Poetry

12 Poems—November 2019

By Simon Perchik

*
You can’t tell from these clouds
why this afternoon was set on fire
is burning through some lullaby

you’re singing to yourself
by gathering a few leaves, some twigs
for the gentleness falling out your mouth

–you dead know how it is, each hush
must be buried on the way back
with lips that bleed when rinsed in rainwater

leaving a sky that no longer takes root
is drifting into its hiding place
and each night listens for the word after word

returning as the small stones around you
that warm your hands, that listen the way smoke
reaches out from ashes and step by step.

 

 

*
It’s easy to fake her shadow
–you face each wall till its overcast
begins to fall as snow

fills the room with footprints
that reach for the light
before it leaves this bedside lamp

camouflaged as the curve no longer warm
–it’s simple, turn your head and the wall
goes along though each corner

is always winter, left open
where the light from her breasts
covered one hand with the other

to keep from freezing, stays
the way each shadow long ago
lost its echo though you forget

still listen for this door to open
to hold this room together till it arrives
as the same cold only colder.

 

 

*
You whisper as if smoke
still follows some plane
that left it behind

–mourners understand this
wave goodbye to your words
by leaning closer

the way fires start
though each stone left here
will collide with the sun

–no one would notice
it’s two in the afternoon
and all Earth is warming itself

lighting up the sky
no more than ever
hears you talk louder

say where in your mouth
a kiss can be found
came for you and stayed.

 

 

*
How could a moon so dim
see the room being taken away
–the door was closed from behind

as if nothing will return
except to light the stars
with evenings though the bed

stays empty, was uprooted
pulled further from the wall
now mined for its darkness

where each night pours sand
little by little through the blanket
over a room that died.

 

 

*
To not hear her leaving
and though this snapshot is wrinkled
it’s carried off in a shirt pocket

that never closes, stays with you
by reaching out as eyes
waiting for tears and emptiness

–you remember who filled the camera
except there was sunlight –a shadow
must say something, must want

to be lifted, brought back, caressed
the way a well is dug for the dead
who want only water and each other

–you try, pull the corners closer
over and over folded till you are facing
the ground, the dry grass, her.

 

 

*
To the dirt that no longer moves
you offer a mask the way a flower
over and over is readied for mornings

where time begins again as stars
sensing honey and more darkness
–by evening your death

will be used to footsteps one by one
broken off a great loneliness
returning row by row as the small stones

cut out for the mouth and eyes
to sweeten it, ask
where you are going by yourself.

 

 

*
Though there’s no sea nearby
this sidewalk smells from sand
no longer struggling–you point

where the crack will come
when you take your hand away
letting it lie in the street

–what drips from your fingertip
is one wound bathing another
with evenings and shores

covered with the inhuman cries
from small shells still in pain
scattered and not moving.

 

 

*
Slowly this coral
braces for the back and forth
by changing colors

beginning with moonlight –in time
the leaves become tea, gutted
the way an old woman with beads

weighs your palm for riverbeds
then spreads each finger
whose only memory is the darkness

that helps you breathe
underwater till it burns out
smells from emptiness

and standing in a circle while you drink
from a cup filled with some meadow
overgrown, forgotten, all at once.

 

 

*
Without the map you make a turn
the way someone pawns a coat
and butterflies disappear

though you remember the road
before it forked, became a valley
and the town, driving through

with the trunk propped open
helping you count over and over
to ten, half someone’s breath

half moonlight pressing against the hood
to open it, let out the wings, the road
and how much longer.

 

 

*
Don’t look around –it’s this conch
whispering back, keeping you awake
the way sailors embrace the stars

with rope when the rigging loosens
as the coming wave
falling to its death in your ear

–a nameless shell holds your hand
so it stays wet when lifted by moonlight
swollen from the darkness it needs

to flood the Earth, let go the railing
jump from the afternoons –you should look
for piling to carry away

on your shoulders as the voice
still circling overhead, almost a sea
almost all from your eyes.

