After the stridex pad, and the toothbrush, the mouthwash and melatonin, the cat watches me from his bedside basket taking off my pants and socks putting on very loose, thin sweatpants removing the days shirt, slipping into another equally as loose fitting and thin
[…]
What must he think of this routine night after night with no knowledge that we die only of life—the hunt for small birds or mice, the sunny spot on the rug—its slow passage beneath the window beyond the houseplants, the proper time for wet-food dinner
[…]
What a bizarre spectacle I must be removing a layer, donning another, slipping under the blankets, reading till sleep overtakes me and the anxiety of work tomorrow, of everything undone yet to be done, ever undone again, and to do again, to do tomorrow, tomorrow, tomorrow
***
The Full Moon & a Fox
Moving through the gloom of the dark pillared temple of the forest at night I can feel it in my knees, a cold stiff blade, smallness that sits sedimentary in my lungs a gift horse with teeth, a mare pulling me through the night, stumbling briefly on a limb I flush a fox that veers away, agile reflexes, it springs atop a low stone wall, practically flows from the ground smoothly to perch the grace of its tail, a soft serpentine whisk confident it is as far from any danger as it needs to be for the moment, it is red although some subtle swatch it is to me in grayscale tones, my night vision, reads red in my mind from the white tip of its tail It turns to look me in the eye, before flowing away, vanishing into the forest’s deeper tones where I will not be following it tonight, instead I will sit in my own den, to find the medicine by reading what is hidden between the lines
***
Solvitur Ambulando
drowning out the sound of the creek and chickadees my thoughts clouding this moment of sun-sparkling frosted pines my thoughts walking and walking today’s recipe calls for the feet hurting more than my heart
David Anthony Martin is a poet, columnist, and writer who flies kites far too infrequently, forages wild mushrooms when in season, collects feathers when he finds them, writes daily, and dreams nightly. He has been published in an assortment of journals and anthologies, is the author of four collections of poems (Span, Deepening the Map, Bijoux, and The Ground Nest). He works in several capacities for the Nature & Wildlife Discovery Center in both Beulah and Pueblo, Colorado, including Environmental Educator, Hike Guide, Camp Counselor, and Caretaker. He is the founding editor of Middle Creek Publishing & Audio.
Alley-Hattie Considers John Sprockett: Town of Quarry, Colorado Territory, 1870
That bear-scarred demon thinks he can kindness his way out of Hell by handing me coins, laying a ratty blanket over me, trying to get me to eat decent—to atone for his killing sprees like he’s a snot-rag brat given to picking his nose.
Liquor’s all I need, though every once in a while Sylvie’s biscuits and gravy go down smoother than the ice cream Pa churned for the Fourth.
Cold don’t bother me, ‘cause I’ll be burning in Hell soon, for the swaddled baby I left in a ditch when I had my youth and looks, and thought I’d found true love with Cliff Loomis, that no-good rat, who’d told me to get rid of it.
Afterwards both that bairn and Cliff was gone, the wee girl most likely into a bear’s belly, but I hope not; and him, not even the dust from his galloping away was still swirling. Rather than face the shame of returning to that brothel, I slunk into this alley.
To dull the pain I drink, though the bad taste of what I done liquor can’t varnish over; that, and knowing Cliff still festers on this earth, and ain’t paid, like I have in guilt, for my daughter.
If Sprockett’d find and kill him for me, I’d gladly see Old One-Eye hauled out of the Hell that’s waiting on us both.
***
Letitia Lofton, Dressmaker, After the Shootout: Quarry, the Colorado Territory, 1870
Don’t ask me what gets into men that they need to shoot each other over some slight they can’t recall. Now, three more corpses for Boot Hill, strangers: except to Mr. Sprockett, who put them in the ground. One had a son, who claims he’s no stomach for vengeance, but I’ve no doubt we’ll hear more gunfire, citizens scrambling, again, for refuge, thinking Quarry isn’t a fit family town.
I thank the Lord I’ve no bairns to wander between warring parties; haven’t let a man drag me to the altar like a sacrificial heifer: free to stitch dresses for ladies who crave to look, as they say in New York City, “With it.”
Then, there’s Mr. Sprockett: our Angel of Death, when he’s not reciting poetry by the mile, tipping his hat to all of us ladies, including soiled doves, even the crazed hag who squats in an alley.
He’ll tuck a blanket around her, hand her some coins for a meal she’ll drink, while she mutters curses at his bear-savaged face, her clothes worse than rags, but too proud to let me fashion her a new sturdy dress and overcoat, out of Christian kindness.
***
John Sprockett Considers Micah Dabney: Quarry, Colorado Territory, 1870
I rode with his Pa to bring slaughter to Lawrence, Kansas; he never forgave me for riding away afore we’d killed every soul in that Abolitionist paradise. Still, that massacre was the worst thing I ever did, and I did plenty Jesus’ll send me to Hell for.
I’d tell his son Micah, when his Pa and two others came gunning for me years later, I’d no choice but to backshoot them, waiting to gun me, sure as Pharisees of their righteousness. I didn’t give them the chance, crept in through the back silent as a puma, and let them have it.
Now his son hangs about town, when anyone with a lick of sense would’ve rode off or blown out my lamp first chance he got. But he fell hard as a landslide for Spanish Sally, her hair black as an anthracite seam, her face to melt the heart of Satan. Out of kindness she tried to get him to leave, but between his wanting to kill me and pestering her, he’s stuck here.
Only way I can get him out of town and safe from the roaring murder that comes over me with the power of seven prairie twisters is to pay off Sally’s debt to her madam, but knowing Sally, she’ll gut him like a trout right after she’s let him do the dirty on the night he thinks will be the first of their long, happy life together.
Maybe kinder just to shoot him and put him out of his misery quick.
Robert Cooperman‘s latest collection is Hell at Cock’s Crow (Kelsay Books), a rip-snorting sonnet sequence about the pirate life. Forthcoming from Kelsay Books is Steerage. Cooperman’s In the Colorado Gold Fever Mountains won the Colorado Book Award for Poetry in 2000.
Find the center of things— this may be the house or the heart or a stone found on an Irish beach while staring across the sound to the Great Blasket Island
Consider topography especially if you have to climb to find what you are looking for— the exact point of curl in your child’s hair the locket lost on a high trail
But topography is never all— what’s loved may be right there at eye level— a view through a window or the first time you gave your son permission to use a knife to cut an apple
Follow roads you know and roads you don’t into the interior be prepared to spend nights without shelter to learn which trees nearby love water
Consider how when you find what you are looking for how you might retrieve it or whether you will only consider it and leave it there
Remember how far you can travel in a day
how to resist the urge to turn back
***
A Mother Stone Among the Ancestral Rockies
She sends green light toward the trail From lichen on her worn and reddened curves. She’s too old for vanity or pride. Exposed, her igneous flow has petrified and left her standing in this field since the last Ice Age.
She is shameless, open as a bowl. Open as a woman can be. At her center, a space that snow and rain will fill, and stir the pine seeds blown in each autumn; giving life to fairy shrimp and insects too small for most of us to know by name.
She leans back beneath the ponderosa pine. Things have broken off inside her: a sandstone arch, a cover, a seam, where once, at the bottom of the bowl, water held, like cupped hands, in the spring rains.
And who would care if a boulder fills with water or not? And empties again? The crows, the bush-birds, the wide-eyed mule deer, and a woman passing by, called to her side by green light glimpsed from the trail at mid-day.
***
Among Trees: A Litany
First the cycads (sego palm and gingko) then conifers—the pines and their kindred among whom only the tamarack prophet begins to sheds leaves.
Needles in their fascicle packets begin unfolding exactly so many each year. You can still count them on any tree; arrested development or perfection of form and function?
Next, the catkin bearers: willow, birch, poplar (cottonwood goes here), sometimes bearing life alone. Sometimes one tree male, the other female, with wind as matchmaker (why this singularity is “primitive” among trees and a sign of sophistication among humans no one explains).
At last, the fruiting sort—maple, oak, hickory, linden, the extended family of the rose: an apple, a peach, a plum,
a cherry—O generous etcetera! Congratulations! We have now arrived at one hundred million years ago. Let us pray.
Kathleen Cain’s poetry has recently appeared in Medical Literary Messenger, the literary magazine for Virginia Commonwealth University’s school of medicine. She has work forthcoming in Coe College’s haiku magazine, Garden Quarto. Her work has appeared previously in Bristlecone. She is the author of two nonfiction books: The Cottonwood Tree: An American Champion, and Luna: Myth and Mystery. She takes a cue from Shakespeare in her approach to writing about Nature: “. . . tongues in trees, books in the running brooks, sermons in stones, and good in everything”—even though she knows things are tough out there.
First, you add the sugar and the eggs, and you whip until they’re fluffy.
No, first you preheat the oven to 350.
In a house where the rabbi sends you homemade hot sauce but tells you your mother converted too late for you to count,
it is not knowing the difference between Yiddish and Hebrew.
It is Googling why Adam Sandler sings about yarmulkes when you’ve always heard them called kippahs. Second, as in most recipes, you add the wets: the oil, the lemon juice, the extract
In a house where you attended a bar mitzvah for your brother, where the Jewish mothers pulled your dress over your breasts but tell you that you ought not apply to birthright because you don’t count,
it is whether or not to add a C in Hanukkah.
It is why exactly you don’t write the O in G-d. Third, you add in the dries, and you stir with never a metal spoon until the dough is stiff.
In a bar one day, your more Jewish friend raises you high in a chair and gives you a bat mitzvah. You’re drunk, and you don’t know Hebrew.
Your mother is at home using a glass to cut holes in the dough. Someone told her she didn’t count once, too. Then, in a bath surrounded by friends, she counted. Now she is afraid of German people and cries at mention of the pile of shoes. You do, too, but it’s in a goyish way. Fourth, you fill the dough with whatever fruit filling you choose and pinch it not all the way shut into either the shape of Haman’s ear or Esther’s vulva, whatever you believe.
In a house where your mother washed your dead grandmother’s stiff body – and true, you refused to help, opting to cry instead – and you are told you didn’t grow up Jewish,
it is buying dreidels because you feel compelled to but not because you’ll use them.
It is wanting your children to call you Ima before you even want children. Fifth, you bake for 18-22 minutes.
