Errata

SWWIM Every Day
by Susan Aizenberg

by Susan Aizenberg

What I took to be a slim wire
lost on the pavement
turned out to be a tiny snake
that whipped itself around
the panicked toe of my kindergarten
saddle shoe. What I believed
the smoke from a swallowed cigarette,
burning in a young bully’s belly,
turned out to be only the mist
of his breath rising on the chilly air
of a foreign cold snap one rare
North Miami morning. It turned out
to be a stone outside our window,
not a dead deer curled
beneath the oak, and that cry
through the bedroom wall
was not a hungry baby, but only
our neighbor’s cat left too long alone.
That bite from some nasty bug
off the Smith Corona floor blackening
the skin beneath my jeans turned
out to be a third-shift splash
of the sulfuric acid it was my job
to dip the metal parts in,
and that closet I discovered,
jerry-rigged from textbooks,
around my son’s third-grade desk,
a small prison his teacher’d built
to wall him off when he couldn’t stop
talking out of turn. It wasn’t a starburst
we saw that summer evening as we left
the theater, just a woman’s sun-struck
hair. At first we’d thought it was snow
falling on the camps and trains
in the famous movie, those ashes
I learned were the words a friend
would speak one day, explaining to me
the transgressions of the Jews.
And what I thought the face of love
forever turned out to be heat
shimmering like water on a distant
blacktop, tar rising and then cracking
like my own lustful, fickle heart.

—after Stern

____________________________________________________________________________________________________

Susan Aizenberg is the author most recently of Quiet City (BkMk Press 2015) and editor, with Erin Belieu, of The Extraordinary Tide: New Poetry by American Women (Columbia UP 2001). Recent poems appear or are forthcoming in blackbird, Summerset Review, NAR, Bosque, and elsewhere. Her new chapbook, First Light, is forthcoming from Gibraltar Editions in 2020 in a limited, letterpress edition. She lives and writes in Iowa City and teaches in the Iowa Summer Writing Festival.

Jardin des Plantes, 1980

SWWIM Every Day
by Theresa Burns

by Theresa Burns

Sometimes I wanted to crawl into a cave myself
when I watched the unfortunate baboons
palming their mangos at the zoo across the street,
then trying for hours to lick the stick off themselves.
I felt sorry for them as I felt sorry for the birds
in their high windowless cells—what good all that
red iridescence, all that sky-pitched soar?—
but not as sorry as I felt for myself that spring.
Nineteen and alone, no dancing in boîtes along
la Huchette, no fine-boned boys walking me
back to my room where I kept a knife
and a hotplate and a penlight so I could open
the right door when I visited the bathroom late,
my hand along the wall when the timed light
timed out, the hallway that held the most amazing
smells, crêpe and sleeping animal, pissoir and coffee.

____________________________________________________________________________________________________

Theresa Burns’ poetry, reviews, and nonfiction have appeared in The New York Times, Prairie Schooner, Bellevue Literary Review, America Magazine, New Ohio Review, The Journal of the American Medical Association (JAMA), The Cortland Review, and elsewhere. She has been nominated for a Pushcart Prize and is the author of the chapbook Two Train Town (Finishing Line Press, 2017). The curator of Watershed Literary Events in New Jersey, she teaches writing in and around New York.

Working the Porn Circuit

SWWIM Every Day
by Deborah Bacharach

by Deborah Bacharach

—a duplex after Jericho Brown

Girls get one thousand a day. The extras,
like him, get a hamburger with fries.

He’s like a juicy hamburger with fries
without the courage to ask for a dance.

Without the courage to ask for a dance,
The Wall Street Journal says men don’t marry.

The old Journal runs the pro/cons of marry
for men against just getting the sex for free.

Men against just giving sex for free
ask for the basic beat they’re supposed to know.

Ask for the basic beat you’re supposed to know.
Even Questlove, with his music certainty,

knows in the quest for certainty, love,
he’s no Prince, but he can delve down deep.

He’s no prince, but he can delve whale ear bone-deep,
give day girls his one thousand extra selves.

____________________________________________________________________________________________________

Deborah Bacharach is the author of After I Stop Lying (Cherry Grove Collections, 2015). She recently received a Pushcart Prize Honorable Mention and has been published in journals such as Adroit, Poetry Ireland Review, Vallum, Cimarron Review, and Poet Lore among many others. She is an editor, teacher, and tutor in Seattle. Find out more at DeborahBacharach.com.

