Feeding Stray Cats in Ukraine

By Rebecca K. Leet

 

As molecules of steel madness
concussed the air
and no next breath was sure

a vibration in his unbowed soul
prompted Sasha to step outside
and feed a posse of stray cats.

The offering –
from one displaced in the world
to others also beggared –
cost Sasha his right foot.

War presents, at times,
a tableau for tenderness –
often anonymous, usually unseen.

It always presents
a canvas for cruelty – unfathomable

yet undaunting
to the merciful who step outside
to succor the world.

 


Rebecca K. Leet has spent a lifetime across the Potomac River from Washington, DC, seeing the best of times and the worst. Writing poetry keeps her sane.

Photo credit: Yael Beeri via a Creative Commons license.

Editor’s note: Paws of War is helping to care for abandoned pets in Ukraine. The nonprofit has received a 4 of 4 stars rating on Charity Navigator, so it’s safe to assume your contribution will be well-spent.

Displacement

By Antony Owen

 

I am
the fox-flame in the wood
jumping through snow an ember
chased to extinction by lesser beasts.

I am
permanent as the moth in amber
its patterns decided by the white sun
its fate decided by the earthlings.

I am
the glass-blower’s lips’ creation
to consume whatever is put in me
if I break, I become injurious to touch.

I am
the exhausted bee in the shying rose
the heartbeat bass of my distant hive
preferring my own cruel natures.

I am
insignificant as a cloudy starlit night
yet everything is still revealed just hidden
like Greek Gods who move us to sea.

 


Antony Owen is a writer of conflict translated in English, Japanese and German. His work has been recognised internationally, including, a full bilingual collection translated in 2021 by Thelem Press and an award in the British Army Poetry Competition in 2018. His work has also been shortlisted for The Ted Hughes Award for new work in poetry.

Photo credit: “Glassblower” by Kairon Gnothi via a Creative Commons license.


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Beowulf

By Irene Cooper

 

While my glamorous friend Anne underwent her abortion, I sat at a lunch counter and ate a grilled cheese sandwich and a chocolate shake before returning to the abortion clinic in the urban grid of Brooklyn. I sat in the waiting area and read Beowulf, assigned by my high school sophomore English teacher.

It wasn’t hard to imagine eighth-century Northern Europe—in my Irish working-class community there was nothing unfamiliar to me about drinking halls, trash-talking men, and tribal vindication. I took the side of the monsters—swollen outcasts, a vengeful mother and her son, descendent of the fratricidal Cain—although I knew—because I knew—they were doomed, predestined martyrs to the heroic trope. It’s even more difficult, now that I am in late middle age and my children are tender adults, not to wish for a better outcome for Grendel’s mother, incited to violence through her grief over the slaying of her son, but she never had a chance.

Anne, like me, was a little younger than her peers. She was not an outsider, but neither was she popular, per se. In that way, too, we were alike, but that’s where our similarities ended. I was overweight by the standard of the day, and poorly dressed, and therefore did everything I could to deflect attention. Anne’s mother worked in some mysterious capacity for Estee Lauder, and brought home gallon bags of makeup samples, of which Anne made liberal and dramatic use. She was dark and bird-like, an Audrey Hepburn for the 80s. In our freshman year, Anne developed appendicitis and parlayed the event into an entire final quarter off from school, during which she sunbathed in a bikini, studied Glamour and Vogue, and, when I came over, mined Jeremy’s—her mother’s boyfriend’s—secret stash of Penthouse magazines for story ideas I would then type, loudly, on Jeremy’s IBM Selectric.

Because I had no compunction about skipping school to keep Anne company, made no judgments about her hiatus (let alone her clandestine sexual relationship with a peach-faced boy two blocks over and one grade behind us), and was sometimes funny, I was the perfect (and only) candidate to accompany Anne to the clinic. My lack of judgment was not a virtue. It simply didn’t occur to me to have, let alone take, a moral position. I was used to things—bad things—just happening. I was accustomed to trying to make the best of it, afterward.

I finished Beowulf. Anne emerged, visibly relieved and hungry.

We’d stay friends throughout the next year, when she left the peninsula to live in a SoHo loft with her mother and Jeremy. Sometimes when I took the train in, Rachel—Anne never called her mother Mom—would take us to an art show, an occasion that left me bright-eyed, and Anne bored. Mostly, we’d go to Rocky Horror screenings and drink beer, after which I’d lie on the bare loft floor and let my head swim, while Anne vomited our revelries into the toilet. Senior year, I went to Rio de Janeiro as an exchange student. The year after that, she attended a small East Coast college, and I got a retail job in Houston, where my parents had moved in my absence. College was a bore, she said during a visit, but there were some cute guys. We sat in my bedroom smoking Parliaments with a fingernail of cocaine in the hollow tip. We neither of us had any plans. We lived by feel, each wondering if the other didn’t have the better set-up. I felt, at eighteen, that I’d forfeited my chance at college—that I was already too old. Anne enjoyed her visit best, I think, when she was flipping through bridal magazines with my mother at the kitchen table. Switched at birth, we’d joke. We didn’t know it, but everything was still open to us, all our fledgling mistakes and triumphs.

