Ourselves (Unsolicited Press, 2017). Previous collections include Breathing Room (Aldrich Press, 2015); Night Watch (Finishing Line Press, 2013); While We’re Waiting (Aldrich Press, 2013); and Walk With Me (Parallel Press of the University of Wisconsin at Madison, 2012). He has been nominated for a Pushcart Prize multiple times. Please visit

Gift of God

By Ron Singer

At thirty-four, I’ve hit the jackpot, a five-figure advance for my first book! “Five?” you sneer. Hey, I’m not a serial writer of serial-killer thrillers. Nor am I about to quit my day job as a Special Ed. teacher. And who knows? This job could become the basis for Book #2. But, as my own H.S. Latin teacher would quip, “That’s putting Descartes before Horace.”

Not only was the amount of the advance inadequate – 10K – the terms were sobering. As my agent put it in a text (translated):


Hey, Bob.

Good news (fairly), a 10K advance from Carnivore, one of the 27 publishers I pitched your book to. Remember them? The small outfit in Omaha? “No Fat, No Gristle. Just Books!”

Before you run out and spend the money, however, you should read the fine print (contract attached). The gist is that, after Carnivore covers costs, including the 10K, you get 15% of sales. As I said when I took the book on, “This could sell, in which case you could make some real money.” But, if I were you, I wouldn’t count those chickens yet!


I took her advice, even to the point of not spending $100 to replace my worn-out shoes. To give you an idea of the kind of person I am, these are the shoes worn by many restaurant and hospital workers, people who, like me, are on their feet all day. I believe the most common epithet for them (the shoes) is “sensible.”

As for the book, the title says it all: GO TO THE HEAD OF THE CLASS, A SLACKER’S PROGRESS. “Oh no, not another memoir!” Let me try to disarm that gibe by quoting from the Preface:


This is a story of unmerited redemption. As a sixteen-year-old, to cite one among many mortifying experiences, I was escorted, falling down drunk, from the premises of the Metropolitan Museum of Art. My ejection was caused by having glugged the entire contents of a pint bottle of bourbon while simultaneously contemplating the Rembrandt masterpiece, “Aristotle Contemplating the Bust of Homer.”…


Nowadays, cold sober, I am a Language Arts teacher in a four-person team at a middle school in the south Bronx. In addition to their special learning needs, my thirty-two wards labor under handicaps that include second-language interference, and the psychological burdens inflicted by our current political leader’s relentless attack on the foreign born (which almost all of my students are)…


How, you ask, did I get from Point A to Point B? This is not the story of a heartwarming conversion experience. None of my friends died, none emerged from our youthful excesses as hopeless wrecks. Nor did I get religion, or dry out in Alcoholics Anonymous. No, my own reform was triggered by a sequence of events much less predictable and yet, in its own way, at least as dramatic as any of the above…


In the weeks after receiving my agent’s text, although I only shared the good news with a few of my closest friends, it seemed as if the whole world knew. For instance, a few days after returning the signed contract (and not buying the shoes), I got a note from the Managing Agent of my building, informing me that they would not be reimbursing me for a leak in my apartment which I had had fixed. To quote his pithy explanation, “To qualify for re-imbursement, you would need to have employed a licensed plumber, which you did not. Therefore…” That’s what I get for trying to save my fellow shareholders a few dollars! Doesn’t the M.A. know what “co-op” means?

Of course, that note may just have been a coincidence, but other communications were more obviously the fruits of my sudden access to fortune. These included offers from sharks who prey on lottery and lawsuit winners; appeals in a newly fawning tone from charities and political orgs; letters from people I could not remember ever having known, calling in favors I could not remember ever having incurred; heartbreaking solicitations from long-lost friends and relatives; threatening notices from collection agencies; offers from banks and credit-card providers that were too good to refuse; and semi-literate solicitations from fictitious entities in the poor world, to the effect that I would be guaranteed a windfall, simply by remitting the sum of …

Worst of all, I received a dire appeal from the brother of one of my own students. This came in the form of a long, handwritten letter, sent by snail mail to my school address. Anticipating that the letter’s many errors might make me sound like a racist, I silently correct them:


Dear Mr. “Bob” Shepard,

I believe you are the teacher of my brother, Raimundo Suarez. I am Emiliano, age seventeen. The reason I am writing this letter is that my parents don’t know English, and Ray would be too embarrassed. Yes, this is a letter requesting monetary assistance. Please don’t throw it away, it is very important to us, even a life-and-death matter!

