THE FIRST HUNDRED DAYS

by Elizabeth Kerlikowske

If you can see the moon from your window
even through the wall of branches
then it is calling you to worship.
Hard to stay in bed,
impossible to stay in the house.  
If you can see the moon from the front porch,
you can see raccoons and the seven doe
in blue shadows. The owl wonders
what you are doing here.  Thick
wandering roots reach from the trees, 
dusted with a skin of snow, like veins 
on the backs of your hands going 
where they must go. 
If you can see the moon from Earth,
the cataclysm is still in the future.
Your breath is a cloud without shape.

Elizabeth Kerlikowske’s latest chapbook is Falling Women, with painter Mary Hatch.

POETRY IS DEAD

by Matthew King

It’s dead like God is, but the devil's in

the details of the mortal metaphor:

if death’s the wages, how did poets sin?

Does blood not soak their pages anymore?

Have poets found they’re lacking souls to pour

out? Some would say their skin has got too thin.

But here’s a piece of parabolic lore

to ponder, even if you’ve ears of tin:

God, having inspiration to dispose

of, shares it with some workshoppers of verse.

It makes him wish we all had stuck to prose.

He hitches back to heaven in a hearse,

and takes the sound advice his peers propose:

he sits down on a cloud to decompose.

Author's note: The New York Times published a piece arguing that poetry is dead. It provoked a lively response.

Matthew King used to teach philosophy at York University in Toronto; he now lives in what Al Purdy called "the country north of Belleville", where he tries to grow things, counts birds, takes pictures of flowers with bugs on them, and walks a rope bridge between the neighbouring mountaintops of philosophy and poetry. 

HOW TO ERASE

by Ron Riekki

Sacheen Littlefeather

“Indigenous identity is complicated. 

What I do know is that the impact that Sacheen had on myself was very real” 

—Devery Jacobs 

  

—“The Sacheen Littlefeather controversy highlights a 

debate over what it means to be Native American,” CNN, November 5, 2022

 

“I like you the way you are” 

—Avril Lavigne, 

“Complicated” 

Sacheen Littlefeather’s sister says that Sacheen 

talked about being native in order to get fame. Yet 

her sister is having no trouble denying being native 

in order to get fame. Why wait until someone is dead 

to have the conversation about their identity?… I know 

someone who’s native. Her brother denies being 

native. & in his denial, it furthers his belief that 

 

he’s not native. Whereas, his sister—who is native— 

goes to native events, is deep friends with native 

people, & so she learns more & more about her

native heritage, but when she tries to explain 

those connections to her brother, he has no 

interest… If Sacheen Littlefeather’s sister 

wanted to understand her sister, then she 

 

would have needed to talk to her sister 

to find out what her sister knew, knows, 

will know. Native is narrative. It is 

the stories we unearth, how we grow 

by unravelling what is unknown. 

A CBS News article I read on 

Sacheen Littlefeather said it 

 

reveals the reality of her her- 

itage, but it misspelled her 

name twice in the article, 

listing her as: Sacheen 

Littlefather & Sacheen 

Littlefield (since 

corrected), but it 

 

made me think 

how the cloud 

outside my 

window 

right 

now 

is a 

 

dog, 

no, 

it’s 

a 

c 

a 

t 

. 

Ron Riekki co-edited Undocumented: Great Lakes Poets Laureate on Social Justice (Michigan State University Press).

CLOUD COVER

by Mary K O’Melveny

At first, there was just a single cloud.

It wasn’t even very large. One might 

have missed it altogether. Like a cataract.

But it grew bigger, began to darken.

Before long, it had multiplied into

several cloud patches. Each shifted

to a different corner of the sky,

staked out a position. Refused to

move. Dared other clouds to approach 

at their peril. The once-azure sky

vanished. Instead, shadows loomed

overhead like prehistoric birds of prey. 

At first, we did not worry. We knew

shadows needed some light to survive. 

But the shade expanded. Umbras were

everywhere. People queried What can we do?

