Liberation War + On National TV

Leslie Sainz


Liberation War

Dos Ríos, Cuba, 1895

It began beneath a children’s moon.
The fish in the river stagnant as earlobes,
their bluelessness appearing sudden.

I was sitting on my hands. Daughtering.
At first, I didn’t see the soldier braiding sleep
among the vine, but his horse, white,

a single light taffied across muscle.
You must know that I am honest,
disciplined. I fingered the small cross

around my neck because I know G-d is
activity—I tried. The sky hocked water
the size of tobacco seeds. His black jacket

strewn across fog, I held it, made it
clean, and each time the river hosted
my hands, my eyelids like just-rung bells.

Hours didn’t pass so much as I lost them.
He woke but was beyond waking, my ear
to his chest, I kissed the gold right out of him.


On National TV

The leading man does not know us as we know us.
He does not consider what we could do
for him, for his country.

The small fan blasts its ricket, ricket. The television moves
its Russian hips. I raise an index finger to my mouth
when Miguelito’s crying gets loud,

though it makes my face a steeple.
The government asked him to paint propaganda:
large fists eclipsed by stars, the machine guns

of El Comandante—
and he told them he would rather fuck his boyfriend.

They won’t come for him until he’s sleeping.

I try to raise the volume, and the glow of the television turns
blue. Miguelito presses his forehead against the screen
as if to fuse into it, but America does not enter us.

All along the street, varying degrees of dimming.
Everyone we know ends the day this way, making
lifelines of their eyes.

Before he takes what’ll be his final sleep as a free man,
Miguelito rips the Christ mounted on the wall.

Christ with the slung head, the outstretched arms, watches
blood pool around Miguelito’s fingernails.

If you believe that hope is a tonic, know my country waits in spoonfuls.


Leslie Sainz is a first generation Cuban American, born and raised in Miami, Florida. The recipient of a 2021 National Endowment for the Arts Poetry Fellowship, she received her MFA in poetry from the University of Wisconsin-Madison. Her work has appeared in or is forthcoming from New England ReviewKenyon Review Online, AGNI, jubilatNarrativeBlack Warrior Review, and others. A two-time National Poetry Series finalist, she’s received scholarships, fellowships, and honors from CantoMundo, The Miami Writers Institute, The Adroit Journal, and The Stadler Center for Poetry & Literary Arts at Bucknell University.

Except for the cloud of doom that hangs over everything

Matthew Olzmann

I’m fine. Aside from the way it casts
its wide shadow widely; if not for that—
All good here! Nothing here to see! I hate
to even mention this one little catastrophe
on a list that could have included
Water Elf Disease, the King’s Evil,
or Saint Anthony’s Fire. I’ve eluded each
of these and have only one paltry cloud of doom
to be bothered by. Other than that,
I assure you; I’m swell. I’m sparkling
water in a tall glass. I’m wind through the screen
on an unfussy summer afternoon
while you’re napping on the couch.
There’s nothing I can complain about
except a world-devouring haze of anguish
that threatens to touch every single thing I love
if I don’t acknowledge, constantly, its presence,
as if this cloud were an ancient deity
demanding endless veneration, as if saying,
I’m still alive, at a volume louder than a whisper
would sound the sirens and alert the bosses
to a glitch in the system in need of correction.
Perhaps you think this is a metaphor
for a slow sequence of ruin drifting
from nation to nation, headwaters to tributaries,
one vector to the next available host?
I too thought that. I too stockpiled
the chicken soup and the hand soaps and waited.
I too broke the break-in-case-of-emergency glass.
I too reached for the mask that appeared
when the cabin pressure left me gasping.
But sometimes, I think the consternation is more
internal than external; no longer sequestered to the sky,
it’s a feeling that shudders through me,
quiet as an old farmer stalking his property line,
shotgun in one hand, flashlight in the other,
the hounds only a few paces ahead or behind.
Maybe it’s nothing. Maybe I’m fine
and feel guilty for having survived so long
when others have not. Already, I’ve outlived
so many I have loved. This cloud.
This thunder. These little horsemen galloping
back and forth inside my head. These storms
gathering and gathering, then breaking into rain.


