TO ALL THE IMPRISONED CHILDREN

by Julie Weiss

Hold on. You´re a rabbit, clever

and bold, galloping free through

tomorrow´s boundless grasslands.

Hold on. You´re the most extraordinary

lotus, blooming through cracks

in your country´s polar ice caps.

Hold on. They may have grounded

your body, but your mind

can fly a thousand glorious kites

in the rising winds of resistance.

Your will, sharp enough to slice

a prison guard´s insults into fluff.

Hold on. Right now, you may feel

more like a beetle climbing

a mountain under a crush of boots

than anything human, but you´re not

alone. You´re the song we sing

when the notes in our throat

have lumped impossibly together.

You´re the rainbow colors we use

to airbrush our hope across the sky.

You’re the poem we bellow at every

demonstration. Imagine! Your beauty

flowing in epic proportions.

You´re our brightest star, the one

that anchors us to our place

in the universe. Hold on. Without you,

we´d all be hurled deep into space.

Julie Weiss (she/her) is the author of The Places We Empty, her debut collection, and two chapbooks, The Jolt and Breath Ablaze: Twenty-One Love Poems in Homage to Adrienne Rich, Volumes I and II. Her second collection Rooming with Elephants was published in February, 2025. She was a finalist for Best of the Net, won Sheila-Na-Gig´s editor´s choice award, and was a finalist for the Saguaro Prize. Recent work appears in ONE ART, Autumn Sky Poetry Daily, Gyroscope Review, and is forthcoming in Cimarron Review, The Indianapolis Review, MER, and SWWIM. She lives with her wife and children in Spain. 

THE LAST ARABIAN NIGHT

by Constance Stadler

Tall cedars

emanate earthen aromas

with musky incense

cinnamon and mint.

A solitary oud

plucked by

ornamented fingers

sings a sad

uncertain song

to the scarlet dying sun.

The calm opacity

of old Lebanon

burns red

with fire

as dark eyes

Cry

behind silken veils

The olive tree burns black.

Constance Stadler is the author and co-author of eight compilations of poetry and has published more than 200 poems magazines and journals. She was awarded honors in the International Erbacce Prize competition for her collection Sublunary Curse. Constance dates the beginning of her relationship with poetry to early teenage years, when she was given a volume of the Collected Works of Dylan Thomas which still sits, dog-eared, on her bookshelf.

ART AFTER GENOCIDE

by Indran Amirthanayagam

When distant bombs 
and bread denied 
leave no trace 
abroad except 
in heart and mind 
of reader and writer

where do we turn
in our countries
of refuge for 
the next impulse
to compose? To whom 
shall we address 

our song?
And should 
we eat and love,
or fast and be 
silent?
For how long?

Indran Amirthanayagam writes a Substack. His publications include El bosque de deleites fratricidas ( RIL Editores), Seer (Hanging Loose Press),The Runner's Almanac (Spuyten Duyvil), Powèt Nan Pò A: Poet of the Port (Mad Hat), and Ten Thousand Steps Against the Tyrant (Broadstone Books). He is the translator of Kenia Cano’s Animal For The Eyes (Dialogos Books) and Origami: Selected Poems of Manuel Ulacia (Dialogos Books). He edits The Beltway Poetry Quarterly, hosts the Poetry Channel on YouTube, and publishes poetry books with Sara Cahill Marron at Beltway Editions.

BEQUEATHED

 a golden shovel by Bonnie Proudfoot

No meaning but what we find here.

No purpose but what we make.

 

That, and the beloved’s clear instructions:

Turn me into song; sing me awake.

                               —Gregory Orr

 

 

Say you are at the supermarket, no

say you are at the farmer's market, meaning

you don't go in for plastic wrapped food, but

you bring your stringy hemp bag. How nice, but what

did you think, that one tomato at a time we

can stop climate change, find

a way to keep butterflies and songbirds here?

 

Say you'll install solar panels on your roof, no

say you've already installed them, your purpose

feels urgent, you are off the power grid, but

the sun feels stronger every day, what

you never expected was tornados, floods, we

can barely hold on to any progress we make. 

 

Today each weather warning lasts longer, that

way the window of safety shrinks, and

we huddle closer, protect ourselves, our beloved,

while lightning sparks, we wait for all to clear

though we need more time to prepare, instructions

 

to face this new future. The earth will turn

against us, beyond the ladders of light leaning into

the clouds, beyond the hymns and songs

to creation, show me a new song to sing,

not king coal, not drill baby oil, give me

more songbirds to hallelujah my grandchildren awake.

Bonnie Proudfoot is a poet, fiction writer, essayist, and reviewer whose work has appeared in online journals and anthologies. Her novel Goshen Road  (OU / Swallow Press) was longlisted for the PEN/ Hemingway and received the WCONA Book of the Year Award. Her recent book of poems Household Gods can be found on Sheila-Na-Gig Editions.