Inset

SWWIM Every Day
by Laurinda Lind

by Laurinda Lind

Stuck between panes and walls,
here is a prophet poet in a church

so packed I can’t reach what
he says from inside myself

in the rain, though I stay, steal
charity under a strange umbrella.

Geese have been going all fall,
full of themselves up the sky.

Within, white coals seem to hiss
along the floor, heating someone

else’s heart. Even wet, the light
from the real world also is religion

so I suck it in like air till it
saves me under my skin.

____________________________________________________________________________________________________

Laurinda Lind, a former journalist, lives in New York’s North Country and teaches English composition classes. Some poetry publications/acceptances have been in Anima, Antithesis, Artemis, Blue Fifth Review, Bombay Gin, Chautauqua, Compose, Comstock Review, The Cortland Review, Ekphrasis, Gone Lawn, Gyroscope, Jet Fuel Review, Josephine Quarterly, Kestrel, Main Street Rag, Mobius, Moonsick, New Rivers Press, Off the Coast, Passager, Paterson Literary Review, The Poeming Pigeon, Soliloquies, Sonic Boom, Triggerfish, Two Thirds North, and Unbroken.

By the Time We Reached Quilcene

SWWIM Every Day
by Emma Murray

by Emma Murray

“Well she was an American girl / Raised on promises /
She couldn't help thinkin' that there / Was a little more to life / Somewhere else”

— Tom Petty and the Heartbreakers, “American Girl”

Sisters and I left our fingernails in the Badlands,
our teeth along a Wyoming roadside,
and our skin in Big Sky Country—
a syzygy of bodily offerings for the road gods.

We summited the Idaho Panhandle
and fortified our naked spines
with pieces of the Rockies.

Dad’s calls were red pushpins
metastasizing in our wake,
asking us to heed his advice—
Buy a bat.

By the time we reached Quilcene
we covered our bodies in succulence
the Olympic Peninsula offered us.

We pitched our tent on a bed
of fern and moss while the boombox
played Tom Petty and the Heartbreakers’
“American Girl”

and reimagined the promises
we were raised on, the destinies
preordained by fathers.

____________________________________________________________________________________________________

Emma Murray holds an MFA from Oklahoma State University and received an Academy of American Poets Prize in 2016. Her works have appeared in or are forthcoming from The New Territory, Pilgrimage, The RS 500, and The Collapsar. She currently lives in Iowa and teaches at Iowa State University.

The Ghosts of Missing Animals

SWWIM Every Day
by Katie Manning

by Katie Manning

The sign behind the lighthouse
says sea otters used to live
in the kelp forest below until
accidental over-hunting made
them disappear. Now the sea
urchins run wild without
the otters to keep them at bay.
This majestic view—cliff, wave,
and sky—would be all the more
magical with a few otters at play,
slick bellies glinting at the sun.
I can almost see their ghosts
shining in the surf. I can almost
see your ghosts, too, reading
this sign with me and exclaiming
over everything: the otters, the water,
the lighthouse, our boys. I could
place another sign here—
The Ghosts of Missing Parents—
to explain how you also used to
come to this place, how you
would be here now if not for one
accident, a terrible moment.
How my grief runs wild
when I stand without you
and stare across the bay.

____________________________________________________________________________________________________

Katie Manning is the founding editor-in-chief of Whale Road Review and a professor of writing at Point Loma Nazarene University in San Diego. She is the author of Tasty Other, which won the 2016 Main Street Rag Poetry Book Award, and her fifth chapbook, 28,065 Nights, is forthcoming from River Glass Books. Her poems have appeared in Glass, The Lascaux Review, Stirring, THRUSH, Verse Daily, and many other venues. Find her online at www.katiemanningpoet.com.

