Transition: Poems in the Afterglow | 11 28 20 | Rodney Terich Leonard

Rodney Terich Leonard
To Tremble With Questions

Of late, I clasp merciless pressure
To ballads & funk, to music—

Upon the arias & Herbie Hancock
Blossom Dearie & 1960s Mahalia

And Sam Cooke:
“Somebody Ease My Troublin’ Mind.”

A text from toothsome times
Isn’t as forever as gripping a hand.

This pandemic of eyeless encounters
Disesteemed the elegant farewell.

To gut the harp from tunes
That dotted our love

Subdues the palate & the hours.
Pinned to circumstance—

Ghost in a pile of pennies
Mime for me some slant of adieu.

My moan is the sound of faith
Upwards of gut.

No nurse or doctor explains the substitute
For a final spoon of honey on the tongue.

—Submitted on 11/26/2020

Rodney Terich Leonard is the author of Sweetgum & Lightning (Four Way Books, 2021). His poems have appeared in BOMBFour Way ReviewSouthern Humanities ReviewThe Cortland Review, HIV Here & Now, and other journals. A Callaloo poetry fellow, he holds an MFA in poetry from Columbia University and lives in Manhattan.

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Transition: Poems in the Afterglow | 11 27 20 | Ellen Austin-Li

Ellen Austin-Li
Two Poems

Smoke

All I want is a tiny cottage
on the Dingle Peninsula. I could live
in peace on this windswept green.
America doesn’t own me anymore.
I’d rather fly to family via Aer Lingus than drive
up Ohio, across Pennsylvania, to New York.
I’m done passing the billboards
on 71N in Ohio, the Ten Commandments
split between two canvases alongside
the barn, the Confederate flag painted
on its roof. I don’t wish to be reminded
by the sign on the trip back that “Hell Is Real.”
Hell, yeah, it’s real. America is aflame.
With each wildfire season, the West
gets torched, fueled by the superheat
of our heedless need. Cities are coals of unrest,
Black sons & daughters gunned down as if prey.
Give me the Wild Atlantic Way,
Ireland’s west coast instead. Let me puzzle
the Gaelic posted above the English,
let me turn into a pebbled drive
beside my pastel-painted home, let the hearth
be spirited with peat. Near the coast,
standing stones frame a doorway
the ancients believed you pass through
into another world. My ancestors fled
Ireland because they were starving, I hunger
for this place to belong.

To Recapture Faith

There is no way of telling people that they are all walking around shining like the sun.
—Thomas Merton

To reclaim even part of this vision
that has been wrenched from the center
of me, I must first let the light
reenter. To believe
in our ability to heal, I must let go
this consuming darkness.
I have lost my faith in humanity.
Outside last night, I heard a Bard
owl perched in the hemlock
accusing me, Et tu? Et tu?

This woman once existed
who sought stars on full-moon nights,
who chose cold air’s clarity
over its chill, who was certain angels
dwell and emerge from all people
as soon as they’re shown kindness.
When younger, I wanted this
shining world but pushed it away,
afraid, isolated with the bottle.
In middle-age, I’ve dismantled fear
enough times, it no longer rules me.
Eyes open, everyone I see runs hollow.
Radiance seems a relic of my imagination.
Show me again, owl, how to catch
the glimmer in the underbrush.

—Submitted on 11/25/2020

Ellen Austin-Li is the author of Firefly (Finishing Line Press, 2019). Her poems have appeared in Artemis, Writers Tribe Review, The Maine Review, The New Verse News, Memoir Mixtapes, and other journals. Austin-Li is a student in the Solstice low-residency MFA program at Pine Manor College in Chestnut Hill, Mass. She lives in Cincinnati with her husband and two sons.

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Transition: Poems in the Afterglow | 11 26 20 | Cheryl Caesar

Cheryl Caesar
Thanks

Let us be thankful for pumpkins.
Not for the grainy and soapy-taste pies,
nor for the hideous lattes.
But, perhaps, for the seeds, when they’re salted and roasted.
Each crunch an explosion of nutrients, recalling
that we are all concentrates of energy.

