When I was a fireman by Tito Titus

When I was a fireman

By Tito Titus

 

A shovel on my shoulder,

         I followed a greasy yellow D-9 Cat.

                     Its blade scraped rocky ridgelines;

the diesel roared, steel tracks shrieked.

                       

Wildfire raged below, forty feet per flame,

         climbed up full-tilt toward

our craggy hogback

while the D-9 and I

 

stripped away burnable life,

eradicated foliage, bunch grass,

that could carry flames

                     across the windy ridgetop.              .

 

Midnight flames glowed in the gully below,

         grass smoke stretched gray

in firelight like wraiths warning:

here comes the big burn.

 

After a twenty-four hour shift,

I slept beneath a two-ton truck,

         baked in its oily shade, thirsty, tired,

ate cold stew from a military can,

 

excited, ready to go home or fight wildfire,

whichever—it didn’t matter;

I was sixteen, making good money,

yet afraid to be a man.

 

Sixty years later: seas of flames—firestorms—

sweep Siberia, Australia, California, Oregon,

                     British Columbia, the world,

and this valley of orchards.

 

My history prepared me for this,

         but I’m still not ready.


A Mask of Stitches by M.J. Dillon

A Mask of Stitches

By M.J. Dillon 


Curse the mask that makes me ideal.

Keeping me imprisoned in my own mind,

As it frames my eyes and reveals


Scars that will never heal.

A shackle tightens around my heart as it binds.

Curse the mask that makes me fear


My own abnormalities that give me nerves of steel.

My shield of armor unwinds

As it frames my eyes and conceals 


Stitches that were sewn to appeal

To those who define the designs.

Curse the mask that makes me real


Because I’m sick of this whole ordeal.

When encasing me in its thorny vines

It frames my eyes as it yields


Hatred and sadness in which it wields.

Never to the mask will I resign.

So curse the mask that fills me with zeal.

As it frames my eyes with lies. 



Artists by Susan Trestrail

Artists

By Susan Trestrail

Painted in various hues 

His subject with blurred edges

the center a forlorn face. 

He smeared a dreadful red

Black lines splayed in angry bursts

of isolation and song. 


Aged and regretful, he brushed 

in strong, thick strokes, an airplane

and Ferris wheel colliding 

in midair, his life’s metaphor. 

not real people or problems. 

Art is escape and sentence. 


A monochrome toned homage 

to a dejected painter, 

while raising timeless figures.

The first gasp of air after 

a near drowning, you recall 

what pulled you from the water.


You thought the life would drain from 

your limbs, but your lungs found the 

surface just in time and that 

sound or smell forever carved

in memory like floorboard 

creaks, lavender wisps through white


eyelet, or wistful chimes of 

church bells drifting. Therefore we

create, not for others or 

the sake of self. We paint so

our long and dutiful lives 


are worth living.



Ceramic Skin by Carlene English

Ceramic Skin 

By Carlene English

 

Stubborn muck sits patiently upon my sheeted table. Pressing my willing fingers firmly into its body, I direct the malleable, amorphous substance into structured forms and molds.  

Nothing compares to the way earthy clay melts into my eager palms, begging to be perfected. As effortless as butter, the once indefinite blob takes on a shape as solid as concrete. I’ll spend hours caring for her fragile frame and in return she expresses gratitude, standing tall and unyielding.   

After days of manual labor, skin cracked and parched, my masterpiece will call out to me, awaiting the next step. Her finished grooves and curves satisfy me because she stands proud of her imperfections, unapologetic. Raised sturdy and resilient, I know that she’ll survive the intense confrontation of the heated kiln and emerge imperishable as ever.    

However, a hint of doubt gently disturbs my mind, the same way an adoring parent feels watching on the sidelines as their child packs up their belongings to leave. I desperately want to keep her here forever, but I know that is not what’s best for her.  

I dream about the dust of ceramic fragments because my creations are portions of myself I want to release into this world. Each step of the process is parallel to the transitions in life we must overcome, transforming into the best versions of ourselves. We are all molded by our surroundings, admired by those who love us, and through it all, we emerge from the consuming fire victorious, for we have survived the worst and arisen stronger.   