Matthew Olzmann is the author of Constellation Route as well as two previous collections of poetry: Mezzanines (selected for the 2011 Kundiman Prize) and Contradictions in the Design. His poems have appeared in The New York TimesBest American Poetry, The Pushcart Prizes, and elsewhere. He teaches at Dartmouth College and in the MFA Program for Writers at Warren Wilson College. 

Sweet Cathedral

Philip Metres

It’s true, my Egyptian art museum docent, 
                                                                a baby changes 

one hundred times the first year—
                         the itching of infant skin,

I Ching of small change and key chains
                                                   that draw her infant eyes
like flecks of fire. No changeling she, she
                         devotedly shreds

the cords of her voice when we change her
                                                                             diaper. Diaper,
born between Shakespeare and Milton,
                         ornamental cloth 

we wind and bind to shield the world
                                                   from our execrations.  

When the museum closes 
                         for repairs, it’s to protect 

the thin skin of pigmented oils
                                                   on rough cotton canvas 
a desperate mother could have
                         used in the shadow

of a pyramid,
                         or in a hut near Arles, to wrap her infant’s 
unshuttable bum.  
            From diasporum, “very white,” 

not diaspora—it covers the flesh 
                                                   of this absurd, shitting, sweet 
cathedral unable 
                         even to hold up her holy head.


Philip Metres has written numerous books, including Shrapnel Maps (Copper Canyon, 2020). Winner of Guggenheim, Lannan, and NEA fellowships, he is professor of English and director of the Peace, Justice, and Human Rights program at John Carroll University, and core faculty at Vermont College of Fine Arts MFA.

Walking into the Distance

Maurice Manning

Midsummer and the path in the woods 
is dark. I cannot see its end
or rather what I know to be
its sudden fading at the fence
before an unkempt lonely field.
I cannot see the other end
when I look back, midway
on the walk I’ve taken, stepping slowly
There must be something on my mind,
but I prefer to notice how
the sugar maples have dispersed
themselves, the buckeyes and the beech,
and soon, though longer for me, the poplars will
tower over the other trees.

The recurring dream I’ve had for years
is to imagine the great trees,
and I’ve imagined there might be
a moral purpose to such a dream.
Sensual, decadent beauty
presenting itself completely with bugs
for music. And a butterfly—
insanely flapping its dun wings
until it snaps back to freedom
from the harmless thread a spider left—
silently recomposes itself,
as if nothing symbolic has happened,
to float farther into this moment
that has forever living in it.


Maurice Manning‘s most recent book is Railsplitter. He teaches at Transylvania University and in the MFA Program for Writers at Warren Wilson College. He lives with his family in Kentucky. 

