The Pond + Origins & Forms: Eight Sijos

Sarah Audsley

The Pond

Because I knew better, but wanted to anyway,
because he hesitated ever so slightly when I asked,
because I felt my skin as naked and taut,
because I wanted to feel, because
he told me a secret about himself,
because I didn’t know what else to do
but jump—

            Did I say we held hands? When I dove,
I dove all the way through the sudden
snap of cold liquid filling the hole my body
made.

            Did I tell you there was no moon? Traces
of bone-colored frost at the pond’s edges.
The invisible sheen of ice my head pierced
—mind reaching back. Gasping,
I dreamed this before, heaving, I swear
            I was here before
                        —body in
shock of water, body cold—water
rushing out, blood re-routing back
to the heart’s small caverns
like fluttering wings of moths trapped
between the screen & windowpane on a farm
where I would wander in the fields, hide
among long winding rows of corn…

            Whose hand was it tugging
my body out?
            No farm, no field to roam
just frozen feet, shock of hot shower;
the steam on skin rushes through.
            The runnels of
blood down our bodies, shards
of ice melting. The stitches,
the proof: I’m not
safe. I am solvent.


Origins & Forms: Eight Sijos

after Marci Calabretta Cancio-Bello

1
Math is mostly equations: one plus one, two plus two, plus…
also formulas, so many designed variables—
to keep someone alive, calculate, add & subtract the costs.

2
What if hands pull down stars, guide them inside the round belly?
What if this is how a spirit dives, twists into a body?
What is built up from bones? Fingernails. Skin. Flesh animated.

3
Grandmother’s fingers tightened around my bundled form,
(a thing) spitting, begging, for warmth from her hunched over
indecisive back—she knew the math would not compute.

4
This is where I’ll learn how to cast the rod to find the fish,
or skim the water to chase Jesus bugs, walking on the surface
by some trick of tension, & balanced perfection. Keep count.

5
What does this form do that others don’t? I’ll force the issue
of Korean poetic form, composing these sijo. In this way,
I’ll be closer to my genetics, my bloodlines—strands fraying.

6
This is where I’ll learn how to skip stones across how many
lakes? Making circles, again, hearing the sound of stone on water.
Oars cut cleanly through its flat surface—stars, so many stars.

7
In the heat she’ll fan my round face, place a bottle to my lips
flick flies off my head, & try to conjure up my dead mother’s
face, show me a smile I’ll never remember, nor this thick night.

8
Always those hands keep plucking stars from the heavens, make
constellations inside bodies, make more mothers. I see that form
& origins are stories—I’m all those mathematical distances.


Sarah Audsley, an adoptee born in South Korea and raised in rural Vermont, has received support for her work from the Rona Jaffe Foundation and residencies from the Vermont Studio Center and the Banff Centre. Her manuscript-in-progress received a 2021 Creation Grant from the Vermont Arts Council. She lives in Johnson, Vermont where she works for Vermont Studio Center. She holds an MFA in poetry from Warren Wilson College’s MFA Program for Writers.

Deepfake Ashbery

Benjamin Aleshire

“Let’s go for a stroll to the river!” ejaculated Diane.
And though you’ve already beheld the river on
so very many placid occasions your voice-box
makes that sound again, that Waterloo “Yes, yes let’s”
tootling in your throat. After all you admire
Diane for her chandelier, so many crystal wishes
lucid in the lubricious half-light, but you bolt
to the bathroom mirror and tell it, “You
puppy-mewler! The river. Naufraugeur!”
That last word chicken-bones in your throat
but you don’t know why and it doesn’t matter.
Nothing particularly matters here, at’all. Besides,
the chandelier proceeds with tinkle-tinkle-tinkling
the syllables of your name on the other side
of your fortress door. When you compose yourself
in subjunctive, return to the flock, no one notices
they were gone. The poem is long since finished
but its sub-rosa applause keeps going on, and on.


Benjamin Aleshire‘s work has appeared in The Times UK, Iowa Review, Boston Review, London Magazine, and on television in the US, China, and Spain. An excerpt from his novel-in-progress Poet for Hire was featured at Lit Hub and the Poetry Foundation’s Harriet blog. In 2020, Ben received a James Merrill fellowship from the Vermont Studio Center, and was a finalist for the Alice James Award. He serves as a contributing editor for Green Mountains Review. Find him at www.poetforhire.org, and on twitter: @droletariat.

Sabbath + I will not be embalmed and placed behind an iron gate

Kaitlyn Airy


Sabbath

O

            stark staring

        lark

            winter-rank

of thirst

            ravish then

            this rare acre

            this dark

brave 

            seed.

