Two Poems by Tanya Standish McIntyre

Sugaring

Hundred-year-old maples joined in a ring 
around our house, roots grown through the wall 
of our cellar; cellar of the deep stone well, the yawling 
prisoner cat; cellar of revenants, wraiths 
and chains – stories they would tell at night to cure 
anyone of sleep. In March, up from the earth, by
some magical ancient osmosis, with the faint taste of
bananas, sap rose with steady drips, overflowing 
our galvanized buckets from a hole bored in
the pulpy layers with a red-handled bit stock.

How sealed within
a case we are, as children, before words
let us out; how dusk deepens, pressing into
the belly, as though day
would take us with it – all day I shattered
layers of pond ice with a stick, releasing
more and more to the stream, the glass music lost
and found, until I could not feel my hands.

Wood smoke wound with our syrup 
made its way west to the hills – a winter’s end 
offering to forgotten gods, who watched us 
but never intervened – gods whom 
by then, had abandoned all
of them, but me.


The Pond

A foot of black mud where the frogs
spent winters, lived at the bottom
finer than silk and grey
clay, beneath the cattails where red-winged
blackbirds perched as sentinels, guarding nests
no one ever saw, flashing their
scarlet symmetry, gliding from fencepost to fencepost
like generals surveying from the top
of each ridge, through the loom
of giant dancers, the willow’s wicker cages
sashaying to wind’s serenade to sky; the accordion
bellows of frog legs – spotted turquoise
leopards; the flighted avatars – dragonflies;
water-skimming pond-skaters
defying natural law – I want to make a raft,
drift just like Huck
through the starry marsh
marigolds at midnight, my little sister,
a loaf of bread and a string for catching
minnows; under the moon
with a long birch stick, lying in wait
for surprise, endless as summer
through the moats of cloud castles.




Tanya Standish McIntyre is a poet and visual artist based in rural Quebec, Canada. Her debut collection, The House You Are Born In, is forthcoming in McGill-Queens University Press’s Hugh MacLennan Poetry Series in December ’22. Drawing upon memories of her early years on an ancestral farm and the marking relationship with her grandfather, an early review calls it “a stunning debut by a promising new poetic voice, haunting and uplifting in equal measure.” Visit her website at tanyastandishmcintyre.com.

“What Euclid and I Might Share” by Kiluwe Mbuyu

Euclid alone saw Beauty bare,
And strove to make her smile
We, too, have met; I shan’t forget
Her craft and gentle guile
In amber hair (her finest fare),
I knew her for a while

What might we share? That man, so rare,
Had more than I can offer
But he and I look to the sky
And both our pity proffer
To stars that brim with light too dim
To touch our darling author

When blackest night defied all sight
We still had light to see
One look from her, that smile so sure;
She shone so brilliantly
What golden chance! To get to dance
With one as fine as she

But seasons come, and seasons go
And time is no man’s friend
Euclid grew old, the fire went cold
The days began to blend
He found himself an empty shelf
He lost her in the end

This, too, we share: a child’s despair
For castles washed from shore
Though made of sand, a dream so grand
Had seemed to be in store
I held her near, when she was here
But she is here no more

Perhaps the air is poorer fare
Without her voice alight
Perhaps the stars confess their scars
And weep throughout the night
I only know what gentle woe
Now holds me oh-so tight

But there is more to reckon for
Than air and stars and I
Thus, Beauty found will not be bound
By those she passes by
She’ll travel far, beneath new stars
Beneath a distant sky




Kiluwe Mbuyu is an undergraduate student at Wesleyan University, working on a degree in mathematics.  You can find more of their work on Instagram at @kiluwe.poems.

“Dashboard Jesus” by Ann Christine Tabaka

It was an era of the car chapel. Rosary hanging
from rear-view mirror / Saint Christopher medal,
complete with glove-compartment prayer book.
Magnetic Sacred Heart statue on the dashboard.

Mother was devout. I was fourteen. Life was cold.
She was fifty when she learned to drive,
after my father’s disease took him. A sorrowful
blessing. Jesus would show us the way / take care of us.

Her first car / a blue cracker-box / Renault.
it gave her new freedom. Saturday confession.
Sunday Mass. Weekdays reserved for work.
Dashboard Jesus kept his promise. He watched over us.

I was twenty-two, that night.
My son was eighteen months. Darkness and sleet partnered
to do their worst. She worked late / did not come home.
Phone ringing off the hook. It was the police / I knew.

Inebriated / he backed down the on-ramp / lights off.
He was unharmed. Twisted metal and blood-filled
highway. They pried my mother out. A long night
at the hospital. I learned to pray / I dared to hope.

Mom’s car accordioned / she survived. When finally
conscious, she said “go to the car.” The ravage
was complete. Floating upon water and blood was a
plastic box / tiny baby moccasins / there where she said.

