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“Portrait: Woodbury, Indiana”, “What Happens to Dealership Cars During a Hurricane” and “Aubade with the Red Door”

In Issue 10 by Paige Leland

Page Leland’s prose poem “Portrait: Woodbury, Indiana” is a poetic journey of narration, rhythm, and metaphor in three stanzas with lines such as these: “When we close our eyes, the sky rips open, sounds like bones breaking”; “Pass the time by searching white clouds for a sign of something divine—“; “9 pm, when the sky is dead and black and the moon is only an outstretched hand away.”

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“Swans”, “Playplace” and “Nana Stares Out the Window”

In Issue 10 by Claudia Glenn

Claudia Glenn’s poetry envelops a quiet nostalgia, but in “Nana Stares Out the Window” nostalgia becomes wisdom: “Every morning the bird returns/And every morning she is greeted/By the wonder of a child/Who just saw their first snow/And the wisdom of a woman/Who decides to make a snow angel/Knowing it could be her last.”

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“Moths”, “Meet Me At the Stairs” and “Change Will Come?”

In Issue 10 by Emily Wong

Emily Wong draws poetic sustenance from nature’s presence. Whether in “Moths,” “Meet Me At the Stairs,” or “Change Will Come?,” natural metaphors ground the poems: moon becomes an “empress,”; dawn “the birth of light/after a long misty night,”; and day when “the light is bland,/and the colours don’t dance.”

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“Arthritis”, “Grape Jelly” and “Equinox”

In Issue 10 by Tabatha Jenkins

You can’t escape the pathos that permeates Tabatha Jenkins poetry. In “Grape Jelly,” pathos mixes with reality and evokes tears: “You only have a little while left/before your mind tethers off/ and signals for the end./They’ll come with good intentions/and very little patience,/they’ll only hear what they want to.” True poetry extends pathos to life.

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“Of Van Gogh”, “Pescador Beach” and “Beginning Piano”

In Issue 10 by Somnath Ganapa

The sense of touch is valued in Somnath Ganapa’s poetry: the poems resonate whether the subject is Van Gogh, the beach, or the piano. An example of this gift in “Beginning Piano”: “I gingerly lifted her upper lip with gentle fingers,/ Revealing white and black teeth underneath./Back straight, reverent fingers on middle C,/It was my first time.

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“Dilettante”, “Visiting Hours” and “The Nice Guy Awards 2017”

In Issue 10 by August Ritchart

The concrete image is principal in August Ritchart’s poetry, but don’t mistake it for simplicity, as the image absorbs meaning. See “Visiting Hours”: “You mailed me an Easter basket this year/Inside were some Reese’s Peanut Butter Cups/The special egg-shaped ones/I ate them/And these eyes can’t see far enough outside myself to know/ Which parts of me are your hand-me-downs.”

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“Pebbles”, “The Books” and “My Father”

In Issue 10 by Sandeep Kumar Mishra

Sandeep Kumar Mishra tells stories in his poetry but he never abandons the poetic line. “Pebbles” exemplifies the skillfully crafted narration and metaphorical voice: “But patient jeweller of tides;/Volcano-born, earthquake-quarried,/Heat-cracked, wind-carved,/Death shapes compact among the rocks.”

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“Some Privileges”, “Burial Feathers” and “Slovak Smelling Salts”

In Issue 10 by Sara Marron

Conjoining the language of music and the agency of poetry, Sara Marron ponders the depth of humanity’s touch. It reverberates in “Some Privileges”: “Putting my arm around your waist, taking your backpack from you to descend the subway/ platform, walking:/In relievo, sotto voce; subito triofale/A direction to make the melody stand out, voices in undertone; suddenly/triumphant.”

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“I have tenuous connections to famous literary men and they haven’t helped me to become a famous poet” and “Get It Together”

In Issue 10 by Rebecca Larkin

Rebecca Larkin knows the powerful play of irony, nowhere more so than in her poem “Get It Together”—personification and metaphor as vehicles: “We’re all rooting for him/ TO GET IT TOGETHER,/He’s basically a tree that had its feet cut off/And its nose washed out by acid rain/and its leaves of personality waxed up so hard/they can’t photo-synthesize.”

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“Caracas”, “The Milky Way as Path to the Otherworld” and “Mirrorland”

In Issue 10 by Mari Pack

Figurative language is the essence of poetry, but its timbre is varied from poem to poem—“energetic,” “vital,” “arousing” are descriptors in Mari Pack’s poetry. See “The Milky Way As Path to the Other World”: “a life of too many sugar syrups/meat caught in a blender, coughing up/nothing but dust –/high pitched notes/ shattering in round, operatic soprano holes.”

