“Someone Here” by Kathryn Ruth Stam

Inspired by Rig Veda and poet Frank Gaspar

The brown bricks in the courtyard offer up their histories of clay and ash,
There is someone here who is the daughter of the moon.
She is awake, having gone where the sky is thin.
She has uncovered the edges of the horizon.

In Kamala’s house, the pressure cooker spins and spits streams of hot steam.
My right hand scoops the rice with my fingers,
My thumb, the trigger.
I did it the way they taught me, the rice and curry airborne.

Kamala told me that she and Narayan were lovers back in Nepal.
I asked her for how long. She said, “Always.”

Once, I saw a goose separate the milky ocean back into milk and water.
Milk is truth and water is not.
A smart human accepts the truth.

If you listen, I can tell you.
Once, Krishna painted the entire world on his thumbnail.
Once, I saw my son’s father hold our baby up in the air,
           the baby standing on his palm.

Trickster is not a common magician or horse thief.
Trickster is driven by appetite.
They know best the places where one must never walk.
When sunset is visible, the sun has already set below the horizon.

Trickster cooked lamb curry and made from it a vulva.
Trickster took squirrel kidneys and made from them a kiss.

What is the world is trying to say to us?
Sky and earth, Guard us from the monstrous abyss.




Kathryn Ruth Stam is a professor of cultural anthropology at the SUNY Polytechnic Institute in Utica, NY.  She writes about the people she has known in Thailand, Nepal, and Central New York, and the joys of getting to know the resettled refugees who are our newest neighbors and friends. Her creative non-fiction work has been published in Griffel, Exposition Review, the Santa Ana River Review, Wanderlust, Flumes, and the Write Launch. She was a finalist for the Nowhere 2020 Emerging Writers Contest with her story, “Elephant Crush.” 

Two Poems by Dan Raphael

Not Even Halfway Through Winter

waiting for something to fall,
to be broken through, to crumble
a faulty form of weaving, s scent of unraveling
holding up to the wind to winnow, to filter,
to enhance with partial exposure

sheets in the wind and rain, thread count, space count
what chords at what speed driven where, the margin of humidity
window air, patchwork air of various -parencies, -lucencies
& focus lengths, unstill reflections in attention’s pan,
refractions in chameleon-eye air

the angle and speed of my turning
enticing vision to correct itself
to not accept how others see it
what’s 20 got to do with it
a thirst for light, a jones for void

trust that the air will be there
that we can get back without turning around
the shaker says salt, white crystals come out, but

the language of reality is changing but mine continues
its erratic spread, away from the weave
pockets in the turbulence, fairly still, somewhat porous
certain angles get in at certain times
of day or season, wind speed and direction

my breath isn’t me, thee world outside my window
as distant as the snippet lives and headlines on my screen
I tempt the mirror to enter, we take time to reflect
but don’t talk about projection, giggle at conjecture,
not all injections are judged equally, the strength
to reject rejection, to bathe in rain, the endless potential
in all these shades of grey


Re Quest

Can a story be all questions
Will this ladder hold me
Is the water safe to drink
I talk to myself to be ready if anyone else appears

Are there times light is more important than heat
If the sound is coming from both directions, do I have to choose
or wait, learning to doppler, to separate, sending agents or drones
while staying at home, monitoring more sources than I have fingers

Is there somewhere so barren you can’t tell if there’s wind just by looking
When putting on more clothes makes me colder
Where every window and mirror is a monitor, taking more than they give
Is there any personal data left in me

Can a story be nothing but facts, connecting conjectures
above my pay grade, the only AI I can access is Advertising Intensive
My credit score is too low cause I pay all my bills
and have only one card—what kind of a story is that

Like a topographical map of time, mountain ranges of wars and plagues
narrow valleys of peace and isolation. I’m nowhere on the map
now here, as the map continues to scroll and evolve
Why are the same stores at every exit
Why do gas prices rise as my tank nears E

