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Three Poems by Yvette Neisser

HUSBAND

A hand
that reaches out

mooring me
from a night of wind-tossed dreams

luring me back to port
this bed our terra firma

the heat of his palm
the only thing that holds me here

like the weight that keeps a tarp
from flying into the storm

WHAT YOU LEFT BEHIND

A closet full of tools
I cannot name.
An industrial-strength vacuum.
Receipts from 2005.
Books you never read.

A 40-foot ladder.
Empty, crusted paint cans.

Years of dust in the corners
we never swept.
Cracked windowsills and peeling paint.
Curtains hung crookedly.
Others never hung.

The bed we bought together.
And the sheets we slept on.
How many years.

Dreams where I sense you
lying next to me
and wake up
saying no, no, no.

Your last name
on every document I own.
The hollow of its vowels.

YVETTE

This name derived from the yew tree
and given to me in 1973
for my mother’s love of French
and a Boricua girl with black braids,
my father’s favorite student
when he taught second grade
in the South Bronx, his refuge
from the draft, a time
when they lived in one room
and a hamper served as his desk.

A name that has passed through languages,
from Germanic into French,
linking me in a chain from Saint Yves
to the girl with Spanish twined in her braids,
to my own brown curls
and a childhood of English.

Yvette, written with a Y
that sounds like an E,
mispronounced all my life,
its first syllable a mystery vowel
on the tongues of friends and teachers.

This name I carry with me, reminder
of a time when lives were defined by war,
when my mother dreamed in francais
and my father taught arithmetic to children,
a time long forgotten in the annals
of our American family
where English came to dominate
pushing Yiddish and German
into the eaves, into the distant sphere
of grandparents. Who knew
that the language of the braids
would find its way back,
that one day I would find Neruda
and grow into Spanish.
It is in me. I contain it.

Yvette Neisser is the author of Grip, winner of the 2011 Gival Press Poetry Award. Her translations from Spanish include South Pole by María Teresa Ogliastri and Difficult Beauty: Selected Poems by Luis Alberto Ambroggio. Her poems, translations, essays, and reviews have appeared in such publications as Foreign Policy in FocusVirginia Quarterly Review, Split This Rock’s The Quarry, and the Bloomsbury Anthology of Contemporary Jewish American Poetry. She is a founding Board Member of the DC-Area Literary Translators Network (DC-ALT) and has taught writing at George Washington University and The Writer’s Center. By day, she is a writer for an international development firm.

Image by Jay Wennington jaywennington – https://unsplash.com/photos/OLIcAFggdZEImage at the Wayback Machine (archived on 8 May 2017) Gallery at the Wayback Machine (archived on 4 May 2017), CC0, https://commons.wikimedia.org/w/index.php?curid=62335393

Three Poems by Marianne Szlyk

Fishing Poem

The grandfather I never knew fished for hornpout
in a pond I heard about but never saw.

There my mother’s family spent summers,
less than a half-hour’s drive from the city.

Unless they fished in clear water,
hornpout tastes like mud, which not even

Gram’s hand-cranked peach ice cream
or Grandpa’s Lucky Strike Greens could disguise. 

I Google Ashburnham to see the pond
not quite sparkle under a brilliant sky.

The surface hides mud, weeds, a murder victim.
No one fishes now, and the houses for sale

are far grander than that summer-time shack
without electricity, without running water.

The trees are smaller than they would have been
before the hurricane, the year my mother turned twelve,

the year she stopped fishing.


Flying into Warsaw in Another Life

In this life, the eastbound airplane
simply hangs above the toy landscape:
cotton ball clouds; tiny, nameless trees:
the ocean, a smooth, dark sheet
without trash or fish or shipwrecks.

Tomorrow morning I land in Poland,
my grandfather’s country, country of trees
with yellowed leaves and peeling bark,
of cobblestones coated with cigarette smoke,
of lumbering oxen and steam trains,
of people who look like me
but swish and swallow vinegary consonants
that burn going down an American’s throat.

In this life, I don’t know
that Grampy never lived in Poland.
In his own village, near Vilnius,
his words, a foreign language, swirled
like wood smoke in morning air.

The Indoor Sculpture Garden

                  After Sara Parent-Ramos’ exhibit However Because

Objects from the sea
surface above
sea-level. Vibrant blues
shimmer, form
patterns, speak in code.