My eldest daughter and her fiancée live in a state where abortion will remain legal, for now, but the unnerving buzz is that this is the first domino—that LGBTQIA+ rights have been set up for a fall all along, as has same-sex marriage and accessible contraception. What will that mean, I worry, for the younger daughter, who’s contraceptive implant will expire in another year?

In the middle of Ron Padgett’s long-ish poem, “How to Be Perfect,” between Cultivate good posture until it becomes natural and Plan your day so you never have to rush is the line, If someone murders your child, get a shotgun and blow his head off. Perhaps Grendel’s mother was perfectly well-behaved, before she wasn’t. I suspect good behavior, or the slavish adherence to it, is another big lie, another promise unfulfilled.

A scene near the end of the 2005 BBC movie, The Girl in the Café, shows Kelly Macdonald’s character in the airport with Bill Nighy’s character, after she’s disgraced him at an international conference by talking about dying children in front of all his colleagues at the banquet table. He’d met her in a café, and in an uncharacteristic moment of spontaneity, asked her to join him for the G8 Summit in Reykjavik. He knows nothing about her (duh) and is surprised and aggrieved to learn she’d been in prison.

“I hurt a man. I hurt a man who hurt a child,” she tells him.

He asks, “Was it your child?”

She answers, “Does it matter?”

In the 2007 movie version of Beowulf, Grendel’s mother takes the form of a beautiful woman to seduce the hero in hopes that he will put a baby in her to replace the slaughtered Grendel. In the eighth-century text, as I remember it, she remains a monster, a hag, unseductive, the corpse of her monster son buried in her hair. In either case, she has only “mother” for a name, not even a kenning such as demon-bearer or seedfurrow or icicle-sheath. No, “mother” is her sole identity and purpose, as far as our heroes are concerned. And then they take that from her, too, and rejoice.

Grrr.

And what of Anne? The deer-path of our friendship forked at the end of adolescence. I cultivated my own glamourous mythologies, and still emerged dripping from the brine of my twenties to shed my scales on the toll-road of mortgage, partner, and 2.5 kids. I never liked weddings—uneasy union of the sentimental and the transactional—but, long after my own, have come to appreciate the precipitous question at the core of the ritual: Will you? It is a moment of consummate agency, bedazzled out of focus by diamonds and pearl-encrusted lace. The whole of the endeavor, however, hangs on the answer, and commitment is a matter of individual will.

Anne, I presumed, would someday say I will to a baby, if she could, after making the choice to say, I won’t.  I don’t presume to know what she’d think of the Supreme Court’s reversal, or how she might remember her own experience. I do know that when we had almost no sense of our own agency, we could take for granted that autonomy which was provided by law. We could—and lawfully—take care of ourselves as if we, and the embattled women we were to become, mattered.

 


Irene Cooper is the author of Committal, poet-friendly spy-fy about family (V.A. Press) & spare change (FLP), finalist for the Stafford/Hall Award. Writings appear in Denver Quarterly, The Feminist Wire, The Rumpus, streetcake, Witness, Beloit, & elsewhere. Irene supports AIC-directed writing at a regional prison, and lives with her people and Maggie in Oregon.

Photo credit: Phil King via a Creative Commons license


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“I can experience joy alone”

By Tristan Richards

 

I meditate on this line while hiking
away from the waterfall, and a doe
pokes her head out of the snow,
watching me, her eyes black and beady,
her body sandy, the color of spring
gravel turned mud. She is beautiful.
I freeze, my heart in my throat.
I become too aware of the ice
surrounding me, melting but still
cold enough to take me down.
She tracks me as I walk, alert
but faking confidence, toward
the parking lot. I think about how
strange it is to be so close to nature
and also surrounded by cars.
It is wild to set natural growth next
to what comes at you so quickly.
When I pass, she stands on top of
the hill and I see her full body,
white stripe running from her throat
down her belly, somehow calm and
ready to bolt at the same time.
I think each of us scared the other.
It is hard to exist in this world
as a woman and not be afraid.

 


Tristan Richards (she/her) is a poet and student affairs professional from Minnesota. She is the author of two self-published chapbooks: Not All Challenges Are For Us (2022) and The Year Was Done Right (2019). Her poems have been published in Preposition: The Undercurrent Anthology, on the Mankato Poetry Walk & Ride, and in Firethorne. In 2022, Tristan facilitated daily poetry writing workshops throughout the month of April for National Poetry Writing Month. She holds an MA in Leadership in Student Affairs from the University of St. Thomas and a BA in Communication Studies from Gustavus Adolphus College. You can find her on Instagram @tristanwritespoems or at tristanwritespoems.weebly.com.

Photo credit: “Doe in the Snow” by Richard Carter via a Creative Commons license.


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National Portrait Gallery

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By IE Sommsin


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Caricature of Senator Tom Cotton
Senator Tom Cotton

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Caricature of Sen. Ted Cruz
Senator Ted Cruz

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Caricature of Gtov. Ron DeSantis
Governor Ron DeSantis

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Caricature of Sen. Mitch McConnell
Senator Mitch McConnell

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Caricature of Elon Musk
CEO Elon Musk

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Caricature of Sen. Rick Scott
Senator Rick Scott

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Artist’s statement: I watch the news, and many faces that pass in the river of news strike me as utterly strange. Some are haunted; some have a childish malice. I’ve felt compelled to capture their essence in pencil, ink, and paint. These images are the first attempts to create a portrait gallery of a bizarre time in our political and cultural history.