Could you find it in your kind heart (as Raimundo has told us you have) to grant to my family a loan of a certain sum? This sum is $500.00, which I know is a lot of money, but which we will work very hard to re-pay you.

The money will be used to engage the services of a lawyer to fight the deportation proceedings that the government has begun against Raimundo! The notice they sent us says that the reason (as far as I can understand it) is that he was not born not in this country, but in the Dominican Republic (“D.R.”), and that my parents have lived here for a long time without doing what is necessary to make the family’s status legal. I did not really understand the details of this letter, but it also said something about the difference between what they referred to as the “DACA” and something called “The Dream Act.”

The lawyer, whom we met through our cousin, Jaime Sosa, himself a U.S. citizen, said we could beat the deportation, but the cost would be $500, the sum already mentioned. This lawyer also said the money must be delivered in cash to his office, which is 74-11 82nd Street, Jackson Heights, Queens.

If you can find it in your heart to advance this sum to us, we will be forever grateful. Please reply asap, because Ray is due in court in less than one month’s time. If you can bring the $500, I will meet you in front of the lawyer’s office, at a time convenient for you, possibly in the evening. His office is very close to a stop on the #7 subway train.

Bless you, sir, even for reading this lengthy letter! I hope to receive your reply a.s.a.p.

Your faithful student’s brother,

Emiliano Z. Suarez


One reason I found the letter touching is that Raimundo is one of my favorite students. A good-natured thirteen year-old, he typically responds to a question by throwing his cowlick back off his eyes, licking his pencil, and producing, in tentative, broken English, what is usually a correct answer. He calls me “Sir.”

The letter also evoked an episode from my own past. Fifteen years ago, when I was a nineteen year-old sophomore at a small, second-tier liberal arts school in New England, I engineered what may have been the most outrageous of the many pranks for which I was notorious. It involved moving the grand piano of a prestigious fraternity – they had not invited me to join – onto the lawn behind their building, via large French doors, and then filling the piano with chicken manure, purchased at a local farm-supply store.

This was obviously not a solo prank. Also involved in lugging the piano and manure bags onto the lawn, at 3 a.m. Friday morning of Homecoming Weekend, were five other students, including a combined Pre-Med/Liberal Arts major from Nigeria named Jeremiah Ogochukwu. “Ogochukwu” means “Gift of God” in Igbo, Jerry’s first language.

Despite our inebriated state, we had to do this job silently, neither stumbling nor laughing. Even so, the long and short of it was that we were caught. A presumably insomniac professor, out walking his pooch, spotted us and called Security. After we had been apprehended and separately interrogated, punishment was meted out.

To quote the Assistant Dean of Students, himself a recent graduate of the College, “Since none of you clowns is smart enough to cough up the name of the joker whose brilliant idea this was, you’re all getting the same punishment.” This was suspension, without a pro-rated tuition refund, for the remaining semester-and-a-half of the school year. Not to mention that we had to pay the costs of having the piano cleaned and fumigated.

That was fine with me and, I imagine, with my four American fellow-slackers. But it was not fine with poor Jerry Ogochukwu, who, soon after the suspensions took effect, lost his student visa and was deported. As he said when we were shamefacedly seeing him off at Logan Airport, in Boston, “At least, now, I get to enjoy my mother’s pounded yam again.”

As it happened, Jerry’s homecoming took place in 2003, six months after Nigeria attempted to resolve its endemic unrest through a Presidential election. As usual, the voting triggered an outbreak of protracted ethnic violence. Whether or not Jerry somehow fell victim, I never learned, because he never replied to my communications, and later, in the Internet era, I was unable to identify anyone on social media who sounded like him.

In other words, by the time I received the plea from Raimundo Suarez’s brother, I had harbored for fifteen years a sharp sense of guilt over the deportation and – who knows, possible death – of another innocent victim. This episode was a turning point in my life (and Chapter Four, in my book).


After wasting the weekend pondering Emiliano’s plea, I arranged to have coffee with Sarah Blau, the Social Studies teacher on our team. Sarah is also a volunteer for the National Sanctuary Coalition, an organization that assists immigrants. (Like me, she is in her thirties, but married, with two children. I am still unmarried, and currently without a partner. I explain all this to forestall any idea that the story is about to take a romantic turn.)

After school on Tuesday, when we were settled at a back-corner table of a local café with our coffees at the ready, I thanked Sarah for meeting me and showed her the letter. A furrow crossed her brow.