TO A CHORUS OF TEARS

by tom bauer

It seems inevitable his eyes would look like that
singing that song, effulgent with yearning
for things lost, as the river weaves towards
the past. Reminds me of cartoon eyebrows,
pointed in an inverted ‘V’, like a tent,
anguished peaks over wounded disks, singing
what might be the saddest song ever made.

An invisible step leads to this next question,
on foot, an actual physical object
moving in space, in the moment of space,
not merely that moment witnessed onscreen,
a moment now in the past, outside this one,
this moment here with the keyboard, the echo,
the cat on the radiator nesting his head.

Are we free? As time waves out, are we free?
Free of the pain, the breath, the trees and light?
For it seems we are not free on earth, to choose
to run or fight, to give or take, we are
in moments welded to our choices,
fixed outside freedom, choosing what we must.

So are we free, then, when we die? Is that it?

tom bauer lives in montreal with his sons and plays boardgames.

TERRITORIAL DISPUTES

by Karen Olshansky

Marin spotted owl population under threat from newcomers. Proposed government strategy seeks to eliminate invasive barred owls. —Marin Independent Journal,  October 10, 2023.

The Barred Owl with its stoic demeanor chest puffed feathers
perched in wooded river bottoms or swamps poked with trees
sit staunchly like the dead wood where they perch
guarding, watching with still eyes, baritone song filling the forest

who cooks for you who cooks for you who cooks for you

sometimes silent in search for food and prey 
the Spotted Owl an innocent target
brother eating sister attacks, the cruelty of nature
birds mirror the disregard for one of their species

uncaring, mean, violent,
nature wins over evolution
that calls for reason, kindness, compassion
instead of the entrapments of violence 

a world driven by base instincts
of brains riven with ripping out each other’s
identity, that fear replacement,
smoke obscuring humanity.

Karen Olshansky lives in Marin County, California with her husband and a well fed Koi named Pickle Face. Dismayed by our world gone mad, she writes poetry in order to maintain her sanity. Her work has appeared in The Literary Nest, Tuck magazine, The News Verse News, and the anthologies: Lingering in the Margins, Unsealing Our Secrets, and Unspoken.

GOODBYE

by Jacqueline Coleman-Fried

after Jorie Graham

 

Here it comes, at last, the nightingale,

after wintering in Africa—

black eyes on fire.

 

Listen to me.

Listen.

You searched for me in all England’s 

green patches,

but the land where Keats

wrote his great poem

has lost the low brush, the woodlands

where we nest.

Our wings

have shrunk, the journey

to sunshine and back too far, too ominous.

Why are you listening only now?

Why did you not

protect?

You didn’t notice my long,

thin beak opening wide—

O—

issuing more sounds

than any other bird.

And silence, repeated, like white

between stanzas.

Now you want to learn—

you write like you talk,

without music—

do you know I’m the bird of Ukraine?

Nation

of poets and musicians.

How many are dying? Dying every day.

Our songs call lovers,

shame all who close their ears.

 

And he left then,

the bird,

taking every living thing with him

in his ballooning, throbbing throat,

before I could say goodbye.

 
 
 
Jacqueline Coleman-Fried is a poet living in Tuckahoe, NY. Her work as appeared in The New Verse News, The Orchards Poetry Journal, pacificREVIEW, Quartet Journal, and soon, Consequence, and HerWords Magazine.

LETZTE GENERATION

by David Chorlton

A scream circumnavigates the world.

Is anybody listening

 

when the police arrive to sweep away

those for whom the last resort

is blocking traffic

 

to impress upon their fellow citizens

the planet is on life support

and the drivers only have a mile to go

 

before the ground opens up

and swallows them.

 

Does anybody care?

 

Call it Freedom; say Democracy

until it hurts; write to the highest authority

and the mail comes back 

as undeliverable.  

The future’s not the future

 

anymore. And yet it is still beautiful

when a day begins with a mountain

spreading its wings

 

and the sun breaking into song.

David Chorlton lives in Phoenix where he writes and occasionally paints watercolors. While his writing is usually poetry, his newest book is a true life account of a murder story from 1960s Vienna (where he lived for several years) in which one of his cousins was wrongly convicted: The Long White Glove published by New Meridian Arts.

Editor’s Note: Listen to David talk about his new book on the Word podcast (about 10 minutes in) from WJZZ.

HEAT WAVE

by W. Luther Jett

Muffled staccato—
summer voices
too distant to be
understood—I try
not to stress the
circuitry mid-day—
douse the lights,
draw the shades.
A song from fifty
years ago plays on
my radio of memory

at 103 on the dial.