Thank them for their carved faces, which so quickly
wither, like victims of bad plastic surgeons.
The eyes and mouths expanding, until
they touch, and all caves inward. Fading
before us, time-lapse flowers in reverse.
Dorian’s portrait out on our front porches.

Thanks to the pets, the cats and the dogs,
whose lives are measured in decades, making
them markers of family eras. “Back when
we had Rocky,” we say. So simply, they give us
the whole of their earth span. Bracketing us

on the other side, tortoises live to a hundred
and fifty, but moving slow, and carrying
their dwellings. Or you could surrender
motility altogether, and be a redwood, learning
to speak with your roots, underground. If you

are willing to give up your spine, you can be an immortal
jellyfish and never die, they say. When bad times come,
you revert to a polyp, and start again. They call it
“transdifferentiation,” but if you wish, it can be
transmigration of souls—that is, if you agree
to grant the jellyfish a soul. If not

I leave it to you to decide: When all
the cells are replaced, is it still the same
creature? I doubt if the jellyfish cares.

—Submitted on 11/24/2020

Cheryl Caesar is the author of Flatman: Poems of Protest in the Trump Era (Thurston Howl Publications, 2020). Her poems have appeared in Prachya ReviewPanoplyLightOrigami Poems ProjectPonder Savant, and other journals, as well as in the anthology Nationalism: (Mis)Understanding Donald Trump’s Capitalism, Racism, Global Politics, International Trade and Media Wars (Mwanaka Media and Publishing, 2019), edited by Tendai Rinos Mwanaka. Caesar holds a doctorate in comparative literature from the Sorbonne. She teaches writing at Michigan State University.

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Transition: Poems in the Afterglow | 11 25 20 | Jill Kitchen

Jill Kitchen
Hope’s Return

She is an arrow, bent and worn,
buried for years beneath soot
and stone, forgetting where
and whether to aim. Hesitation
shakes my hand: I do not recognize her.
I have been hunted unarmed for so long
that my skin has become a fleshy armor
thick with doubt and distrust.

But the moon whispers to me, smiling.

Fear and flames surround me, heat shimmer blur
above skyline. I swallow hard and reach for the arrow,
her feathered fletching. A brightening of memory
shudders through me, from a time without language.
I take in her form, turning her slowly,
measuring her weight. My hands straighten
her bruised spine, wipe away dark
clumps of dirt and sharpen her blade.

I fashion a bow from November’s dusk and take aim.

—Submitted on 11/23/2020

Jill Kitchen‘s work is forthcoming in Naugatuck River Review, where she was a finalist in the 12th Annual Narrative Poetry contest. She holds a BA from Colorado College with a major in Romance languages and lives in Boulder, Colo.

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Transition: Poems in the Afterglow | 11 24 20 | Chad Parenteau

Chad Parenteau
Fringe Fringes the Fringe

Million MAGA March, November 14, 2020

Twelve more years! Twelve more years!
Signs and chants compete for cameras.
Christ is King! Christ is King!
Pro-Trumper makes plea for unity

while signs and chants compete for cameras.
America first! America always!
Christ is King! Christ is King!
Proud Boys! Stand back! Stand by!


America first! America always!
Trump meets admirers via motorcade.
Proud Boys! Stand back! Stand by!
Hair peppered with new age, alleged wisdom.

Trump meets admirers via motorcade.
He tweets, “DC Police, get going,”
hair peppered with new age, alleged wisdom.
“Do your job and don’t hold back!”

He tweets, “DC Police, get going,”
while night colors dim to black and blue.
“Do your job and don’t hold back!”
Proud boys stand by memorial phallus

while night colors dim to black and blue.
“And even if Trump don’t win…”
(Proud boys stand by memorial phallus)
“…we will come back even stronger!”

“And even if Trump don’t win…”
Pro-Trumper makes plea for unity.
“…we will come back even stronger!”
Twelve more years! Twelve more years!

