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  • Jul 8, 2024

Updated: Jul 30, 2024

The Queer Picture

 

Because she adored me

she will marry me when I’m dead

She will find me stamping

like a stallion in a petting zoo

my father said to my mother

who said to me

when the eulogies ended

and the guests departed:

Chaps on, cowgirl, you have pleasure

and happiness waiting

Giddyap, cowgirl

lasso yourself our stallion

and marry him marry him marry him

now that your father is dead

 

 

The Unspoken

 

When I was a girl, my family camped

on an island in Lake George

We grilled fish for breakfast, read comic books

swam off the stony edges beside the dock

I loved one book: The Swiss Family Robinson 

During August afternoons, I tumbled through its pages from my nests of pine needles

as the others swam, searching for dimes and minnows

 

Dear falling down tent

Dear campfire and speckled metal kettle of boiling coffee milk

Dear bats that watched over me, dear Milky Way, dear sunrise

Dear memory that erases what the heart cannot bear

Dear second-grade teacher, Mrs. Reif, who showed me

how to write poems, which proved I was alive

Today a breeze pulls me from the east shore to the west, from the future to the past

 

I loved my father up to the sky and back

When I grow up I’ll be like him, I said to myself

at seven, at twenty-three, at sixty

Now the lake is covered in tiny waves

It swallows the clouds, the herons, the dime-shaped sun

When I grow up I’ll be a boulder in the forest or a bear or a lake

When I grow up fishes and grasses will bloom inside me, dragonflies will touch my skin

 

On a recent morning infinite O’s of light reminded me

I too contain multitudes

You’re such a worrier, my father said, my mother said

my sisters, my brother teased

in the brick house, in the stone house

in the toppling tent on the island

A cougar shaped like a cloud ran across the sky

 

The cougar became a headless horse

The horse became a woman resting on her back

with a child on her belly

My mother wept and didn’t weep enough tears to fill a lake

My father’s sad and angry patients wandered in and out of the telephone

over the front lawn, where they followed the sheepdog to the basement office

and into the chair across from the desk that once was the dining-room table

 

The patients’ lives were written in pale green steno pads and stacked

on shelves, then stuffed into filing cabinets

All the voices in the house rose through the floors, they sank through the ceilings

One little piggy, two little piggies, three little piggies, four

Happiness rolled us between the lightning bugs and treetops

between the dock and the long flat stones we leapt from each summer

as I imagined we were the Swiss Family Robinson, with no need to be saved

 

Then happiness released us to the concerned, the kind

to the seemingly unaware, to the cruel, to the perpetually cheerful yet miserable

who released us to the buoyant loneliness of our sky-blue suffering

which released us into a current of perpetual solitude

as if we were little beavers swimming into the absence of everything

believing in our connection to each other, to childhood and the lake

that had long ago reflected our bodies and faces into the dumb anguish of forgiveness

 

 

The Sisters

 

I am the no in the throat of their eyes

fractals of fences, ceilings of string

Three heads smile from a wooden frame

then fall asleep in solitude’s scheme

 

Wherever they are—on a boat on a beach

at a metal table on a city street

I remember them in their naked need

at three at six at seventeen

 

The cards in our hands fell over the house

and scattered like bunnies in the fox’s dream

There was no one to catch us except for ourselves

Like cards we scattered, weightless with need

 

No to the palm of kindness and love

that carries the bag for payback’s high price

No to the I-owe-you of strife

as if sacrifice can forfeit time

 

No to the thrum of hunger, greed

No to pleasure: what gives will take

No to the penalty: joy as pain

No to anyone calling our names

 

No to friendship, debt’s thick breath

No to the rage of attention’s reign

No to his thumbprints’ virile gain

No to her melodies of blame

 

No to the voices like flocks of birds

whose decibels fall and rise unseen

No to isolation’s domain

with its choke and throttle and empty brain

 

No to the condemnations claimed

when achievements mollify childhood’s mark

Comfort? The solace of memory’s gain

This is our twisted rope of shame

 

 

Family as Fractal

 

Who is the dreaded, the loved, the cruel?

Is the murderer father?

Was I murderous, too?

Was I his rescuer, rescued, participant?

Am I my mother?

Was I murdered too?

 

If I am my father, if I am my mother

if my sisters and brother are mirrors, one face

Can one aberration offend replication

and alter it fully?

What is pity or hatred?

Is loyalty warranted?

 

If sister is mother, if brother is father

if father was grandfather, everyone, same

is my difference their difference?

my failure their failure?

Is their hatred self-hatred?

Is my sanity sane?

 

If my niece is my uncle

is my nephew my aunt?

Is my uncle my grandmother?

My lost child myself?

Whose laughter and boredom

spin silk with disdain?

 

Is my shame my brother’s?

Is his shame my father’s?

Is my rage my sisters’

my mother’s, my own?

Does geometry prove that we replicate history:

family, oligarch, innocent, mute?

