2020

By Zhihua Wang

 

1

It’s October now,
I am still listening to the song
“Beautiful Springtime.”
It seems the spring
of 2020 never came.

2

The moon must love
my daughter’s window
more as it often has songs
flying out of it.

3

I am in love with my bed now.
Every time I lie on my pillow,
wrapped in my comforter,
I think of him.

4

Poems are flowers
I pick on my road.
I pack them well to send out –
when they open them, I hope
the fragrance is still there.

5

I used to believe the majority
of the world thinks the same
as me. Now I know it’s only
half. But I should still cheer
even if the win is by a hair.

 


Zhihua Wang received her MFA in Creative Writing from the University of Central Arkansas and is currently a Ph.D. student in Creative Writing at the University of Rhode Island. Her poems have appeared in Aji, Last Leaves, Across the Margin, Eunoia Review, and elsewhere.

Photo credit: Alessandro Giangiulio via a Creative Commons license.


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Gravity Ungrateful

By Mark Blickley

 

Yes, I am dressed in mourning.
Dark clothes for a dark time.
Yet I yearn to escape
pandemic imprisonment
with the germ of an idea
that will allow me to soar
above my confinement
in an airborne threat
against complacency and boredom
as I reach up to a blue heaven
that promises social distancing
on a cosmic scale.
But that old bitch gravity
bears down on me,
slapping me down
like a petulant child
crying out
for what she cannot have,
slammed back
to a blanketed earth
of red white and blue.

 


Mark Blickley is a proud member of the Dramatists Guild and PEN American Center. His latest book is the text-based art collaboration with fine arts photographer Amy Bassin, Dream Streams.

Photo by Shane Rounce on Unsplash.

The everyday

By Ronna Magy

 

Here, another day, another morning,
another hour, another moment.
Mantle clock refusing to turn
even half round the dial.

She is, he is, they are, the country is,
waiting. For TV anchors, doctors, government officials to
discuss, divulge, to declare
in words, phrases, sentences,
in passages clearly anchored to the land,
stone posts rooted in the earth.
Waiting for words that will
free them, shake them loose from the
unending same: same walls, same doors,
same kitchen, same floors,
same tables, same light fixtures,
the same soundless air.

Hovering about, around, above words, the
numbers rise. Eighteen million
cases yesterday, eighteen million, two hundred thousand today.
Numbers of masks, ventilators, numbers of
black plastic bags.
By noon, the numbers
soar from the charts.
Red line crosses blue.
Red climbing upwards
when it’s supposed to
point down.

Air in the house never
seeming to move.
Dust on cup, saucer, spoon,
dust seeping through cracks.
Dusty soup ladle
arched in the sink.

This, one more morning,
afternoon, one more evening,
one more moment in unmoving space.
Each clock tick
echoing the second before.

 


Born in Detroit, Michigan, writer Ronna Magy calls Los Angeles home. In her poetry, Ronna combines roots in the rustbelt, community organizing, decades of teaching ESL, and a deeply held belief in social justice. Her work has appeared in: American Writers Review, Persimmon Tree, Nasty Women Poets, Sinister Wisdom, In the Questions, Glitterwolf, Southern Review, Musewrite, and Lady Business: A Celebration of Lesbian Poetry.

Photo by Anthony Tran on Unsplash.

These Poems Don’t Come Out Right

By Bunkong Tuon

 

The virus breathes like fire over city streets
and farmland, across oceans and mountains,
over YouTube, Instagram, and Twitter.

The president suggests injecting the body
with disinfectant to kill it. Maybe
he could go first; it’s his idea after all.

I’ve become a hack, ranting as if the world
will heed my words and stop spreading
violence through fear, hate, and ignorance.

Mix misinformation with racism, greed, and ego,
and you get 2020, a reality show you didn’t know
you were a part of until it is too late. Oh,

These poems don’t come out right and
my poor wife is asleep, hands clutching
the crib where the baby was fussy all night.

I cut slices of cucumbers and strawberries,
spread apple wedges on a plate for my daughter.
Our beautiful baby is crying again.

I fetch my coffee and a baby bottle,
run up the stairs, cradle our newborn in my arms,
watching his desperate eyes look up at me for comfort.

But I have no words for him, and this ending
is not right, but I don’t know what is anymore.

 


Bunkong Tuon is a Cambodian-American writer and critic. He is the author of Gruel and And So I Was Blessed (both published by NYQ Books), The Doctor Will Fix It (Shabda Press), and Dead Tongue (a chapbook with Joanna C. Valente, Yes Poetry). He teaches at Union College, in Schenectady, New York. He tweets @BunkongTuon.

Photo credit: m anmia via a Creative Commons license.