Under this belfry

            my hymn:


the

 swollen

            hips 

of sordid

flowers.


Darkest darling

            lantern-faced

among 

husks       admonish me

your fever.


I will not be embalmed and placed behind an iron gate

I worry about stepping on unmarked graves / the world is full of them / shallow ones covered in soft grass / lurid and lush / for no grave is marked forever / and when showers come

and shroud our prairie / I watch the throat of the earth swallow rain / and upon growing a marriage of root and tree / upon tangling with the dirt / I do not care if I breathe a lungful of soot / for this

is our inheritance / I pull this silk dress over my brow / and think of ash / I touch my cheek and think of clay on the wheel / as I cover my mind with sleep / an arc of stars crowns the sky / burns steadily through the dark air / your eyes

are gold coins which ferry my body across the river / a river which moves like the green pour of sugar and absinthe / or a pair of hands carrying a lover / through the worn curtain of time / and so we watch days

tumble into the barrel / drink the cold ferment of an autumn below / throw tough leather scraps for dogs / and at night / we hug the cold road home drunk / ablaze in rushlight / and if I should kiss sunbaked mud one day / promise

that you’ll bury me undercliff / in a field of heather / a slant of light / that you should scavenge my extinction / my body no longer a home / that you should place that jeweled seed / in the mouth of a girl / who fled a chasm of hounds to warm / your tarnished dark / who sieved the dull husks

of a ruinous year / and held the shape of a seed / of a man / of a history

no other mortal may recall


Kaitlyn Airy is a Korean American poet and fiction writer. She was the 2020 winner of the Phyllis L. Ennes Contest and will be a featured poet at the next Skagit River Poetry Festival. Her recent work appears in EcoTheo and Crab Creek Review. She is an MFA candidate in poetry at the University of Virginia.

Three Poems
by Elizabeth Ellen

Untitled love poem/bumfuck Michigan

It’s impossible to write a love poem
Without sounding like a dick
Without sounding like you’ve had a lobotomy
Without sounding like cliché words written on mediocre art at a small midwestern art festival
Somewhere in bumfuck Michigan

The unspecificity of your own stupid romance
The general uninterestingness of happiness

It’s so much easier to write about abandonment
Disillusionment, self-harm, separateness

The specificity of getting fucked three times in one night
By a stranger from Bumble who wants you to be his girl
Who thinks it sounds glamorous or exotic to date a writer
Who can’t possibly know the loneliness of said endeavor
Until the fourth time he asks if he can come over, the fourth time you tell him no

Has anyone ever written a truly great poem about love?
If so, I haven’t read it
Better to wait til after the disappointment seeps in, honey:
My (unsolicited) advice to you.

Disappointment in yourself, I mean
For all the times you insecurely hid your phone (from yourself)
All the times you drove right past him on your way to a reading
All the times and ways you failed to be the right woman (for him/for yourself)

Failure is so much more interesting, honey

The irony of coming so many times in one night for this stranger
When you couldn’t come for him
When you wouldn’t allow yourself that vulnerability
When standing next to him because you loved him too much
Because you admired him
Because you’re a fucking coward and scared and afraid

Is this a love poem, honey?
I wrote it in ten minutes
Without anyone editing it for me

This is my greatest failure (as a woman): my independence
My self-alienation, my inability or unwillingness to
Let go my own hand/throat/heart
In order to hold someone else’s.

My unwillingness to come for a man I love (dependence!)
And instead to come for a man I never will (freedom!)

My unwantingness
My wanting and unwanting and wanting again

My stupidity
And my
Self-protection

My liberation
And my defeat.

I can only kill things in with my poems. (I told you love poems are stupid)

You’re welcome. (this poem is my gift to you)

Snitches.


MGK

for Colson

I felt dead inside all the time
Unless I was looking at Machine Gun Kelly online
And then I felt alive

(Alive in the way that makes you want to get a bunch of tattoos, I mean)

I did everything in life backwards
I figured getting tattoos was just one more example of this

(getting tattoos underground during quarantine, I mean)

I felt dead inside
Reading other ppl’s poems
Abt leaves and the sky and rain and mammals who roam the earth
Idgaf abt nature
Like that
Idgaf abt nature in general
I couldn’t imagine writing a poem
Abt nature

I only felt alive watching MGK videos
While drunk in my basement
Sitting on my basement floor

I only felt alive reading poems that didn’t fuck w
Nature

I went for a walk
I was listening to the new song by
Megan thee Stallion and Beyonce
I saw someone (a feminist) had tweeted something about Beyonce’s rapping skills
I heard on the radio Jay Z and The-Dream had helped Beyonce write her rap lyrics
I wanted to believe Beyonce could write her own lyrics
I misheard one of the lyrics as “now watch me sweep up these earrings”
I liked the line so much I was going to use it as an epigraph
Until I got home and googled it and it wasn’t anything abt
Sweeping up earrings at all