Time for a new chapter in a new city in my fictional memoir
of what’s to come—is it my fault reality didn’t read the script
yet sends its own consequences, sometimes misaddressed,
rarely with instructions, never a return response




Dan Raphael, a vibrant presence in Portland’s poetry scene since 1977, engages as poet, performer, editor, and reading organizer. His anthology Impulse & Warp: The Selected 20th Century Poems showcases works from his initial 13 collections. Notable among his new poetry volumes are The State I’m In, Breath Test, and Showing Light a Good Time. Collaborating with jazz artists Rich and Carson Halley, he released the CD Children of the Blue in February. With over 250 performances, including Wordstock and Portland Jazz Festival, Dan’s impact extends across diverse venues. Editor of NRG magazine for 17 years, he founded 26 Books, spotlighting regional poets. Additionally, he curated reading series at Borders and St Johns, and orchestrated the monumental event Poetland, featuring 80 poets across 8 locations in an 8-hour span.

“Girl in the Garden” by Donna Pucciani

inspired by “Young Woman Sewing in a Garden,” Mary Cassatt, c. 1880-82

She could be any ordinary woman
engaged in lace-making, perhaps
tatting the edge of a handkerchief,
sitting dully in a shady spot among
a handful of poppy-bright flowers.

Intent on her task, she is oblivious
to the verdant shrubbery around her,
summer’s cloud of tepid breath.
She does not dissolve into the scene,
does not become one with the garden,
or filter herself through blossom,
but remains contained within herself.

Her plain gray dress closes around her,
leaving bare only her arms, wrists,
and hands free to engage in sewing
the tiny square of fabric that is
her raison d’être, its soft material
gathering her dreams in the task
of the moment.

The graveled path behind her
provides a horizontal stripe of dusty beige
through a haze of trees. She could easily
run away from her nearly motionless
existence, but refuses to consider escape,
her delicate labors calling her from the heart,
or not.




Donna Pucciani has been been published on four continents in such diverse journals as International Poetry Review, Spoon River Poetry Review, The Pedestal, nebu[lab], Italian Americana, Journal of the American Medical AssociationPoetry Salzburg, Shichao Poetry, Istanbul Literary Review and Christianity and Literature. Her poetry has been translated into Chinese, Japanese and Italian, and has won awards from the Illinois Arts Council and The National Federation of State Poetry Societies, among others. She has been nominated five times for the Pushcart Prize and currently serves as Vice-President of the Poets’ Club of Chicago. A list of her eight poetry books can be found on her website.

“DSM IV 298 or Am I Blue?” by Leslie Lippincott Hidley

My limbic system’s gone to sleep —
My affect’s flattened by the walrus on my head.
No difference in doing and not-doing.
The world is an ashtray, a splatted spider,

A drudgery of breathing in and breathing out,
Pushing blood through tired veins.
All is uphill.
Only sleep is sweet.

I will talk to you in words of one syllable
So even you can understand.
I will make you feel better.
I will push on your psyche —
Yank it around.

Like I would cheer you out of a broken leg
Or appendicitis.

Plotinus said, “Weather is the celestial form of music.”
I say, “Mood is the neural form of weather.”
I am in the doldrums, stupefied, dull winds droning,
Bleak-brained and dim-lighted.

Look where you’re not looking:
I am the creator of full ashtrays and garbage.
Unmade beds, floors full of wet towels and dirty clothes.
Tables stacked with unpaid bills, coffee cups,
Empty wine glasses, papers.
Ants in the kitchen. Hurt feelings.

I have a gift for disorder.
I make messes.

My tongue is shredded cardboard and junk mail,
Chopped metaphors, and broken shards of soda bottles.
My mind is a kitchen rag.




Leslie Lippincott Hidley has been writing prose and poetry for her own amusement and that of her family and friends and others for most of her 77 years. And one of her ten grandchildren is named Kalliope. She has lived in Walla Walla, Washington; Frankfurt and Bremerhaven, Germany; Upper New York State; Enid, Oklahoma; Montgomery and Prattville, Alabama; Lubbock, Texas; Dover, Delaware; West Palm Beach, Florida; Goose Bay, Labrador; Washington, D.C.; Fairfield, California; Omaha, Nebraska; and now resides in Ojai (Nest-of-the-Moon), California, where she continues to write.

