Two Poems by Susan Jarvis Bryant

Corpseville

a twisted villanelle

In twilight’s glow you’ll know you’re not alone.
You’ll hear their whispers rasping in your ear.
They’ll burrow through the marrow of your bone.

They’ll reap the seeds their cunning kin have sown-–
A harvest that would make a demon cheer.
In twilight’s glow you’ll know you’re not alone.

They’ll bask in every gibbous-moon-soaked groan
That rumbles through the eerie atmosphere.
They’ll burrow through the marrow of your bone.

Your dreams will shudder with their ghostly drone.
Your skull will crawl with thoughts no heart can bear.
In twilight’s glow you’ll know you’re not alone.

Befouled with gore they’ll draw a ghastly moan.
They’ll bore beneath your skin and raise your hair.
They’ll burrow through the marrow of your bone.

Soon mini ghouls will roam your twilight zone
To trick or treat as grinning pumpkins stare.
Shrug off your shroud. Don’t rot at home alone.
Creep from your crypt and throw those imps a bone.


Toad Ode

O, warty dweller of the weedy pond,
O, cauldron-dodging lodger of the lake,
My happy-ending heart has grown so fond
Of craggy clamminess, I plan to take
An algae night to swim in bulgy eyes
While basking in the choruses you croak.
If pussycats and owls can dine on quince
And float their pea-green boats to heaven highs,
Then I can plant a wince-free kiss to smoke
Your chilly lips and free your inner prince.

I’ve met a ton of toads, but none like you,
O, legend of the frilly lily pad.
They wowed and wooed and cooed and left me blue—
All armed with charm that hid a tad of cad.
Each peachy paramour assailed my eye
With weapons of the flash and dashing kind—
A scorching thrust of lust that left love dead.
And that, O, dumpy, dimply one, is why
My inner princess surfaced just to find …
You … the toad I’m owed … the prince I’ll wed.

Oh dear, I fear my awestruck heart’s forsaken.
I’ve puckered up with pluck and now it seems
I’m out of luck; your inner prince won’t waken—
A snoring schmuck has dashed my princess dreams.
O, crinkled critter of the realm of reeds,
O, soggy squatter of the swampy sphere,
I’ve snogged you at the bottom of your bog
Yet you can’t meet my doleful-damsel needs.
I now assume a suitor won’t appear
Unless I slip your grip and kiss a frog.

“Toad Ode” originally appeared in the New English Review.




Susan Jarvis Bryant is originally from England and now lives on the coastal plains of Texas. She has poetry published in a variety of places. Susan is the winner of the 2020 International SCP Poetry Competition and was nominated for the 2022 Pushcart Prize.

Translations by Michael R. Burch

Loose translations and interpretations of Ono no Komachi

If fields of autumn flowers
can shed their blossoms, shameless,
why can’t I also frolic here—
as fearless, wild and blameless?

Alas, the beauty of the flowers came to naught
as I watched the rain, lost in melancholy thought …

Am I to spend the night alone
atop this summit,
cold and lost?
Won’t you at least lend me
your robes of moss?

I nodded off thinking about you
only to have your appear in my dreams.
Had I known that I slept,
I’d have never awakened!

This selection previously appeared in Hub Pages (top ten love poems), Brief Poems, and Poem Today.


This abandoned mountain shack —
how many nights
has autumn sheltered here?

Once-colorful flowers faded,
while in my drab cell
life’s impulse also abated
as the long rains fell.

In this dismal world
the living decrease
as the dead increase…
oh, how much longer
must I bear this body of grief?

Did you appear
only because I was lost in thoughts of love
when I nodded off, day-dreaming of you?
(If I had known that you
couldn’t possibly be true
I’d have never awakened!)




Michael R. Burch‘s poems have been published by hundreds of literary journals, taught in high schools and colleges, translated into 17 languages, incorporated into three plays and four operas, and set to music, from swamp blues to classical, by 29 composers. He also edits The HyperTexts.