Thoughts were exchanged. Silhouettes

were measured. Statistics recorded. Talks

faltered, flailed, failed. Prayers met silence.

Candles were lit. Flashlight sales grew.

Batteries grew scarce. Campfires flickered

throughout day and night. Their smoke made

it harder to breathe or see. Night vision goggles

were issued to all eligible households.

 

Soon, the sky was so thickened that memories

were numbed.  Books picturing seacoasts,

flowers, forests sold out. Libraries had

waiting lists for stories of people whose lives

were bathed in sunshine. We struggled to

recall days at ocean’s edge, feet splayed

in wheat-colored sand, a beloved’s hand

dappled with light. Sunburned shoulders

from garden parties and protest marches

soon paled to ghostly reveries. Last to fade

was a vision of a playground filled with

children, sneakers aglow with sparkling lights.

Mary K O'Melveny is a recently retired labor rights attorney who lives in Washington DC and Woodstock NY.  Her work has appeared in various print and on-line journals. Her most recent poetry collection is Dispatches From the Memory Care Museum, just out from Kelsay Books. Her first poetry chapbook A Woman of a Certain Age is available from Finishing Line Press. Mary’s poetry collection Merging Star Hypotheses was published by Finishing Line Press in January, 2020.

THE VIEW FROM WHERE I SIT

by Brooke Herter James

 

The cloud of fog

hovering

over the mountain

has shaped itself

into a jaunty cap—

the kind one might wear

to a party 

or a parade.

Brooke Herter James is a poet living in Vermont.

APERTURE

by Erin Murphy

Embed from Getty Images

November 2020  

 

The cloud bank is a mountain— 

no, a continent—in the gun metal                               

 

sky and beneath it a cavalry  

of trees, mostly oak, limbs rhyming  

 

in Vs. Look closer to see the anarchy  

of leaves—some refusing                                

 

to surrender even after three nights  

of frost. What will it take? 

 

Remember the film in which  

the boys were cloned from evil DNA. 

 

Remember half your neighbors 

voted for—and from—hate. 

 

Who has won? Who has lost? 

Zoom in to the tip of a twig  

 

where a caterpillar—backlit  

by sunlight—stakes its claim,  

 

chrysalis of history spooled tight  

as a movie plot. Inside: maybe  

 

a monarch. Maybe a tiger 

moth. 

Erin Murphy’s eighth book of poems, Human Resources, is forthcoming from Salmon Poetry. Her work has appeared in such journals as The Georgia Review, Field, Southern Humanities Review, Glass, and Women’s Studies Quarterly. She is Professor of English at Penn State Altoona and serves as Poetry Editor of The Summerset Review. 

IMAGES OF THE OREGON APOCALYPSE

 by Tricia Knoll

Scientists say that the wildfires in the West combined with drought and record heat waves could be triggering one of the Southwest’s largest migratory bird die-offs in recent decades. Photo Credit: Allison Salas/New Mexico State University via The New York Times, September 15, 2020

Is there any reason to write anything today
when ink on paper looks like soot
fallen from a malignant sky? The oneness
we dream about flies in this wind: their house
of forty years, the plastic wading pool and hose,
rake, car, Bible, gramma’s wedding pictures,
ash of curtain, ash of couch, ash of rug,
the soot is a negative of what all they had. 

How many dead birds have you ever seen
in your life? One or two bounced off a window?
Maybe your cat was a bad actor or you
were the bad actor that let your cat roam.
But piles of the dead? The migrating dead
won’t be back next year. We didn’t really
know exactly how they found their way
in the first place.

Such great weariness. With flimsy masks.
Stay inside to not be sick – you’ve followed
that mantra for months. You can’t outwalk
this cloud. Or see from one bridge to the next.
The firefighters sleep in peril. And wake
in dark fatigue. You check your air numbers
every hour and somewhere else is flooding
under winds that twirl the birds. 

Tricia Knoll is a Vermont poet who lived in Portland, Oregon for 45 years. She is checking in with her friends under evacuation watches, hears of one who lost her home and sees the images with great sadness.