October 2017 | Best of Net nominee, poetry
Strangler Fig
After midnight you set out, some on foot,
others hiding in the back of an old pick-up
truck. Fate is the string on a paper kite, caught
in a strangler fig tree. Tangled, useless. Root
stems grafted together, merging each time they touch.
Noble and strange. Twisted. Overhead, a crescent
moon, sharp as a sickle. Its hook like blade could
lop your ear off. There are holes in the wall.
But you have to know where to look.
America. Where you cut lawns and give mani-
pedis and mop floors and change old peoples’ diapers.
Sleeping six to a room. Eating food from the dollar store.
If they catch you, they send you away. Hope is the
skin on a copperhead, it sheds and grows back.
The truck rumbles below your ribs. Someone moans.
Stink of fear and piss. The wind tumbles through the
acacias. Your mother’s brother has a cousin outside
Kansas City. You don’t know where Kansas City is.
The figs on the trees not yet ripened. Color of blood
and sadness, hard as the moonlit stones.
Solitude
Sol ‘it’ ude /~/ n.1. The state or situation of being alone. Blue feather dizzily falling. Leaves no one bothered to rake. The empty chair you used to watch TV in. Barren and stained, covered with a winding sheet. Thoreau had it wrong. Once the maple leaf loses that scarlet sheen, it withers and crumples, feigning death. Walden Pond was a kettle hole formed by glaciers in retreat. 2. A lonely or uninhabited place. Rural wilderness or desert, backwoods. The word beasts recline in the shade of the maples, licking their paws, dreaming of meat.
Beth Sherman
Beth Sherman received an MFA in creative writing from Queens College, where she teaches in the English department. Her poetry has been published in Hartskill Review, Lime Hawk, Synecdoche, Gyroscope, The Evansville Review, Silver Birch Press, Zingara, Rust + Moth, and Blue River Review. She is also a Pushcart nominee and has written five mystery novels.
October 2017 | poetry
Asomatous
To have it, be it
those mornings when you wake
and cannot turn your head.
The stiff column of your neck & spine
reminding you they exist & of how
limited peripheral vision is & more so
as we age, the eyes becoming nothing but
slits, wide-eyed wonder no more than a phrase.
This is when you wish for it &, too,
when winter comes ferocious, making its demands:
the coat, the gloves, the hat, the scarf, the boots,
the wariness of ice, press of snow, hands lying
chapped in your lap every evening.
&, lastly, when hungry, that particular ache.
You see it as a flame, some carryover from those Sundays
when you accompanied your mother & served
as acolyte, good girl. The lit candle hovering
is what you imagine, wish to be. Only wind would frighten
or the wet pinch of fingers, nothing more. & not often.
The ease, the ease, & the weightlessness you try for those
days when you walk the house & gather items & drive a mile
to give them away!
Sometimes, in certain settings, you near it:
the ascent into air, the descent into water, those
temporary states. But only sometimes & so briefly.
You dream of a room with one window & white walls,
a bed, a chair, a desk, three books, paper, pen,
the one painting no more than 8 X 8. & still too much
too often. You ask if three is too many, if the image
could rather, instead, be only recalled. If the words need
be written.
What is it you wish to cast off?
What more could you disown?
Lacuna
Argue without sense. Just the furor of the bee’s sting
and subsequent weeping. Quick anger and tears, the stopped
phrase, mid-sentence. I do not want. Or: go ahead and.
Tear the pages out in the middle and near the end, where it gets interesting.
She walks offstage and doesn’t return and we ask, What became of her?
Not even a few lines, like in Shakespeare, about her death. Nothing. Last you heard,
she had moved to Texas and wrote with sadness of the never-ending flatness.
Sure, there were sunsets, but.
Something’s missing.
Way out on the peninsula, there was no service. Even in the town,
before the logging roads, red and wet, nothing.
People used actual maps, folded in haphazard ways, and tried not to think
of the movies they had seen or the books they had read featuring disappearance,
absence, the answer
never given.
