Aarik Danielsen: “Prefilled Communion Cup”

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Prefilled Communion Cup

I break the seal
constraining the body of Christ,
finger the wafer like a gambler
handles his last chip.
This one’s gonna payout
or bust me for good.

“Do this in remembrance of me …”
I let it ride.

“In the same way Jesus took the cup …”
I finish the juice in a single swallow,
and feel the blood of Christ
pass greedy lips,
skate across stale breath,
settle in my purgatory gut.
Shot, meet chaser.

Liquid courage
to walk out into the world and bet it all,
believing in something
—anything—
for another day.

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About the Author: Aarik Danielsen is the arts editor at the Columbia Daily Tribune in Columbia, Missouri and teaches at the University of Missouri School of Journalism. He writes a weekly column, The (Dis)content, for Fathom Magazine, and has been published at Image Journal, Plough, Entropy, EcoTheo Review, and more.

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Image Credit: William Butterfield “Qu’Appelle Church: communion plates and chalices” [Canada], 1892. Digital images courtesy of the Getty’s Open Content Program.

Jason Ryberg: “Dreams of Empty Houses”

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Dreams of Empty Houses

Time is always calling
or dropping by (without calling)
at all the wrong goddamn times,

always unexpectedly just coming around
and turning up at the absolutely most
inconvenient and inappropriate moments,

inviting itself in and over-staying its welcome,
bumming all your cigarettes and beers,
using up the minutes on your phone and finally

leaving you, this time, with nothing but
a useless ring of keys, a head full of
crack-pot schemes, a vague sense of having
forgotten or misplaced something, and,

for some strange reason, dreams of empty
houses and apartments where you just can’t
be sure you’ve ever been in, let alone
maybe even lived once.

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About the Author: Jason Ryberg is the author of thirteen books of poetry, six screenplays, a few short stories, a box full of folders, notebooks and scraps of paper that could one day be (loosely) construed as a novel, and, a couple of angry letters to various magazine and newspaper editors. He is currently an artist-in-residence at both The Prospero Institute of Disquieted P/o/e/t/i/c/s and the Osage Arts Community, and is an editor and designer at Spartan Books. His latest collection of poems is The Ghosts of Our Words Will Be Heroes in Hell (co-authored with Damian Rucci, John Dorsey, and Victor Clevenger, OAC Books, 2020). He lives part-time in Salina, KS with a rooster named Little Red and a billygoat named Giuseppe and part-time somewhere in the Ozarks, near the Gasconade River, where there are also many strange and wonderful woodland critters.

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More by Jason Ryberg:

Beef, It’s What’s for Dinner

Sometimes the Moon is Nothing More than the Moon

All of the Above

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Image Credit: Robert Hicks “VIEW OF BUILDING 54. BEDROOM. FACING NORTH. – Winehaven, Rectangular Three-Bedroom-Plan Residence, Point Molate Naval Fuel Depot, Richmond, Contra Costa County, CA” (1996) The Library of Congress

Lisa Creech Bledsoe: “The Magician’s Handbook

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The Magician’s Handbook

 

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Twelve years old, heads together. Impatiently unbraiding the twisted paper fuses of a Black Cat half brick, fingers smeared with charcoal. Then: mailbox, culvert, tin can, matchbox cars exploded. We sliced open smoke bombs and bottle rockets, argued Spy vs Spy, dueled with matches. We smelled of saltpeter and sulphur and pumped the air with both fists, exactly who we dreamt of being.

 

2.

The spies. Costumes, possibly dresses. Funny, mad, bold. Could have been anything. Amazing recuperative powers.

 

3.

In the basement below the silversmith’s shop was a magician’s working studio. I would have sneaked down, too. When the Great War was over, the sneak sawed a woman in half. Everything changed.

 

4.

The woman. Tied by wrists, ankles, and thin, pale neck, locked into a coffin, holy blessed mother.

 

5.

“As an effect it has a neatness about it,” said a magician-in-residence at Imperial College’s department of surgery.

 

6.

They begged to see the pretty lady dismembered live. “Watch her face closely; even she doesn’t mind! Perhaps it only tickles.” Suddenly everyone wanted a woman to be the one subjected to ropes, saws, knives, bullets. She wore less and less, smiled more and more.

