April 2015 | back-issues, poetry
I. Every object in a state of uniform motion tends to remain in that state of motion unless an external force is applied to it.
Annabelle constructed her dreams in a globe,
glass surrounding the dream-world like a cell’s membrane.
What do you make of this world?
Do you think it’s truly impermeable? Do you think anything
is truly impermeable?
Annabelle constructed her dreams deliberately, precisely
following the rules of uniformity with each daily addition.
Inside the globular world were fairies, and ambitions, and
the perfectly quantified fruits of her mind. In this dream world,
nothing was left to interpretation.
Annabelle constructed her dreams with her own hands
for the fear that someone else’s would corrupt them.
Addition by addition, part by part, she assembled the pieces,
the starry ambitions, the broken thoughts, the half-hearted wishes.
Soon, she had something to put on display.
Annabelle constructed her dreams with the purpose of putting
them on display. Contained in the globe, they would never break;
she was sure of it. Once her hands had finished constructing,
she exposed the globular dream-world to the human world.
Only her hands, grasping from the outside,
could make the fragile world
and only her hands
could break the fragile world
Shattered, broken, permeable–
permeable–this
world of dreams.
II. The relationship between an object’s mass m, its acceleration a, and the applied force Fis F= ma. Acceleration and force are vectors; in this law the direction of the force vector is the same as the direction of the acceleration vector.
F=ma
How else would you put it?
The force vector and acceleration vector
progress in the same direction:
forward.
Annabelle grew sick and tired
of the word. Forward. As if direction
were something quantifiable;
as if forward were the only
means to success
What would happen
if in this law
the direction of the force vector and acceleration vector
moved in was backward?
Would anyone object? Who would
dare say it was not the direction
of a world moving at the speed of light (299792458 m/s)?
Who would object to the pausing of output,
to the ceasing of heartless production,
to the prevention of time’s relentless effects?
But time, according to the laws of motion, continues
to gain F as the mass of the world increases
and soon our hearts get a little heavier
and Annabelle’s thighs are creased with stretch marks,
and her skin fades into nothingness,
and her lips evaporate into thin air,
and her eyes metabolize into liquid
and she no longer knows how old she is, how old she was, how old she will be,
and time keeps on going,
keeps on accelerating, and a is the only variable we know.
III. For every action there is an equal and opposite reaction.
Picture Annabelle:
She is seventy-two,
lying breathlessly on the ground.
Dissect her:
Tell me what you find.
Perhaps you find a broken globular dream-world, perhaps you find remnants of an accelerating life.
Rummage through her:
Veins, stories, cartridges
of dying ink.
Picture her birth:
Bright, calm, serene.
React
Picture her death:
Dark, quiet, passing.
Produce
Today
somewhere
Annabelle is being born,
fresh and new and alive,
and somewhere too
Annabelle is dying.
by Meghana Mysore
Meghana Mysore is a junior at Lake Oswego High School in Lake Oswego, Oregon, where she is Editor-in-Chief of the literary magazine and Opinions Editor of the newspaper. Her work has been published in Crashtest, Canvas Lit, Stepping Stones, VoiceCatcher, The Writers’ Slate and more and recognized by the Scholastic Writing Awards.
April 2015 | back-issues, poetry
I know what you mean
about the whiteness of paper,
the inevitability of the sharpened pencil
and the exactitude of the forgotten
line that curves
to the contours of the robin’s egg
discovered beneath a hammock
resting on the freshly cut grass,
speckled for all it’s worth.
You talk about the weight
we all must learn to bear
and the nutmeg
you heard as a child
before you smelled it.
Because so much is lost
in translation
at least in theory,
the way the knuckleball
flutters and resists
understanding and gravity.
The way each Thursday
figures me
in the sparse shade provided by the simile
of a date palm.
by Christopher T. Keaveney
April 2015 | back-issues, poetry
Spilling Ink
caught in moments
we theorize new reflections
arithmetic in strange places
empty subway stations
and park benches
strangers collide in ever-
limbo spaces, for never
do you know the next
encountering that changes
faces
time un-thought will
likely reach you, each
echoed beat and pulse
vibration, rattling like
the rattled station
and thoughts un-certain
will probably break you
but passing lives will
make you stop and softly
laugh and cough and think
and who we were will in
that moment, mingle
as if spilling ink.
by K.C. Bryce Fitzgerald
Immortal Moth
a daring V
a twitching silhouette
draped like Halloween cobweb in
lines too invisible to comprehend
a minute, then cacophony of
hoping
valiant, triumphant this
naïveté
unfettered by the fears that chain
circumstance to mortality.
Brushed clouds, like clotted cream
unpasteurized, provide soliloquy to
this impressionist scene
somber joy framed by dusk and sky
and trees
the foreground: moth, finally learning how to die
no tears, just knowing that behind
are butterflies.
by K.C. Bryce Fitzgerald
Old Timber
clock ticks into day grown cold
old timber sings inside the lull
pulled by thoughts and things unseen
alone with aging memories.
the staircase circles candlelight
an iron pendulum clock keeps time
perpendicular parallels intertwine
like cords of shredded fishing line.
on balcony a girl in white,
drunk, darts her head like clock ticks time
and warm and comforted she seems
in feeling what the fireplace brings.
it darts and dares your eyes to weep
or scream but never both, you reaped
your choice like words reap written wrongs
your miles wail like country songs.