IE Sommsin is a writer and visual artist who did too much time in graduate school. He divides the year between two political bubbles, San Francisco and his ancestral woods in Kentucky.


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[/fusion_text][/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

What Is Truth?

By Wells Burgess

  

Deep in the South, men gather.
First among equals, the Kingfish,
upstage, and it is only he
whose face you see; his minions –
that includes me, Markie –
have their backs to you. The Boss
plays solitaire; the cards slap
the table. “Markie,” he says,
where we gon’ put that road?”
“DeVreaux and the boys got
them all whupped up in Jasmine,”
I say. “Chairman talkin’ like
it’s yesterday. Folks
so starved for traffic, they’ll
walk ten miles on crutches
to vote for you.” Kingfish
looks me in the eye. “Markie,”
he says, “I  got a debt to pay.
Judge in Bayou goin’ on and on
bout how we are ‘destroyin
rural culture’ with the highway
projects. Owns a big tract. We
gon’ run that road right thoo
it so he hears them big eight wheelers
when he lays him down to rest.”
“Boss,” I says, “we got a rally
in Jasmine, big parade and all.
Tenth-grader singin a song he made up
about the highway they’re gettin.
Shall I call it off?” “Hell, no,”
says the Boss. He looks me right
in the eye. “Markie,” he says,
“Do you trust me?” And I say
back, “I do.”
The scene goes dark; another lights:
Jasmine Parish: scrub country,
hard-bitten faces, an old dirt road,
a boy, a wheel, a stick, Kingfish
on the stump. “We gonna’
put my big new highway right
thoo this ol’ Parish,” he says.
“Hire your boys to build it. Only
ramp for 60 miles go right to
this town. You folks gonna
be eatin the fat o’ the land.
Ain’t that right, Markie,”
he says to me. “Amen,” I say.
The scene goes dark. Another lights:
the Kingfish’s election headquarters,
a victory celebration. “I want a
Parish by Parish count,”
the Kingfish yells. When it comes
to Jasmine, DeVreaux shouts
“Eighty percent!” So I ask
the Boss, “So we gon’ give em
their road?” “Hell no,” he says.
“Goin’ thoo Bayou. Plans drawn,
press release tomorrow.” “What
we gon’ tell em down in Jasmine?”
The Kingfish looks me right in
the eye. “Tell em I lied,” he says.
DeVreaux won’t do it, so I make
the trip myself. Press release
come out, Chairman calls
a meetin’ of the Parish Council.
I show up. “Wha’ happened?”
Chairman asks. “He bout
guarantee us that road.” I
step right up. “Boss told me
to tell you he lied,” I say.
Folks bustin out cryin
and cursin, bout half of em
run on out the hall. Chairman
and others, DeVreaux’s people,
they stay quiet, and pretty soon
Chairman starts to chuckle.
“That’s the Kingfish for ya,”
he says. “Thoo and thoo.
Our turn will come.
He gon’ see to it.”

 


Wells Burgess began writing poetry late in life. His work has appeared in The Lyric, Measure, The Beltway Quarterly, Light, Think, Passager,, The Federal Poet, and Better Than Starbucks. In retirement, he teaches poetry at Encore Learning in Arlington, Virginia.

Photo credit: “I Win” by Kevin Labianco via a Creative Commons license.

 


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September Together

By Elizabeth Shack

 

Last September, we hiked the forest
beside the fog-drenched sea.
Followed a swift stream
bridged with salmon spawning,
returning from gray Pacific homes.
Switchbacked beside a waterfall
sparkling down steep granite.

Emerged into sunlight with a view
of lichen-painted rock
and the blue-white ice
that once sculpted this verdant valley.

Is still sculpting:
Just as moss and fern carpeted bare rock,
as alder and spruce sprouted,
as forest appeared where glacier receded,

today melting ice reshapes coasts,
forests flame to ash,
grasslands wither to desert,
rivers run to dust.

This September, whales still sing in the sea.

Will you fight with me
for this vibrant,
dying world?

 


Elizabeth Shack lives in central Illinois with her spouse, cat, and an expanding collection of art supplies and fitness equipment. Her poetry and fiction have appeared in The MacGuffin, Writers Resist, Daily Science Fiction, and other magazines and anthologies. She attended the Kenyon Review Writers Workshop for poetry in 2022. For more of Elizabeth’s work, visit her website.

Photo credit: “Humpback Whale” by J. Maughn via a Creative Commons license.


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A Woman of Good Manners

By Nikki Blakely

 

It is a universal truth that a man of good fortune must be in want of a wife, and Jayne set her sights on Edward, despite his reputation for being of a most disagreeable character.

On their first date, they went to Possum Pond.