Mammal Twenty

SWWIM Every Day
by Ana Maria Caballero

by Ana Maria Caballero

time
and small children
time
to think too much of
it
the child plays
you
squat and ruminate
time
disbursed as mother
apart
from yourself the child
wants
park with you only
you
you travel to park here
child
scrambles you ponder only
me
me but also them only
them
the other mothers who
smile
or do not it does not
matter
now now the minor
face
gapes down the major
slide
does not ask to be
caught
does not beckon
you
climb but you must
watch
for the slide to matter
is
the child right another
query
dashed at the
park

____________________________________________________________________________________________________

Ana Maria Caballero was born in Miami in 1981 but grew up in Bogotá, Colombia. She’s a student of poetry at FIU, where she was runner-up for the Academy of American Poets Prize. In 2014 her collection Entre domingo y domingo won Colombia's José Manuel Arango National Poetry Prize. Finishing Line Press published Mid- life, her first chapbook, in 2016. Her writing has appeared in journals such as Tupelo Quarterly, Sundog Lit, and CutBank.

Devotion

SWWIM Every Day
by Suzanne Swanson

by Suzanne Swanson

when it blunders into the boardwalk, the second-
rate jellyfish, we are not sorry for it, watch amused

as it bumps and bumps the piling, finally getting
the angle right for escape, a vagrant pulsing against

the tide, blurring toward the atlantic, purples subdued
to brown under gathering grey. the cormorants

don’t notice or boredom sets in: they have seen it
a hundred times, know no reward comes from a morsel

of rubbery flesh. somewhere in this salt marsh, tide
runneling dark water, is a salt marsh sparrow, easily

confused with the Nelson’s or the seaside, look close
for the less buffy chest, the strong markings—white

stripes down the back. seeing means letting
the day turn away time, splitting with patience

the spartina from the sparrow, adjusting the eyes
to capture the rustle that turns to one, two, three

possible specimens, lifting off towards another swale
backs to us as if offering binoculars the perfect

perspective for accurate ID. our fantasy. we know
they don’t care, their devotion only to each other, to

the insects and spiders of these muddy flats, to the tiny
spineless marine creatures, the merging of inlet with sea,

how each pulls and pushes the other every single day,
a borderless survival never stopping, not stopping ever.

____________________________________________________________________________________________________

Suzanne Swanson is the author of House of Music and the chapbook What Other Worlds: Postpartum Poems. She is a winner of the Loft Mentor Series; she helped to found Laurel Poetry Collective. Her poems have appeared in literary journals and in the Land Stewardship Letter. She rows on the Mississippi River and is happiest near big water.

Meteor Shower

SWWIM Every Day
by Dawn Leas

by Dawn Leas

Tempel-Tuttle takes her time orbiting the sun.
Slow, but fierce. Leaves her signature
and when Earth crosses her path—
an orchestrated show of light.

Just before dawn,
you lie on the concrete sidewalk
five hours behind the East Coast,
a symphony of birds
singing the morning awake.

You snap pictures of Jupiter, Venus and Mars,
the distance between immeasurable with just the eye.

Then Leonid's radiant falls through the constellation Leo
and the shower changes everything.

I ask when you'll be home.
You answer, right quick.

Just after midnight,
I lie down on a cold driveway,
dead leaves scratching its surface.
Above me, pines and red oaks tip-toe
their way to the northern sky.

My Scorpio lives by the moon.
Has a hard time forgetting.
Your Aries lives close to the edge of Mars.
We will forgive each other for this every day.

The comet lumbers along.
The meteor shower comforts.
Mother Earth spins.

Right quick takes on new meaning
in space. Thirty-three years to orbit
just once? We are experts at waiting.


_________________________________________________________________

Dawn Leas is the author of Take Something When You Go, (Winter Goose Publishing 2016), and I Know When to Keep Quiet, (Finishing Line Press, 2010). Her work has appeared in Literary Mama, San Pedro River Review, The Pedestal Magazine, SoFloPoJo, SWWIM, and elsewhere. Her work won an honorable mention in the 2005 Dorothy Sargent Rosenberg Poetry Prize and has been nominated for a Pushcart Prize. She's a writer, editor, and writing coach. For more information, please visit www.thehammockwriter.com.

Singing at the funeral of a thirty-one-year-old stranger

SWWIM Every Day
by Libby Maxey

by Libby Maxey


slow with the communion Alleluia
like I've forgotten even at the grave
we make our song

we bending to the pews
feel the organ quiver in the wood
the wrinkled grain impressing us with age

they remember how the boy walked the fence rail
as his mother watched unbreathing, how he
leaped down running, wild to reassure

how he, insistent, called himself a crowd for all adventures
making good every swift, unearthly choice
like going into water in the dark

____________________________________________________________________________________________________

Libby Maxey is a senior editor with Literary Mama. She has reviewed poetry for The Mom Egg Review and Solstice, and her own poems have appeared in Crannóg, Emrys, Pinyon, Pirene’s Fountain, and elsewhere. Her first collection, Kairos, won the 2018 Finishing Line Press New Women’s Voices Chapbook Competition. Her nonliterary activities include singing classical repertoire and mothering two sons.

