HOW MUCH CAN WE TAKE?

by Lynne Kemen

after viewing “Continuous Form” by Nishimura Yuko (Japan) 2020—washi paper

The paper is impossibly twisted, pleated

like skirts used to be. How is it possible

that this is paper? Nishimura Yuko's washi

folding into itself, holding a shape

it shouldn't hold.

 

On the wall behind, faces

also impossibly shaped, bearing witness,

watching.

 

Tensile strength. The word makes me think

of tension, how it translates to my own body

squirming to get comfortable, no longer able

to hold erect posture. Two total knee replacements.

Back pain. Neck pain. I'm so tired.

 

Pretti is our conscience. One of the helpers

who always shows up, who cares about others,

who refuses to look away. His phone

documenting what shouldn't be happening,

what we need to see.

 

I used to protest the Vietnam war. Kent State

terrified me—that girl kneeling, her mouth open,

screaming over the body. Some photographs

are that raw, that perfectly horrific.

Once I see them, they're in my DNA somehow,

in my body.

 

I can't stand for long periods now.

And I know I cannot look away.

So many do. They don't think it affects them—

until it does.

 

The sculpture before us, still whole.

Those circular faces, still watching.

We know fabric tears.

We just don't know when.

Lynne Kemen is the author of Shoes for Lucy (SCE Press, 2023) and More Than a Handful (Woodland Arts Editions, 2020). Her work has appeared in One Art, The Ekphrastic Review, MacQueen's Quinterly, and elsewhere. She received a 2024 Pushcart Prize nomination and serves as Editor/Interviewer for The Blue Mountain Review. She is currently working on two full-length poetry volumes. Lynne lives in rural Delaware County, New York.

NOT MERELY A GENTLE PROD

by Sharon Olson

“Ecstasy of St. Teresa” by Gian Lorenzo Bernini.

As Bernini would have it, Teresa entered a quasi-orgasmic

state, calling out to her would-be husband Jesus! and explaining

later how the prick of the arrow exulted and burned at the same

time

and I think of my Mr. Moderna, the jolt he gives me, the fever,

the chills, the battle royale he is willing to undergo on my behalf, 

even though he is not entirely faithful, as I hear others claiming 

him

think of the lily and its deep chamber penetrated by the sharp

bill of its hummingbird swordsman, we do not hear her cry out 

or think he has forsaken her by darting into the orifices

of all the neighbor lilies

and yet in this year of multiple piercings, the throngs of the would-

be vaccinated circling in the vestibules, the ante-chambers

of their chosen clinics, the buzzing and murmuring will be

echoed even

by the hosanna of the seventeen-year emerging cicada swarm,

Brood X they are called, like the crucifix but here only a reference

to the number 10, the power of their song jacked up to the nth

degree, what has got into them, what probe, what stick?

Sharon Olson is a retired librarian who has recently moved to Annapolis, Maryland. Her book The Long Night of Flying was published by Sixteen Rivers Press in 2006. Her second book Will There Be Music? was published by Cherry Grove Collections in 2019. She will be getting her second dose of Moderna today.

RUMORS OF WAR

by Marsha Owens

Gun rights advocates and militia members gather in Virginia's capitol to protest potential gun control bills. Credit: JACK GRUBER, USA TODAY, January 21, 2020.

The inspiration for Rumors of War is war—
is an engagement with violence.

—Kehinde Wiley

marched around my town like Grant went through Richmond my daddy would’ve said if he were still alive, and he would’ve harrumphed at the overkill in the news again, then he would’ve lit another cigarette and gone to bed, and everybody else in town would do the same time because it was ten o’clock and it wasn’t 2020 yet, like yesterday, Martin Luther King day, when a band of 22,000 strangers from God knows where gathered at the Virginia State Capitol, once the proud capital of the confederacy (big C) all tightly strapped and wrapped in artillery and more goddam ammunition than I ever care to see, and I was a prisoner in my own house, waiting all day for the sound of gunshots in my own yard. Do not go near the Capitol! we were warned. Some people called in sick, some gathered with friends, some went to churches to pray, some, like me, tried not-so-successfully to stay calm, to not get anxious or drunk, to not curl into the fetal position, and today we’re told it was a fine protest, no shots fired, no injuries, no deaths.

But I am traumatized, so do not try to tell me that what happened last week in my city was non-violent and peaceful. Terror wore heavy boots, stomped loudly, and we were sore afraid.