Memorializing ­Nia­ Wilson:­100­ Blessings

Yalie Saweda Kamara

  1. Bless your 18 years.
  2. Bless the 19th, if even spent from an Oakland in the hereafter.
  3. Bless an unnamed eternity.
  4. Bless the stibnite hue of flight. My good God:
  5. Bless the ánima, and everything in and around the body.
  6. Bless the mandible; the deep ecru of bone; the 32 teeth.
  7. Bless the sepia organ: the skin.
  8. Bless the soft parts: the cheek; the neck; the mouth; the tongue; the voice.
  9. Bless the vessel.
  10. Bless your origin story: the magenta hollow of your mother’s womb and the chestnut tint of your father’s hand.
  11. Bless the site of desecration: 37.8291° N, 122.2670° W.
  12. Bless you whole again. Bless Oakland great again.
  13. Bless Blackness magnificent again.
  14. Bless the overlooked . . . the phenotype undamned.
  15. Bless technology and its digital griots.
  16. Bless collective memory; the hashtag; the electronic archive; the way it chronicles some sort of you.
  17. Bless your unfinished business—your dream of being an EMT—how the vocation’s irony pushes against your death.
  18. Bless too, the joy: your Town Bizness style.
  19. Bless all the time it took you to get dressed for even a trip to the corner store.
  20. Bless the annoying things we do that create the fullness of our legacy.
  21. Bless the crown that holds the baby hairs.
  22. Bless the nimble toothbrush and the firm grip.
  23. Bless the cloud-thick gel.
  24. Bless the faithful, bangled, wrist.
  25. Bless the cinematic motion of swirls on your edges.
  26. Bless the waves cascading off the cliffs of your temples.
  27. Bless your art everlasting.
  28. Bless you unshook as obsidian.
  29. Bless you unshook as onyx.
  30. Bless the scripture of your name.
  31. Bless the regal thread stitched into each letter of who you are and what you have been called into.
  32. Bless “Nia,” meaning “purpose,” or “intention.”
  33. Bless Wilson meaning, “son of will,” “fate,” or “destiny.”
  34. Bless you whole again: Nia Daney Wilson.
  35. Bless the circuitous path of hemoglobin.
  36. Bless the blood and its peripatetic flow.
  37. Bless your 5 brothers and 2 sisters.
  38. Bless Tifa, who, struck by blade too, held you in her arms.
  39. Bless her words: “I got you baby, I got you.”
  40. Bless the tears, the wet gospel of one sister into another.
  41. Bless the unknown.
  42. Bless its swarthy, light, crunch, under foot.
  43. Bless the sudden hour.
  44. Bless the quiet minute.
  45. Bless the spinning second.
  46. Bless minutia.
  47. Bless the overlooked.
  48. Bless the crescendoed whisper calling you home.
  49. Bless your new pulse point and the wonder of its music.
  50. Bless its seraphic sound, here, after, like a tambourine slapped under river water.
  51. Bless the overlooked.
  52. Bless even the shadow under the blessing.
  53. Bless the heart, that platinum star.
  54. Bless its tumble.
  55. Bless its spill.
  56. Bless its slip.
  57. Bless the ache of ache.
  58. Bless the coming.
  59. Bless the homegoing.
  60. Bless the echo: Nia, Nia, Nia.
  61. Bless the fleeting.
  62. Bless the fleet you join. Nia.
  63. Bless your barefoot crossing through the firmament.
  64. Bless the months later:
  65. Bless the reckoning.
  66. Bless the courtroom.
  67. Bless the trial.
  68. Bless all who suffer the weight of witness.
  69. Blessed escape.
  70. Blessed sleep.
  71. Blessed rest.
  72. Bless the wound and the tourniquet.
  73. Bless the vanishing cicatrix.
  74. Bless it backwards from Tifa’s neck.
  75. Bless it backwards from your torso.
  76. Bless you whole again.
  77. Bless the breath, the breath, the loss, the breath.
  78. Bless the broken time.
  79. Bless the MacArthur Bart Station vigil: the taped posters, scattered lilies and roses, and emptied Henny bottles.
  80. Bless the candles melting pools of incarnadine wax on pavement.
  81. Bless their Meyers lemon bright sparks.
  82. Bless the steady enough hands that light the candles.
  83. Bless the flicker, the flicker, the flicker.
  84. Bless the thicker fire.
  85. Bless the flame that blazes.
  86. Bless all that it holds, but does not burn.
  87. Bless what it does not burn.
  88. Bless the heat.
  89. Bless its rise.
  90. Bless your ascent. My God.
  91. Bless the child.
  92. Bless all whom we pull from dirt.
  93. Bless an unnamed eternity.
  94. Bless this new color of the soul; its mighty incandescence.
  95. Bless all whom we hoist high enough to touch the sun.
  96. Bless all whom we hoist high enough to be delivered. High enough to be received.
  97. Bless this sky. Open.
  98. Nia.
  99. Nia.
  100. Nia.

Author’s Note: While my beloved hometown of Oakland, California has deeply informed my character, my passions, perspectives and values, at its worst, it’s also a city that serves as a site of betrayal. When I think about that betrayal, I am most often thinking about Nia Wilson, an 18 year-old Black woman who was senselessly murdered on the city’s MacArthur BART Station, a train stop I used twice daily for my commute to work for years.

            In addition to noticing the media’s initial reluctance to call what happened to Nia Wilson a racially motivated incident, I was also disturbed by the media’s overwhelming insistence on recalling the details of her murder and not about who she was in life.