In a house where your mother told you that for your Jewish wedding, you’d get henna on your feet, you don’t count.
So why don’t you just use cake mix?
***
The Day Is Bright, but the Drapes Have Blacked It Out
When I named myself, it was out of ego. “Leota” is a lioness of the people, and her name was found etched in a gravestone, and I had hoped to wrap myself in that otherwordly, feline skin, to bare my teeth and shake my mane atop a concrete soapbox for diplomacy. But I woke up, no cubs to mother, no podium from which to preach, just panties on the floor— groggy and human— plain old breakable (broken) flesh, plain old breakable (broken) hymen, and my claws were retracted so far inside me I think I’d coughed them up with my voice and my “No”s, and my fur had been brushed out in clumps by soothing hands. “You’re Beautiful,” Declares The Hunter, one hand on my fur and the other on his pistol. “It Will Be Good For You,” Promises The Taxidermist, and somewhere on a wall I am on display, midgrowl, while here I am on a different kind of display, midwhimper.
***
The Anatomy of Poetry
Spinning me in a tireswing and smoking a cigar, you tell me, “This is great. I’m going to write a poem about this.” I remind you every week, ask to see what I hope is a proclamation of awe, and you tell me it is not yet done. A year passes, and I continue to pick apart your rhyme, but I am never in the scheme. Playing tetherball in a sunflower field, you tell me, “I’m going to write a poem about this moment, but please don’t remind me. I have a thing about that. You kept reminding me about the other poem, and so I could never write it even though I really wanted to.” so I am patient and silent (things that do not come easy) and your accidental lesson reaches me because I wait for it to come, but it never does. I feign nonchalance when I read a poem that has a moment I recognize, a phrase that captures an essence I acknowledge to be mine, and I ask, “Oh, is that line about me?” but it never is.
***
I Kissed a Woman and Killed a Man (and the Guilt I Feel Is Equal)
It breaks everyone’s fucking heart to know how many times they could have spilled it but the phone just kept ringing, and you can have swimming vision over dark beers all you want or at least until 3 when they kick you out and as the saying goes: nothing good happens after 2. So we should stop trying so hard to revel in our brokenness, stop getting into each other’s cars and faces and threatening to blacken our knuckles on each other’s teeth and jawlines. We should listen to our mothers and go to bed. You know someone matters to you when they start infiltrating your slurred speech and you start waking up drenched in sweat from your latest nightmare about them and you don’t know how to stop shaking when confronted with the glory of their face, and you are willing to crush their nose bone if it means you get to make up afterward. Take a precious moment, spit on it, cover it in sand, then wonder why they say you are all hammers. Have no sympathy for their death toll, their Rorschach painting done in their own blood, their wet eyelashes clumped together, then scream in the parking lot of the bar that they never believed in your compassion anyway.
Lila Bear was raised in Memphis, Tennessee, before moving to Denver, Colorado, to pursue stand-up comedy. She is a senior at Metropolitan State University in Denver and a freelance writer, though she really pays the bills by nannying. She sometimes babysits Josh Blue’s kids, which people think is much cooler than anything else she does.
Bristlecone welcomes poems from writers of the Mountain West region. The editors are especially eager to read poems that reflect the region’s various cultures and landscapes, although we have no restrictions in mind regarding subject matter. Our main concerns are with the quality of the work and the cultivation of a regional community of poets and poetry lovers.
Submissions are accepted year-round. Please adhere to all of the following guidelines:
Submit 3 to 5 unpublished poems in a single Word attachment (no poems in the body of an email) to: editors@bristleconemag.com. Submissions with more than 5 poems will not be considered.
Poems posted on blogs and social media are considered published. Simultaneous submissions are fine as long as you let us know right away if the work is accepted elsewhere.
Use a header on at least the first page of your submission that includes your:
Name as you wish it to appear in the journal
Mailing address
Email address
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Phone number
Submission should be in .doc or .docx file format (no .rtf or .pdf)
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Flush left alignment except for drop-lines, internal spaces within lines, and any other special formatting your poem requires
100-word maximum bio at the end of the submission; same guideline for translator bio(s). Feel free to provide live links to your website.
After publication, all rights revert to the individual Bristlecone authors. We consider simultaneous submissions but please let us know immediately if something you’ve submitted to us has been accepted elsewhere.
The Editors: Joseph Hutchison, Jim Keller, Sandra S. McRae, and Murray Moulding
Frank H. Coons
Like Atheists
Where It Started
Walking across Spain we spent many nights in various rooms from sub-pedestrian to palatial.
But it was after a particularly hard day— eighteen miles of hills and vales, hungry and half lost, we finally found our pre-booked accommodations.
To our surprise, a convent, where a stern holy mother led us to two very narrow beds separated by Christ on his cross, a New Testament on the desk—
as if to excise any unsavory temptations. Crisp white sheets severely folded over anemic mattresses, the entire atmosphere the opposite of ostentatious.
And all night, the saints kept their vigil, ready to catalogue the most venial of sins, prepared to intervene, should the devil appear.
So we woke unrefreshed, backs stiff, consciences clean, though ready
also to confess that if this is what Jesus requires, we’d rather sleep like atheists.
Every estuary is an amalgam of half-salted water— a brackish broth that harbors the unfinished including you and I just now wading knee-deep eyeing an endless horizon aware this might just be where it all started when those lonely elements: carbon, hydrogen, oxygen, etcetera, gathered under a willing sun to become a living something— holy admixture and eureka! And here we are the unfinished specimens
Frank H. Coons is a poet and veterinarian. He lives with his wife who, somehow, still puts up with him after almost 47 years. His two daughters and three grandchildren live close enough that he can bother them frequently. He is the author of three books of poetry, both published by Lithic Press. His first book, Finding Cassiopeia, published in2014, was a finalist for the Colorado Book Awards. His second book, Counting in Dog Years was published in 2016. His work has appeared in Caesura, Evening Street Press, Plainsongs, Pensive Journal, Santa Fe Literary Review, Pacific Review, Pudding and elsewhere. He was nominated for a Pushcart prize in 2019.
Dedication
This work is dedicated to my two daughters, Allison and Lindsay, and my three grandchildren, Madeline, Cameron, and Cole. They continue to be an endless source of inspiration.
Lew Forester
Augury of Ash
Marshall Creek Fire Boulder County, 2021
Premonitory winds gust along the foothills, dry grasses bent like the penitent to their knees—
a chaos of clanging windchimes, tumbleweed trashcans rolling through streets, apparitions riding the playground swings.
Arid fields ignite, fanned into a blizzard of smoke & ember occulting suburbia, devouring over a thousand dwellings—
homes once envied reduced to basements, concrete-lined graves of smoldering memory the displaced sift through,
as old prophecies about a warming world begin to be absorbed like wet snow falling on ashes, too late.
Bird Paparazzi
Boots crunching ice, we walk through the fog our words make
while a hawk claws at a frigid blue sky.
We startle a whitetail deer, treading the western edge of its habitat,
then encounter a group of birdwatchers wearing camouflage. They wrestle with tripods and lenses big as dinner plates,
attempting to capture a migration of waxwings.
Fluent in their language, you chat with them while I think of the ravens
I watched the day before, invading the perimeter of my house, staring through windows, fouling the walkways.
Wheels Roll
across miles of Colorado highway Craig to Elk Springs to Dinosaur through sagebrush & juniper & rangeland the rolling freeze-thaw road paved over Ute Indian trails & dinosaur bones over white man buried promises no one ahead or behind for miles & miles rolling free as the subconscious the interstate an inner state like the woman sitting alone in a café in Craig coffee in trembling hands hair like threshed wheat hollow eyes verging on tears should have offered her an ear talked of flight & freedom in the broken lines & the lightness of leavings left behind though leave your demons in the dust & your angels might stay back too while the windshield carnage continues the guts and wings of flights concluded under clouds like gauze over landscapes sutured by barbed wire with ghostly mirage blurred parallel lines converging in the distance while the Beatles’ Long & Winding Road beams down from space through speakers & you ponder where next to go in this life besides down the highway & into the vanishing point
Lew Forester is a social worker who lives in Arvada, Colorado, base for his frequent hikes in the Rocky Mountains. The author of Dialogues with Light (Orchard Street Press, 2019), Lew’s poems have appeared in Atlanta Review, Main Street Rag, Blue Mountain Review, Sky Island Journal, Pinyon, Plainsongs, POEM, Slipstream, The MacGuffin and other journals, magazines and anthologies.
Amy Wray Irish
The Educational Exhibit
at the Sonora Desert Museum in Tucson, AZ
Sleek predator, poquito tigrillo, spotted hunter of the Sonora and primo del jaguar, why are you on display? A sign at your enclosure says “Ocelot Entrance” but not Endangered. Are you in need of protection? Or just held captive in a space that copycats habitat, plays pretend?
Your signage claims you may live twenty years, preserved in the museum’s embrace. That’s 7,000 days and nights of vigilant eyes focused on release from your “natural” state.
Peering in at your penitentiary, it’s clear where declawed paws have paced those walls with grace, rápidamente, again and again. The earth laid bare from motion. Your sign points the way for entry but never escape. And feigns education, describing zoology but never your zoo. Yet you are educational—look how much
I learn from your sanctuary, your cage.
The Ritual of Washed Hands
after Kora in Hell: “Improvisations II,” by William Carlos Williams
If you are like me—a window-washer, poet, or other philosopher—with life’s filth fouling your glass every morning
you would never return to the critical work of clearing the dirty accumulation of night, without first cleansing yourself
of all that dug-up grave soil, keeping even your cuticles spotless clean with an altar cloth or scrap of haiku.
And when you hang your just-washed hands from the ceiling to dry, you cannot secretly keep hold of broken glass or ripped cloth shreds.
Really! How can you expect an untainted trickle of light to find and follow you through the gritty pane of this existence
like that—But come, let us pause together in reflected skyscraper light along our precarious catwalk.
One must be strengthened, prepared for much before our hands are tuned to these frequencies of purity.
You see, there is the oil slick of the world forever spilling between us, and we must become holy
as the translucent glass catching sun before we can handle the stunned bird— before our hands can meet.
When the Door Is Closed in My Face
The arid moonscapes of my empty walls rise before me. Dented and pitted from the pierce of pressed-deep tacks, ripped-out nails, long-forgotten photos, discarded art—
But I find there a constellation of pockmarks. I find a bouquet of flowering craters. I find a spiderweb of cracks connecting, weaving a lacy curtain to hold back the beyond.
