G.C. Waldrep

exilic topos

the pollen’s spark hidden in the air’s tongue

anterior to the presence that commands begin

in outline, an absence disappearing into voice

shadow-grid, concealed but not unobtainable

Tye River

(1)

light frost, its cincture

the fragrant invisible
at large
among the wheatfolds
a lucid finitude:
golden seals
the weather breaks

(2)

in priory, a held motion
succors
debt’s visible passage

shoaled with all
the organs of mourning

(3)

pity the dull orchard
its sleep-vestry
propped against Art

the mending-flame
or macular escarpment
pronouncing

the hawk’s ablative

(4)

enlaced with hoarfrost
the zodiac glides
to your filament-feet

or, suffer a firmament—

(5)

steady the lamp, friend
steady
the lengthening shadow

metric for flame

Northumberland

living memory of the ash-tree
groping, lending itself
to the gaze’s syllable-descant,

its instant, flung (as if away)

*

winter’s surface, its republic—

 

audible lamp reconnoitering

nucleus of means

the quince at dusk
expressing
its hitherto, its after—

its brief for change

(say it keeps a diary,
a voice
it supersedes)

dwelling beneath
the acknowledgment
of the staved
work, to which
the “truth of things”
condescends—

declines its own
belief in shadows—

nucleus of means
“the work”
(i.e. the vocation)

harvest
of the quince’s
bitter fruit, reversal

paring the terms
from mock solitude—

that wager
of, it would seem,
affirmation—

(or of its shadow)—

G.C. Waldrep’s most recent books are feast gently (Tupelo, 2018), winner of the William Carlos Williams Award from the Poetry Society of America, and The Earliest Witnesses (Tupelo/Carcanet, 2021). Recent work has appeared in APR, Poetry, Paris Review, New England Review, The Nation, Yale Review, Colorado Review, New American Writing, Conjunctions, and other journals. Waldrep lives in Lewisburg, Pa., where he teaches at Bucknell University.

Alison Stone

Lost in Translation 4

It’s been cold in the deep sea for a long time,
where beauty is bright and you can’t open your eyes.
The earth shouts at you like a wise woman —
Make yourself different because of your love for me.

People are dead, and this is just the beginning.
The wind has been unhinged lately.
Alarm, and fire approaching.
When it comes, the landscape will listen.

The beaches were abandoned for a lot of money.
The stars went to heaven all the time.
In winter the trees are lonely,
and the Twitter viewers swallow the sky.

(Millay, Keats, Shakespeare, Gluck, Eliot, Plath, Dickinson, Dove)

Lost in Translation 5

There are two types of disasters: women and men.
Love is red and red, and stupid in good time.
Will hatred be more fair than tender love?

Because her hair is beautiful,
his eyes are like water.
Beauty can live on its own anyway.

There are a lot of ghosts tonight. Look in the mirror and answer —
a sad story about moaning and crying in the morning.
Thousands of lakes are filled with salt.

These are crazy, small, and cold times.
Without people and sex, suffering won’t end.
When a new idea comes to you, it comes from common pain.

(Hardy, Millay, Dove, Rich, Shelley, Shakespeare, H.D., Keats)

Lost in Translation 6

Why do you hear a sad song when you hear a song?
Pain caused by the sky
burns like the ghost of a newborn baby.
The world is your widow and she is still crying.

Thinking of my brother’s brokenness,
I pay again like I had never paid before.
He played the melody of sadness and stealing,
and at sunset saw his hands dripping with gold.
As the eagle and blind can see,
the angel of rain is the angel of lightning.
He who follows flowers will never be born again.

(Keats, Dickinson, Shelley, Eliot, Moore, Shakespeare, Langston Hughes)

Lost in Translation 7

We stopped in the sea room.
The baby in the white bed is spinning and moaning,
bouquet of red and brown algae and sea girl,
bright topaz denizen of a world of green.
Disturbed by dreams and tremors of childhood,
she does not fear the men beneath the tree.

The tide wave has opened, and everywhere.
I understand the definition,
the pain that hurts my heart and makes me fall asleep.
Who hoisted the flag today?
You are throwing things every day. Admit
there is no victory.