“Well, Bob,” she said, with a sigh, “this is complicated.” Sarah’s speech is measured, even slow. “First of all, DACA is not the same as The Dream Act. DACA defers deportation of children illegally brought to the U.S. The Dream Act permanently legalizes their status. Both laws are now in limbo, because the current administration is doing its damnedest to thwart them.”

While I fidgeted with my spoon, she scanned the rest of the letter. “Hmm! Very interesting. Assuming you’re willing to pony up, can you really afford the $500?” I told her about my advance, and she congratulated me. “Even so,” she said, her brow furrowing again, “if I were you, I’d be very careful. I mean, I like Raimundo, too. He’s a sweet boy, tries really hard. But, as I’m sure you know, there are lots of clever scams out there.”

I thanked her again and said I would try to follow her advice. When we had finished our coffees, I grabbed the check. As we parted on the sidewalk, she said, “Let me know what you decide to do, Bob. I’m really curious.”

After a restless night and a hard day’s teaching, on Wednesday evening I replied to the letter –in the affirmative. I sent my reply to the return address on the envelope, which I knew was the Suarez residence. In another back-and-forth, also by letter, Emiliano and I agreed to meet at the lawyer’s office, at 8:30 the following Thursday evening. I did not inform Sarah.


After climbing down from the subway platform, the first thing I noticed was that the storefront office was shuttered. Then, seemingly out of the shadows, came a tall, slender young man who I assumed was Emiliano. I was surprised by the fact that he wore much flashier and more expensive-looking clothes than any I had ever seen on Ray. A little shamefaced about my act of charity, I did not want to prolong the transaction. So, after we had introduced ourselves, shaken hands, and agreed that the office was obviously closed for the night, at his suggestion I wordlessly handed over an envelope containing five $100 bills. Without counting the money, he thanked me profusely. We shook hands again and walked off in opposite directions.


After spending most of the ensuing weekend second-guessing myself, on Monday I ate lunch with Joan Ligori, a mid-level administrator at the school. (Like Sarah, Joan is married. I don’t know whether she has children.)

“Oh, no, Bob!” she said, when I told her what I had done. “Not you, too!” She took a deep breath. “Fasten your seatbelt! Emiliano Suarez is an eighteen year-old serial scam artist who has served time in a juvenile detention facility. I found this out last year after he pulled exactly the same scam on me! Same amount, even! Like you, too, I fell for it because I knew and admired Ray and the rest of his hard-working, law-abiding family. Emiliano turned out to be the glaring exception. (Is ‘black sheep’ still politically correct?)”

“Did you report the scam to the police?”

“Well . . . I decided not to. I mean, I could afford the loss, and I didn’t want to hurt the family. I did try to get Emiliano to meet me again, so I could demand a refund. Ha! I left several vaguely threatening messages on the Suarez’s answering machine, but he never called back.”


Lunch with Joan took place the day before yesterday. (The school lunch on Mondays is chicken potpie – not bad.) It was time to decide what to do. Should I go to the police? Tell the parents? Ask Raimundo? I imagined a conversation in the classroom during passing time, when the room is normally empty.

“Uh, Ray, I need to ask you something.”

“Sir?” He would look nervous.

“Has your family received a letter lately from the Immigration authorities?”

He would look alarmed. “No, no one has mentioned such a letter. Why do you ask?”

“Has Emiliano mentioned anything about hiring a lawyer?”

The boy’s puzzled expression would be sufficient response. I did wonder if Emiliano’s lie would hold up. If the parents noticed that he had a lot of extra money, I suppose he could tell them he had won the lottery, or something.

After more handwringing, I decided to follow Joan’s example, for the same reason: fear of hurting the family. Sarah had mentioned a case in which an undocumented immigrant had been stopped for a routine traffic check. Since he was using a friend’s license, the police reported the stop to the Immigration authorities, and the poor guy wound up being deported.

No, I would swallow my loss and hope that, at least, it would repair my karma for the deportation I had caused. Come to think of it, maybe Emiliano had read about that episode in the manuscript of my book, which Ray had borrowed after I boasted to his class about the advance.