And I find a tracery of wrinkles gracing the snow-dusted face of my future. I find a Himalayan range of white rising in peak after peak of possibility.
I find there a Rorschach of such intricate artistry, revealing such beauty within me, that I know any closed doors or enclosing walls can never hold me captive—never
call me abandoned or void—again.
Amy Wray Irish grew up near Chicago, received her MFA from Notre Dame, then fled the Midwest for Colorado sunshine. Irish was recently selected as the winner of the Poetry Mesa Chapbook Contest, judged by Judyth Hill. Her manuscript Down to the Bone will be published in 2023. Her 2020 chapbook Breathing Fire, winner of the Fledge Competition, is still available at middlecreekpublishing.com. Or read more of her work at amywrayirish.com.
Susan Marsh
My Wyoming
The dominant color is wind. A sky smudged with dust, Strands of barbed wire Humming the hues of light: Azure, denim, sand, Tawny buckskin tan, the soft Gray shadow of a shadow.
Here is the day’s delicate beginning Clouds mixing like ink on the horizon As sun gilds the interior Of a weathered windowless shed.
Come See
The frozen fist of winter has lost its grip Snowmelt trickles through its open fingers. It stares into its hand, amazed. Aspens weave nets of mist across the mountainside. Come see, they bid. Come see.
The sky spins mare’s-tails on a wild warm wind water pours headlong, glorious in its rush silence is silenced by a cacophony of life. The patch of earth beside this log is dry dabs of color beckon. Come see.
A buttercup’s green hands embrace a yellow globe hail-dense drifts of turkey-peas erupt from warming leaf mold. Elegant steer’s head conjured from bare earth, blooms under the pines gone before April softens into May.
I want to call my friends in distant urban places, draw their attention from greening lawns, from quince and cherry blossoms. The mud has thawed, the buttercups are out this morning, I will say. No greater miracle than this: come see.
Susan Marsh lives in Jackson, Wyoming. Her non-fiction has been published in Orion, North American Review, Deep Wild Journal, Fourth Genre, and in many anthologies. Among her books are an award-winning novel, War Creek, and ten non-fiction books, including A Hunger for High Country and Saving Wyoming’s Hoback, winner of the Wallace Stegner Prize in Environmental Humanities. Her poetry chapbook This Earth Has Been Too Generous was published in 2022. She writes the column “Back to Nature” for Mountain Journal.
Jerry Smaldone
Dick
Dick took a drag off his Marlboro and tried to exhale. He was sitting on the porch, waiting for the sun to go down, waiting to die.
He had stage 10 cancer and enough other stuff to kill a horse. A big ol’ warhorse, more like a workhorse, pulling a wagon, pulling a plow.
Now it was coming to an end, and he thought of all he’d done. The farm in Ioway, a stint in the Navy, the precision of the machine shops, winding bike rides in the mountains and hunting with his boys.
He was alone now, Rosie gone two years. He was proud of how he’d cared for her, the love of his life, unable to breathe.
That first time he walked in the Ramblin’ Rose and saw her behind the bar. How she trusted him, wanted him in her hard-headed, independent way.
Yeah, he was alone, but the girls, his stepdaughters, came by to check on him and bring him dinner once in a while. He had decided to do the right thing and let the family know. Maybe somebody would want the guns he hadn’t used in years, the bike he couldn’t ride, the truck. Somebody’d want the truck.
He thought how he would miss sitting here, watching the neighbors, young ones pushing trikes and wagons full of impossibly cute kids, old ones limping around small gardens of vibrant jewels, some he hardly knew, who’d come by for a casual talk as word had spread down the block.
He eyes teared up as they rose to the blurry trees and clouds and everchanging sky. A perfect still life it was, life that is, with just the right amount of pain and joy to wake you up and raise you to a higher place. And then something lit up inside his head and he realized that was it.
We had to be lifted up to get to heaven, all of us, we had to lose this wasted, worn flesh, to see who we really were. We had to put on a body of shining light to enter the illuminated world.
Dick lit another smoke and took a swig of beer. The air was clean today, sweet as your first breath.
When Jerry Smaldone is not advising top-tier thinkers on how to physically, spiritually and financially survive the coming global holocaust/ascension into the 5th dimension, he is getting beat up by numerous grandchildren. Numerous books are waiting impatiently to be published by anybody other than the author.
Jared Smith
Watching a Downy Woodpecker
I’m watching a downy woodpecker silhouetted against storm clouds on the highest branch of an ancient elm tilting to the wind, sharpening beak against fluid bark and pausing, then picking what it finds into its mouth jostling its feathers as the clouds themselves are jostled against cloud. What does it hope to find so far above the ground where beetles burrow freely? Perhaps one or two tired stringy grubs within a stalk too thin to hold them yet hanging on, they too small and cold.
I must go on and like that tuft of feather tend to the little things I cannot catch or keep for any length of time. The messages of lovers, family, friends that tie me to the world I love. I look at my investments in the future, my meager means of tying thoughts to whatever it is that meets us at this time. This is my job: making skin-tight marks on paper as my sister falls dead across the country, where she sifted tax returns and handed out the government doles to those who could no longer work, one Administration to the next and next, a long gray highway of U.S. dreamers.
It is too cold to walk the fields today, the winds too turbulent and I too small and dark, too feebly feathered to fly holding only what I can.
Within the Shadows of Invisible
There are no deer in the side yard this morning, stepping out from the tall winter grasses on silent feet, nibbling the buds from groundcover, looking toward our window, ears raised quizzically, knowing we are here but not why or what we are, sensing danger in the midst of our kindness, fading back into the landscape from which they come.
This is a wide, deep forest where the trees grow close, so squeezed together they shiver in winter’s wind rather than standing tall and strong against it, their trunks and branches rubbing against each other, hands and eyes tangled against the clouds.
This is a forest filled with invisible animals that take their meals from the sun and shadow and go uncounted about their time among us. This is the forest unkempt, unlogged, pressing against the cities undrawn by architects, un- lived in within the shadows of invisible.
Jared Smith lived in Colorado for many years until last summer and still retains ownership of two primitive log cabins in Roosevelt National Forest. His sixteenth volume of poetry, A Sphere Encased in Fires and Life, will be released by New York Quarterly Books in May of 2023. Jared has served on the editorial boards of New York Quarterly Magazine, Home Planet News, The Pedestal Magazine, and Turtle Island Quarterly, and has hundreds of publications in journals and anthologies in the US and abroad. His first grandson will be born in Colorado in April of 2023. Hurrah!!
Sarah Wolbach
Anniversary Hike in the Sangre de Cristos
Lost in the woods after missing the sign with a curving arrow advising us of the trail, we wander for hours unthreaded from the needle of direction.
I grip a sharp stone in my right hand, binoculars in my left. I will break a skull if I have to, of a mountain lion, most likely, for we find paw prints in patches of November snow.
Sometimes you fathom how vulnerable you are among the indifferent atoms of living things and dead things. I set love aside for survival, follow you cautiously into the forest’s maw.
The light dims, becomes shadow-light. The particles of the intimate boundary between light and dark separate, and in a split second the forest disappears,
becomes dark as a cavern after the candle is snuffed out. Eyes useless, feet lost underneath us. We hold cold hands, pull in different directions. The forest growls.
Killing Time in Truth or Consequences, New Mexico
I choose a bad restaurant for no good reason. The huevos rancheros are made with greasy eggs and stale tortillas smothered with lukewarm red chile. The coffee is hot, brown water in a chipped
cup. At the next table sits a family of three—
two teenage parents and a baby the parents
pass back and forth across the table along
with a cell phone and a salt shaker. The ease of it.
While you lay dying in my arms, I murmured
“love is everything” over and over. I wish I had said only “I love you”—less
complicated. When did you say, “I am not
happy”? It was an interminable day of bad
choices. With each flavorless bite, I try
to forgive myself and love you more. I will be back tomorrow.
Wild
We used to say we’d hike up Bear Canyon to Atalaya, have a picnic.
Now I hesitate to step from flat to slant to crumble
and you are gone. In my youth, in my seven-league boots,
I leapt from boulder to boulder over slits and chasms
over gaping mouths of caves. I lit fires with my boots.
I walked over water on needle-thin planks. I fell but did not break.
But I dwindled with you, meandered too long
in the flats. Then you stumbled, you broke, you fell into shatter. Now
you lie in the sand, old man, old glass changing color.
My nerves shiver the fall, the slant of shale.
Why not avalanche, scrape flesh to the bone? Why not
slip from a bridge and see where I land? I might skip
across water, might sink into sand. But if I must drown, why not
drown happy? I plan to be wild: Up-fall into darkness, become a bright stone.
After receiving her MFA and a postgraduate fellowship from the Michener Center for Writers at UT-Austin, Sarah Wolbach moved to Mexico, where she led poetry workshops for expatriates and taught English to the employees of a mushroom factory. After leaving Mexico, she lived for several years in New York City. She is the author of two chapbooks, and her poems have been published or are forthcoming in Artful Dodge, Borderlands, Cimarron Review, Comstock Review, Fixed and Free Anthology, Peregrine, Pilgrimage Magazine, Santa Fe Literary Review, Snakeskin, Wild Roof Journal, Yalobusha Review, and others. She lives in Santa Fe, New Mexico.
Bristlecone welcomes poems from writers of the Mountain West region. The editors are especially eager to read poems that reflect the region’s various cultures and landscapes, although we have no restrictions in mind regarding subject matter. Our main concerns are with the quality of the work and the cultivation of a regional community of poets and poetry lovers.
Submissions are accepted year-round. Please adhere to all of the following guidelines:
Submit 3 to 5 unpublished poems in a single Word attachment (no poems in the body of an email) to: editors@bristleconemag.com. Submissions with more than 5 poems will not be considered.
Poems posted on blogs and social media are considered published. Simultaneous submissions are fine as long as you let us know right away if the work is accepted elsewhere.
Use a header on at least the first page of your submission that includes your:
Name as you wish it to appear in the journal
Mailing address
Email address
Phone number
Website address (if you have one)
Phone number
Submission should be in .doc or .docx file format (no .rtf or .pdf)
Times New Roman 12 pt. font—titles in bold and not all caps
Flush left alignment except for drop-lines, internal spaces within lines, and any other special formatting your poem requires
100-word maximum bio at the end of the submission; same guideline for translator bio(s). Feel free to provide live links to your website.