(Eliot, Keats, Plath, Rich, Dickinson, Yeats, and Bishop)

The Lost in Translation poems were made by putting famous poems (and one song) through Google translate into many languages and back to English, “harvesting” the interesting lines, and making centos. The sources are listed at the end of each poem.
Alison Stone published nine collections, including Informed (NYQ Books, 2024), To See
What Rises
(CW Books, 2023) Zombies at the Disco (Jacar Press, 2020), Caught in the Myth (NYQ Books, 2019), Dazzle (Jacar Press, 2017), Ordinary Magic, (NYQ Books, 2016), Dangerous Enough (Presa Press 2014), and They Sing at Midnight, which won the 2003 Many Mountains Moving Award. She won Poetry’s Frederick Bock Prize, New York Quarterly’s Madeline Sadin Award, and The Lyric’s Lyric Prize.

Judith Roitman

Birth

expelled from the body

like donuts

like trees

head

face

shoulders

hair

eyes going: what what

body: still healing

other bodies: insensate
insatiable

Buried

what was buried:

bone shards

nail fragments

bits of meat on bone

nothing does everything

unmoored time/space

Poetry

I asked poetry: what are you
and it slapped me in the face.

Great mounds of grass surrounded us.
Soap spilled on the counter.

What do you want from me
Who invited you here
What house do you belong to

Shimmy

Do you come here often
Do you shimmy in darkness

Do you feed them

cover them
style them

in underbrush
in toadstools
in the birds’

blind beaks behind the toolshed.

Language

Corpses bleed on the roof.
Her hands meet in silence.

Crowds cheer
onions bloom

her battery dies
his hand touches her neck.

A faucet overflows.
A plane moves on the tarmac.

We shuffle into the cabin
a child’s head against window.

Midden upon midden below us
evidence of waste & human condition.

A whale is on the beach.
A crab reaches its destiny.

Two dead seals on the sand — can you see this?
What language do you speak?

Floorboards

I need a light I need a sentence.
Without sentience the hammer grows.

Worms grow in my sight
one leading to another.

They feed as they mate.
Even a dog understands this.

Light underneath the floorboards:
the mark of invasion

the hand aloof
the eye avoidant.

Judith Roitman’s poems have most recently appeared in The Rumpus, Sprung Formal, Otoliths, Human Repair Kit, and DReginald; most recent chapbooks are Provisional (Dancing Girl Press) and Boar King (Magnificent Field). Books are No Face: New and Selected (First Intensity Press), Roswell (theenk Books), and Shard (forthcoming from Chax Press). She lives in Lawrence, KS.

Marie de Quatrebarbes

from The Vitals

(translated from the French by Aiden Farrell)

September 1

Signs without referent: fauna-fiction. Fugacities rendered post-war. A sign is a party she watches from death. Can it be, one of these terrestrial days, that which produces the hurried disappearance of a connection? For, to exist, magic is uncertain. Put on a drama of the abst. incompletion of a certain img. To exist, can it alone provoke uncert. fate?

September 2

We don’t trick her. And if she falls, we entrust her to the bees. Head forward, horns, bust. An elegance pageant. Figure of speech: circumstances. Everything is free here. Subtlety comes from the word. A fiction advances: the afternoon, the children…fiction to which we can only respond with a nod when a vague idea, a very vague idea, vaporous even, comes to snatch it away. She turns. Her head, always, in the direction of the wind.

September 3

What is eaten: the vitals. The face as such, the end of the year. Empty swamps, their water brackish, irreducibly yellow. When I say “we” (apples)—the little lame duck, the one we put in the child’s pocket—I mean “he” saves himself (it isn’t him). A sort of ecstasy, delusion of ownership—the reflection on an eye grows in the magnifying glass—loss of the image. Code: passing from green to landscape. Variant: she’s that old boy with the blue mouth.

September 4

Flat mouth (option to withdraw). Heard with mouth: porous. In the implementation of wind: window—its soaked nod. Focal: reclusion-adoration. The frozen function of a use.