 


Confrontation With the Reaper by Emily Shank

Confrontation with the Reaper

By Emily Shank 


I’ve seen you lurking like a shadow of malice,

With palm open for the ill to fall in.

You, eager usurper, you self-employed assassin,

If breath be wine, you raise your chalice

And escort the lost to your cold, dark palace.

With just a cough you start to beam

And prepare your fists to rip fate’s seam

As you end ailments without gratis.


Yet hair goes grey and skin will wrinkle

And mirthful eyes no longer twinkle.

Every journey and song must come to an end,

And when sore are my bones and heavy my heart,

I’ll look to you as guide and friend,

And by your side, this world depart.


Dementia by Kaitlyn Riley

Dementia 

By Kaitlyn Riley


Bittersweet memories. 

A fire in my soul, yearning for who I once was.

Days, months, years have gone by. 

All now I can see is a blurred image of what used to be.

What used to be a free mind is now trapped. 

Memories are supposed to last a lifetime.

This is not true.

Words fade, and photos burn.

What was and what is will never cross paths again.


I can't remember my first love's name.

My mother’s face is not clear.

My father made me an angry person but now my silence controls me instead.

They are all gone from this life and from my mind.


I sit here alone.

Strangers give me pills.

I don't know what they're for.

They call my name, but I don't respond.


DREAM (During the Time of Cancer) by MJ Bressler

DREAM

(During the Time of Cancer)

By MJ Bressler


I sit against white plaster walls


in the garage under my Grandmother's house

 Secure and safe, my childhood sanctuary, 

until a squirrel with knowing eyes 

approaches, scarab in its mouth.

The stone is dropped in front of me,

but as I reach out to pick it up

I’m bitten.

 I scream, hysterically, for help

to catch the squirrel, that may be rabid,

while two shadows stand immobile

by the door.

 I run out and catch the squirrel

and squeeze its neck between my hands.

I feel its life spin out

as my thumbs press hard

upon the bones that crack and crumble

beneath my force.

I shiver from this feel of death and know-

I can only count

on me    


FOWL PLAY by MJ Bressler

FOWL PLAY

By MJ Bressler

The holidays are upon us, and I’ve been summoned to the kitchen for a lesson in preparation for the big dinner.

“Get your hand in there!” my mother directs in her authoritative voice. “Come on, reach in and pull it out. It’s not going to bite you!”

It’s nineteen forty-two, and Don McNeil’s Breakfast Club has just ended on the radio in our living room. Mother hurries to turn it off and returns quickly to take up where she’s left off with me.

The apron around her middle is splashed with droplets of blood as she folds her hands around the material to keep from interfering with the task she’s determined will be mine today. She believes it’s her duty to teach me, and when she’s made up her mind, nothing will change it.  I, of course, am well aware of this. However, I never let “her way” go unchallenged.

Gingerly, I reach my hand out to touch the purplish, goose-bumped, cold movable skin of the dead bird in the sink. I shudder, a chill climbing up my neck. 

“Don’t be such a sissy!” she intimidates, name-calling being one of her weapons.

I whine, “Why do I have to do this?”

  “Because you have to learn sometime. I won’t be here forever to do it for you,” she replies in a matter-of-fact tone of voice.

I am expected to reach in and pull out the innards from this dead creature. I shiver at the anticipation of performing this maneuver and rebel in my most award-winning, Bette Davis imitation.

First, I cry!

Then I gag!

Finally, I scream! Stamping my feet in defiance.

But I place my hand into the mysterious cavity where the slippery, cold organs evade my small ten-year-old hand when I try to grasp them. Repulsed, I pull my hand back out, and nearly lose my breakfast as strands of bloody flesh cling to my fingers.

“That’s nothing,” my mother says. “Reach back in and get the gizzard. There’s a liver and heart in there too.”

“But they’re slippery,” I answer, half crying, half whining. None of this, of course, persuades her to excuse me.

I really should know by now that any defiance on my part only makes her more determined and angry.

“Now!” she raises her voice as her hand grasps the back of my neck. She means business and my obstreperous behavior had better end, for she's losing patience. Though I try, I can’t win this battle of wills, so I had better find the inner resources to do this despicable job and get it done.

I grit my teeth and close my eyes. Tentatively reaching into the turkey’s cavity, I grab the slippery organs and withdraw my hand with such force they fall onto the floor.