After publication, all rights revert to the individual Bristlecone authors. We consider simultaneous submissions but please let us know immediately if something you’ve submitted to us has been accepted elsewhere.
The Editors: Joseph Hutchison, Jim Keller, Sandra S. McRae, and Murray Moulding
Beth Franklin
Ghazal in the Land of Love
In the land of love, my heart got broken, seven times seven times seven every time.
Scarlet dinner-plate hibiscus, one day alive, droop, fall to the ground, at evening time.
Stones placed over daughter bones, press mother and grandmother bones, marking ancestral time.
Worn out typewriter keys craft poem after poem, beating wildly to love time. La Malinche, indigenous traitor from pre-colonial time, transforms to hero, Chicana icon, in post-colonial time.
A wheelchair, four walkers, a radiation mask upside down on a garage hook, prolong mourning time.
A framed photograph, the groom’s gray tweed suit, the bride’s white pleated dress, begin a lifetime.
Orange slices, delicately arranged on a blue plate, first painted with watercolor, then eaten one at a time.
A thin mattress from the hospice bed, tossed into a red dumpster; a breath taken. Last time.
“A Throw of the Dice”
This last time, I walk around the ponds a few blocks from our house, sold and empty. Until today, a walk taken daily.
A bald eagle rests high on a cottonwood branch, in undergrowth, geese surround their goslings, protective. A gray heron, hidden among cattails, stands rigid. Red-winged blackbirds balance, trilling, on single stalks.
Did you know he smoked waiting for you? What did you think would happen when you married an older man? Why are you always with other widows?
The snow dustings on the iced-over ponds invent geometric patterns. Rabbitbrush sleeps, not yet its late summer yellow. Fields of blue flax will flower to the left of the path. Serviceberry, with withered fruit clusters, will bloom purple in June.
I carry my father’s prayer card, the last line from the Irish blessing soothes: Until we meet again may God hold you in the hollow of his hand.
You, drum major extraordinaire, melodious voice on the human stage of poetry swing dancer, jiver, string bass jazz musician. And the quiet you, gazer of trees, rocks and rivers.
Bagpipes. Heard that first time in an Inverness bar. We stood with the raucous Scottish crowd singing their beloved Anthem, music played at your final Celebration of Life.
A photo taken by my oldest friend forty years ago—gifted to me when she came to say a final goodbye—shows me reading Mallarme’s “A Throw of the Dice.” Blossoms are everywhere on my walk.
Why do you write about cancer? Why do you paint yellow coneflowers on the edge of the river at the cabin?
Sometimes a Beauty, Sometimes a Beast
“Ask the wild bees what the Druids knew.” —Anonymous
When my mother died, they found an aerogram written to my Irish-American grandmother. 20, in Madrid, writing
about discothèque dancing with Spanish architecture students late into the night, learning a lot, nice people, thanks for the $10.
A clipping from the Indy Star, quotes me— Purdue co-ed—questioning her American culture and values. Aerogram and newspaper clipping,
saved evidence of a mother’s and grandmother’s pride for a young woman who left home for distant adventures.
My seven-year-old niece, a Halloween Disney Belle, revels in her floor-length yellow satin dress, jeweled tiara, matching gloves, sparkling earrings.
With her mother’s makeup in hand, she requests a heart crown painted on her forehead. Now tattooed, the young princess waltzes through the living room.
I paint a watercolor of a green apple with two leaves casting a shadow on the journal page. I feel the rounded apple in my body. My dancing niece
grabs the gymnastic rings hanging from the kitchen ceiling, her backflip turning her princess dress inside out. Eating an apple, I watch her.
She tells me she loves apples, sliced thin as wafers. With a somersault she gains momentum, pausing midair, legs straight up.
Beth Franklin, poet, painter, is the Executive Director of the Colorado Poets Center. In her role as Director, Franklin coordinates and sponsors in-person and virtual poetry readings; the Robert W. King Poetry Prize, a yearly contest for the high school students in the Greeley-Evans School District 6; and publishes The Colorado Poet newsletter. She is professor emerita at the University of Northern Colorado, where she prepared pre-service teachers in Culturally and Linguistically Diverse Education. A passionate believer in the importance of poetry, Franklin is dedicated to developing and supporting local and global poetry projects. She lives in Boulder, Colorado.
Erica Hoffmeister
Dandelion Heart
I want one-hundred legs instead of these unreliable two.
A centipede in its stop-sudden mirage of fright landscaping dandelions for what they are: resilient medicinal, caught between concrete domesticity and rebellion entrenched in slow-moving ferality.
I want to be a horror show: my body amazing in the most traditional definition. Flowing in rhythmic patterns, tidal, near- villainous, terrifying those in my path simply by moving in my strange, alien existence, earthly existence, scurrying and parting waves of humanity in my wake over pavement, through small gardens and damp soil.
I wonder where centipedes go after the march of terror commences. I wonder if their families hug with two legs, or all one hundred. If, like my mother, who needs all parts of her body to love, they smother their children with one-hundred little feet, or hands, or whatever limbs attach themselves to sectional parts of entity.
My two legs that carry this body: my inability to move my segments in sync—my self always twisting from its center, limbs flailing against harsh concrete, man- made obstructions.
Horror show, dandelion heart. Ordinary. Someone always mistaking me for a weed.best laid plans
This is not a poem about the sweet scent of orange blossoms drifting through bright blue skies of childhood memory, the soft-petaled magnolia leaves, my mother’s jasmine
This is not about the ocean’s whisper, my salt-stuck curls or the best breakfast burrito in town
This is not about my appendages ripped from their sockets and tossed into farther corners of once-possibility, my torso held hostage against Colorado’s snow drifts
my teenage-era locked door, my mother and I’s shared room, a year spent mostly sprawled across my best friend’s sofa, her legs translucent white
This is a poem about a hallway always occupied, the soothing hum of chaos, park birthday parties filled with cousin-limbs and sibling jokes: that time my brother drank too much on Halloween, my sisters’ twin giggles, a knife always at her hip to heat and cauterize my open wounds
my nephew’s curly blonde hair, my mother’s wisdom, a double helix blue and citrus wax candle to light when this mountain range partition annexes our connected sky, a tiny flame held against my chest’s permafrost
It’s when I say that Las Vegas is my favorite city, remember glass shards sparkling in the street, hands splayed out of fast-driving windows under a sky that cracks open on a regular Monday morning. I sprout citrus appendages on tilled soil, a beautiful comeback, an unremarkable origin story
This is a poem about truth-dreams that ache my bones each night at 4am, awaken and descend into a disorienting free dive, the conversation I never had with my husband hallucinating desert depths
A cataclysmic variable— binary star systems that merge and rotate into a death spiral until they explode and die
they must exist together or not at all
Erica Hoffmeister is a rambling soul from Southern California who now lives in Denver, where she teaches college writing. She is the author of two poetry collections: Lived in Bars (Stubborn Mule Press, 2019) and Roots Grew Wild (Kingdoms in the Wild Press, 2019), but considers herself a cross-genre writer. Learn more at www.ericahoffmeister.com.
Karla Johnson
Gertrude’s Maid
Maid had sloughed out of her starched
white manners white cleanin costume and white-world stance of high alert watchin
Babys’ heads were pressed dresses unmessed curlers set so the mornin’s style could be blessed and ready to bear sweat in worship tomorrow.
Maid’s now home with sisters at the table tappin whist cards slappin raucous freedom boomin through lit cigs on lips, smoke curlin up, a cloud of relief from the day.
Sisters were knowin how washerwomen got recruited to be witnessin the Nordic antics of the dirtied white rooms of gained wages.
Sisters at the table demandin of Maid wait she said what hold up she made you listen to what naw what sisters hopin for a story from the famous woman’s lair.
Gurl, Maid said to the sisters, choosing a card and tossin she was callin it poetry I’m tryna get home paid time done and feet be achin and she makin me stand there and listenin like she got somethin and
Maid’s cig moved from lip to hand for the spinnin of a Nordic-mocking recitation Exactly do they do First exactly. Exactly do they do. First exactly.
Maid now hollerin because sisters standin jumpin bendin slappin on knees and backs the funny too strong and laughter too big to do it just sittin
And first exactly. Exactly do they do. And first exactly and exactly. And do they do. And shee-bee-bop dippity doo
Gurl, Maid said shoutin over the shared laughin Ella oughta slap that woman for stealin good music and calling it poetry all she doin is scat. actin smart but just bullshit spittin.
Cards slappin bids winnin points addin winners braggin losers moanin all still chucklin.
I thought, Maid said, wheezin I thought, Baby, you need to get off that stuff. Sisters still laughin denyin cryin yessin and amenin
But I said, Maid said, in perfect Nordic form, I said it sounded important and made my eyes wide because ya’ll know I ain’t tryin to be losin that one good job.
Sisters dealin mmmhmm’n noddin with understandin
Another maid, a sister at the table of the washerwomen spoke up, sighin I sure hope Langston’s right.
The table be quietin, settlin calmin respectin the recitation of Prophet Hughes’ intention
“We build our temples for tomorrow, strong as we know how, and we stand on top of the mountain, free within ourselves.”
Adopted Guest
Friends, I watch your family from the inside out, absorbed. Here, there are no sneers for children because they exist. Instead the grownups chat together like a deep breath No pressure.
Here, the mothers do not pinch your psyche like wet dough and twist And the fathers do not sit angrily behind Upright embalming slabs which chill you Even in passing.
And your family does not indenture me for Kitchen duty and holding their blame And you ask me—don’t order me and you don’t get cruel When I reach demands.
And dishes stay on tables not flung And laughter is not biting in at my expense And you go together not make me go in your stead And I’m asking myself
WTF?
Karla Johnson is a perpetual graduate student, with master’s degrees from both Denver Seminary and the University of Denver. She is a third-generation native of Colorado and counts her grown two sons as her wildest blessings.
Marcia Jones
Car Wash Lullaby
Crystal rain tadpoles twist upstream, then downstream, against my windshield.
They curl, sensuous, all the while watching me unwind behind my steering wheel.