Two Poems by Eric D. Goodman

As for the Ticket

Don’t burn the tongue,
on flavor still too hot.

Eat slowly,
savor the sustenance,
that will certainly end too soon.
The dinner is good,
the main course, half devoured,
still piping hot.

As for the ticket, no, not yet.
Keep it at bay.

The bill will come
that nobody wants to pay.

Not one to live off extended credit
or the kindness of others,
but no desire to settle up—
not now or even later.

These passionate days
steeped in desire and warmth and bliss
do not come for free.

The laughter and clinking glasses and
clanking cutlery and exciting conversations
crossing one another at a table of friends
with so much to say that half the fresh ideas
meant to enter the discussion fall
like generous crumbs for the less fortunate
scavenging the cracks between the floorboards.

The bill always comes at the end.

The thing to do is to avoid eye contact
with the waiter standing by in his black tuxedo,
lurking slyly in the shadows,
silver platter in white-gloved hand,
in search of an entry point;

not to look into the mirror at the aging stranger there
as you visit the restroom more frequently
than you used to;

not to spend too much time sharing recent
photographs of the kids and family,
only to realize that the photos you are showing
are ten, fifteen, twenty years old.

The thing to do is to pace yourself,
chew your food until the flavor is spent,
take your time, sip and savor
the wine and beer and scotch and cognac
that you once gulped
with a greedy thirst,
and don’t be afraid to add a little ice
or water if that will make the flavor last longer.

If you can choose the tastiest morsels,
the finest beverages, optimal companionship,
stretch out your servings so that
what you consume does not
outpace your hunger, does not
make you uncomfortably full,

perhaps—just perhaps—
you will make the most
of the restaurant’s operating hours
and the bill will not arrive
until you are ready to receive it.


Thanks for the Socks

Rummaging through the attic,
I came across an old picture
and remembered a thank you card
that I forgot to write.

Thank you for the socks
that you got me for Christmas,
immortalized in a photograph
collecting dust in an attic box.

I bore my soul
took the jagged shards of broken notions
from the darkest crevices of my mind,
examined them, conducted psychanalysis on myself,
and exposed my innermost despair to you.

You drove to the mall, in your sable,
parked in the garage so you
wouldn’t need to bear the snow
walking through the open doors of Lazarus.

That cozy evening beside the colorful, lit tree,
I presented you the harvest of heartache:
a book of cathartic poetry dedicated to you.

You, in turn, presented me
with a pair of socks,
a pock-marked design
with a thin red line across the toes.

I declared devotion in verse,
painted your beauty in rhyme and tempo,
alliteration and angst.

You accented the men’s hosiery
with a framed picture of you wearing them
to personalize the gift.

You commented on how much you
cherished the poetry—
a book devoted to who you were to me.

I said thanks for the socks
and the picture of you wearing them.

Half a life later,
I revisit that poetry—
cringingly sincere, earnest, naïve—

and I wonder whether you still have a copy
that you take from the shelf from time to time,
reminding you that such worship as this
once put you at its center,

or whether your copy has been discarded
like the picture of an old acquaintance
or a worn-out pair of socks.




Eric D. Goodman lives and writes in Maryland, where he’s remained sheltered in place during the pandemic and beyond, spending a portion of his hermithood writing poetry. His first book of poetry, Faraway Tables, is coming in spring 2024 from Yorkshire Press. He’s author of Wrecks and Ruins (Loyola University’s Apprentice House Press, 2022) The Color of Jadeite (Apprentice House, 2020), Setting the Family Free (Apprentice House, 2019), Womb: a novel in utero (Merge Publishing, 2017) Tracks: A Novel in Stories (Atticus Books, 2011), and Flightless Goose, (Writers Lair Books, 2008). More than a hundred short stories, articles, travel stories, and poems have been published in literary journals, magazines, and periodicals. Learn more about Eric and his writing at www.EricDGoodman.com.

