January 2021 | poetry, Pushcart nominee
An Exploited Body
You claim it’s a dwelling grasp. I still fall
out of a tree—naked & thick,
hauling myself to beat
exposure. I fill myself in
in desperate clusters. Unable
to find a deep hole for my body,
I turn over the earth & rip the ocean
floor—give a final blow
to deprivation, hunt dead & run large
in the streets. I lurk
in hives, collect & attach you
like an eyeball—a blind silence.
I search for bony bundles
& drain my body—an empty constant.
The Day of My Wedding
I stayed inside because of the rain.
From behind the bay window
I watched a funeral & a family
grieve.
I watched a wild horse
run away from the field—
gaining freedom to ground
itself.
The grass webbed with dew
for the rest of its days.
Sewers overflowed
& cars stopped passing
through.
For the rest of my days
I watched a child
fall backwards at the bottom
of the staircase, just out of my
reach.
Annie Elizabeth
Annie Cigic is a second-year student in the Rhetoric and Writing Studies PhD program at Bowling Green State University. Her research interests include critical pedagogy, community-based learning, advocacy writing, and student agency in writing assessment. She received her MFA in Poetry from BGSU. Her poem “Afterlife of a Dumped Body” is nominated for a 2021 Pushcart Prize by Driftwood Press.
January 2021 | poetry
& now it’s for real! Not the science fiction
of books or movies, test tube anomalies
reported from overseas, alien
contagion you could only survive given
regulated ventilation, capsulating spacesuit
NASA style. Say all you want
about mock-scenarios: Travolta’s The Boy in the
Plastic Bubble: the hellish loneliness of isolation
& quarantine, the psalmist who forewarned
of a “great trouble” I’d witness after she
took my $100 and told me in parting,
in no uncertain terms, that like the animals
who flocked to Noah’s Ark, I’d be spared,
Anita and the boys too, all of us protected
by the agency of some mystical
ministration. & then, almost overnite,
the pandemic surged like a tsunami,
came crashing with a shuddering BOOM!
In an instant life ceased to exist as we knew it.
Suddenly no one talked about wars,
the constant threat of terrorism, batting stances,
box scores, fast-breaks, Kobe or the triangle offense.
International flights were ordered home
as confirmed cases & death tolls
started to mount. Rubber gloves and surgical masks
became the accepted norm as hysteria & fear
ratcheted up & lockdown &
social distancing went from memes to everyday lingo.
& then the stern & troubling projections
from the C.D.C. of souls lost,
the World Health Organizations holocaust-like forecast
models; how airborne viruses mutate, flourish in
more welcoming environments—
the least resistant the more accommodating the host.
Contagions have gripped the earth before, left
a nasty trail of death & pestilence.
From S.A.R.S. to Swine to Covid-19, we have
Felt its brunt. But NOTHING compares
to the scourage of the Black Plague,
the Great Mortality, the Pestilence, the Great Bubonic,
the Great Plague, or lastly, because the world
had never seen the likes of it before,
because Europe & its counterparts, Eurasia & its outliers,
satellite societies, fringe nomadic & Mongols,
only a hundred years since the last
sighting of Genghis Khan upon the steppe, in the saddle
of a fine Arab Charger, before massive,
uncontrollable death—
millions upon millions upon millions—
more than ever accounted for
in the totality of wars.
& now we enlist them by anacronyms,
refer to them by geographic or animal
origin; the long history of illness
independent of questioning how or why.
You can trace the migration of the Plague
back to the Silk Road
where it swept through Crimea & then upon the yaw
& creak of Genoese merchants
bound for parts of Judea & Galilee,
the archipelagos of Thrace, the coastline of the Aegean
& Ionian Seas, from the stiletto
boot to the Strait of Gibraltar, rats scurrying
off the decks & gangplanks infecting
the under-belly of Europe.
O’ sickness, how it wiped-out the land—
from soothsayers to merchants to prostitutes
to great barrons— O’ bodies left roadside,
no shelter remained to conceal the dying,
the rotting. & the gripping reality of naked histrionics:
the caterwauling, the protracted gasp and breath,
the sudden collapse of the living
upon the dead, crying into the stale breath
of what they said would spread.
Stepping around or over
the faces of the known— bluish, purplish
luminesces cauliflowering the neck,
hair greased with sweat,
bacteria & fungi doing their dirty work.
