Close calls – Daun Daemon

 

Atop the cucumber trellis,

a red-tailed hawk, hunching

under his uniform’s epaulettes,

reconnoitered the vegetable garden,

            the cottontail grazing outside the fence

            frozen in July’s humid heat.

 

Nearby, a plump predator,

sporting a tuxedo and as richly fed

as a nobleman, conveyed a chipmunk

onto the screened back porch,

            dropped its panting body on the planks,

            plopped down to rest before the feast.

 

Scanning but not seeing, the hawk

            floated away into the trees,

            the rabbit invisible in its stillness.

The cat, too tired to dispatch his catch,

            sighed into a nap in the sun,

            the patient chipmunk motionless.

 

Thawed, the rabbit — ravenous as the hawk —

            began to munch clover flowers

while the chipmunk — bone-weary as the cat —

            quietly skittered away.

 


Daun Daemon’s fiction has appeared in Flock, Dead Mule School, Literally Stories, and Delmarva Review among others, and she has published poems in Third WednesdayTypehouse Literary Review, Remington Review, Deep South Magazine, Into the Void, Peeking Cat Literary, Amsterdam Quarterly, and other journals. Daemon is currently at work on a memoir in poetry as well as short stories inspired by memories of her mother’s home beauty shop. She teaches scientific communication at North Carolina State University and lives in Raleigh with her husband and three cats.

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foliage hatching – Martin Potter

 

twitch-woods

fresh trees’ switches

sprout cocoons

along spring-necks

 

the fledge-buds

begin to fan free

bat-wing tender

in salad green

 

wing-take

flutter-leaf among

anchored branches

earth by root-claw

 


Martin Potter (https://martinpotterpoet.home.blog) is a British-Colombian poet and academic, based in Manchester, and his poems have appeared in AcumenThe French Literary ReviewEborakonInk Sweat & TearsThe Poetry Village, and other journals. His pamphlet In the Particular was published in 2017.

Longwood – Louise Walker

 

Hail hard in our faces, sun in our eyes,

we push through brambles, past the dovecot

and piles of tumbled bricks, driving deep into

the heart of the wood. Long before the house

burned down, someone planted daffodils here

and every year there are more, seen only

by those who still remember where to look.

Around the empty walled garden, bastard

fruit trees shoot upwards from ancient rootstock,

foaming white, but there will be no fruit,

unless we bend to read these faded labels

beside each shadow tree against the stone,

unless we plant again to face the sun

with Concorde, Harrow Sweet, Laxton’s Superb.

 


Louise Walker is a poet and teacher who lives in London. Her work has appeared or is forthcoming in anthologies by the Sycamore Press and Emma Press, as well as journals such as SouthOxford MagazineAcumenSecond Chance LitARTEMIS and Dreich. Commissions include Bampton Classical Opera and she was Highly Commended in the Frosted Fire Firsts Award in 2022. She is working on her first collection.

Swallows – John Muro

 

Easy to envy

their erratic

exuberance

ascending with

scythe-like wings

in fevered flight,

rounding rooftops

and the crowns

of trees before

returning like

blind oracles

with a divine

purpose and

grim prophecies

to share. Their

delirious arrivals

and farewells

blend then blur

into fleur-de-lis

pivots and pirouettes,

chevron tails split

apart like lengthy

shears slicing through

charmed circles of

air moments before

their tiny throats

of glossy indigo

morph into embers

as daylight falls

upon the tongues

of tides just catching

the last wink of sun.

 


A resident of Connecticut, John is a graduate of Trinity College, Wesleyan University and the University of Connecticut. In the Lilac Hour, his first volume of poems, was published in 2020 by Antrim House, and it is available on Amazon. His poems have been published, or are forthcoming, in journals including Euphony, Moria, Penumbra, River Heron, Sheepshead, Third WednesdayAmethyst Review, High WindowPoetica Review and the French Literary Review. John is also a two-time 2021 Pushcart Prize nominee.