“On Viewing the Corpse of My Mother-in-Law” by Nolo Segundo

How could this–thing–have been her?
Lying shriveled and small on the bed
As those who loved (and feared) her
Gathered in the bereft hospital room
To let their shock and grief melt and
Mold itself into its own atmosphere.
Her body seemed never to have been
Real, never to have been a woman,
Never to have been young once, and
Surely never to have been a mother….

And if it had been a body once, housing
A small dragon who could lash out fire
Solely with her harsh and brutal tongue,
Keeping those who loved her at bay and
The rest of us wary, aware of her power,
Her terrible gift for shrinking one’s soul,
Then where did she go when her mouth
Froze open as the last breath of a long
Life left quietly, without fuss or rancor?

Still, though imperfect as you or I, she
Was loved and mourned and honored.
If God only housed saints, think how
Terribly lonely He would be….

“On Viewing the Corpse of My Mother-in-Law” originally appeared in Adelaide.




Nolo Segundo, pen name of L. J. Carber, only became a widely published poet in his mid-70’s in over 130 literary journals in the U.S., Canada, England, Romania, Scotland, Portugal, Sweden, India, Hong Kong, Turkey, and three trade book collections: The Enormity of  Existence [2020], Of Ether and Earth [2021] and Soul Songs [2022]. These titles and much of his work reflect the awareness he’s had for over 50 years since having an NDE whilst almost drowning in a Vermont river: that he has, or rather, IS a consciousness that predates birth and survives death, what poets once called a soul. Nominated for the Pushcart Prize and Best of the Net, he’s a retired teacher [America, Japan, Taiwan, Cambodia] who has been married to a smart and beautiful Taiwanese woman for 43 years.

Two Poems by Diane Elayne Dees

The Gym Ceiling

I know it intimately—
the glaring lights
in the performance room
that bear down on me
as I lie, breathless, heart racing,
after a fifty-yard sled push—
the sprinklers embedded
above the mats as I stretch,
and the silver fan blades
that look like helicopter propellers.
I roll the fascia on my back,
stare at the vents, and get lost
in their mesmerizing Hellenic design.
In the mind-body studio, I focus
on the skylight and breathe,
while sunlight infuses the flaming orange
stained glass flower mandala,
and white fans whir softly above me.
This is a landscape as familiar to me
as my own body, which is now
a bizarre combination of muscles
and wrinkled skin that looks
as though it rolled out of a giant shell
on some faraway beach.
The gym ceiling is my touchstone
in a personal universe whose planets
often careen into chaos, and threaten
to collide—or implode—in space.
The gym ceiling covers me
like a low-hanging, multifaceted sky,
a reminder to breathe,
just breathe.


Close-Up

When I get near enough,
I can see that each
of the dragonfly’s eyes
is like a polished turquoise
stone—an oversized gem
on a flamboyant bolo.
Below, spikes like fine brushes
oppose each other above a thorax
that fades from cloudy white
to the blue of a clear sky,
where lustrous shells are flanked
by armor plates of solid gold.
Its transparent wings, etched
carefully by a cosmic laser,
spread before me. I get close
enough to see the the fine threads
on its claw-like legs;
it does not move.
Instead, it stares at me
with thirty thousand lenses,
and I feel seen in a way
I do not fully understand,
but which makes my universe
expand just enough for me
to remain perfectly still,
in a transcendent place of knowing.




Diane Elayne Dees is the author of the chapbooks, Coronary Truth (Kelsay Books), The Last Time I Saw You (Finishing Line Press), and The Wild Parrots of Marigny (Querencia Press). She is also the author of three Origami Poems Project microchaps, and her poetry, short fiction, and creative nonfiction have been published in many journals and anthologies. Diane, who lives in Covington, Louisiana—just across Lake Pontchartrain from New Orleans—also publishes Women Who Serve, a blog that delivers news and commentary on women’s professional tennis throughout the world. Her author blog is Diane Elayne Dees: Poet and Writer-at-Large, and you can find her on X @WomenWhoServe.

