Two Poems by Johnny Payne

Dulcet

My love’s voice leaves me stricken with an ache
to hear her half-tones rankle my shook bones
disease from which I won’t be vaccinated
not even if her charms seem overblown.
Call me a smitten fool, a bitten clod.
Dig a dirt bier, stuff me in that bung
cover me with peat moss and second-hand sod
but let me listen to my lady’s lungs.
If I were a deaf-mute, I might have no chance
but even then, I’d listen for her song
to stir me into sentience, make me prance
as if a glockenspiel began to bong.
Horns of the gods hard-tootle their decree
that my girl’s pipes were made to remake me.


Figs

Laden with ripe and unripe figs, the tree
I rest beneath, blooming, sap-soaked and strong
its leaves like turquoise, with a glassy gleam
provides shade for whoever comes along.
I haven’t stirred yet. I’ve been lying prone
watching gray cloud-shreds whirl and retreat
as though bruised flesh pelted by random stones
from cosmic reaches by a hand unseen.
My fit has fled. I’m ready to rush home.
She’ll cradle my head, kiss the phantom wound
well-made with wasted words twice hard as bone
watch me revive from an afternoon swoon.
I watch for the next new-ripe fig to drop
into my hands, to crush to dark pulp.




Johnny Payne has recently published work in Neon Door, Fast Flesh, Verdad Magazine, Gasher Journal, Sparks of Calliope, Society for Classical Poets, The Chained Muse, Collidescope, Peregrine Journal, The New Lyre, Pulsebeat, Wine Cellar Press, and Soundings East.  His most recent published novels are The Hard Side of the River and Confessions of a Gentleman Killer, which won the IBPA Gold Medal for Horror in 2021.  His books of poetry Vassal and Heaven of Ashes were published by Mouthfeel Press. He has directed his plays Death by Zephyr and Cannibals for Slingshot Players, Los Angeles.

Two Poems by Nolo Segundo

A Passing Glance

The other day
as I turned the corner
onto my quiet street

I saw a woman so perfect,
she snatched my breath away
as she waited to cross the road.

It was like seeing a movie star
or a beauty queen close up–
my heart ached a bit, I confess,
when I thought, once, a long time
ago, I might have had a chance….

But now I’m just an old man
driving an old car to an old house.
I drove slowly and could see
her gracefully crossing the street
in my rear-view mirror, much
like a dream fading quickly away …
suddenly, from somewhere far
beyond my mind, I realized
the truth of what I saw: that
it was all just stupid illusion–
she was young and beautiful,
I, old and lame, but those were
just markers on the wheel of time.

The wheel would turn,
my body would die, hers would age,
no longer enrapturing men—in truth
she was already an old woman which
I could not see, nor could I see the
sweet child still playing within her.

When there are no more days left,
our souls will be free of the wheel,
and all the world’s illusions will
seem as distant, fading dreams.

“Passing Glance” first appeared in A Thin Slice of Anxiety.


An Old Poet’s Walk Through an Old Graveyard

He always liked to walk among the dead—
for him it was a secret pleasure to imagine
the lives of once breathing, thinking beings.
He would stop at each tombstone, curious
perhaps more than reverent, for he had long
known the body was just a set of clothes
the soul wears in a world where appearances
matter more it seems than what lay inside…

The old man liked to compare his years to
those chalked on each stone, continually
amazed that so many had died with fewer
years on their belts, so to speak—not
that he thought his 74 winters was a lot:
yet seen backwards in time, all the summers
and all the snows and all the fallings of dried
out leaves dying dressed in color like kings,
all those memories wouldn’t fill a large
basket in that living library called memory.

There was a newish-looking gravestone with
one of those weather-resistant photos of a
handsome young man who died in his 24th
year—the old man always wondered how
the young die– by a rare illness, or suicide,
or was he doing something he should not
have been doing, and karma took notice?

In the years practicing his little lauded hobby
the old poet found old graveyards to be best,
for old graveyards have markers of lives that
turned to dust a long, long time ago: 100, 200
years for some– but for the old poet it was as
though they had died yesterday, because they
were new to him, and his mind’s eye could see
them all living life large again in their own slice
of time, in their own worlds, with beauty and
pain, with loss and joy, with grace and fear….