On the dashboard stood that statue / staring down at me.
I can never forget that day. After months of surgeries,
my mother recovered. My son wore the moccasins.
I began to understand her devotion. I shed my disbelief
like skin. Dashboard Jesus Saves!

“Dashboard Jesus” first appeared in Black Moon Magazine




Ann Christine Tabaka was nominated for the 2017 Pushcart Prize in Poetry. She is the winner of Spillwords Press 2020 Publication of the Year; her bio is featured in the “Who’s Who of Emerging Writers 2020 and 2021,” published by Sweetycat Press. She is the author of 15 poetry books and one collection of short stories. She lives in Delaware with her husband and four cats. Her most recent credits include poems in The Closed Eye Open, The World of Myth, and GloMag.

“Halloween, 2019” by James Croal Jackson

Now that I live on a well-traveled
street, you’d think I’d pass candy on
the designated day. I was at
Shady Grove for the first hour.
The servers were vampires,
I was wearing a poncho.
The lights were off (how I like it)
when I got home, not a soul in sight.
And it was trash night. So I gathered
the usual garbage and recycling,
set it by the door. And when I opened
it a kid vaporized from nowhere
chanting trick or treat! trick or treat!
give me something good to eat!
Staring at me carrying white
marinara-stained bag and a baby
blue bag in the darkness
of the porch and I said,
I don’t have anything,
thank you– I mean, sorry.
In my navy sweatpants
I walked briskly to the curb,
the wind wanting to push me
toward the black gravel of the road
but I swiveled the direction
of home. A gaggle of swan tweens
flew toward me! I covered my face,
put my head down, walked up the blind
trio of stairs far from the rustling
footsteps and laughter and wind
and turned the living room light off,
shawled myself with the couch blanket
and reached for a crinkling half-bag
of factory favorites, a Milky Way
or Kit-Kat somewhere on my rug.




James Croal Jackson is a Filipino-American poet who works in film production. He has three chapbooks: Count Seeds With Me (Ethel Zine & Micro-Press, 2022), Our Past Leaves (Kelsay Books, 2021), and The Frayed Edge of Memory (Writing Knights, 2017). He edits The Mantle Poetry from Pittsburgh, PA. Find him at jamescroaljackson.com.

Two Poems by Patricia Furstenberg

Turning 50, Dancing on a ZaniLa Rhyme

I’ll smile through my fingertips, leap far,
stretch to the sky, dare a cloud,
a wave to rock and on moon to walk
I’ll attempt. Adventures expect me.

This girl’s not done, make a day a month,
laugh in the rain, dance on ice.
On moon to walk and a wave to rock,
run with wild horses – still want it all.

Feed my skin, water my soul, jump, splash,
make a mess, it will wash off,
a wave to rock and on moon to walk-
dreams take shape still; bright, bold, sharp. Alive!

I’ll carve the rest of my life, dreams will
feed my mind, blossom, erupt.
On moon to walk and a wave to rock-
I’m only 50. Blink of an eye.


Snow Must Go On

On gleaming streets, oily with rain,
a joke of life below my pane
my eyes count potholes, while my hands
scrub oily pans, life’s big charade.

I dive into the kitchen sink –
my nighttime drama, end of play,
with one spectator and one star,
a sheltered life, no crack upset.

Low heat, faint simmer, never boil
the mirror of my train of thoughts
out of the blue, a bubble forms
like ice trapped in the heart of blaze.

I am the master of my play
with only bitterness’ applause, last raw
the show must end sometime, last call,
yet this slow simmer wins each time.

How long can this play be played out?
The echo of an empty room
is proof enough, till all applaud
my monologue, or death will bow.

The water trickles to a drop,
electric kettle boils, then stops – safe mood
in place, cup off the shelf, tea leaves n hand,
the storm restored; for now, show must go on.





Patricia Furstenberg, with a medical degree behind her, has authored 18 books imbued with history, folklore, and legends. The recurrent motives in her writing are unconditional love and war. Her essays and poetry have appeared in various online literary magazines. Romanian-born, she resides with her family in South Africa.

Two Poems by Felicia Nimue Ackerman

I Am So Lucky to Be Here

My daughter keeps telling me I am so lucky to be here.
She means instead of in her five-bedroom home,
Which always has space for another child
But not for a grandmother in a wheelchair.
I am so lucky to be here.
My room is yellow as the sun,
Which warms my face
When I roll out onto the porch
And endure people I have nothing in common with
Except age and abandonment.
For so long I dreaded being shut away from the world,
But I am so lucky to be here,
The best nursing home in Rhode Island,
Instead of where I would be if people knew
That what killed my unfaithful husband
Was not an accident.

