Pathway to Epiphany  

Towards the summer sky
I make a shape of heart
With my clumsy hands
This is the feel of life
I tell the season

This is to illuminate the dark
Dreamland like a search light	
I tell the crow stalking behind
Like the spirit of my late 
Father. This is to gather all

The positive energy in the world &
Send it to the future. I tell my
Unborn grandson. This is the cycle 
Of life & the philosopher’s stone

I tell the greening copse. This is 
The circle to fill in with cries
& laughs. 
      I tell my other self
Beyond the cosmic wall, as if 
To balance yin and yang
    In the whole universe 

· · ·
 
Soulmating: for Qi Hong

He lives on the yang side of the planet
& she on the yin; through Platonic love
They maintain the balance in (human) nature

His is hard & straight like ‘1’ while hers
As soft & circular as ‘0’; coupled together
They make up the whole cyberspace

Time renders him immortal, when space
Expands her indefinitely. Entangled, they form
The coordinate, where history sucks all black holes
 
· · ·
 
Self-Semantics: a Bilinguacultural Poem 
 
1/ I vs 我: Denotations
 
The first person singular pronoun, or this very
Writing subject in English is I , an only-letter
Word, standing straight like a pole, always
Capitalized, but in Chinese, it is written with
Lucky seven strokes as 我 , with at least 108
Variations, all of which can be the object case
At the same time.
     Originally, it’s formed from
The character 找, meaning ‘pursuing’, with one
Stroke added on the top, which may well stand for
Anything you would like to have, such as money
Power, fame, sex, food, or nothing if you prove
Yourself to be a Buddhist practitioner inside out
 
2/ Human & 人: Connotations 
 
Since I am a direct descendant of Homo Erectus, let me
Stand straight as a human/人, rather than kneel down
 
When two humans walk side by side, why to coerce one
Into obeying the other like a slave fated to follow/从?
 
Since three humans can live together, do we really need
A leader or ruler on top of us all as a group/众?
 
Given all the freedom I was born with, why
Just why cage me within walls like a prisoner/囚？

—Submitted on 05/08/2021

Yuan Changming edits Poetry Pacific with Allen Yuan in Vancouver. Credits include Pushcart nominations and publications in Best of the Best Canadian Poetry and Best New Poems Online, among others. Recently Yuan served on the Jury for Canada’s 44th National Magazine Awards (poetry category).

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Editor’s Note: The series title A River Sings is borrowed from “On the Pulse of Morning,” the poem read by Maya Angelou at the inauguration of Bill Clinton in 1993. 

The Word

like two priests, grazing

like silk floss trees		
the thorny uncle’s rose

slip into my boxers 
forget my body

give me a smog check
i am clean coal

a chimney						defeated fossils

a bark collar						the new pope

· · ·

Frame Everything

you cannot imagine how hard it is 
each lady slipper you drew 
is a dear i killed 

								they call it blood burning
								do you know what haunts you? 
								i am twelve 

a shower boils 
the young men inside 

								i come as often is possible 
								the LA water and power company 
								could be my family business 

the last castle is 
an old woman 
who hasn’t seen you 
since the nineties 
and says you did alright 
also your mother would be proud 

								i made her casket
								three cedar logs 
								i cannot believe they buried her 
								without underwear

—Submitted on 03/13/2021

Marshall Woodward is the author of Clown Star (Gutslut Press, 2022). He edits the journal Cultural Fan Fiction. Recent poems have appeared in American Writers Review, Brickplight, Aji, and The Indianapolis Review.

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Editor’s Note: The series title A River Sings is borrowed from “On the Pulse of Morning,” the poem read by Maya Angelou at the inauguration of Bill Clinton in 1993. 

And Then After You Got the Vaccine

you didn’t want to limp, even though your old lady
knee makes that happen sometimes and the hall
to the door outside felt long.  Your knee didn’t
hurt before you spent a year inside—exercising, yes, 

but with bands and balls and a prescription.  You’d
actually feared the men hiking past you at the lake,
their unmasked nostrils suddenly obscene. The hall 
felt long and it was still daylight but barely when you 

pushed the door at the end of it open, your fingers 
cold with alcohol and reeking of New York State Clean
from the gallon jug with its plunger applicator, a
scent like a cheap head shop. Then the many white

Art Deco steps of the Westchester County Center.
A harmless man in a wheelchair on the sidewalk:
masked, your age. The chipped paint on the iron
railing. You were a little girl in this place once. At

last, turning the corner as if it were all nothing, your 
husband, eyes brightening as he finds you. His long 
stride you’ll have to hurry to match—but his eyes. This
thing won’t kill you, now. Rush hour. The ride home.

