My Father's Basement in the Night
My father says, Why not show your friends my basement?
Although I have never been there, I think it is large, old.
I reply, Why should I? He does not answer me. I think
he is lonely, and this time he is shorter than I remember.
My mother wanders in this house I do not remember.
I think she is sick but I do not know, yet I am worried
she may try to go outside, so I call out twice, Mother,
where are you? She answers, In here, and from a hallway
I see her legs stretched out on a bed in a room I cannot
enter, while my father is in the basement, waiting for us.
Ronald Moran lives in Simpsonville, South Carolina. His poems have been published in Commonweal, Connecticut Poetry Review, Emrys Journal, Evening Street Review, Kentucky Poetry Review, Louisiana Review, Maryland Poetry Review, North American Review, Northwest Review, South Carolina Review, Southern Poetry Review, Southern Review, Tar River Poetry, and in twelve books/chapbooks of poetry. His poetry has received a number of awards. His most recent book is "The Tree in the Mind," published by Clemson University Press (2014).
For The Ignominious
Tombstones would cast long shadows
in this slanting, searing sun
Carved granite names and dates
would be sharply illuminated
But there are only acres of fields planted
with flat metal plates bearing patient numbers
This is their anonymous resting place
a cemetery no one ever visits
The dirt beneath my feet
crawls with twisted earthworms
and uncontainable madness.
Mitchell Krockmalnik Grabois’ poems and fiction have appeared in hundreds of literary magazines in the U.S. and abroad. He is a regular contributor to The Prague Revue, and has been thrice nominated for the Pushcart Prize. His novel, "Two-Headed Dog," based on his work as a clinical psychologist in a state hospital, is available as an e-book or in print.
Epiphany Plus One
Did a donkey sing across the creek
in frozen twilight a complaint
about its place in archetypal catalogues?
Did the strip of green above the heating
pipes hold twenty robins gathered
on the rumor of thaw?
And did those hands feel good?
The Christmas special satisfy?
And are we having fun enough
to last the week, the year, the life?
Hope is a thing with bandages, love
is daubed with something sticky from
the tree hauled out for salamander habitat.
Would you kiss a dog you’d just met?
Baby pictures on the windowsill say you
can’t fix the past, just write another book about it.
Margaret Young grew up in Oberlin, Ohio, and studied at Yale and University of California, Davis. She has worked as an artist in residence in Pennsylvania and Ohio, earned a 2005 Individual Artist Grant from the Ohio Arts Council, and has published two poetry collections, Willow from the Willow (Cleveland State University Poetry Center, 2002) and Almond Town (Bright Hill Press, 2011). She teaches at Endicott College and lives in Beverly, Massachusetts.
The original Americans stood here
their children played
their horses grazed
the moon and the sun made their circles
around the last of the pure innocent
I stand here one hundred years later
I see their tipi rings
I see where the snow fed rocky creek
meanders behind the trees in the distance
just as they would have seen
I see the bountiful prairie grass all around me
enough to feed their horses for many seasons
I see the high pine ridge
from where their sentry’s could see a two day ride
along all the points of the compass
to where the buffalo were
from where their enemies came
I stand here one hundred years removed
I see their tipi rings
now silent circles of rock
slowly being covered by the shifting earth
moved by the prairie wind
in the wind I hear the sound of the laughter
of America’s original children -
Lane Lutrell has been writing poetry since 1974. His work has been published in Wyoming Lifestyle Magazine, Wyoming Magazine, and Cowboy Poetry.
Libris Summa Brevis
All this opening and closing,
blossoms and bedrooms.
This river of faces and flowers,
blooming then falling to rot.
This library of people
and places, better forgot,
our children inherit
and theirs and theirs…
Just a loan, a catalogue
of books to be read,
opened and closed,
forgotten in days.
Bradley R. Strahan
Bradley R. Strahan taught poetry at Georgetown Univiversity for 12 years. Recently he was Fulbright Professor of Poetry & American Culture in the Balkans. For over 34 years he has been editor/publisher of Visions-International. He has five books of poetry & over 600 poems published in: America, Seattle Review, Confrontation, First Things, Christian Century, The Hollins Critic, Soundings East, Passages North, Sundog, Wisconsin Review, & anthologies: 2003 Struga Festival anthology, Blood to Remember, just to name a very few. His latest book (5th), This Art of Losing, was recently published to considerable critical praise and has been translated into French.