September 5

This void: my skin illustrated it. We believe we are born, they say, from swarms of bodies, abstract nudities held in compromised steadiness. They call it: dreams. And we caress them. Our hands reach for their eyes. It’s how we treat things (they are not things). The rupture is often cold, this one, the same scream.

September 6

Yesterday a cloud descended on the city. My window turned the world into a thin surface and I wondered: where are the beds? I’m covered in an onion’s outermost skin. My mouth in situ: narrative acceleration. We find time in the same place we left it—in the pots of crayfish. Inside, tonight, the library burned down and the books were devoured by flames. Say again: are mourners ever singular?

This excerpt from award-winning French poet Marie de Quatrebarbes’ The Vitals, forthcoming with World Poetry Books in 2025, is an elegiac long poem in the form of a fragmentary journal that tracks the loss of a loved one.
Marie de Quatrebarbes has published several books of poetry including Les vivres (P.O.L.) and Vanités (Éric Pesty Éditeur), as well as a novel inspired by the life of Aby Walburg, Aby (P.O.L.). She edited an anthology dedicated to contemporary poetry by young French women: Madame tout le monde (Le Corridor bleu).

Aiden Farrell is a poet, translator, and editor. His translation of The Vitals by Marie de Quatrebarbes will be published by World Poetry Books in 2025. He has published two chapbooks—lilac lilac (Portable Press @ Yo-Yo Labs) and organismalgorithm (Fence). Aiden is the managing editor of Futurepoem. Born in France, Aiden lives in Brooklyn.

Karen Holman

The Avenues

The prints of my fingertips, a lintel.
Your eyebrow

corridor to sleep. Sun on our bed—
my heart burgeons a fig.

On the perch of a lip
my feet dangle in shade > superstition.

This is the last time I’ll think, kite.

A wasp’s venom courses.
Revolving door. Cul-de-sac boomerang.

In its heirloom-storm-cloud
a silver ribbon of cruelty twists

through my DNA.
SNP: a pair

of scissors, wishbones
—hold its hands

the sound of two Xs.
Xs where my eyes would be

if I never left them to look for you.

Invoking the Inconsolable Divine

4 a.m. cat claw
leaf’s-flood-plain divine.
Needle-cluster-beading-
pine-resin divine.
Beseeched, bespoke,
can opener, Narcan-
do: revived divine.
Insatiable, rife-
as-March with pluck
plucky robins,
hands over ears-
eyes-mouth—
hopelessly divine.
Driver and wrench,
scorched, tapped out
—broke-in divine.
Wayward divine.
Ninety-nine named
and galaxy crowned
vaped, empty-bottle, recycled,
wretched, fetching, festering,
quotidian, misquoted and doting
divine. Besotted, becoming,
inexorable, insouciant
exclamation point?
question mark! comma divine.
Periodic table divine.
Elemental divine—
tenacious and tender
anvil and stirrup
jumping drum
arc light, penumbra,
nick-of-time, skin-
of-teeth, eleventh-hour
narrow-escape/lucky break
parking ticket divine.
Crapshoot
radiant radical
sporadic and random
specific, fixer and fix,
jilted—keening and kerned
curious, divisive, derisive
spliced, sparse, parsed
indecent, indifferent,
indicative

Constellations

“Who am I? And how do I know all of this?”

the wind speaks to me, also.     Cities up there
wink out        ghosts burning          although they shiver.
Air conditioning       or shade       makes them cold.

In those days,      chartreuse-new        seven sisters, veiled       in their own breath,
opened and blinked     beating like my fist-wings      with a treasure in it.
[Your Name Here]

Open. Close.            Like luck.          Like I can’t believe it
like transmigration,      like your voice I miss so much       in my nerves
your voice I hear so much     in my body     —     blue skipper    ghost shrimp
horseshoe      crab’s copper bright     vaccine blood.          Can I wink with them?
I am.     Can I wink them out? Yes, when I do.

Sirius eyes me         as ever.         Sleep is houndstooth          sky-forsythia
cemetery pinwheel flowers     animated, again      by air     like us, churn,
magnetized inner core          platelets,         planets,         solar fumes aberrate
mega-fauna turning      on a pin—     wheeling         casting lots,

lots and lots of lots     —the Bull of Heaven’s Jupiter eye, agitated
tail,      whisk glassware         scatter springlights

*         mayflies         *         dragonflies         *

night sky foam          pocked         April dried mud pasture         moon battered,
your face, mother, over my bed.