Spritz

SWWIM Every Day
by Elizabeth A.I. Powell

by Elizabeth A.I. Powell

Be like a flower that gives its fragrance even to the hand that crushed it
Ali ibn Abi Talib

Was what my mother called sweating. We spritz, we don’t sweat.

What about skank? So exotic. Rules for nice girls— Don’t wear nylon

drawers. The smell of white cotton panties, fresh

from the line is best. Go for nuance of honey and cumin. Don’t be catcalled—

catfish. Arousal is a communication the body makes. As a child the smell

of mud and cinnamon soothed my sunburns. Now at night when

tendril musks bloom patchouli, my body does the lindy.

Whatever signal my respiration plus heartbeat plus endocrine

chemicals publicize, I attract strange bedfellows. Even the bees

pollinating roses and jasmine for endnotes know

the olfactory signatures of their own group. We communicate

through scent, we don’t walk blindly toward the plank of love.

Trigger identification, primordial emotion: Big brother knows

how to market that in synthetic pheromone molecules.

Once, I tried smell dating: Wore a T-shirt three days and nights,

then took it off, sent it to Smell Dating Central,

where they cut the shirt in pieces, mailed out to prospective suitors

for them to smell, identify which appealed, see if my choice matched theirs,

voila, ode to our limbic system cha cha cha over a martini or espresso

in a darling bistro where pheromone baits trap gypsy moths.

History shows my ovulation triggered spermatozoa wars.

In the mornings washing with Cashmere Bouquet,

I make it new like a car. In my kimono and red lipstick

I read the papers in bed. But at 9:51 a.m. I go back to the idea:

Perfume is the feeling of flowers, a prayer burning

like brandy down the gullet. Poor flowers,

how shall they avoid their feelings? I read Glück’s “The Wild Iris,”

study their voices. I keep scents I never wear

like “Love’s Baby Fresh” circa 1976. It’s like keeping a specimen

of a lie in a bottle. Forcing yourself to love a perfume

is like forcing yourself to love someone you don’t.

____________________________________________________________________________________________________

Elizabeth A.I. Powell is the author of three books of poems, including Atomizer (LSU Press, 2020). Her second book of poems, Willy Loman’s Reckless Daughter: Living Truthfully Under Imaginary Circumstances, was named a “Books We Love 2016” by The New Yorker, and was a Small Press Bestseller. Her novel, Concerning the Holy Ghost's Interpretation of JCrew Catalogues, was published in 2019 in the U.K. Her work has appeared or is forthcoming in the Pushcart Prize Anthology, American Poetry Review, Colorado Review, The Cortland Review, Ecotone, Electric Literature, Forklift, Ohio, Harvard Review, Indiana Review, Missouri Review, Mississippi Review, Seneca Review, Ploughshares, Plume, West Branch, and elsewhere. She is Editor of Green Mountains Review, and Associate Professor of Creative Writing at Northern Vermont University.

The Tyranny of the Blank Page

SWWIM Every Day
by Adina Kopinsky

by Adina Kopinsky

The revolution will not
be televised—chronicled
instead in college notebooks,
composition, spiral, leather
bound. Give me your eager,
your broken words
yearning to scale free—breathe
an ellipsis, break a dash,
lie down in a grave
of your own first drafts,
climb on top of cars
to cry               for cease,
for fire, for the UN
to haul the click-clack of
red pens away, wash yourself
in a bath of ink, lay your body
on an A4 paper and spread
snow-angels,               peel words
out of your skin, slough yourself
into the irregular lines of your mind
music, drink    the wine
of your subconscious and sleep with
its multiverse, its nonsense, its huddled life:              listen
to Walt Whitman tell you all the world’s
a poetry slam; he’s chanting through
a megaphone on the rooftop,
an audience of letters is breaking the fourth wall,
streaming through the theater, thrown
at the actor’s feet howling
for a chance to shine, to skip, to halt,
to stream         like light until the end of the line.
Dream songs, inscape, break out
of Amherst in your white dress
sprout wings from your scapula
cry for revolution—    
put down your spades, your keyboards,
your codes and locks, leave your cubicles,
your lawnmowers and yoga mats,
park your trucks
on the side of the road            because
the time has come—hand in hand—my friends,
the tyranny loosens and in each
child’s hand a notebook is open
to the first blank page
and the sky sings hope—
the epic of tomorrow is written,
word by word,
in your hand today.