Soft suds embrace the last languid tadpoles who didn’t escape in the warning sprinkles. Bubbles fizzle my car, hush me in white.
Reclining inside, I’m on Jupiter deep in a marble crater swathed in solitude and eerie soap clouds, a lull before the deluge.
Sudden rush, and elegant drops drum a staccato of silence. Silver monsoon meditation washes worry away.
Could death be like this? At last, more crystal tadpoles glide forever downstream, sparkling under crystal parachutes in the rinse of letting go.
Moonlight Sonata
Wrapped in tangled bedsheets, tossed and sleepless, she wanders alone into the night woods.
The first floating notes in C# minor summon her to still-warm shadows, restless under the forest canopy. An ancient square piano ascends among soaring trees, its burnished body formed in the forest, from the forest.
Its open lid reflects slender strands of blue moonlight, its belly brims with ferns and wild vines.
A flock of nightingales, mysterious musicians of the dark, slow dances on worn black and white keys
awakening long-silent notes in an aching rhythm of tension and release, at once
desperate and joyful—a sonata of healing.
Marcia Jones’s poems won awards at national and state levels through the National Federation of State Poetry Societies (NFSPS). Her poems have appeared in two anthologies: A Flight of Poems (Colorado foothills poets) and All the Lives We’ve Ever Known (Lighthouse Writers). She published her first poetry collection, Only Time, in 2019. Her second collection, Blue Hour, will be out in 2023. She lives in Evergreen, Colorado, where the Rocky Mountains inspire her.
Donald Levering
Song of the Carpet Moths
(Man-Moth) regards it as disease he has inherited susceptibility to. —Elizabeth Bishop
Hearing voices from the wall, Man-Moth fears he’s gone insane. Then he reasons such high vibrations could be the sonar-seek of bats outside
or emanations from a power line. He reaches up to tweak the buds of his antennae, and lo, the signal strengthens, leading him
to the hanging Navajo weaving. As he moves closer, the signals resolve to song. Ah ha, it’s my little cousin carpet moths. Give me darkness give me dust and a niche in a slumbering rug Give me flecks of dried sheep dung and globules of lanolin
Give me cochineal dye that turns the wool the same Ganado red my tiny tongue and feet become Give me labyrinth of pattern
to chew down to the weft the dizziness of Whirling Logs dazzling Crystal and Spider Web Two Grey Hills interlocking crosses
I love to inch along the pictures of Yei giants and pollinating corn munching on these cords of fodder enough for all my hungry young
The Weight of the Painting
To calculate a price quote for framing, the framer needs to know the weight of the painting.
How could the framer assign grams or ounces to the scintillating effect of the painting’s pastel aura of autumn shrubbery, the way it lifts the viewer off the ground?
See the small building in the background of the painting? How is the painting’s gravitas altered by the addition of this human dwelling? The ochre of adobe is dense with mud’s local lore. How shall he account for the levitation achieved by the roseate tones of sunset reflected in the building’s tiny windows?
Added to the assessment would be the burden of the history of the landscape painting, from the Tang Dynasty’s floaty silk scrolls of misty waterfalls to William Bradford’s scenes of spouting whales and ice-locked schooners, to Helen Frankenthaler’s flattened landscapes of pansies (what is the heft of her petals?). All these scenes behind the painting must be added to its total gravity.
This calculation would be incomplete without the sway of the critics’ weighing in on the painting. Their hot air plus the weight of public opinion may loft the painter to a moon-walk domain of celebrity, or consign her to the lead-footed realm of public indifference.
Nor can the framer ignore the background boulder that seems to lift off the ground. With its luminous lichens, it is as buoyant as if it were afloat in a salty sea.
Luckily, the price does not include the weight of the neural cloud of imagination about the painter as she worked. Like a cumulus cloud of water vapor, this mental image of the painting must weigh hundreds of thousands of tons but must be discounted from the framer’s fee.
In Pastel
After a diptych by Jane Shoenfeld
When you wake you check your fingers to see if they’ve turned into ten long sticks of colored chalk as you just dreamed. Instead of the dream’s sidewalk, the paper
on one side of your easel starts to scintillate with flecks from your pastel sticks, colors nearly bright enough to sear an optic nerve as you sketch a figure
that quickly grows into a woman whose mane is a spectrum spray, whose face an electric seraph’s, whose voice reverberates like hive-thrum.
* * *
On the other panel, Grandfather Sitka Spruce is lying down. A trillium blooms from his chin. Toadstools and lichen claim his face.
Carpenter ants haul his heartwood to their potlatch. His needles become banana-slug meal, his voice, receding thunder.
His supine totem pole is hollowed into a canoe that glides you back sadly to your own casketed grandfather among banks of overpowering mums.
Ghazal
After a watercolor by Susan List
Dusk on the lagoon like a burner’s gas light. A hermit’s quietude flickers in the last light.
Twilight slides with earth’s rotation into night. Old heartache turns me toward this “Last Light.”
Magenta spreads through the gloaming firmament. Bats and moths and swallows stir in the last light.
Trappings come unmoored, habitual views disperse. Glimpses of infinity scatter in last light.
Loose photon jubilee, cumulus hosannas. Memory, time, and distance fuse in last light.
Donald’s eyes rise to the fontanelle of sky. Love of spectrums of the dusk in List’s “Last Light.”
Donald Levering’s 16th poetry book, Breaking Down Familiar, will be released in May of 2022. A previous book, Coltrane’s God, was Runner-Up in the 2016 New England Book Festival contest in poetry. Before that, The Water Leveling with Us placed 2nd in the 2015 National Federation of Press Women Book Award in Creative Verse. He is a former NEA Fellow and won the 2018 Carve magazine contest, the 2017 Tor House Robinson Jeffers Prize, and the 2014 Literal Latté prize. His work has been featured in Garrison Keillor’s Writer’s Almanac podcast.
Jessy Randall
Not Checking Messages
[stolen french fry form*]
Is it from not checking messages that I feel good?
[* The stolen french fry is a poetry form I invented based on the number of fries I stole from Price Strobridge and Ashley Crockett at the Poetry West Writers Retreat in Crestone, Colorado, May 2015. I made five thefts of fries, stealing first 1, then 1 again, then 3, then 3 again, then 2. The stolen french fry is therefore a five-line poem with word counts of 1, 1, 3, 3, 2. As far as I know, “Not Checking Messages” is the only poem ever written in stolen french fry form, but perhaps that could change.]
Jessy Randall’s poems have appeared in Poetry, Scientific American, and Women’s Review of Books. Her new collection, Mathematics for Ladies: Poems on Women in Science is forthcoming from the University of London in 2022. She is the Curator of Special Collections at Colorado College, and her website is http://bit.ly/JessyRandall.
Tim Raphael
The trouble begins
when I give bunchgrass a sway or suggest stones kneel at sunrise,
as if they have something to say about this mesa, its vantage distinct from morning everywhere.
Better I report unadorned the exact angle of the slope, how it frames the valley below,
allow the fields to be green, leave riotous out. A valley of green fields is enough.
Except then the mesa rolls from shadow to sun, blinks itself awake and slips
into its polka dot juniper dress in time to spot the owlets learning to fly “on owl-silent wings.”
They’ve fledged but not far from the cliff face, loitering on a dead branch
in sight of the ledge where they were born.
Not yet horned or hardened, one stares back at me like a downy moon,
its face ringed in a winter halo of white feathers, as if a July snow is on the way.
Flecks of bone, like flakes, are scattered below the nest, the white mandible of a mouse or mole, bits of leg bone and spine,
a tooth. I’ve interrupted something. Altered it—
two owlets motionless save the slow swivel of their famous heads.
Harvester ants a few feet away begin their Sisyphean day, and I’m tempted to describe them as cheerful—
a pep in their steps up their cartoon volcanoes. But why try to pin a mood on an ant?
The soil softened by heavy dew. The soil itself more pebble than dirt.
Is your eye drawn like mine to the dark crevices, a gash of dry streambed running down the slope,
where I almost will a coyote onto the page? Omitting the distant hum of State Road 75,
I linger instead on the blue of the sky, leave out the sweat, my skin already wet,
8 AM and the urge to say something, do something beyond witness.
No, I am not a reliable ally, I don’t tell it all,
deny you the scent of after-rain, ignore the stab of goathead.
Today, it’s the absence of swallows and jays, no bunches of blue birds in the juniper.
No birdsong calling Lightnin’ Hopkins— Baby please don’t go Baby please don’t go
The blues scale I practice over & over. Each note in its place, but O, elusive swing,
somewhere out there, out beyond the metronome,
where every coyote is a gift, and daybreak’s refrain is here
& gone.
Blue Truck
We know each other first by our dogs— walking our road, I see Tipsy the cattle dog, dragging her dead leg like a grub hoe & I know Stan will appear in long slow strides, knit cap on cold mornings.
Scout runs ahead in sniffed greeting, & when Stan pulls even, we trade a few words about his garlic crop, about Kate & the kids & keep moving—he east, me west. Stan’s unwritten list of loss is longer than mine & includes his wife Rosemary, whom I never met, yet he just hauled a Model A back from Nebraska, convinced he can find a transmission & get it back on the road.
Kate had only been half joking about our own dead truck when she told the seller, We’ll take the house if you throw in the truck, as if we had a choice,grass hiding the airless tires of the Dodge, a ’49 flatbedwith perfect patina of autumn rust & blue, as if someone had sanded dead leaves & sky into fender & door, dignity in the rotted bed boards & side rails that once held stacks of apple crates or firewood—the kind of truck you’d hop in or on if someone was headed to town, bouncing over the pitted road when there was still a bar & gas station, maybe a kid taking a turn at the wheel. Now the bench seat is all springs but the chrome is like new, the Art Deco ram on the hood ready to charge up valley to the snow on Jicarita Peak.
