Robert Ford

*

In The Moment

The kids are in love, and so sweetly

you can see it melting out of them,

see gravity getting smashed into

a million pieces beneath their feet

as they bounce along, occasionally

touching down because they can.

 

In their free hands, the ones not

holding the other’s, they clutch balloons

painted in colours we can no longer see,

inflated with their restless thoughts of

an unmapped future, raw materials

yet to be processed into anxieties.

 

Don’t you remember the first days of our

being? The damage we caused to gravity?

Our balloons? How the brilliant shock

of it interrupted time itself, and made

the future evaporate, while we failed to

notice ourselves not breathing properly?

*

Biography

Robert Ford lives on the east coast of Scotland. His poetry has appeared in both print and online publications in the UK and US, including Antiphon, Clear PoetryWhale Road Review and Ink, Sweat and Tears. More of his work can be found at https://wezzlehead.wordpress.com/

Bee Smith

*

I Was A Peculiar Woman Child
 

After I discovered Emily Dickinson

At age eleven

I took to writing cryptic poems

with a homemade quill,

a seagull feather nib

dipped into a bottle of Quink.

 

On Sunday nights for Bonanza

I donned a pioneer dress and sunbonnet

made for my sister to wear

in a sesquicentennial pageant.

I liked to immerse myself

In full period dress for TV.

 

Just as my bosoms budded,

my brothers’ burst into off key renditions

Barbara is Bustin’Out All Over,

twanging the straps of my training bra,

I became obsessed with the past,

the kind at least a century old

 

before hot pants and halter tops

flip flops on hot sidewalks

the flush of shame at strange men’s eyes

looking at me as I walked down Chestnut Street,

arms loaded with library books,

their wolf whistles sounding like cat calls.

*

Biography

Bee Smith facilitates Word Alchemy Creative Writing Workshops in West Cavan and is on the Irish Art Council’s Writers in Prisons panel. Her articles can be found widely across the blogosphere. She is the author of “Brigid’s Way: Celtic Reflections on the Divine Feminine” available as an ebook on Amazon. BrigidsWay.

Jennifer O’Kelly

*

Bedsheets in the blue

I tossed my sheets into the ocean

when you left

this time

 

I heard you insist

it was I

who was leaving

I

who went seeking

out

the        sky

above

the        water

as my bedroom.

 

Grain, or grandeur?

Gibbous names

for a need

for the waves

and new places to sleep.

 

Did you think we might keep

churning sheets

and our fortunes

into rolling, silver, drum,

while the moon

and her son

tossed my pulse

in our blankets?

and I,

in my anguish,

yearned to grey,

for the sands

washed away

by the depths

of our safety?

Loved on(c)e,

lately

This

detergent

on my palms

has been leaving

hands itching

You pass me

More sterile boxed powders

neat stitching

 

and leave me

 

with no

stay

or no

go

 

The only way I know

Is this

bright splay

of bed sheets in the blue

Giving up on the gone

casting out for the new and

sucking

this

crisp

fabric

 

dimpled.

Nursing sea-salt

from the threads that we pulled tight

to hold six skies

together.

*

Biography

Jennifer O’Kelly is an Irish poet originally from Cork. She holds a Masters degree in Philosophy and is interested in the work of Patti Smith and Leonard Cohen, among many others.

Shauna Getlevog

*

Drawing Constellations

there’s always room for the unpredictable, darling.

it could happen anytime, anywhere;
you’re sitting at the bus stop,
on the dark, grey wall;
pale legs dangling over the edge,
kicking back and forth,
it’s almost a defense mechanism.

your blonde, curly hair blowing in the salt air
breezes,
there’s rose petals in your veins

you don’t see him at first;
his black leather jacket, and his
dark brown hair,
falling into his eyes;
his freckles are stars.
His hands rough and calloused from too
many nights with his guitar,
you feel them against your soft ones;
a gentle brush, not much,
but you know,
don’t you?
it’s love.

*

Biography

Shauna Getlevog is an 18 year old female student from Ireland.

Zoe Siobhan Howarth-Lowe

*

All These Years I Was Looking For The Woman I Wanted To Marry

All of my relationships have been high energy

– energy rushing in

– energy draining away

the same build ups of –

the same bursts,

crackles,

blinking away into nothing.

 

 

Energy propelling me

through failure after failure

towards an act of                     correction.

 

I get bogged down in stereotypes

forced into dogmatic –

I crack under                            knick-knacks

taking up a stance

behind

whining voices – discussing the weather.

 

I get drunk,

but don’t care

lost in my own world of erratic…

 

That night,                               Nothing happened

the next day –                          Everything.

*

Biography

Zoë is a Poet and Mum from Dukinfield. Her work has appeared in Magma, Curly Mind, Clear Poetry, Lakeview Journal, Interpreter’s House and The Lake. She also enjoys wargaming, painting models and scrapbooking.