Two Poems by James B. Nicola

Celibacy 6: I want this so to be

I want this so to be not about you.
But then I’d have to think about something
other than whether you think my thoughts, too.
Of course it is the thing I’ve tried to do
all week, to no avail. I tried writing
the wildest science fiction yesterday,
but it turned out to be even more true
than fact, like classic myths: what one can’t say,
but can’t not say. So every plot was due,
you guessed, to you. Le plus ça change, le plus…
The wisest writing mentor once told me,
“Write what you know.” But Creativity
dictates and will not be dictated to
—any more than Reciprocity.


Taboo

What else is there taboo to write about?
Salacious, I don’t mean; I mean forbidden:
The secrets you believe are safely hidden
by silence, that your eyes can’t help but shout
in spite of yourself to a soul like me
who then suspects there must be something there
besides what’s there: an imminent affair
that’s more than mere desire: one soul set free
in one new way, or many—that’s taboo.
Though who might be concerned with me or you
could only be a soul three times as sad,
eager to be, if not consoled, then fraught
by white spaces of poems penned to add
a little something to the world, or naught.




James B. Nicola is the author of eight collections of poetry, the latest three being Fires of Heaven: Poems of Faith and Sense, Turns & Twists, and Natural Tendencies. His nonfiction book Playing the Audience: The Practical Actor’s Guide to Live Performance won a Choice magazine award. He has received a Dana Literary Award, two Willow Review awards, Storyteller’s People’s Choice magazine award, one Best of Net, one Rhysling, and eleven Pushcart nominations—for which he feels stunned and grateful. A graduate of Yale and returning contributor to SoC, James hosts the Writers’ Roundtable at his library branch in Manhattan: walk-ins are always welcome.

Two Poems by Diane Webster

Achieved Again

The old woman totters
down the driveway
toward her morning newspaper
tossed out like bird seed
awaiting early risers
to peck away best tidbits
like this old woman
who uses her grabber pole
to scoop up the rolled paper.

She shuffles back toward home
like doves landing on telephone wires
teetering back and forth
until balance is achieved again.


Cancer Twin

The body gets bored,
decides to experiment
by mixing cells
to see what will happen.

Lo and behold it births
growth magnificent
with rapid regeneration.
Eureka! rushes throughout
the system of blood, bones and tissue
to nourish this new addition,
this new creation until the host
discovers its existence
and plots its demise with assassins.

It floats out spies
to lie in safe houses
until the attack abates.
Snipers crawl forth
and shoot lookouts
so embryo stretches outward.

It matures, flings off
residual parries to its life.
It flourishes as body rejoices
at first, then fears
tinkering twin.




Diane Webster has published in “El Portal,” “North Dakota Quarterly,” “New English Review,” “Verdad,” and other literary magazines. She had a micro-chap published by Origami Poetry Press in 2022, 2023 and one forthcoming in 2024. One of Diane’s poems was nominated for Best of the Net in 2022.

Two Poems by Angela Hoffman

Advent of a Long Marriage

A swirl of grace like the wind
clears the way for what’s underneath,
swallows what seems beyond reach,
and a feeling of deep peace is left
in this commonplace space
where we’ve been anchored.

There is a softness, a slowness,
and familiarity gives off it own glow,
so we watch, stay awake,
the wise knower in each of us
heralding what grabs our attention.
We ponder what has pierced our souls,
forcing the bloom in winter.
There is room for it all.

We become aware how each act
in a long marriage
committed to patience,
hastens towards love,
unaware we were moving mountains.
And so we begin again, another day of visitations;
spirit revealing gifts, repairing wounds,
honoring the beauty in the broken.
We fall to our knees. We quake at the light.