Ort
The scrawl,
the cheeky comment in ink on the glossy page,
and another, on the back of a photo. There on the shelf, there
in a box.
And the three-legged stool with its spinning top, no accompanying keys. There
in the corner.
And the white plates and bowls parceled,
stacked in the back of the cabinet.
One, two, and three.
One, two, and three.
And the skin of a berry
or a fruit. Hanging limp on the tree,
lying, gutted, on the cutting board. Or
the bone.
Kelly R. Samuels
Kelly R. Samuels lives and works as an adjunct English instructor near what some term the “west coast of Wisconsin.” Her work has appeared in PoetsArtists’s JuJuBes, online at apt, Off the Coast, and Cleaver, and is forthcoming in Kestrel.
October 2017 | Best of Net nominee, poetry
High School Lunch
My father made me a sandwich for lunch every day,
carefully put the turkey, cheddar, lettuce and mayo
on the sourdough, then zipped it up in a Ziploc.
And every day during orchestra, I slipped the sandwich
into the whooshing plastic of a black trashcan, or palmed
it off to a friend. Those feinted days, when I almost fainted
in the hallways, eating less than three hundred calories.
Once, my father made a spaghetti dinner—the last
he’d cook for us as a family—and I refused to eat
anything but Special K. His dish crashed into the sink
and my mother ran after him (then, she still could).
I held the shards in my hands; the pasta sauce
coated them like coagulated blood. That was
the first time in my life that I felt regret,
true regret, the kind that’s parasitic
and coils up in you like a tape worm,
eating through your intestines,
inside out. The kind that swims
around in your stomach when you wake
covered in the lilacs and butterflies
of your childhood bed, to come downstairs
and find your mother, alone, crying.
The kind that feels like the frozen lace
of love covering your heart
when your aunts are waiting for you at the airport
in Seattle, instead of your mother’s friend,
and they sit you down in those grey vinyl chairs
by baggage claim. You don’t want to look
at them. You want to watch the carousel
until it’s one with painted horses that never
stops spinning. You hop on, grab
a magenta mane, and hold as tight
as your tiny hands will let you.
Visiting my mother’s memory on a stormy Friday night
I stare at the reflection
in the candle, aimlessly,
until it hits me—it looks
like my mother’s eye,
dark as the sea in a storm,
grey and sad but inquisitive.
Then I realize, it’s actually
the matting of our portrait
that I took in college,
in the reflection, of us
in matching outfits,
mounted on my wall.
The cancer had gotten worse
then; she’d started fearing
death for the first time.
When I asked her
that winter where
she wanted her ashes
spread, she said
she didn’t know,
maybe the Grand Canyon,
where she and my dad
were wed, maybe
Bandelier, where
she spent much
of her childhood,
just outside Los Alamos,
then looked me
in the eyes
and just cried.
I held her until
she fell asleep;
her short
blonde hairs
stuck to the pillow
with static.
The next morning,
when I kissed her goodbye
and flew away,
I refused
to know
it would be
the last time
I’d see her smile.
Kelsey Ann Kerr
Kelsey Ann Kerr has a great interest in loss: holes both metaphorical and physical of the heart, holes in life left by the loss of parents, cauterized by love. She teaches writing composition at the University of Maryland and American University, and holds an M.F.A. in Poetry from the University of Maryland. Her work can be found, or is forthcoming, in “Stirring,” “New Delta Review” and “The Sewanee Review,” among others.
October 2017 | poetry
The first time she fucked a machine, there was some uncomfortable pinching. But it was momentary, corrected after a few thrusts by a data-driven recalibration. The second time was much better. The machine had measured her depths, tested her temperature, listened to the tempo of her breaths, and now it slid into her with the smooth precision of a crescent moon turning in circles for the sun. And the money was incredible. Impossible to beat. She could show up for two study visits a week and spend the rest of her time lounging around the hacienda with her fat black lab, Queero, painting and having languid encounters with lovers of the human variety.