—Submitted on 11/23/2020

Chad Parenteau is the author of The Collapsed Bookshelf (Tell-Tale Chapbooks, 2020) and Patron Emeritus (FootHills Publishing, 2013). His poems have appeared in RésonanceeQueen Mob’s Tea-HouseCape Cod Poetry ReviewTell-Tale InklingsOff The Coast, and other journals. Parenteau is a regular contributor to Headline Poetry & Press as well as associate editor of Oddball Magazine. Online at chadparenteaupoetforhire.com.

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Transition: Poems in the Afterglow | 11 23 20 | Sarah Van Arsdale

Sarah Van Arsdale
Seven Dreams

When you sleep tonight, don’t dream of the gloved hand reaching from the dark for your leg, your chest, your most private, interior thoughts, the heart of your heart.
…dream of the tulip bulbs you planted, before this change, when you had only a droplet of hope, just enough to put them in the ground, as if you believed in spring.

When you sleep tonight, don’t dream of the last stoppered breath, the boot on the neck, the rope, the knife in the throat of hope, the face pressed against the pavement, the multitudes shouting, and one man calling for his mother.
…dream of sea serpents, wrapped around your shoulders: your guardians, your witnesses, your lovers.

When you sleep tonight, don’t dream of the deep snows of the coming risky winter, the virus spiraling in our blood, fencing us from one another.
…dream of a mare walking freely in the bright morning light, the wide shadow she casts against the frosty grass, how the earth trembles at her footfall. Her mane, trembling a little as she moves.

When you sleep tonight, don’t dream of burning trees, crashing into the arms of the forest, the sky bright with fire.
….dream of the wingbeats of birds, coming to your garden, singing in their secret languages, at last.

When you sleep tonight, don’t dream of the man, spitting, wild-eyed, his face reddened, defending his sins in front of the world.
…dream of a woman, describing the alleyways of the brain, telling the story of a girl who found her own way in the dark forest, at midnight, frightened but determined, the owl and the jaguar guiding her to safety.

When you sleep tonight, don’t dream of the mouth spilling forth lies after lies, a river of meat and rotted wood, blood and rusted nails.
…dream of the pear tree in autumn, the leaves carpeting the ground with color, the deer surrounding it as the sun goes down.

When you sleep tonight, don’t dream of criminal men, smiling indifferently, stained with the blood of the innocents, plotting in the stink of their own smoke. There are too many of them for your dreams, and they are so unworthy.
…dream of the swirl of people, dancing, the chorus of horns and tambourines, and the bells ringing over all of the world, even Paris, France, as if a great war with many dead had ended.

Dream of this, my daughter: the tulips, your hope, the perfect, imperfect power you hold in your hands.

Sarah Van Arsdale con Marisa Bevington
Los Siete Sueños

Cuando duermas esta noche, no sueñes con la mano enguantada, alcanzando desde la oscuridad hacia tu pierna, tu pecho, tus pensamientos interiores más privados, el corazón de tu corazón.
…sueña con los bulbos de tulipán que enterraste, antes de este cambio, cuando tenías solo una gotita de esperanza, lo justo para ponerlos en la tierra, como si creyeras en la primavera.

Cuando duermas esta noche, no sueñes con el último aliento sofocado, la bota en el cuello, la cuerda, el puñal en la garganta de la esperanza, la cara presionada contra el pavimento, la multitud de personas gritando, y un hombre llamando a su madre.
…sueña con serpientes del mar, alrededor de tus hombros: tus guardianes, tus testigos, tus amantes.

Cuando duermas esta noche, no sueñes con la nieve profunda del invierno peligroso que se acerca, y ni con el virus girando por nuestra sangre, creando una cerca entre uno y el otro.
…sueña con una yegua caminando libremente, abajo la brillante luz de la mañana, la amplia sombra que proyecta sobre el césped escarchado, cómo la tiembla la tierra bajo sus pisadas. Sus crines, temblando un poco mientras se mueve.

Cuando duermas esta noche, no sueñes con árboles que se queman, que se estrellan contra los brazos del bosque, el cielo que brilla con el fuego.
…sueña con los aleteos de los pájaros, acercándose a tu (tu) jardín, cantando en sus lenguas secretas, por fin.

