Tom Gdisis is an award-winning photographer who honed his visual eye during a long career in broadcast television. Now retired, he expands his creative output through photography, poetry, and flash fiction. His artwork was selected for the cover of Beyond Words Magazine (Issue 65), with additional photography appearing in Third Wednesday Magazine. His creative writing appears or is forthcoming in Fine Lines, Reedsy, Horror Tree, AntipodeanSF, and AllPoetry.
coughing out dust from a butter churn waiting for auction.
Tasting upholstery shampoo from the dining room chairs
that will sell for pennies.
It weathers her lungs.
The air has the poison of the family’s past.
She breathes down into her belly
to pack what tiny bits of life she can carry out,
to discard ghosts
the fantasy of an unencumbered self,
a new way to quiver.
I Subscribe to a Newsletter About Chronic Wasting Disease
and I don’t know why.
I recall the herd of elk
that wandered near Banff.
Three or four families together
slow purpose, watchful
side-eye to gormless tourists
who aim phones at wapiti targets.
The rangers arrive in pairs first
warn the crowd that filters
from the sulphur museum
where glory-day photos of bathers
hung in a hall cave of stench.
How did the rangers know?
Maybe the elk
texted their intention
or they trot this way often
to gawk at weird, unusual humans
like we flip through Vogue,
or people watch at the mall.
Maybe they demonstrate majesty
for lesser creatures
because I saw kings and queens
family
community
lives with purpose
on an ancient alpine trail
and I was jealous,
so jealous.
Virginia Doré
Virginia Doré lives on the traditional, unceded, and unsurrendered territory of the Algonquin Anishinaabeg peoples in Ontario, Canada. Her first chapbook, An Adult Child’s Garden of Toads, was shortlisted by Waxing & Waning for the 2026 Apogee award. Her poetry has appeared in Arkana, Hare Paw’s Literary Journal and RoughDiamond’s anthology, Reflections of the Mind: Mental Health Poetry. When she is not writing poetry, she argues with herself and enjoys walks with her dogs.
Ryo Kajitani is a queer artist and art model based in Tokyo. Kajitani studied oil-based woodblock printmaking at Tama Art University (2010–2014) and completed a doctoral program in Art and Design there (2019), studying under the late art historian Kunio Motoe (1948–2019) and cultural anthropologist Yutaka Nakamura. Their research applied the ontological aesthetics of Martin Heidegger’s The Origin of the Work of Art to artistic practice within exhibition spaces. Kajitani also works as a full-time graphic designer. Since 2021, they have created photo-collages that rework photographs of the body through digital editing, code-based image processing, and layering. Recent highlights include INT’L All Media 2026 at Minot State University, USA (2026); an online exhibition with Galeria 5ª ao Sul, Portugal (2026); the Montage Award at the Meta Morph AI Award, UK (2024); a finalist award at the Asia Digital Art Award FUKUOKA (2024); a Top 100 selection at the Social Art Award (2025); an exhibition at the Trenton City Museum at Ellarslie, USA (2023); and participation in NFT London and NFT New York (2025).
in 1959 they’d bring you a carton of milk every day at 2pm.
a mid-afternoon pick me up for twenty 2nd graders who sat dutifully at their
wooden desks between math and geography, taking the slow steps
to growing up. for a quarter a week every
afternoon gary, who died of aids fourteen years later wheeled a cart between five rows
and delivered the milk while scott, who became a carpenter because he
understood angles and how to measure things; marked off the
names in pencil with a crooked check mark and minded the names with
an X beside them who didn’t get milk because they hadn’t paid a quarter.
I kept my head down, pretending not to care. I cared, of course I cared.
but I had never paid, I never had a quarter. I was seven years old,
too young to have a quarter of my own.
And I didn’t want to ask. I knew no way to bring it up
to my father who sat worn thin as explanations every evening
smelling of black dirt and sweat.
with the eyes of a poor men, scooping frijoles from
cracked plates. there was never a sliver of opportunity for questions.
no room between bites for asking. I didn’t want to see
his face and how the sun would sink a little lower behind him
when he dug into his pockets and found them empty.
Gilbert Arzola
Winner of the 2019 Passager Poetry Contest and the 2021 Rattle Poetry Chapbook Contest, Gilbert Arzola has been nominated twice for Pushcart Awards. His book of poetry Prayers of Little Consequence was published in 2019 by Passager, and a chapbook, The Death of a Migrant Worker, was published in 2021 by Rattle. His work has appeared in Crosslimb, The Elysian Review, The Notre Dame Review, Palabra, The Tipton Review, Craft, Acentos Review, Two Cardinals, Flying Island, and Rattle, among others.
Esther Zhang is a junior at The Winsor School in Boston, Massachusetts. Her writing has been recognized by the Scholastic Art & Writing Awards, The New York Times, and Longfellow House. Beyond writing, she enjoys experimenting with digital and film photography, and her photographic work has been featured as cover art in Blue Marble Review and published in New Plains Review.
Featuring:
Issue 119, published October 2026, features works of poetry, flash fiction, short nonfiction, and visual art by Linda K Allison, Gilbert Arzola, Sarah Barbo, Roger Camp, Barbara Daniels, Natalia Danjon, Virginia Doré, Chris Dungey, FruitAndNut, Tom Gdisis, Cleo Griffith, Lesley Hart Gunn, Mark Hendrickson, Zebulon Huset, Romana Iorga, Ryo Kajitani, Carella Keil, Merie Kirby, Grace Lynn, Daniel Moon, Sylvie Oleta, Josh Price, Stacy Rollins, Elizabeth Rosen, David J. Schast, Judith Shapiro, VA Smith, Stefan Sofiski, Lisa Christina St John, Valy Steverlynck, Kathryn Temple, John Walser, Megan Wildhood, Stephen Curtis Wilson, S.E. Wilson, Roberta Winters, Jean Wolff, Jason Youngclaus, Matt Zambito, and Esther Zhang.
64 Pages, 6 x 9 in / 152 x 229 mm, Premium Color, 80# White — Coated, Perfect Bound, Glossy Cover
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