Jason Baldinger: “time went the way of the buffalo”

 

 

time went the way of the buffalo (for diane wahto)

I know wichita
from a gas station
overlooking the interstate

a jaw dropping sun
rise over the flint hills
I pulled my hoodie
against october

with eight hundred miles
ahead, one last
gasp of wichita
before wagons west

it’s sad we never met
we should have had breakfast
but time went the way of the buffalo

I would have loved to hear
in person, your story
of marching five miles in kalamazoo

you and your friend
against the vietnam war
you and your friend
all dressed up in high heels

 

 

About the Author: Jason Baldinger is bored with bios. He’s from Pittsburgh and misses roaming around the country writing poems. His newest book is A Threadbare Universe (Kung Fu Treachery Press) with The Afterlife is A Hangover (Stubborn Mule Press) coming soon. His work has been published widely across print journals and online. You can hear him read his work on Bandcamp and on lp’s by the bands The Gotobeds and Theremonster.

 

More Poetry by Jason Baldinger:

This Ghostly Ambience

It was a Golden Time

Beauty is a Rare Thing

 

Image Credit: Carol M. Highsmith “Mounted buffalo head at the Hotel Paisano in Marfa, Texas” (2014) The Library of Congress

John Dorsey: “The Prettiest Girl in Byron, Missouri”

 

 

The Prettiest Girl in Byron, Missouri

hasn’t seen the sun in months
she sits cross legged in the rain
waiting for her turn to dance

scratching out the image
of a paper heart
in the mud

it’s the only way
she can remember
what her grandmother’s face
even looked like now

water rolls down her tin roof
in search of deliverance

overgrown weeds hiss in the wind
wrapping around her toes
like jump rope

squealing in an empty field.

 

 

John Dorsey lived for several years in Toledo, Ohio. He is the author of several collections of poetry, including Teaching the Dead to Sing: The Outlaw’s Prayer (Rose of Sharon Press, 2006), Sodomy is a City in New Jersey (American Mettle Books, 2010), Tombstone Factory, (Epic Rites Press, 2013), Appalachian Frankenstein (GTK Press, 2015) Being the Fire (Tangerine Press, 2016) and Shoot the Messenger (Red Flag Press, 2017),Your Daughter’s Country (Blue Horse Press, 2019),Which Way to the River: Selected Poems 2016-2020 (OAC Books, 2020) and The Prettiest Girl at the Dance (Blue Horse Press, 2020. His work has been nominated for the Pushcart Prize, Best of the Net, and the Stanley Hanks Memorial Poetry Prize. He was the winner of the 2019 Terri Award given out at the Poetry Rendezvous. He may be reached at archerevans@yahoo.com.

 

More By John Dorsey:

Anthony Bourdain Crosses the River of the Dead

Punk Rock at 45

Perpetual Motion

 

Image Credit: Frances Benjamin Johnston “Port Tobacco Houses, Port Tobacco, Charles County, Maryland” (1936-1937) The Library of Congress.

Tim Peeler: “Last Poem Before Zoloft”

 

 

Last Poem Before Zoloft

Is that an ink pen or a bullet?
I can’t tell, you know how long
Are some of those shells.
I see a teenaged boy child
Listening to “Any Major Dude”
Thinking of when to come out.
Outside the rain drums
The triple pane basement window.
Inside a half-crippled black lab
Watches a baseball game.
I ran through what seemed like
An ocean of time to get here
To find myself invisible.
The ages will be the ages
As the rat snake snugs himself
Around the water pipe in the crawlspace.
What do you mean, how will we go on?
We will wear goggles.
We will carry spears.

 

 

About the Author: A past winner of the Jim Harrison Award for contributions to baseball literature, Tim Peeler has also twice been a Casey Award Finalist (baseball book of the year) and a finalist for the SIBA Award. He lives with his wife, Penny in Hickory, North Carolina, where he directs the academic assistance programs at Catawba Valley Community College. He has published close to a thousand poems, stories, essays, and reviews in magazines, journals, and anthologies and has written sixteen books and three chapbooks. He has five books in the permanent collection at the Baseball Hall of Fame Library in Cooperstown, NY. His recent books include Rough Beast, an Appalachian verse novel about a southern gangster named Larry Ledbetter, Henry River: An American Ruin, poems about an abandoned mill town and film site for The Hunger Games, and Wild in the Strike Zone: Baseball Poems, his third volume of baseball-related poems.