The gizzard hits Mother’s leg and drops on the top of her shoe. The liver slides under the stove, while the heart bounces twice, before lying inert upon the braided rug by the sink.

Despite the fear I feel at this mishap, a laugh begins its journey from the depth of my gut and explodes from my mouth with such force that saliva sprays my mother’s back. Bent to remove the gizzard from her shoe, she suddenly straightens up and glares at me. Except the glare cannot quite establish itself, because the crinkles at the corners of her eyes erase its potency. Her face contorts, trying to maintain the “no-nonsense” demeanor she had previously established. The laughter comes in spite of her effort to contain it. She succumbs.

We both stand there laughing, she with her legs crossed and me with bloody hands, unable to wipe away the tears that stream down my cheeks in grateful relief.


Everything is beautiful by Kimberly F. White

Everything is beautiful. 

By Kimberly F. White


Bathing in a sea of stars,

I float like a balloon

Tethered to the earth by

Just a fragile string of gravity. 

I reach out to eternity,

Trace patterns in the sky ...

Stories told across millenia. 

I'm traveling through time. 


I close my eyes and slowly sink,

The air around me, in me, through me, 

Is humming in crystalline harmony 

Two hundred voices strong. 

And if you close your eyes,

A river, a silent and beautiful current,

Fills you from within …

And I expand, become two-hundredfold. 


You kiss me for the first time.

In it, I feel the first and last 

and every kiss between.

My first imperfect love.

For just one perfect moment,

Nothing hurts

And everything is beautiful.


I reach out to accept the humble spoon,

The unassuming plastic 

Now a momentary chalice.

Transubstantiation. 

I taste its precious contents,

Close my eyes in sheer euphoria.

One hundred years of craftsmanship;

Each dances in its turn across my tongue.

The sweet, the sour, oak and juniper.

I gladly pay whatever price

To worship at this temple once again.


A bird freed from her cage, I fly

Above hot summer sand,

Splash landing in the glittering lake.

Hot and cold, wet and dry,

Noisy … and quiet.

I am the summer sun,

The gentle breeze,

The waves unfurling as they kiss the shore.


And nothing hurts. 

Give and Forget by Jack Harvey

Give and Forget

By Jack Harvey


Are there more starving

than the stars?

At night

the sick child’s heart

runs down

like a clock unwound;

in the morn

Aurora weeps

on a crooked elbow.


More starving 

it seems

more empty bellies

than the teeming

galaxies of space,

than the waves in the sea;


infinity hardly holds them.


Our foolish hearts melt

like ice

in the sunlight

before pictures of sticks 

and stones,

travails

with an ex-wife,

the dead puppy.


But there, in

the wastelands of 

Afric and Ind,

Rio and Lisbon,

where the Tagus,

good as gold,

is a fancy name

for nothing;


there, in odds and ends,

in nooks and crannies,

in darkness,


they go on starving.


I dream of cruel things by Emily Shank

I dream of cruel things

By Emily Shank 


I dream of cruel things

Of saccharine kisses,

Passing honeyed promises between tongues

I dream of lovers

Of tender caresses leading towards a precipice of bliss

With fingers entwined. 

I dream of sleepy afternoons spent under sheets

The sunglow soft upon us

How callous of me

To dream such sweet dreams

When even my lips are chaste


But I want

Oh, how I long for intimacy

To kiss and cry and laugh

And to know and be known


Mahogany Root by Lea Gajinov

Mahogany Root 

By Lea Gajinov


Awoken by a piercing light, 

shuffling on satin padding, 

a soft lullaby creeps 

from outside my cradle 

of maroon mahogany 


A fair and slender figure 

draped in lace and onyx 

leans over me 

like decaying timber,

and I hear her crack 


Her voice breaks notes 

as she wails my way, 

crimson spiderwebs and 

overflowing midnight dew 

consume her crater eyes. 


Do not mourn me long, 

Mother, for the ground 

will welcome me back 

tenderly and I shall be 

mahogany root once again.


Mary Quite Contrary by Jack Harvey

Mary Quite Contrary

By Jack Harvey


Mary's passion,

contrary to

the popular old poem,

was not a garden, it was

a Harley-Davidson's

hard saddle

under her ass.