 

7.

He once famously invited a well-known military leader and suffragette to be the woman sawn in two. She had studied law but wasn’t allowed to practice. She had been imprisoned for shouting for voting rights for women. Imprisoned over and over again. She declined to be roped and tied, locked up and sawn in two. She knew about war.

 

8.

The spies alternated winning and losing.

 

9.

Some of them had feet of dazzling turquoise, or red. Landing on decks of sailing ships, they were easily captured and eaten. The English name booby was based on the Spanish slang bobo, meaning stupid.

 

10.

Of all the heavens and the earth, there are no animals that live always and only in the air. We must land somewhere. At sea, few choices.

 

11.

Pills, screens, couples, marathons, atoms. Things get divided, sometimes with illusions maintained. It has been a season of loss. You & I: we are still here.

 

12.

Unable to escape, a magician sawed himself in half.

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About the Author: Watched by crows and friend to salamanders, Lisa Creech Bledsoe is a hiker, beekeeper, and writer living in the mountains of Western North Carolina. She is a Pushcart Prize nominee and the author of two full-length books of poetry, Appalachian Ground (2019), and Wolf Laundry (2020). She has new poems out or forthcoming in The Blue Mountain Review, American Writers Review, Sky Island Journal, Pine Mountain Sand & Gravel, Red Fez, and River Heron Review, among others.

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More by Lisa Creech Bledsoe:

Some Revelation is at Hand

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Image Credit: “Harry Houdini, king of cards” Chicago : National Pr. & Eng. Co., [1895] Image courtesy of The Library of Congress

K. Andrew Turner: “We still call it the Strawberry Patch”

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We still call it the Strawberry Patch

Sketches of fruit succulent
half-remembered
    like picking strawberries
    in the summer with Mom
the cool New England breeze
perfect and each berry
ripe, juicy, and sweet.

Math, calculations adjacent
to red, faded like the fields
south of the 210—now an
outdoor strip mall.
    Numbers like ledgers of
sales, the taxes more money
than strawberries can bring.

for the art Strawberry Fields by Melissa Macias

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About the Author: K. Andrew Turner writes literary and speculative fiction, poetry, and nonfiction. He teaches and mentors creative writers near Los Angeles, where he lives, works, and writes in the San Gabriel Valley. He is the Publisher of East Jasmine Review and a freelance editor. You can find more at his website: http://www.kandrewturner.com

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Image Credit: Melissa Macias “Strawberry Fields”

Poetry Soundbite: A Reading and Interview with Agnes Vojta

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Welcome to AIOTB Magazine’s fifth Poetry Soundbite, an on-going series of poetry readings and interviews. For this edition, we welcome Agnes Vojta, a poet who grew up in Germany and now lives in Rolla, Missouri where she teaches physics at Missouri S&T and hikes the Ozarks. She is the author of Porous Land (Spartan Press, 2019) and The Eden of Perhaps (Spartan Press, 2020), and her poems have appeared in a variety of magazines.

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More By Agnes Vojta:

Legend

Sisyphus Calls It Quits

Flotsam

Mike James Reviews Wave If You Can See Me By Susan Ludvigson

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Mike James Reviews

Wave If You Can See Me

By Susan Ludvigson

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In “How It Can Happen,” one of the first poems in this fine new collection, the narrator imagines death as Shakespeare’s “other country.”  She writes, “I go with you, / but not all the way to your destination. / I wait in a dark house while you are taken / to a secret location. / We knew this could happen.”

The last line is instructive because it hints at a foreshadowing which haunts so many of these poems. In poem-after-poem the narrator is never sure of what’s across the river, but she’s certain it’s bad. A bridge will suddenly give way. Flood waters will rise too quickly. The villagers at the next exit won’t be friendly.

The dread is natural since so many of the poems are concerned with the death of the poet’s spouse, novelist Scott Ely. Many are not elegies as much as they are re-imaginings of an old life and dream-like restructurings of the current one. In the wonderfully titled “You Could Be Drinking Faulkner’s Bourbon,” she pictures what her husband might be doing in that other country. The poem moves from image to image, then concludes with a leap of transcendence: “we tell ourselves we’d like to know / but knowing / puts a period on speculation / and we are opposed / even in esoteric theory / to endings.”