Welfare Check East of Downtown

By Christie Valentin-Bati

“It is 2020. Everything is canceled except for police terror.”
–Nick Estes

 

They said close down everything
non-essential: The coffee shop,
blue trimmed with a green porch,
white-potted flowers that hung down
from the awning,
closed – so I roasted my own coffee.
The outlet mall
with high-waisted jeans,
gold-plated, pearl earrings
I’d been saving up to buy
closed too. So I wore nothing
in my ears, dug deep into my closet
and cut my own shorts instead.
They told me to stay home. I stayed home.
I used Instacart. I worked remotely.
I bought surcharged surgical masks off Amazon
though I knew, it wouldn’t help much
to block the droplets should they come.
Still, I was young, white.
I washed my hands regularly,
soaping around the thumb,
between the fingers,
even around my wrists,
I scrubbed clean.
I sexted, watered the plants,
and when I tired, I turned on the TV,
watched the news do its count
of another thousand people dead,
which meant only 100,000
were left to die.
Every now and again
I would peak over the fence,
happy to see my neighborhood
silent and unmoving,
the cars parked, quiet, in the driveways.
If any noise ever did pass through,
a construction truck, police sirens,
I’d pull down my windows
to mute out the sound,
certain that the noise was headed
to another place. I never worried
about any strangers in uniforms
coming to knock on my door,
carrying with them
something more deadly than a virus.

 


Christie Valentin-Bati is a poet and photographer based in small-life suburbia Hollywood, Florida, and soon big city Chicago. She is a co-author of Existential Quandary, a book of haikus from the perspective of a chicken, and her poetry has been featured in Columbia Journal. More of her work can be found on Instagram @_christieos_, Twitter @christiee0_0 or her website christievalentinbati.com.

Photo credit: Alachua County via a Creative Commons license.

The Spectators

By D.A. Gray

 

We’d grown thin during the pandemic.

I don’t know when it began. Years ago, I think. When we began to look at neighbors with contempt, to walk head down into the house from the car, looking neither left nor right. Something broken in us and we would enter the house and lock all three locks behind us, and turn on Box—the friend who understood us.

We would post jokes about lost drivers on Robertson Road, the coworker who couldn’t seem to do anything right, Texans and their beer hands that kept them from reaching the turn signal, or the lady in her bunny slippers at the H-E-B.

It was funny then, right? We meant no harm.

Faces from our angle seemed forever stuck in a moment of worry, or maybe lostness.

When the pandemic hit we noticed more in the mirror—or less—the way we almost disappeared from the side was cause for slight alarm. We vowed to eat better, to exercise. Then we sat down with Box, who loved us as we were and flashed pictures of pets, of stories curated for us.

Anyway, there’s still this pandemic. But it’s been so long since you’ve taken in a game.

In the stands, we notice faces frozen, you might say with “pasted on smiles.” Or frowns. Or maybe screams. Who knows. Everyone is silent here.

We’ve forgotten how to enjoy a simple game.

But the game itself is good, right? Slow moving, sure. But we watch the strategy unfold. There are outfield shifts, signals from the sides, pitcher and catcher in their esoteric talk. We never noticed when we used to talk.

Now the action has us glued to our seats.

And the sky has become an orange haze.

Players run through the motions. The stop and start drama, the overthinking, the occasional sprint after a collision of hickory on cowhide. Someone yells “Yes” as the ball drops onto the green grass.

Here the orange sky gets brighter.

Back home, Box tuned to something more pleasant. I hope it’s just conspiracy talk.

My skin is feeling thin, papery, which has me a little unsettled. My chances of surviving a combustible world were not good before this development.

What was that? Another crack of the bat. Maybe. No one’s moving. Perhaps the crack of timber from a nearby hill.

We keep watching. No one’s speaking to each other anymore and the faces seem to carry a look of perpetual anxiety. I think of the time we could have spent talking but never did. We assumed those around us were nothing but cardboard cutouts of something we feared. Now I fear we’ve become that, while watching other things.

And outside this place an orange menace lumbers—I can’t ignore it anymore—slow and clumsy, but steady. Its fingers—it seems to be feeding—grabbing at everything, as if our silence were consent.

 


D.A. Gray is the author of Contested Terrain (2017). His poems have appeared in The Sewanee Review, Grey Sparrow Journal, Writers Resist, Comstock Review, Still: The Journal and Wrath-Bearing Tree among others. He holds Master’s degrees from The Sewanee School of Letters and Texas A&M-Central Texas. Gray now teaches, writes, and lives in Central Texas.

Photo credit: Eric Drost via a Creative Commons license.

Sonnet for the Woman in Walgreens

By Diane Elayne Dees

 

It’s been a week or two since our encounter,
yet your voice haunts me, and I see your face
in waking dreams. There, at the checkout counter,
you yelled and gestured as you made your case:
“It’s all a hoax!” you shouted, while the clerk
delivered a lecture on government regulations,
declaring—as she put aside her work—
that we are so much cleaner than other nations.
I wonder if you’re staying safe inside,
washing your hands, and canceling your cruise—
or are you spreading the virus far and wide,
and getting tips from experts at Fox News?
I think of you, your rage, your blind belief;
there’s no vaccine for that, and no relief.

 


Diane Elayne Dees has two poetry chapbooks, I Can’t Recall Exactly When I Died and  Coronary Truth, forthcoming. Her microchap, Beach Days, can be downloaded from the Origami Poems Project website. Diane also publishes Women Who Serve, a blog that delivers news and commentary on women’s professional tennis throughout the world. Visit her author site, Diane Elayne Dees, Poet and Writer-at-Large.

Photo by Adam Nieścioruk on Unsplash.