There were so many folks to visit: each one
whose little stone house he stopped by he
introduced himself to, said hello, wished
them well, and wondered about what sort
of life the woman who died at 36 had lead,
or the really old man of 98 with the funny,
old fashioned name—did he regret missing
the century mark, the old poet wondered.

Some graves he did not like to see, for
they were the graves of babes, who
left the world less than a year after
they had entered it with such promise–
some died within weeks or months,
a few died the day they were born–
all spoke in stone of hearts broken,
of hope stolen, of love taken away….




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 Robert Donohue

2024 Pushcart Prize Nominee

Pegasus

One evening in the dining room I saw
Dad sketch a horse upon a legal pad,
I will assume this was the time he had
Enrolled in school to study labor law.
He drew a thoroughbred without a flaw
And here I thought all art was for the mad,
But also thought none saner than my dad,
I didn’t even know that he could draw.

I don’t believe he ever drew again,
Perhaps it was his way of showing us
A horse is just a horse, not Pegasus
And plainness was the subject of his pen.
I think he would believe a horse with wings
Might be unsuited for more earthly things.


Categorical

I had a friend whose grandmother would hoard
Sears’ catalogues, and meeting her she’d ask
When you were born, then making it her task
You got one from your birth. These volumes stored
More than a taste for which the world was bored
And like a wine drawn from a moldy cask
Within your vintage you could freely bask
In being young, and when you were adored.

By thinking of the Nineteen Seventies,
Those plaids and knits, and those high-waisted pants,
I think of time no changing now supplants
And at the end of life’s declivities
I’ll fall (foretold as much, so I discern)
Onto shag carpet, laid for my return.




Robert Donohue has published his poems in journals such as: Amethyst Review, Better Than Starbucks, The Ekphrastic Review, and FreezeRay Poetry, among others. He lives on Long Island, NY.

Two Poems by A. Gee

By the Shore

Whitecaps, eager, race to shore —
couldn’t get there any faster;
sand attempts to keep the score…

Shells of pearl and alabaster
dot the wild, abandoned coast,
laid bare as an ossuary,
and the wind, a mournful ghost,
wails…

Indifferent, the waves hurry.


Beach Chair

Hanging clouds, soft cotton candy,
wispy tendrils probe about.
In my beach chair, sipping brandy,
waiting for the tide to out.
Sweat is cooling, makes me shiver,
pondering my life and death,
yearning for a single sliver
of a sail upon God’s breath.

There she is, all mast and power
as she leans from bow to stern.

As her wake upends the hour

yearning over, I return.




A. Gee has spent the bulk of his 20-year career writing code for a living. An avid reader of both English and Russian classical literature and poetry (English is his third language), he’s long been fascinated by the challenge of creating metrical, rhyming English poetry that wants to escape out of your mouth and be read out loud. A happily married father and grandfather, A. Gee and his wife split their time between New Jersey and Texas. Check out his book, Myth Takes: Rhyme and Reason in the Age of Entitlement or more of his poetry here.

Two Poems by Preeth Ganapathy

Cicadas

In the evening, they alight on the bark’s
tarmac, loud and clear.
I scour the lines of the silver-oak,
for their scent.
After seventeen searing seconds,
I am about to turn away
satisfied with the tang of their fervent
metallic songs until,
one tiny frame
shivers like a newborn flame.

Before dawn, they assemble again, sing their songs,
laced with the freshness of dew and air,
from the edge of a single Mussaenda petal,
from behind an Arabica coffee stem,
from between the cracks of the cement courtyard,
from beyond the delicate hills and the thin mist,
calling out
to Light.


Stay

The sun is like the air –
calm on the skin, but not seen.
The garden glows green,
my son is on the swing,
the one with the blue paint peeling off the seat,
clasping the rust-coated side chain.
A big smile stretched on his face, mid-flight,
singing feathery songs to the morning light.

After some time, I call out softly, tell him it is time to leave,
before his eyebrows furrow,
before he can shake his head,
a dragon-fly hovers,
her black paper wings flutter,
and she carefully selects one of the lines of my open palm
and perches
for the moment.

Like a gracious host
she whispers
‘stay’.