Sitting astride it,

riding, riding

nowhere and

the only garden's silver bells

and cockleshells were

tattooed on her arms.


Mother Goose, you should tell it so,

hard and true to the times

and leave the prissy miss

where you found her.


MASKS CONFRONTING DEATH by Kenneth Pobo

MASKS CONFRONTING DEATH


James Ensor, 1888

By Kenneth Pobo


We doubt that Death will 

pop in today.  We change 

snow tires and channels.  


Death makes itself at home, 

comfy in my favorite chair.   

I’m tempted to kick it, 


but it might get angry 

and kill me.  I bring Death 

a glass of Moet.   


My great-great grandpa

said that Death likes wine.  

If I were Death, 


I’d get blotto.  A grim job, 

dealing in decay.  When Death 

finally leaves—he drops 


a calling card on our table,  

says he will return.  We toss 

our locks in the river.  


My Mother's Duplex Apartment by Mark Tulin

My Mother’s Duplex Apartment

By Mark Tulin


My mother lived in the same duplex apartment since she got married at twenty-five. When my parents divorced, I thought my mother would fall apart, but she preferred to live alone. She wanted the apartment to herself. 

Part of her isolation was because of mental illness. I didn’t know her official diagnosis, but I believe it was schizophrenia based on what people told me. She talked to herself as if there were several people present. Perhaps she conjured them up, so she wouldn’t be alone.

Her daily routine was simple. She was an early riser. She bathed in the morning, her first of three, powdered her breast with too much Johnson and Johnson’s Baby Powder, dabbed some cheap perfume behind her ears, and clipped her toenails.   

She had a set of false teeth but never wore them. Instead, they sat in a glass of Polident on top of the toilet tank.

I knew my mother better than anyone. I watched her walk barefoot from one bedroom to the next, from the kitchen to the living room, debating with invisible people that seemed to float about her head, and I often wondered how much mental suffering could one woman take.

She kept a house key tied around her neck with a kite string. Whenever she left the house, she locked the door behind her. She read about the crime in the city and felt vulnerable being short and a woman.

When I think about her lonely life, it makes me sad. Although when I was a kid, I had little sympathy. I resented her for not being normal and was jealous of my friends for having a mom who didn’t talk in code.

Today, while leafing through an old photo album, I see her life differently. She made her duplex apartment into a temple. She often lit prayer candles and smudged her apartment with lavender and sage. If it wasn’t for the safety of her apartment, I’m sure the demons in her head would have conquered her years ago. 

In her apartment, she taught herself to be structured. She refused to get upset or let her voices get her agitated. When it was lunch, she focused on food. When I came home from school, she planned what to say and what snack to prepare. And when she heard voices, she tidied up each room, made the bed, stacked the newspapers and magazines, and removed the soap scum around the tub with Pine-Sol. 

In the afternoon, she took bath number two. Again, I heard the fast-running water as a child that echoed through the apartment. The sound of her bantering back and forth with herself frightened me, but the soothing water seemed to mute her insanity. 

Sometimes it felt like a group of people were in the tub, all contentious, bickering, wanting to be the alpha person who ruled over my mother’s body. 

I never rushed her while she was bathing, even though it was our only bathroom in the apartment. I knew she had important matters to discuss, a major summit, and the fate of the world hung in the balance. 

My mother’s psychological problems always worried me, and I promised myself that once I left home, I would have as little contact as possible. I feared that whatever she had, I might also get.

“Make sure you don’t get into trouble," she'd say. "Don’t let people change you.” 

I never knew what she meant by that until I went to college, and my roommate overdosed on heroin, and I watched him convulse and die in our dorm room.

As I got older and had my family, I saw my mother once a month. She never complained about my lack of visits and, instead, was grateful when I did show. 

Her apartment was suffocating, and I always felt I was intruding. It was not only my mother's home but the people who inhabited her psyche. 

Then I got a phone call from a city worker who had gone to my mother’s house that day. He was investigating a complaint from a neighbor who smelled gas. My mother didn’t answer, so they broke down the door.

The man found her dead on the kitchen floor. The coroner reported she had died from a heart attack.