The sign Kate painted & hung at our gate says Blue Truck, not Blue Truck Farm— we have less than a hundred whipple beans in the ground, assorted beds of zinnias & cosmos, three rows of wine grapes, a few apple, pear & plum trees, bush cherries, a lone apricot & only three hens after I forgot to latch the coop one night. Farm is a big word when nothing is sold and what’s canned or put up doesn’t fill a pantry shelf, & farmer may require even more— a few generations buried in Father Kuppers’ cemetery, callused hands like Stan’s that no longer crack in the cold, a knack for knowing whether clouds gathering in furrowed rows will bring a soaking rain.
this town
this town has everything it has it all this town except curbs curbs & sidewalks but this town has everything else no curbs like the ones in the last town with its paved streets & shaded sidewalks & town dogs on leashes no leashes in this town this town without a police force no police no movie theater oh & no barber shop no salons for people or dogs no tourist bureau with directions to the post office or the Battle of Embudo Pass or the tree where Harbert’s honeybees swarmed last year no big muddy river that’s the other town this town has hardly stream enough for beavers & kingfishers who meet on the banks because there’s no convention center either but this town has icy canyon roads sopapillas & a past like & unlike your town & the snow is starting to fly & knock down the last of the cottonwood leaves & this town looks back & ahead but mostly is busy today with Clarence’s funeral & keeping kindling dry as though this town is a protest without slogans that fit on banners a treatise of half-baked tenets & no ultimatum this sawdust-scented town this town with everything
Tim Raphael lives in Northern New Mexico between the Rio Grande Gorge and Sangre de Cristo Mountains with his wife, Kate. They try to lure their three grown children home for hikes and farm chores as often as possible. Tim’s poems have been featured in I-70 Review, Deep Wild Journal, Sky Island Journal, The Fourth River (Tributaries), Windfall, Cirque, Canary, The Timberline Review, Gold Man Review and two Oregon anthologies. He is a graduate of Carleton College.
Bristlecone welcomes poems from writers of the Mountain West region. The editors are especially eager to read poems that reflect the region’s various cultures and landscapes, although we have no restrictions in mind regarding subject matter. Our main concerns are with the quality of the work and the cultivation of a regional community of poets and poetry lovers.
Submissions are accepted year-round. Please adhere to all of the following guidelines:
Submit 3 to 5 unpublished poems in a single Word attachment (no poems in the body of an email) to: editors@bristleconemag.com. Submissions with more than 5 poems will not be considered.
Poems posted on blogs and social media are considered published. Simultaneous submissions are fine as long as you let us know right away if the work is accepted elsewhere.
Use a header on at least the first page of your submission that includes your:
Name as you wish it to appear in the journal
Mailing address
Email address
Phone number
Website address (if you have one)
Phone number
Submission should be in .doc or .docx file format (no .rtf or .pdf)
Times New Roman 12 pt. font—titles in bold and not all caps
Flush left alignment except for drop-lines, internal spaces within lines, and any other special formatting your poem requires
100-word maximum bio at the end of the submission; same guideline for translator bio(s). Feel free to provide live links to your website.
After publication, all rights revert to the individual Bristlecone authors. We consider simultaneous submissions but please let us know immediately if something you’ve submitted to us has been accepted elsewhere.
The Editors: Joseph Hutchison, Jim Keller, Sandra S. McRae, and Murray Moulding
Kathleen Cain
Natural Curve
for Kelly, 1960-2021
It’s important, to find a refuge in every day, so that when you hit the pillow at night, no matter how troubled you are, you can return there and rejoice a little in the person, place or thing (though “thing” isn’t really a good word for a poem).
Today it was a natural spring, still present and unexpected, flowing through a subdivision not far from the hospice house where my sister lies. With warning signs, of course: Private Property. No Trespassing, blah, blah, blah—it’s only for us now, not you. But just beneath the place where the sidewalk follows the fence line, a creek runs away, as they all do if they can. A tangle of trees crosses the water. The oldest one goes first, a cottonwood, bent like the St. Louis Arch or a bridge a mother might make of her body, to let her children cross.
My sister needs a bridge like that on her final earth journey, though it’s one she has to cross alone, as we all do. She just asked what time it is. Ten to eight on Sunday morning. October third. Canada geese have just made a fly-by, though if she’s heard them, she doesn’t say. Which is unusual. The declining Moon sailed above the trees last night, a crystal sickle with gold and silver filigree—you know that way the Moon does sometimes, in a cold sky. “It’s a gorgeous day,” she says. It’s hard to hear her now, her always-clear voice reduced to a rasp of air. I put my ear to her lips, ask her, twice more, to tell me again what’s she said. “It’s. A. Gorgeous. Day.” Even as light dims around her, how well she kens the curve of weather, the arc of her life amidst its seasons.
Continuum
I always hate to see May go—tulips, iris, their fragrant parts disassembling into fragments of which they’re made dropping folding back into the earth again, into themselves, forming next year’s seed or pod, set to begin the hubbub of root and bulb beneath in their minor tremblings
and yet, the sky clearing making way for sleepy June soon the seduction of mock-orange blossoms and petal showers of summer snow—raspberries already beginning to form their tart-celled red worlds
on it goes, this continuum we call life and death one wrapping and enfolding the other . . . and look! golden alyssum’s last blossom and here’s the starred globe of the purple Persian allium—a gazing ball if ever there was one
Advice
“Ask the wild bees what the Druids knew.” —Anonymous
Ten years ago, my uncle the beekeeper said that “for all intents and purposes there are no more feral bees.”
Someone in my town posts a picture of a glut of wild bees in a pine tree and wonders what to do.
Advice rolls in, with or without experience or understanding. “Leave them Alone!” shouts one. “Call someone to collect them,” suggests another, the human impulse to capture so strong in us. “They’re migrating!” a third offers, though bees do not really migrate. For that, they’d need a destination. And a return. This is
a swarm. They’re just moving house. They’re gentle then, my uncle always used to say, easily handled without fear—all the fuss in honor of the new queen, whom they will follow and pledge their lives to. Yes, leave them. They’ll find their way, to a hollow log or tree, where you may or may not notice them as you walk by, to-ing and fro-ing through your own day.
And Now This…
It’s hard to tell at first if the birdsong drifts in from somewhere over Anderson Cooper’s right shoulder there in the dark, from three to four a.m., Ukraine time; or whether it’s the house finch in the blue spruce tree outside the picture window, from six to seven p.m. Mountain Standard time here in Colorado. Click off
the volume on the remote. Nothing. Back on again, just as the finch lets loose its end-of-day cascade of notes. Off. On. It’s the bird in the dark in Ukraine, lifting its song before dawn. Lark? Or thrush? Sounds like
our 4:30 a.m. robins—so, a thrush then. Whatever species, alive as the spirit of land and people, its practiced trill of millennia unerring there in the dark, certain of the dawn it can feel, feather and bone. In spite of everything, singing up the light.
Kathleen Cain’s poetry has recently appeared in Abandoned Mine, The Comstock Review, and Pandora’s Amphora (Art Goodtimes’ blog). Work is forthcoming in the premier issue of Jasper’s Folly. She was a featured reader for the Ziggies Zoom reading in April 2022 and for the 100,000 Poets for Change Reading (Denver 2022). She is also the author of two nonfiction books: Luna, Myth and Mystery and The Cottonwood Tree: An American Champion. https://kathleencainwriter.com
Karen Douglass
Black-winged Moth
How near to a moth is god? A universe of air away, unless like St. Thomas’s sponge in the sea I am in god and god in me and the moth brushing my hand closes the gap from maker to made.
Or god is inside the moth come to test me: can I believe in a life like my own, veiled when I thought to swat, thus murder, a black-winged god?
Walking Companion
Escaping a sick world, I carry silence with me, hear only birds, sighs of a passing bike on pavement, the scuff of my shoes if I forget to pick up my feet.
I choose one stone as a partner— oval, black, smooth, palm-sized, a talisman against the invisible. I clutch the stone like a gift.
Shaped by long friction against the elements, it asked nothing but a resting place, yet I have wrested it from its home. We meet no one. The day lengthens.
Wild Sparrow
Wing tangled in the mesh suet feeder its furious struggle to get free twists the string tighter.
I fetch small scissors, clip the thread and he’s away, no thanks or regret.
This small rescue glitters— my fingers touching that delicate wing.
Karen Douglass, BS, MA, MFA, a native New Englander, now lives in Colorado. She has been a psychiatric nurse, horsewoman, racetrack judge, mother (still is), college instructor, poet, and novelist.
Nathan Manley
Mallard
Anas platyrhynchos* For A.G.
By the watchmaker’s motive element sprung to his afternoon preen, the drake tucks as innards tick the green enameling of that faultless, gem-bright head he carries, bears up like a finery, prinking now the fan-clasp fold of each ensapphired wing.
I’ve half-discerned his lost mechanic art, the gear drive’s twinkling teeth and symmetries of weight and counterpoise, whirr of gilt chains wheeling—the animal an invention of Enlightenment clockshops—when it breaks, this spell that’s held me half an hour, dawdling
at the duckpond, where I conjure the dead— yes, the never replicated genius of Vaucanson, that also of a friend, who worshipped with a sheepdog’s heart, holding that the soul takes no form out of nature but the motion of its fleet machineries.
* The once illustrious, now largely forgotten inventor Jacques de Vaucanson exhibited three automata at a Parisian exhibition in 1738—most famously, a clockwork duck which reproduced mechanically the essential anatomical functions of a living animal, including digestion, for which it was best known. Composed of more than four hundred moving parts, the machine’s intricate design was never documented thoroughly enough to support a modern reconstruction. By the account of one witness, however, the duck appears to have survived at least into the nineteenth century—by then in a sadly degraded condition. His automata astonished Vaucanson’s contemporaries; Voltaire compared the mechanist’s accomplishment to that of Prometheus.
Short-Eared Owl
Asio flammeus
“Lamplight lost on the membranous casement, midnight lapping—soft, osmotic—cat-eyed at the pane; sickle moon, slick as pooled cream, cobwebs spun like a needlepoint doily and catching the spill of it. Throw that latch,
“won’t you? Set a spell while the coyotes yuk, yuk it up, gleeful, on gore-scrap tatters and humble kills. Gullyside, sprightly, sylphs of the May wind finick wild lilac, tumbling idle-wise, sweet as a porch dream.
“Set still. Prick up your ear, won’t you? Bard-beaked, freckle-breasted, Brown Owl’s out whoop-whooping at the wood foot of the tamarack. Why, the vermin bunch their pretty whiskers, spooked— Dead Creek bending to its own erasure.
“Old Cricket’s picking at his mandolin,plumb-tuckered, for the like of us, again: stickler for struck strings singing out for love of nothing in particular. Let him. Hear? The milk-lit lawn’s gone hushabye blue.”