Jayne had always been told the way to a man’s heart was through his stomach. She smiled coyly at Edward as she opened the picnic basket and placed the food onto a red checkered tablecloth laid out under the shade of a large elm tree—ham and Swiss sandwiches with the crusts cut off, red potato salad with tiny cornichons and tart-sweet lemonade, freshly squeezed.

Edward ate heartily, while Jayne merely picked at her food, as was befitting a woman of good manners. Afterward, she slipped off her stockings, pulled her dress to her thighs and waded into the pond, beckoning Edward with the crook of her finger to follow, and follow he did.

He came up behind her, grabbed her tightly by the neck, then pushed her face into the muddy murk of the shallow water and held it there until her body stopped thrashing.

The next afternoon, it surprised Edward to see Jayne strolling up the cobbled stone pathway to his house, looking no worse for wear, though he thought he noticed a slight smudge of dirt around the cuff of her sleeve.

“Darling, it’s a beautiful day for a picnic,” she said, exactly as she had the day before, and indeed it was.

True, Jayne was not an overtly handsome woman, her countenance left Edward wanting, but her cooking skills were a credit to her housekeeping. And, well, it was lunchtime and he was hungry. Edward pulled his hat and coat from the rack, and once more they set off to Possum Pond.

Today she brought crispy fried chicken, golden buttermilk biscuits, and ice cold beer, and, for dessert, cinnamon-apple hand-pies. Jayne only nibbled—she was a lady after all—while Edward ate his fill. Afterward, Edward picked up one of Jayne’s stockings that she had taken off, twisted it tightly around her neck, and pulled sharply. Her hands clawed at her throat, her eyes bulged, and her body thrashed until finally falling limp.

The next day, Jayne was again on Edward’s doorstep, with only a slight reddening around her neck.

“Darling, it’s a beautiful day for a picnic,” she said, and off they went.

She’d made a salad with fresh greens, crisp bacon and soft-boiled eggs. Edward washed it all down with Southern sweet tea, then finished the meal with vanilla macaroons. Afterward, he pulled out a knife he’d hidden in his sock, and stabbed Jayne in the neck, watching the blood first spurt, then trickle, the red stain spreading like spilled wine across the checked tablecloth.

When Jayne once again appeared on his doorstep the following day, Edward noticed a crimson spot on her collar, and thought her smile waned slightly, but other than that, she remained nonplussed. They locked arms and set off for Possum Pond.

As usual, they sat down under the cool shade of the elm, and Jayne removed the food from the picnic basket: beef tongue pie, pickled beets, butterscotch pudding and sarsaparilla soda. After they had eaten, they lay down, and spent the afternoon picking animal shapes from the clouds until Edward at last leaned over and kissed Jayne on the lips. Then he placed his coat over her face and pressed down firmly until her arms stopped flailing about and she was completely still.

“Darling, it’s a—”  Edward was already waiting at the door, coat and hat in hand.

From the picnic basket, Jayne pulled cold roast mutton, deviled eggs, sweet mulled cider, and a raspberry tart. When Edward finished eating, he picked up a thick heavy log and smashed it over her head, once, twice, three times for good measure, until her body collapsed and crumpled to the ground in a heap.

When Jayne again showed up the next day, picnic basket in hand, it had been five days since their first date. She looked a little bedraggled, with the smudge of dirt on her cuff, a reddening around her neck and a drop of blood on her collar. Her bun hung askew to the left, and she walked with a slight limp.

Edward considered Jayne. She was not a great beauty, nor an accomplished woman. By her own confession, she did not possess any knowledge of the pianoforte, was not skilled in the art of conversation, and almost always lost at whist. Her prospects were most certainly limited. But her figure was slight and pleasing, she ate like a bird, and, try as he might, she would not die. What she lacked in physical attributes she made up for in tenacity. If he couldn’t kill her, he’d marry her instead. He decided to propose that day, directly after lunch.

That day, as Jayne had done every day before, she shook out the checkered tablecloth and spread it out under the shade of the elm. She slipped off her stockings, and Edward, impatient to see what new delights the picnic basket held, took haste to open it before Jayne had the opportunity, His countenance revealed his surprise at finding it empty, and he looked to Jayne for explanation.

“It is a universal truth that a woman of bad fortune might be in want of a good meal rather than a good husband, and there is a much faster way to a man’s heart.”

With one hand, Jayne grabbed Edward by the throat and plunged the other deep into his chest. She pulled out his heart, still beating, and bit into it like an apple, the blood dribbling down her chin. Then she picked up a napkin and dabbed daintily at the corners of her mouth. She was a woman of good manners, after all.

 


Nikki Blakely lives in the San Francisco Bay Area, with her partner and a precocious gray tabby named Tedz. She enjoys writing fiction of all shapes, sizes, and genres, crafting stories that evoke smiles, tears, laughter, the occasional eye roll, and sometimes even a scream. Her work has been published in Sundial Magazine, Bright Flash Fiction and Luna Station Quarterly, and others. You can find her on Twitter at @nblakely99

Photo credit: “Picnic Basket” by Paul via a Creative Commons license.


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Scylla

By Bex Hainsworth

 

A nymph unburdened by beauty is a nightmare.

My barnacle flesh scratches against stone
as I curl up in my cave, full of octopus cunning;
folding many limbs around myself, cruel, content.

