Isaiah Newman

Contrapuntal with death wish

This year
broke my heart
beyond the borders
of language.
I try to tell my therapist
I don’t need convincing to believe
survival is possible. The
many griefs
that I do not know how to hold
are close enough to
coat the skin under my eyes in darkness.
I don’t want to kill myself, I just want
my name
to take flight and scatter on the wind.
Weeks into this genocide
Felix told me I could say
if I wanted to die.
My throat blossomed with
sobbing before the words
could escape.
Forgive me;
I believed
at the altar of this world
If I could sacrifice enough of myself
I would cleanse the blood
painted across my door frame.
I am trying to believe less.
I am singing Please Stay by Lucy Dacus,
to an outstretched hand and while I once sang to you
I am now singing to myself. This, too, 
is breaking my heart. My coworker tells me
she read a memoir of a nurse who asked each dying man
how much we can lose, the answer an echo:
always, always more than we can bear.
I have written
too many prayers to recite in the time we have
and still I hold them crumpled in my left hand,
The carabiner that holds my keys says deliberately alive,
a verse of scripture telling us we are all choosing this.
Come with me now,
through the veil that separates us
and the universes we have lost
Let our death wishes point us toward a home full of ghosts.
Pray it contains every beloved we have and haven’t met.

The crabapple blooms                                                      
with whispering of all that we could grow
of ourselves
if only we pressed our ears to the music beneath our feet.
When I listen to the song Hurt Less by Julien Baker
a tender
world softly inhales
in its piano-scarred corners
and words for the care we give our beloveds
transform my ghosts into moonlight shadows.
When the song is done, I tell my therapist
to leave. I want to set fire to
the border of the possible and waft the smoke
into a sky-written blessing.
I sang my first mourner’s kaddish for Palestine and
if there was no God
would I have felt the rhythm sprouting from my bone marrow,
so many disparate breaths joined into one voice,
echoing through the street?
My friends,
you know I’m not a God person but that day
we were germinating a new kind of prayer
and the weed-cracked stones hummed when I called
for a life worth remaining in
from your hands.
I tell my therapist
to trust more
of what I have said
in our twilight moments
is holy.
She is struggling to keep a client alive, and she tells me
what we owe to each other.
always, always more than we can give.
I recite for her every suicide note
I have received
in this lifetime,
a match in my right hand.
a reminder that everything we do is a choice
and we could choose something else.
We have planted a garden with our songs
from the seeds of our shared sorrows
and together we can pluck our future from the vine.
Let our uncertainty tether us to sunlight.
Pray the warmth reaches our dead.

Pray that when they recite our names, they will sing.

 

To My Friends, on the Day I Turn Twenty-Eight

This is a love story that begins & ends in blood & yes I know by now you must be tired of me
speaking of romance, friends, but stay with me & imagine you are standing on the stage

of an opulent theater with your own bleeding heart cupped in your hands & your knees
are wobbling with fear & you are trying to speak but the only sound that comes is weeping

& you are also sitting in the orchestra section of the theater & the seats are flushed with crimson
& a whisper descends from the balcony in a voice that sounds like your own & you cannot hear

the words & then the house lights dim & you know you do not have much time but still you want
to stand & run to yourself & you want to tell yourself to breath but you know this is not allowed

& dear ones, this is all to say that I re-read my high school journal last week & was reminded
of how heavy the aching felt to hands that didn’t yet know how to hold it & for once as I read

I did not hate the self that seeped through the pages & for once I wanted to tell that self to live
through the years that would follow & hollow out my ribcage beyond even the emptiness

I thought I felt at eighteen because I have learned, now, that loneliness is the seed
from which the outstretched hand sprouts & yearning is the sunlight toward which that hand

reaches for nourishment & grief is how any plant knows that sunlight exists when all it can see
is the moon & if I had not lived the hollow years, then I might not have sprouted & yearned

& grieved enough to meet you & what I didn’t tell you about the theater was that every seat
in the orchestra was full & on stage a chorus of beloveds was holding your heart with you

& the balcony’s whispers were many-voiced & woven with laughter & yes, there are those who
would tear this theater down & build a machine of war in the rubble but they are our enemies

& tonight I do not wish to let them in because the only blood they understand is what they can
bottle & sell but you & I know that what makes its home in our veins is too thick for that, so stay

with me, my beloveds, because it is my birthday and I must thank you before I let you go:
for the beds you made for me to sleep in & the jackets you draped across my shoulders

& the songs you wired into my ears & the plates of food we cleaned together & yes, of course,
for the time spent holding my heart,
                                                                     always.