W. Luther Jett is a native of Montgomery County, Maryland and a retired special educator. His poetry has been published in numerous journals as well as several anthologies. He is the author of five poetry chapbooks: Not Quite: Poems Written in Search of My Father (Finishing Line Press, 2015), Our Situation (Prolific Press, 2018), Everyone Disappears (Finishing Line Press, 2020), Little Wars (Kelsay Books, 2021), and Watchman, What of the Night? (CW Books, 2022).

FIRE

A Poem for Ada Limón, using her words

by Pauletta Hansel

Ada Limón Is Named the Next Poet Laureate: Poetry, she said, can help the nation “become whole again” in a fraught, divided moment. Photo by Carla Ciuffo for The New York Times, July 12, 2022

                                

Sometimes I imagine all my lovely poets 

out there in the world of their bodies

having a poetry party

with dry red wine uncorked and pimento cheese 

spread out on a warm lawn, or gathered 

around the inside of a picture window,

still black water holding the stars, 

talking poems made 

            in the white heat of the moment… or 

            written from inside the well ...

Reminding themselves that

            when things are bad, 

            we still have our words

            and each other.

And then I get on Facebook

and I see it really is true. 

            When the day calls for fire 

            and your friends have all the matches 

            to burn it down, Ada posts,

and I know these friends,

some of them anyway,

and the R.J Corman rail line

running by her house,

            surrounded by wild things, 

            green trees, grasses.

 

But never mind my invitation

lost on the internet,

I’ll read myself in

between the lines—

            “If you want to win anything—your race, your self, your life—

            you have to go a little berserk”—this woman even gets good fortune cookies, 

and on the radio now Ada Limón is talking 

about female rage and how

                        sometimes we need

                        to step into that room and make ourselves

                        fully known and fully seen.

 

Even “The Onion” loves this woman, the railroad spike

bisecting Trump’s hypothalamus and he calls a meeting 

to name her poet laureate.

            When we name things we are more tender to them…

            But I am also aware of the hubris of naming things.

 

She’s not my friend,

even though she seems to live inside my body,

            more tired than I should be, 

            …hurting more, 

            my brain keeps saying 

            “this country hates women, 

                        this country hates women”

                                    over and over…

            And of course women are hesitant

            about our subject matter. 

            Of course we are. 

            We’ve been taught that from the very beginning

to ask ourselves,

            Should I take the “I” out? Should I erase my being?

But there she is, Ada Limón, singing the song 

of our shared bones, and, yes,

sometimes the song 

is enough.

Author's Notes:

Italicized lines are from the following sources: 

Ada Limón's Facebook timeline, October 2018

https://soundcloud.com/kutnews/this-is-just-to-say-ada-limon-and-carrie-fountain https://www.cleavermagazine.com/a-conversation-with-ada-limon-author-of-the-carrying-interview-by-grant-clauser/

https://politics.theonion.com/calm-measured-trump-hard-at-work-after-freak-accident-1829686798

“The Poetry of Perseverance: An Interview with Ada Limón,” Poets & Writers September/October 2018.

 

The final lines reference “A New National Anthem,” The Carrying, by Ada Limon

 

Pauletta Hansel’s newest poetry collection is Heartbreak Tree, an exploration of the intersection of gender and place in Appalachia. Her writing is featured in Oxford American, Rattle, The New Verse News and Poetry Daily, among others. Pauletta was Cincinnati’s first Poet Laureate and is 2022 Writer-in-Residence for The Cincinnati and Hamilton County Public Library. 

SONGS OF SURVIVAL

by Cristina M. R. Norcross

Pregnant women and children were caught in the bombing of the hospital in Mariupol. —The Mirror (UK), March 10, 2022

“Congress of Peoples for Peace" by Frida Kahlo (1952)

Debris, like ticker tape confetti,

still floats in the air, 

as the camera lens captures

a young mother’s silhouette,

protective hand holding her half-moon curve.

I spot the side of her cheek and eyebrow

dotted with streaks of blood,

where shards of glass or wood must have 

swept past her, mercifully missing 

her vulnerable nest within.

 

A Frida Kahlo painting appears on my screen,

while breaking news continues to drone.

Both moon and sun spheres glow on the canvas.

A tree of life, bursting with oranges,

grows before my eyes.

A mother hen sits impossibly on top,

as if keeping eggs warm on the highest branch.

 

The little girl’s song in the shelter 

lingers from last night, 

stays with me, as I walk through the house.

I hear her honeyed, hopeful voice 

even as I fall asleep. 

Her letting go of sound, word, voice, outcome

is the bravest note I have ever heard.

 

We sing ourselves into a new day,

an insistent melody

where sound itself holds the promise

of survival,

proof that beyond the bombs and tanks overhead,

rooted in the cellar of Ukraine’s earth,

is a chorus of people who believe. 

