July 2017 | poetry
I always wanted to wear the pants
James Dean wore, and Rebel
taught me he was all wick and no wax—
ghost-riding his way off the bluffs—
because you know that he didn’t
make it out of that car wreck,
not really, not in the cold, rehearsed
way his total soc counterpart did,
when he cowered before the onslaught
of fragrant light beams or
fictions, projections on canvas,
but never the real fear, real
darkness, no. Instead: two tons
of steel clasping him like a baby
bird in a broken nest. That day,
pretending to fly off the cliffs,
he gripped tight the wheel—
white knuckles, greased hair,
creased brow and grimace
grown around the stubby butt
of a cigarette—he gripped tight
and slammed the gas as though
the treads could peel back the future,
the Porsche 550 and 49 Mercury,
the lot and US Route 466
playing tug of war like two groups
of children unlikely to ever let
the sun go down. And James,
having seen the future and the past,
bit down hard on the smoldering
tobacco and shut his eyes, because
in that moment he was unsure if
he was about to die, or push through;
and the potential was in the engine,
potential in the pedal, potential in his feet,
in the rawhide stink of leather, in the smoke
and heat of gasoline, in the bristles
of his comb; and now that he no
longer knew which car he was in,
he flinched, and death caressed him
with metallic fingers; and the sun setting
across the desert flats flickered over
the crumpled flesh and steel, and
the bystanders squealed and cried
with excitement, and the ghost of
James Dean walked around the car
and wondered if he were the dream,
or his body. He looked down and thought
stop pretending. Always the actor, always
the hardness of perfection, of dying young
enough to have been everything and nothing
at all—broken bones, crumpled steel,
oil strewn across asphalt and dust, salty
tears, baking sun, acrid smoke, and on
the wind tossed side of perfection,
his cool hair fluttering, timeless.
Noah Leventhal
Noah Leventhal is a gumshoe literary detective. He recently graduated from St. John’s College -Santa Fe, New Mexico where he managed to avoid nasty juniper allergies for three out of his four years. He enjoys dissolving dream into reality, even when he is talking or eating food with his fingers.
July 2017 | poetry
She had plugged
The holes atop
Her head with hair
To keep the brains
From knowing there
Was more to life
Than dark and matted skull.
But if she’d once
Considered the cold
Bare fish tail strands
A-dangling exposed
To brushes, combs,
Hot water, wind,
Men’s clutch, she’d
Maybe not have shrieked
When all the hairs
Sunk down to sub-
Skull, crowded round
Her thoughts, coiled
Tight – for warmth –
And lit a fire; set in.
The smoke, an alabaster
Hue – burnt bone?
That smoggy ouster –
Shrouded baldened
Skin, and left
An airborne trail
Like bread crumbs
For the damned
Behind her head
Where all she went then on.
Rebecca White
Rebecca White is a journalist based in New York City. She is a frequent contributor to The New York Times. Her poetry is as of yet unpublished. Rebecca’s poems reflect both her personal experiences and the experiences of those who have shared their stories with her. Much of her work focuses on protest, pain, and power.
July 2017 | poetry
Another of my father’s dense metal hand tools
That he’d never find or use again
once we took them from the shed.
That caught the exact size of things
by reach, touch, sight —
not needing inches and eighths
or arid calculation.
That turned perfect circles without
even trying.
That had a not-so-well-oiled joint
twisting between two sharp points, important
only in how far one was from the other.
That my brother and I blunted
by spiking it into rocky dirt and tree trunks
while almost always missing the
tiny, half rotten backyard apples
we aimed to impale.
That, after an unmeasured arc,
stuck, for a moment, just above my knee.
Lee W. Potts
Lee W. Potts has an MA in creative writing from Temple University and is a former editor of the Painted Bride Quarterly. His work has appeared in The South Street Star, Gargoyle, The Sun, and The Painted Bride Quarterly. He lives just outside of Philadelphia.