As the day waned into a purple sky, I looked again at the statue—not Grant’s, but of a young black man atop a magnificent steed, just recently come to Richmond to remind us of our dark past, its terror glorified in our streets and I remember how art can sometimes teach us by drawing our eyes to the light, even when danger lingers in shadow.

The “Rumors of War” statue by artist Kehinde Wiley was unveiled in Richmond on [December 9, 2019]. The sculpture depicts an African American man with a crown of dreadlocks, wearing urban clothes and sneakers and sitting astride a horse (Steve Helber/AP via The Washington Post, December 11, 2019.

Marsha Owens lives and writes in Richmond, VA. Her writing has appeared in both print publications, including The Huffington Post, Wild Word Anthology, The Sun, and online at TheNewVerse.News, Poets Reading the News, Rat’s Ass Review, and Rise Up Review. She is a co-editor of the recently published poetry anthology Lingering in the Margins and a proud recipient of the Leslie Shiel Scholarship Award for Writers Who Read, awarded through the Visual Arts Center in Richmond.

ATTEMPTED OVERTHROW

by Mickey J. Corrigan

Empty Vessel Stomping on the US Constitution
Trump Sculpture Series #4 by Judith Peck

Maybe you held the moon in your hands
and watched it morph
into a spiked border wall
in high-definition.

Maybe you saw your shaggy body
perfected
in a mirror of hashtags
believing the world wanted you.

Maybe you were soulless and filled
with explosives timed
to go off at just
the wrong time. Or not.

A king, you see, is a window
into the house. Into the heart. I meant
to say such a man is a door
into what we dream, what we think.
Not all doors open. Meanwhile
you let the rest of us
dissolve on your tongue like nitro.

Don't you know everything
you ever said or did
will be used against you
in the court of public opinion?

Maybe we can rearrange
your disorder to some kind
of warped metal sculpture
that reflects us, no longer
a bad reflection on us.

Moon or no moon
hands contain veins,
old blood. When you leave
the gilt throne you erected
in your own image
please take your fake weather
with you.

Originally from Boston, Mickey J. Corrigan lives in South Florida and writes noir with a dark humor. Books have been released by publishers in the US, UK, Canada, and Australia. Poetry chapbooks include The Art of Bars (Finishing Line Press, 2016), Days' End (Main Street Rag Publishing, 2017), and Final Arrangements (Prolific Pres, 2019). Project XX, a novel about a school shooting, was published in 2017 by Salt Publishing in the UK.

SUFFERING CHRISTA

by Devon Balwit

The artist Edwina Sandys with her sculpture “Christa,” the centerpiece of an exhibition [at New York's Cathedral Church of St. John the Divine] of more than 50 contemporary works that interpret the symbolism associated with the image of Jesus. Credit Hiroko Masuike/The New York Times, October 4, 2016

Nowadays, it’s easy to imagine a suffering Christa—
the mothers of Aleppo, limp children at the breast,
Black mothers in America bent over sons in the road,
the mothers called to school in the wake of a shooter.

Who feels the world’s nails more keenly than the mother,
flesh pierced by the suffering of those she formed and suckled,
side oozing, rib cage unable to rise as her children lose breath?

She hangs between stars and rubble, arms outspread.
Lift her your sponge of vinegar.  Sit vigil.
You do not need to believe, only bear witness.
Better yet, shield the tender bodies of her young.


Devon Balwit is a poet and educator from Portland, OR.  Her poems have found many homes, for which she is grateful.  She welcomes contact from her readers.

THE COST OF THE WHITE

by Cally Conan-Davies

“When Roman emperors, Michelangelo and Mussolini needed the finest marble they all knew where to go—Carrara in Tuscany. But some are worried about the future of the quarries that have been used for thousands of years,” writes Antonia Quirke., BBC News Magazine, July 24, 2016. Photo: Carrara marble quarry. Source: Wikimedia Commons

Turning to stone is how some old bones last,
but David's statue seems to be relaxed
as if the stone were going the other way
into a body full of the light of day.

As if it could make light work of defeat,
after all, it had survived rejections
(unstable, they called it, flawed, the risk too great).
Until one man could see through imperfections

something to put his hands on, and set free
a man from a mountain.
Now the mountain is sinking
into counter tops and bathrooms, artlessly.

There are shadows in the falling light.
And nothing—not paper or pearls or stars—is always white.


Cally Conan-Davies is a writer who lives by the sea.