 

Isaiah Newman (they/them) is a queer, Jewish writer and social worker living in the Boston area and organizing in solidarity with Palestine. They write both fiction and poetry, and their work has appeared or is forthcoming in Diode Poetry Journal, Joyland, Waxwing, Rust and Moth, and The Lumiere Review. You can find them via their website, isaiahnewman.com.

 

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Jae Nichelle

Grownfolk Talk

I studied the history, know the lore, can recite the year
credited with The Family Fissure, the events of which
began before I came to crawl, running quickly after & into 
what runs through my pre-problematic blood. I can speak
to strange pain in my side some mornings, to overstretching
& upsetting my shoulder, to relief at T-Jeanie’s divorce, though

this talk has an unpleasant taste.

we mark time by financial considerations. tax season, open
enrollment. our only breaks are mental, fine, we are resisting
resisting. we smile about sales on detergent & linens, & our
grandparents won’t tell us what happened to them. we are often
considering something. going back to school, skipping town,
breaking from bread from liquor from sugar. we are lonely 
& lacking practical advice, we are tired & only have platitudes
to give. it has to get better, yes it must, though if it doesn’t… 

this talk has an unpleasant taste.

yesterday we said can’t complain, then we did, lamented 
something kids today do or don’t. answered what’s for lunch
or dinner with the usual. we worried about being wrong
about something. we found something wrong with ourselves,
we lied, we said we didn’t play pretend, yet we spoke through
the swell of our bitten tongues, searched each other’s faces. oh,

this talk has an unpleasant taste.

 

You is a child again

every holiday. Your feet kick under the dish-crowded table.
                You pretends not to notice Your parents are missing,

at least one to some back room, yet You doesn’t need them 
                there to cower under their demands—eat nothing

& say less. You keeps a neutral expression, engaging when
                engaged. The macaroni is blackening at it’s corners,

is crusted well, yet You asks someone else if they think it’s
                ready. You dances at the burnt edges of every family

photo. at least a limb in each tableau, there if someone wants
                You there, unable to flash a ring or a beau like Your

cousins. them, perfect in the eyes of gods & grandmothers. 
                You, the one that there’s always one of. the grownerfolk

are telling You what lasts forever. they speak of the internet, 
                babies, tattoos. You is looking for something of the sort,

since none of them say us, this, love.

 

Louisiana-born Jae Nichelle (she/her) is the author of God Themselves (Andrews McMeel, 2023) and the chapbook The Porch (As Sanctuary) (YesYes Books, 2019). She believes in all of our collective ability to contribute to radical change. Photo by Christopher Diaz.

 

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Gospel Chinedu

The Old House

How much blood is enough blood to call me my father’s son? I look like him, they say. & I tell them that the mirror has no truth in it. It’s full of the past, of everything I’m trying so hard to leave behind. I sound like a wounded river. I cannot rust the old nails piercing my ribs. I cannot drown the agonies. I cannot quench the thirst of my dying joy. Neither can I reflect the face of the beautiful morning sun. My mother was a seamstress. She said the chances of a miracle are thin as threads. Yet, I cross the lines unstitched. My palms are like a tree. They carry a handful of ripe memories. The heaviness of my heart is the weight of a breadfruit. She says when a breadfruit reaches its age, it falls. My prayers fall off like manna from the heaven of my mouth, from the bulk of my heart. & my tongue is in peril of molding a plethora of Amens that do not carry kinetic energy. My body is a house with no threshold. My adrenaline is fright and fright. In the old house, I walk through the back door to meet colorful dreams covered with weeds of uncertainties at the backyard. The front door always leads to the mouth of a gun spitting bullets. & between both doors, there’s an ambience of loneliness, sorrow & that’s where I’m at my safest. 