This was Circe’s gift: to make me a monster,
a maneater. The distant roar of Charybdis
rocks me to an easy sleep each night.

I know they will take the dangerous road,
right to my mountain door. The men,
the soldiers, the heroes. The semi-divine.

They taste of revenge, of justice
for the ripped dresses, for the temple maids
who lost the chase, the dryads who couldn’t
get away, and the goddesses who never escaped.
For Leda, and Persephone, and Helen. For Hera.

This is for my own golden bruises.

I hold vigil. My teeth are tapers, glinting in the dark,
for all my sacrificial sisters. No offerings
are made in my name, no altars, no prayers.
No matter. The sea provides settlement.

You should hear them scream for me.
I rip the last words from their throats
with claws like scythes.

Afterwards, wiggling a thigh bone free
with the stick of a ship’s mast,
I recite my affirmations:

let them know how it felt beneath their bodies,
let their hearts freeze at the thought of me,
let them know what it is to be truly afraid.

A nymph unburdened by beauty is their nightmare.

 


Bex Hainsworth (she/her) is a bisexual poet and teacher based in Leicester, UK. She won the Collection HQ Prize as part of the East Riding Festival of Words and her work has appeared or is forthcoming in Heavy Feather Review, Ethel Zine, Atrium, Okay Donkey, trampset, and bath magg. Find her on Twitter @PoetBex.

Illustration of “Pesce Donna” from Giovanni Antonio Cavazzi’s Istorica descrizione de’ tre’ regni Congo, Matamba, et Angola, 1687, via Public Domain Review.


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Islands of No Nation

By Ada Ardére

 

We give them our children to fight in jungles and deserts,
we give them our taxes to pave their roads,
we give them our land to build their businesses,
we give them our coasts to moor their battleships,
we give them our waters to test nuclear weapons,
and we have received nothing.

Hurricanes and earthquakes ravage us
and only deafened ears sit on the mainland
as we watch the light go out in our hospitals
as we hear of emergency rations withheld at ports.

Where is the medicine needed in San Juan?
Where is the common courtesy owed the Virgin Islands?
Where are the passports for the people of Guam?
Where are the houses for Samoa?
Where are the services for our veterans?
Where are the schools for our children?

They respond.

They call us niggers, spics, and pretenders,
subconsciously lumping us into one group
they whisper: inbetweener.

They refuse to meet us on our shores,
removing us from public memory
they ask us who we even are.

They call us savage and uncivilized,
speaking slowly and loudly
they consider us for zoos.

They see us pouring into recruiting stations,
greedily licking their lips and growling
they see guerrilla soldiers signing up.

They use us hard and fast.
Emptying VA hospital funds,
they kick us to the streets.

They think us incapable of thought or reason.
While building a third theater in their child’s school,
they accuse us of overbreeding.

Until we are held in common,
until the law is not chain and whip,
until our shores are ours to have,
until our pain is paid for,
until we have a future as ourselves,
until we too are free

We can answer to no one,
no duty to higher powers,
nothing owed to foreign chambers.
We hold neither oaths nor allegiance.
We are islands of no nation.

 


Ada Ardére is a Puerto Rican poet from New Orleans who now lives in Kansas City. She studied philosophy of art and Plato, and loves beat poetry. Her works have appeared in 34th Parallel Magazine, Wussy Mag, and The New Southern Fugitives.


Image of Donald Trump, throwing papers towels at a press event in Puerto Rico after Hurricane Maria in 2017, used for purposes of commentary and education under section 107 of the Copyright Act of 1976 allowing for “fair use.”


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Reputation

TW: SA

By Frances Koziar

 

He speaks of his reputation
while I think of fates worse than death,
his name, when I would gladly give up mine
for a good night’s sleep, to see those nightmares
shaped like ordinary men slain
before their groping hands reach me; he speaks
of having a life ruined, not knowing
what that really means, not understanding
how men can form packs like wolves
at the first sound of a woman’s
assertiveness, ready
to tear that voice from her neck, carnage
be damned, not seeing our loss of reputation
every time we speak our names, our shame,
even when the evidence convinces anyone
who’ll let it; I laugh
when I want to cry, hold still
when I shake with fear, walk with poise
when I am running away, because attention
is the most dangerous thing of all. Smile
they tell you while you bleed out from the throat;
Speak, Pretty One,
but only if you say frivolous things; Sing—
but I can only hear screams.

 


Frances Koziar has published poetry in over 35 different literary magazines, including Vallum and Acta Victoriana. A young (disabled) retiree and a social justice advocate, she lives in Kingston, Ontario, Canada. Visit her website and follow her on Facebook.

Photo credit: “Eve in Shame” by Stanley Zimny via a Creative Commons license.


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REMINDER: Writers Resist Reads this Saturday 28 Jan 2023


Writers Resist Reads logo

Join us on Saturday 28 January at 5:00 pm Pacific

 

for a virtual reading by the contributing creators of the December 2022 issue of Writers Resist.

Zoom link: https://us02web.zoom.us/j/88356614245?pwd=a1FRMndJYzI3VzE1Ym9yZUU2ODhHdz09

Meeting ID: 883 5661 4245
Passcode: 247349

Read the current issue here.

