Two Poems by Sara McClayton

In Praise of Motion

You are discontented, lonely, and you cannot find the ground,
You keep a barren grievance that you cradle like a child,

In the past you were a dervish, spinning vigilant and wild,
You hurtled through the blackness, you marveled every sound,
A beautiful persistence, with your eyes so raw and round.
Now you toil for your wonder, and the world that once beguiled
You with sunrise, with precision, has grown indolent and mild,
And you suffer, that the earth exists to keep your spirit bound.

Home is a cathedral, and it glows behind your eyes,
You were born a simple pilgrim; you must beg before you know.
Beyond sorrow lies the rolling path that strips you from your past
And feeds your limbs like soil. Move; for motion will deny
Stagnation and revulsion and the clogging weight of snow,
And bear you into solace, where you spread your roots at last.


Sestina for the Present

In summer you are waiting for the fall,
While purring leaves spread outward to the sun,
And berries ripen, decadent from light,
You cannot determine sloth from rest.
You ride the wailing currents of regret,
And taste the salt that augurs your decline.

You are weary, for you fear the close decline
Of mothers, lovers, gaping as they fall.
Their lives stained in the rank pulp of regret
Like fruit turned slick and mealy in the sun.
You vow to blossom greater than the rest
You spread your precious tendrils to the light

And watch the others lose their air and light.
They choke on offerings that the blessed decline.
The image of their grief tears you from rest
For what new god will reap you if they fall?
You can merely take your guidance from the sun,
And nurture and with-hold without regret.




Sara McClayton is an educator and writer from Baltimore, Maryland. She enjoys spending time with her husband and dog, exploring nature, and practicing yoga. Her work can be seen or is upcoming in Unbroken Journal, Neologism Poetry Journal, Ink in Thirds, and Club Plum Literary Journal.

“Sonnet on the Death of a Friend” by Jonathan Weinberg

When Summer’s veil is hooked on heaven’s thorn,
And bandaged evenings trespass into day,
Abandoned spirits have no place to mourn,
And I am here, and you are far away;
If I could only love you with my words,
Then let them fall from heaven like the rain,
Splashing on your face in gentle chords,
And in the morning we will meet again;
If I could love you like an open field,
Or wind-drawn ship that plows the wat’ry plain,
The thoughts of many hearts would be revealed,
And I could love you like the falling rain.
     If I could love you with a metaphor…
     But no one writes like Shakespeare anymore.




Jonathan Weinberg studied Literature at the University of Victoria, in British Columbia, and Rhetoric at the Catholic University of America, in Washington, DC. He and his wife Laura, and their children, live on a small acreage near Kansas City. He is a policy writer for the U.S. Treasury. He is the author of The Blessed Book of Beasts (Eastern Christian Publications).

“Sonnet 64: The Barricades” by Marc Wiegand

Sonnet 64: The Barricades

Behind the silent veils of mind,
electric barricades resist
the sensual evidence inclined
toward a vague and distant bliss
which found will fade by slow degree
to the density of night’s machine,
its silence and its sleep.
And when released from (wondering) dreams
that mind may write, but may not speak,
their text becomes the small device
of being (ruled by dark technique),
the arrhythmic beat that will not scan
the mortal clock that plays with dice,
that consciousness cannot command.




Marc Wiegand has attended a number of universities, among these the University of Texas at Austin and the British Institute for International and Comparative Law. He has been an Affiliate Fellow in visual arts at The Civitella Ranieri Foundation in Umbria, Italy. His poetry has appeared in Innisfree Poetry Journal, Blue Unicorn, The Penwood Review, Pulsebeat Poetry Journal, Westward Quarterly, and, soon, The Journal of Undiscovered Poets. He is an international lawyer and exhibiting visual artist who lives and works in the Texas Hill Country.

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 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.”