The tender pines – Robert Beveridge

 

It is not far, not far at all beyond

the city limits where the road ends,

even the tire tracks peter out amidst

the wild-grown grass surrounded

by trees, invisible from buildings.

Just enough room to park, lay out

a blanket, pitch a tent.

 

Off to one edge, a ring. I thought

at first of mushrooms. But no—

of snails, their variegated shells

ablaze in the afternoon light.

I read to them awhile, until the sun

was low enough that it was time

to gather wood. Whether they

enjoyed it I’ve no idea.

 

A fire just long enough to warm

ramps, mushrooms, beans, a chunk

of bread torn to pieces, then to bed

and dreams of snails who aspire

to write their first poems.

 


Robert Beveridge (he/him) makes noise (xterminal.bandcamp.com) and writes poetry in Akron, OH. Recent/upcoming appearances in Blood and Bourbon, The Stratford Quarterly, and Stonecoast Review, among others.

Passing Colours – Martin Potter

 

Rail journey

Thickset windows fix

Fleeting landscape green-chill

Outside carriage warmth

 

A winter sun’s

Tentative intense

Strikes brushwood bark-bole

Bounces lemon curd

 

Off the trees’

December slumber skin

Insinuating dazzle

Lichen imbued light

 


Martin Potter (https://martinpotterpoet.home.blog) is a poet and academic, and his poems have appeared in Acumen, The French Literary Review, Eborakon, Scintilla, Ink Sweat & Tears, The Poetry Village, and other journals. His pamphlet In the Particular was published by Eyewear in December, 2017.

El Dorado – Ted Mc Carthy

 

“The fish fanciers, sitting by their ponds and gazing

into their depths, were tracing shadows

darker than they understood.” – Rubicon by Tom Holland

 

Arid – it took twenty years for the word to come.

And what did we expect, creeping that Saturday

down laneways whose leaves were dying into red,

towards the El Dorado of an orchard whispered about,

its apples untasted for years, guarded by a gun?

How near we were to town. How easily lost.

 

The youngest, last seen years ago, standing asleep,

wedged between three squatters in a phone box.

His eyes, they said, when he opened them, still had

that child’s disappointment at finding his last sweet gone;

suddenly he remembered himself and retreated.

He was a river of words at twelve

 

and I remember him now, from nowhere,

his life too fierce and frank to be glossed over,

unlike the rest of us, we on the cusp then of knowing

not the taste but the craving for it. So on

we blundered, countryside itching under our collars

until we turned and stumbled into a yard

 

ringed by trees, their fruit greener than leaves,

huge, monstrous almost. But we had to pick them.

And the house. No gun as frightening

as that abandoned silence, or the comb-teeth

litter of fish we knew we’d seen in books.

Never earth so bare as that dried pond.

 


Ted Mc Carthy is a poet and translator living in Clones, Ireland. His work has appeared in magazines in Ireland, the UK, Germany, the USA, Canada and Australia. He has had two collections published, November Wedding, and Beverly Downs. His work can be found on www.tedmccarthyspoetry.weebly.com.

Haze – Neil Fulwood

 

Soft haze hangs

over trees, over road,

view losing focus

near broken gate

at field’s edge,

rich man’s house

vaguely outlined

a half mile away.

The rumble

that trembles teacup

could be anything

passing at any

distance at any

point in time.

 


Neil Fulwood was born in Nottingham, England, where he still lives and works. He has published two pamphlets with The Black Light Engine Room Press, Numbers Stations and The Little Book of Forced Calm; and two full collections with Shoestring Press, No Avoiding It and Can’t Take Me Anywhere. His third collection, Service Cancelled, is due for publication later this year.

Beyond the Tree Line – Hugh Cartwright

 

It’s our first Christmas adrift in the stars.

And Molly’s first egg.

“Can I break it now?”

