January 2023 | poetry
My mind is
a cluttered cupboard
a hoarder’s den
skyscraper-stacked
bits and chits
shiny scraps strident notes
on skin when there is
no room at the inn
no vacancy
for one more guest
nor even space
for oxygen
thirst is the strongman of needs
with many ways to drink
morning news with morning joe
the Times they are a-changing
podcasts preachers PSAs
Sirius no longer lit
but air-waved and ever-on
any cracks in the stacks
I fill with pages beloved
books poems of my own
and others (who I’d like to be)
all this mess
magpie-made
I’ll use it someday
but the cows stray
I’m too busy to fence
my mind is at capacity
I fear the thoughts
will overflow like the gentle man
I saw yesterday
at 4th and Main
deep in conversation
with the gentle man
in the glass of the bookstore window
Ann Weil
Ann Weil writes at her home on the corner of Stratford and Avon in Ann Arbor, Michigan, and on a deck boat at Snipe’s Point Sandbar off Key West, Florida. Her work has been nominated for Best of the Net and appears in Crab Creek Review, Bacopa Literary Review, Whale Road Review, Shooter Literary Magazine, Eastern Iowa Review, DMQ Review, and elsewhere. Her first chapbook, Life Cycle of a Beautiful Woman, will be published in 2023 by Yellow Arrow Publishing. Read more of Ann’s poetry at www.annweilpoetry.com.
January 2023 | poetry
Emilio’s
—Sorry, We’re Open!
The young lady is served ribollita
with a fresh chunk of bread and a question:
What is it you prefer about a man—
his propensity to cheat—or to kill?
The young lady is perplexed—first time here—
stares at her soup, steps on her boyfriend’s boot,
knocks a can off the counter. Young lady,
please don’t be upset. We are all friends here.
Whatever you say, please—say it in Greek.
Or Italian. Or even English. Think:
here we are on the brink of disaster
and only you— your answer—can save us.
She thinks. She says, “I don’t care for either.”
Her boyfriend smiles. She smiles. Emilio
smiles—like Socrates in the Agora:
Ah, good! So then: ta chrimata paidi mou.
In this Dark World and Wide
He lived inside his head; his lust
lay with books. He read, he wrote.
(Some of his works are mind-numbing.)
He’ll go blind, they said, you watch.
And they were right. One poor eye patched,
one weeping, there was no doubt—
(though he didn’t see it coming)—
that paradise was lost.
And going blind he made a list
of every angel God let
out of heaven—his mind combing
Lucifer’s by feel, by touch.
The dark night of the soul. The match.
The smoldering intellect
smoking out free will. That humming
in the wings? His wife. The last.
John Perrault
John Perrault is author of Jefferson’s Dream (Hobblebush Books), Here Comes the Old Man Now (Oyster River), and Ballad of Louis Wagner (Peter Randall). A Pushcart Nominee, John has published in Beltway Poetry Quarterly, Blue Unicorn, Christian Science Monitor, Comstock Review, Poet Lore and elsewhere. John is a former Portsmouth, NH poet laureate. His chapbook, Season of Shagginess, has just been published by Finishing Line Press. www.johnperrault.com
January 2023 | poetry
I wasn’t prepared for the body
the stillness of it, a life muted,
how the gray sets in
how small a man can be.
The stillness of him, a life muted
in a hospital room, thin blankets
against his rails of bone
how the gray sets in,
the breath still in him,
I learned
how small a father can be
when I’m too afraid
to touch him.
to touch him
when I’m too afraid,
how hollow a father can be
I learned
to still breathe,
as the gray sets in
rails of bone, against
thin blankets, and his hospital room
in stillness, a life muted,
how gone a father can be
when the gray begins
stillness, our lives muted.
I wasn’t prepared for my father’s body.
Lisa Rua-Ware
Lisa Rua-Ware is a poet in central Massachusetts. Her work has appeared in San Pedro River Review, Muddy River Poetry Review, and Lily Poetry Review. When she’s not chasing her two rambunctious kids, she works as a technical writer, loves drawing, journaling, list making, and all things paper crafts.