I only feel alive reading/listening to
Ppl from Ohio
I googled MGK and saw he did an annual concert
In the small town in Ohio where I’d grown up surrounded by
Amish ppl and regular ppl who had icicles in their bedrooms in winter

I only felt alive while thinking abt
Driving around the rural Ohio shitholes where I’d grown up
All the hills and streams and cows and manure …
Shit, man, I just wrote a poem abt nature

Fuck, I don’t know how to not feel dead inside
I guess this is why/when ppl start getting tatted up
I guess this is why/when ppl start listening to/fucking w MGK

I guess this is my life now

Drinking in my basement
And thinking of what new tattoo I’ll get next
While fucking w MGK


KELLY BUNDY, for NMS

A few days after our first date you sent me a text
You were the first guy I’d dated in eighteen years

who wasn’t a writer

The text said, “I just read one of your poems on the internet
And I liked it!!!”

You sent me another text after that one that said, “I don’t know why you didn’t want me to read your writing on the internet!!”

(Later, you confessed to being very conscious of using proper punctuation, of spelling all words out, in texts to me, on account of my being a writer)

Earlier I’d sent you a picture of my picture on the back of one of my books
And you’d said, “I’m going to need a lot more pictures like that!!”

I liked you because you weren’t a writer
Or I liked a lot of things about you and one was that you weren’t a writer

(another was you gave good head)

I didn’t like to think too much about writing anymore
I didn’t like feeling like a member of a cult anymore

(I didn’t use proper punctuation or spell words all the way out in my texts to you
or anyone else anymore)

I said I’d write a poem for you
So you could google me and read about yourself

I said I’d wear the fishnets like in the author photo
The next time you came over
I told you I had a leather jacket,
Leather motorcycle boots,
The wholeshebang.

(I didn’t really say shebang.)

You said, “Hot, you’ll look like Kelly Bundy.”

I liked how easy it was to please you;
How easily you fucked me –
How easy it was to come.

I didn’t have to wait and wait and wait.
Weeks or months or years.

I said the poem I’m writing about you is going to be called
Kelly Bundy.

Some people didn’t like to be written about
But you didn’t seem to mind

You seemed to think it was cool or glamorous

— or some shit

Dating a writer

Mostly we watched videos on YouTube of exotic animals –
the insane tatted men who bought and sold them –
Between fucking

Sometimes we stood on my balcony watching the deer
you’d be behind me
you’d wrap your arm around me
Cover my mouth with your hand
“Shhhhhh,” you’d tell me

and I’d laugh and ask, “Did you just shhhhhush me?”
and you’d nod and say, “Shhuuuush.”
And cover my mouth back up again with your hand

I really liked this about you most
How you weren’t afraid to shush me
How you covered my mouth with your hand.

I liked this and I liked how you fucked me;
Even though I kept forgetting to wear the damn fishnets.
Even though I didn’t look anything like Kelly Bundy.
Even though, even though.


Elizabeth Ellen is the author of a new story collection, Her Lesser Work, and a new play, Exit, Carefully (both SF/LD books), among other titles. She has a short story in the current issue of Harper’s Magazine.

Travel, Travel

Wayne Conti

There were no differences, no, there weren’t. For Dana and for Mark, together, but isolated together, comparisons were impossible because there were no references there in France in Paris. They knew no one, nothing. They daren’t fight. The hard white skin of a delivery truck and the smooth white skin of a gray haired lady passing and smoking—Dana and Mark viewed everything as unique, the one of that kind—the truck being just truck with nothing inside to deliver or to make it go, the gray haired smoking woman a wheezing machine leaving behind the unique white swirls of just that cigarette.

            “It will rain today,” Dana said.

            “You think so?” Mark replied.

            “You don’t…?”

            “Maybe it will.”

             They were sitting together outside a café prettily placed in a small park between two small buildings. Just then a scooter shot by—in and out of their view—along the street. There was a skidding sound, a slap, and several voices together pronounced, “Oh!”

             Mark stood up to examine the events. First, in the street he saw rolling and rolling towards the gutter a cigarette burning, then the face of that exact gray haired lady lying down in the center of the street.

             A man knelt beside her and lifted her head. He looked up at Mark, and motioned for his aid. The man in great precision explained her condition and his intentions, Mark supposed. The man’s forehead was dotted in sweat. Mark felt, himself, a sweat rising on his forehead and saw the lightening of images of shock. Mark determined not to faint, if fainting was what he was about to do and took her right shoulder in his hands which excited further sharp barks from the French man.