“I Am So Lucky to Be Here” first appeared in Providence Journal


Simplify

Simplify, simplify, lectured Thoreau,
Chop your own wood and eat food that you grow.
Farming, however, is messy and gritty.
So I say: Simplify, live in the city!

“Simplify” first appeared in Light




Felicia Nimue Ackerman is a professor of philosophy at Brown University and has had over 220 poems published in a wide range of places, including ten in past issues of Sparks of Calliope.

Two Poems by Talbot Hook

About Face

Death has not yet come —
That autumn-wingéd,
Bare-branched god —
For me.

For months I lived alone,
Expectant with shared coffee cups,
Crumpled old paperbacks,
Waiting for Death.

Or was I waiting for You?

Waiting for You
To share sorrows til dawn,
Scattering our holy secrets,
For months to spend together.

For me —
With spring-fed eyes
And field-stirring laughter —
You have always been here.



It is strange to wait for Death
And have it never come,
Yet stranger still to find You,
And hope You never leave.


Lucubrations

What is it, to spend time:
to waste it, to use it, to kill it?

Can I really give you my time,
or you give me yours? Just whose is it?

As I sit here, passing whiles,
I wonder: what of my life?
My true life.
The one I practice at,
and wish for myself.
Can I abide my time — its passing?

And:

To those that have passed
beyond the smallness of this life,
how do you view me?
Can you endure my weakness?
Stomach my will?

And:

To those that will pass
into the smallness of this life,
how will you view me?
Do you blame me for my wasted time?
A squandered hour, a frivolous day?

Sometimes, I do.




Talbot Hook is a PhD student and occasional writer currently living in Connecticut.

Two Poems by D. R. James

Flip Requiem

Only black-and-tan clumps
cling anymore to our oaks
(raking finally making sense),

which stand silent as pickets
this side of winter’s no-longer
fierce or precise approach.

I’m over a father’s death,
an angry mother’s post-mortem
reach (though there it is again),

the delusion that autumn’s demise
warns us of anything. Those fears?
Fading—their threatening hues

mere harmless colors after all.
Instead, a dogwood’s scrawny pecs
spread stripped limbs to greet us

into the new season’s breach,
a wind-scrambled blueprint of
tangled twigs, leaf eddies, and rain.

What’s to come used to command
such aching concentration, demands
collected in the heart. Now, subdued,

it signals no sad story tracking itself
across some dismal arena dressed in
black, elegiac notes—but noodles muted

scales that free the blood and coast us
toward a more cordial space: a flip
requiem, perhaps, for chronic requiems.


Second day of gun season,

and they’ve already bagged
some ninety-odd bucks.
A fine-looking local,
camo hat jaunty
over jostled blond hair,
bolt-action Winchester babied
between olive-green sleeves,
poses on the front page—
got a ten-pointer (if I know
how to count it right). Me,
I’ve just posted warnings,
cancelled all maneuvers,
withheld all furloughs,
mandated all my dears
close ranks at home base
for the duration.

“Flip Requiem” and “Second day of gun season,” were first published in The 3288 Review.




D. R. James’s latest of ten collections are Mobius Trip and Flip Requiem (Dos Madres Press, 2021, 2020); his micro-chapbook All Her Jazz is free, fun, and printable-for-folding at Origami Poems Project; and individual poems have appeared in a wide variety of anthologies and journals. He lives in the woods near Saugatuck, Michigan. You can find his collections on Amazon.com.

Two Poems by Jodie Baeyens

Perfect

“I don’t want to disappoint you,”
He says as he tries to convince me
He’s not perfect.

As if I think he’s perfect.

With that crooked nose
That causes soft snores

That head that surely
Makes his Mama’s hips still hurt

Though damned if I care
About those things

The wounded puppy heart
So big and so broken
Capable of love
But scared to love anew

And those eyes
Brown in some light
Green in others
A bursting star of both
When the sun hits just right
Are not conducive to
Quick poems about gazing
Into your lover’s soul

I could sit and list his flaws
As easily as I list his graces
With the depth and detail
Only a poet could convey

And find no more
And no less
Beauty in either

No, he’s not perfect
Nothing worth exploring
Ever is


Shirt

The shirt you gave me
When I left
No longer smells like you.
You took it off with a sad smile
And handed it to me to place
In a Ziplock bag
As you did before every trip.
You knew I didn’t
Love you anymore.
You knew that I was never
Coming back.
But it brought comfort
To us both, going
Through that same routine.
At first I pulled it out
On lonely nights and inhaled
The scent of sweat and cigarettes
And a life left behind.
Eventually it got mixed
Into the pile of clothes and
Placed in a drawer.
You called last night
To tell your kids you love them
And sent a picture of your sad smile
When they, too busy to come to the phone,
Told me to tell you they love you too.
Today I found that shirt.
I buried my face in it
And inhaled. But there was
Nothing
Left of you.