Two Poems by Joshua C. Frank

Ode to the Cello

Fingered strings upon the cello
Vibrate by the moving bow.
Autumn tones in red and yellow
Echo from the to and fro
Through the eight-shaped box’s hollow,
Out the narrow, curving holes.
Oaken humming sounds must follow
Movements of the bow that rolls.

Violins sing high with tension,
Flutes all tweet like chirping birds,
Horn sounds bubble in suspension,
Clarinets speak notes like words,
Yet my ears prefer the cello
Over winds and higher strings.
None can sound as rich and mellow
As the notes the cello sings!

“Ode to the Cello” was first published by The Society of Classical Poets.


Story Time

The father, he sits on the couch with a book,
A child in each arm, and one more on his knees;
The mother, the same. All the other ones look
Content on the floor; he recites like a breeze.

He changes his voice for each character’s lines,
Whether child or lion or grandma or elf,
And changes his face as an actor designs
When quotation marks signal to be a new self.

As he acts, all the listeners picture the scenes
While the words are transporting them all many places.
The images show on their own mental screens:
The farmhouse, the castle, the characters’ faces.

These books are their movies, their history tome,
Their lessons in civics, religion, and right,
And bonding together with family at home.
Light fades while they’re listening, night after night.

After ten thousand nights touring narrative trails,
The decades have vanished, the children are grown,
And all look back fondly on a thousand great tales;
They continue the story-time nights with their own.

“Story Time” first appeared in New English Review.




Joshua C. Frank works in the field of statistics and lives in the American Heartland.  His poetry has been published in The Society of Classical PoetsSnakeskinThe LyricSparks of CalliopeWestward QuarterlyNew English ReviewAtop the CliffsOur Day’s EncounterThe Creativity WebzineAsses of ParnassusLothlorien Poetry JournalAll Your PoemsVerse VirtualThe Asahi Haikuist NetworkLEAF Journal, and the anthology Whose Spirits Touch, and his short fiction has been published in New English ReviewThe Creativity Webzine, and Nanoism.

“The Knight’s Tale” by Jonathan Weinberg

“Almost 40 children are being held hostage by militants in Gaza.”
The Israeli Times, 22 November 2023

Come with me across the sea, to a place where east meets west;
And disparate cultures now converge like ripened grapes together pressed;
And ancient vice and knightly virtue, each one has a part to play;
Though much is taken from the past, this tale is taken from today.

There was a man from Syria, his father Greek with vast resources,
His Latin name was Theseus, who stabled winning teams of horses;
He turned the arid land to gold, by digging wells and dredging ditches;
His mother’s heart was steadfast, true; her soul not bought with worldly riches.

Well-read was he in Aristotle, engineering, architecture,
Also he possessed much skill, the living arts of agriculture;
In politics, he was astute, and in the face of tribal tensions,
Diplomacy he wielded-well to broker peace between the factions.

A special envoi to the crown, and much-admired in chivalrie,
He went to quell marauding hordes, armed with western armorie,
Which he discharged with awe and skill, earning both respect and fear,
His reputation quickly spread, this Theseus the Rocketeer.

He fought the cruel barbarian, and conquering a distant land,
Wed the daughter of the Queen, and all were in the Queen’s command;
And with his bride, Ippolyta, flanked by warring Amazons,
To his native land returned, and this is where our story dawns…

The Procession

Now I should here describe at length the clamor of the battle scene,
When Theseus expelled the horde, and wed the daughter of the Queen;
But I have many lines to plow, and weary oxen on my yoke,
So let me jump right to the chase, and when our gentle hero spoke.

Ahead he spies, upon the road, a group of women lined in pairs,
Their heartfelt moans were plainly heard, and from their knees they offered prayers;
A dour look upon each face; and cloaked in drab, ill-omened threads;
They clasped their sacred beads to heart, with darkened veils draped o’er their heads.

By pity was our hero moved, and as his tears began to flow;
Tenderly he met their gaze; his heart began to break in two;
And so he sighed, and said: “Dear women, why such sad and mournful cries?
Could it be the joyous song of my return you so despise?”