“Be gentle.”

Molly’s just four, the youngest of our tiny community. She taps the egg with fierce concentration, as if it’s the most important job in the Universe.

Suddenly the egg shatters and a glittering shape unfolds from among the fragments – a silver Christmas tree. It would weigh a handful of feathers on earth; here in deep space it floats effortlessly.

The tree glides quietly through the cabin until I tie it down with red ribbon. Our little group of 19 gathers round in a circle, linking arms and singing carols.

On 12th night, Molly helps me shepherd her tree into the airlock and we set it free. It glides behind the ship, not wanting to leave. But, as the hours go by, it gradually falls away, dissolving into the star-strewn sky.

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Our 27th Christmas; it will be the last before we reach our new home.

Molly is unwell, but she is our talisman; she must crack the final egg. A shimmering, golden tree emerges, capped with a crown of sparkling stars.

Our group now numbers 22. We gather around the tree for the final time, holding hands and singing carols.

On 12th night, Molly, whose memories were of nothing beyond our ship, is dead; she is the first to die.

27 trees drift behind in a soundless, invisible line, watching over us as we rush towards a world that Molly will never see.

 


Hugh’s not really a writer. His career has been spent in Universities, working at the interface of artificial intelligence and physical science. Now retired, he has begun to write occasional stories, some colored with elements of science fiction, others being just a little odd. It helps to take his mind off his impossible project: growing citrus trees in the Canadian climate.

A Meeting in Dyrham – lou moon

 

Where I am she will meet me

among the naming of the trees

and the subtle serendipities

I land gently on crows’ laughing feet.

 

Carefully trace the blue rivered breast,

try not to worry about what comes next,

for only time can bloom fruit sweeter,

and where she is I will meet her.

 

Only here, only now could she meet me,

and could we open arms so completely,

that where the branches meet the sky

we could slip away inside and

be calm,

 

for we will meet where we are,

and we will meet where we are.

 


lou moon is a vague and formless artist occasionally found reluctantly exploring the spaces between poetry & music, gender & sexuality, bristol & london. Part time artist, full time hippie & a regular at LBGT+ spoken word open mics in London, their work explores the intensity of the interplay between mental health and relationships, spirituality and symbolism, metaphor, vulnerability and queerness in all its forms. @_lou_moon on instagram & twitter

A Few Very Speculative Ideas About Language – Ann Pedone

 

sometimes it’s hard to remember/the names of things /those trees

along the side of the freeway/ I used to know what they are called

and  then there are words  I’ve never known /is there a word for

the lust bees feel for a flower /or the way his neck tastes /that moony

combination/ something like cyprus and salt and bone.

 


Ann Pedone graduated from Bard College with a degree in English and has a Master’s degree in Chinese Language and Literature from UC Berkeley. Ann is the author of the chapbook The Bird Happened, and the chapbook perhaps there is a sky we don’t know about: a re-imagining of sappho is forthcoming in December. Her work has recently appeared in Riggwelter, Main Street Rag, Poet head, Cathexis Northwest, The Wax Paper, and The Phare, among others.

My Final Walk in the Woods – James G. Piatt

 

Strolling along a bark filled path in the woods the breath of summer gusts into my mind and the warbling of tiny birds enters my ears. Tiny colorful wildflowers, pink, yellow, and blue paint the face of the meadow across the way, and waft their honeyed scents into the breeze. I hear the whispering sounds of the tiny brook alongside the path, and watch small rabbits with blades of grass in their mouths hopping quietly across the field. Maple trees with their white and gray skin, and oak trees with their gnarled limbs reaching for ground and sky shade my path. A red-shouldered hawk soars to the heavens with a screech as I disturb its tranquility sitting in a tall pine tree. I hear murmuring voices of tiny animals under fallen leaves and twigs in the distance, as the soft balmy breeze hurries over the ground with its euphonious voice. My memories awaken, and I remember my happy treks to the woods when I was a young lad. I exhale my breath with a nostalgic sigh as I realize my walks in the woods will be ending soon. My mind is still young, but my body has turned old.