Contributors include:
Christina Bagni
Lisa Brand
Tara Campbell
Jacqueline Jules
Karen Kilcup
Livvy Krakower
Kathleen Kremins
Dotty LeMieux
the Maenad
Renee McClellan
William Palmer
Yvonne Patterson
Stephen Sossaman
Holly Stovall
Samy Swayd

Writers Resist Reads is a quarterly virtual reading hosted by Writers Resist, a feminist literary collective born of the 2016 U.S. Presidential Election. We are dedicated to creative expressions of resistance by diverse writers and artists from around the globe.

Welcome to Writers Resist, the December 2022 Issue

In case you didn’t know

Writers Resist celebrates each quarterly issue with a virtual reading, and you are invited to join us for this issue’s gathering.

Writers Resist Reads • Saturday 28 January 2023 • 5:00 p.m. PACIFIC

Zoom information:

https://us02web.zoom.us/j/88356614245?pwd=a1FRMndJYzI3VzE1Ym9yZUU2ODhHdz09

Meeting ID: 883 5661 4245
Passcode: 247349

In the meantime, we know the world is fraught with conflict, so give yourself the space to enjoy our December 2022 issue featuring works by:

Christina Bagni

Lisa Brand

Tara Campbell

Jacqueline Jules

Karen Kilcup

Livvy Krakower

Kathleen Kremins

Dotty LeMieux

Maenad

Renee McClellan

William Palmer

Yvonne Patterson

Stephen Sossaman

Holly A. Stovall

Samy Swayd

 


Photo credit: K-B Gressitt

Justice Clarence Thomas Ate My Fucking Plums

By Christina Bagni

after William Carlos Williams

 

I have eaten
the plums
that were in
the ice box

and which
you were probably
relying on
forever

Forgive me
you didn’t deserve them
they were always
mine to take

Forgive me
but the icebox
was always meant
to be empty

it came that way
and that’s how god
told me
it should be

So I have eaten
the plums
that were in
the ice box

to return order
to your cold
empty
world

I did it for you,
you see.

Forgive me.

 


Christina Bagni’s creative work has been published in Asterism, Lit202, and Underground Literary Magazine, among others. She is the Chief Editor at Wandering Words Media and a writer on the Captain Bitcoin comic book series. Her first novel is forthcoming with Deep Hearts YA (2023).

Photo credit: Public domain.


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The North Wind & The Sun

By Jacqueline Jules

“Gentleness and kind persuasion win where force and bluster fail.”
       —The North Wind and the Sun, Aesop

                    

The woman seated next to me
on the plane, sees the star
around my neck and begins
asking questions.

How can I be happy without eating ham?
she wants to know. Or live in America
without a Christmas tree?

I could tell her to ask the internet,
my eyes as cold as the tiny soda cans
we’ve just been served.

I could bluster and howl
like Aesop’s North Wind
forcing her to pull
her blue silk shawl
tighter and tighter.

Or we could have a conversation.

And I could be like Aesop’s Sun,
shining with gentle beams, until
she feels too warm to stay wrapped
in her misconceptions.

 


Jacqueline Jules is the author of Manna in the Morning (Kelsay Books, 2021) and Itzhak Perlman’s Broken String, winner of the 2016 Helen Kay Chapbook Prize from Evening Street Press. Her poetry has appeared in more than 100 publications, including K’in, The Sunlight Press, Gyroscope Review, and One Art. Visit her website at www.jacquelinejules.com.

Photo credit: Garland Cannon via a Creative Commons license.


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Two Poems by Renee McClellan

Black Listopia

I feel like an idiom that drips from Baldwin’s pen
“that” angry Black woman negotiating sin
I AM NOT YOUR NEGRO! A thing to be had
Thick lips, curvaceous hips, or a fashion fad
You can’t set me like diamonds
Or string me like pearls
Pick on my afro, then appropriate my curls

I AM A BLACK WOMAN
Black, Brown, and Yella, too
Why are you fucking with me? I don’t fuck with you.

I feel like a literary assault by Langston Hughes
An angry Black woman and her Weary Blues
I, TOO, SING AMERICA, a pejorative dream
Ghosts of my ancestors flow in my blood stream
That white picket fence and that sweet apple pie
That dream wasn’t mine, that nightmare’s a lie
Like a Raisin in the sun, do I fester, do I run
What happens to a dream Deferred, you’re looking at it
You haven’t heard?

I AM A BLACK WOMAN
Black, Brown, and Yella, too
Stop fucking with me and I won’t fuck with you

I feel like a mythical logophile, words linger & prod
Like Zora Neale Hurston
MY EYES ARE WATCHING GOD
Truth be told, Every tongue must Confess
Like Dust on the Road, I’m God’s perfect mess
Perfectly flawed and divinely conceived
All of Africa holds the mystery that is me
Ripped from my familiar, felt the soul of my seed
My daughters are raped and my sons can’t breathe
I’m a paradigm of potency, a leather-bound force,
An African fused American on a reparation course

I AM A BLACK WOMAN
Black, Brown, and Yella, too
I will NOT apologize for this trauma, FUCK YOU!