Passing Through A Ruined Graveyard
God blew hard on these marble dice
and so each fell face down,
tombstones with all their names hidden
as if they were handcuffed suspects,
faces pushed into the dirt,
or perhaps prostrate sinners
praying to a lost Mecca.
The demiurge of this lopsided creation
was not a vandal but a hurricane,
so He is the ultimate culprit.
All graveyards are ruined in time,
as forgotten as those buried in them.
The tombstones are not just fallen rocks;
they shout their stone-chiseled names
down to the buried bones below,
so when the trumpet finally blows
and the flesh-clad skeletons arise,
they’ll not have forgotten who they are.
Richard Fein was a finalist in The 2004 New York Center for Book Arts Chapbook Competition. A Chapbook of his poems was published by Parallel Press, University of Wisconsin, Madison. He has been published in many web and print journals, such as Cordite, Cortland Review, Reed, Southern Review, Roanoke Review, Birmingham Poetry Review, Mississippi Review, Paris/atlantic, Canadian Dimension, Black Swan Review, Exquisite Corpse, Foliate Oak, Morpo Review, Ken*Again Oregon East, Southern Humanities Review, Morpo, Skyline, Touchstone, Windsor Review, Maverick, Parnassus Literary Review, Small Pond, Kansas Quarterly, Blue Unicorn, Exquisite Corpse, Terrain Aroostook Review, Compass Rose, Whiskey Island Review, Oregon East, Bad Penny Review, Constellations, The Kentucky Review, and many others.
Ballad of the Jersey Devil
Night came creeping, the wildlife sleeping
Beneath the quiet laurel;
Bird and squirrel, young boy, young girl
Lay down without a quarrel.
No thunder clattered, it was utter still
By Batsto stream, by needled loam;
The wind swept chill through my window sill
In my dry Pine Barrens home.
Who knows what flood the Devil stirs in your blood,
Or what the Devil might bleed out?
“Pray,” father said, “to be good, be good,
With prayers most devout.”
“Clasp hands together in sacred prayer,”
He’d clamber to his knees;
“You hold unawares your holy soul there,
Do the Devil what he please.”
“Sing your prayers soon, my son, my son,
Sing them fast and loud and strong;
To Kingdom Come your words must run,
We tarry here not long.”
Then a shadow strange on the window panes
Fell as I fell to my knees;
A ragged coat flapped from the silent lane
And stopped up the evening breeze.
I raced to greet with naked feet
The apparition in the breeze;
Once through the door, no more, no more
Of the stranger did I see.
I slid through the brake where the snakes do glide;
The moon was new and shy,
Sharp pines brushed on my shirtless side
And the stars had deserted the sky.
I did not want to meet that man, that man;
I could not let him go;
That man in the black coat turning, turning,
His shadow following low.
Through midnight sweat and swamp we went,
And heard no bell grieve but the leaves--
In our swift descent, with heads down-bent,
Running past green graves of trees.
O, father dead, my head was hurting!
I prayed but no one came;
And the dark stranger kept on running,
Running just the same.
I’ll see if he crosses the tossing waters,
The waters of Batsto stream;
That’s a devil-test that will cause him arrest,
Or so my father deemed.
He passed the mark so lightly, lightly,
I began to doubt my heart;
With his crooked step so unsightly
Did he but play a devil’s part?
Like a July rocket, my lead step he mocked;
He ran like bolt of lightning;
He ran to the roar of the Jersey Shore,
The waves rising black, the sky tightening.
Then the man in the black coat turned back once more,
Leaping hill and hollow in stride;
His strange face glowed like a shadow’s hole,
And he turned his head to one side.
I stood forlorn on the moonless shore,
The windy pines sensing evil;
The wanton moon waned, her face turned once more
By the magic of the Devil.
“For you I have a place prepared.”
Old hoof-prints circled the fire;
Burnt logs arranged with symbols none shared,
And strange birds sang in choir.
My knees in the Devil’s sand-pit came down hard,
But prayers and thoughts I had none;
Just these few words that my two numb ears heard,
Spoken afar by someone:
“Man spends his little life running and running,
He tarries here not very long;
Midnight soon comes, and then Death comes with cunning,
And comes then an end to Life’s song.
Gregg G. Brown
Gregg G. Brown has devoted his life to poetry since happening across a certain haiku by Moritake. He runs the micro-publishing house Blast Press, which has published over two dozen authors in the past 25 years. Named in honor of the wild Vorticist venture by Ezra Pound and Wyndham Lewis, Blast Press is forward-looking and very opinionated.