 

Gospel Chinedu is a Nigerian poet from the Igbo descent. He currently is an undergraduate at the College Of Health Sciences, Okofia where he studies Anatomy. He loves music and is a big fan of Isak Danielson. His poems are mostly speculative and cuts across different themes. He is a 2021 Starlit Award Winner, Runner Up for the Pacific Spirit Poetry Prize 2023, the Blurred Genre Contest (Invisible City Lit), 2023, Honorable Mention in the Stephen A. Dibiase Poetry Prize, 2023, and also a finalist in the Dan Veach Prize for Younger Poets, 2023. His works of poetry have appeared or are forthcoming in Chestnut Review, Worcester Review, Augur Magazine, Fantasy, Fiyah, The Deadlands, Channel, Apparition Lit, Mud Season Review, Trampset, The Drift, Consequence Forum, The Rialto, BathMagg, and other places. Gospel tweets @gonspoetry.

 

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G.H. Plaag

Televised

we are all in one room, drinking
cocktails mixed with legacy brand
liquors. we don’t notice. we forget
that companies are responsible
for our vodka, for our water, for
our lights and for our roads, we forget
but we remember, too. we talk
about our reading lists, a girl is
reading Agua Viva, she says
Lispector had a way to see
around the bend of time, she hits
a vape beneath a sky that glows
the bronze of fresh-stripped wire.
soon a Beyoncé song comes on inside
the purple bar, which nudges us
to bitch about the ethics of our billionaires,
and then to dance. we run the world.
we are also the resistance. we sew
red patches with thread from Jo-Ann Fabrics.
thanks, Jo-Ann. we love you Jo-Ann.
we love you Tito. we love you
Ralph Lauren. we love you
and we are never going to be
quiet, you’ll never hear our voices
fall silent. we are plotting
your demise, we are architecting
better worlds, we are watching
how you scissor us in half.
we are young but we will live
beyond you. we grip our city
with arms and hands made fast
by all your evil tools. we are posting this
to TikTok so the Chinese government knows
that we are hot and young and slutty
in our artificial cages, in our handcuffs,
in our straps. we need the spies
to learn about femdom and
the Wednesday Dance. we know,
we know—this could threaten everything
that makes this country great, our security
could be at risk, but we don’t care. we don’t believe
in borders or in anything. you have taken that
from us, belief. and you only have
yourselves to blame. we are all
in one room and we are angry,
we are vicious, we are tired, we are
trying to find a way home. we are all in
one room, and the room is everywhere
in distance of a cell tower, everywhere
our ankle monitors can beep. we can’t
get out and we’re becoming feral, we are starving,
we’re exhausted, we are pretty, we are desperate,
we are entertained, we’re young and we are dangerous,
we are all in one room. we know damn well
who put us here. and when we make it out,
teeth gnashing, eyes alight with fear
and hope, we’ll be like any uncaged thing:
we’ll kill before we go back in.

 

G.H. Plaag is a queer poet, writer, and musician originally hailing from Boston and various corners of the American South. They received their MFA from Hollins University, where they also taught, are an alumnus of Sundress Academy for the Arts, and have published work with Tahoma Literary Review, Winning Writers, The Hyacinth Review, The Winter Anthology, and poets.org, among others. Currently, they reside in New Orleans, where they are developing a novel in conversation with various structures of power along the Gulf Coast.

 

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Karla Khine

Communiqué, Or Trying to Find the Right Words to Describe an Inflorescence in Fluorescence

To Corporal Corporeal, and to all those with a body and a name,

Reports have come in of a meadowlark in the throes of matricide in Massachusetts.

High up in the scarlet leaves, about to pass the knife through, the meadowlark takes a breath, looks at their murder-weapon-clutching wing fluttering above, suspended danger, thinking hardships of their birth.

A clutch of eggs, 5-6 in count, over half mother’s body mass.

No one tells baby all the things that came together to give them life, that even if one newspaper was reprinted, seven wouldn’t have eight nine.