Frayed          I peer          through         feathers:
every word of this,         contrivance.

*

A pear rests,         amiable as a yellow melon         with two drops of rosewater,
its eyes.         I turn from it          say, it hides from me.

I see and not see.         Cast.          Wandering—

spittlefoam         my poem,         my pear,         my only          you.

Skyfishing                  talon-hooks:

I’m hunting you,         clarity.

Fishing Boats on the Beach at Saintes-Marie

(recalled through a window [frame] of fog, morning, dusk, night)
—after Bert Meyers

1.

The Amitie aches of sky

[maybe this, maybe that,
(bobs, broods.)]

The sea ridged
like a mouth’s roof

spilling syllables.

2.

The years the fog doesn’t burn off:
ocean’s eyelid, freeway-sound
algebra in dreams
—your hair, your death

3.

This dirty—little—heart*

pitch deep
attains its vault

a continent of snow—
austere slope

Polaris burning
in a glass
of air.

4.

ntch-ntch-ntch [tsk tsk tsk]
snip, snip, snip;

(whisk whisk)

what was yours now isn’t—

clutch, anyway—
[your flowers of lichen and minerals]:


once pristine blades, cough, glitch, blur
flare, occasionally, nicks, snagged glints, blink.

What doesn’t change?
not words their ([essential]/[accidental])
echo and bounce

(if every abyss had a floor . . .

5.

. . . also, day falls off )

waves light at dusk like streetlamps
to the moon who lit them

that street let me ramble—

like these words

who lit them

*Emily Dickinson

Karen Holman (she/her/hers), is a peer support specialist, collagist, community worker, activist/advocate in Metro Detroit. Her chapbook features in New Poets, Short Books, IV, Lost Horse Press. Her work has aired on NPR and received several Pushcart nominations. She performed original work with Pencilpoint Theatreworks, The Art of Protest Spoken Word, and HERsay in Michigan. She serves december magazine.

Jeffrey Hecker

New York Avenue

Oafs built The Unemployment Insurance Office inside Gateway Head Start Early Education Center. Jobless adults enter, see children frolic. Recess horn blows. The jobless ask are we in the right place. Children say no. The jobless ask are we in the wrong place. Parents say probably. Teachers say yes.

Indiana Avenue

I have a dream local celebrity James Avery (Uncle Phil from The Fresh Prince of Bel-Air) broadcasts on WPGG-AM to report Turning Point Day Center for the Homeless is six blocks from The Pool & Spa at Bally’s. Avery then makes DJ transmit signal of complete human surrender to estuary birds.

Atlantic Avenue

In 2007, Mayor Bob Levy signed into law 7 ordinances, then Bob simply left City Hall in a Dodge Durango, and nobody knew where Bob was 13 nights. Many, like Truman Capote’s partner Jack Dunphy’s surf instructor, believe Bob disrobed to ascend reborn in a dust devil of artificial sand.

Ventnor Avenue

Once an experimental village flourished where in place of strangers introducing themselves by name or occupation or hey or yo they chose to confess their worst personal tragedy. An empathy hierarchy developed scaled at first painstaking as cantilevered stairs, eventually even like a multipurpose ladder.

Pacific Avenue

Tired of taffy, your daddy told you to give back to the street everybody should start at St. Nicholas of Tolentine Church, end at Altman Playground cookout. He enjoyed Linda Ronstadt in hardware stores. He liked Vietnam Vets who roamed a lumber section hours and never bought a single beam.

Pennsylvania Avenue

My landlady drives tweens ‘tween home and school. Peers must bus. My landlady is a manager of a nightclub. My landlady, nightclub manager, watches the breaking news of today tomorrow. My landlady is a nightclub manager. My landlady wakes at 1:00 p.m. My landlady hates the sun.