I had to identify the body at the morgue. It was the first time in my life I had seen her at peace. Looking at her slab of death on a metal table, I was happy that she died in her home. And at her funeral, I made sure I buried her with her house key around her neck.

Soon, I rented a truck and cleaned out her apartment. It was sad to see the place she loved so barren. I imagined that whoever moved in would hear a tub running three times a day and my mother's footsteps going from room to room. Because I believed, even in death, she’d still be there.


Night-Driving. by D.S. Maolalai

Night-driving.

By D.S. Maolalai


the sleeping night-light of the city,

crisped and tinkled on the sea

and folded over Dublin

like currency forgotten

in a pocket in the laundry.


they put out palm trees 

here – I don't know why – 

to make the beach 

feel beachy, I guess,

or perhaps

to be cruel to foliage.


I liked driving out to you

that way, out toward Bayside,

over the coast road at night

and jamming my hand in the radio,

desperately trying to seek out

some song I was able to sing.


driving at night

is the only feeling; the whole road

your own, gold 

from the streetlights

flowing over your hands

and then plunging them

dark again

in shadows

like buckets of caviar. 


I liked it then

and still do,

even without the 

you at the end anymore;

I don't have a car

but I try to find reasons to borrow one – 

I move what needs moving

and come up with an excuse then to keep it

overnight.


the road

black as a river

gels forward. 

I take it

and roll like a whale.


Occasionally portraiture by D.S. Maolalai

Occasionally portraiture

By D.S. Maolalai


sometimes people paint 

well, but mostly 

they don't. 

life, this collection

of jack b yeats 

crowd scenes

as you walk 

through the national

gallery. paint

and smudged paint,

spilling people's

bodies. bright colour 

and he understood 

how movement moves

along. though occasionally

portraiture, because sometimes

people warrant it. not

the most interesting people;

just those with their corners

defined. 


Oranges by Maxwell Harris

Oranges 

By Maxwell Harris

 

The ironic part about inspiration found amid a crisp, pulpy glass of orange juice lies not in the absurdity behind motivation in citrus fruit, but rather in the reality that inspiration is imminent everywhere.  

 

Like oranges, I find the messy parts of life have the most flavor. From being drenched in oil, listening to the crank of a turning motor, overloading software programs to crash and lose hours of painstaking work, setting fire to a PC during a simple repair, flooding a bathroom, or even calling poison control twice in the same year over home chemistry experiments gone wrong, I always prefer biting into a task and letting the juices flow over taking clean slices.  

 

My relentless perseverance to take defeats head-on derives from nothing less than the bump of a measly glass of orange juice. Moments away from attaching my last support beam onto the sturdiest truss bridge I had ever designed, an act of god caused me to move a leg (or it just itched, I do not quite remember), knocking over my juice. My competition piece was seemingly ruined: phenolic compounds devoured the adhesive, sticky sucrose frosted the tips of wood fibers, and best of all, a morning-orange horizon printed itself across all of my white wood blocks. With what only felt like nanoseconds to spare, I rushed to set the oven to three-hundred-fifty degrees, hoping to salvage my bridge for the following day’s competition. After taking my blocks out of the oven, I had an epiphany and split open the metaphoric orange once again. Looking at the wooden pieces, I realized what was once dirty, stiff, and impenetrable was now a clean, moldable, and tender piece of building material. Quickly, I threw out my old plans and started bending my blocks into fine arcs: the most unique and material-efficient bridge of the whole class.  

 

While trying after failing may seem frustrating, I remind myself and those around me that it is through failure that we prevail. Learning from my mistakes and moving forward will never halt. From experiences such as this, season by season, I will ripen. 


OVALTINE FACTORY by Kenneth Pobo

OVALTINE FACTORY, 1917-1985

By Kenneth Pobo


My childhood was a smell 

of Ovaltine.  A sharp noon whistle.  


Walking to school, I neared

the factory, two blocks away.  

After closing it grew decrepit, 

windows busted, Satanic rituals 

held while we slept 

our suburban sleep.  


Some say it’s haunted —

now Ovaltine Courts.  Condos.

  

My teachers are all dead, 

some of my classmates.  We had 

Ovaltine in common, its big brick arms 

holding the town together 

as much as it could.  Before 

a wintery silence crept in

with spray-painted graffiti.