From a technical standpoint, the addition of the four words “even in esoteric theory” deepens the poem. If good writing is about surprising the reader, those words surprise by their placement. “Esoteric theory” may not be the most sonically pleasing phrase, but it serves well to play off the narrator’s “speculations” and to strengthen the poem’s conclusion. The narrator is not just opposed to death and all the sorrows death brings. The narrator is opposed to all finality, even of the most far flung variety.

For Ludvigson, mourning is not relentless. Death is to be accepted. If Ludvigson never imagines death as gentlemen caller the way Emily Dickinson did, neither does she shy away from placing a spot at the table for him to sit. The narrator in “Too Late” tries to take in both her dream life and her new life as she travels without fear. “In the new country, / I try to ask directions, tell someone / how far we are from home. / The man behind the counter nods / as if he understands.”

Throughout the collection, over many roads and many nights, an understanding is always sought. Some poems end with an epiphany. Other poems end with an image like a cocked gun.

Though the subjects are often wrenching, there’s a steadiness throughout this collection which is appealing. The poems are tough and sensuous, subtle and clear. And the book is structured so that each poem adds resonance to the one before it.

This is Ludvigson’s first collection in 14 years. That’s a long time for a poet who has published many books, with most appearing in three to four year intervals. What has she done during her long silence? Well, she has continued to appear in magazines like Poetry, Atlantic Monthly, and Georgia Review. She has taught and judged book contests and taken up painting after a lifetime of watching. And she has said goodbye to friends and to her husband all while taking note of, “stars / burning through the debris of history / like love burning through the dark of loss.”

Wave If You Can See Me, by Susan Ludvigson
Red Hen Press, 2020
Poetry, $15.95

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About the Author: Mike James makes his home outside Nashville, Tennessee. He has published in numerous magazines, large and small, throughout the country. His 18 poetry collections include: Leftover Distances (Luchador), Parades (Alien Buddha), Jumping Drawbridges in Technicolor (Blue Horse), and Crows in the Jukebox (Bottom Dog), He has received multiple Pushcart and Best of the Net nominations.

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More Reviews by Mike James:

Mike James reviews Mingo Town & Memories by Larry Smith

Mike James reviews “Dead Letter Office: Selected Poems” By Marko Pogacar

Mike James reviews Beautiful Aliens: A Steve Abbott Reader and Have You Seen This Man? The Castro Poems of Karl Tierney

Howie Good: “Red Rosa”

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Red Rosa

In memory of Rosa Luxemburg (1871-1919)

She lost a shoe as the political police were dragging her from the Hotel Eden to the waiting car. Lieutenant K. Vogel, the commander of the unit, shouted insults (“Whore!”) and spat at her. She was bleeding from a blow to the head with a rifle butt, but could still see with the eye that didn’t have blood in it. As they pushed her into the back seat, she saw the dark breath of crematoria, Berlin burning, rubble everywhere. Then she passed out. They would take her to the hospital only when they were sure she was already dead.

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About the Author: Howie Good’s latest poetry collection, Gunmetal Sky, is due in February from Thirty West Publishing

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More By Howie Good:

The View from Here

Reason to Believe

People Get Ready

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Image Credit: “Portrait of Rosa Luxemburg in 1910″ Public Domain

Nadia Arioli: “On “The Answer Is No” by Kay Sage”

(You can view Sage’s painting “The Answer is No” here)

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On “The Answer Is No” by Kay Sage

Things left undone can become
a city, further out,
and have little lives of their own.

Mold blooms in teas you never tried.
Poems you meant to write paper a bathroom.
You are somewhere in that
city of unhemned garments.

The answer is “no” to a complicated question
I cannot bear to ask.
How “no” can become white noise
after a while, when uttered enough times.

Rapid spinning makes you weightless.
Preponderance becomes iteration,
iteration becomes quiet.

Quiet like barren,
quiet like cataracts,
quiet like something you slip into
your pocket and never let out.