____________________________________________________________________________________________________

Adina Kopinsky is an emerging poet living in Israel with her husband and three sons. She has work published or forthcoming in Rust + Moth, SWWIM Every Day, and Glass: A Journal of Poetry, among other publications.

On “Journey to Go” by Kay Sage

SWWIM Every Day
by Nadia Wolnisty

by Nadia Wolnisty

When I knew you, everything I owned was chapped.
A wooden fence around my yard,
white with brown beneath.
Do you know that ache?
The dust covers of my books went peely.
My face did it too—
nose a terrible melon, mouth like Pompeii.

Not the crumbling but the moment before.
Like stepping on the lip of a canyon.
My insides went fluidic. If you
were to open my stomach, an ocean
would fall out. A deep-fried human
with something undercooked between skins.

But I am making the journey to smooth.
I no longer know your name.
Look how I become unfeathered.
My torso is runner's knee before the gun.
I am tooth; I will bite air.

When I knew you, I shook, unable to paint,
or smile, or stand. A polyphony of poor taste.
I thought it was nerves, but it was just
my skeleton starting to hatch.

____________________________________________________________________________________________________


Nadia Wolnisty is the founder and editor-in-chief for ThimbleLitMag.com. Her work has appeared in Spry, Philosophical Idiot, Apogee, Anti-Heroin Chic, Blue Pepper Review, McNeese Review, Paper & Ink, and others. She has chapbooks from Cringe-Worthy Poetry Collective, Dancing Girl Press, Punk Provincial (forthcoming) and a full-length from Spartan.

How We Lived

SWWIM Every Day
by Emma Trelles

by Emma Trelles


2017, 2018, 2019, 2020

And sparrows unthread nests, bring their young nothing

And shadows best seen inside the pitch of a cave

And three men stabbed on a train because of courage

And jacarandas flick cinder and blacken the ground

And the harbor horn is a creature roping hulls to the reefs

And the reefs gleam with chrome and absence

And absence is welcome

The bullet is welcome

The malignant cell is welcome

The gray faces and their merciless tongues are welcome

And a father is reptilian in his regard. And a mother stitches

Her lips like a wound. And the wound smells of silence and its blaring

And a child lays hands on a mine. And a man swallows his lies without measure

And a woman is told she is less than him she is less than the bodies left

Behind, less than the unmade, the never-was, the dirt forgotten by the tracks

And I no longer care about the losses. I no longer care if the last

Bit of bark is stripped from the earth, if the starved possum survives

The road, whether my neighbor coughs blood while she drags off a red

Or the hand turning the knob means me harm. I no longer fear

The inexorable diagnosis, the oceans rising to such heights

In my dreams they are monstrous but we are all still running

Towards each other, in this latest hour, refusing to shutter our eyes.


_______________________________________________________________


Emma Trelles is the daughter of Cuban immigrants and the author of Tropicalia (University of Notre Dame Press), winner of the Andrés Montoya Poetry Prize, a finalist for Foreword/Indies poetry book of the year, and a recommended read by The Rumpus. She is currently writing a second book of poems, Courage and the Clock. Her work has been anthologized in Verse Daily, Best American Poetry, Best of the Net, Political Punch: Contemporary Poems on the Politics of Identity, and others. Recent poems appear or are forthcoming in Salt, Zócalo Public Square, the Colorado Review, Spillway, and the Miami Rail. A CantoMundo Fellow and a recipient of an Individual Artist Fellowship from the Florida Division of Cultural Affairs, she lived and worked for many years as an arts journalist in South Florida and now lives with her husband in California, where she teaches at Santa Barbara City College and curates the Mission Poetry Series.

Quickening

SWWIM Every Day
by Kim Harvey

by Kim Harvey

(Poem for Myself Reading Pema Chodron in a Parallel Universe)



She’s been living a linear equation,
the product, the sum of what came before,
the difference, in this place where she
was figured in, where she ended up.