 

 

*
You swallow head down
the way this hillside
sets for some far place

as evenings –it’s safe now
to drink from the birdbath
then throw your head back

purified by the pebbles
now gathered in a circle
as if they were the ones

you dead listen for
with your eyes closed
–in such a darkness

water becomes distance
finds the place in your mouth
for a field where a plane

skims by to cover you
as mist from its descent
still burning in the ground.

 

 

*
It was a birthday gift, sent alone
the day before your heart leaves
for a place that’s safer –a book

on travel, what to listen for, by yourself
in walls that let you look back
while your shadow is taken away

–it’s too soon! the ribbon is still splendid
will spend the night the way a sailor
learns to tie huge sails between each arm

stretch out, not yet rope, clinging to a sea
from a boat that’s lost, is closing
while you embrace the dark gray pages.

 

 

——————–

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.com. To view one of his interviews please follow this link https://www.youtube.com/watch?v=MSK774rtfx8

Confetti

By Jeanine Stevens

             after a black and white photo
                                             Asher ReTech

Homage to brief decades, the suitcase,
the kind you buy in a set of three
at Sav-On Drugs,
             slumps in a back alley
among scattered rubble, scraps and litter.

Flimsy, cardboard and cloth,
made for domestic destinations,
it has survived many depots and terminals.

Rain soaked, black mold, beginning to sag,
             one side curls and peels.

No matter how worn,
you can always find bits of life
inside the satin lining: frayed ribbon,
a few peanuts, ticket stub,
             small toy.

This is what I see through my good eye.
If I look with the other,
objects glaze and shimmer,
             as if put through a gentle

             shredder—even soiled scraps transform:
glacial chips, slick obsidian, candy-colored confetti!

The rain over, everything settles, like the quiet
after the carnival ends, the revelers gone home.

 

 

——————–

Jeanine Stevens is the author of Limberlost and Inheritor (Future Cycle Press) and Sailing on Milkweed (Cherry Grove Collections). Her latest chapbook, Citadels, was published by Folded Word Press, 2019. Winner of the MacGuffin Poet Hunt, The Ekphrasis Prize, Mendocino Coast Writer’s Conference, and WOMR Cape Cod Community Radio National Poetry Award. Jeanine studied poetry at U.C. Davis and California State University, Sacramento. Poems have been published in Evansville Review, Forge, Chiron Review, Pearl, Stoneboat, Connecticut River Review, Verse Wisconsin, The Curator and North Dakota Quarterly. She also enjoys Romanian folk dance and working with collage. Jeanine is Professor Emerita at American River College having taught Anthropology, Psychology and Women’s Studies for thirty two years.

Mistral

By Jeanine Stevens

Windy days at co-op pre-school,
kids unruly: kicking shins, tossing
graham crackers and carrot sticks into the air,
some even preferring the taste of crayons.

So I’m ready for this gale
(said to drive one mad).
Coming north from Nice to Arles,
legs infected with flea bites, wearing
scratchy tights, already edgy, half crazed.

My real intent:
find color, tattered billboards,
collage scraps, great strips
I stuff into my parka,
twisted and wrinkled all the better.

Gruff gusts,
rings clang on iron poles,
café umbrellas flap
in blue cold and dry sun—
blinding azure, Midas gold.

I take a warm Earl Gray at a sidewalk shop.
Across the courtyard,
the Mistral removes sticky webs
from Vincent’s dense shrubbery.

 

 

——————–

Jeanine Stevens is the author of Limberlost and Inheritor (Future Cycle Press) and Sailing on Milkweed (Cherry Grove Collections). Her latest chapbook, Citadels, was published by Folded Word Press, 2019. Winner of the MacGuffin Poet Hunt, The Ekphrasis Prize, Mendocino Coast Writer’s Conference, and WOMR Cape Cod Community Radio National Poetry Award. Jeanine studied poetry at U.C. Davis and California State University, Sacramento. Poems have been published in Evansville Review, Forge, Chiron Review, Pearl, Stoneboat, Connecticut River Review, Verse Wisconsin, The Curator and North Dakota Quarterly. She also enjoys Romanian folk dance and working with collage. Jeanine is Professor Emerita at American River College having taught Anthropology, Psychology and Women’s Studies for thirty two years.

