DEER

by Sarah Dickenson Snyder

These words will name the one 
dragged out of the woods by two men 

to the dirt road I walk on, how the day 
before I had startled one in our field, 

& all I saw was the white flag of its leaving, 
& today I see a long, limp tongue hanging out 

from the quiet mouth as the men lift it
into the back of a truck, the sagging 

body, four hooves held by their hands. 
Hands. Hooves. How a bullet leaves a body 

still & stained, & now every day I will look on the edge 
of the road for signs of blood & write 

this poem over & over. In every death
sloughed skin to become again. 

That settling of death right next to you,

how you move over, make room for it.


Sarah Dickenson Snyder lives in Vermont, carves in stone, & rides her bike. Travel opens her eyes. She has four poetry collections, The Human Contract (2017), Notes from a Nomad (nominated for the Massachusetts Book Awards 2018), With a Polaroid Camera(2019), and Now These Three Remain (nominated for the Massachusetts Book Awards 2023). Poems have been nominated for Best of Net and Pushcart Prizes. Work is in Rattle, Lily Poetry Review, and RHINO.

NORWEGIANS ACCUSED

by Lavinia Kumar

Russian Nature reserve demands NOK 47 million for Norwegian reindeer grazing on its territory—The Barents Observer, July 28, 2023

Such disrespect for interests of another country

it was said—yet not one inch of land stolen.

 

It is true they used up a ration of lichen and shrubs,

but kept mindfully to this vegetarian diet.

 

Such disrespect for land reserved and preserved—

insisting, we know on using four, not just two, hooves.

 

Such arrogance and disrespect for nature!

But they forbore, we’re sure, human murder and rape.

 

Yet degradation of vegetation needs compensation—

for full two months of 40 Norwegian reindeer grazing.

 

Russia’s Ministry of Foreign Affairs expert on invasion

demands $4.6 million for, tsk, tsk, illegal incursion.

Lavinia Kumar’s recent poems appear (or will soon) in Kelsey Review, Schuylkill Valley Journal, MacQueen’s Quinterly, New Jersey Journal of Poetry, Paterson Literary Review, Tiny Seed.  She is an immigrant married to an immigrant, and lives in New Jersey.

ZERO SUM HUMANITY

by Tricia L. Somers

“All the People—Oppressed by Black Cloud,” 1982, by Evelyn Williams

Under the rubble

Our loved ones, homes, and any kind of hope

We’ve been robbed

by a criminal we cannot see

Our loved ones killed and already buried

We are victims of this Climate Crime Catastrophe

Under a bridge

Huddled with our scared children

Our faith has been shaken

and our babies are still...shaking

Invite the world to witness your humanity

Anxious and jittery awaiting a fleeting glimpse

Like an endangered species or already extinct

Under hooves and cracking whip

We find ourselves in seeking but a mere chance

Have us to walk over your bridges

Only in shame do you chase us away

You don’t necessarily need an earthquake

for your country to crumble away

Tricia L. Somers can be found at Outlaw Poetry, Milk Carton Blog, and the upcoming Rat’s Ass Review for Winter 2021. Also the semi-annual print journal The American Dissident includes poetry, essays and debates with the editor, who is known to be somewhat testy. Issues 41 and upcoming 42.

WILDER MANN

by Martha McCollough

zombie daddy trudges on / grudges flying / bringing you your big chance / to shit in marble hallways / what a land of opportunity / for a sweaty daddy / poor daddy / his pinhole hungry-ghost mouth / starving starving / rubbing up against the teevee / daddy eating up the low-class love / slabface swelling & yelling / nooooooo / bloody crash of murder clown car / tactical antlers tangled / kevlar hooves sliding on the pedals / daddy’s at the wheel singing / all the way to / mother of mercy / is this the end of daddy

Originally from Detroit, Martha McCollough now lives in Amherst, Massachusetts. She has an MFA in painting from Pratt Institute. Her poems are forthcoming or have appeared in Radar, Zone 3, Tampa Review, and Salamander, among others. Her chapbook Grandmother Mountain was published by Blue Lyra Press in October 2019.  