One by one the women ceased their requiems and facing East,
They turned again to Theseus, and gradually their sobbing ceased,
And then the foremost lady stood, her eyes half-swollen shut and red,
With bloodless face, she swooned a bit, and this is what that woman said:

“God forbid our tears drown out the joyful day of your return,
But our distress deserves account, so you might know and well-discern;
For while you conquered distant lands, and concord reigned in full supply,
Suddenly, above our walls, our foe descended from the sky.

“At once our men were overcome, for they were numbered just a few,
Then to the desert dogs of war, our husbands’ breathless bodies threw;
They carried off our children fair, and to their labyrinth retreated,
O, will you not avenge these crimes, and see this enemy defeated!”

The woman choked upon her tears, and fell upon her bended knee,
Inconsolable she was, and he was saddened by her plea;
He struggled to console her grief, and as she struggled to discuss;
He helped her to her feet again; she sighed and then continued thus:

“Yet two of them remain behind, they seem abandoned by their corps,
Despite our cries, they rummage through the remnants of our cellar store;
Depriving us of peace and all our precious food and wine they’re robbing,
Too cowardly to face our group of poor and lowly widows sobbing.”

Now Theseus, like lightning, speeds towards the dark and dismal hollows,
And then Ippolyta (as thunder after lightning always follows);
Ippolyta dismounts her steed, and with her strident, warring maids,
Launches heaven’s hell with several rounds of rocket-launched grenades.

Now Theseus moves on the scene, and in the rubble of the blast,
His memory dusts off a pair of faces from his childhood past,
Long ago, torn from their home… now both with bloody hands and head,
Beneath a pile of rubble lie; not quite living, not quite dead.

The Prisoners

Now, let us breath a grateful sigh, and with our story carry on,
Towards this wounded pair draw nigh, named Archibald and Palamon;
Now their accusers circle round, but things aren’t always as they seem,
So let’s not write them off too soon, nor judge them light, nor rashly deem.

For sparse is time to understand all the things which did forego,
Relating to their own abduction, suffered many years ago;
Now both appear to still possess their youth and saintly dispositions;
In time the truth will fully out, with much more at their depositions.

Escorted by Ippolyta, they’re taken to a vast estate,
Locked inside a prison cell, to face their fortune and their fate;
Come evening, through the window bars, there shone a vision in plain sight,
A maiden fairer than a rose, fairer than the morning light.

The sister of Ippolyta, named Emelye, the future Queen,
Praying on her Rosary, she strolls across the garden greene,
And while she prays each mystery, with every Ave beckoning,
The prisoners respond aloud, their Holy Mary echoing.

And what was lost is found again, ancient wounds have been restored,
The wasteland is a fertile ground, thanks to the Mercy of the Lord;
Hidden secrets are revealed, broken wings are now in flight;
The midnight path has been lit up, illumined by the starry night!

The Contest

Now Archibald and Palamon, entering Our Lady’s court,
Armed with arms in suits of armor, join the knights in knightly sport,
With silver from their helmet tops, to silver boots to guard their feet,
Each one with a horse to ride, each one ready to compete.

The courtly knights displayed such virtue: pietye and charitye,
With courtesye and chastitye, and also generositye;
That when they prayed at Holy Mass, and there before the altar knelt,
That never anyone would doubt if virtue in this low world dwelt.

They trained with sword and walked the beam and one-by-one their rivals oust,
And with a blaring trumpet blast, they meet in center court to joust,
With pointed lance in armor bright and inlaid cross of damascene,
In competition with the knights, to win the honor of the Queen.

Now Palamon and Archibald, their hearts were filled with puritye;
Their banners both are lifted high, before the eyes of Emelye;
Both unrivaled were the two, like metals forged in perfect mien:
But just one champ can be deserving of the blessing of the Queen.