 

More By Tim Peeler:

Modernist Hay Making

Paramnesia 2

Ballers 2, the Star’s Monologue 3

 

Image Credit: Robert Shymanski: “Attic, crawl space, view east and southeast from north center (part 1 of triptych view) – Hegeler Carus Mansion, 1307 Seventh Street, La Salle, La Salle County, IL”(2008) The Library of Congress

Michael Masarof: “Holy Girl”

 

Holy Girl

She parked other people’s cars
We walked on the Long Island Sound
The boats crushing the shore
She fixed teeth
She was in the mouth all day
Open
Close
Turn
She crushed the clutch
Turned the wheel all the way
Motor off
Shoving that steel pick deep into the gums
I howled
With delight
When we walked the night righteous
The limbs cautious
Air ripe I fell

 

 

About the Author: Michael Masarof is a writer and director born in New York and residing in Los Angeles. Michael received his MFA in Film Directing from New York University’s Maurice Kanbar Institute of Film & Television’s Graduate film program at the Tisch School of The Arts, where he was the recipient of the Jane Rosenthal Scholarship and the Warner Bros. Production Grant. Michael’s short film You Should Have The Body won the first place prize at the International Munich Festival of Film Schools. It also screened as a special presentation at the Berlinale, as well as on Channel 3SAT in Germany. First Love, Michael’s debut feature film that the LA Times called intimate, is currently streaming on Amazon.

 

Image Credit: Carol M. Highsmith “Looking out over the marshes in Long Island Sound near Westport, Connecticut” (2011) The Library of Congress

Joseph Mills: When the Dance Instructor Says “Follow Your Partner’s Lead”

 

 

When the Dance Instructor Says “Follow Your Partner’s Lead”

Ignore the imperative,
the possessive “your,”
the complicated questions
of trust and simply ask,
how you can both
“follow your partner’s lead.”

Wouldn’t that be
an Escher painting,
a Moebius strip?

I’m following you
following me
following you
following…

and perhaps that’s the point.
Most in relationships
understand the ebb and flow
that occurs, the changing
of places and leads
over the day and days and years.
Of what good is it
to assign positions
to the wave and the water?
Which hand is responsible
for what happens
when hand meets hand?

 

 

About the Author, Joseph Mills: A faculty member at the University of North Carolina School of the Arts, I have published six collections of poetry, most recently “Exit, pursued by a bear” which consists of poems triggered by stage directions in Shakespeare. My book “This Miraculous Turning” was awarded the North Carolina Roanoke-Chowan Award for Poetry for its exploration of race and family. Last year I published my debut work of fiction, “Bleachers: 54 linked fictions” which takes place at a youth soccer game.

 

Image Credit: Russell Lee “Round dance. Pie Town, New Mexico. Among people where square dancing is the usual form of dancing, regular ball room dancing is called “round dancing” (1940) The Library of Congress

Nadia Arioli: “On “I Walk Without Echo” by Kay Sage”

 

(You can view Sage’s painting “I Walk Without Echo” here)

 

 

On “I Walk Without Echo” by Kay Sage

To be a woman is to be caustic
with no power. To instigate

but not to burn. A bellyless earthquake,
a doctor’s bill that goes on and on.

They say we were made second.
Helpmate, companion, never the main

story. A plot point in a chapter
about blood. We go back,

the feminine parts of ourselves,
fetus Matryoshka dolls.

My mother said I looked like one
as a baby. I thought she meant I was

one. I learned in an encyclopedia
I was right. My mother was in utero

with ova. An ovum became half
of me. I’ve still got most my eggs.

To be second but half already there
and while carrying half of the next feels

like a mathematical anomaly,
the kind that would fill a volume.

I sat holding up my dress, bent into three
points: head, knees, one between. Lips

out like shellfish. I want to walk
without echo. I wait on a porcelain ear.

I picture it—perfectly round O’s
of red. Such a bright color in the dark.

I will it: I walk without echo.
Bleed, damn you.

 

 

About the Author: Nadia Arioli (nee Wolnisty) is the founder and editor in chief of Thimble Literary Magazine. Their work has appeared or is forthcoming in Spry, SWWIM, Apogee, Penn Review, McNeese Review, Kissing Dynamite, Bateau, Heavy Feather Review, Whale Road Review, SOFTBLOW, and others. They have chapbooks from Cringe-Worthy Poetry Collective, Dancing Girl Press, and a full-length from Spartan.

 

 

Mj Taylor: “my drunken alibi”

 

my drunken alibi
cd not pass

erased from her life
like chalk

a best friend
a spirit intertwined

gone like
the setting sun

it’s been two years
& the words hang

heavy on my lips
the would-have-been’s

the old man’s regret
like a halo

the snow falls in
nebraska & i cant help

but think of
you in this cold

in mill
valley

 

About the Author: Mj Taylor is a poet living in NE. He has been nominated for the Pushcart prize as well as Best of the Net. He has two chapbooks, “Rattled” (kleft Jaw Press) & Skee-Ball at the Holy Arcade (River Dog). He can be reached at mktaylorjr93@gmail.com

 

Image Credit: Arthur Rothstein “Melting snow. Hayes County, Nebraska” (1940) The Library of Congress

Paul Koniecki: “1976”

 

 

1976

the Bicentennial Minute
is playing on the cathode
ray tube in the corner

in the yard around
the house you’ll own
for fifty years

half-full November
is an annual feast
eleven twelfths gone

and i am ten
someone said an old score
i am the skin of broken grapes

in the house alone
to hide or burn it down
your drinking makes me drunk

fire requires an accelerant
hiding is another kind
heart racing faster

holding one’s breath
takes oxygen
away

the harder you try
to be an empty room
each year i blow one more candle

wishing beyond invisibility
to disinvent
myself

 

About the Author: Paul Koniecki lives and writes in Dallas, Texas. He was once chosen for the John Ashbery Home School Residency. He is the Associate Editor of Thimble Literary Journal.