But lately, something was different. She was starting to crave the feeling of the machine’s slithery suit sliding across her skin—the softest organic polymers yet, they said. The other night, Juno came over and seduced her. As they fell to the bed with mouths full of blue agave, tonguing the circles of tequila’s heat, she caught herself listening for the soft purrs of the machine’s sensors transmitting data back to its central server, missing the rhythmic hum of cooling fans spinning behind glassy eyes. After Juno left, she sat on the porch in an old flannel robe, feet tucked under Queero, staring out across the bay. The night was clear, no fog, and there were thousands of drones flying above the waves in coordinated fashion. Manufactured by the same company as the machine. Her machine? God, only two more days until she would see it again. Queero started to snore and she decided there was nothing wrong with drinking alone.
Farley Thompson
Farley Thompson is an attorney, educator, and writer who hails from Salt Lake City and currently lives and works in the San Francisco Bay Area. They spend their free time beachcombing, gardening, quilting, and thinking about thinking.
October 2017 | poetry
Guidelines for Eating
Do you like peas?
Do you like rice?
asks the little girl in her highchair.
Maybe it’s when we are her age
that we first learn the truth about food.
It’s when we make our choices to be
eaters or starvers in times of crisis.
“Maybe you didn’t grow up that way,”
he says, but “I’m European….”
Do you like cheese?
“I made that soup for you!
I know you love meatball soup—
would you cry if I told you to go
in the kitchen and fix yourself a bowl?”
Do you like ham?
We had ham for Easter.
“Why are you crying? It’s not like
an airplane has crashed. It’s not like
your mother has been hit by a bus.”
Do you like peas?
Do you like rice?
“You shouldn’t eat that bread and butter.
Butter is all fat. It will kill you!
Go ahead—here, take this!”
Two pounds of butter tumble
across the counter.
Do you like cheese?
There are times when a woman
wants salt or chocolate,
at least comfort in the form
of bread or peas.
And there are times when this man
eats an entire can of condensed milk.
“It’s a treat,” he says, “Where I grew up
this stuff was over two dollars a can.”
Do you like ham?
We had ham for Easter.
I know the planning, the time
and preparation that go
into making ham for Easter
or into a bowl of homemade soup.
I know how hard it is
to taste a gift when it comes
with words so often repeated,
words that pass through the filter
between brain and mouth
as easy as water through a colander.
Do you like peas?
Do you like rice?
Walking in Circles
If blindfolded and told to walk
a straight line in the desert,
we cannot do it.
In a forest, where the canopy
of leaves blocks the sun,
we will find an invisible wind
blowing us off course.
It is ingrained in us
to walk in circles.
Perhaps this is why I wake
each morning, surprised
that there is no head
on the pillow beside mine.
There is a need to check my phone
for a message from you,
as if I simply slept so soundly
that I did not hear you
returning in the night.
But I woke seven times–
the cat was running a circle
from the windows on the east
to the windows on the west.
She is curled up now,
a nap-circle beside my knee.
It doesn’t seem to bother her,
to accept that circular nature
of nose to tail.
But I feel myself, orbiting moments,
reaching backwards
for when you were here.
Everyone’s advice would be–
Move on.
As if I could control (or would want to)
the emotion circling
through arteries and veins.
It is only natural
to remain unable (unwilling?)
to follow a linear path.
Pica
I remember exactly what my crib tastes like—
a sort of plastic-wood, the way I imagine
a fresh snapped birch twig to taste.
These days, as an adult, I try to be choosier
about what I put in my mouth.
As children, we explore and discover,
almost forget how to stay alive.
We leave the safety of children to adults,
who install crib sides upside-down
and inadvertently allow our heads to get trapped.
Maybe it’s because I understand that imperfection
that I crave the creamy texture
of plastic Risk troops on my tongue.
I have the inter-generational habit of idly chewing
the ends of hair, while pondering
some kindergarten question—
Some of us always return to taste
as the basic means of understanding.
Even the cat is drawn to circles of elastic,
lying in wait on the kitchen table
or on top of the clothes hamper.
And somewhere, someone in this neighborhood
is trying to overcome the need to gnaw and chew—
I found a metal spatula with bite marks on its handle.