Angelou knew and her encouragement wise
Like a phoenix from its ashes – Still I rise
A PHENOMENAL WOMAN, phenomenally
I’m a Queen like Sheba with the bones of Lucy
With all that was taken on that infamous boat ride
My womb for stock and trade for my babies genocide
I should be angry, it’s justifiably so,
You auction the fruit of my womb then call me a ho
You ripped from mother African, the Proverbs of her son
And refused to Honor her for the work that she has done
Her children will RISE like the sun bathed in blue
Ebony warriors and the daughters of Shaka Zulu
I AM A BLACK WOMAN & I’m angry as fuck
But forgiveness in this moment, bitch, Good Luck!
I’m not the PEACE you seek, I wont lay down and die,
I wont turn the other cheek, I want an eye-for-a-mother-fucking-eye

I AM A BLACK WOMAN
This is the America I Sing
But you keep fucking with me,
HERE!
Hold my mother-fucking earrings!

 

That Tree

Strange fruit hanging from that tree
The crown shudders with each crosswind
Leaves of humanity blow like flecks of dust on the sea
Seeds sprinkled on top of soil
The roots spiral deep and strong,
The branches sway,
reaching for the sun limbs refusing to break
Spiny twigs like fingers closed around a tight fist
The trunk solid taking shape
Searching for a place to exist
Branches reaching toward the warmth of the sun
But meeting the coldness of too much shade
flailing in mercy

No sustenance to nurture its existence

Life dangles from that tree
Dangling shapeless
caught in the ambiguity of the whistling wind
the fruit falls from the tree
pulled to the ground by desire
thick tentacles of hope
Strange fruit growing on that tree

 


Renee McClellan, a Chicago native and writer of the EMMY award winning PSA, Pick Me! – Toy Loan, began her career performing with elite theater groups in Chicago. As a film and television actor, she performed in such productions as Brewster’s Place, Seinfield, and Deep Impact. She continued on to writing, directing and producing various film and television projects. A graduate of Chapman University with a BFA in Film Production, she also has an MFA in Screenwriting from The American Film Institute (AFI). A Long Beach resident, Renee has produced many award-winning productions often using Long Beach as the backdrop of her artistic expression. She is currently a professor at Pepperdine University, a best-selling author, and an award-winning filmmaker.

Photo credit: Lynne Hand via a Creative Commons license.


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23rd of July Fireworks

By the Maenad

 

There are four children playing on the playground below my office window. (The same one that was the target of a drive-by shooting a few weeks ago.)
I heard the recognizable sounds of a familiar script being shouted and went to my window. No cops but
The four children down there are in two groups. One of them is on the ground being told by the other two to turn over face down and put their hands behind their back.

The two who are playing the cops walk around the others, and it’s sad to hear, because they know the cop script just as well as I do.
None of these kids are older than ten or maybe eleven.
FACE ON THE GROUND POP POP POP says one of them.
The other stands over one of the other children on the ground and mimes putting a gun to the back of the other child’s head then

Bang

BANG

BANG

BANG

Immediately, the dead boys on the ground (from appearances, three are Black and one is Hispanic) switch places without a word.
The dead boys become the cops and scream GET ON THE GROUND AND SPREAD EM and it starts over.

By the time I think to start writing this down, they have cycled through this three times. Everyone gets turns being victim and executioner. During one of their transitions, I overhear one of them saying, in a jocular tone “You gotta be prepared.” And it hits me. They are, in the way that children do, drilling. Training. Preparing for a hostile world.

Then it starts again. “GET YOUR ASS ON THE GROUND CONVICT” while the other “cop” just starts firing their pop gun. “STOP RESISTING OR I WILL BLOW YOUR BRAINS OUT RIGHT NOW.”

 


The Maenad.  (She/Hers) Transgender Goddess
Activist, Artist, Performer and  Publisher, Author of  Creative Nonfiction, Erotica, Fantasy, Science Fiction and Social Criticism
The Maenad writes voraciously about gender, class, sex, inequality, mental illness, and the intersection of these points. Also writes about culture, games, space, futurism, and the human condition. Always thinking of other possible worlds and how best to help this one we all inhabit.
Co-editor and founding member of Viridian Door with @AtlasBooth
Her work of trans erotic liberation, the Ishtar Cycle, is available from @lupercaliapress

Photo credit: puuikibeach via a Creative Commons license.


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Prolapse

By Tara Campbell

 

The uterus is tired.

The uterus is sorry
but it can’t seem to stay
in one place anymore,
which isn’t surprising
considering how often
it’s been poked
and prodded
and pricked
by congressmen’s pens.

The uterus would like
to get in a word of its own,
just one, even edgewise
just one goddamn word.

The uterus wishes
it could remember the words
to that song you sang
when you didn’t have to worry
about your uterus all the time,
when you didn’t have to be
so goddamn vigilant,
didn’t have to keep twisting
and turning away from men
shoving laws into it
edgewise.

The uterus is tired
so very tired.

The uterus would like
just one goddamn moment
to itself. The uterus just wants
to be. The uterus is sorry
it can’t give you that.
The uterus remembers when
it was barely aware of itself
which sounds like a contradiction
but was merely a state of grace.