So the knife has dropped, scouts report, stabbed down below, by near-fraying roots’ penumbra, taking place among cobalt and salt-gray autumn blooms of which a faint glow exudes— ~{ * }~

The blooms are no man’s land, so stray away, operatives. Peony peons are of no concern to us.
They’re a Groucho mustache on the real problem: punditocracy,
                for who decided that pectorals are PPE?

Reminder: you are always naked to yourself.

Don’t be a patsy to bodily propaganda of the 22nd century.

There is no precursor for existence other than what you are is now.

 

better_off_spectral.txt

special permission is requested intimacy is requested flesh download and soft interface is requested cut flowers are requested definite heat of the morning sun is requested all of experiential life is insistently requested a “yes” in response is requested a “no” is not requested a “cancel” is far from requested I suggest in the meantime in this mean time between choice think what lies beneath each option how “yes” could represent dad in his forest green recliner mom on the new couch peeling mangos Walmart bag wet between her feet “no” being brothers glued to the tv how sister is out how she is always out and you the “cancel” a scar-legged gargoyle watching over the staircase in darkness nose dripping you wipe your face with your shirt a dark splotch womb to mucus the other day your nose bled for an hour you worried your mind was melting memories scarlet-soaked in Angel Soft toilet paper the dogs dying their ashes in tins that used to house air at nine you took a photograph of your face through a glass of water on the mahogany dining table mahjong tiles in the foreground you didn’t know what the symbols meant or what even creates meaning what makes you see two eyes in two circles and name the face you see Oswald a joke you keep to yourself but actually the joke is I can still see you through the glass half-full you never left the moment you never learned that choices are made for you sometimes, never mind, I say, as if I have one

 

Screenshot

Karla Myn Khine is a writer and poet from South Texas. A recent MFA graduate from San Francisco State University, she currently resides in San Francisco. Her work has appeared or is forthcoming in ANMLY, The Pinch, Sho Poetry Journal, poets.org, Radar Poetry, and elsewhere. You can find her on X @bunrealism and check out her other writing at karlakhine.com. ╰(◡‿◡✿╰)

 

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Amy Roa

Raven

I had a series of violent coughing fits. A sharp invasion of sounds like those which you hear from
nitrogen and phosphorus curdling in open ponds.
I was taken to see a doctor.
This doctor held my face in her hands, then reached her forearm down my throat, there retrieved
a raven, black feathered and black billed, the source of my coughing, and that which had pecked
my airways to decay.
Here’s the sad things about ravens: they know a great deal of the past, stories we’re better off
without, the muscle and cartilage that do not fossilize, the snare that had failed to loop around an
angle of attack.
The coughing had stopped, and I was thinking this would be the last time I would see my raven.
I bent my head closer to him so that he would recognize my short breaths. He held one of my
lungs in his bill.
“You know this don’t you?,” I asked him. “That the weight of damaged objects can be judged by
how they behave in the wind.”

 

Coyote

When I was claimed by a pack of coyotes, they called me sister, and we traveled across the
hydroelectric dam picking salmon with our teeth.
We followed the scent of mule deer to the overpass, then reached the grassland between the
decayed airport runways teeming with mice and rabbits.
“All this is yours,” the pack said with a repertoire of growls.
I ate the ears of a rabbit and said, “Yes. Yes, it is.”
I covered my hands with blown sand and clover, I strung the organisms sitting on the airport
bedrock below into long strands. Their cells rumbled when I placed them on a coyote’s coat.
As high atmospheric pressure spread over the grassland, it clung to the air and squeezed
and the air screamed.
I was sure that the anatomy of this world had adapted to ambush and drag prey over a
board, longing to make us a dead place like stone.

 

Sinkhole

I found a three-bellied sinkhole in a glass jar preserved with ethanol.
It had hosted a form of tuberculosis acquired from monk seals, and its armor had darkened
through the years.
Though the scars along the throat were evidence that it had been rendered mute, I swore I could
hear its elaborate calls.
Nothing like the recorded calls of European Atlantic sinkholes with a chorus like a hurricane
bending its back into green things.
It was more like a hundred cats wailing below wind turbine blades, a long song scattered inside
electricity.