July 2017 | poetry
Recalling a melodious pitch,
or forms of movement, thus
Swarms of creatures the mind adventures,
the swooning of the thrush
And while I beckon hitherto
ineffable thoughts I ponder:
the motive of a person’s word and deed
when that one says, what’s wrong dear?
Further, have I not known
the brilliance of mind on earth
The one that makes me move in glory,
and relinquish undue search?
If not, I will declare
I must continue onward
And love that which is from above—
those objects and things we ponder
Memories that wander
stay of place in some sweet nexus
a taste of pondering eminence
a taste of Nature’s Sexes
And while I sit, I wait
for Heaven’s inspiration
to be greater than the vile amorous
to rejoice in my long sation
Memories that wander
stay of place in some sweet nexus.
Lance Gracy
Lance Heath Gracy is a retired infantry Marine, current graduate student, teacher, and tutor. He received his B.A. in philosophy from the University of the Incarnate Word, and has published there in the local literary arts journal. He is in pursuit of an M.A. in philosophy from the University of Texas-San Antonio. He has a passion for evangelizing truth through various means, but has an interest writing poetry in particular. He lives alone with his German Shepherd, named Dennis, and enjoys reading, studying, running, gardening, and time with fellows.
July 2017 | poetry
The night breeze kisses the amber,
coaxing it to twirl and dance
A twinkling speck of rich medallion, melting
my fingers, warming
all these downtrodden
souls.
Faceless fields of fire, voices
both green and golden, crying
for the fall of a marionette
and her puppeteer
To snip off the poisoned strings, once
and for all.
A beautiful scene to be woven
in the lies of textbooks
Calm and serene, without a trace
of crimson, yet
Where has the marionette gone when
the denouement has come?
When will all the puppeteers in the world
be rid of, cast away with their
tarnished gold?
When will all fields, scarlet and marigold, be left
to rest in peace?
These still remain, unanswered
But the streets still blossom
into golden fields, ripe
with courage and ire
An eternal blaze, kindling inside
our palms
An angel’s tune charms the streets,
lingering, joined by voices
of fire
When sorrow hangs in my heart,
drop by drop
I rise in the morning hill and
learn a little smile 1
1 “Morning Dew” (composed by Korean singer Kim Min-gi), a protest song banned under President Park Chung-hee.
Soo Young Yun
Soo Young Yun is a student living in Seoul, South Korea. She has been recognized by the Scholastic Art and Writing Awards, Origami Poems Project, Ann Arbor District Library, and Writing for Peace. Her work has appeared or is forthcoming in Aerie International, The Best of Kindness 2017, and the Austin International Poetry Festival Di-vêrsé-city Youth Anthology.
July 2017 | poetry
A few things you will seek
the morning after: wallets, words, contact
lenses, meaning, directions. Lessons
learned upon rising: kisses can complicate
as much as language, dividing desire
does not diminish desire, no victims
exist once the sun peels back darkness,
drink and decision. You will remember
what she was quick forget: boundaries
between teachers and students, rules
to minimise complication. You will stop
dressing up for her classes. You will not
feel the need to sit in front. But for years,
you’ll waste poetry on pointless questions,
never once raising your hand to ask.
Tania De Rozario
Tania De Rozario is an artist and writer based in Singapore. She is the author of And The Walls Come Crumbling Down, (Math Paper Press | 2016) and Tender Delirium (Math Paper Press |2013) – the latter was shortlisted for the 2014 Singapore Literature Prize. Tania was the 2011 winner of Singapore’s Golden Point Award for English Poetry, and is an alumna of Hedgebrook (USA), Toji Cultural Centre (South Korea), Sangam House (India), The Substation (Singapore) and The Unifiedfield (Spain). Her poetry and fiction have been published in journals and anthologies in Singapore, India and the USA, while her visual art has been exhibited in Singapore, the USA, Europe and the UK. She also runs EtiquetteSG, a platform that develops and showcases art, writing and film by women from and in Singapore. Founded in 2010, its current work includes the development and facilitation of art and writing workshops focused on issues of gender-based violence.