Two Poems by Felicia Nimue Ackerman

Old Age Be Not Sugarcoated

Your language has me groaning.
I hate to be a scold,
But please don’t call me older
Instead of simply old.
And even worse is senior.
It makes me quite irate.
I haven’t been a senior
Since 1968!

“Old Age Be Not Sugarcoated” originally appeared in Light.


A Crispy Thanksgiving

I’m grateful for crispy-skinned turkey
And pumpkin pie topped with whipped cream
And freshly made biscuits with butter,
A dinner fulfilling my dream.

I’m grateful for loose-fitting garments
That cover my bulge without fail.
I’m grateful that one of my cronies
Has tactfully hidden my scale.

“A Crispy Thanksgiving” originally appeared in Lighten Up Online.




Felicia Nimue Ackerman is a professor of philosophy at Brown University and has had over 260 poems published in a wide range of places, including eighteen in past issues of Sparks of Calliope.

Two Poems by Elaine Sorrentino

Landslide

On a steamy July night in 1976
Boz Scaggs, Fleetwood Mac, the Eagles
electrified Schaefer Stadium,
thrilling sixty thousand screaming fans.

A rock concert newbie, I was overwhelmed
by the crowd, the roar, the strong skunky smell,
all overlooked by elation at sharing the day
with the boy who had known my heart for four years.

A day-long party, by the time the Mac
crooned “Landslide,” nature was telling me
Find a rest room. How would I navigate
this crowd, I asked my boyfriend.

Taking my arm, he guided me up the stairs
down the ramp (so many ramps),
past the hundreds of stoned concertgoers,
to the entrance of my destination.

Patiently explaining how to maneuver back
to my seat, through the swarms of stoners,
up the ramp – oh God, they all looked the same,
down the steps, he took off for the Men’s Room.

I prayed I could follow his directions back
but I exited the Ladies Room, and there he was, my smiling GPS;
relief flooded my body as I grinned,
gazed into his eyes and said I knew you’d be here,

which in teenage boy-speak
means I have trained you like a dog.
Smile vanished, he disappeared into the crowd
leaving me to find my own way back.


Stage Fright

I’m a solo act
balancing on the edge
laying bare my courage

eyes shut, I teeter
on the precipice 
of dive in or chicken out

when a reassuring hand
touches my elbow,
They’re ready for you.

I unclench my eyes
prepared to dip my toe
into unexplored waters

as I step on stage
applause quiets my fears, 
and I begin.




Elaine Sorrentino has been published in Minerva RisingWillawaw Journal, Glass: A Journal of Poetry, Ekphrastic Review, Writing in a Women’s Voice, Global Poemic, ONE ART: a journal of poetry, Agape Review, Haiku Universe, Sparks of CalliopeMuddy River Poetry ReviewGyroscope Review, Your Daily Poem, PanoplyzineEtched Onyx Magazine, and at wildamorris.blogspot.com.  She was also featured on a poetry podcast at Onyx Publications.

“Cassius the Wanderer” by Victoria Garton

from The Midnight Posse

I’ll read Moth
if I get a hall pass.
I need the nurse,
need a Band-Aid,
need to take my pills.
Can’t last till the bell.
Okay then,
I’ll go to the office.
Why? To turn myself in.

No, I won’t read “all.”
I live in a group home,
I don’t do group talk.
Teacher bad as the judge.
No pass as bad as lock up.
I’ll take in-school suspension.
I want out.

We got a problem!
This class is poison!
Everybody bickering,
how’s a guy to sleep?
Hate this whole f**ken set-up.
Maybe the nurse
got our pills,
we could make it
to the lunch bell.