and in the corner a piano pings
its umber cadence harmonizing
with the wood and the warmth and
the girl who, like the clockwork, sings.
she echoes through the empty hall
a timing ticked inside us all
its passage calls in chains above
the room, the way old timber does.
by K.C. Bryce Fitzgerald
Unsatisfied
I have to screw my head back on
it’s grown unkempt tonight
it rushes like water from a
bleeding fountain and bristles
like crabgrass getting ready
for a fight.
the minutemen parade inside
a pessimistic blight
a painful deep thrombosis pulls
and pushes like a tug-of-war
and complicates what it means
to be right.
for sanity comes surgically
like diamond ember lines
a twisted belief that raps at
your window like a pregnant
mosquito drawn towards peeling
empty light.
but I have to screw my head back
on, and screw back on my sight
it falls like leaves so red and
crisp and rattles just like
skeletons whose heads are screwed
too tight.
by K.C. Bryce Fitzgerald
K.C. Bryce Fitzgerald has been writing stories since he learned to read. A native of Los Angeles, he is inspired by the daily truths of the world around him. Currently unpublished, he is hard at work on a debut novel, countless short stories, a book of poetry, and several screenplays.
April 2015 | back-issues, poetry
Hell is a
cold place
where we
stand in a line
with strangers,
awaiting an
unknown fate.
You hold my
hands but
can never warm them,
and tell me a
slew of
grotesque true
stories, drenched
in blood —
Bodies hurtled
through air,
death by blunt
force trauma.
I plead with you
to stop.
I don’t want
to hear.
Around us,
faces veiled
in red shadows
chant,
“Kiss, Kiss, Kiss!”
by Emilia Koka
Emilia lives in Massachusetts with her family. She is a full-time Biology student by day and guitar-playing, poetry-reading enthusiast by night. This is her first publication.
April 2015 | back-issues, poetry
Burning Leaves
for Marianne Leppmann, at 90, 1989
The soul yearns outward
the body turns to salt, this slow pillar-making
punishment enough for looking back.
How release the ready heart?
Images flood the night
a flush of false dawn, breath of spring
beat of memory like birdwing, a letter in his hands,
“From an admirer, someone in love with you…”
(Already taken by the finest of them all,
you’re pleased he knows another thinks you
finest of them all)
New biographies unbury your oldest friends:
“girlish letters no one’s business”
“a man’s confessions of unmanly need”—
this, you will not allow. Each night, by candlelight,
you unrecord the history of a love
that’s only yours, not time’s
nor progeny’s
October, the smell of burning leaves—
letters unfolded give off his scent
fine German script imprints the air
black flakes breathe to ash
I protest—
“Maybe burn only the love letters?”
“They are all love letters.”
You have not looked shy like this since he was alive.
In 1940, you dreamed the black, devouring cloud, Europe
in flames. Joachim, the engineer, welcomed by the Turks,
traveled ahead; you, the doctor, followed with the children
Survivors. Stunned, as the pages turned.
Four score years along, once more he travelled out ahead,
destination: no known country.
Survivor, you wear his absence like a presence, trust
he waits for you, a place prepared
This time, you travel light—
grow lighter still, this slow and careful way,
each day one letter gone
I remember how the smell of burning leaves
in childhood carried the scent of winter;
it was how we prepared—a blaze, a drifting
plume of smoke,
a Festival dance—
A young girl runs across the floor
to meet her love
by Catharine Lucas
Runaway
(for my son at 16)
A white string zips along my path
I clutch at grass and gravel—too late!
someone’s yellow kite hops the shoreline
jonquil gone crazy
staggers like a sunny drunk
out into low rushing fog,
dips, water bound—
—but no!
a gust tosses it higher to where another wind
plays it up into clear blue
I console myself—
Who knows how much of sea
how many birds and heaving whales
it will salute before its certain death?
I was always taught that kites are programmed
to plummet when the string is lost, that safe
flight depends on one who stands
rooted, pays out the line, winds it home
But this aerodynamically impossible kite
suggests a new world order:
some days, some winds
some kites unanchored soar
by Catharine Lucas
Catherine Lucas’ creative writing will appear or is forthcoming in Zone 3, Digital Paper (University of California, Berkeley), Magazine (San Francisco State University), and Asilomar Poets, 1974-1980 (Equinox Press). Her academic writing is published under the name Catharine Lucas Keech. Catherine has taught undergraduate writers, graduates in composition studies, and teachers of writing. She studied poetry at UC Berkeley in the seventies with Josephine Miles, and in the eighties at Mills College, Oakland, CA with Rosalie Moore. She participates year-round in a writing group with several published authors and recently attended a master class at Hedgebrook Writers Retreat.
January 2015 | back-issues, poetry
Would you look at my beautiful
Skeleton broken in two, twice
The shell of a skeleton in a mirror?
You who cannot recognize the you
In me underneath my skeleton mirror,
The belly I am no longer approved in.
Swallow familiar shadows- not seen
Before my eyes; look down as your sex
Swallows me entirely, leaving me whole.
Look hard to see the secret hidden stars
When you find darkness in a shadow mirror,
Mirrored by twice the shell of a skeleton.
by Paige Simkins
Paige is a poet who lives with her dog, Sir Simon, in Tampa, Florida. She holds a Bachelor degree in English (Creative Writing) and a Master’s degree in Library and Information Science. She works as a Public Librarian and is very passionate about poetry, libraries, VW Beetles, and visual art.