A few weeks passed. Then, the other day, I received a text from Adebayo Ashiwaju, another Nigerian from College days. ‘Bayo, who had not been a participant in the piano escapade, now lived with his family outside Harrisburg, PA, and worked as Regional Sales Rep for a big-pharm company. His text was a response to the question I had asked him repeatedly over the years, whether he knew what had become of Jerry. Again, I translate:


Dear Shepard,

Greetings to you, my friend! Through the Old Boys’ network, I have finally obtained an answer to your question, “What ever became of our erstwhile fellow-student, Jerry Ogochukwu?” I will summarize this interesting story:

It seems that a family rift during the 2003 troubles led to a name change. “Jeremiah Ogochukwu” became “Jeremiah Olubunmi,” which, in my own Yoruba tongue, has a similar meaning to the original: “Gift of God.”

When conditions were finally normalized, Jerry was able to complete his medical studies at the University of Ibadan, in our home country. He has since risen to become Managing Director of a Catholic teaching hospital in Aba, an important city in his own eastern sector. By now, Dr. Jeremiah Olubunmi is what we Nigerians call “An Important Somebody.”


After all those years! What a relief! Even so, I’m not sure the good news means I should try to resume contact with Dr. Ogochukwu/Olubunmi. Maybe, he still resents what happened. Or maybe, by now, he has completely forgotten me.

Never mind! The rush of recent events has produced at least a few good results:


1. I just ordered the shoes,


2. leaving me with $9,400 of my advance,


3. plus the idea for a new book, after all – or, at least, a story,


4. for which I may soon have additional material, since midterm reports and parent conferences are coming up,


5. and, finally, I am about to text Katie Khokhar, an attractive, unmarried colleague (Math & Science), to ask her out.


“Gift of God” is one in a series of poems and stories that Ron Singer ( has recently written in response to the current global wave of xenophobia. Singer also volunteers for the New Sanctuary Coalition, a group that helps immigrants. His fiction has previously appeared, e.g., in The Brooklyn Rail, diagram, Evergreen Review, Home Planet News, and Word Riot. (Four Pushcart nominations.) His 11th & 12th books are due from Unsolicited Press. The Promised End (2019) is a story collection; Gravy (2020), a mixture of genres. An earlier book, Uhuru Revisited: Interviews with Pro-Democracy Leaders (Africa World Press/Red Sea Press, 2015) is available in libraries across the world

Issue 12.3

Welcome to, the online iteration of Forge.

Nunc lego qui nunc scribunt – I read now those who write now

-Robert of Cricklade

Welcome to issue 12.3 of Forge!

Read the first issue of 2019 right here, or pick up a hard copy to enjoy unplugged.

~Melissa Venables

Forge 12.3

Forge is an independent endeavor. We do not receive money from any institutional patrons – we are completely reader supported. If you enjoy what you find here, consider buying a hard copy of a journal issue, or submitting a donation by clicking on the button below. Thanks!

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Corey Lynn Fayman: The Old Monsters Bar

Marcelle Thiébaux: Unnatural, Wicked

Matthew Wallace: Rupert and the Thimble Warriors: A Tale of the Famous Rabbit of Uncommonly Good Sense

Trevy Thomas: Number 401

J David Liss: The Golden Sea, and Silver


Simon Perchik: 12 Poems—Winter 2019

Jeanine Stevens: Self Portrait: AssemblageRocket ManBetween Manhattan and the SeaTiny Sun, Large FlowerFaculty Off-Site: Folsom Prison

12 Poems — Winter 2019

By Simon Perchik



You keep the limp, stoop

the way this cane

lets you pretend its wood


can heal, touches down

making contact with the base

though there are no planes


–what you hear is your leg

dragged, starting up

and still the sky weighs too much


is filled with twigs breaking off

somewhere between England

and the slow walk home.




Without a riverbed you lean

feel your way through this dirt

as if it’s her voice you’re after


–for a long time, eyes closed

you empty the Earth with your mouth

darkening this built-up moss


sent off for a stone near water

stretching out to smooth the silence

hidden the way innocent bells


were placed along the shore

with no light to take away

or welcome rocks around her body.




Though her finger can’t reach

she’s telling you be quiet

as if there’s a word for it


shaped by a breath from where

the light on her face was lowered

–shadows know this, let you


lie there, go over the details

–from the start, her breasts

wanting so much to make a sound


cover the dirt with your mouth

pressing against her, begin

as silence, then nothing.




Side by side as if the moon

carries off those buttons

close together and your coat


dyed black to make it heavier

–you let it fall, lay there

–yes, you were in love


sang to birds, to burials

though it’s the moon

coming back and the darkness


it needs to close the ground

that goes on alone

yes, you couldn’t move.




