Closets pretending to be for coats By Marie Anzelone

Closets pretending to be for coats

I. the 16 year-old

She has learned how to locate her cervix, while lying naked

in water as hot as she can bear, door firmly locked on a night

when her mother is not home; she has cut her hands unbending

heavy wire, making it as straight as possible, and someone told

her hot water will make you feel it less; she has read of

perforation and thus carefully determined the placement of her

uterus, how far it extends, she is not exactly sure how the wire

is supposed to work, so she moves as deliberately as she can,

systematically, reasoning that if she hits every surface, it will do the

job. She feels her way, blindly, threading untwisted wire through

the tiny opening she holds in place with fingers that have never

explored this deeply before. There is some sort of discharge

the third time, third day… she is hopeful; but neither blood nor

release comes; only increasing nausea and moodiness

and we are told, she says later, that the enthralling tale of what men

talk about endlessly in bars, is far more important than the

stories of women and girls lying in the world’s beds and bathtubs

trying to undo damage, mistakes, regrets, shame, terror… all of which

she still rolls between thumb and forefinger, even today, as a woman

of some accomplishment she cannot meet eyes during interview, feeling

such the fraud, stained, she has worked half a lifetime trying to make it

right with God

 

and she wants to be a doctor when she grows up, but is confused- how

can this decision ever let her sanctify life?  She would erase it all like

she erases unwieldy shadows on her sketches, but where does one begin

holding the pencil? He only outweighed her by 120 pounds; she should

have known better than to accept dinner, she had a boyfriend (the one

who handed her wire from the closet, when she confided, saying,

“It’s your problem, deal with it, slut) what was she thinking? Could she

walk backwards, unstep from that trip, suggest something else to do?

In pride she buries these things, 12 feet under; she is stripped of thought,

of “no,” of even the true pleasure of “yes,” each passing year marks another

foot closer to unearthing, but in panic she has learned to use raw ammonia

as backup contraceptive, because what she saw in those bright lights at

a women’s center will never erase the stains, and what kind of patient

will ever want a shameful hussy as their doctor anyway? She has heard

that extreme pH will prevent future walks down hallways dark enough

to be endlessly lost in. This wardrobe does not lead to Narnia, three days

later she too rises from the dead, steps forward, pretending nothing

ever happened, but the smell of ammonia will always make her urethra

burn with sympathy.

II.  The 22 year-old

She is working sub-minimum wage to save money for her last semester

when she realizes she is starting a trimester, with the dawning horror

that her man will never have less than 3 more on the side, and wants her

to unburden herself of useless aspirations; and she feels motherhood now

coiling itself like Eliot’s fog as strangling cords around her throat, she

wakes and feels bruises; there is no money saved for doctors, she has to

save for relief, and go to another state; this one has started mandatory

wait periods designed to shame poor women; she is tiny and hurting, and

she goes to the only place she can afford, and when she is dilated without

anesthesia her body descends into shock, and is told by the male doctor,

“at least you are not carrying anymore,” and she learns that she is allergic

to doxycycline when she vomits all over the car on the ride home, and he

makes her clean the car as punishment. And she works the next day,

collapsing from blood loss, but hey, never let them see you sweat, or cry

or scream… and when she breaks her heart against a tree, breaking an

already broken wooden crate into the splinters her more than broken soul

knows- she is seen, brought in for questioning, real police interrogation.

Instability, madness. Female weakness is the determination. Keep her

under watch, but probably not a real threat.

she shakes and is released, blacklisted for work; she goes into hiding for

2 years because living on streets and in the grace of friends’ charity is

far better than abasement. and she says, later, there is more than one

form of slavery in this world, and she works harder than any two men

in her circle to work her way back up from bedrock; she runs and runs

without ever knowing exactly how far, how fast, how long, how high,

will ever be good enough. It is years before she fills closets with clothes

that show women’s legs and curves, before she lets someone caress her

spirit; she is terrified of ever caring; she makes a promise to the world

to care for all lost things and lost ones, as compensation for her unspoken

debts to life. And she walks unfettered of this particular slavery, to pick

up another form.