 

Amy Roa is the author of the poetry collection Radioactive Wolves (Steel Toe Books, 2023).

 

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Billie Sainwood

Sestina for the Trans Girl Watching The Fly

What is more yielding than the flesh?
You, daughter of mad science,
you, who would bubble and rubber skin,
you, who chitin and acid dissolve,
the mirror will never call you a monster
no matter what melts away from your body.

Praise with the genius the changing body,
this miscalculation that makes skin into monster.
Give thanks for your special effect flesh,
you, bride of hormone and science.
To change, we must first dissolve,
teach machines the whole truth of our skin,

rewrite the poem of your skin,
corn syrup baptize the body
before the credits, let the binary dissolve
with the sick gray fear of the flesh,
not bug, or boy, but science,
and its rebellious, six-legged movie monster.

There is beauty hiding monster,
in the buzzing wings of your skin.
Your every morning is a new kind of science.
Your torso is a crackling telepod body.
Long live the new flesh.
Into pixels and light, we dissolve.

We only eat what we can dissolve.
We have to melt the old meanings for monster
in the plasma streams of our flesh
until they raindrop and bead off our skin.
You auteur the film of your body.
You Cronenberg beauty out of science.

You are light years ahead of their science,
watching experts and pundits dissolve
only to toughen your chitinous body
until you’re no longer prey for their monster
who would politic and red tape your skin,
who would claw their bad laws into your flesh.

Girl, you have given your body to your own kind of science,
found the love story of flesh that dissolves
into the beautiful monster of your skin.

 

Portrait of my breasts upon noticing a stretch mark

The contrast of color
traces across the skin
like a darkened house slivering
through the slits of a cracked bedroom door.

Less like a scar. Less like a wound washed with time.
More like a thin trail of footsteps.
More like an effortful hush in the night.

It is not crime scene,
but confirmation.

I’m not crazy.
Someone has been rearranging the furniture
widening the hallways.
letting in the light
while I sleep.

 

The Sapphic Prometheus

The gods’ mistake was saying forever
and thinking they wouldn’t have time to fall for each other.
That a titan and an eagle
couldn’t find more in common
than pain and a full belly
if they had forever to figure out.

On a long enough timeline
a liver is as good as a promise,
claws kiss as deeply as a tongue,
and the right kind of pain
is calligraphy.

They were made for each other,
their little hurts and epistles finding hope in hunger
and the will of the gods.
The titan’s stitched over skin a wax seal on a red love letter.

Dear eagle,
Tear the mailbox of my torso
open each day.
Find, purpled and wine drunk,
ripe and sweetly bleeding,
this thing again.
This everyday gift.
This love letter
I made just for you.

The eagle eats,
learns the nuances of flavor
tastes the difference
between meat that is taken
and meat that is given
and learns to push past the liver
past the pink waterfalls of flesh
and, soft as a kiss, hushed as a whisper
closes its beak around the titan’s heart.

Flying away the bird will hope
that its feast will grow back.
Watching the bird, the titan
knows that what was eaten was given
and what was given
will have to be held.

 

Billie Sainwood is a queer, trans poet and writer from Atlanta. Her work has been featured in The Passionfruit Review, Had Magazine, and en*gendered lit. Her first poetry collection, WHAT WAS EATEN WAS GIVEN, is available now from Kith Books. She keeps a diary of her inspirations and neuroses online at https://billiewritespoems.com.

 

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Onyedikachi Chinedu

Open to the World

Examine this
the photograph describes the clovers
from ground zero
and the movement away from the grocer
selling right outside the estate
to the man with his schlong held back
against the material.
His yellow, egregious teeth
open to the world before him,
but does he come to this place
where the moonlight shows shells
on those mossy fences and
wooden lampposts?
Everything of his alone
and safe from the push and
pull of night.

 

Onyedikachi Chinedu is a third-year student at the University of Port Harcourt, Choba.