            “I don’t speak French,” Mark said, and motioned for the man to show him what he wanted. The Frenchman gestured and Mark understood him to mean to take her under the arm. When he did this the Frenchman pushed his hands away, spoke loudly to another man and shoved Mark away.

             People stood all around in groups. They were looking at him, then, at his failure, he supposed. People, in stopped cars, sat and were looking at him. At the sidewalk, talking people parted for him to pass. At the café, Dana was gone.


             It had been her plan to go to France since before the two months she had known him. It had been his idea to go with her. She had agreed and now she was gone.

             She was not in their hotel room. Outside the window of their room, he could hear the busy noises of a Parisian street. He had never really thought of Paris. Now, he heard a strange police siren quacking like a strong mechanical duck, the tap-tap of car horns, senseless foreign chatter. But, no, there he was understanding something—a voice, a woman’s voice mixed though it was with the others was distinctly in English. He heard something about “experts,” something about “competing colors.” He knew this was not Dana’s voice, but he went to the window to look down anyway. There she was. Unlike Dana, her hair was blonde and cut short. Unlike Dana, she was short and heavy, American style. This woman seemed to be directing children.

             She said, “As I explained before, just because Van Gogh is said to be insane, he wasn’t insane when he painted.”

             Mark turned away from the window. The idiotic comment yet spoke to him and loudly. He could not seem to focus on the fact that Dana wasn’t there. Apparently he had been abandoned for the moment by her, but she had become for him more a piece of lost mail, a brilliantly colored but mundane postcard to someone who never answered.

             He left the hotel. On the hot sidewalks he thought of running into her and felt vaguely embarrassed. He turned and followed an unfamiliar street. He found he hardly saw the stores, the cafés, he passed. He was talking to Dana in his mind, but he had replaced her image with the top of the head of the woman who talked about Van Gogh. He had heard himself talking. He reimagined the cigarette rolling in the street.

             The sensation was so much like being drunk that he thought he should drink. He walked and walked, sun battered and sweating. He had no reason not to drink. She wasn’t there to stop him, as it was her who did not drink much which was a fault—she with those hard, dark, watchful, judging eyes. If she never came back. Well…, well.

             He walked up a very long and very steeply graded sidewalk, the sun perfectly in his eyes. The light sand-colored buildings became lighter. He imagined fainting, the gray haired lady’s hot forehead, a former girlfriend who sweated faintly all the time—she smelt vaguely sour—she could leave the mattress damp—she’d hated the sun—her skin was bone white like the buildings passing beside him…. So this was travel, he thought, and stopped in front of a bar open to the streets. There were seats outside, facing him, but they all listed with the incline of the sidewalk so he stepped inside. Left blinded by the sun, he felt as if he’d fallen into a cool, horizontal well.

            “Monsieur.”

             He could hardly see, in the abyss, the flesh tones of an oval face and pale green of a blouse.

            “Uh, a beer,” he said.

             He sat and he began to drink, changing restaurants, eating here and there until night had fallen.

            He walked towards where he imagined he would find their hotel. But the streets of Paris were twisted. He found nothing. The sky darkened. He crossed a small, dusky park. Water poured senselessly in a straight shot down inside a small fountain that looked like a lantern—not light but water. He imagined what he’d say to Dana if she was there when he got back. He would, maybe, be accusing—she’d left him—or casual— I passed the day. The front door of the little hotel opened into a dark lobby. He walked up the circling flights of stairs. He was breathing a little harder. He stopped before their door. He felt for his key in his pocket—no, not his wallet—oh, there it was—pulled the key out, tried to insert it in the lock in the door but, no. He turned the key over, smooth side up and the key slid in the lock. He unlocked and pushed open the door. The room was dark, the window open as they had left it. He was alone.

             When he awoke the room was full of light and sound. “Where is she?” he suddenly heard himself ask. Rage exploded in his face. He took a deep breath, another, another and the emotion seemed to descend into his stomach where it was digested. There was another moment of rage. He swallowed. It swelled in his stomach as he knew that she had not returned—he would have awakened. He checked, none the less, the window open, the television on, the bathroom empty except for him.

             At the reception desk he had to ask if there were any messages for him.

            “Non, Monsieur.”

             Had—had they seen madame?

            “Non?”

             He confessed that she hadn’t come back that night.

            “Certainly Madame have they friends in Paris. She probably is in sleep.”

             He didn’t think she knew anyone. Was there someone he could call—the police perhaps?