III. The 35 year-old

She is emotionally and wearily ambivalent; scared of her partner in ways

she cannot quite identify, holding medical results in her hands, serious

conditions, requiring x-rays and intense treatment; she is told, you cannot

get the treatment here, your insurance will not cover, and by the way if

you do not get treatment, you will lose your place in the program… and we

will not do treatment if you are pregnant. She is completely dependent, she

has nowhere to turn; she is unsure how she feels anyway when her lover

already has more than he can care for; she walks fences in her dreams, where

she holds children she has not necessarily given birth to; she feels lumps on

her cervix and knows what that probably means too and there is no money

for doctors; she knows she will choose one future or another with her decision

and she walks past the assholes praying at her with head held high, and

there is regret, but it is the lesser of regrets. She comes home in a blizzard

and crawls through 3 feet of snow and spends days alone at home, relieved

and unsure if she wants or will ever get another chance; her body is telling her

just how much is wrong: lungs, heart, mind, womb, breast…

and she would say, there are some roads a woman will walk forever, and

that is ok, too, because there are some destinations we will always need

to be free to choose, and she knows she will feel torn every single time

a friend proudly poses with a newborn on Facebook, just as she will always

cringe inside every time someone else gets married after she and her man

inevitably split ways, having realized completely incompatible life visions

that probably started in the womb if one looks honestly.

 

and she thinks, how is it that birth control that worked for 7 years, failed

now, at the only moment I could not have endured it? And she knows how

to touch inside to check on things, and she knows her female body and its

G, U, and A spots; she wishes to find a lover who will learn them too AND

learn to care for her heart in the process; she knows how to thread a

catheter through her cervix too to try to do things by herself, because she

shares something in common with girls who learn vague lessons of coat

hangers at 16, something about the shame of registries and judgment and

the dignity of privacy, and she knows that one day she will have more to

give a child, whether or not she gives birth; and she also knows that at 3 am

that day will feel like an eternity away in her waiting, and she would say,

we have come so far, but some closets will never in our lifetime be safe

for coming out of, which is a damned shame because closets really should

be for collecting and hanging clothes that make you feel proud to be a woman…

and coat hangers should only ever be seen as tools to hang things other than

your own soul.

By Marie Anzelone

Biography:

Marie Anzalone currently splits her time between residences in New England and upstate NY in the United States and Guatemala in Central America. Originally from Appalachian Pennsylvania, she spent her early years studying ecology and nature first-hand in the woods around her home. She is an artist, scientist, writer, economics master’s degree candidate, avid outdoorswoman and start-up director of an international development non-profit organization. She has been published in human rights journals, scientific journals, and poetry anthologies. She writes fiction and non-fiction in both English and Spanish. She attempts in her writing to bridge the gap between real world influence and the individual’s inner journey to find spirit and meaning. Anzalone released two collections of poetry in 2014. Her debut collection is called A Pilgrimage in Epistles:: Poems as Letters and Observations. Her sophomore offering is titled Peregrinating North-South Compass Points: Poems in English and Spanish.

One in Six (A Drag King Slam Poem) By Stacy McKeigue

One in Six (A Drag King Slam Poem)

“Hey, baby,” as you slide into my space
like it’s your goddamn place,
like it’s a party and you got an invite.
‘Cause I’m the only chick in site
in this empty convenience store.
I must look so damn fine
in my capris and post-biking shine,
looking for the eggs
while you try to get to mine.

Why don’t you point your erection
in another direction
‘cause it’s a line I just won’t bite,
or suck, or blow.
You see this isn’t a show.
I’m not up on display
with the soda pop and bubble gum.
I didn’t come here to get laid.

When I go to the bar,
I won’t get in your car.
I can do fine on my own.
I don’t need a ride home;
I came here to drink
and let loose and dance,
so please, keep it in your pants.
Stick it between your legs
if you have to
‘cause tonight I’m not sleeping with you.

And walking down the street?
Now, aren’t you sweet—
whistling at my ass
while I’m just trying to pass?
Have you never seen a girl before?
No, Ill get the door.

Because “one in six”
say the current statistics
about women and sexual attack.
Do I have to watch my back
everywhere I go?
Put on drag
just to make your member sag?
Always dress in suit and tie,
learn to act like a guy
so you’ll leave me alone?