Cuando duermas esta noche, no sueñes con el hombre escupiendo, con ojos desorbitados, con la cara enrojecida, defendiendo sus pecados frente al mundo.
…sueña con una mujer, describiendo los callejones del cerebro, contando la historia de una niña que descubrió su propio camino en el bosque oscuro, a la medianoche, asustada pero decidida, el búho y el jaguar guiándola hacia a un lugar seguro.

Cuando duermas esta noche, no sueñes con la boca que derrama mentira tras mentira, un río de carne y madera podrida, de sangre y clavos oxidados.
…sueña con el peral en otoño, las hojas tapizando de color el suelo, los ciervos rodeándolo mientras el sol declina.

Cuando duermas esta noche, no sueñes con hombres criminales, sonriendo con displicencia, manchados con la sangre de los inocentes, conspirando en el tufo de su propia humareda. Hay demasiados de ellos para tus sueños, y son tan indignos.
…sueña con el remolino de gente, bailando, el coro de cornetas y panderetas, y las campanas sonando por todo el mundo, hasta en París, Francia, como si una gran guerra con muchos muertos hubiera terminado.

Sueña en esto, mija: los tulipanes, tu esperanza, el poder perfecto e imperfecto que sostienes en tus manos.

—Submitted on 11/22/2020

Sarah Van Arsdale is the author of The Catamount, a narrative poem with her watercolor illustrations (Nomadic Press, 2017). She is the author of the fiction works In Case of Emergency, Break Glass (Queen’s Ferry Press, 2016), Grand Isle (State University Press of New York, 2012), Blue (Univ Tennessee Press, 2003), and Toward Amnesia (Riverhead Hardcover, 1996). Her poetry and essays have been published in many journals. Van Arsdale teaches creative writing in the low-residency MFA program at Antioch University. She holds an MFA in creative writing from Vermont College of Fine Arts. Online at sarahvanarsdale.com.

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Transition: Poems in the Afterglow | 11 22 20 | Melissa Eleftherion

Melissa Eleftherion
Impatient Liminal

The pauses and interludes
& mesoganglia & aerenchyma
leave breathing space
enough to weave
the phosphorus &
nitrogen

otherwise
how to float
make movable
experience

transformational imaginal
transimaginal poetics
liminal and braiding
ecologies of understanding
the interrelatedness
interrelationship
of beings
in practice
in joy
and community
if we all
shine on
we
make
radiant music

there’s so much more
than that brutal grey
retaining wall
these synaptic fields
emit memory
as imaginal proteins
the sugars
make the fabric

—Submitted on 11/21/2020

Melissa Eleftherion is the author of field guide to autobiography (The Operating System, 2018), little ditch (above/ground press, 2018), and trauma suture (above/ground press, 2020). Her poems have appeared in Entropy, Flag+Void, Lunch TicketPith, Queen Mob’s Teahouse, and other journals. Born and raised in Brooklyn, Eleftherion lives in Northern California, where she manages the Ukiah Library, teaches creative writing, and curates the LOBA Reading Series. Online at apoetlibrarian.wordpress.com.

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Transition: Poems in the Afterglow | 11 21 20 | Margo Taft Stever

Margo Taft Stever
Bomb Shelter Explosion Report

Sputnik circled the earth; people imagined atomic bombs. Russians
blasted Yuri Gagarin into the cosmos—the space race the new now.
Soviets placed nuclear missiles in Cuba.

Police Report, November 11, 1967: Explosion occurred
in underground bomb shelter, 300 yards north of main
residence, thirty feet east of garage. Fuse box found near
victim’s left hand. Object partially covered with blood.

Kennedy ordered, “fallout protection for Americans
as rapidly as possible. We owe that kind of insurance to
our families,” October 6, 1961. He asked Congress
for $100 million to construct shelters.

Mr. Taft’s wife called to report the bomb shelter
blew up. Her husband, Hulbert Taft, was inside.

Soviets tested the first atomic bomb. Some Americans dug shelters
at night to keep neighbors from knowing. A cartoon turtle, Bert, urged
children to duck and cover. Bomb shelters sold like hula hoops. Newspapers
reported radiation readings next to the day’s weather report.