January 2023 | poetry
She handed me her heart —
a red ceramic music box
she painted for me, kiln fired for me
in the heat of summer, in the dark
of basement, with tiny brushes,
shimmer chalk & glaze. Mamma
with her hair ragged back by gingham. Hands
knotted, tucking curls under cotton. Hands hinging
the lid & notes hammering. Mamma —
held out a heart that was hollow
as an empty cup, frigid as porcelain
beneath my palms those nights I stayed up
gripping the rim & waiting for the moon
to pass right through. My mamma
was girl, is a sunset at dawn, will be
an artist waking to breath’s echo in the sink.
This heart is a dam. The melody is a dam.
Her daughter is a damn opening
of the lid. She tells me the notes will play
a thousand times before the battery dies & she will live
for as long as I can make it last. Mamma —
molds mortality out of clay, leaves me
with a heart that defines the future
in terms of ration, in terms of choosing which days
are worthy of a play. Tomorrow is now
lifting the lid & listening for the time
when silence answers back.
Her heart is a fragile thief
I immediately break.
Lorrie Ness
Lorrie Ness is a poet writing in a rural corner of Virginia. When she’s not writing, she can be found stomping through the woods, watching birds and playing in the dirt. Her work can be found in numerous journals, including THRUSH, Palette Poetry and Sky Island Journal. She was nominated for a Pushcart Prize in 2021 and her chapbook, “Anatomy of a Wound” was published by Flowstone Press in July of 2021.
January 2023 | poetry
Holy the lone juggernaut! Holy the vast lamb of the middleclass! Holy the crazy shepherds of rebellion!
— Allen Ginsberg, “Footnote to ‘Howl’ ”
Answers are demanded of too many questions.
Write the vision, plain as a tabletop,
carved into barroom wood.
Vision has a time appointed,
presses on, will not lie. Wait for it.
Let go, ungrasp.
Let go, free.
Promissory note, hope.
The structure of bread.
A new moon over Highway 77.
Reptile, ogre, jackal, mud
— pure as any other thing.
Singer-king leapt and whirled
and claimed his loot, sinner
that he knew himself to be and prophet.
Wisdom is queen.
Patrick T. Reardon
Patrick T. Reardon, a three-time Pushcart Prize nominee, has authored twelve books, including the poetry collections Requiem for David (Silver Birch), Darkness on the Face of the Deep (Kelsay) and The Lost Tribes (Grey Book). His memoir in prose poems Puddin’: The Autobiography of a Baby was published in November, 2022, by Third World Press with an introduction by Haki Madhubuti. His website is patricktreardon.com. His poetry has appeared in Rhino, Main Street Rag, America, Autumn Sky, Burningword Literary Journal and many others. His poem “The archangel Michael” was a finalist for the 2022 Mary Blinn Poetry Prize.
January 2023 | poetry
The usual builders’ rubble, buckled screws,
snapped trowel-heads, small chunks of plank,
the strips of broken two by two, the bottle-caps.
(Images of blokes in spring and summer sun
drilling, fixing, tamping, swigging.)
A foot or two, a generation lower,
the first sheep’s bones. My farming cousin
confirmed their species, and this had been
the slaughterhouse field, where sheep, pigs, cows,
would wait their entry to the abattoir.
(My father’s gang, living a street away as boys,
would listen to the squeals and bleating,
before the thud. The sudden laden silence.)
I wondered about those bones. So how
did they escape the slaughter? And for what?
Then suddenly a skull, a flat crushed skull
(my cousin said a lamb of two years old).
So what obscure extinction?
My daughter, nine years old, dealt with it
earnestly, calling the remnant “Larry”.
We buried him between the compost and the beans
and raised a simple cross.
Robert Nisbet
Robert Nisbet is a Welsh poet whose work has appeared widely in Britain and the USA. He won the Prole Pamphlet Competition in 2017 with Robeson, Fitzgerald and Other Heroes. In the USA he has been nominated for a Pushcart Prize four times in the last three years.
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