I’m not an object you can bone.
It’s called consent, and you’ll need it.
If you don’t have it, then beat it.
Because I’m so sick, dude,
of your misogynistic attitude.
You’re a flesh-hungry vulture
in this fucking rape culture.

I’m not asking for it in a pencil skirt
or if I’m wearing a ratty old shirt.
I don’t want it if my hair’s a mess
or if I’m in a form-fitting dress.

And in case you still think I’m just a sex toy,
no, I don’t even want it dressed as a boy.

Stacy McKeigue

Biography:

Stacy McKeigue is a junior digital media major/creative writing minor at Valparaiso University. She enjoys taking walks through wooded areas and has a fondness for ferrets and lab rats. She believes that every experience is fodder for writing. Stacy thinks there’s something to be said about the contribution procrastination makes to the creative process…but that can wait. While she typically works in fixed forms, Stacy’s recently taken to experimenting with slam poetry. This piece was especially written for her first drag show, in which she performed as a king under the name Toby Scott. Stacy’s greatest ambitions are to make a lasting impact on readers, to be a well-known name in the literary world, and to spend a few years living in England someday. Her poetry and short stories have previously appeared in The Lighter, her university’s fine arts magazine. If you like what you’ve read, you can find more of her work in online versions of The Lighter or on her Tumblr blog, Have Quill, Will Write. Thanks for reading and supporting the arts and social justice!

Whore is a Word By Scherezade Siobhan

Whore is a Word

: ecce femme
on the subway 12:00 am
she sips slander
Socrates of suburbia, her
she hums hurt
a murmur of hemlock
mellowed to elixir
she, coughs up a weather
of wolf whistles,
chokes words: a tuft of dandelions
shipwrecked in syrian rose thistles
the four lettered crucifixes
rote of retched spleens
it seems, she is
a meat mannequin;
cuss words pinned
to joints instead of legs
her anatomy benumbed
to fading quasar dregs
womb veiled to an armoire
motherland buried stillborn
she sired art
from artillery,
jambs the fist
in pacifist
folds wrists in trysts with
the city’s cursed concrete
she sells self : this is not
a tongue twister;
sister, she is
a penny rolled in soot
nails cracked to vintage
mirrors; she wears her skin
the shade of crenelated
alabaster; she learned
that rum is the best way
to pray through disasters
she domestic Houdini
can make bust up lips
disappear behind potions
of pancake and martini
she ghostwrites her
own gospel of torture
so often caught
in revolving doors
when he slaps her collar
bone like violent bravos
who knows what light
blunts in the gazebo
between her eyebrows
she expired between allah
and amen; only the bruise
treasured as misshapen
refuge. she lungs tarred
by cigarettes & tattered
tears. she knows
age is surgery
so she amputates
with clinical rigor
holds the blade to
her heart like a practiced
grave digger
she goddess gone
to rot
she valium bride
all her exit vows
self-taught

By Scherezade Siobhan

Biography:

Scherezade Siobhan is an Indo-Roma Spanish psychologist and writer. Her work has been published and/or is forthcoming in tnYPress, Black and Blue Writing, Bluestem, The Nervous Breakdown, Cordite Poetry Review, Words Dance, Electric Cereal, Winter Tangerine Review and others. Her first poetry collection “Bone Tongue” was released by Thought Catalog in 2015. She can be found at www.viperslang.tumblr.com/

Collection Plate By jacob erin-cilberto

Collection Plate

take parasite avenue
drag the curb
your pocketbook will dwindle
your prominence will be docked
you’ll feel like in a bad movie
the extras better actors than the stars
but they have no teeth
so the camera shies away
send money for relief
for these indigents we trip over as we walk
the streets with our gold chains, rings
and things
step around the leper
talk about how sad his condition is when the moonlight
reveals his wounds
stay in the car
on parasite avenue
or it will drag you down
poor will be your new mantra
a nameless citizen sleeping under a bridge
anonymous occupant at the cold, roofless inn
but send money to help these people
as we step around a skin and bones child
the smell a disturbing ambiance
but we’ll bottle it
and refund your conscience
if you send money to help these people
where is that helicopter
take me away Calgon

need to soak this disgust off my body
and out of my mind
but please please please

send money to help these people
and thank God,
we’re not one of them.