Tonight Time’s Square is a flashing ghostown.
The remedies for pain have
different denominators, and they know what
they are— depression, drugs & daily exercise;
faith in god or 4 more oxycotin
pilfered from my wife’s purse. I’ll toss them in a box,
shake & offer: whichever you get
must be followed to completion.
What does the muse say? Grin & bear it.
Tony Tracy
Tony Tracy is the author of three poetry collections: The Christening, Without Notice and his newly released book overseas, Welcome To Your Life. He is a Pushcart Prize-nominated writer whose poetry has recently appeared or is forthcoming in North American Review, Burningword, Jelly Bucket, Poetry East, Tar River Poetry, Rattle, Hotel Amerika, Painted Bride Quarterly, Potomac Review, Briar Cliff Review, and various other magazines and journals.
January 2021 | nonfiction
Not until his funeral did I begin to realize how much of Dad’s life I had misjudged. I was too busy rebelling, even at age 37, which is how old I was when he died on his 61st birthday.
But I got a glimpse of the man I couldn’t see when several members of a Japanese-American family unexpectedly attended his funeral. We had no idea who they were or why they were there.
One of us Euro-American mourners approached them after the service, and we learned the Japanese-American family had owned a grocery store in our Portland, Oregon, neighborhood. But it had been more than 25 years since we had moved away from the area and 34 years since the incident that prompted their attendance at his funeral.
During World War II, they had been forced to relocate from Portland to an internment camp. (Imprisoning families of other ethnicities is a measure of our chronic barbarism.) After their release in 1945, Dad was the first to welcome them home. It seems a simple act, yet it had great meaning for them, and their gratitude lasted his lifetime.
This was the man the Japanese-American family saw, and it is to them that I owe the prompt for a larger view of his life.
Richard LeBlond
Richard LeBlond is a retired biologist living in North Carolina. His essays and photographs have appeared in many U.S. and international journals, including Montreal Review, Redux, Compose, Concis, Lowestoft Chronicle, Trampset, and Still Point Arts Quarterly. His work has been nominated for “Best American Travel Writing” and “Best of the Net.”
January 2021 | Best of Net nominee, poetry
It wasn’t his bridge, of course.
It wasn’t even his city, and it certainly wasn’t
his world. It’s your world, jazz music says,
I’m just living in it. And the world’s a workshop.
Sonny was different, though. Even for one
we’d call young gifted & black without being
bromidic. Sonny heard so much but mostly
only listened to himself, waiting and creating
his own kind of way, expressing everything.
How do we describe the kind of man already
in rarified air deciding he wasn’t high enough
(having already eschewed the artificial ecstasy
that ruins veins and soils brains, Body and Soul)?
This colossus, keeping his own council, split
his apartment to set up shop in the crow’s nest
of the Williamsburg Bridge, perhaps the one
place aside from the Arctic Circle where no one
could see or hear history being picked apart
like a carcass, and then reassembled in real time.
Three years of this. Almost a thousand days
while the world spun, the cash registers rung,
and so many pretenders to the throne ascended
for lack of better options. Sun turned to snow
and dawn turned to dark and there were still
all those sounds: a style being tweaked, a gift
being refined, an experiment being improvised.
The quest for vision, it’s said, will make
otherwise steady men see outlandish sights:
as they deprive themselves of human fuel
they become something at once less & more
than a vessel; the spirits speak to and through
them and once that barrier is broken, one sees
oneself changed, then begins changing the world.
(*In 1959, feeling pressured by his unexpected rise to fame, Rollins took a three-year hiatus to focus on perfecting his craft. A resident of the Lower East Side of Manhattan with no private space to play, he took his saxophone up to the Williamsburg Bridge to practice alone.)
Sean Murphy
Sean Murphy has appeared on NPR’s “All Things Considered” and been quoted in USA Today, The New York Times, The Huffington Post, and AdAge. His work has also appeared in Salon, The Village Voice, The New York Post, The Good Men Project, Memoir Magazine, and others. His chapbook, The Blackened Blues, is forthcoming from Finishing Line Press. He has twice been nominated for the Pushcart Prize, and served as writer-in-residence of the Noepe Center at Martha’s Vineyard. He’s Founding Director of 1455 (www.1455litarts.org). To learn more, please visit seanmurphy.net/ and @bullmurph.