Jeffrey Hecker is author of Rumble Seat (San Francisco Bay Press, 2011) & chapbooks Hornbook (Horse Less Press, 2012), Instructions for the Orgy (Sunnyoutside Press, 2013) & Ark Aft (The Magnificent Field, 2020). Recent work appears in South Dakota Review and Bennington Review. A fourth-generation Hawaiian-American, he teaches at The Muse Writers Center & reads for Quarterly West. @jeffrey_hecker

Jeff Friedman

How to Talk

Give up on drawing breath from your chest. Give up on bringing it up through your throat into your mouth. Give up on your tongue touching your teeth or the draw gate of your glottis opening and closing. It’s not about the lips either. The lips are for kissing if you can find someone to kiss. Forget about the sound of your voice speaking, how it rises and falls like birds flying against a strong wind. Forget about the soft voice you sometimes use to make an impression. The noise from others drowns it out. Imagine pronouncing a single phoneme, then another and now you have a word and more words. Imagine the words drumming into sentences. Let your mind raise its voice and shout sentence after sentence so those around you nod in agreement or smile their acceptance. And even if no one can actually hear you—now you’re talking.

Done Time

Done talking nonsense. Done with brittle tongues and bad brewers, with broods of chickens scratching the dirt. Done with the darkness at the center of darkness—it may be another kind of light. Done with drone mosquitoes buzzing at the windows—and the drones that unload exploding packages. Done with the birds delivering diseases, the doctors painting masterpieces—their floating deathbeds. Done with the wisdom of oracles whose disembodied heads bob up and down in the roiling river, singing their cliches like prophecies. Done waiting for justice to knock Humpty Dumpty off his wall, for his shell to be shattered—the yolk smashed. Done believing that there is a period at the end of a war.

What Her Hand Says

Her hand opens and closes: yes when she opens it, no when she closes it until the loose bulb of her fist bangs against air and collapses. When her hands fold together, she is saying “thank you.” When you touch your heart for her and lean over the bedrails, she touches your heart. The nurse dampens her lips with a sponge stick. Even the tiniest hint of food or water would choke her paralyzed throat. When you hold up the laminated alphabet, she struggles to tap the letters and you guess the wrong words again and again until she is almost smiling. She grips your hand and falls asleep in your silence.

Homeland

“You should visit Hungary,” my sister said. “It’s our homeland.” “How can it be my homeland?” I asked. “I’ve never been there.” “Everyone there has dad’s brown eyes and his rock of a chin.” Everyone looks like him and like us.” I peered into my sister’s face and saw my father’s face and then my own. I remembered how my father combed Wildroot into his black curly hair, huffing so forcefully he fogged up the bathroom mirror, how he whipped the comb away, flinging oily drops on the tile floor, how at dinner he inhaled the hot breath of Hungarian stew as though it were the air rising from the earth of his homeland. A country of our people, I thought, everyone looking like everyone else, everyone looking like us—every face a mirror of every face. “Scary, I said. “I’m not going.”

Jeff Friedman’s tenth collection, Ashes in Paradise, was recently published by Madhat Press. Friedman’s poems and prose pieces have appeared in American Poetry Review, Poetry, New England Review, Poetry International, Cast-Iron Aeroplanes That Can Actually Fly: Commentaries from 80 American Poets on their Prose Poetry, Flash Fiction Funny, Flash Nonfiction Funny, Fiction International, Dreaming Awake: New Contemporary Prose Poetry from the United States, Australia and the United Kingdom, The New Republic, and Best Microfiction 2021, 2022, 2023 and 2024. He has received an NEA Literature Translation Fellowship and numerous other awards and prizes. His newest book is Broken Signals from Bamboo Dart Press.

Susanne Dyckman

from After Effects

&

The power of the mind, the power and weight of the mind which is not
enough, the strength of an hour, the word that ticks off the day, the
pleasure of that word, enough and the dailiness of it, as the joy of
a forgotten treasure, that lost object that finds you again, unexpectedly,
the mind that searches for links, that holds the time that ticks by the weight
of the ticks, the too-loud clock which is not alone enough, but the sound
lingers in the mind that can change too little on its own, that cannot alter stone.