Gregg still composes poems on his departed father’s clipboard, which he’s had since high school.
While all my fellow humans hope to
Enter heaven after they die, I am alone
Living in paradise already:
An earthly realm I have built myself
With the light from Lapland, where the setting sun
Shines with the morning glows above golden snow
The air from Shangri-la, where the yin
And yang are in pure and perfect balance with
Each other in every grass, every cloud
The water from Waterton Lakes, which
Reflect the mountain of trees as clearly
As the mountain reflects upon the clear water
That’s all my spirit needs, not the fragments
Of the meaning about Eden long lost
But the whole backyard within my solitary heart
Changming Yuan, 8-time Pushcart nominee and probably the world's most widely published poetry author who speaks Mandarin but writes English, grew up in a remote village, began to learn English at 19, and published several monographs before leaving China. With a PhD in English, Yuan co-edits Poetry Pacific with Allen Qing Yuan in Vancouver, and has poetry appearing in 909 literary publications across 30 countries, including Best Canadian Poetry (2009,12,14), BestNewPoemsOnline and Threepenny Review.
Your forty-first year and still no poltergeists
to blame. No spectral hands emerge
with the dark to rattle bones beneath your flesh,
to heave photos and unmailed letters
into jumbles of white noise. The moon goes on
following its uninspired course across the treetops
and in the morning the sky is a cupped hand over
every identical Colonial on the block. The fog burns
without a whimper off the pavement. The squirrels daily
knock over the bird feeder and without complaint
you prop it back into place
in spite of crows circling overhead, laughing
at their private jokes.
Crouched behind your house in the branches
of the last elm standing in the neighborhood
a guardian angel whispers love poems by moonlight.
Palsied and half invisible, she’s fading
by the minute from the terrible weight
of your conviction.
Laura Bernstein-Machlay is an instructor of creative writing and literature at The College for Creative Studies in Detroit, MI. Her poems and essays have been published in numerous journals including The Michigan Quarterly Review, The Alaska Quarterly Review, and The Georgia Review. She has work currently appearing in The Santa Clara Review.
Because it rained blood that Tuesday
And pigeons cascaded from their roosts
In Atlanta and a tsunami swept away
Two hundred people in Indonesia
As a woman drove over her husband
Because he told her how to vote
And lime trees languished in Key West
Because no snow fell in Philadelphia
And three girls bicycling in Seattle
Vanished because a foundation was dug
For a beach house in Malibu
And two pit bulls were adopted
By an interracial couple from
Atlantic City as a Russian orphan died
Of failure to thrive and a college reunion
Was held at a banquet hall in Indianapolis
Because a man and woman fell in love
In Seoul as another woman walked
By the sea weeping means you and I
Were meant to meet that hot day
With the sidewalks blistering our feet
As we kept on walking.
Joan Colby's books are The Lonely Hearts Killers, Spoon River Poetry Press; The Atrocity Book, Lynx House Press; How The Sky Begins to Fall, Spoon River Poetry Press; The Boundary Waters, Damascus Road Press; Blue Woman Dancing in the Nerve, Alembic Press; Dream Tree, Jump River Press; and Beheading the Children, Ommation Press. She has published widely in journals including Poetry, Atlanta Review, GSU Review, Portland Review, South Dakota Review, The Spoon River Poetry Review, New York Quarterly, the new renaissance, Grand Street, Epoch, Mid-American Poetry Review, Prairie Schooner, Kansas Quarterly, The Hollins Critic, Minnesota Review, Western Humanities Review, College English, Another Chicago Magazine, and others. Her awards include the Illinois Arts Council Fellowship in Literature; Illinois Arts Council Literary Award, Stone County Award for Poetry, Rhino Poetry Award, the new renaissance Award for Poetry. She was a finalist in the 2007 GSU Poetry Contest, and an honorable mention in the 2008 and 2010 James Hearst Poetry Contest (North American Review), a finalist in 2009 Margie Editor’s Choice Contest, and a finalist in 2009 and 2012 Nimrod International Pablo Neruda Prize. She also received the Illinois Arts Council Literary Award 2007. She has been the editor of Illinois Racing News for over 25 years, a monthly publication for the Illinois Thoroughbred Breeders and Owners Foundation, published by Midwest Outdoors LLC. She lives with my husband and assorted animals on a small horse farm in Northern Illinois, and has three grown children and six grandchildren.