 

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Amira Al Wassif

The same old story

Every time I start to laugh
Somebody invents a new way of laughter
I run to the closest mirror
Burying my swollen face
Counting my disappointments on my fingers
No music in the background
Only the cracking of my bones
Do you hear it?
I see you on the walls
Your purple face waving
Like a curse
I put a hand on my right chest
Singing as if the world dissolved
Between my knees
In this story
Adam didn’t eat the forbidden fruit
Just Eve who did
He was busy
Creating a sudden plot twist
God upstairs
Watching in silence
In the mirror
I see your favorite song
Turned into a worm
Crawling toward my belly
Your face
Without features
I ask you
Are you hungry?
You ask me
How did you survive?
And the rest is history.

 

Prayers from Our House Roof

We were boiling bananas on the roof of our house.
Mother’s laughter clutched the heart of my ears.
She was gossiping with a neighbor.
Mother was storytelling, sweet as poetry. I loved
To watch her tongue play the music of conversation.
They worked on their knees, their noses colored by wood smoke. Boiling bananas was like a prayer
We whispered, sang with faces lifted up,
We made art through peeling bananas, slicing them into pieces to boil on the fire, hoping for a kiss on a cheek
From a bird; an old hymn bathing our exhausted souls.
At the roof’s edge, I overlooked a cavernous grotto, and I saw God cooking for children like me. I watched him prepare the dinner table for them in heaven,
A kingdom of mercy. I stretched my arms to touch the magic, then ran to my mother, whimpering
That I saw God cooking for the children. She smiled but continued talking with her neighbor. I yelled
At my mother for attention, pointing, but she just smiled. I kept watching God make delicious food for one hundred children gathered on their knees around him, longing in awe. I waved to them,
But they didn’t notice me. I imagined the smell from our rooftop carried a kind of hope.
Under my bare feet, bananas peels and two bowls, one for us and the other for the hungry people
In our neighborhood. It became a ritual ever since one hundred children had died of hunger,
One hundred innocent souls vanished. I swear I saw God cooking for them, but no one believed me; they just kept smiling.

 

Amirah Al Wassif has two poetry collections: For Those Who Don’t Know Chocolate (Poetic Justice Books & Arts, February 2019) and the illustrated children’s book, The Cocoa Boy and Other Stories (Poetic Justice Books & Arts, February 2020). Her poems have appeared in print and online publications including South Florida PoetryBirmingham Arts JournalHawaii ReviewThe MeniscusChiron ReviewThe HungerWriters ResistRight Now, and several other publications, and her upcoming poetry collection, How to Bury a Curious Girl, was published in April 2022 by Bedazzled Ink Publishing, LLC, Fairfield, CA.

 

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Feisal G. Mohamed

These poems are excerpted from Feisal G. Mohamed’s work in progress Nowhere is Safe in Gaza, a book-length erasure of South Africa’s December 2023 application to the International Court of Justice charging Israel with violations of the Genocide Convention. 

 

an apartheid regime

                                                                                    an apartheid regime
                                                                                                                          discriminatory land zoning and planning

                 punitive and administrative house demolitions                                           Israeli army incursions into

Palestinian

villages    towns    cities    refugee camps                                                             routine violent Israeli raids on their

homes   arbitrary arrests       indefinitely renewable administrative detention

                                                                                    Palestinians

                                   without basic protections

      Israeli settlers

                     with full due process

 

 

WCNSF

                                                                                              hundreds of multigenerational families have been killed

in their entirety     with no remaining survivors     mothers   fathers   children   siblings   grandparents   aunts

cousins       often all killed together

                                                                                                                 medics in Gaza have had to coin a new

acronym   ‘WCNSF’   meaning ‘wounded child    no surviving family’

 

 

‘I have never seen such a thing before’

                                                                                              Israeli  bulldozers  excavated  and  exhumed  a   hospital

mass   grave in the besieged Kamal Adwan hospital on  16  December     where     26 Palestinians had been

buried                                             Hossam Abu Safiya     Head of Pediatric Services

                  stated      “[t]he soldiers dug up the graves this morning and dragged the bodies with bulldozers

then crushed the bodies with the bulldozers         I have never seen such a thing before”

 

 

Feisal G. Mohamed is professor of English at Yale University. His latest book is Sovereignty (2020).

 

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