By jacob erin-cilberto

Biography:

Biography:

jacob erin-cilberto, originally from Bronx, NY, now resides in Carbondale, Illinois.  erin-cilberto has been writing and publishing poetry since 1970.  He currently teaches at John A. Logan and Shawnee Community colleges in Southern Illinois.

His work has appeared in numerous small magazines and journals including: Café Review, Skyline Magazine, Hudson View, Wind Journal, Pegasus, Parnassus and others. erin-cilberto also writes reviews of poetry books for Chiron Review, Skyline Review, Birchbrook Press and others.  He has reviewed books by B.Z Niditch, Michael Miller, Barry Wallenstein, Marcus Rome, musician Tom MacLear and others. Erin-cilberto’s latest book demolitions and reconstructions is forthcoming in late April /early May. His previous three books an Abstract Waltz, Used Lanterns and Intersection Bluesare available through Water Forest Press. His books are also available on Barnes and Noble.com and Amazon.com as well as Goodreads. erin-cilberto has been nominated for a Pushcart Prize in Poetry in 2006-2007-2008 and again in 2010. He teaches poetry workshops for Heartland Writers Guild, Southern Illinois Writers Guild and Union County Writers Guild.

A Continuing Narrative By Emily Burns

A Continuing Narrative

i am not sure exactly where
i left off in my story
i get calls to interview sometimes
and they go well generally
i leave with a handshake and good intentions

i am directed to take
obligatory drug tests
and there really isn’t any way
that i could ever fuck that up

all of these things are more challenging
since i had to give up my car
but i have been given assurances
that wheels will be mine with a paycheck

trying not to sweat the small stuff
patience is a virtue, right?

my son is having headaches
again after he broke his neck back in the summer
and my oldest has determined that she will finish
her senior year in night school
she has no patience for waiting out the last few months
of the twelfth grade

and another kid moved in last week

and folks are always calling
wanting me to focus on this or that
that really isn’t important or necessary
and sometimes i wonder
really wonder
what i am doing sitting here

there is a little bird that comes in a hole in my house
almost as if he thinks
that if i will not come out to see him
he will come in to see me
and he flies around a while
and then i send him out the bathroom window
maybe he will fly away in the spring

maybe i will fly away too

By Emily Burns

Biography:

Emily Burns is a student of history, spending much of her spare time sewing her family’s wardrobe of 18th and 19th century clothes. She volunteers at several historic sites around her home in central Kentucky; teaching about women’s skills of the past. Emily has been reading poetry since the age of twelve and began exploring voice and writing about ten years ago.

Emily holds a B.A. in English from the University of Kentucky and has published several books. Dalliance, poetry with images in words that describe the hills, the countryside, the flora and fauna and the heart of a Kentucky poet, which was published by Old Seventy Creek Press in 2010. She edited and published John Sternemann’s posthumous anthology Banging a Drum: words from sacred spaces in 2014.

Historic publications include, The Children’s Civil War Alphabet Book, an abcedarian book that includes photos and stories from her living history adventures with her own kids. Emily also published Our Receipts: a Civil War cookbook, which includes various recipes from the mid-19th century, including a variety of main dishes and dessert as used in Civil War reenactments. Tea and Manners, a compilation of articles describing fashion, etiquette and recipes for a 19th century tea. And finally, What a Lady Should Know about Health and Medicine in the mid-19th Century, which is a compilation of articles from period sources including recipes for common cures from the pre-Civil War era.

Unburied By Caitlyn Siehl

Unburied

Back again. Bones above ground.
Wind chime fingers in my hair.
A quiet knife-tongue on my shoulder.

An ancient ruin. Your teeth the
twenty eight steps to the
broken temple.
Fuck you. Fuck me. Eat my
palm. Eat my offering.
Climb down. Climb back.

I don’t want to make sense to
anything, I just want to be the
stone you grind into powder.

Love, my violent myth, my
terrifying air.

Turn my water to wine. Eat
my heart out. Feed it to the sun.