Fabiyas M.V.

*

Holidaying in Chimney Woods

These woods are like a mother
putting all embers out.
Sweet wind winnows me out of
all secret worries.
As I dip myself into the woody stream,
tension termites disappear.
Throats of birds broadcast unceasing songs
like our FM station.
When a tribesman squeezes a honey-comb, I
ride my tongue up the palm.

My mind convalesces slowly here
under the foliage.
Fireflies fly out through the windows
of my skull.
Fresh thoughts are cooked in the seclusion
of the woods.

Shoots of dreams reappear, breaking the dried

pods of my memory.

I see the fossils of a paradise, which we had lost

under the past.

 

(Chimney Woods are in Kerala, India.)

*

Biography

Fabiyas M V is a writer from Orumanayur village in Kerala,India. He is the author of ‘Kanoli Kaleidoscope’, published by Punkswritepoemspress, USA, ‘Eternal Fragments, published by erbacce press, UK and ‘Moonlight And Solitude’, published by Raspberry Books, India. His fiction and poetry have appeared in several anthologies, magazines and journals. His publishers include Western Australian University, British Council, Rosemont College, US, Forward Poetry, Off the Coast, Silver Blade, Pear Tree Press, Zimbell House Publishing LLC, Shooter, Nous, Structo, Encircle Publications, and Anima Poetry. He won many international accolades including Merseyside at War Poetry Award from Liverpool University, U K, Poetry Soup International Award, USA and Animal Poetry Prize 2012 from RSPCA (Royal Society for Prevention of Cruelties against Animals, U K). He was the finalist for Global Poetry Prize 2015 by the United Poets Laureate International (UPLI), Vienna. His poems have been broadcast on the All India Radio. He has an MA in English literature from University of Calicut, and a B Ed from Mahatma Gandhi University.

Erik Nelson

*

Crossing Willow Creek

Parts 1-4

Parts 5-8

Parts 9-12

Part Thirteen: Going Nowhere

Though once a hub condensed and packed

With people far and wide,

Behold the city’s pavements cracked,

Each one, from side to side.

 

Her loyal subjects slaved and shopped,

Where commerce slowed but never stopped,

Where prophets and saints were slain in the land,

Like Brother Abel by Cain’s sinful hand.

 

Looking in vain for a brook where the crane,

Raven, heron and owl lay low,

These offspring of Cain are clouds without rain,

Blown and carried by winds to and fro.

 

They’re waves of the sea that no one can tame,

Raging and foaming unnatural shame,

Wandering stars for whom is reserved

The blackness of the darkness they serve.

 

They’re late autumn trees, barren of fruit,

Commoving over a desert of despair,

Dead and groundless, pulled up by the root,

In a pinch, inch by inch, going nowhere.

 * 

Part Fourteen: Throughout the Land of Nod

Will they ever find a home,

A stable place to lay their head,

Or will they always have to roam

And more or less beg for bread?

 

Underneath the starry dome,

Will they someday make their own bed,

Or will they always have to roam

And fight death till they are dead?

 

Will they always bear the curse

Of their distant ancestor Cain?

Will their lot keep getting worse,

Until nothing of them remains?

 

How long will they have to traverse

This most treacherous of terrains,

As wretches who suffer the curse

Of their distant ancestor Cain?

*

Part Fifteen: Running Themselves to Death

They don’t want to remain on the brink

Or spend all their days buying time

But long for aught higher than instinct,

Some end both profound and sublime.

 

They try to placate, although in vain,

The ghosts that haunt their minds;

They try to scrub and blot out the stain

And break the chains that bind.

 

They’re haunted by all they left behind

And can’t make out aught ahead,

Without footprints to follow or find

And no track to take instead.

 

The people are on their downtrodden way

To build a brand new mess;

They keep plugging along, each doleful day,

Through barren wilderness.

 

The dead don’t sleep but keep coming back,

At least in the people’s guilt-ridden minds

Who wander eastward, without a track,

Trying to see ahead while going blind.

 

Folks start falling down, at first one by one,

And passersby stop and stoop to lend a hand,

But under the heat of the beating sun,

Debilitated by thirst, they disband.

 

The dead are left to bury themselves,

As they drop down, one by one;

The soil receives their empty shells

While to death the living run.

*

Part Sixteen: The Primal Eldest Curse

Grass is growing on the street,

Which a pack of dogs polices;

Moisture builds within concrete,

Until it splits it to pieces.

 

From wind and rain, from cold and heat,

The building blocks expand;

The elements achieve the feat

Of turning them to sand.

 

The weather cools and then warms,

Termites sap both ridge and wall,

Fires start from lightning storms,

Wires snap, and bridges fall.