            In the spirit of honoring her and channeling my own agency in shaping the narrative of Black people, I’ve created a poetic form called the “Nia.” Consisting of 100 blessings, its objective is to lean into the res- toration, reclamation, and resurrection of memories of Black life that fades out of their rightful place in the public consciousness.


Yalie Saweda Kamara is a Sierra Leonean-American writer, educator, and researcher from Oakland, California. She is the author of A Brief Biography of My Name (Akashic Books/African PoetryBook Fund, 2018) and When the Living Sing (Ledge Mule Press, 2017). Kamara was a finalist for the National Poetry Series competition and the Brunel International African Poetry Prize. Kamara’s writing can be found in Poetry Daily, The Poetry Society of America, The Adroit Journal, Callaloo, A Journal of African Diaspora Arts and Letters, and elsewhere. Kamara is a PhD candidate in Creative Writing and English Literature at the University of Cincinnati. For more: www.yaylala.com.

The Summer I Nearly Drowned

MJ Clark

Even if Peter was still alive and we still hung out like we did when we were kids and he still went down the beach and wasn’t put off by all the sand and the flies and the people and didn’t live closer to the city beaches and prefer them anyway and even if he didn’t have a wife and a whole bunch of kids who would have wanted to come with him and would have wanted to sit in the front seat as well, it wouldn’t be the same, not since they closed River Road.

            When my older brother Peter would take me to the beach when we were kids, we would always take the back way, along the Onkaparinga River. Along River Road. My father had left by then and I vaguely remember my mother’s voice, take her can you? But my little sister would be left at home, Peter couldn’t look after two kids at the beach, and that can’t have been any picnic for Mum.

            Peter was the nice brother. He was the nicest one in the whole family. Everyone always liked him, right until the end, even me.

            River Road came left off Honeypot Road in a sweeping arc that put the Trust houses and the new shopping centre development in your rear view mirror across a seemingly endless golden paddock. It was a thin road with sides that melted and broke like black ice and no white line in the middle. In the distance you could see the dark blue light blue sash of the horizon, the low bushed mess of the estuary, the snaking river and on the right, the lumps of the Port Noarlunga sand hills. My brother would be driving a big car like Dad always had but old, bench seats with the stuffing and springs coming out, tears in the lining and a window you had to push up and down in a door that never opened.

            Somewhere along River Road there was a hump. I don’t remember there being a sign, but I was a little kid and I wasn’t driving. Would I have looked for it if I knew? The way the road stretched out, the swing of it, you thought it would go on forever and then suddenly you would roll over that hump and then you were flying through the air, legs pedalling, hands clutching and hair catching in the old car’s stray springs.

            Peter would be laughing. We never wore seatbelts on that drive and Peter never slowed down; I don’t know how he held on. He was strong from playing footy, I suppose. Everyone else would slow down for that hump, but you couldn’t avoid it completely.

            We’d go to the sand hills. Fenced now. Small. Back then, you could hire a sled in that little shop in the car park, buy some wax and slide down them. I would go so fast, I’d go a little way into the river sometimes and then seagulls would fly off and a pelican swimming under the bridge might give me a look. Peter would run down after me and drag the sled back to the top of the hill. We would slide down over and over again, forever.

            I was seven or eight; Peter must have been fifteen or sixteen. Now the sand hills are covered by low shrubs, like a beard trying to grow again on a scarred face, half the size they were in the 70’s, if that; regenerated. Along the river to Southport, the practice continues though and next to bald spoons of sand the width of a boogie board there are signs: NO SLIDING ON THE SAND HILLS by order of the City of Onkaparinga.

            Onkaparinga means ‘women’s river’ in Kaurna. Nga means here. Standing on top of the sand hills, the view used to stretch out over more sand dunes and then, like a surprise, there was Port Noarlunga beach. It’s probably all houses now; I can see a few from the road when I drive past. I’m not going to try and climb up the sand hill now, I’m practically an old lady, I’m a grandmother, walking up hill on shifting sand, I might have a heart attack. It’s always been the same anyway, the horizon, the reef, the red cliffs.