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The Storm Trooper

In Issue 10 by Tyler Pesek

Tyler Pesek is a self-proclaimed fan of Star Wars so it seems fitting that he would create “The Storm Trooper,” a Star Wars fan fiction story. The story begins when a solitary man discovers a lone helmet in a humble shelter and, with a touch, he enters a trance and sees the story of clone soldier 017. But below the surface of the storytelling is an intriguing and thoughtful examination of the fine line between being human and being AI.

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Speaking Politely

In Issue 10 by Helen Wurthmann

Helen Wurthmann puts the spotlight on two siblings – and in turn, on us – in her story “Speaking Politely.” It’s Christmas and siblings Moe and Halo are on a grocery run, for wine and other festive items, and to get Halo out of the house before she picks another fight. It is during their time together on this seemingly benign errand that much is revealed about their relationship, Moe’s past, and our manufactured limits on compassion.

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Wrong Number

In Issue 10 by Jamie Grove

In “Wrong Number,” Jamie Grove explores the oft whispered topic of aging. Marilyn is alone and scared, having been taken to a hospital for reasons she cannot remember. Her aging body betrays her resolute spirit and she reaches out to Father Jones for solace, leaving a message. But she has dialed the wrong number and instead leaves a desperate message on Kirby’s voicemail. Kirby’s initial disregard for the caller wears at her and she eventually decides to visit, with fateful consequences.

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Anchors

In Issue 10 by Charles Wall

Charles Wall subtly weaves the themes of loss, love, and renewal in “Anchors.” A father and son who have lost a wife and mother, respectively, teeter on losing each other but it is the model ship – a memory displayed on a wooden shelf – that offers their moment of renewal.

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Wonderland

In Issue 10 by Leilani Squire

With courage and honesty, Leilani Squire writes of a life-changing event in her stunning piece “Wonderland” – “I can’t go back to that place before I was married. That part of my life is dead and buried, and covered with too much shame and grief.” The narrative grabs you and the raw emotion and truth revealed lingers.

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A Story I Know By Heart

In Issue 10 by Glenn Schiffman

“I’m going to tell you a story, parts of which I’ve kept in my heart for nearly fifty years, and other parts I’ve been silent about for seventeen years, and have not written about until today, December 31, 2017.” This is the introduction to Glenn Schiffman’s piece “A Story I Know By Heart” – an odyssey of personal decisions, truth, and action that began in 1968. It is an intense and intriguing journey, for both writer and reader.

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The End of the Natural Killing

In Issue 10 by Erez Majerantz

“The End of the Natural Killing” by Erez Majerantz draws the story of Yuval, a minister in the government who has been diagnosed with Hodgkin’s lymphoma. Memories of his past and yearnings in his present haunt how he manages the illness. Yuval is not the most virtuous of men, and his slow death exposes these complex layers of his humanness.

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Too Much Information: Chapter Three

In Issue 10 by K. Alan Leitch

K. Alan Leitch introduces us to a modern-day Nancy Drew in his novel “Too Much Information.” Teenager Jessica awakens from a coma with a special ability – she can see in a person’s eyes the evil they have done, but not the act itself, just a word. By Chapter 3, Jessica has seen the word “murderer” in the eyes of her psychiatrist and with the help of her friend Marnie, they are on a mission to discover who, when, and why.

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The Perfect Beauty: Chapter One

In Issue 10 by Darlow Safley

Mariela writes for the Stockholm Free Press, stories with click-bait headlines and gulp worthy details. But as she laments to her copy editor Torsten, she needs a change — “I need to see how the insect and lizard sees. I need to witness the little things and feel big things about little things. Right?” And as we discover in Chapter 1 of Darlow Safley’s novel “The Perfect Beauty,” she also needs to find her father.

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Heart Mighty Power

In Issue 10 by Lukasz Drobnik

Mirka has fallen into a coma and Przemek, her boyfriend, injects himself and the bathyscaphe he has built into her bloodstream to try and save her. “Heart Mighty Power,” a fragment of Lukasz Drobnik’s novella “Nocturine,” takes the reader on a powerful and surrealistic journey through the spaces and soul of her heart.

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Midnight Ride

In Issue 10 by Vanessa Christie

The setting for Vanessa Christie’s short story “Midnight Ride” is San Diego and the action centers on finding a serial killer who is targeting cyclists. But frankly, you will have to read it to find out more. Built into the intrigue and action of the story is also a slow revelation of characters. As with her novel excerpt, Strangers You Know, Christie does not disappoint.