 

Brother Abel Cain felled with a thud,

Where brute force reigned supreme,

Where streets were stained with human blood

And paved with broken dreams.

 

Here flaming swords hid paradise,

Where multitudes crowded en masse,

Though most were just a sacrifice

To a sky all clouded with gas.

 

This is where the cars sped by,

Where hosts of homeless plied the streets,

Where everything was a lie,

To which the rich had front row seats.

 

Here slaves dispersed in waves and floods

And off their feet shook dust

Because the city needed blood

To satisfy its lust.

 

The ending of the play was bad,

Without time to rehearse:

The center-stage, the city had

The primal eldest curse.

 * 

Part Seventeen: The Line of Confusion and the Stones of Emptiness

Now stars and moon brighten the sky

And are not nightly dimmed;

Migrating birds know where to fly,

And whales know where to swim,

For buildings that confused the birds

At night with all their lights

Are powerless, since no one stirs

Inside these empty heights,

And the ships that plowed the sea

And drowned out mating calls

Are as silent as can be,

As town and city halls.

 

The window-glass begins to break

And hit the ground below,

For nothing lasts, and all it takes

For all the glass to go

Is rain getting in caulking cracks

And rusting the metal clips,

Which cannot hold gravity back

Long after the caulking chips.

So sheets of glass from windows fall,

Shattering on streets below.

Soon the buildings themselves, so tall,

Won’t withstand another blow.

 

All castles and kingdoms of pride

Are attacked and then sacked, bit by bit:

Time was not on history’s side

But was stacked, with the clime, against it.

As grass spreads over the urban sprawl

And anonymity nears,

The last still-standing skyscrapers fall,

And history disappears.

Now the serpent cannot bruise

The heel of man at night

Nor a bird’s flight be confused

By artificial light.

*

Biography

Erik Nelson was born in Madison, WI, in 1974, grew up in British Columbia, Canada, as well as several states in the United States, before obtaining a Masters degree in Literary Theory from the University of Dalarna, in Falun, Sweden; he then taught English at the college level in the deep south of the United States for ten years, before moving to the high plains of Colorado, where he currently lives, lucubrates and works as a librarian.

Beth McDonough

*
How to hand-raise

First, you must practice on gilding metal, which
behaves more like silver than copper ever does. Then

[but they have given me the most precious thing first. Having cats or dogs or bloody fish, or even relatives and friends – none of that could possibly have readied me for this]

take your sheet of 12 gauge.
Pierce a perfect sterling disc.
File any rags away.
Stone the surface. Take a 2b pencil, draw
concentric circles, half a centimetre apart. Plot

[but I have no way of predicting what will happen. I cannot tell what falls, what climbs, what swims will lie ahead. I cannot tell]

every hammered round.
Cut an aluminium profile.
Be sure to use it – every single course.  Sit

[what profile? What shape? He is like no-one else. He is him]

properly positioned.
Ensure your former is clasped
tight in the vice. It must not move at all. Strike

[there is no certainty in these moves]

your silver, steadily, precisely. Aim
every hammer blow at that exact same spot.
Work with a steady pace. Do not
attempt to compress your metal quickly or

[there is no even rhythm. Some weeks flame by in a million flaring seconds sharped in sore bright sparks. Some crawl dungeoned into eons. Nothing comes in measured lines]

your disc will surely crack.

After the first, and every course,
anneal your piece dull red.
play the flame for three full minutes. Quench

[how can I soothe these slip plains, align this into workable order? Now, I am not saying malleable, no. What do I do to make him flexible for all that runs ahead?]

in the waiting bucket.
pickle off all the sulphides and the oxides in a bath –
of sulphuric acid – ten per cent.  Wash

[there is no way to strip off  darkness, no means to walk open, unstained into the hit of hard ahead]

your object. Dry it well.
Raise every course. Coax every line
from the centre to the outer. Always caulk
back the edge. Build it up
thickened, strong.
Listen to your metal.
Never let it crack.

[but there are fractures everywhere. How can I fill this damaged space? Everything is opened out to air. I cannot see it heal]

When you see your form complete, check
that it matches the profile you’ve prepared. Select

[this is another shape. This will not fit. Nor is mine the only hand in this]

your planishing hammer. Cosset it well.
Keep it papered to a mirror finish.

[I do not want to see my face]

Now watch. Glance this hammer’s fall
across the form.

[yes, every impact builds]

*

Biography

Beth McDonough trained in Silversmithing at GSA, completing her M.Litt at Dundee University . Writer in Residence at Dundee Contemporary Arts 2014-16, her poetry appears in Gutter, The Interpreter’s House and Antiphon and elsewhere and her reviews in DURA. Handfast (with Ruth Aylett, May 2016) charts family experiences – Aylett’s of dementia and McDonough’s of autism.