Officers Miller, Hiatt, Wiebold, Arthur, Brakvill, Schlie, and Gruenmaier
responded. Upon arrival, they went directly to the location. The shelter was
demolished, the roof caved in. Sod, dirt, and chunks of concrete scattered
all around. Some white smoke drifted from the southwest corner, and also,
from the entrance door. Dirt and sod were blown about one hundred feet.

Russians warned, “It would take really very few multimegaton nuclear bombs to wipe out
your small and densely populated countries and instantly kill you in your lairs.” Because
gamma rays travel in straight lines, entrance ramps were built at right angles. Blast doors
would pillow the shock wave of a nuclear blast and regained their prior shape.

Mr. Taft had parked his car, a yellow Pontiac Firebird, in front of the barn,
directly west of the shelter. Dirt from the explosion was on top of the car.
The shelter looked like the roof raised, then fell on the floor. A small area
along the north and west wall was not completely caved in.

The Snyder shelter designer spec’d sand floors so dwellers could bury
turds and piss. Shelters included battery-powered radios, lanterns,
sleeping bags, cots, chemical toilets, heating systems, fuel tanks, firearms
(to keep neighbors out). Necessary supplies included bottled drinking water,
first-aid kits, reading, writing, recreational material, cleaning supplies, and clothing.

Officer Arthur checked the blast areas, but could not find the victim. The Fire
Department responded, along with all available men from the Service
Department. All men started shoveling dirt from the roof.

On TV, people watched Leave It to Beaver, Father Knows Best, Ozzie and Harriet, and
apocalyptic movies—On the Beach, The Last Man on Earth. Wall Street predicted
the bomb shelter building craze profits could increase to twenty billion.

The fire department tried to put out smoke from the southwest
corner. An electrical fire commenced and arced with water
until someone pulled a switch in the house.

Survival stores sold atomic bomb protection outfits. General Foods and
General Mills advertised dried shelter meals. A worried farmer in Iowa
built a fallout shelter for 200 cows. Salaried spotters searched for suspect
objects in the skies.

Carter Construction Company responded with two backhoes to remove
dirt and gravel from the caved-in roof. White smoke had an odor assumed
to be propane gas. The caretaker, Mr. Liming, located the underground tank
and turned off the gas at which time the white smoke ceased.

Some clients forced contractors to construct shelters at night.

The backhoes arrived at 5:00 p.m. and the body of my uncle, Mr. Hulbert Taft,
was located ten feet from the entrance door, four feet west of the front interior wall.
The body was face down with the head toward the south. His left foot was pinned
under a large I-beam. His clothing was partially burned, and he was
bleeding from his head. Near his left hand lay the electrical circuit
breaker with blood on it, and a small wrench was nearby.

Teachers at odd moments screamed, “Drop,” and students hid under desks.
Teachers led children into basements or forced them to duck under desks.
Not allowed to go to the bathroom, many children wet their pants.

The Hamilton County Coroner was advised to move the body
to the county morgue. Dr. Victor Strauss, the family doctor, was at the scene.
Taft was pronounced dead by Strauss. His body was examined by Dr. Adriano
who found the victim to have been in perfect health prior to death. Taft
suffered a crushed chest and head injuries; apparently, he died
in the explosion as determined by lack of carbon monoxide in his lungs.

The U.S. government cautioned that flimsy shelters could burn inhabitants to a crisp
or crush them like grapefruits. Conelrad (Control of Electromagnetic Radiation) broadcast
advice suggesting two weeks of food would allow for survival from a nuclear bomb.
Each adult could take 130 mg of potassium iodide a day and each child 65 mg to bolster
thyroid glands against deadly intake of radioactive iodide.

At 11:00 a.m., November 11, 1967, the reporting officer, Patrolman Miller,
interviewed three girls—Pamela Baker, age 8, her sister, Gillian Baker, age 7, and a
friend, Becky Thompson, age 8, who were at the residence at the time of the
explosion. The Tafts had recently acquired a small pony. The girls were looking at
the pony when the shelter exploded. Mrs. Baker, their mother, advised of heavy
concentrations of dirt in their hair, but they were not injured by the blast.