Garter Snake
Thamnophis sirtalis
You’ve traveled, cool and mathematical, up the earth’s hibernal coil, scouring out a patch of light to warm your sleeping blood.
What meticulous articulation settled scales in the stonework of your head? In passing, you’re handsome as a statue,
capable almost of speech, if not guile to slip the fatal lie by a black lash of your tongue and unplenty the garden.
And yet, how speechlessly you scent the drift of our mutual fear, of irises billowing like tattered ships at the rim
of an alien continent, and flit, slick as sin where you disappear, dipping down the terrace with its potted blossoms
and into the yawn of a cracked timber. To what empty, bestial dreams you’ve dropped in your world below the world, admitting
no command but that of my enchantment. One hand’s tensing at the throat of the earth, where I cannot follow you to your peace.
False Parasol
Chlorophyllum molybdites*
Stain of the ethereal cup no king since Æthelberht’s drawn a bitter draught of, toadstools fatten like figs in the forage,an elfin ring at the tanglewood’s brim. Pared, pollarded to a diplomacy of trees, the wild, fine-fruiting, is no more. Light laps the orchard of a foreign Christ.
Up tumbleweed country, my heritage— skulls of bison stacked in a parodyof cultic awe—the prairie plaits her locks with empty ceremony, wind waking on the neck, yucca-pod stiff. Even here, missionaries heard knocks in the dark, ache of the old religion rankled, wraithlike in the grass: rattle-scrape of ós and ése.
Sprung dewside of one virgin hill no plow could scrape to cultivation—this of few, half-fabled, to weather the oxen yoked of the Homestead Acts—a fairy’s circling savagely, calling up her green-gilled shrooms from an Otherworld isle without a name.
Hers proved a poison, steeped in spleen enough by nineteen hundred, to open a door in the backcountry and carry off the child.
* Known also as Green-Spored Lepiota and colloquially as Vomiter, False Parasol is one among a range of fungal species observed to sprout in so-called fairy rings. The organism’s mycelium, of which its mushrooms are the fruiting body, consists of a buried mass of filaments called hyphae; as hyphae decompose organic matter in the soil, aboveground grasses grow lush and vigorously, enriched with nutrients loosed by the fungi’s putrefactive work. This quasi-mutualism results in circles of dark green grass and occasionally, come rainfall, of pale mushroom caps. Fatal poisonings have historically occurred only in children and small animals.
Nathan Manley is a writer and erstwhile English teacher from Loveland, Colorado. He is the author of two chapbooks, Numina Loci (Mighty Rogue Press, 2018) and Ecology of the Afterlife (Split Rock Press, 2021). Recent poems and Latin translations have appeared or are forthcoming in Portland Review,Natural Bridge,The Classical Outlook and others. His work has been nominated for Best of the Net and a Pushcart Prize. You can find his writing and instrumental music at nathanmmanley.com.
David Anthony Martin
Interpreting a Circle
Snowshoeing the quiet folds of the forest down into bobcat draw and up the other side to the hem of the meadow opening before me a near blinding expanse of crystalline white today is a blank slate, surface unmarked but by wind and sublimation, this sheet of white pulled taut & tucked into the far scrim of oaks beneath the cold potential of emptiness rest the moldering calcium-phosphate rich bones of deer which now sleeping field mice gnaw and the fibrous matrix of collagen is devoured slowly by bacteria and fungi, as she molders in return to the base elements of the field from where her nutrition was derived
For a short time, she was the field on four feet experiencing herself, grazing the green tastes, solar-powered chlorophyll-infused leaves of wild grasses busy making sugars to trade with the penetrating mycelium conveying deep nutrients from the darkness to shallow roots, she ground the green to chocolate-dark pellets
The bones: a reminder memento mori “You, too, shall die.” It is a statement. An admonition. More wisdom than warning. Nothing but these beautiful bones remain the eye finally emptied doorways of perception cleansed, the skull affixed with the eternal unhinged grin, a silent, knowing laughter, a cosmic chuckle of joy
The Wash
crumbling granite radiates
smoothened stones haphazard path of red rounded pebbles
the ghost of ancestral mountains long ago eroded
fragmented name we’ll never know
but still here somehow still
falling apart becoming a part of everything else
Flow
One small point in the flow of my forage this log-cum-bridge, wet-lapped tight-grained waterworn heartwood lacquered slick with unseen life I know, this creek its width just so beyond a single stride for me with my eyes to the far bank, can I navigate the maneuver, will it support me just one swift, light boot step all I ask, not my full weight as I might ask of a stone and no longer than a heartbeat a pivot point, a fulcrum for the swift compasses of my legs, knowing there’s a magic to momentum, to already being in motion—
David Anthony Martin flies kites far too infrequently, forages wild mushrooms when in season, collects feathers when he finds them, writes daily and dreams nightly. He is the author of four collections of poems (Span, Deepening the Map, Bijoux, and The Ground Nest). He works in several capacities for the Nature & Wildlife Discovery Center in Beulah and Pueblo, Colorado, including Environmental Educator, Hike Guide, Park Maintenance, and Caretaker. He is the founding editor of Middle Creek Publishing.
Ed McManis
While You Sleep
They say the deer creep down at night from the hills, dainty as ballerinas — behead the petunias, gladioli. Cloven hoof-prints mark the congregation,
soft dirt snuffled, a snort rumbling in the crease of your dreams to wake you at two a.m. You gaze into the moonlit garden, tri-horned silhouettes pawing
through the newly planted flower beds, scattering rosary beads of scat. A grand plié, now stare away, now circle beneath your
peach tree, suck the green fruit to pits.
A neighbor’s engine, early shift, rumbles to life, just over the velvety lip of the ridge. Red eyes return your gaze, this family
of rude tourists, their primal indifference curling your toes as you turn to bow in your slippered feet, lips sticky- sealed with peach juice.
Kiss
The attraction—chemical, the junkie’s fix, gambler’s dice. Salivating, you peel the silver dress —one was never enough— work your tongue around the swirled chocolate nipple let the melting calm the sigh, scratch the itch, then the luxurious swallow. You pinch for another and another working the flimsy foil, ripcord the paper-thin hair ribbon—two, three, numbers swirl —the addition of addiction— and always a roving eye, the bag of gold nuggets the next counter down, the slivered almond centers that tempt restraint, make you believe love is more than dinner lust or dessert; it’s in your hands and head as you gnash your back teeth, melt the heart within the heart.
The Poem I Didn’t Write…Twenty Years Later
Still offended at all levels, even in translation, hissed when I proofed, was still politically incorrect, got cancelled and hash-tagged, spat graffiti on my computer screen, had zero metaphors. It woke me in the middle of the night, ate its own paws, eyeballed my young, immigrant neighbor, seduced my wife, lied to my son, promised me optimism and a jacket cover as it licked itself, filled out the entry form, sent a head shot from twelve years ago, signed my name, was overly nostalgic for the ole SASE. The poem I didn’t write won the contest, squandered the prize money on lesser poets, interns with big eyes ahead of me in line, transferred onto an electronic greeting card that forgot to recollect itself in tranquility as it emitted the sour odor of all human knowledge and thought, didn’t play tennis or even have a net. The poem I didn’t write forgot to turn out the light, let out the cat, kiss my family goodnight.
Ed McManis is a Colorado lifer. (He remembers when I-25 was called “The Valley Highway.”) Ed is a writer, editor, and erstwhile Head of School. His work has appeared in more than 50 publications, including The Blue Road Reader, California Quarterly, Cathexis, Colorado North Review, etc. He, along with his wife, Linda, have published esteemed author Joanne Greenberg’s (I Never Promised You a Rose Garden) latest novel, Jubilee Year. Little known trivia fact: he holds the outdoor free-throw record at Camp Santa Maria: 67 in a row.
Bristlecone welcomes poems from writers of the Mountain West region. The editors are especially eager to read poems that reflect the region’s various cultures and landscapes, although we have no restrictions in mind regarding subject matter. Our main concerns are with the quality of the work and the cultivation of a regional community of poets and poetry lovers.
Submissions are accepted year-round. Please adhere to all of the following guidelines:
Submit 3 to 5 unpublished poems in a single Word attachment (no poems in the body of an email) to: editors@bristleconemag.com. Submissions with more than 5 poems will not be considered.
Poems posted on blogs and social media are considered published. Simultaneous submissions are fine as long as you let us know right away if the work is accepted elsewhere.
Use a header on at least the first page of your submission that includes your:
Name as you wish it to appear in the journal
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100-word maximum bio at the end of the submission; same guideline for translator bio(s). Feel free to provide live links to your website.
After publication, all rights revert to the individual Bristlecone authors. We consider simultaneous submissions but please let us know immediately if something you’ve submitted to us has been accepted elsewhere.
The Editors: Joseph Hutchison, Jim Keller, Sandra S. McRae, and Murray Moulding
Maria Berardi
“Spirit is What Matter Does”
—Philip Pullman, The Secret Commonwealth
Ghost world, saint realm won’t steer this rickety boat I helm.
It is in the verb of it. The matter that is the same thing as energy
at a certain moment at a certain speed, a moment that leaves time, ceases.
It is in the oxymoron, constant change, the only sure thing we know,
right back to those first amino acids combining, self-replicating, a first miracle.
And it is in the awareness of being aware and the strangeness of this,
what bug in the programming is that, what gift, what difficulty,
we animals that know and know that we know, tortuous, abundance,
benediction, a jest. Our north star. A mess.
Our home, we the guest.
A Sideways Wisdom
A sidelong glance. “Eternity is in love with the productions of time,” said great Blake. Yes.
But eternity is right now and heaven is not a place. And judgment is continuous and never entirely unkind.
Remember to remember. Freedom-from and freedom-to, that is it.
What we search for is with us all the time. What we look for, we cannot see, as we cannot see the seeing.
And that which we beseech is not separate, and is unanswerable.
Maria Berardi’s poems have appeared online, in print, in university literary journals, meditation magazines, newspapers, and art galleries. Her first book, Cassandra Gifts, was published in 2013 by Turkey Buzzard Press, and she is working on her second, Pagan. She lives in Fort Collins, Colorado, at the foot of the Rocky Mountains. Her process is one of listening for transmissions and trying to catch them on paper before they dissipate: the glimpse, the complicated knowledge. She can be reached at maria-berardi.com.