            There are two reefs really: the long one at the end of the jetty and smaller one close to shore where the children climb about with their Christmas goggles and mask sets. Over the years the jetty has been longer and shorter, a backward leaning ladder that you could climb down onto the large rocks of the reef which was washed away, replaced by stairs made for the scuba divers and their wet suited feet until that washed away too. Last summer there was no way to get down to the reef from the end of the jetty and you had to swim from the shore.

            The tide comes and goes, the reefs put up their fight every day and lose to the white tops first, waves and then the entire ocean lies across them and life is again at the whim of the currents. Every day.

            I was a solitary child and at the beach I had my head under the water a lot and every summer I would go even further into myself because my ears would get blocked and I couldn’t hear anyone and it was a big family anyway and I was number five. Even before I could swim, I would put my face into the water in the shallows, drag my hands along the ocean floor, kicking my feet, I thought I was swimming. The tide came up, and the waves in the late afternoon, and then it was time to go home. I would be tapping the side of my head trying to clear my ears, wrapped up and shivering in the backseat of the car.

            Home was still arguments and dinner with a lot of people who would ask are you gonna eat that? It wasn’t until later that it was just me and my little sister and then not even me because I would be roaming the streets, anything to get away from Mum’s nagging. Then I was pregnant and my little sister went to live at Dad’s and Mum moved into a Granny Flat behind one of my older sister’s house and there wasn’t really a home anymore.

            Peter said that the day he heard I’d given birth was the worst day of his life. I was only sixteen. He’d moved to Queensland, had work but nowhere to live, and was sleeping at the work site. He must have been around that age where you realise that life is going to go on, despite everything. He’d probably thought it would be better in Queensland, sunshine, freedom, fresh dunes, a new start. But it wasn’t and then he heard from back home little sister had gone and had a baby.

            This story was told over and over again for the next thirty years. Every time he saw my daughter he’d say, the day you were born was the worst day of my life: nowhere to live, no money, nothing, no plans and then I find out my sixteen year old sister has had a kid. How many times did I listen to that? Less and less as the years went by but still, every time we saw him. Even, and this is the honest truth, the very last time.

            My daughter was living next door with her partner and her little boy, my precious Grandson. Peter came around to pick up some sunglasses, some special brand especially for playing golf. He’d left them at my wedding a few weeks before. It was a very happy, prosperous time; the point everything else had seemed to be working up to all along: a baby, a wedding, a new novel, my daughter graduating as a teacher. Peter’s own daughter had got herself pregnant, the fella had nicked off and everyone was ok about it. Look how it had turned out last time, they said. Great!

            It was hot that day and I don’t have an air conditioner. We had a fan and we lay about on hot furniture waiting for it to momentarily lift the hair from our necks. It was uncomfortable; what to talk about? At Peter’s funeral, his best friend described him as ‘unashamedly anti-intellectual.’ Any time I said anything it seemed to start an argument.

            My Grandson, my little prince, must have been having a nap because I remember that my daughter had her feet up.

             You know the day you were born was the worst day of my life, Peter started.

            Surely you’re not still saying that? I said. After all, your daughter is pregnant now and that’s not the worst in the world, is it? You’re happy. Everyone’s happy. Why the worst? It should have been the best.

            It was the best, he said, kind of. It was the end of the worst at least. Everything started getting better after that, after you were born, he said, tapping the bottom of my daughter’s feet.

            There were lots of stories told like that at the funeral. It seems that Peter had gone around and finished things up nicely with everyone. I don’t think he knew he was going to die, at least not intellectually. He had re-booked a doctor’s appointment so he could play golf only the week before. He was ignorant of his condition.

            His pregnant daughter found him, dead, on his bathroom floor. She screamed. My little sister screamed as well, when they told her. Her knees buckled. I don’t even know what happened when Mum found out, I couldn’t bear the thought. I can’t even now.