· · ·

Five Hundred Thousand People

I keep thinking about cotton candy: a Marie Antoinette 
bouffant, toy lipstick colored, on a paper cone. How it

seemed impossibly huge, how it dissolved into nothing
when I tried to eat it. Wet grass under our plaid blanket

in the mosquito-bite twilight of a brass band concert. I
was six maybe, standing on my father’s sneakers so he

could teach me how to jitterbug. My mother said he always
stepped on her toes when they danced, but wasn’t I stepping

on his? On purpose? I didn’t understand. My mouth lost
in a cloud of sugar, my face sticky. Other kids with balloons,

balloons let go into stars and darkness. One hand in my
father’s, trying to keep my balance. My mother laughed but

seemed sad about something. Suppose everything I’ve 
written until today had dissolved into nothing. Everything.

Five hundred thousand people. I’m dancing on all of their
shoes, trying to keep my balance. I still don’t understand:

all that sweet twilight gone, all that lost music. Mothers,
fathers. Other kids. Balloons let go into stars and darkness.

· · ·

But No One Did

Afternoon rests fitfully over us, tossing off the clouds’
thick blankets, marking the dormant grass with sudden
shadows—our chimney, a tangle of empty branches—

then drowsing into near-twilight. Dull, dull, a
comfort, this pause, this slumping into what? Peace,
maybe? Nothing pending. No one breaking glass, 

no one cursing. The creek’s still energetic with last
night’s rain. The whistle of a freight a mile off, traffic
on the road outside just now flicking on headlights. All

week watching interviews on TV, I worried about people
who spoke in their living rooms in front of bright windows. 
Because anyone could…but no one did. As if my worry

could save all of us. Maybe tomorrow will be normal—
coffee and a buttered roll. Normal like a hot shower,
a blue sky free of razor wire, memory’s easy breath. 

—Submitted on 03/13/2021

Christine Potter is the author of the poetry collection Unforgetting (Kelsay Books, 2018) and the time-traveling young adult series, The Bean Books (Evernight Teen). Her poetry has appeared in the anthology Show Us Your Papers (Main Street Rag, 2020), and in the journals Rattle, Eclectica, Mobius, Sweet, and been featured on ABC Radio News. Potter lives in the lower Hudson River Valley.

SUBMIT to A River Sings via our SUBMITTABLE site. 

Editor’s Note: The series title A River Sings is borrowed from “On the Pulse of Morning,” the poem read by Maya Angelou at the inauguration of Bill Clinton in 1993. 

Signs of Life

I know we have just landed a craft
on Mars, a planet 140 million miles away, again.
budget 2.9 billion dollars.

I know the Perseverance Rover currently monitors the atmosphere
so we might predict Martian weather, useful, maybe, 
in some imagined future.

I know how it feels to lift a boy-child up into my arms, 
resting his head on my shoulder, my whole body 
blooming from the scent of his scalp.

I know how it feels to have the hand 
of a man on my throat
chair tipping against a wall.

even now, we do not know how we become
a hard hand or a pressing knee,
have yet to travel a country mile to document these formations.

how the soft, suckling mouth of a baby grows to turn and twist,
fueled by a pit of sorrow,
how we can become a foreign land to our people.

I want to travel, here; see if our human curiosity
our humble perseverance
can reveal how to make this world more habitable.

I know that a murmur soft and low,
a tender hand, is what we need 
to sustain signs of life, on earth.

—Submitted on 03/11/2021

Rachael Philipps-Shapiro is a writer and journalist. Currently a student in the MFA program in poetry at Sarah Lawrence, she was a poet in residence at Bethany Arts Center and received an AWP Writer to Writer mentorship. Here journalism spans titles from The New York Times to Edible Westchester to Time Out London and Elle.

SUBMIT to A River Sings via our SUBMITTABLE site. 

Editor’s Note: The series title A River Sings is borrowed from “On the Pulse of Morning,” the poem read by Maya Angelou at the inauguration of Bill Clinton in 1993. 

Negative Pleasure

This is a poem that bumps into you 
in the dark, doesn’t excuse itself,
makes you want to dust yourself off, 
straighten up, move along, as if
nothing ever happened. This poem
offers no apology for the discomfort
it causes, continues to stumble drunken 
on its own discontent, lumbers along 
all the jagged edges, unsettling under
thunderous skies, leaden footed
sinking into quicksand with teeth. 
This poem has lost its place. This poem 
is reductive. It is nothing. It is lost, locked 
in a room without windows or doors.

—Submitted on 02/16/2021

Andrena Zawinski is the author of Landings (Kelsay Books, 2017). Previous books include Something About (Blue Light Press, 2009) and Traveling in Reflected Light (Pig Iron Press, 1995). She edited Turning a Train of Thought Upside Down: An Anthology of Women’s Poetry (Scarlet Tanager Books, 2012). She is Features Editor at PoetryMagazine.com and founded and runs the San Francisco Bay Area Women’s Poetry Salon.

SUBMIT to A River Sings via our SUBMITTABLE site. 

Editor’s Note: The series title A River Sings is borrowed from “On the Pulse of Morning,” the poem read by Maya Angelou at the inauguration of Bill Clinton in 1993.