Preeth Ganapathy is a software engineer turned civil servant from Bengaluru, India. Her works have been published in several magazines such as The Ekphrastic Review, Soul-Lit, The Sunlight Press, Atlas+Alice, Ink, Sweat and Tears, Mothers Always Write, Tiger Moth Review and elsewhere. Her microchap, A Single Moment, has been published by Origami Poems Project. She is also a two-time winner of Wilda Morris’s Poetry Challenge.

Two Poems by E. Martin Pedersen

I Love You Honey, But…

As you go around the rooms
setting the pictures awry
you must really hate straight
I’m not sure you’re truly aware
that you turn coffee tables sideways
cover furniture with clothes
leave the lights on downstairs
on purpose
some devil inside you says
drive him nuts, push the vase off-center
throw opened mail onto the kitchen table
get out the milk and do not put it back
I say should when
I should say could —
we should see one
another as we now are
not molded to our
specifications, justification, our
relations hard
as imperfect walls —
that’s all
yet I hear laughter
that’s not from you or me


Envy

Cleverness ain’t easy
when it don’t come
natural
That perfect quip
an hour too late
That great idea
for something
had in the night
lost in the day
What will I say
when we meet
I come prepared
rehearsed
amnesia
stutter
I like that person
so smart
always right there
I wish I had
mental confidence
and acted cool
when things go bad
I wish I believed in my own means
yet if I were that clever
I’d be alone
I’d have no one to envy
no one to aspire
to be.




E. Martin Pedersen, originally from San Francisco, has lived for over forty years in eastern Sicily, where he taught English at the local university. His poetry appeared most recently in Avatar Review, Canyon Voices, Slab, SurVision, and Helix Literary Magazine, among others. Martin is an alumnus of the Community of Writers. He has published two collections of haiku, Bitter Pills and Smart Pills, and a chapbook, Exile’s Choice, from Kelsay Books. A full collection, Method & Madness, is forthcoming from Odyssey Press. Martin’s poem, “Gull Eggs,” was nominated by Flapper Press for the Best of the Net Award 2023.

Two Poems by Royal Rhodes

Dying Languages Archived

Collecting dying languages at risk
from Mongol tribes, Nigeria, Nepal,
linguists try to digitize in brisk,
efficient ways before we lose them all,
to capture mythic chants like butterflies,
dead and instantly available.
The “nuts and bolts” of cultures lost will rise,
with vocal repertoires made saleable.
Their videos show shamans with their tools
living on the margins, while disasters,
famine, shaky governments of fools
allow the loss, a vacuum newer masters
fill. But words have motion, color, scent,
not categories that we just invent.


Coroner’s Report: 1569

The county coroner’s report
described the victim’s drowning

in the nearby river Salwarpe,
not far from Stratford-upon-Avon.

“By reason of collecting and holding out
certain flowers…’yellow boddles’

growing on the bank of a certain
small channel…called Upton myll pond

…about the eighth hour after noon
suddenly and by misfortune fell

and then and there she instantly died.”

Perhaps, perhaps such domestic details
often with their roots in village gossip

gave the resident playwright gist
to fell his own forlorn, mad heroine

in a brook, while she clutched tight
garlands of crow-flowers, nettles, daisies,

and sang in the still waters “snatches
of old tunes,” until her waterlogged dress

dragged her under to a silent death.

No one bothered to write a play about
those killed by performing bears, or those

dead wrestling, tossing a ball, bell ringing,
or lobbing a sledgehammer for sport.

Only this child, a girl holding certain flowers.




Royal Rhodes is a retired professor who taught classes in global religions, the Classics, religion & the arts, and death & dying. His poetry has appeared online and in a series of art/poetry collaborations for The Catbird [on the Yadkin] Press in North Carolina. His current project is a poetry/photography collaboration on sacred sites in Italy.

Two Poems by Felicia Nimue Ackerman

Song of a Future Age

Children of the present age,
Reading this indignant page,
Know that in a former time,
Longer life was thought a crime.

“Elders needing doctors’ care
Cost us more than we can spare.
Elders who retain their health
Rob the young of jobs and wealth.

Fourscore years are all you need.
Seeking more reveals your greed.
Live your numbered years with zest.
Then go sweetly to your rest.”

So the pundits used to say
Till we reached a better day.
Children, how our lifespans grew:
I’m 300—you’ll be too.

“Song of a Future Age” first appeared in Blake House.