            When I heard that Peter had died, my thoughts went straight down to the beach. Along River Road, I didn’t slow down for the hump, I took no joy in the jolt of it, I just tried to hang on. He was only fifty-two. In my mind, I did climb to the top of the sand hills, as high as they were when I was a kid, with my old legs sinking up to my weak knees, each step taking me lower and lower it seemed but I had to keep climbing. At the very top, the horizon bent around me, I couldn’t see an end to it. I ran down the steps to the ocean like the water from the shower, people were washing the sand off themselves like it was nothing. I rolled in the surf; let the pebbles scratch my shoulders and my knees and forearms, my hands clutching at the moving ocean floor like when I was a kid thinking I was swimming.

            It was so much like drowning. I had been practicing all summer in the shallows. I climbed up on the reef when the tide was out and I walked over it to where the water was deep. I remember there were a lot of kids on the reef that day, I dodged them, slipping on the light green. I went to the very end of the reef, the deepest bit, the darkest water, and jumped in.

            I was pedalling, like in the car, but it wasn’t air. I wasn’t flying. The water held me, like when we’d play at home and my older brother would hang on to my ankle and I’d be trying to pull away and he would just hold on. Until I cried. Or Peter threw something at his head. Or my sisters came in. The water pulled and the more I pulled the deeper I was. I could see a circle of light blue above me; it was the sky.

            Somehow I got to that circle of blue and I put my head through it. There were kids standing on the reef above me, their faces invisible in the blinding sun light. I was suddenly struck dumb with shyness. Would it be rude to ask for help? What do you say? Help me? Help me, please? I went back under. I could see the circle of blue and, down where I was, I could see legs and flippers in the shadows. My feet touched the bottom. I kicked and shifted the sand like a stingray and then my head was back up in the middle of the circle again. The same faces were looking at me. My eyes were stinging. Water was in my mouth. The third time, I was going down for the third time, everyone knew about the third time. That was the one that got you. That was the one that meant you had drowned. I was going down. I looked up at the circle of blue and thought nothing but goodbye.

            Then Peter was there, lifting me out of the water, holding me up in the precious air and sunlight and warmth. Life. I started coughing and crying and dribbling like a newborn and Peter held me like that, across his arms. I was like a fish gasping and bending in Peter’s arms as he strode to the shore.

            On the beach someone called his name and he stopped. I was still coughing but I could hear he was talking about the footy, about last week’s game. It was Vincent Connelly’s squeaky voice, sunburnt and covered in freckles. Peter is standing there with his little sister in his arms. Me. I’m alive. Peter is alive. If I want to, I can hear all the kids on the beach, the waves carrying their voices and laughter and names being called out. I can see Peter in his footy shorts, his hair blonde from the summer; I can look past him at the jetty and the caves, it’s all still there. I can look down and see each freckle on Vincent Connelly’s face, his peeling nose. I’m held up above him, above everyone, above the water and drowning and death.

            But I can’t stop crying. So much comes out of me it doesn’t seem equal to what’s gone into me. Hiccupping and sniffing and wailing. I don’t even know why I cried so much. I cried so much at my sister’s wedding that I almost ruined it. I was the flower girl. Why did she have to go away? I cried when anything happened. I cried in the week leading up to my wedding whenever I tried to read the poem I was going to read to my future husband, I didn’t know how I’d get through it. When my daughter rang to tell me she was having a baby, I cried so much, tears of pure happiness, not salty at all; I was drunk from one glass of wine and went straight to sleep. When Peter died, I cried about his grand baby, about him not seeing his grand baby and not holding her, about everything he missed.

            I’m crying now. And it’s not pretty. It wasn’t pretty when I was a child either. I imagine it must have been exasperating. Peter wasn’t a saint. He put me down. I think I might have leant on him but he nudged me away, there is no use pleading with a brother or sister, they aren’t looking for peace like your mother. I probably found my towel, tried to stop crying, probably dried my eyes and wiped my nose. I don’t remember. I don’t remember after that. I don’t remember all the days of all the summers I didn’t nearly drown.


MJ Clark is a novelist living in a small town called Hallett in South Australia. She has a PhD in Creative Writing from the University of Adelaide. Three of her novels are available via her website as is her blog about writing.