Back again. Back again.
Unburied. Unburied and
pale. Dirt under my fingernails
because I like saving you.

Love, my angry body weeping.
Your sleeping mouth tattooed
on my sternum.
Love, my vicious secret.
Love, my hungry dream.

By Caitlyn Siehl

Biography:

Caitlyn Siehl is a poet from New Jersey. Currently finishing her senior year of college, she is going on to receive her Master’s degree in Communication at Rutgers University. She has published one book of poetry entitled What We Buried and has co-edited two poetry collections entitled Literary Sexts Volume 1 and Literary Sexts Volume II, all through Words Dance Publishing. She enjoys spicy Jalapeno chips and being surrounded by dogs at all times.

Tending the Garden of A Suicide Victim By Marie Anzelone

Tending the Garden of A Suicide Victim

That which is wild and unruly

   has overgrown its more civilized companions.

Goldenrod in lackluster brushy plumes

    and sour yellow sorrel, tasting of lemons.

         Some sad twining vine.

I did not know you.

   But I can tell you planted with care,

 and what you attempted to cultivate here

was not comprehended

     by those who loved you;

          and in the pervasive neglect

it seems your vision was lost.

My hands caress the stems of your Rudbeckia,

   trying to realign their lanky, desultory forms

          where their delicate beauty

was engulfed by choking vines, and I wonder

  if better tending would have kept you

 in this world a little longer.

I sadly ponder what vision made you leave,

   and ask if the slow encroachment of weeds

       could have been pruned for you in time.

   or if anyone even noticed your need to be tended.

And I hope you can see me here

       attempting to give love to your efforts,

trying to make your mark on this world

     just a little tiny bit more substantial.

May this garden grow in health for many more years,

             and may your children understand, in time,

that sometimes gardens in other worlds

             need new caretakers, too.

 

Marie Anzelone

Biography:

Marie Anzalone currently splits her time between residences in New England and upstate NY in the United States and Guatemala in Central America. Originally from Appalachian Pennsylvania, she spent her early years studying ecology and nature first-hand in the woods around her home. She is an artist, scientist, writer, economics master’s degree candidate, avid outdoorswoman and start-up director of an international development non-profit organization. She has been published in human rights journals, scientific journals, and poetry anthologies. She writes fiction and non-fiction in both English and Spanish. She attempts in her writing to bridge the gap between real world influence and the individual’s inner journey to find spirit and meaning. Anzalone released two collections of poetry in 2014. Her debut collection is called A Pilgrimage in Epistles:: Poems as Letters and Observations. Her sophomore offering is titled Peregrinating North-South Compass Points: Poems in English and Spanish.

Veteran Of Passchendaele At Rest, Lillyfield, Manitoba, 1923 By W.K Kortas

Veteran Of Passchendaele At Rest, Lillyfield, Manitoba, 1923

They said you could see the madness in Haig’s face:
A certain set of the jaw, a steeliness to the gaze,
Which to some spoke of an admirable duty to King, country, and honor,
But to those who had seen it too often before
More an indication of a present and growing mania,
The pursuit of an unholy grail for its own sake.
Understand, we’d done all that–crawling like infants
Through razor wire and enfilade,
All to possess a few meters of muck so sodden
That sappers in the trenches had drowned
In an infernal mousse of French sludge and their own excrement,
(I have never found it fit to complain about the Fokker sized mosquitoes of July
Or five-below in January since)
All so the Bosch, having scuttled like roaches or rats from their pillboxes,
Could reclaim it scant days later,
So when Haig decided to punch that dance card yet once more,
They said Currie (no firebrand by any measure)
Actually yelled– Not these boys!  Not for this patch of mud!
It was in vain, of course; there is no greater folly
Than to argue with a man in the full grip of an unhallowed passion.
The results were predictable:  harried mothers dropping off John and Michael juniors
Who had never known senior at school, prairie farms shorthanded by two or three sons,
A battle which changed nothing, a state funeral for a field marshal.