Life Magazine praised a couple who spent their honeymoon in a bomb shelter.
Someone lied to his neighbors, stating that his shelter was a wine cellar.

The arson investigator, Mr. Peterson thought that the mixture of gas
and oxygen at the time Mr. Taft entered the shelter had to be at its
highest ignition point. He believed Mr. Taft entered shortly
before 4:00 p.m., November 11, and smelled a strong concentration of gas.
He is thought to have gone over to the fuse box and pulled the main circuit
breaker at which time small sparks resulted and the explosion occurred.

In one of the first “Twilight Zones,” the protagonist returns from a space mission;
everything is destroyed by nuclear holocaust. One human left is alone.

In an interview, the victim’s son and daughter-in-law assured that
their father was in good health and spirit. He had only minor problems,
nothing that would lead him to an intentional explosion. He checked
the shelter every day after work. He had no known enemies.

—Submitted on 11/21/2020

Margo Taft Stever is the author of Cracked Piano (CavanKerry Press, 2019), Ghost Moose (Kattywompus Press, 2019), The Lunatic Ball (Kattywompus Press, 2015), The Hudson Line (Main Street Rag, 2012), Frozen Spring (Mid-List Press, 2002) and Reading the Night Sky (Riverstone Press, 1996). Her work has appeared in Verse DailyPrairie Schooner, Connecticut Review, Cincinnati ReviewPlume, and other journals. Stever is founder of the Hudson Valley Writers Center and founding and current co-editor of Slapering Hol Press. She lives in Sleepy Hollow, NY.

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He Did It All for Poetry

The Sensitive Side of Donald Trump

As we near the end of the Trump administration, I find myself searching for a silver lining. I have finally found it in The Beautiful Poetry of Donald Trump, a groundbreaking poetry anthology.

What if there’s a hidden dimension to Donald Trump—a sensitive, poetic side? Driven by just this question, Rob Sears began combing Trump’s words for signs of poetry. Sears is a creative director at the venerable advertising agency McCann Erickson He has written comedy and fiction for McSweeney’s, and co-wrote wrote a sitcom for Audible He lives in Finsbury Park, London, with his wife.

By simply taking the 45th President of the United States’ tweets and transcripts, cutting them up and reordering them, Sears unearthed a trove of beautiful verse that was just waiting to be discovered.

This profound and engaging collection gives readers a glimpse of Trump’s innermost thoughts and feelings on everything from the nature of truth, to what he hates about the British business magnate, Lord Alan Michael Sugar. This hitherto hidden Donald will surprise and delight both fans and foes alike.

Now in a new edition with fifteen all-new poems, Sears takes us deeper. This timely publication includes Sears’s scholarly footnotes, and an insightful introduction in which Sears excavates new critical angles and insights into the President’s poetry—depths of meaning that the casual reader might initially overlook.

What better way to say goodbye to Trump—the man and the administration—than by delving into his own poetic oeuvre?

  • Item Weight : 10.9 ounces
  • Hardcover : 176 pages
  • ISBN-10 : 1786894726
  • Dimensions : 5.3 x 0.8 x 8.7 inches
  • ISBN-13 : 978-1786894724
  • Publisher : Canongate Books; Main – New edition (November 5, 2019)
  • Language: : English

Transition: Poems in the Afterglow | 11 20 20 | Michael Cunningham

Michael Cunningham
Corona Psalm

You don’t have to feel lonely.

You don’t have to eat from cable news
like an endless buffet.

Listen, the birds are singing.

Listen, the rain is making love
to the city streets.

Watch, the leaves give birth
and the trees that hold them.

You don’t have to be alone.

Drink from the stream
within yourself.

Pull yourself away from the world
the same way you would tug a child
away from an open flame.

Drink from the stream
drink and be well.

—Submitted on 10/17/2020 to the erstwhile What Rough Beast series

Michael Cunningham is a school librarian and outdoor nature educator trained in Waldorf education and biodynamic farming.

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