*

Editor’s Note

I defy anyone to read this poem, and this bio, and not have some questions for this wonderful poet. It’s more than we could do. We simply had to contact Beth and find out some more about her silversmithing, her poetry reviewing, her writing process, her use of riddles and plans for funerals. If you’d like to read more about Beth McDonough, and we highly recommend that you do, please click here for our first ever poetry spotlight.

Erik Nelson: Crossing Willow Creek (parts 9-12)

Parts 1-4

Parts 5-8

*

Part Nine: Across the River of Arabim

They elected to stay if life would improve

And delayed when it only got worse,

Then selected a day to pack up and move

To evade the effects of the curse;

They carry, on their backs and shoulders,

Though strength, at length, has abated,

Fetishes as heavy as boulders,

Evil goods accumulated.

 

As lost, unfit and out of place

As fish fresh out of water,

This vain pipedream they blindly chase,

Like lambs led to the slaughter,

En route to where streams cross the sand,

Where cranes and albatrosses land

To dally in a valley that’s brimming with fresh water,

Over a desert sea, which diurnally gets hotter.

 

Traversing this uneasy land,

They’re looking for dirt that’s rich and moist:

Past unforgiving seas of sand,

A brook where plans can be hatched and voiced.

The plains are all hurting, of mirth bereft;

Folks hope a sliver, though very slim,

Remains of some fertile patch of earth left:

Across the River of Arabim.

*

Part Ten: The Nightmare of History

All their problems they vowed to leave behind

And trunks of treasure take,

But they merely move matter, not their minds,

So how can they awake?

 

How can they escape the chains that bind

When they’re in love with the pains they cause

And cling to them with body and mind,

As if the links were natural laws?

 

How can the nightmare of history

Be left that far behind,

When its crux and central mystery

Are matters of the mind?

 

Somewhere safe, where they can settle and live,

Is out of sight but not out of mind,

Where they can write a metanarrative,

Inspired by whatever they find.

 

They need a place to be reborn

And weave new webs of lies,

As clothes are graciously worn

To hide what’s hard on eyes.

 

With cloaks of ink they’ll need cover-ups,

For it all has been laid bare;

A bitter drink is in the lover’s cup,

For castles are made of air.

 

Exposé equals apocalypse,

Etymology shows,

A block on which humanity trips,

Keeping it on its toes.

*

Part Eleven: The Uncovering

Pavement splits as blades of grass shoot;

In broken windows owls hoot:

Now the city is a haven

For the bittern and the raven.

 

No bricklayer repairs a wall;

The last to leave just stared, appalled:

Never will humanity adorn her

Or pick one stone again for a corner.

 

What she has sown she now has reaped,

Which fate she couldn’t avoid;

The harlot’s bones are buried deep

In the soil she destroyed.

 

The great whore will not make a peep,

No echo of her sound;

Nevermore will she wake to creep,

All wrecked up, from the ground.

 *

 Part Twelve: A Population Without a Town

They trampled nature under their boots,

And fatter they grew, like sows;

So mother-earth replenished no shoots,

No matter how much they plowed.

 

They gobbled up their plants and roots,

Nuts and berries, sheep and cows;

No field then yielded any fruit,

Because of how much they plowed.

 

They took their booty and their loot,

What their ways and means allowed

And ventured out, in vague pursuit,

By the sweat of their furrowed brows.

 

With doubt they are plagued, for it’s moot

If aught exists past a misty shroud,

Where owls lay eggs, brood and hoot,

With abundance of wisdom endowed.

 

Their brass horns some make a point to toot,

Which fails to catch on in the crowd:

Alas, none care to follow suit,

Feeling more wretched than proud.

 

They are an orchard without fruit,

A traveling circus sans a clown,

A tree without one grounded root:

A population without a town.

*

To Be Continued

*

Biography

Erik Nelson was born in Madison, WI, in 1974, grew up in British Columbia, Canada, as well as several states in the United States, before obtaining a Masters degree in Literary Theory from the University of Dalarna, in Falun, Sweden; he then taught English at the college level in the deep south of the United States for ten years, before moving to the high plains of Colorado, where he currently lives, lucubrates and works as a librarian.

Eoin Ó Donnchada

*
Words over Water

A fair friend favoured truth to me

And cast a barb that tore my pride,

As we were locked in row by Dee:

A river flowing through my side.

So sharp the point and clean the poke.

My name Fer Diad, man of smoke.

The hound of Louth was loyal, you see.

A fair friend favoured: truth to me.

*

Biography

Eoin Ó Donnchadha is an historian, teacher and poet from Dublin. He studied history at University College Dublin where his doctoral research on Irish poets was funded by the Irish Research Council. He is currently teaching in the UK.