We veterans have been asked–on more than one occasion–to lend name and purse
To the establishment of a monument on or near that ill-fated ground.
Invariably, I politely (but firmly) decline;
I cannot picture some noble bronze figure marching bravely across that field
(As if anyone traversed that sodden muck upright!) or some subdued plaque
Appropriately commemorating what transpired outside that tiny village.
There is, after all, any number of perfect apt memorials already there:
Odd, out-of-place pot-bunkers and moraines
Which still dot the landscape, some sporting bandages of grasses and blooms,
And when the machinations of nature have finally smoothed and leveled the ground,
Those who feel the need to memorialize what came to pass there
Will be long since dead, and likely for the best,
For those proposed cenotaphs would be testament to no more
Than the realization that our generation
Proved no more able to conquer madness
Than any which had preceded or succeeded our own.
Indeed, I have often seen boys playing shinny on the ponds
(More than a few of whom had fathers or brothers fall on that forsaken turf)
Raise up their sticks and fire them into the air at some unseen antagonist,
And I have wondered to myself What was it all for, Lord?
What for?

By W.K Kortas

Biograophy:

W.k. kortas is an itinerant civil servant living in Pennsylvania’s Endless Mountains.  He lives and works by the axiom “Mediocre means better than some.”

Voices By Emily Burns

Voices

i don’t hear the voices
on the other side of the line yet

as a dispatch operator in training
i only see the calls in queue
mostly waiting for ems squads
to come and check all the vitals

sometimes they radio back
waiting for patient decision

sometimes i hear patient refused
treatment
against medical advice

there are trips to the hospital
and symptoms
and problems

sometimes a bright spot

little girl rescued from the flooded creek

patient has been delivered code 12
no emergency

there is a language
all our own

like we are trying to keep
the rest of the world
out of the conversation

codes and signals
that only we know

one day soon
the voices will be mine

and my voice will be delivered
to the sick and afflicted

maybe my voice will carry
them back to safety

By Emily Burns

Biography:

Emily Burns is a student of history, spending much of her spare time sewing her family’s wardrobe of 18th and 19th century clothes. She volunteers at several historic sites around her home in central Kentucky; teaching about women’s skills of the past. Emily has been reading poetry since the age of twelve and began exploring voice and writing about ten years ago.

Emily holds a B.A. in English from the University of Kentucky and has published several books. Dalliance, poetry with images in words that describe the hills, the countryside, the flora and fauna and the heart of a Kentucky poet, which was published by Old Seventy Creek Press in 2010. She edited and published John Sternemann’s posthumous anthology Banging a Drum: words from sacred spaces in 2014.

Historic publications include, The Children’s Civil War Alphabet Book, an abcedarian book that includes photos and stories from her living history adventures with her own kids. Emily also published Our Receipts: a Civil War cookbook, which includes various recipes from the mid-19th century, including a variety of main dishes and dessert as used in Civil War reenactments. Tea and Manners, a compilation of articles describing fashion, etiquette and recipes for a 19th century tea. And finally, What a Lady Should Know about Health and Medicine in the mid-19th Century, which is a compilation of articles from period sources including recipes for common cures from the pre-Civil War era.

Quiet Death By Caitlyn Siehl

Quiet Death

Mother, if you really want to know,
Yes. I wanted to die for her.
I wanted to lay down
in the middle of
Springfield Avenue
and die for her.

She is the death I don’t like
talking about.
The one that I survived.
The one that I came crawling
out of, fingernails bent back.
The one that bagged my groceries
and didn’t look at me
the right way.

I play shadow puppets with her memory;
drink champagne until
I’m tender.

Mother, her—her
absence was the most
beautiful thing I’ve ever
suffered for,
ache like a
purple gown that trailed
behind me when I walked.

I was glowing, mother.
I was the most elegant
loneliness, the most exquisite
creature among all of the
unloved.

By Caitlyn Siehl

Biography:

Caitlyn Siehl is a poet from New Jersey. Currently finishing her senior year of college, she is going on to receive her Master’s degree in Communication at Rutgers University. She has published one book of poetry entitled What We Buried and has co-edited two poetry collections entitled Literary Sexts Volume 1 and Literary Sexts Volume II, all through Words Dance Publishing. She enjoys spicy Jalapeno chips and being surrounded by dogs at all times.