 

there is     sight while
wandering                             the
reminders
releasing             a layer of dust

 

you stop

&

Stuck in a study of weightlessness
I should know my bones are made of water.
Each thing I say or do is new
but the same.
I might take comfort in the learning of things,
push back all curtains and lay down,
embarrassed by so many dead flowers,
never chosen to carry the crown.
Since I must give up what I cannot keep
outside the sky is just blue sky.

left on the skin                                        the trick

of nature

I can almost hear

&

Startled by my own shadow
everything breathing abundance
from the darkness of the rock
to the air’s caresses.
Back through the age of solitude
the prospect is mixed but elsewhere
words painted
upside-down
are telling the story
more beautiful than a circle.

the known and     unknown                could become
a proximity

&

What might fail is of interest, curiosity for what might be overcome
through a body or through points where day meets night, cycles as
a belief or my resolve, excesses to be salvaged like last light fixed but
only for a time, one moment to match the next, time that explains little,
no more than a crow’s sudden rooftop landing, sudden but reversible,
unlike permanence, like water, always water in the end.

couldn’t     but                                       wonder
was it

 

the

puzzled
attempt

&

I am signing a paper without reading it. I am scattering like light,
thought too dark to be survived. Philosophy’s optimism is no longer
enough. I’ve become an expert in subtraction and distraction:
we survive on the tatters of evidence
we survive on the tatters of evidence —
this part here is where in my dreams all I need to do is bend.

 

what was is                       hoarded                      remains

vision

&

The moment just before
an announcement is made,
that it is not the end,
that you cannot see the end,
don’t look at the burden.
Something in you believes
the leaves of the forest the leaves
a parcel of strawberries
animals going about their dailiness
and you say: always I promise.

at this point

 

in

the mind      once more

 

I want                    a flaw

that     touches

Susanne Dyckman is the author of three poetry collections, equilibrium’s form (Shearsman Books), A Dark Ordinary (Furniture Press Books), and, in collaboration with the poet Elizabeth Robinson, Rendered Paradise (Apogee Press), as well as five chapbooks. She has taught in the creative writing programs at the University of San Francisco and SF State University, and for a number of years hosted the now occasional Evelyn Avenue Summer Reading Series. She lives in Albany, California.

Sharon Dolin

Here is the body

—sonnet-cento after Ruth Stone

With casual thread between fingers
was I shoveled in with the others?
This was before the war:
too much salt, burned edges.

Who lives in the house when I’m away
in the heart of the eruption
your silent dialogue with me,
I will give you this one elastic day.

Your body naked, seized with its own grief.
“Here,” it says, “touch me here.”
Darkness that is and is not

could be heaven or hell or limbo.
I am an epidermal stranger.
You ripple through me like slant light.

But no one came      no one came

—sonnet-cento after Anne Sexton

There is no safe place
like an old stone tree
calling me, calling you
my sin and nothing more.

My green green hands
heard the new fruit drop
the believing money
myself, caught between

the grapes and the thorns
mouths calling mine, mine, mine
my face, your face

me with your garments
but not with grief
I am almost someone.

This is not what I meant

—sonnet-cento after Sylvia Plath

A vulturous boredom pinned me
to this tree     very quietly.
Let there be snakes
rayed round a candle flame

a melding of shapes in a hot rain
untouched and untouchable
some angel-shape worth wearing
with one tin eye.

Tongue a rose-colored arrow.
Mouth full of pearls.
Feet seem to be saying:

Gray birds obsess my heart.
It unclaps, brown as a leaf, and loud.
I shall never get out of this!

Sharon Dolin is the author of seven books of poetry, most recently Imperfect Present (University of Pittsburgh Press, 2022); a prose memoir entitled Hitchcock Blonde; and two books of translation, most recently Late to the House of Words: Selected Poems by Gemma Gorga (Saturnalia Books, 2021). The recipient of an NEA Fellowship, Fulbright Scholarship, Pushcart Prize, and Witter Bynner Fellowship, Dolin is Associate Editor of Barrow Street Press and teaches poetry in New York City.