 

More by Paul Koniecki :

today the sky is
a flag that helps everyone

 

Image Credit: Benjamin Franklin Upton “Portrait of a little boy named, Frank” 1851–1856 Digital image courtesy of the Getty’s Open Content Program.

Paul Corman-Roberts: “Evolved Reptile Brain From Arrakis”

 

 

Evolved Reptile Brain From Arrakis

Evolved reptile brain wants to burn it all down.
Evolved reptile brain plateaus
at the spilling edge of nihilism
the real reason
Atlantis took a dive.

Big Reptile prayed for the meteor.
Big Reptile
                          got the meteor.

The simplest of details
like that little detail
left unattended
lying
in the corner
on the floor.

So many cannot rest
until this detail is secured.
Some move on to the other details
lying in other corners
they continually forget about.

We make so many excuses for our heroes
that we don’t make for our friends.
We make too many excuses to our friends
because we don’t imagine them as heroes.

I don’t know what it is
about tonight
but this feels
like one of those
very rare nights
when everyone is going to be ok.

And I don’t mean like “Oklahoma” Ok…
          …or maybe I do.
I’m not actually an authority
on what “ok” is.
It took me a long time to learn

I want the fucked up horrible dreams.
They make me feel relevant.
I get that these are a blessing.
I get that I’m lucky
                          they are only dreams.

I promise you are safe with me.
Please don’t hate me for that.

It’s too easy to say our masculinity is toxic.
It is actually much worse than that.
It’s a one-way ticket into the abyss.
They didn’t make a map for the way out.
But sooner or later we all go in.

 

 

About the Author: About the Author: Paul Corman-Roberts is the author of the forthcoming full length poetry collection “Bone Moon Palace” forthcoming in Spring 2021 from Nomadic Press. Corman-Roberts is an original co-founder of the Beast Crawl Lit Fest in Oakland CA where he organizes and teaches.

 

Image Credit: Digital art adapted from Proceedings of the Zoological Society of London, London: Academic Press, [etc.],1833-1965. Image courtesy of the Biodiversity Heritage Library

Samuel Prestridge: “Feeder”

 

 

Feeder

Scrabbling colors–birds rioting seed,
a broadcast punctuated
by squirrels
                         as I hand feeders
from limbs, rails, poles, to my short wife.
She fills them, hands them back,
a Saturday task done
for luck, for variegated finches;
dull republican sparrows; blue jays,
braying fundamentalists; and,
this morning, one bald cardinal—
alopecia or a mate’s black
savagery.
                     The morning rhymes
with dirt-roads, years arranging
rearrange the evenings’ crows’
F’koff! F’koff! or hearing one night, two cold
stanzas into a poem that gave me only
two, a fluttering, then silence quilting
the beat before the rasping, bitter
call of the existentialist bird,
pure pique drawn naked
over a cheese grater. 
                                         It cried once,
flew away, never returned,
or at least, I never heard it.
But there’s a resonance, even now,
something in me saying Yes . . . yes, you’re right.  

Sometimes, it’s just like that.     

Not for what we offer, birds come,
not because not offering would keep them
here or away. 
                             Small charities suggest,
suggest, suggest, suggest, each repetition
feting the air thicker, stubbing any move
against an ignorant amazement
that isn’t anything but a lack 
of anything else. 

Once, Fort Worth, I saw Deke Birds fall
from St. Patrick’s cathedral.  Conical lumps
sprouted wings, veered upward inches from smash,
worked air to gabled roof peak
for yet another hurling.
                                                 They didn’t feed as they fell,
weren’t gaudy about it, weren’t attracting mates.
The plunge was itself, the rushing down,
wings clamped to succor a plummet
so intense it seemed a longing,
a sidewalk smack avoided
by a feather’s breadth. 
                                            Dropping,
they sang, their cry, a large tear
drawn upward through a slide whistle.

I don’t know all the birds outside
our window, don’t want to know,
don’t know why, but we feed them,
not for what’s done, but that they’ve come,
that they’re here, and we know as much. 

                It’s not so much a hoping
as a way of living in lieu of.  We do; 
they come.  They’d come, anyway,
but in our doing, we welcome
the scrabbling wings, the hunger
toward which we raise our hands.

 

 

About Samuel Prestridge: I live and work in Athens, Georgia.  I have published articles, poems, essays, and interviews in a wide range of publications, including Literary Imagination, Style, Appalachian Quarterly, Paideuma, Poem, and The Southern Humanities Review.  

 

Image Credit: Illustration from A popular handbook of the birds of the United States and Canada,. Boston,Little, Brown,1903. Courtesy of the Biodiversity Heritage Library.