THE RIDE

by Alejandro Escudé

Mason Lowe was one of the top bull riders in the country—a beloved, witty 25-year-old from rural Missouri at the peak of his powers. But inside the Denver Coliseum at the National Western Stock Show on Tuesday night, a bucking bull—the animal he built his entire life around—threw Lowe off and stomped on his chest. Lowe died later that night. —The Denver Post, January 17, 2019

The ride is dust and time, the bull above
the fray—Hard Times, the cowboy mounts
the hide a dozen times in three, each shove
the very last, the ticks like stolen counts
from bitter breaths, the man furloughed from earth,
a sarsaparilla moon, a jackknifed life,
the thunder-gong he heard, a fierce word,
followed-paradise, a shredded loaf
of human bread, Lowe winked at God and died,
his hat still on his shimmering ghost,
the monster’s hooves, a monster to us all,
made creation’s hole within his burning breast.
A man, a nation’s pride, the towering fall.
Let Mason fly, bull-twisted, hand in a rope
for eight: one half alive one half in hope.


Alejandro Escudé published his first full-length collection of poems My Earthbound Eye in September 2013. He holds a master’s degree in creative writing from UC Davis and teaches high school English. Originally from Argentina, Alejandro lives in Los Angeles with his wife and two children.

THINGS YOU SHOULD KNOW ABOUT BISON

by Peg Quinn

“On Monday, May 9, 2016, President Obama signed into law the National Bison Legacy Act, which designates the bison as the official mammal of the United States. . . . Lobbying for the official mammal designation was a coalition of conservationists; ranchers, for whom bison are business; and tribal groups, such as the InterTribal Buffalo Council, which wants to ‘restore bison to Indian nations in a manner that is compatible with their spiritual and cultural beliefs and practices.’ . . . Before the mid-1800s, bison (also called buffalo) lived mostly in the Great Plains, but were also found throughout the continent. . . . The U.S. Army led a campaign to wipe out bison as a way to control [native] tribes. . . . Columbus Delano, secretary of the interior, wrote in 1873: ‘I would not seriously regret the total disappearance of the buffalo from our western plains, in its effect upon the Indians.’ —Elahe Izadi, The Washington Post, May 9, 2016.  Image: A colored-pencil drawing by Peg Quinn of a bison’s head.

A bison's bladder holds seven pounds,
about one gallon, enough
for indigenous people to use
for storing water, clothing,
or food when hunting

Horns sufficed as drinking cups,
or carrying hot ash from one fire
to start the next

Fur became blankets,
papoose and moccasin lining

Skin became saddles, or, when
stretched over low lying branches,
sewn to form teepees, clothing,
quivers, drum heads and ‘canvas’
for recording the year in pictures - their
‘winter count’ during freezing blizzards

String was pulled from sinew
then threaded into carved bone needles

This is no metaphor:
drumming sticks were made
by dropping a round rock into
a testicle then wrapping with tendons
to the end of a stick

Sinew binding teeth and hooves
made door rattles outside the teepee
for announcing a visitor

Bones were carved into knives,
scraping tools, and toys while
tails had second lives swatting flies

Eyes, brains, tongues and organs
were reserved as treats for tribal elders,
meat, berries and fish the daily diet
Snacks were made from intestines
packed with dried herbs and jerky

Though no one knows how they used the nose,
it’s no wonder they were worshipped

Peg Quinn grew up in a rural area outside Lincoln, Nebraska. As a child, she once got her head stuck between the tail and rear-end of a life-size buffalo statue in a public park. Today, she teaches art and paints theatrical sets in southern California, always wearing a bison ring made from an Indian head nickel and morns how they were slaughtered as a means of controlling indigenous people. Her Great-Grandmother was Sioux.