Mark DeCarteret

John Walker.Seal Point Series #VIII

The Year I Went Without Winning at Anything

—for John Walker

I started with the letter that I never sent. How it might tell one about the sea. And the ease in which I steered through it to shore. Tried to put it all to rest. How from here on in, it will return to us not only in song. Churning up notes. That go back far as stones. But in the way that the boats sway in time. Keeping beat against their algae-d slips. Their oars sworn to a now unheard-of silence. As a gull laughs off a near fall. And then I tried settling into an inlet for a spell. Where at low tide another side of this world might be shown. Almost worshiped by sunlight. And its unceasing stare. Where I might be relocated for life. Shot off like a flare. And continue on as an afterthought. Opting out of these poetic doings. And thus, stop looking, so steely and tele-eyed, out past the sea. Where it straightens out its act and then esses, endlessly loops and then pools, spends the rest of eternity either too tired denying the moon’s influence or eddying. The colors slow-heated, steeping like tea, or cooled off and foolishly seen for themselves, charmed back to earth. Miracles are like this. Not worth the ink one tried thinking them less than true. Chances are you have found yourself in the same spot. Sitting atop a hill. A sound down below you. Unimaginatively still except for that gull, its near-falling. If not, I will send you a clip. Or better yet, see that I pencil you in.

The Year I Went Without the Sun Was From

the fire. Or so it was formulated. A monster sun though not big on details. Or getting it right. Not really into anyone’s suffering. Or even having some fun with them. I saw it first thing this morning. Right here where the surf is frustrating the sand. And a tiny bird’s landed. This wren or that. Seemingly new to the area. New to this mess we’ve recreated. With the eye of the same god. (Aren’t there are always some willing to be seen as blameless?) But still singing its way into my memory. How I’d fuss over it! Have a little fun. It was truly, truly frightening. How the sun was from the fire. How it gets like this. When it hasn’t been fed. Read to. These deafening winds. Storms in name only. Alabaster. And Betty Lou. Confused with the thing itself. Or the fleas that have taken us up as their own. Recasting us. Only to find ourselves signed in again. Aligned with the bored and the cross. Light is like this. Reformulated. Nothing but the details. So, let’s get this right. Life is suffering? Too monstrous to get in a word? Yes, you heard it here first. Early this afternoon. We’re so over the birds. And their tiny little songs. There’s more than enough room for no one. What fun. O what fun.

 

The Year We Went Without Frozen Particles Forming in our Mountains

Another easeful though sometimes nuclear proclamation is that of the pogonip or “dense winter fog”—that old standby métier of numbskulls and/or others like them, who’ve long been researching this sort of prefrontal thankfulness for those almost funereal directions we’ve been given to sample—the U standing for upbeat and the “Pneumatic 14” maybe attempting to re-define how for each U that you are thankful for, you picture the 14th upbeat following it in your diet, then repose that same U with its original. So that, in other words—“Mighty oaths from little acrimonies grow” becomes “My tie owes its lack of money to its many gurus” so that later the latter’s dewpoint is not only enveloping, but apparently medicinal, apparently unprofitable, along with others like them, seeming to echo the pogonip’s further researching of fronds and their charged opinions—a polemic that promises to be both pestilent and well worth excerpting.

