A call puts Harry in an uncomfortable position vis-à-vis his wife Joyce and an old girlfriend. He’s never cheated on his wife but he can’t help himself. Consulting her on-line profile beforehand, he goes looking. In “Today’s Edition of the End of the World” by Andrew James Talbot, “the past has broken into the present.”

In Neil McGowan’s story “Pic,” “a wee man” comforts eighty-year-old Audrey, who has suffered two strokes and is confined to her bedroom. In her final moments, Pic stays with her until the owl lifts her into the sky. Fantasy and reality are one.

His fingers “as strong as steel,” Carlos the Uncanny performs out-of-this-world flips on the trapeze bar when he hears Wagner’s music. Then he starts losing years and life isn’t the same in “Flight of the Valkyries” by Amanda Pampuro.

“Old Blue” by Bryn Chamberlain is a tender coming-of-age story about a teenager; his black Labrador “Blue”; and a power lawn mower, also named “Blue.” This trio makes the difference after his father leaves. Love and ambition—“inextricably entwined.”

With anti-depressants in hand, Anthony Capitanio catches the bus to attend a Catholic High school. His severe anxiety disorder ramps up when he sees Joe, the best pitcher in the little league. Then things go haywire in Chris Pellizzari’s “Game-Winning Hit.”

At a Halloween party, a man in a horrific Scream Ghostface mask tells Jane he’s on his way to collect “an unfortunate soul from Scotland.” In Maria Savva’s “Where Do We Go?”, the divide between life and death is as slim as to be nothing at all.

There is only the dance of poetic rhyme in O’Brien’s poetry, as embodied in the poem “Pegasus,” a moral tale unencumbered by abstraction or opaque allusions: “Rejoice and kick up/the dust/in your/every advance,” the poet commands.

There is a subdued presence in McAllister’s poetry, as if she is whispering in your ear: feel the sensuous in “Vertigo, NC”; see the fox emerge from the trees in “Wisp”; and in “To My Daughter” know “a temple in the mountain.”

When a poet uses figurative language like Soule in “Shipwrecked,” you feel the extended metaphor or conceit alive in the paradox that the men on board will perish, “becoming pearls, their skin coral.” Ditto “A Book Like Mine” and quicksand.

Translated from Russian, Blizniuk’s poetry is imbued with concrete images that place you within their parameters, and yet the abstract moves ever so closely to a Universe of billions where “someone has torn out a wire from the cable of the humanity.”

This is not easy, this telling a story through images that don’t miss a beat in the poetic line, and to tell it so completely, as L’Heureux “La Sabtranenque” and “Leaves” do through the perspective of “I” and the consistency in voice and mood.

To read “thee” and “thou” and “ne’er” and “‘tis” in “The Raven and the Stone” and “Dolphin Song” is like returning to the world of poetry in the 18th century. In Jewett’s hands, this poetic composition is simultaneously playful and dramatic.

Read Pasagiannis poems quietly, as they offer you an opening to the ethereal and spiritual and mysterious. Each poem breathes its own poetic nuance in form and content, but they gather the difference in “Navigating Silence”: “just listen.”

Bats, the revenant gloam, and impermanence are the subjects of Mulvihill’s poetry here. Yes, their commonality may not be obvious, but Mulviill’s storytelling marks her poetry—personal and unequivocally forthright. Her voice is her truth.

Ever heard of the “Dedekind Cut?” Sarnat explains the second part as the “partitioning of philosophical arguments,” and goes on to reveal an ironic vulnerability in “Triangles Reconstructed: Dad’s Last Hospitalization . . . .”

Reading Zvereva’s poetry is like entering a lush garden of words that find meaning in their juxtaposition, and the senses dominate while reason takes a back seat, if only for a little while. Feeling pulls you toward the understanding and not knowing.

Mindful of the philosophical and spiritual, Keshran gives readers an option: they can read at the surface of his poetry or they can move like “the current of the river” and choose “to seek what lies beyond this earth.” There is magic here.

Stanton’s poetry pulls beyond the words on the page. Is it a search for the “suchness” of things, the true self, the true reality? The poet refuses to be trapped in his corporeality to divine the “whatness” of self: “Tathāgata will be my next child.”

Metaphysics pervades Griffin’s poetry, as the references to Newton, Heraclitus, Isaac, and Spinoza’s famous Deus sive Natura are instructive. Pay attention to the titles: “We Are, We Were,” “Think Tragedy, Feel Comedy,” and “Are We Equal Yet?”

An existential fear of unknowing in Heather’s poems is made most explicit in “Dark Sun,” but it is also present in “nag, stone” and “confessing,” irrespective of the irony. Named: “this terror towards time” and “the swirling chaotic mystery of my past.”

The transient nature of life is nowhere more keenly perceived as in Ryder’s poem “Forms.” The irony is obvious: “When I die the world will stop spinning,” and then this: “I will be a form, a shape, a number, a colour, a sound.” A transitory traveller.

Their mother is proud and calls them her famous sons on television no less. Except: Billy and Danny are videotaped stripping the renovated church, whereas Jacob absconds with the wad of cash leaving his brothers to pay for the crime.

After her mother’s death, Gretchen gets a call from Miguel inviting her to retrieve her mother’s possessions. When she visits, she notices new wallpaper and a Persian rug. But she sees something else—an unexpected insight into her mother’s next life.

Gen chased insurgents, rode Humvees across Iraq, peeled walls with the .50 caliber machine gun. Once when he got back home he grabbed his pregnant wife Karen to dig a foxhole in the front yard and she wants mangoes in the morning.