 

Cristina M. R. Norcross lives in Wisconsin and is the editor of Blue Heron Review. Author of 9 poetry collections, a multiple Pushcart Prize nominee, and an Eric Hoffer Book Award nominee, her most recent collection is The Sound of a Collective Pulse (Kelsay Books, 2021). Cristina’s work appears in: Visual Verse, Your Daily Poem, Poetry Hall, Verse-Virtual, The Ekphrastic Review, and Pirene’s Fountain, among others. Her work also appears in numerous print anthologies. Cristina has helped organize community art/poetry projects, has led writing workshops, and has hosted many open mic readings.  She is the co-founder of Random Acts of Poetry & Art Day.

WHEN WAR COMES

by Tricia Knoll

At first the war seemed far away from dying manatees, 

slaughtered wolves, prices at the pump, and bomb cyclones.  

 

Then I asked myself IF I had ever

            eaten from plastic boxes in an air-raid shelter

            witnessed the death of my children on Instagram

            slept in a subway station on one old blanket

            carried a bleeding pregnant woman from a bombed-out hospital

            met my neighbors for the first time in a shelter

            tried to explain why my dog should get food

            pushed twelve women and children into a minibus

            moved my grandmother in a wheelbarrow

            asked where all the shoes went in the shoe store

            lined up all my books—from Dante to Harry Potter

                        to Yeats and Dickinson as shields from bullets

            considered shooting a saboteur on my street

            sang a song to comfort strangers

            clutched my passport every minute of every day

            cooked for a soldier in the basement

            hoped there was enough water for bedtime

            decided to name a newborn as a missile fell

            realized I had to leave behind the family Bible

            worried about who is running the nuclear plant

            mixed a Molotov cocktail in yesterdays’ Chablis bottle

            tried to resurrect the footprint of my family’s home

            fled from ancestral graveyards

            appreciated bright stars in a black-out

 

in dark days for the globe—midst pandemic, 

climate change, aggression, lies, inflation, poverty,

and pollution. What song does the Earth sing today? 

Tricia Knoll understands concerns about rising gas prices and inflation. She is able to drive less, to stay home while others cannot and buy less. The televising of the war against Ukraine is ceaseless and compelling, She wishes we could act as if we are all residents of Earth, what destroys one hurts us all as citizens of this globe.

THANKSGIVING CLIMATE CHANGE SONG

by Melissa Balmain

To the tune of “Over the River and Through the Woods,”

with apologies to Lydia Maria Child

Over the river and through the woods

To Grandma’s we planned to go,

But floods rose all day

And the bridge washed away

And a Honda is hard to row.

Over to Amtrak we went, of course,

Which would have been just fine

If wildfires had not 

Occurred on the spot

To block the 4:09.

Over our budget, we caught a plane—

We’d soon take off, we knew!

But cyclones and swarms

Of tropical storms

Had stranded the whole damn crew.

Over and over we tried to Zoom:

Hail knocked the power dead.

No time to stay put,

We’ve departed on foot

For New Year’s Eve instead. 

Melissa Balmain edits Light, America's longest-running journal of comic poetry. Her newest book of verse is The Witch Demands a Retraction: Fairy Tale Reboots for Adults (Humorist Books). Twitter: @MelissaBalmain

YOU ENTER HIS HOUSE

by Nathan Porceng

U.S. Roman Catholic bishops are due this week to discuss whether politicians, including President Joe Biden, should receive Communion while supporting abortion and LGBTQ rights, a debate that has divided the clergy and laid bare internal cultural rifts. —Reuters, June 15, 2021

and his air smells funny

and his art looks funny

and his wine tastes funny

but you try not to offend him,

for you’re dining in his house.

You exchange pleasantries.

You catch up a bit.

You ask about Gabe,

and Michael

and all the other boys

from yard days past

and he tells you they’re

fine,

even made a bit of money,

though they don’t come

around as often as they should,

and you try not to offend him,

for you’re dining in his house.

And it’s Eastertime,

or Christmastime,

or all another holy time.

He asks if it’s been a rough year?

“You don’t look so well.”

“You used to be so giving.”

You swill your wine.

You swallow.

“Yes, it has been a rough year,”

you spit,

but you try not to offend him

for you’re dining in his house.

He tells you

he likes you 

better in person.

You tell him

you like him 

better by mail.

He nods.

He appreciates your candor.

He makes a little joke.

He tells you he has it on the BEST of authorities

that this is FINALLY the year

that your team

(Panthers, Pirates, Penguins... )

will win it all.

In years past,

you’d fake a smile,

and try not to offend him,

but you can’t even manage

that.

He plays you a song.

He ushers you out.

You leave his house,

feeling emptier for it.

Nathan Porceng is a Washington-based poet, songwriter, and submariner. As part of the band Bridge Out, he won first place at the 2014 Northeastern Songwriter Festival in Brookfield, CT. He firmly believes Joe Strummer gave us all the tools we need to save the world.