Motionless, on the way out

no longer feels at home

though this single-minded nail


wants the job finished now

wanted a small hole, filled

to silence the song in the picture


in black and white taking her away

holding on –what’s left

will lower the wooden frame


is already caressing the wall

that something happened to

is surrounded by winds and cries


that carry off birds, bent the Earth

and the exhausted nail, by itself

between your fingers and suddenness.




Again one hand, side by side

clawing at your throat

–there’s an egg inside


that can’t come out, sheltered

by the darkness boiling over

till it was time, in ruins


–what you swallow

is snow, a single pill

falling the way all fevers


are healed by moonlight

reaching into your mouth

as a stone not yet breathless


with room for her to sit on

close to the ground

helping and the corners.




You button this sleeve the way smoke

is trained –a sudden shrug

and the night moves under you


can’t see you’re still on your feet

and though they no longer fit

the ground is already a crater


where her shadow would have been

holding on from behind

as a clear, moonlit dress


and the last thing you saw left open

as the slow, climbing turn

that’s still not over.




To grip the Earth you climb

as if this paint

is still not sure it’s safe


and though they’re white

waves don’t last in the dark

–each  rung by now


in that slow rollover

they were trained for, one

to stay white, the others


bleeding as rain and step by step

–this ladder is losing curvature

leans against the house


half ramp, half shoreline

and all these stars

still clinging to sunlight


are used to your hand over hand

and yes, spilling a few drops

the way every sea is filled


overflows, lets you drink

from a sky that will light up

as if nothing happened.




It’s only a few minutes

but they add up as bedrock

and from behind swallow the Earth


whole –this watch is always late

though its slow climbing turn

has nothing to do with this sunset


strapped to your wrist

while the other hand waves goodbye

running into bad weather


as if all it can retrieve

is hillside, sure you will lean back

slower and slower without any closer.




And though the flames are hidden

you still drink it black –spoons

are useless, aimlessly circle down


the way you once added cream, sugar

clouds –you level off so your hand

takes longer to climb back


let the cup burn your lips

as sunlight wedged between –you yell

though no one becomes suspicious


sees the fire starting up again

–it’s a simple first-thing-in-the-morning

so no one is the wiser and sometimes


a darker darkness is lured alongside

where you tighten till this cup begins

its slow turn into madness and your arms.




And though they’re cold

they won’t answer to a single name

from when these flowers


covered the air with stone

and room for your shadow

where nothing was before


–what they want is more darkness

not these graves bunched the way bells

still overturn as that night sky


even you can’t wear for an earring

hear this dirt making the emptiness

somewhere inside your arms.




Agreed! The firm handshake

wipes it dry the way one reef

irons things out with another


circles down as your shadow

already seawater, homesick

and the exact spot it remembers


–that’s the deal, you

become rain while this stone

is run backwards, girlish again


touching everything and the dirt

comes loose, floating past

not yet sunlight and side by side.




Simon Perchik is an attorney whose poems have appeared in Partisan Review, Forge, Poetry, Osiris, The New Yorker and elsewhere. His most recent collection is The Osiris Poems published by boxofchalk, 2017. For more information including free e-books and his essay “Magic, Illusion and Other Realities” please visit his website at www.simonperchik.comView one of his interviews here.

Self Portrait: Assemblage

By Jeanine Stevens

               Man Ray, Paris 1916


Only torso from the waist up: top end

an ironing board, mid-section, cello.

Metal bells for eyes, door buzzer—navel.

Touch, press. Sound the alarm?


You want to soothe him.

Everything says “touch me,”

yet more like a contraption than man.

No mouth, nose, or breath.

No hands to reach, trace the world

               no feet for escape.


Skin would be a logical addition, a hint to make sense,

but only a black shroud, white veil,

bib tucked below his chin,

childlike handprint

on chest,

               over heart.


So like Harlow’s iron surrogate, googly eyes,

brief cling to suckle, then return

to cradleboard and terrycloth mother.


We can’t see his back, don’t know extent

of scar or faulty wiring, another’s burnt ends.


How much we need to explain ourselves.

Even a dimple might help!




Jeanine Stevens is the author of Inheritor (Future Cycle Press), and Sailing on Milkweed (Cherry Grove Collections). Winner of the MacGuffin Poet Hunt (selected by Phil Levine), The Stockton Arts Commission Award, The Ekphrasis Prize and WOMR Cape Cod Community Radio National Poetry Award. Brief Immensity, recently won the Finishing Line Press Open Chapbook Award. Poems have appeared in The Curator, Evansville Review, North Dakota Quarterly, Chiron Review, Forge, Pearl, Stoneboat, Connecticut River Review, Provincetown Magazine and Rosebud. Jeanine recently received her sixth Pushcart Nomination. She studied poetry at U.C. Davis and California State University, Sacramento.

