George Salis: Your poetry collection, SomethingAkinTo, recently came out through Dink Press. Why did you choose to leave your individual poems in the collection untitled?
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Adeeba Shahid Talukder is a Pakistani American poet, singer, and translator of Urdu and Persian poetry. She is the author of What Is Not Beautiful (Glass Poetry Press, 2018) and her book Shahr-e-jaanaan: The City of the Beloved, forthcoming through Tupelo Press, is a winner of the Kundiman Poetry Prize. Her poetry has appeared in Poem-A-Day, Gulf Coast, Meridian, The Margins, and elsewhere. A Best of the Net finalist and a Pushcart nominee, Adeeba holds an MFA in Creative Writing from the University of Michigan and is a Poets House 2017 Emerging Poets Fellow.
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To Heaven
Wrap a fence around your dream of white.
Walk a cord thin as a hair.
Splinter the sun, wake all its ashes.
~~~~~
Plot
Eighteen yards of bleached white
cloth, stiff with starch.
Cafan, zenana
said the plastic in hurried script.
When anyone spoke to her
that day, her responses were…
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Every mother wants a five letter word for grief but has instead a son whose thick hair grows when yanked. Outside means either tick season or John the Baptist. My blood type is God became trapped in an Ohio dog when the color blue saw his ghost.
Survey the demolishing current, then in response feed the muscular fabric of love hand over hand far reach skeins that silk the terrain and therein we don’t get anxious to own each other any longer I just want to drive and talk all night and feel this landscape breathe in my overswell I’m so nostalgic […]
via from Along the Road Everyone Must Travel by Danielle Pafunda — BURNING HOUSE PRESS
Tim Miller’s “Mr Cassian” poems are from a larger collection of poetry and fiction called School of Night. He is online at wordandsilence.com.
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7 poems from School of Night
Mr Cassian Shares the Park with Other Parents
Loneliness is such a sorry disease:
bizarre, badly matched parents at the park
now with their awkward combination here too,
some boy or girl with a room in their house
because neither could stand a studio
alone. Some on-again off-again thing
like me and Mary, not even romance
or the love we imagined as children
but just someone better than more yawning,
some warm breathing presence you’re less tired of
than a house that isn’t even haunted.
All this from some squash-faced guy at the park,
his misshapen wife and their lumpy kid,
and how a certain form of vacuousness
can be let loose like a plague upon the face,
a…
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Ohio exits:
Owl is maybe a lamb that’s having non-lamb thoughts like did I forget inventing the bruise?
Robert Okaji is a displaced Texan seeking work in Indianapolis. His work has appeared or is forthcoming in Panoply, Slippery Elm, Indianapolis Review, Vox Populi and elsewhere.
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Self-Portrait with Nine
Nine rivers, nine mountains, nine skies.
The root of the Egyptian word also shapes sunrise and the new moon.
Of fire, of attainment and totality, of truth.
In my ninth year we moved to the Mojave.
After two hands-breadths, the new.
The nine spheres, beyond which nothing lives.
Consider the negative aspect: pain, sadness, suffering. Distress.
Ku does not symbolize near-perfection in Japan.
Nor do I resemble the triad squared.
In the horoscope, the house of worship, of wisdom and books.
A sign of perfection, a final limit.
A number multiplied by nine produces a figure that totals to nine.
The body’s doorways, the twists of the River Styx.
That which contains no stars.
From the custom of expressing…
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Charlotte Hamrick’s poetry, prose, and photography has been published in numerous online and print journals including Foliate Oak, MORIA, Pithead Chapel, and The Rumpus. She is a Pushcart Prize nominee and was a Finalist for the 15th Glass Woman Prize for her Creative Non-Fiction. She is Creative Nonfiction Editor for Barren Magazine and lives in New Orleans with her husband and a menagerie of rescued pets.
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Call and Response
After-life is waiting, treading water.
Hovering there beyond the sun as I sit
in my bones and pull blankets over
my head. Church bells count the hours
until there is no more weaving of fine wool
or forging of metal.
Euterpe plays her flute while I hold
my breath in preparation,
water rising,
singing to the crescent moon.
Might I save my grandmother’s letters,
my sister’s photos,
save them
from the muddy river bottom?
I am standing…
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