The iron in our blood was formed in stars,
billions of years ago, trillions of miles away.

Soft shuffle of newspapers in the park,
rhythmic squeaks from a swinging pair of
lovers under a thinning canopy
of trees. One-legged sparrow hopping
across the bus stop where church-light limns
a stained-glass lamb held in robed arms.

And when we die, the four elements dissolve
one by one, each into the other, and finally
just dissolve into space.

What if there is no absolute Truth,
only infinite possibilities
happening all at once so you’re always
left feeling you need to be somewhere
other than where you are?
Something inside her begins to
stir. She can feel her limbs twinge.

The process of generation occurs
in this order: air, fire, water and earth.

What if we are just quanta of matter colliding,
then breaking apart?
She hates to run because her legs never move
at the speed of her heart.

____________________________________________________________________________________________________

Kim Harvey is a queer SF Bay Area poet and Associate Editor at Palette Poetry. Her poems have been nominated for the Pushcart Prize and Best of the Net. You can find her work in Poets Reading the News, Rattle, Radar, Barren Magazine, Wraparound South, Black Bough Poetry, Kissing Dynamite, and elsewhere. She is the First Prize winner of the Comstock Review’s 2019 Muriel Craft Bailey Memorial Award and the Third Prize winner of the 2019 Barren Press Poetry Contest. See more at www.kimharvey.net.

Tableau

SWWIM Every Day
by Rebecca Aronson

By Rebecca Aronson

Because I never saw the butcher take down even one skinned rabbit
from the line hung in the window, I did not believe

that somewhere up the road was a crowded hutch
in which they huddled. I did not picture the soft ears

laid flat while a hand groped into the straw-dusted recesses.
Nor did I as I might expect allow the image of steam rising from a shallow white bowl

or those slim flanks braised on a plate with parsley sprigs and spring potatoes. I looked
at the rabbit-shaped bodies suspended on silver hooks

in the clear shelf of the window, the pane wiped clean I guess
each evening, and the sun bright on the glass

in which was reflected the wispy boulevard trees just now blossoming
above the passers-by, and saw across the street three blue awnings

blurred with sky, their flapping
like a flash of something disappearing fast into tall grasses.

____________________________________________________________________________________________________

Rebecca Aronson is the author of Ghost Child of the Atalanta Bloom, winner of the 2016 Orison Books poetry prize, and Creature, Creature, winner of the Main-Traveled Roads Poetry Prize (2007). She has been a recipient of a Prairie Schooner Strousse Award, the Loft’s Speakeasy Poetry Prize, and a 2018 Tennessee Williams Scholarship to Sewanee. She has poems recently in Beloit Poetry Journal, Plume, Tishman Review, Sugarhouse Review, Baltimore Review, and others. She is co-founder and host of Bad Mouth, a series of words and music.

The Legacy of Our Sister-Sleep

SWWIM Every Day
by Sandy Longhorn

by Sandy Longhorn

The moon, Sister, bright disc upon which
we spent our wishes, has reset itself to zero.

Nothing now but an empty dish in the flat,
black night, and we are left to sleep in fits,

as we did in that wild room of our youth,
woken by creak and snap, the machinery

of shadows, a juvenile oak standing
sentinel outside our screened window.

Your breath was my barometer. I drifted
in its steady current, tensed at its quickening.

Tonight we rest a thousand miles apart,
exchange quick texts in the dark to wrestle

the madness of our father’s mind, these words
no surrogate for your hand reaching across

that dark space.

____________________________________________________________________________________________________

Sandy Longhorn has received the Porter Fund Literary Prize for Arkansas authors and the Collins Prize from the Birmingham Poetry Review. She is the author of three books of poetry, most recently The Alchemy of My Mortal Form. Her poems have appeared in Hayden’s Ferry Review, North American Review, Oxford American, and elsewhere. Longhorn teaches at the University of Central Arkansas, where she directs the C.D. Wright Women Writers Conference.

Field Marks

SWWIM Every Day
by Farnaz Fatemi

by Farnaz Fatemi

He had salted the wings of the red-tailed hawk
to see what would become of them. Had stumbled on the bird

where it died. Where he was exploring a new trail.
He knows death. He was no taxidermist.

But he wondered what a crate of salt could do
to keep what he had found. The bird

in his palms took him back to the year
he learned how to look at field marks.

