July 2020 | poetry
First, I need you to understand that our son
has two fathers — and no, I don’t mean me
and our Lord in Heaven. The only star hanging
in the sky after his birth, a red blinking beacon
of the radio tower on the roof of that bleak
Guatemalan hotel. The only woman there
not Mary, but Olga, his foster mom
who delivered him sleeping into my anxious arms.
No wise men or shepherds, no cattle rustling
beyond our beds. I’ve yet to see him
skip across the surface of a summer pond
or draw wine from the kitchen faucet. And
our house runs surprisingly short of bread.
You won’t find our son praying to one of us
behind the football bleachers, or atop
any stumps preaching to the other students.
So, for the love of Christ, can you please,
please update your form?
It’s two thousand and twenty in the year
of our lord — my name is not Joseph,
my ex, not anyone’s god. Our boy
is sixteen, our pronouns, He / Him / His.
And we’re fed the fuck up having to decide
which father to list as his mother.
AE Hines
AE Hines is a poet living in Portland, Oregon. He is a recent Pushcart nominee and his work has appeared in numerous publications, including: Atlanta Review, California Quarterly, The Briar Cliff Review, Hawaii Pacific Review, I-70 Review, the Crosswinds Poetry Journal, SLAB, and Pinyon. www.aehines.net
July 2020 | fiction
W Va. Hospital for the Insane
Name: Alona Perrine
Admitted: 6 June, 1866
Summer nights, Clay, the boy my husband hired, peeps through the window as I undress. One night, by the dark of the moon, in the gloom of the barn, aroused by the musky aroma of animals, I feel God-like and make a man out of Clay. His hands, raspy corn husks, shuck off my bodice, as I forage for his needle in the haystack.
My man, he never was a churchgoer, thank God. The Reverend Wilkins lays hands on me, saving me like a gold piece pilfered from the collection. In the choir loft I take up my cross, his belly, pudgy as bread dough. Oh, my Lord! he keeps repeating like grace over dinner.
One Saturday afternoon, at a private quilting bee in the store room of Maxwell’s Feed, the owner stitches me as I lay on sacks of seed, on his breath, the smell of penny licorice, his tongue, black as the snake’s. Afterwards, he beats me. Bloody, I run to the parsonage, demanding retribution or there will be hell to pay. Reverend Wilkins pleads, He’s a pillar. He has children. He tithes! When I threaten to confess before the congregation, he quotes scripture, He wounds, yet He binds. Then he washes his hands and testifies against me like a Pharisee. To prevent further “self-abuse,” he hog-ties me like a rodeo steer with leather straps from a broken mule harness. The following Sunday, a special collection raises enough to ship me off to some asylum.
*
On the women’s ward, a hen house without rooster, I undress for the doctor. To decipher my insanity, he prods my privy parts with his cock-and-bull, saying my clitoris rivals the size of a man’s penis, and how I would not leave until he was satisfied he’d done all he could to return me to normal.
donnarkevic
donnarkevic: Buckhannon, WV. MFA National University. Recent work is forthcoming in The Centifictionist, Blue Collar Review, and Ancient Paths. A Best of the Net and Pushcart nominee. Poetry Chapbooks include Laundry, published in 2005 by Main Street Rag. FutureCycle Press published, Admissions, a book of poems, in 2013. Many Sparrows, a book of poems was published in 2018 by The Poetry Box. Plays have received readings in Chicago, New York, Virginia, and West Virginia.
July 2020 | nonfiction
At the orphanage, the Sisters dressed us in street clothes, brown leather shoes, and white socks that standardized our economic backgrounds. Yet, we could distinguish ourselves from one another by our thinness, broken or twisted limbs, cigarette burns, and other scars from abusive parents or caretakers. Even our facial expressions in scallop-edged, black-and-white photos shouted, “Caution!”
The other scars, those internal injuries that no one saw until we cried, bullied each other, or withdrew, we carried years later like a bursting backpack that rounded our adult shoulders wherever we went. Its contents might empty with hard work. But, how many of us pretended we could stand straight when we forged ahead into the world unaware that we needed a better sense of ourselves separate from our accumulated traumas? That we would struggle with forming a stable identity, of becoming autonomous. And how many of those internal scars would keloid into permanent mantras? “I don’t trust you. Love me. Don’t love me.”
But I had optimism. Some days, parents interested in adopting a child would arrive at the orphanage to decide which girl or boy would fit within their family, which one they could picture eating at their kitchen table, which one they could love. Around four or five us pre-selected by the nuns, bathed, and cautioned to behave, waited in a room. We had to smile, stand straight in a line, and not fiddle with one another. If we picked our noses, she added nose-picking. I liked to pick my nose.