 

 

Bio pic 2James is the author of four collections of poetry, Solace Between the Lines (2019), Light (2016), Ancient Rhythms (2014), and The Silent Pond (2012). He has had over 1,440 poems (four of which were nominated for Pushcart and Best of Web Awards), five novels, eight essays, and thirty-five short stories published. He earned his BS and MA from California State Polytechnic University, and his doctorate from BYU.

Octopus dusk – Elizabeth Gibson

 

in the hills above Vigo, Galicia

 

Perhaps I look lost up here, heavy and alone – but I have the pines and firs,

and I wander down the slopes of the mountain campus, catching Pokémon.

 

The air turns cool and soft. I catch an octopus. I take photos of the pink sky;

they will never come out right. I catch a bird, a fish, more strange critters

 

whose proper names I never remember. I stand under the chunky building

they call a bunker, but to me can only be a boat, slicing through the tree-sea.

 

Barely anyone lives up here, only us in the student digs shaped like a spider.

We sleep in its legs, in little rectangular rooms with long, tall windows

 

giving us ribbons of view: grassy mounds with orange cats, a pond of frogs,

a night full of crickets, heavy like me, and alone – but somehow also not.

 

 

Elizabeth Gibson headshot

Elizabeth Gibson is a writer and performer based in Manchester, UK. She is also the Editor and Photographer for Foxglove Journal. Liz has won a Northern Writers’ Award and been shortlisted for the Poetry Business’ New Poets Prize, and her work has appeared Cake, Cardiff Review, The Compass, Confingo, Litro and Strix among other journals. Liz blogs at http://elizabethgibsonwriter.blogspot.com and you can find her on Twitter and Instagram as @Grizonne.

King’s Cliff Wood – Anthony Watts

 

And if at times there seems to be

no more to it than this

return with muddied boots to the locked car

 

(groping for comfort under coats, cold nose to cold

nose, the same old words you won’t

or don’t believe)

 

then love is always the path we saved for another

day, the tunnel winding, whisper-filled,

under a sun-rug of November trees.

 

Also (and always) love is the lit sky, shorn

of its restless weathers,

falling

forever

into everlasting.

 

 

Anthony Watts - head & shoulder portrait (3)Anthony Watts has been writing ‘seriously’ for about 40 years. He has won 26 First Prizes in poetry competitions and was longlisted for the National Poetry Competition 2014. His poems have appeared in magazines and anthologies, including Poetry Salzburg Review, The Rialto and Riggwelter. His fifth collection, Stiles, is due to be published by Paekakariki Press. His home is in rural Somerset and his main interests are poetry, music, walking and binge thinking – activities which he finds can be happily combined.

School run Lenzie Moss – Finola Scott

 

Step over guarding thorns,

the outstretched claws of brambles,

their plump dark jewels gone now.

Breathe the heavy scent of the viburnum

and tuck a sprig of pink into your mitten

to sweeten day’s cruel frost.

Stop. Listen

to mavis and sparrow all branch-tangled

heralding winter’s early dusk.

Ease past the dog rose, its bareness held

until all is green, all is spring. Head out

and round between the shining birches

calling to the moon.

Nearly there. Don’t stop

to watch as hinds tiptoe or heron stalk the Moss.

There’ll be time.

 

 

C2C2 (2)Makar of the Fed of Writers (Scotland) Finola Scott’s work is on posters, tapestries and postcards. Her poems are widely published in anthologies and magazines including New Writing Scotland, The Lighthouse and Fenland Reed. Her work was commissioned by Stanza Poetry Festival for a multi-media installation. Much Left Unsaid, her pamphlet, is published by Red Squirrel Press. Poems, pictures and events can be found at Finola Scott Poems.