How to find the head of the bird in binoculars
and break it into quadrants with his eyes, extract

the top of the bill from the bottom and let them
stay that way: one sooty, one golden. Hone in

on the cere, the flesh that holds the nostrils.
He remembers, now, the boy who didn’t

know the word cere. Didn’t even know
there was a part on the head of the bird

that needed a word like that one. The rush
he felt, that other parts might need names,

all that might be learned. He draws out the wing
base to tip and dips it in the salt

then scoops the thick crystals with his palms
to cover what he can. Every time he thinks of death

—train full of boulders on its track—he wonders
whether there are parts he will recognize.

____________________________________________________________________________________________________

Farnaz Fatemi is a poet, editor and writing teacher. Her poems and poem-essays have recently appeared in Grist Journal (ProForma prize for a poem-essay), Tahoma Literary Review, Crab Orchard Review, Catamaran Literary Reader, Tupelo Quarterly, and elsewhere. A recent lyric essay was awarded the Honorable Mention for the Penelope Niven Prize for Non-fiction from the Center for Women Writers in 2018; another was a finalist for Best of the Net. Farnaz taught Writing for the University of CA, Santa Cruz, from 1997-2018. See more at farnazfatemi.com.

Fractalization

SWWIM Every Day
by Laura Foley

by Laura Foley

Because I heard the wind
blowing through the sun,
I left the lecture on mathematics,
found myself scaling a mountain,
so I could see beyond
the limits of my mind
numbed by numbers,
but was stopped by an old birch
crashing across my path—
its limbs and crown
bouncing a little, before settling.
Was this a sign, perhaps,
that I shouldn’t have left?
The expert is my friend, after all,
teaching patterns of numbers,
energy and fractals,
how full we are of space.
This I heard from her lips,
before the wind called me out
and nearly hit me, but I stepped over
the fallen birch,
like a comrade in subtraction.
When I reached the summit,
I saw my geometry
multiplied in the whole
of the world below,
holograms of my deepest space.

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Laura Foley is the author of seven poetry collections, variously honored with the Foreword Book of the Year Award (Silver), finalist for the NH Writer’s Project’s Outstanding Book of Poetry, and the Bisexual Writer’s Award. Her most recent book, Why I Never Finished My Dissertation, received a starred Kirkus Review and was among their top poetry books of 2019. Her collection It's This is forthcoming from Salmon Press in 2021. Her poems have won numerous awards, and national recognition—read by Garrison Keillor on “Prairie Home Companion” and “The Writers Almanac.” At Walt Disney Concert Hall, the Los Angeles Master Chorale performed composer Dale Trumbore’s “How to Go On,” based on her and two other poets’ work. She has a B.A. from Barnard College and an M. Phil. in English and Comparative Literature (Everything But Dissertation) from Columbia University.

Robert Frost Said Poetry Is a Way of Taking Life by the Throat

SWWIM Every Day
by Marissa Glover

by Marissa Glover

So this is the phone call, the email
in the dark hours after everyone’s gone
to bed, glass of wine on the nightstand still
half full, words important as air.
This is the song Kings of Leon sings—
the melancholy one, the one that ends
with a smile, the one your wife plays
in the shower because she doesn’t know
what it means. This is the apology—
an I’m sorry to appease the angels,
bypass the flaming swords barring us
from Eden, put the fruit back on the tree.

This is the sold sign planted in mud,
telling Shropshire the flat’s been taken.
This is the job ad for a man who loves
making plans, who teases fact from fog
the way chefs on Chopped cook complete
meals from whatever mystery ingredients
are in the basket, the way Fred Astaire
dances on the ceiling. This is the history
book teachers warn their class to read
with suspicion, eyes in search of bias
that leads to lies, penned by a poet
compelled to change the past, certain
a few good lines could write the future,
certain a future waits to be written,
certain the only story that ends happily
is the one that never ends.


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Marissa Glover teaches and writes in Florida, where she is co-editor of Orange Blossom Review and a senior editor at The Lascaux Review. Marissa’s work appears in Rust + Moth, Mothers Always Write, Okay Donkey, and Whale Road Review, among other journals. Her debut poetry collection LET GO OF THE HANDS YOU HOLD is forthcoming from Mercer University Press in 2021. Follow Marissa on Twitter @_MarissaGlover_.

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