Breathe Deep

While reading a meditation
on the necessity of holding onto wonder,
I mistook the word nuance for manure
which took me down a subtly different path
of the mundane and extraordinary;

diamonds in a dung heap,
flowers emerging from the foul,
and not a Watchmaker but a Gardener
who thought me, brought me
into being, from who knows what.

Undeniably we sense decay;
all that is unlovely in this world,
but if we pause, breathe deep,
we will perceive the beauty dropped
into every ordinary moment.




Angela Hoffman lives in Wisconsin. With her retirement from teaching and the pandemic coinciding, she took to writing poetry. Her poetry has been widely published. Angela’s collections include Hold the Contraries, forthcoming 2024, Olly Olly Oxen Free, 2023 (nominated for the Eric Hoffer Book Award), and Resurrection Lily, 2022 (Kelsay Books).

Two Poems by Norman Solowey

Arise

Arise all ye characters of the Globe!
Play out your inward lives for all to see!
Your shrouded secrets publicly disrobe!
Naked, Shakespeare thus gave life to thee.
Kings and rascals loosed upon the stage
in treacherous villainy and Love’s sweet scope,
where thund’rous Tempers, Tempests, Heavens rage
and tragedies and fears contend with hope.
Is there an untamed author writing free,
who moves in us and in whose motion
sets us on the world, personality
afire, heaving with emotion
marveling at a strange and wondrous birth
and if something dire we have yet to do on earth?


Still Here

Death is a closed door.
No one can open it.
Not even the dead, apparently.

There is no Orpheus to sing them through the gates,
no Eurydice to look back upon in anguished wonder.

Are those on the other side
resting in perfect oblivion?

Or are those on the other side
engulfed in an unimaginable darkness,
shorn of all senses
left to wander in maddening solitude?

Or do those on the other side
stand in the pure light of Goodness?
Do they bang on the door,
frantically waving their arms,
shouting out warnings,
desperate to get our attention?

Or do those on the other side
stand in the pure light of Love,
weeping for us, as we weep for them,
reaching out to us, yearning to touch
our wracked and grieving hearts,
willing us to weep for every earthly being
as we would weep for our own
mothers, fathers, sons or daughters?

Or do those on the other side
stand in the pure light of Serenity
unjudging and unjudged?
Do they not stand before the same soul-stretching stars
as we, before the same surging seas,
before the same heaving hills and voluptuous valleys,
do they not hear the same sonorous songbirds

exultantly crying to the morning:
“Listen! After the long night, I am still here!”




Norman Solowey is a graduate of Rutgers University with a degree in psychology. He writes poetry to explore the deep mysteries of existence and for the sheer joy of creating. His wife, daughters and grandchildren are the center of his universe. His work has appeared in The Lyric. He lives, loves and writes in Lake Monticello, Virginia.

Two Poems by Kiyoshi Hirawa

The Museum of Modern Matrimony

One out of two marriages becomes a museum,
a sprawling, brawling Guggenheim
where feuding tour guides curate
dueling exhibits.

Art imprecates life
far more than life imprecates art,
so the galleries go up first.
Impressionist portraits of absinthe arguments.
Realism exhibitions on what happened
at the office at night.
Surrealistic landscapes agonizing over
the persistence of memory.

Paleontology thunders in,
with its insufferable, insoluble debates.
Did Matrimonius Rex evolve from the Pregosaur?
Would Divorciraptor hunt in packs?
Was the extinction of F. elicitas gradual or abrupt?
What, if anything, can be extracted
from an A. morous trapped in amber?

Love letters are burned,
but plenty of parchment fills the historical archives.
Declarations of war and independence.
Emancipation proclamations.
Revisionist history divided by B.C. and A.D.
Before Conjugium.
Anno Divortium.

Giant pendulums offer important lessons
on the movement of bodies.
A body in emotion tends to stay in emotion.
Force equals sass times frustration.
For every attraction, there is an equal and opposite distraction.

Rocks remember,
but everyone forgets the geology exhibits.
Eroded sentimentary layers.
Glaciation rates, permafrost expansion.
Continental drift, a few centimeters each year.