The two face-off at fateful distance, on their horses in their armor,
Galloping at full-tilt, riding, clashing in a crash and clamor;
The lance of Palamon is shattered, in the thunderous collision,
Upon the heart of Archibald, where grisly grows a great contusion.

Now in the force and fray of jousting, Palamon falls hard to ground;
But Archibald stays on his mount, suffering his grievous wound;
So Lady Fortune first appeared to favor him and pledge her troth;
And so he rides to Emelye, to claim his prize, to take his oath.

As he approaches, to be knighted, with sacred promises to keepe,
Instead of gracefully dismounting, he falls into a bloodye heape;
The ladies in the gallery cry out in shock and deep remorse,
A raven circles overhead, above his most bewildered horse.

The early moon cries out in song, for he has given up the ghost,
Fallen from this world departed, lifted by the heavenly Host,
In Mercy Archibald will rest in peace with our immortal dead,
And, knighted, Palamon prepares for more foreboding things ahead.

The Sacrifice

Theseus and Palamon, to find the children hostages,
Face the desert winds of sand, in search of subtle vestiges,
A silver buckle, sharded lace, by the children left behind,
The entrance of the Labyrinth, and hidden caves, at last, to find.

Ippolyta has formed a line, and with her colored flagged unfurled,
The men have courage to engage the monsters of the netherworld;
And from the entrance of the cave, into the Labyrinth they grope,
And soon the blinding corridor is lit-up by a ray of Hope.

Armed with Faith invincible, but also with a spool of thread,
To help the men retrace their steps, and back to safety safely tread;
They walk down every corridor, but come upon the place they started,
For every passage always leads them back to where they first departed.

In the Chaos of the maze, when our hero turns around,
To reconnoiter with his friend, Palamon cannot be found;
Palamon has lost his way, like Sisyphus beneath the stone,
Or Icarus before the sun, so Theseus must go alone.

Seized by loneliness and dread, our hero tries not to despair,
But overshadowed are his prayers, by the thickness of the air,
And human bones that line the floor, and emanate their ghoulish smell,
Vanquishing all signs of hope, like Dante at the Gates of Hell.

And through his wanderings, alas, he’s come no further than before,
Then forming in the gloom ahead, there stands the dreaded Minotaur;
With razor teeth, and sharpened claw, and iron horns upon its head,
With breath of smoke, and eyes of fire, which flash to yellow, then to red.

Buckling at the knees, he falls, but deeply kindled by his ire,
He rises to his feet, to save the children is his sole desire;
He’s no match for the Minotaur, who’s gorged on many living things,
Including many humble men, sacrificed by selfish kings.

But just before the monster strikes, which would have been his certain end,
Palamon arrives, at last, just in time to save his friend,
He comes upon it from behind, and grabs it by its bushy tail,
And spears it through its sickened heart, the mortal evil to impale.

And for these two stouthearted men, we near the end of this tale too,
They’re off to find the children now, they bid the Minotaur adieu;
Then up ahead they hear the sound of children down the corridor,
Like daylight in the underworld, bursting through an open door.

Theseus the Warrior, guides them most effectively,
While from the rear, our Palamon, takes his stand most selflessly;
Yea, he makes his final stand, the Knight repels the rushing horde;
The children reach Ippolyta, and rest behind her flaming sword.

Palamon lays down his life, so that the other ones may live;
Indeed, of all the loves there are, there is no greater love to give;
So roll away the heavy stone, and let his soul rise from the grave;
And heed this tale of Theseus, and Palamon the good and brave!




Jonathan Weinberg studied literature at the University of Victoria, in British Columbia, Canada, and Rhetoric at the Catholic University of America, in Washington, DC. He currently live in the Kansas City area and works at the U.S. Treasury.

Two Poems by Christopher Fried

Old Devil

Most artists encourage themselves as ones
athwart the powers placed at chance, enthroned
to punch up as they claim to be most grown
in judgement while declaring what is fun
and morally correct, and smile to shun
those whose wrong thoughts have earned them the first stones
propelled at them, but right thoughts are just cloned
from the same powers from whom they take funds.
Though three decades have passed since he has died,
the more that one fat Englishman becomes
again as relevant and poignant when
a modern controversy roils those in
good grace, for he enjoyed a cultural scrum
against the literary mandarins’ pens
and stressed his loves—pop culture and mixed gins.