Okay, I’ll read Moth,
two lines, that’s all.
Then I’ll fly away,
like a moth.
Just want my freedom.
Teacher bad as the judge.
No pass as bad as lock up.
I’ll take in-school suspension.
I want out.




Victoria Garton’s books are Venice Comes Clean (Flying Ketchup Press, 2023), Pout of Tangerine Tango (Finishing Line Press, 2022), and Kisses in the Raw Night (BkMk Press, 1989.) The anthology, From K.C., MO to East St. Lou (Spartan Press, 2022), featured ten of her poems. Recent acceptances are from Cosmic Daffodil, Sangam, Proud to Be, Thorny Locust, and I-70 Review.

Two Poems by Miriam Colleran

Differently

I miss you differently, Dad;
I see you in that older man’s face
as he excitedly talks about football
and how his parish team did.
I glimpse you watching the news
contentedly complaining about politics,
we both knew
that your vote would be unchanged.
I think of you when I cook dinner
and remember the meals we shared–
when I need your wisdom,
your support, your love,
I remember you and hear you say,
“There’s no such thing as a worry
That’s stupid to the person who has it.”
I feel your absence,
I miss you both, yourself and Mam,
just differently.


The Cherry Blossom Tree

They cut You down–
Our beautiful cherry blossom tree;
for over three decades,
You grew, and blossomed,
and spread your branches
to the sky, to the world,
and in our hearts.
They did not know the meaning
that You had for us,
Your role in our lives,
that You were a part of our story–
The way your pink petals
coated the ground with love in April.
It is their turn now and
they will have a different story,
one that matters to them;
But You are still a part of ours.




Miriam Colleran lives in Kildare in Ireland with her two daughters and their two doggies. She is a doctor working in hospice and palliative medicine, plays the Irish harp and is learning about poetry.

Two Poems by Angela Hoffman

I Have Webbed Toes

I was told by a potter that clay has a memory;
elements hold it in place.
If you try to reshape it, it remembers
it was once different, and will try to return to that state.

My genetics seem to come from the desert.
I have river-beds of veins that rise under thin skin,
a receding hairline, eyes the color of rattlesnakes.
My memories are mostly droughts of joy
that formed worry lines on my forehead, sides of my mouth.
From too much exposure, my skin has mottled
like an egg of the cactus wren.

But the mirages that keep appearing tell of another story.
I see her up ahead, the way she was from the very beginning.
I struggle to remember her, who formed her.
She has webbed toes. She once swam
in the land of milk and honey in the rain-filled streams.


Ouija Board

Inside a dumpster, I spotted the long forgotten game
forbidden by my mother
that I secretly played at a friend’s home.
I leaned far in to retrieve the board
on which we placed our questions while shrouded in the dark,
huddled, waiting for the pull of our hands by candlelight,
feeling for the wonder-filled naming of things,
an insightful thunder-crack, the fear-dropping answer to a prayer,
someone being claimed even when they were not looking,
a whisper, a silent reassurance, the answer spelled out.

I took it home, placed it prominently on a table.
I must resurrect the will, the courage,
the art of the question I possessed in my youth,
the living out of the answers.




Angela Hoffman’s poetry collections include Resurrection Lily and Olly Olly Oxen Free (Kelsay Books). Her poems have been published in Agape Review, Amethyst Review, As Surely As the Sun, Blue Heron Review, Braided Way, Bramble, Cosmic Daffodil Journal, Moss Piglet, Lothlorien Poetry Journal, Muleskinner Journal, Of Rust and GlassPoetica Review, Solitary Plover, The Orchards Poetry Journal, The Poet Magazine, Verse-Virtual, Visual Verse, Wisconsin Fellowship of Poets’ Museletter and Calendar, Whispers and Echoes, Wilda Morris’s Poetry Challenge, Writing In A Woman’s Voice, and Your Daily Poem. She writes a poem a day. Angela lives in rural Wisconsin.  You can find her on Facebook here.