The Year I Went Without Starring in My Own Life

—for Marguerite T. White

The word always was. Truth be told. That in a family of runts. And runt afficionados. I had the best smile. Which worked out well since I worked on a farm. Where the rest of the crew had but one tooth between them. Earlier on, I was reared by an astronaut. Which had lasted for hundreds of years. What with all the time changes. And after that, was pursued by a human in a turnip suit. Who wanted to include me in their supper plans. But I denied them. Ending any chance of dessert. Or a slow dance. Only to be left with this acre of well cared for seedlings made from felt. So lonely, I’d settled for the cranes all a-blush in the field. And what was far less this dance. Far more this commentary on flight. And the word often was. That of all the towns run by farmers. We either had us more stories to tell than the rest of the towns. Or more arms to deliver them. And that because of this. We would not only be shadowed by our own thoughts. But those of the owls. Our town fathers would lower down with wires. If the towns people got to being well-oiled enough. And how that would be followed by this untoward sun. Cut out from foil by the town mothers. Along with this fourth wall. Thrown together by the town children. And the word sometimes was. That in a city of rivers. We sold as canals to the runts. And as lakes to the farmers. We were not drawn to scale. Even though we had won us an award. For this drawing we’d done of me. Doing my best to smile. Play host to those ghosts who had outstayed our charades. That we’d working titled “The Lame Took to Walking While the Mail Took to Talking” but then switched to “The Turnip Returns Their Suit for a Pint of Ale and an Air Tank.” And the word never ever was. Unless we figure in our curiosity for the sea. And sea captains. And the ships that oft-punished them. Softened their fortitude. But then would raise them like light and as asterisks in the same breath. That the world was as flat. As any mention of death. And where I’d be welcomed back to the stage. As its sidekick, designated sickly presence. Stick-figuring in all of its grievances. Oh, how I had howled and sung. And fronted the band. Had even handled a joy buzzer. As well as a toy sword and gun. Even once, stunt doubling for my guest star’s one solo. Who, in fact, had never had her an acting class. But still went on to become. In a word. A bit of an ass.

The Year We Went Without Fables

We were shaking. Well before the black death. Well before there were babies conceived in the lab. We would carry this broken history on our backs. And the crowbars we’d need. To uncrate them. Let the sun read all kinds of things into them. We had aches where our chairs were. And chairs where our aches. We held our breath for weeks at a time. Then watched as it circled our heads. Thought of us only in terms of a funeral wreath. Or some crown. They’d have a child labor. To punch out of cardboard. And then have a teenager. Hand out free with our fries. We had cable. And nuclear blasts. Labels on our clothes. From countries we’d never heard. Or had ever showed interest. We were wearing out sacks. Well before the class action suits. And wore our shoes without socks. So far after Labor Day. The locals would bray at us. As if we had rabies. Or bared our asses to their ancestors. We were too ecstatic for our own good. Best, by now, at the art. Of chatting up strangers. And then forming stranger attachments. We would carry so much cash on us. Cross our foreheads so often with ash. What we had for faith ate at us. Had for hope developed sores. But to our credit, we shook. Well after it looked cool. Well after it was. Saw our likeness in each lens. Our finest traits in everyone we befriended. Even though we lacked words for everything. Thought the world of next to nothing. We loved hating it. Less it fit in a text. Outwaiting yet another thing. To blur into another. Be rubbed wrong. And then wronger. Growing so tired of dieting. Of the miracle food that might tide us all over. We would throw out our voices. For what little it was worth. And then would black out. In the back of a cab. Dribbling our ABCs on our bibs. Where they’ll eventually crab. Into yet another brand. To refreshen the void.

Mark DeCarteret was born in Lowell, Massachusetts. On “The Road Ride” at the Jack Kerouac Theme Park. And studied with Sam Cornish, Bill Knott, Tom Lux, Mekeel McBride, Charles Simic, and Franz Wright. (See: Representative at the Greater Boston Poetry Festival, Recipient of Thomas Williams Memorial Prize…) He’s worked a third of his life installing tile, a third teaching, and a third selling books. (Going on 13 years at Water Street in Exeter NH…) And has hosted and organized two reading series. Co-edited an anthology of NH poets. He was Poet Laureate of Portsmouth NH. Twice, a finalist for NH Poet Laureate. And his poems have appeared in over 500 magazines including AGNI, The American Poetry Review, Asheville Poetry Review, BlazeVOX (which recently published the first chapter of his novel Off Season), Boston Review, Caliban, Chicago Review, Fence, Gargoyle, Hole in the Head, Map Literary, On the Seawall, Plume, and Nixes Mate (which recently published his seventh book of poetry, lesser case). As well as 30 anthologies. Among them, American Poetry: The Next Generation (Carnegie Mellon Press), and Thus Spake the Corpse: An Exquisite Corpse Reader 1988-1998 (Black Sparrow Press). He performs with the Dadaist troupe Carteret Voltaire. And plays drums and sings with Codpiece. His latest book Props: Poetic Intros, Praises, Co-conspiraceis, Pairings was released last month by Bee Monk Press.