Patricia Dubrava
Under the Peach Tree
I am savoring my second cup in the sunny breakfast room when the magpies create a cacophony. Magpies are raucous by nature, but this clamor is beyond the pale.
Suspecting they have again cornered the neighbor’s cat, I go to the backyard, find three birds fluttering from branch to branch, peering down, screeching, but no cat. A full-grown magpie stiffens beneath the tree, abuzz with flies.
The mourners raise their raspy din a notch. Peering into leaves quivering with noise, I say: “I’m sorry for your loss.”
Fetching a sack and shovel, I carry the carcass to the alley for dumpster burial in plastic, shut the lid, listen to sudden silence, turn to see not a black and white bird in sight.
An Old Story
for Albert Siebe Keuning 1954 – 1986
In this dream, which wakes me when he’s been dead thirty years, a trash can slumps by the sandy lane, nestled against junipers. Sand, Floridian as our childhood, and junipers hugging Colorado hills, conflated by fancy.
It is dark when I arrive, passing scattered trash I should clean up. Debris edges the narrow drive: tin cans, orange peel, eggshells. Guilt blots the ground beneath Rocky Mountain blue spruce, Floridian night blooming jasmine.
Mom’s asleep, so I enter in darkness through the oil-scented garage, hear my brother, grope through shadowed rooms toward his panicky cry, shuffle past crumpled paper, pity, crushed soda cans, fold this little boy in my arms. “Didn’t Mom wake up?” “No,” he whimpers, sobs subsiding to sniffs, clinging to me as he does whenever I return.
Out the long, low windows the white sand of the lane glimmers through blackened hickory trees, beyond them, the Front Range gleams blue. In ghostly light, spilled garbage litters the lawn, always the same garbage.
Backyard cherry trees lack professional care, grow as many of us do, like weeds, lucky to find nourishment. Late frost kills besides: two years have passed since the last crop twinkled candy apple red in the sun.
As I pluck fruit the know-how returns to me, the efficacy that only surfaces when we’ve put our hands to the work—the way carmine deceives, the shadow side still pale yellow; how to tell red from red, how to recognize in the fingers the feel of ripeness. At first my rate is slow: it takes practice to resurrect skill. By day three I pick swiftly, rarely let the ripest and best fall, small perfections lost.
In the kitchen I cull those pecked or bitten, leaves and stems, a tiny bug or two—this is nature after all. Facing the pitting sends a ripple of despair through me. They are many. I picked so many, unable to stop myself, as often happens with words. Just this branch, this bunch more, denying the labor I was piling up, the finishing that matters most.
With a cold glass beside me, a rhythm sets in as it sometimes does on the keyboard: gentle squeeze at the stem hole pops the pit and done. Assembly line work, but all work has its repetitions. We learn to love some, hate others, make peace with most.
Spread onto cookie sheets and into the freezer, they are as bright as a pinup’s lipstick. Rolling the hard candy marbles into freezer bags, I reserve four cups for the pie I’ll make next winter to rekindle the joy of labor done long ago, its taste a burst of the best of summer.
How I Knew It Was Picking Time
In immaculate black and white tuxedos with iridescent blue lapels, a magpie mafia flaps from branch to railing to birdbath with as little poise as toddlers, scolding each other: this water dish is mine, mine!
Darting and stock-still, darting and still on the moist lawn moments ago, the silent pair of robins has been bullied away.
Atop the light-gilded fence, one magpie perches in profile, revealing between the precise scissors of its black beak the sunlit jewel of a cherry.
Patricia Dubrava has two books of poems and one of stories translated from Spanish. She teaches creative writing and translation at the University of Denver and practices short creative nonfiction on her blog “Holding the Light” at patriciadubrava.com. Her longer essays have been published in Hippocampus, Talking Writing and other journals. Her translations of Mexican short fiction have appeared in over 25 journals, including The Massachusetts Review.
Donald Levering
Settlement
How thoroughly we’ve ruined the value of our home to stake our dueling claims, knocking out its pillars and walls with wrecking balls.
What a team we’ve become, having cut the estate to stumps, scorched the earth between us, auctioned keepsakes, split the children.
At long last our lawyers have ceased hostilities, each having large pieces of the opposing party’s liver to gnaw by their bonfire of pleadings.
Henceforth the knives kept sharp for ambush can whittle ornaments and dolls. Instead of targeted arguments, we can poke holes in our respective plots to plant beans and corn and squash.
Finally you are free to scrap your flame thrower and unpack your cello. I can almost hear you stroking it the way you used to do.
We’ve witnessed the removal of my armored suit, signed away your interest in my old mandolin. It needs to be re-strung before I can pick a song of romance once again.
The Papal Broom
Havana, 1998
John Paul II has brought his broom to sweep the atheists of Cuba into the Holy See. It’s the same broom he used to brush Pope Urban the 10th’s tomb clean of the rumors of lechery.
Socialism, he intones to a thicket of microphones, is the methadone of the masses. And in his masses he prays for world peace, for shoeless Cubans that they be fruitful, and for the dictator’s deliverance.
Close-ups show his TV rouge and how he winces from the gout that keeps him seated to consecrate the Bunny float. He scrunches his nose, whispers to an aide who translates, The Easter Egg smells vaguely female, and is best hollowed out and painted.
He wants to sweep the island free of hypocrisy, and for starters enumerates the times he desired women priests. Beside him the infirm despot confesses he’d ordered saltpeter sprinkled in his soldiers’ cigars.
The Holy Father’s homily, sweet as sugar cane, forgives imprisoned dissidents. He lifts his broom to sanctify voodoo charms and rumbas, he blesses sightings of the Queen of Heaven in murals saluting the Revolution.
As the Yankee anchorman confuses John Paul’s catacomb connections, the Pontiff dons his stiff miter to beatify the first Cuban Catholic midwife. From the balcony he waves at the masses, leaning on the papal broom.
Donald Levering’s 16th poetry book, Breaking Down Familiar, will be released in May of 2022. A previous book, Coltrane’s God, was Runner-Up in the 2016 New England Book Festival contest in poetry. Before that, The Water Leveling with Us placed 2nd in the 2015 National Federation of Press Women Book Award in Creative Verse. I am a former NEA Fellow and won the 2018 Carve magazine contest, the 2017 Tor House Robinson Jeffers Prize, and the 2014 Literal Latté prize. My work has been featured in Garrison Keillor’s Writer’s Almanac podcast.
John Levy
Grasshopper
When I see you in your armor, grasshopper, with your oblong eye
protruding from your shell of a face, your shield existence,
all the barbs on your legs, your delicate antennae,
I could be you I know and even more the you I don’t.
In the pond five ducks swim. They write on the water with webbed-feet pens circles-in-circles = watermarks.
I want to be a translator of those geometries.
There is paper with watermarks and cursive lines of love opened on the desk. How once in Paris or was it Colorado?
You wrote how color changes when the rain tints the buildings— How it deepens everything.
And how missing magnifies an intensity of desire. Or that old woman at The Brown Palace who steadied the hand of the old man.
Fire was there—you wrote, the sureness of it, after she’d settled the napkin at his chin. Is there not room for kindness everywhere?
How this question follows me for years. Is it true with age there comes a deeper understanding of that fire?
It is time and light that takes the words to lighten—the circles, too. The ducks are gone.
I read the letters now remembering:
A sure hand. A fine pen. An ink thought indelible.
When I can hold no more, I fold the words along the well-worn creases.
Outside the window—rain drop by heavy drop writes its own story.
Moving
It is late evening the purple plums are eaten. The concord grapes are in the bag in the car’s trunk, stored alongside two suitcases full of dreams. And an uncountable number of grains of sand to remember packed into a Mason jar— that long hot summer that startled the corn in every field passed. We were moving west with fire in the heart. We watched the dawns breaking. And took in the dying fields— Unimaginable. The colors of sorrows.
Sandra McGarry grew up in the east near the ocean. She taught elementary school for 28 years. She moved to Colorado in 2009 to be near her children. She enjoys hiking and biking. She’s published in Pilgrimage, Paterson Review, Encore, and DoveTales.
C. J. Rakay
Everywhere and Now
You always told me that you could feel them, those that had died, the ones you so loved, so young, so many for you. That you felt them as though they were sitting with you at the kitchen table over a cup of green tea or a bowl of berries, each one chatting away, you gladly listening.
They’re gone. Strange, you said, how you knew that but somehow didn’t believe it—couldn’t believe it. How could you, you said, when you see them in the soft light of every new moon, in the bright eyes and sweet breath of our children, even in that shiver you felt in your limbs for what you thought was no good reason.
They’re not gone, you said. They’re here. They’re everywhere. And I thought it was so nice—so very sweet—that you believed that. But I never did. Until now, until today, when that lone stream of morning sun blazed through our bedroom window, and there you were.
C. J. Rakay is a two- time First Place prize winner and two-time runner-up of the Poetry Society of Colorado contests. She was a finalist for the most recent Daisie E. Robinson award.
Christine Weeber
A Home, A Trap
I am inside the full moon as it skins, skins rainbow trout she looks up- stream, plies the pool
Caddisflies hatch, emerge from pupal shucks their own slow dawn clouds as runoff heats
We are inside that rupture pupal skins floating water pulls us down- stream we wing against shuck edges
Our emergence bleeds an ephemeral sun- wash we carry with us wings ablaze scooping air, darting— early home now death trap
Ravens
Which six are mine? I can’t tell
from the conspiracy shooting across the sky
I try to spot them, eye the eyes— but like falling stars rising they split the atmosphere
all wing and tail and beak
a body of one a body of a hundred
circling, creasing, torpedoing.
The turn a wave crashing sunset’s brow.
They curl along the western ridgeline, frozen trees muscular and blank. The body coalesces, disappears.
I am left in the wake, as is the fading light.
My circle of oily, glinting feathers anchored in sand shifts, shifts.
Christine Weeber is the author of two poetry chapbooks, In the Understory of Her Being (in English and Spanish) and Sastrugi. Her poetry and prose have appeared in the Wild Roof Journal, Wild Gods: The Ecstatic in Contemporary Poetry and Prose, the Kyoto Journal,Solo: On Her Own Adventure, and other publications. Christine is the poetry editor at SAPIENS, an online magazine that illuminates the world of anthropology for a general audience. Keep up with Christine at https://www.christineweeber.com.