April 2016 | poetry
The power saws of my childhood
sneak into the wind, great whirling
motors spitting dust, soft
and clinging to the hair of my arms,
transforming me from child
to Nordic beast, wild curls of blonde
lumber blurring my edges.
My father’s leather-pouched belt
hovers by my ear, smelling of nails
and sweat, and the chalk of a snapped line
hangs in the long air behind me, marking
the path from here to the place
where I once placed fallen screws
in a blade-scarred hand, certain
what I offered
was needed.
Alice Pettway
Alice Pettway’s work has appeared in over 30 print and online journals, including The Bitter Oleander, The Connecticut Review, Folio, Lullwater Review, Keyhole, and WomenArts Quarterly. Her chapbook, Barbed Wire and Bedclothes was published by Spire Press in 2009, and her full-length collection, The Time of Hunger | O Tempo de Chuva, is forthcoming from Salmon Poetry. Pettway is a former Lily Peter fellow, Raymond L. Barnes Poetry Award winner, and three-time Pushcart Prize nominee. Currently, she lives and writes in Bogotá, Colombia.
April 2016 | poetry
It’s nice to be me
she wonders
when you do not know
what the time is
at any shade of day.
When the dreams
bring down
the leaves of scorn
blown by the bluster
of those
that know what they do.
It is so nice to be me
on my own
to walk the trails of private gardening.
I rustle round the grass
like a whisper.
In the blue forget-me-nots
that flutter in my company
Who needs people?
if you have sown
the pretty pinks
to keep the head warm and cosy
in its bed of confidence.
I am so special I know
there are places to fly
to say the crazy things I say.
Nigel Ford
Nigel was born in 1944 and started writing age 14. Jobs include reporter for The Daily Times, Lagos, Nigeria, travel writer for Sun Publishing, London, English teacher for Berlitz, Hamburg, copy writer for Ted Bates, Stockholm. Several magazines in UK and US have published his work, including Nexus, Outposts, Encounter, New Spokes, Inkshed, The Crazy Oik, Weyfarers, Acumen, Critical Quarterly, Staple, T.O.P.S, The North, Foolscap, Iota, Poetry Nottingham, and Tears in the Fence.
April 2016 | nonfiction
An April morning, or maybe March, my children and I were enjoying the medium-low sunlight, when my son, Jacob, found a roly-poly. We congregated and proclaimed it a fine representation of its species, clumsy in its armor, as if playing dress up in its grandfather’s old army coat, and concluded that it was most likely on its way home from a sleepover, whereupon I returned to my writing, they to their explorations. A few seconds later I turned my head to a quick succession of three strikes: the first soft, the second and third with a consecutively sharper snap. Jacob crushing the roly-poly with a golf ball to a gray paste.
A stunned second and then I was yelling, “What are you doing? No No!” and sent him on a big timeout. This from my gentle boy, my movie-time snuggler – this unprovoked devastation, exercise in the superiority of breadth, unfortunate example that even the sweetest boy will instinctually destroy what differs from himself.
Crying not just from my admonishing but because he really didn’t know why he had done it, head in his killer’s hands, smear of the murdered insect and the crushing ball at his feet
My daughter, Olivia, sauntered over and inspected the pulpy remains of the roly-poly. “Oh,” she said, her voice skipping over a pool of sadness, and then standing before the penitent boy on his timeout, began berating him, “No Jacob, No!” Her tone transcended her usual bossiness, and was not a mere mimicry of my tone, but rang of something deeper, something issuing from her that was innately feminine, of unprotected life and the mourning of common tragedy; she who insisted upon vanquishing every spider from the house was whipping my son with words, her body jerking with spite.
Chilled now in the warm yard a sister waits for her brother’s apology.
Josh Karaczewski
Josh’s stories have been published in several literary journals, a couple receiving Pushcart Prize nominations. His books include the seriocomic novel Alexander Murphy’s Home for Wayward Celebrities and the collection My Governor’s House and other stories.
April 2016 | poetry
On the way to see lavender flames and bloody cow tails,
a bunny runs from beneath my car, tears in his eyes as if he had heard me
screaming inside my room minutes before
Some mornings I weep instead
Ashlie Allen
Ashlie Allen writes fiction and poetry. Her favorite book is “The Vampire Lestat” by Anne Rice. She is friends with the Green man and some other weird creatures.
April 2016 | poetry
Song
When we were together, we were not.
I was alone with you and with all the animals,
all the cherry blossoms, Chrysanthemums and
the rising sun. Is this Japan? But I’ve never been there.
Daylight is just the messenger of the secrets of
the night’s hidden and utter darkness.
Moonlight is just the reflection of the ashamed sun
and nothing else.
Twilight – the hermitage of the unholy things
squatting in the mud, waiting for dark and godly hours.
Love is a turkey when every day is Thanksgiving.
Love is cow in the slaughterhouse, bending down its
head to the ax.
The mountains stand tall and proud, talking in dead
language with the birds in the sky, resembling unknown
hieroglyphs.
Rivers flow with no time left, to the edge of
the horizon.
Logs split back into logs in the deep and still virgin
forests.
And then silence descends.
When we were together, we were not.
We tried to be something else,
but that was impossible,
because we were already completed,
and silence that descended was the end of everything.
Or it was the new beginning,
just like that moment when the orchestra conductor
stands still, before the first note of the symphony,
with its baton in the air, above his head,
and then he swings.
What is This
This is not the thing I want,
this is not the thing I don’t need,
this is not the thing that it thinks it is.
I sit on the writing table and think
about it. But at the same time I can not
think, therefore what?
The wine is decanting, my Gitanes sits unlit
in the ashtray and I watch trough the window
how the misty sadness is clearing over the grove.
I tend to take everything as it is, to make some
sense out of it, some shapeless meaning.
And I remember now how when we were with
together, everything around us would cease
existing. Maybe this is it. This everything.
The Cosmos, the Universe, the stars and nothing
else, just pure pleasure, when everything comes
to light. And it, of course, was standing between us.
And then, in fact, there was nothing but pure silence.
Peycho Kanev
Peycho Kanev is the author of 4 poetry collections and two chapbooks, published in USA and Bulgaria. He has won several European awards for his poetry and he’s nominated for the Pushcart Award and Best of the Net. His poems have appeared in many literary magazines, such as: Poetry Quarterly, Evergreen Review, Front Porch Review, Hawaii Review, Barrow Street, Sheepshead Review, Off the Coast, The Adirondack Review, Sierra Nevada Review, The Cleveland Review and many others.