Rocket Man

By Jeanine Stevens


Sitting by the window, I fluff the tapestry pillow,

yellow with red chickens on gold muslin.


Outside, the variegated ivy in shade,

hardy in green rain, ground spongy.


CNN, one more politician recused, resigned,

fired? Still draining the hoary swamp

that extended from northern Indiana to D.C.


A line of poetry:

“For a long time my brother wore Rocket Man

pajamas & Nothing:: The body

never lies.”


An ordinary barnyard: clucking, pecking,

weary craws, rough digestion.




Jeanine Stevens is the author of Inheritor (Future Cycle Press), and Sailing on Milkweed (Cherry Grove Collections). Winner of the MacGuffin Poet Hunt (selected by Phil Levine), The Stockton Arts Commission Award, The Ekphrasis Prize and WOMR Cape Cod Community Radio National Poetry Award. Brief Immensity, recently won the Finishing Line Press Open Chapbook Award. Poems have appeared in The Curator, Evansville Review, North Dakota Quarterly, Chiron Review, Forge, Pearl, Stoneboat, Connecticut River Review, Provincetown Magazine and Rosebud. Jeanine recently received her sixth Pushcart Nomination. She studied poetry at U.C. Davis and California State University, Sacramento.

Between Manhattan and the Sea

By Jeanine Stevens

                A painting by a patient

                of Dr. Carl Jung, 1920’s


Out her window, towers

gleam alabaster, yet cathedral doors

open to darkness.


Brilliant carmine spills on Bachelard’s words:


“Skyscrapers have no cellars,

unthinkable for a dreamer of houses.”


A Chagall poster inspires.

She adds a small island, abandoned


shack, blue fish and day star

swaying on a hooked sun.


With the sound of a mermaid’s

conch, hair grows long,

bright henna.


Sting of coral on her calf—

she enjoys the wound.


Songs of extinct shore sparrows

fill the horizon.


Clutching velvet bouquets,

she considers the itch,

newly formed scales beneath her thighs.




Jeanine Stevens is the author of Inheritor (Future Cycle Press), and Sailing on Milkweed (Cherry Grove Collections). Winner of the MacGuffin Poet Hunt (selected by Phil Levine), The Stockton Arts Commission Award, The Ekphrasis Prize and WOMR Cape Cod Community Radio National Poetry Award. Brief Immensity, recently won the Finishing Line Press Open Chapbook Award. Poems have appeared in The Curator, Evansville Review, North Dakota Quarterly, Chiron Review, Forge, Pearl, Stoneboat, Connecticut River Review, Provincetown Magazine and Rosebud. Jeanine recently received her sixth Pushcart Nomination. She studied poetry at U.C. Davis and California State University, Sacramento.

Tiny Sun, Large Flower

By Jeanine Stevens


So we live on a fireball, ride a molten orb,

children of citrus rind, sunflower.


I read the earth’s core, 11,000 degrees F.

same temperature as the sun’s surface.


Then in Arles, otherworldly,

even the vicious mistral

born of two competing winds

cannot interfere

with light making whites alabaster,

blues peacock, yellows mustard.

Not one depressing shade or gloomy hue.


There is a town that never receives sun.

How can people be normal: no solstice,

night music, night madness?


No wonder Vincent dipped his brush so deep,

internal fire, eternal fire.


Even fish glimmer celadon, escargot shine pearl,

and peonies burn ruby on hillsides.




Jeanine Stevens is the author of Inheritor (Future Cycle Press), and Sailing on Milkweed (Cherry Grove Collections). Winner of the MacGuffin Poet Hunt (selected by Phil Levine), The Stockton Arts Commission Award, The Ekphrasis Prize and WOMR Cape Cod Community Radio National Poetry Award. Brief Immensity, recently won the Finishing Line Press Open Chapbook Award. Poems have appeared in The Curator, Evansville Review, North Dakota Quarterly, Chiron Review, Forge, Pearl, Stoneboat, Connecticut River Review, Provincetown Magazine and Rosebud. Jeanine recently received her sixth Pushcart Nomination. She studied poetry at U.C. Davis and California State University, Sacramento.