It is lying, lonely, on the sidewalk under a pay phone.
It makes me wonder if its surrender was forced or voluntary.
I can picture this cooking tool flung out an open window
by a cook weary of seeking from utensils
what can’t be found in food.
Maryann Wolfe
Maryann Wolfe teaches creative writing, composition, and food writing at Bridgewater College. She has had work published in The Bluestone Review and Earth’s Daughters and placed in contests run the VA Poetry Society.
October 2017 | poetry
Albany
for a while he worked at a school up the road
and told us not to talk to the boys who lived there
but trouble started inside our house
the hole in the rug
the beet-stained cloth
the dark-winged insect in the unslept night
haste hid his plan
and a dearth of kin
like the letters in the glovebox
from friends who fed our animals
and doubted our return
the unclasped necklace
the bruise on the knuckle
the heat of the day trapped in the car
at a gas station pay phone
in a town we didn’t know
see the bend in the river
where he longed for the coast
and numbered the things he could part with
stand on the porch
of the house near the train tracks
where we curled on the floor
in one room together
and outgrew our clothes
by the end of that winter
Sift
In summer we walked through the woods,
picking wild strawberries and naming the trails as our own.
The remains of a homestead lay half-buried, roof joists rotting around rusty cans,
books frail and dusty as moth wings. Grass seeds clung to our clothes.
Can you stop time so we can stay together?
In town, he drove with his arm across the front seat
to keep us from hitting the dashboard at intersections.
Leave your coat on when we get there.
He knew these people before he was married. Sad to see us, they asked us to stay.
But by then we’d seen dead animals and fires at the edge of the garbage dump,
smoke lingering in the orange peels and eggshells, cigarette butts and toys.
We’d heard arguments through the floorboards, moved into houses with dirty sinks
and medicine abandoned behind the bathroom mirror.
We’d departed together, in the middle of the night, in the middle of the school year,
to sleep in campgrounds and fields.
We’d listened to the snow muffle our voices as it lit the night sky,
tree boughs soft and heavy and quiet.
We felt the inward pull of family,
like underwater branches against our legs in the lake.
Will you leave us some clues before you go?
We need to know fool’s gold from the real thing,
the names of the people who broke your nose,
and should you kiss the girl on your right when you see a car with one light?
Lament, 1971
Put your feet in the creek,
sit next to me in the shade.
Do our voices idle between the books and clothes and dishes we left behind?
Unlock the secrets of the language we used to speak.
Hold on, even as meaning unravels.
Laundry swings on a clothesline, blocks out the sun. There is a storm coming.
Keep still.
We make a circle, five of us, like fingers on a hand.
Bees swarm where the faucet drips.
Pull away, baby boy, from the gestures we inherit.
Refrain
In smoke-scented, threadbare coats
they’d walked through frozen fields and empty streets
toward whispers of work and pickles, fresh bread and fish,
an address in a port city, yellow flowers at the base of a mountain.
See the curve of her cheek as she turns from the pier,
seagulls loud in the charcoal sky.
They’d dreamt of fruit trees and a food grinder for the new baby.
Between tanks of tropical fish, he eats a sandwich at his workbench
in the hazy pungent air.
Short sleeves show Navy tattoos, the arms of a tinkerer, an appliance repairman.
Branches heavy with plums obscure the potholed alley.
Doorbell. Cars on Orchard Street. A neighbor’s sprinkler.
Turn the radio on.
Were they led by bravery or hunger?
The men who knew him then turn to each other now.
Signal and refrain.
Samantha Malay
Samantha Malay was born in Berlin, Germany and grew up in rural eastern Washington State. She is a theatrical wardrobe technician by trade, a writer and a mixed-media artist. Her poem/collage ‘Rimrock Ranch’ was exhibited at Core Gallery in Seattle, Washington in January 2017. Her poem ‘Gather’ was published by The RavensPerch in May 2017, and her poems ‘Rimrock Ranch’ and ‘Homestead’ appear in the summer issue of Sheila-Na-Gig.