I have glowed as much as I could,
in green and other light.
There was nothing left to do but scream.

Now you’re waiting for me again,
past the frames holding canvasses
like gums hold teeth.
I’m on my way.

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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.

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More by Nadia Arioli:

On “I Walk Without Echo” by Kay Sage

On “The Fourteen Daggers” by Kay Sage

John Brantingham: Five Poems About the Santa Ana Winds

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Still for a While

We get a Santa Ana
and wake to streets
full of branches
and trash and a palm tree

that’s crashed down
through the wrought iron fence
around the city yard.
Today, the air is still

for a while, but the winds
always come back,
or they have so far.
The train tracks are

covered in tumbleweeds.
This air that has come down
from the highland deserts
smells clean.

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News of the Weather

The first weather report I get
is when the airport shifts
its flight pattern directly over us,
and I know the winds are coming.
The breaks in our conversation
as the engines pass above
soon become natural and unnoticed
unless one of us points them out.
The eucalyptus across the train tracks
looks shaggy today. I wonder
what it will look like tomorrow.

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Just Us

The flags on top of the tax service
and immigration building are torn
to feathers by the Santa Ana winds,
and that feels like a metaphor

for something, but I’m not sure what.
The winds have always felt
more symbol than real to me.
They’re so dry they suck

the water right out of you.
We can see for miles across
the normally smoggy sky, and at night
we get stars. All of these things

might mean something like someone
is out there telling us something
with great clarity that I could see
except that I am limited to being just who I am.

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Baldy Winds

After the winds
have died down
here in the valley,
they are still rising
a mist of snow
blowing it off the top
of Mt. Baldy,
which I can see
headed straight up
Euclid Avenue.
It’s still early
on a Sunday morning,
and I’m the only one
out in the world
made clean
by the Santa Anas.
The dawn has no transition
through filtered air.
One moment it’s night,
and the next it’s full day.

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The New Neighbors

When the Santa Ana picks up,
some long haul truckers
pull off the freeways
and park in the neighborhood.

We can see their cabs
in the pale blue lights
of their computers
as they wait out the winds.

When we walk the dog
down the street in the evening,
we invade their space.
This is now their backyard.

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About the Author, John Brantingham: I was the first poet laureate of Sequoia and Kings Canyon National Park, and my work has been featured in hundreds of magazines and in Writer’s Almanac and The Best Small Fictions 2016. I have eleven books of poetry and fiction including my latest fiction collection Life: Orange to Pear (Bamboo Dart Press). I teach at Mt. San Antonio College.

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Image Credit: Impressions of Southern California by Chase Dimock

Larry Smith: “Grief into Mourning”

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Grief into Mourning     

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      “Wildflowers don’t care where they grow.”
         -Dolly Parton

A friend has abandoned me
after 40 years, and not
for the first time. Once for five years.
Inside his wall of darkness he has
spit me out like spoiled milk,
and I can’t reach across
to explain. His back turned
he curses my name as he
throws down their phone.
Yet I know he cannot help it.
There is no sin here, only sorrow
and sickness, a grief-pain I carry
inside my head and heart.

And so, I write this to myself
to mourn. In quiet breath
I close my eyes to see his
wounded face in a mirror,
look deep inside his hurt eyes
and step forward to embrace
his figure, as we stand together
breathing forgiveness.

II.
With the taste of grief swelling
my tongue I remember past hurt
keeping us apart. A cherry pie
left out for weeks that I eat with
spoiled milk alone at night.

You said you could never forgive
and so, I walked away, burying it
like a dead child till now
I stare it in the face, swallow regret
and forgive us both.

III.
Placing each stone
beside the bench
where dead friends once sat.

Wild geese overhead
echo their names.

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About the Author: Larry Smith is the editor-publisher of Bottom Dog Press in Ohio, also the author of 6 books of fiction and 8 books of poems, most recently The Pears: Poems. A retired professor of humanities, he lives and works along the shores of Lake Erie in Huron, Ohio.

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More By Larry Smith:

No Walls

Union Town

At The Country Store

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Image Credit: Frances Benjamin Johnson. “Bell Flower (campanula)” [between 1915 and 1935] image courtesy of the Library of Congress