             The hotel manager shrugged, “Oui, Monsieur. Maybe. But you should not worry. She will come back,” he suggested.

             It was unbelievable, he thought. He was too late for breakfast in the hotel. He wandered the sidewalks, wandered past cafés. Finally he found a policeman who could speak enough English to say there was not much they could do.

             Two days remained. It had been her plan to be here and here he was.

             That day was just as bright as the one before, just as warm. Though he wasn’t much of a reader, he passed the time wandering from bookstore to bookstore. As few of the books were in English he twisted his head right and left trying to interpret the titles written on the spines in a foreign tongue.

             He found a mystery in English with a nice black and white cover, probably printed in England. He decided to buy it even though he didn’t really read mysteries. At the checkout, a plain young girl with a very tiny waist, but a large chest, said something to him in French. He could read the amount on the register and gave her a blue twenty euro note.

            “Sank you,” she said.

             He smiled, nodded, said nothing.

             As soon as he was on the sidewalk again, he remembered Dana. He tried not to think about her, but he went right back to the hotel. In his room after a considerable amount of trouble he was able to call Dana’s parents. He got their answering machine. He left precise instructions how to call him back.

             He went back to that same bookstore, chose a book, smiled at the same girl, looked into her light blue eyes, smiled some more, and left. It was all too incredible, he thought. Had Dana ceased to exist or had he?

             He passed the two days. On the flight home he had lots of space—her seat was empty. As soon as he stepped foot in his apartment, he called Dana’s parents again, and Dana. No one answered, so he left messages. No one called him back. As time passed he thought less and less of her.


Wayne Conti has placed stories with Open City, The Brooklyn Rail, Chicago Quarterly Review, Mr. Beller’s Neighborhood, Anderbo and Pindeldyboz. One of his stories was adapted for radio and played on public radio stations around the country. He is a resident of Downtown NYC, where he is the proprietor of Mercer Street Books.

I Love You, Joe Ceravolo + Sweet Venus + Feldspar

Dan Chelotti


I Love You, Joe Ceravolo

If you can think crushed lollipop
Then you can be the ant
You won’t mind the lack of sun
Or the reek of distant harbors
Singing farewell in this light
The shadow of stretched elm
The umber of
The quiet turn
The shadow of parsley
The silent marrow
A slight breeze through a buoy
A tall man counting to ten


Sweet Venus

For a while we wondered
Why the sensation of being
Which pours from the stars
Doesn’t require a name.
In this way our beginnings
Were simple and simply passing.
We smiled as we danced
The grass flat. But then,
As always, the carbs
Of late summer gave us a bit
Of a rash. Now, how many
Years has it been since
I said the name? Years
Range as cattle, as smoke,
As Gods, as patience,
As signs, as exhausted
Machines, as the madness;
Numbers range around emptiness
Like dogs around rest.
How much time is left?
How many months did I live
In the flats? How many times
Did I kiss her? Insubstantial, free,
The years flee the scene.


Feldspar

Wracked
By fortune,
By lamp
Light, by
Love, a
Music
Returns.
Dreadful
Song. Lost
Dog. Landing
Kiss. Baggage
Claim. Long
Gone ache.
Portraiture.
Famiglia.
I consider
My resources.
Stash. River
Spot. Wire.
A film of
Running
Water.
This body.
Pentecost.
Zilch. I give
Up. I am caught.
I am last and
First to fall.
Humility
In trousers.
A bottle
Of glue
Nearby.
Bottles
Of lapis.
Bottles
Of wine.
Accurate
Theatrics
Strung up
By guesswork,
The volunteer
Misses the
Point by landing
On it. May
Martyrs
Receive them.
I wish for
Warm rain
And get
The mail.
Flip for my
Seldomate
(All rights
Reserved)
But it hasn’t
Come. Or has
It? Act 2 is
When it gets
Good. Do
The research.
May love be
An unwrought
Bend. Sonata
Sounds from
A mill house
Window. Sea
Son season.
I don’t feel
Right. Panic
Is such a
Mediocre
Artifice.
I should
Worry a hobby
Instead. Prop
Up the past
Window.
Celebrate
Hubris.
Retire
Trouble.
But then
The lost dog
Wants to be
Held and I
Let myself
Hold it.
Curry shelter.
Surrender.
And go home
To those who
Cry. As if I could
Be something
More than
A ferry.


Dan Chelotti is the author of “x” (McSweeney’s), and two chapbooks, The Eights and Compost. His poems have appeared in Poetry, A Public Space, Conduit, American Poetry Review, and many other journals. He teaches at Our Lady of the Elms. He is an editor for Collider. He lives in Massachusetts with family.