At this party,
humans are mingling with
ceramics. 
Some know each other. 
Most don’t.  I clutch,

my phone, dancing in and
out of this
game in which we guess
the other’s names.

Speechless, objects glisten,
 
the vanished
artist’s nameless children, 
hidden from our 
winter world of mud and 
pelting rain.

Marianne Szlyk is a professor of English and Reading at Montgomery College.  She also edits The Song Is… a blog-zine for poetry and prose inspired by music (especially jazz). Her book, On the Other Side of the Window, is now available on Amazon. In July 2019, she was part of Tupelo Press’ 30/30 Project.  Her poems have also appeared in of/with, bird’s thumb, Loch Raven Review, Solidago, Sycorax Review, Red Bird Chapbook’s Weekly Read, Young Ravens Literary Review, Music of the Aztecs, and Resurrection of a Sunflower, an anthology of work responding to Vincent Van Gogh’s art. She invites you to stop by her blog-zine and perhaps even submit some poems:  
http://thesongis.blogspot.com 

Image by Carl Larsson – Carl Larsson. “Ett hem åt solsidan”, page 62, Stockholm: Bonniers 1955. ISBN 9915140770, Public Domain, https://commons.wikimedia.org/w/index.php?curid=63051



Two Poems by Ethan Goffman

Waiting to Cross a Busy Road

I am trying to cross a busy road

at a spot with no crosswalk for miles and miles and miles and miles

but someone must have constructed a machine of infinite car generation

way down the road, due north, just past the horizon.

And another such machine due south.

That’s the only explanation

for why the cars just kept coming and

coming and coming and coming and coming and coming and coming and coming and coming and coming and coming and co

nimoc dna gnimoc dna gnimoc dna gnimoc dna gnimoc dna gnimoc dna gnimoc dna gnimoc dna gnimoc dna gnimoc dna gnim


There is another possibility.

People could have constructed roads all over the planet

and hundreds of millions of cars to fill them.


Of course, that would be insane,

            a form of mass suicide,

over the short time horizon that is human existence.

The ecosphere couldn’t survive

            the snaking, strangling network of roads and super-highways

the foulness spewing from tailpipes

            numberless as the stars

Relentless zooming vehicles making road kill of

ants flies beetles spiders snails turtles snakes voles mice rats squirrels chipmunks skunks opossums deer elk wolfs coyotes bear

and occasionally people.


There’s a third possibility.

Maybe the road ends just over the horizon

            in each direction

and loops back upon itself

so that a limited number of cars are traveling the same road over and over and over

giving the illusion of infinitude

like an old Hollywood film where the camera pans over the same set of performers

so they seem like massive crowds.


That must be it!

The least implausible explanation.


You might think I’m writing this from the safety of my home

emotion recollected in tranquility.

But it’s scrawled in blood from my finger tips

pricked by thorns from a withered roadside locust tree.


Mowing the Lawn

I come upon a corpse,

a baby bird, almost a fetus still

that likely never felt the thrill

of flight

even for an instant.


With a swift sideways kick

I send the sad little thing

into the garden.


It will become fertilizer

nourishing

new plants

housing and feeding

future bugs

themselves food for

future birds.


Nature is cruel

nature is kind

nature runs in cycles

nature knows neither kindness nor cruelty.


I cut neat

shrinking squares of wild grass

into tamed pastures

conquering nature once again.


One day I will be

food for maggots

and worms.


As I end my morning trials, I glimpse

hopping across the fresh cut grass

a baby bird

vibrant with life

ready to fly.

Ethan Goffman’s poems have appeared in BlazeVox, Mad Swirl, MadnessMuse, Ramingo’s Blog, Under the Bleachers and Setu, as well as the anthologies The Music of the Aztecs, Epiphanies and Late Realizations of Love, and Narwhal’s Lament. He is co-founder of It Takes a Community, a Montgomery College initiative that brings poetry to both students and local residents. In addition, Ethan is founder and producer of the Poetry & Planet podcast on EarthTalk.org.