The uterus is small and pink
and lovely and valued
and sacred and blessed.

But no, the uterus doesn’t believe
its own press. . .
well, it didn’t. . .
well, it shouldn’t have, and now
the uterus is continually disappointed
to find it is neither valued
nor sacred
nor blessed
nor even safe.

The uterus is tired
so goddamn tired.

The uterus is sorry it’s letting you down
because now it’s letting itself down
slowly, uncomfortably—
this is called “prolapse”
and the uterus wants you to know
this is not your fault either,
and it would have told you
everything sooner, but the truth
just gets the uterus bullied,
harassed, and threatened with rape
for upsetting men
(and, when the truth
is too educational,
it just gets the uterus kicked
off the socials for “porn”).

Some days the uterus feels philosophical,
and some days the uterus feels angry—
who are we kidding,
most days the uterus feels angry
if not for itself
then on behalf of other uteruses
who are told they’re overreacting
to getting bullied,
harassed, and threatened with rape
for upsetting men.

The uterus is often depressed
but today the uterus is simply tired
the uterus needs a break
to forget how everyone
is always talking about it
even when it’s not in the room—
especially when it’s not in the room.

The uterus is tired,
and the uterus is tired
of being asked why it’s tired.
The uterus no longer wishes
to be interrogated.

The uterus just needs a little time
a little goddamn time
to itself, and who can blame it
for feeling heavy
for wanting to slide
just a little bit lower
and rest after everything
it’s had to endure.

The uterus simply wants to sit
in the warm and the dark,
mind its own business
and quietly sink, baptized
in silence, blessed
finally
with one goddamn
moment of
peace.

 


Tara Campbell is a writer, teacher, Kimbilio Fellow, fiction co-editor at Barrelhouse, and graduate of American University’s MFA in Creative Writing. Her publication credits include SmokeLong Quarterly, Masters Review, Wigleaf, CRAFT Literary, and Writers Resist. She’s the author of a novel and four multi-genre collections including her newest, Cabinet of Wrath: A Doll Collection. She teaches writing at venues such as American University, Johns Hopkins University, the Writer’s Center, Catapult, and the National Gallery of Art.

Photo credit: Ittmust via a Creative Commons license.


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hegemony: footnotes in future history

By Yvonne Patterson

 

bookended with blood, The Reaving Era births in the conflagration
of Origin Crusades, subjugates the populace and banishes science,
ending in funeral pyres of anti-pogrom riots: The Reclamation Years.

closing scenes, unlike the exuberance of symphonic finales, manifest
in discordant notes. bright allegros falter. sonorous glissades collapse
in coarse staccato. dark notation seeps into public view. audience exits.

the Great Court assumes sombre hues: meticulously carved mahogany
chairs line the High Bench in a barren row. the antique red carpet, woven
with faded battle sigils, colloquially known as the river of blood, stagnates.

only stalwart readers remain, squinting, hunched over Library manuscripts
chained to tables. the edifice, deeply veined with cracks, blackened
with ingrained dirt, brittled with fetid breath of centuries, suffocates.

fables of self-proclaimed hegemony, echoing former eminence, lie
embalmed in stained glass windows. glass shards, encrusted with grime,
colours leeched by vicissitudes of relevance, obscure daylight, mute hubris.

 


Yvonne Patterson is New Zealand born, living in Perth Western Australia, proving that kiwis do fly. She enjoys the freedom of poetry after a career in human services in clinical psychology and policy in mental health, disability, community and justice areas and holds an M.Psych (Clin) and MBA from UWA. Her poetry explores borders and fault lines around us as human beings living within social and political contexts. It asks questions about the ethics of how we behave towards each other and our environment. It draws from career experience and personal interests in arts, science, politics and especially social justice and equity. She has poems published in Anthologies and Journals including Not Very Quiet, Grieve Anthology, Writers Resist, Creatrix, the Australian Rationalist Journal.

Photo credit: Marco Orazi via a Creative Commons license.


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On Hearing of Russian Soldiers Booby-Trapping Dead Ukrainian Civilians with Land Mines

By Karen Kilcup

 

How do they do it—
lift a heavy head
and place the bomb
beneath an ear? Slide
the metal disc under
a shoulder or thigh?
Or worse: do they slice
the swollen
long-dead chest, flies
fluttering, the stink
unbearable, nearly?
Do they carve
a red-rimmed cavity
large enough to implant
the device, which mimics
a hockey puck, a nippled breast?
How could they tuck it in?
How could they close the
hole, back away,
hope for the best?

 


A teacher and writer for more than forty years, Karen Kilcup is the Elizabeth Rosenthal Professor of American Literature, Environmental & Sustainability Studies, and Women’s, Gender, & Sexuality Studies at UNC Greensboro. She feels fortunate to work with many students of color, first-generation students, and LGBTQI+ students at this Minority-Serving Institution. Their courage and imagination inspire her and give her hope. Her forthcoming book, winner of the 2021 Winter Goose Poetry Prize, is titled The Art of Restoration.

Photo credit: Chi Wai Un via a Creative Commons license.


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Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.