While waiting for another nun to bring in potential parents, a Sister waited with us—saplings that one set of parents would pull out by its roots and transplant. She clasped her hands in front of her bib or fingered her rosary at her thigh while she scrutinized us as though attempting to guess which child the parents would select. Afterwards, she nodded her head and smiled at the designated child and parents as though, “Why yes, that is the child I would have selected for you myself.” And while I had waited and hoped they would take me, I continued to look up at them, smiling my best, hoping they would change their mind, their selection. Each time the parents left the room with one of my friends, I wondered why I stood behind.
Perhaps I had forgotten and picked my nose, so they didn’t pick me.
Sharon L. Esterly
As a freelance writer and journalist, Sharon has published articles in many newspapers and national magazines. She has taught highschool language arts, written educational grants, and provides private writing lessons to children and adults. She won First Prize in Nonfiction at the Philadelphia Writers Conference, 2016. In their Winter 2020 Issue, the literary journal Ruminate Magazine published a selection from her recently completed memoir, Bastard. At the University of Pennsylvania, she received her MLA in writing and worked for their Critical Writing Program where she edited and published 3808: Journal of Critical Writing, as well as res: A Journal of Undergraduate Research. Additionally, Sharon belongs to the Brandywine Valley Writers Group and The Authors Guild and is a board member at Glen Mills Schools.
July 2020 | poetry
The cabbage knows
only one thing—to head.
The moon looks like a cabbage
or a head but it isn’t either.
Moonlight veils my window
unwelcome down the walls,
too much and in the wrong place.
Dripping sounds keep me awake.
There is no way to contain
moonlight or mop it up.
It pulls on the near skin of the earth,
stretches and makes waves.
I dream here is a huge baby,
round faced, that I have to care for.
I do, and it gets smaller. The moon
is often a metaphor–breast, eye,
fingernail, communion wafer,
scab–yet it is still just the moon.
Mary Jean Port
Mary Jean Port is a three-time Pushcart Prize nominee. Her chapbook of poems,“The Truth About Water,” was published in 2009 by Finishing Line Press. She recently had poems published on Indolent Press’ poem-a-day site, “What Rough Beast,” in “Leaping Clear,” and in “ellipsis….” She has work forthcoming from “The Halcyone.” She lives in Minneapolis, where she taught at The Loft Literary Center for twenty years.
July 2020 | poetry
They gentrify the old West with python & ostrich
or click the homesick heels of ruby, the lazy
slip-on slip-off of loafers, inventions of slogans pithy—
moon shoes: mini trampolines for your tootsies. My father’s
army of polished Florsheim nines line up in his closet
in his closet like an obedient narrow-sized parade, my new
daisy Kmart sandals for flirty cheese fries on opening day
of the fair, splotches of chocolate milkshake assault
my saddled oxfords which in turn deliver a bruise
(the size of a coconut) on the mean bitch shin of schoolmate,
negative heels only make campus hills steeper but college
boyfriend’s blue suede shoes make me fall in love for a lifetime,
I ain’t no dominatrix but I know how to work thigh-high boots
intimate as skin, then tibial tendon surgery cause my stilettos
to mutiny. Arrogance of jeweled soles that patronize others
to manipulate their bootstraps, how to shoe the world, dominance
of Air Jordans dangle from a power line, at the sit-in we throw
frenzied sneakers at the mayor, too many screenshots of her
Jimmy Choos but not worse than those evil stepsisters cutting
off their heel or toes. Gibran believed that the earth is always
jazzed whenever it feels our soles bare but we also stand tall
in shoes that resemble buildings, armadillos, or handcrafted
in the wee hours by elves. Wear dreams on your feet my
mother cooed, dew-sprinkled sprigs of rosemary and thyme
tucked overnight under tongues.
Rikki Santer
Rikki Santer’s poetry has appeared in numerous publications both nationally and abroad including Ms. Magazine, Poetry East, The Journal of American Poetry, Hotel Amerika, Crab Orchard Review, Grimm, Slipstream and The Main Street Rag. Her work has received many honors including five Pushcart and three Ohioana book award nominations as well as a fellowship from the National Endowment for the Humanities. Her eighth collection, Drop Jaw, inspired by the art of ventriloquism, was published by NightBallet Press in the spring. Please contact her through her website: www.rikkisanter.com