Image by Panek – Own work, CC BY-SA 3.0 pl, https://commons.wikimedia.org/w/index.php?curid=40958667

Two Poems by Mabel Ferragut Smith

To the Poet—S. K.—

on Channel WNET-13

Your unexpected

radiance lightens the gloom

in Brooklyn. You hunch;

you sit by the sea.

Rumbling like the rumpled waves,

your voice splashes me.

Your eyes incite play,

defy hundred-year-old skin,

though every crease hears

death’s whisper. You dawn

on me. Spilled from my vessel,

adrift,

I drink your words,

like the ocean drinks the light

of raging sunset.

Factually

facts

are

stones:

quiet,

unchangeable

context.

if you turn

a stone

in your hand,

it presents

different aspects

of itself

if you look

at the fifteen stones

in the garden of 

Ryōan-ji, you will see

only fourteen, no matter

where you stand.

if you submerge

a stone, its color

will intensify,

even transform,

without changing

the fact of stone.

if you suppress

stone, pressurize

a molten fact,

it will erupt

in unanticipated ways.

if you holler

in a canyon, stone

will reverberate with echoes.

stone is more ancient than words,

as deep as bedrock, oceanic crust, iron core

as broad as spinning planets circling a universe of stars.

like truth, like love, a fact is the pebble in your shoe, the jewel in your palm.

Mabel Ferragut Smith believes that poems are tendrils that coil between strangers, weaving secret, precise, intimate connections. She writes and reads in pursuit of that moment when the right poem meets the right reader, and magic happens. In addition to writing, she has worked as a choreographer and an architect. She lives in Maryland with her husband and two children, where she is the keeper of a Cuban heritage and beautiful dances, with a tiny forest in the background. She has poetry in Little Patuxent Review. Find her online at mabelferragutsmith.com or @MabelWrites.

Image by PumpkinSky – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=61356182

Three Poems by CL Bledsoe

A Kind of Spring

The best time to fall in love

is when you share your greatest fear

with someone who isn’t listening.

There’s a decent chance that

will become your newest

greatest fear. There’s no point

in letting it shift to anger; who

do you think will listen to that?

Close your eyes and run as fast

as you can into oncoming traffic.

Whoever stops to save you, marry

them. If no one stops—let’s be honest,

no one will—at least you’ve

made good time home. When someone

talks about the weather on an

elevator, don’t believe them until

they offer a ring. There are spies

everywhere. When your heart stops,

it probably means you’re dead. Don’t

worry. All winter, your joints

have ached with chill. When summer

comes, you open your windows to

sneeze at the world. There’s war

outside, but no one calls it that. If they

do, consider baking something for

them. The brown haired men with

accents all call you sir, and the women

snap at their children to make way

when you pass. Smile. Say something

soothing. Step into the mud. If you can

think of a way to feel better about all

this, of a way to stop the meanness

of the heart, please let me know.  

Honeysuckle Vine

A honeysuckle vine grew down

the ditch wall, choking the bracken

in the corner below the road. We’d


clamber up the debris and washoff

to pick the flowers, taste the drop

of sweet, more taunt than meal,

then slide our muddy jeans down

to the bottom. Sucking steps took

us over to the road, to play in the pipe

that ran under. If you were tall

enough, you could walk it, hands on

one wall, feet on the other. They

told us it was dangerous, what if

it collapsed under the weight

of traffic? When they tried to send

us home or to school over the bridge,

we said but you said it’s too

dangerous, what if the road collapses? 

Writing Spider

It was black with yellow stripes,

or maybe the other way around,

in a big web by the overgrown


back door we were scared of.

The legend was that if you spelled

out a word in stones nearby, it


would copy it into its web. Hence

the story about the needy pig,

though I always preferred the rat.


We started with Fuck. When

that didn’t take, Shit. Maybe

this was a puritanical spider,


so we tried Butt. Inside, the living

room was quiet because Mom

was dying in her bed. The light


faded until Dad dragged in,

slurring his steps and bitching

about the lack of dinner. After


we peeled potatoes and put them

on to fry, I snuck out in the cool

of the porchlight and spelled Help.

CL Bledsoe is the author of twenty books, most recently the poetry collection 
Trashcans in Love, 
the short story collection The Shower Fixture Played the Blues, and the novel The Funny Thing About… He lives in Northern Virginia with his daughter and blogs, with Michael Gushue, at https://medium.com/@howtoeven