Jodie Baeyens is a single mother and poet who teaches to support her writing habit. When she isn’t trying to find the pen she was just holding, she can be found in the forest dancing beneath the full moon. Originally hailing from New York, she now considers herself a citizen of the world because she has never felt that she belonged in any one place. Her poetry was recently featured in Door is a Jar and in Peregrine’s Fall Journal. Her forthcoming chapbook, Conversations We Never Had, was the Winner of the 2022 Vibrant Poet Award. Follow her writing at Mylifeincoffeespoons.com or on Facebook.

Two Poems by George Gordon Byron, 6th Baron Byron

Lord Byron (1788-1824)

Best known just as Lord Byron, British poet George Gordon Byron (1788 -1824) was a contemporary of Percy Bysshe Shelley during the English Romantic period. Byron is best known for poems like “Don Juan” and for his philandering love life.

Byron was notoriously bad at handling his finances and prone to engage in desperate and indiscriminate love affairs, which include rumors of homosexual and incestual encounters.

Byron was quite famous and beloved during the Regency period, enjoying prominence in London society and the rare appreciation not always afforded a poet’s work during their lifetime. However, his money and relationship issues eventually led to his self-imposed exile from England for the remainder of his life. He traveled Europe, tarried in Italy, but ended up dying of illness while fighting against the Turks in the Greek War of Independence. Byron’s body was returned to England for burial in Westminster Abbey, but this burial was refused due to the poet’s “questionable morality.” Byron was ultimately buried in the Church of St. Mary Magdelene, with a memorial to him finally being placed in Westminster Abbey in 1969, 145 years after his death.

Aside from his most famous (and very lengthy) poem, “Don Juan,” the following two poems are among Lord Byron’s most beloved and enduring.


She Walks in Beauty

She walks in beauty, like the night
Of cloudless climes and starry skies;
And all that’s best of dark and bright
Meet in her aspect and her eyes;
Thus mellowed to that tender light
Which heaven to gaudy day denies.

One shade the more, one ray the less,
Had half impaired the nameless grace
Which waves in every raven tress,
Or softly lightens o’er her face;
Where thoughts serenely sweet express,
How pure, how dear their dwelling-place.

And on that cheek, and o’er that brow,
So soft, so calm, yet eloquent,
The smiles that win, the tints that glow,
But tell of days in goodness spent,
A mind at peace with all below,
A heart whose love is innocent!


And Thou art Dead, as Young and Fair

And thou art dead, as young and fair
As aught of mortal birth;
And form so soft, and charms so rare,
Too soon return’d to Earth!
Though Earth receiv’d them in her bed,
And o’er the spot the crowd may tread
In carelessness or mirth,
There is an eye which could not brook
A moment on that grave to look.

I will not ask where thou liest low,
Nor gaze upon the spot;
There flowers or weeds at will may grow,
So I behold them not:
It is enough for me to prove
That what I lov’d, and long must love,
Like common earth can rot;
To me there needs no stone to tell,
‘T is Nothing that I lov’d so well.

Yet did I love thee to the last
As fervently as thou,
Who didst not change through all the past,
And canst not alter now.
The love where Death has set his seal,
Nor age can chill, nor rival steal,
Nor falsehood disavow:
And, what were worse, thou canst not see
Or wrong, or change, or fault in me.

The better days of life were ours;
The worst can be but mine:
The sun that cheers, the storm that lowers,
Shall never more be thine.
The silence of that dreamless sleep
I envy now too much to weep;
Nor need I to repine
That all those charms have pass’d away,
I might have watch’d through long decay.

The flower in ripen’d bloom unmatch’d
Must fall the earliest prey;
Though by no hand untimely snatch’d,
The leaves must drop away:
And yet it were a greater grief
To watch it withering, leaf by leaf,
Than see it pluck’d to-day;
Since earthly eye but ill can bear
To trace the change to foul from fair.

I know not if I could have borne
To see thy beauties fade;
The night that follow’d such a morn
Had worn a deeper shade:
Thy day without a cloud hath pass’d,
And thou wert lovely to the last,
Extinguish’d, not decay’d;
As stars that shoot along the sky
Shine brightest as they fall from high.

As once I wept, if I could weep,
My tears might well be shed,
To think I was not near to keep
One vigil o’er thy bed;
To gaze, how fondly! on thy face,
To fold thee in a faint embrace,
Uphold thy drooping head;
And show that love, however vain,
Nor thou nor I can feel again.

Yet how much less it were to gain,
Though thou hast left me free,
The loveliest things that still remain,
Than thus remember thee!
The all of thine that cannot die
Through dark and dread Eternity
Returns again to me,
And more thy buried love endears
Than aught except its living years.