Sundown at Kenyon College

Bent down, he searches for names lost
among the scattered, weathered stones,
the tablets probing distant thoughts
when crouched above some poet’s bones.

Then there’s some noise at the site’s edge,
and eyes upwards, he notices
three huddled students laugh and tread
the graveyard with betraying bliss.

He thinks some sacrilege should be
declared for this cool nonchalance,
but then reflects, “If Crowe could see,
he’d say, ‘They know the meter’s dance.’”

And heading to the parking lot,
though not as glum, something’s not right
he reckons as he views the plot,
but no more time, there’s little light.




Christopher Fried lives in Richmond, VA and works as an ocean shipping logistics analyst. A poetry collection All Aboard the Timesphere was published in 2013. His novel Whole Lot of Hullabaloo: A Twenty-First Century Campus Phantasmagoria was published in 2020. Recently, he was an advisor on the 1980s science fiction film documentary In Search of Tomorrow (2022).

“The Ladybug” by Kalina Mishev

Today I talked to God again,
While standing on an ashtray.
From a lifetime of observing men,
I’ve taught myself to pray.

I said to God, was this your plan?
(Resolving to be direct)
Was I to be an insect
Or was I to be a man?

In truth, I don’t suppose
That I am anything at all.
I don’t feel that much different
From the ash on which I crawl.

No, I am less. The ash concerned
Was once a green tobacco leaf.
I have not been burned or spurned,
Nor felt the cold black hand of grief.

I do not know ecstacy or hope or even fear.  
I shiver and grow frigid
Behind this misty gray veneer,
And I cannot decipher why I am even here.

I have no family to grow,
No kernels yet to sow,
How can I be something
When I have nothing to forego?

Behind me, now, the sound of wings,
In the corner of my eye…
Out of the empty wind, he springs –
A purple dragonfly!

He studies me carefully,
And in his eye…myself I see.
A whisper sounds to flee the scene,
But my dear God, it’s gone, it’s drowned.

Look at my eyes,
Big and black,
No one told me
They shine like that…

Dragonfly, how close you’ve come,
Come a little closer still…
I’ve never seen myself before,
Let me look a minute more. 




Kalina Mishev is an aspiring poet and writer living in Brooklyn, New York. She received her Certificate in Creative Writing from the University of Texas at Austin in 2021 and is working on her first poetry collection.

Two Poems by A. G. Elrod

Oostkerk in October

Broken wing and cowering beside the ancient door
While hollow echoes oscillate the empty chime within
Concrete eyes of living death unable to explore
The mystery that lies between intention and begin

Once young now in between the thread of life and mystery
Of hands that held the fire’s tongue now singed and cooled apart
The bell between chimes hollow still into an empty sea
Of lifeless space, abandoned halls, the chambers of the heart

The shade within, the black beneath is comfort from the light
Of life and scars and broken vows escorted through the noise
Of busy days with concrete eyes unable to ignite
A heated beat of pulsing veins and all hedonic joys

A scentless world of stone and shade and unacknowledged wrongs
Of lust unlived and songs unsung for hollow vows to keep
For sterile haunts of hallowed halls and abstinence prolonged
Safety from unveiling bright where naked hungers steep

          And now it comes, the door unlatched of final mystery
          What if? Her taste unknown escapes in final injury


Broken Wall

it took such effort of will
to pull down this wall to
meet you where you were
to elevate my affections
to equal yours

and now I stand beside the
broken wall and carry these
heavy affections that you
once shared, only to find
that I follow you in the cold
and at a distance




A. G. Elrod is a Lecturer of English in The Netherlands university system and a PhD candidate in the Digital Humanities.