And of course,
the gift shop,
just past the “Friends of the Museum” donor wall,
where fieldtrippers buy models
to build at home.


Sleet-slapped (on Dia De Los Muertos)

Disgrace sent me spiraling back
into the single-strand spiderweb of my hometown.
Forty-two relatives
from five generations
were lying in wait.

Past the event horizon
of the cemetery gates,
I metronomed between gravesites.
Contemplated the debris of one century, then another.
Evaded the forty-second marker in Babyland.

No picnics, no pan de la muerta, no champurrado,
only the vomiting of my affliction, my unearned shame,
my words falling on dead ears.

Rising from the constellation of tombstones,
Los Muertos glittered and glowered
and suckerpunched the clouds purple and blue,
unfurling the family’s bruised tapestry:

the emigrations, and the newly arrived
building altars for the newly deceased;
the alkaline soil, and the collapsed family farms;
those who pushed farther west, and the rain that did not;
polio and scarlet fever,
stiff joints and stiff wheelchairs,
and joints that refused to bend, not even to propose;
miscarriages and SIDS deaths,
the children that never were and those that would always be;
the gas leak and house explosion,
the single wall that remained and the family that didn’t;
vehicle collisions, accidental or otherwise,
the forsaken highways and jilted gravel roads;
alcoholism and mental illness,
children raised on steady diets of abuse and suicide;
bitter feuds with relatives abiding two decades of silence,
now stashed two feet apart, headstones faced away from each other.

The rain turned brittle.
November, La abuela más antigua,
sleet-slapped my face and tugged my earlobe,
stage-whispering dirges and elegies.

I waited until my sleeves were soaked,
then wiped clean one hundred and fifty years
of sandstone, granite, and marble.
My laughter blessed the boneyard.




Kiyoshi Hirawa is a poet and writer whose work focuses on trauma, resiliency, hope, and providing a voice for the unheard, ignored, and overlooked. Hirawa’s work has been featured most recently in Plainsong Review, Hole in the Head Review, and The Shallot.

Two Poems by Peter Austin

Virginia

When Virginia walked into the river,
Too loaded down by cobbles to have floated
Her suicide note was grossly misquoted
By Time Magazine. ‘I cannot forgive her
For surrendering to wartime malaise,’
Responded a self-satisfied archdeacon:
‘Shall we follow suit and helplessly weaken,
Step, arms raised, into the Hadean blaze?

‘Not so…!’ Time, Leonard shot back, had distorted
Terror at the approach of insanity
Into purely onanistic vanity:
Were they proud at having thus misreported…?
Further deepening the article’s stain,
Next week, unmended, it appeared again.

[Virginia Woolf took her life in March,
1941. It was her note addressed to her
husband Leonard that Time Magazine
egregiously misquoted. It is now thought
that she suffered from bipolar disorder.
Among her antecedents and relatives,
mental illness was common.]


Ingrid

Falsely accused of infidelity,
From the horn-mad head of the household shorn,
Ingrid Jonker’s mother slid into beggary
And madness, before her daughter was born.
He, a pro-apartheid M.P., once more
Inflamed when Ingrid, grown, denounced his views,
Got to his feet in the chamber and swore
She wasn’t his, snatching the front-page news.

Prize-winning poet now, unreconciled
To her father’s corundum-hearted curse,
She saw the shooting death of a black child,
Spewed it out in incendiary verse
And, seeing no way on but self-remotion,
Walked on resolute legs into the ocean.

[Ingrid Jonker, winner of the Afrikaans
Press-Booksellers literary prize, in 1963,
died two years later, at the age of thirty-
one. Remotion means removal.]




Peter Austin is a retired professor of English who spends his time writing stage plays for young people and poems for adults. Of his second collection, X. J. Kennedy (winner of the Robert Frost award for lifetime contribution to poetry) said, “He must be one of the best living exponents of the fine old art of rhyming and scanning in English.”