On the Snow

We’re all supposed to love the Earth
And thrill to nature’s bold displays.
We’re all supposed to be entranced
When nature sends us snowy days.

But I just tumbled on the snow
And gave my knee a nasty whack.
If I’m supposed to love the Earth,
The Earth should try to love me back.

“On the Snow” first appeared in The Providence Journal.




Felicia Nimue Ackerman is a professor of philosophy at Brown University and has had over 230 poems published in a wide range of places, including twelve in past issues of Sparks of Calliope.

“Lessons in Love” by Susan Jarvis Bryant

2024 Pushcart Prize Nominee

Inspired by William George Falconer, 1922 – 2006 


I. The First

The photo flew from Grandad’s falling wallet.
It fluttered to the floor within my reach.
I picked it up and saw the writing on it –
Summer ’64 at Brighton Beach.
I gazed at Gran – a siren of the ocean –
Her skirt hitched up, surf lapping at her thighs,
A skittish grin with saucy notions frozen
In tantalizing, sea-and-sunshine eyes.
My tender heart had plenty left to learn.
The man who snapped the picture taught me well.
He told me Gran’s bold beauty made him burn
To dance with her till frost froze flames of Hell.
I knew that day the value of our chat.
I knew that night I’d pray for love like that.


II. The Last

His feisty spirit hid in wizened skin
That stretched across each worn and weary bone.
I saw his grief – that wretched wince within
His wistful eyes. He choked down every groan.
I held my grandad’s gnarly hands in mine –
Hands that fought a war and built a life
With she who made the bleakest moments shine –
My grandmother, his gone and longed-for wife.
He told me, when the stars were in his reach
And always silvered sprawling golden sand,
He’d meet his foxy sweetheart on the beach.
They’d waltz and kiss then walk home hand in hand.
He taught my smarting heart the marvel of
That death-defying miracle called love.




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 has been nominated for the 2022 Pushcart Prize.

Two Poems by Jessica Whipple

Heyday

When do we stop wanting
to go up into things?
When I was ten,
we went inside the St. Louis Arch.
My brother and I rode the tram
like a caterpillar along a stem
that bends under its weight.
At the top we looked out the windows
and felt we had grown wings.

Next summer at the Statue of Liberty
we learned the crown was closed.
He didn’t care. He was older,
bored by the seeming-smallness
of brothers, cities.

Following the interstate
we took decades earlier,
I’m on my way again.
Can the drear of adulthood
really be this obvious:
The gas station where my brother and I
got Big Apple keychains and Bugles or Combos
or some other past-its-heyday snack,
even that is somehow worse-off now,
overtaken by weeds.


Behold the Pawpaw

A secret delight grows native
to our PA home: The pawpaw,
left from another time when
indigenous people foraged, built eel weirs
in Susquehanna symbiosis.

We traveled highways to a pawpaw sale,
stood giddy in a (socially-distanced) line
hustled home snuggling Potomac, Shenandoah
in crinkly brown bags heavy with hope in the promise:
Tropical flavor, banana plus mango, creamy inside.

Because we were bored, lonely
worn out from pandemic living
couldn’t help feeling
these Prehistoric-looking trees
persisted for ages in the understory
destined to bear fruit for us
yellow flesh was ours to discover
floral scent set free to fill these nostrils.

So we read blogs, Food & Wine
hungry for joy, novelty.
Pawpaw ice cream
would redeem lonely summer days.
Pawpaw salsa would salve our restless souls.

At home I sliced one open
revealed an eerie smile of black seeds
—this will be good!—
glistening flesh like overripe melon
—I can’t wait to taste!—
But if I’m honest,
what I discovered
was twenty-seven dollars
of soapy, slimy mush
not at all tropical
And if I’m honest, I was foolish
to think a fruit could save us.




Jessica Whipple is a writer for adults and children. Her poetry has been published by One Art, Nurture, Ekstasis, Rathalla Review, Stanchion, Door Is a Jar, and Pittsburgh Quarterly, with some forthcoming in Pine Hills Review and Anti-Heroin Chic. Her debut picture book, titled ENOUGH IS…, will be published March 7th, 2023, by Tilbury House, and another titled I THINK I THINK A LOT by Free Spirit Publishing is forthcoming in August. To see more of her work, visit AuthorJessicaWhipple.com or follow her on Twitter @JessicaWhippl17.