Cabbage Patch

By Jeanine Stevens

               Erasure: after Angele Ellis, “A Man in a Truck by a River.”
               Grasslimb vol. 13, No. 1, 2015

It took forever to reach you          so much mud. I picked my way
like a lost shorebird among
                                                used rubbers, gnawed chicken bones.

 

I sort of knew you
           a guy with strong muscles who got paid in cash.

           You climbed into your dirt-brown Bronco
           and flipped the passenger door lock.
                                                           My clumsy entrance
knocked your wallet                 onto the floor mat. It fell open—
photo of you with a woman on your lap.
                                                                       You
were grinning as if celebrating a winning
                                                           a scratch-off Lotto card?
                                                   Her Pirates baseball jersey,
                                               clung to her cantaloupe breasts.

                                                                I ran my hand down
your thigh like an apology.

    Later, I realized that every time
                                                 you left me,   you put your truck
                                                             in gear and went to her

                                                                       that the baby
           crying in the background every time I called was yours.

                                               Later, I realized that even
the pieces of trash that end up on the shore
                                                  are part of someone’s fantasies.

                          Night after night, I’m in the cauliflower beds
on my friend’s farm              rows of heads,              leaves secured

with a clothespin, the kind with teeth.
           I panic, seeing the vegetables as the diapered rumps of babies.

 

 

——————–

Jeanine Stevens is the author of Limberlost and Inheritor (Future Cycle Press) and Sailing on Milkweed (Cherry Grove Collections). Her latest chapbook, Citadels, was published by Folded Word Press, 2019. Winner of the MacGuffin Poet Hunt, The Ekphrasis Prize, Mendocino Coast Writer’s Conference, and WOMR Cape Cod Community Radio National Poetry Award. Jeanine studied poetry at U.C. Davis and California State University, Sacramento. Poems have been published in Evansville Review, Forge, Chiron Review, Pearl, Stoneboat, Connecticut River Review, Verse Wisconsin, The Curator and North Dakota Quarterly. She also enjoys Romanian folk dance and working with collage. Jeanine is Professor Emerita at American River College having taught Anthropology, Psychology and Women’s Studies for thirty two years.

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

bloom

azalea, spin

 

vine, almost

not quite

sideways, that

 

concrete

 

*

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

marigold

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 www.simonperchik.com.

To view one of his interviews please follow this link https://www.youtube.com/watch?v=MSK774rtfx8

 

Culling Keepsakes

By Mark Belair

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

 

writing

 

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

incarnation

 

of my blank, solitary, start-of-life

self.

 

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.

 

writings

 

I put down text—

personal essays, screenplays, a novel—

 

that functioned, in retrospect,

as the fired up

 

bricks of my meandering

path.

 

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

ground.

 

notebooks

 

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.

 

drumming

 

gear

 

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

unforgettable

 

even when I knew

its body

 

(the night, the place, the players)

would be forgotten—

 

I did

my part.

 

transitioning

 

calendars

 

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

past

 

of growing

weight.

 

a log

 

It was a life log

I kept

 

of dates and facts,

notes

 

heralding

the beginning

 

of promising

things

 

whose end

dates

 

went

unrecorded

 

because

their promise

 

drifted

off,

 

while middles

of things

 

appeared

without the context

 

of a start

and finish,

 

and some

endings

 

earned

notation

 

but their starts

and middles

 

stayed

unmarked

 

because

unremarkable at the time—

 

entries

of hard dates

 

soft on truth,

a log

 

that failed

to tell my life stories

 

though telling the story

of how I lived.

 

paintings

 

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—

 

what

I could.

 

cursive

 

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)

error,

 

it ended up remediable

by assuming the look

 

of later life itself: smaller,

but more legible.

 

 

attire

 

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:

 

“FOR THE BEST MOMMY IN THE WORLD.”

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

 

unspectacularly—

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 www.markbelair.com

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.