 

Then the future is written

my life is determined

my desire, my love

my own grief like row houses

precise replications

of what I escaped

 

 

Jan Freeman is the author of three books of poetry, most recently Blue Structure, which was championed by Ilya Kaminsky (Calypso Editions, 2016). She completed her new manuscript, The Odyssey of Yes and No, during a recent MacDowell fellowship. Poems from this collection have appeared or are forthcoming in Barrow Street, The Brooklyn Rail, North American Review, Plume, Poetry, Painted Bride Quarterly, Salamander, and other publications. She is the founder and former director of Paris Press. Long ago, she earned an MFA at NYU, studying with Sharon Olds, Galway Kinnell, Ruth Stone, and Nina Cassian. The work of David Shapiro and Louise Bourgeois are her constant companions. Currently, she teaches ekphrastic poetry workshops and the MASS MoCA Writing Through Art Poetry Retreats. www.janfreeman.net.






Updated: Jul 30, 2024

Conception Waltz

 

late afternoon out to the barn

key and Motor Medic in hand

rain of rust, door rolls open—

’57 F150, once with custom pipes

and running boards

 

door locks never used not even once

 

lift the steel hood, tighten the cables

on the battery new just last week

pull out the cardboard scrap to check

the geography of the countries of stains

 

chrome of the door handle that’s flaked in your hands

since Dad had to lift you up to open it yourself

 

hinges and your voice both

grinding scratches so long

since either prayed

 

the smell of him might still remain

 

the imprint of his left thumb on

the flat of the choke throttle

youtube says pull it one half inch

 

but it’s the heart that looks now, seeing

more than a camera ever could

pull the lever as far as it will come

spray WD-40, slide it in and out again

 

until you feel you’ve reached the end

 

when were keys ever so small?

 

Turning and hoping

turning and holding breath

turning and a click and a sputter

and then the waltz of feet & hand:

 

pedal choke clutch

pedal choke clutch

pedal choke clutch

 

sputter and die

sputter and gasp

sputter and shudder

and then

 

the closest purr to the purr the engine purred

for him that this truck will know again

 

Let the engine run

lie down across the seat

decades of dust and still the smell

of hay and ponies and the Carhartts

soaked with gas and oil he

wore home from work

six days a week

 

perfume of a life lived with

limited choices, pony manure enough

to grow tomatoes wider than

a supper plate

 

stretching out along my back the jerky

engine’s idle, the rocking of the rhythm

to which I was conceived

 

 

Singin’ this will be the day

 

How much wood would

a woodchuck chuck

if a woodchuck had a

pickup truck, a chainsaw, an axe dull,

and one sharp awl?

 

1 cord 2 cords 3 cords, more

10 cords 11 cords a dozen cords haul!

 

I have a rocket in my pocket

I have no time to play but time anyway

to eat my peas with honey

which kept them on the knife, until

not last night but the night

before when 24 robbers came

to my door.

 

Scholastic Book Club, A Rocket in My Pocket:

the rhymes and chants of young Americans,

best 25¢ I ever spent on a

book, my source book, my head

 

when left too quiet begins

to chant these poems, beats of a life

in a predictable 4/4, comfortable

cadence of country music.

 

Eastbound and down, loaded up and

lonely teenage broncin’ buck, pink carnation,

pickup truck, I knew I was out of

luck the day the music

 

 

Ossuary

 

boy do I have a bone to pick with you, bones, so make

no bones about it but rather better bone up on it now

that you’re the rag and bone man, dancing a final

dog and pony show, throw me a bone, I’ll grab hold tight,

as if that were all my life is now, which is today’s

bone of contention

 

come look close then closer, to see what was bred

in my bones, yes we’ll dig for the bones in it, measure

the skeletons that skulk in my closet, and after give rest

to my weary bones

 

the doctor says: bones are covered by a thin layer of tissue called the periosteum

 

knick knack paddy whack the quickest dog

gets the fat off the bone, the slowest suckles

meal out of marrow while my bones

cleaveth to my skin, and to my flesh—

about this, there are most surely no bones but

dem bones, dem dry dry bones

 

the doctor says: it is the nerves in the periosteum that “feel” bone pain

 

dying rot that is my bone closet, bitterest

closet where my boners were forced to hide, my want

as dry as a bone coat, mouth crammed so full of bone

dust and sawdust that I’ll never know the taste of what

the preacher said: the good is oft interred with their bones

 

the doctor says: and for this bone pain there is no remedy

 

oh tales of blood and bone, the talking bone,

the telling bone, rattling bones, tattling bones,

rolled them bones and took my chance

still Death it was got the bigger half

of my wishbone

 

fe fi foh fum

Death smells the blood of every one

and grinds their bones to make

his bread, here at bone idle, here

at bone dry, here where you can make

no bones about that

 

 

Wedding Dance

 

Lawfully married at twenty-five husband

lawfully married at fifteen wife,

two faces, startled, they’d not expected the flash

two hands, posed by order on the knife.

 

Two faces, paled, foregrounded by the flash

anxious hands, trembling, so photo’s blurry knife.

Can you believe so-late-to-be-married husband?

What is she doing, so-young-to-be-married wife?

 

He’s marrying who? husband,

wed so soon after death had come for his life—

watching his best friend burn in drag race crash—

then drafted, so people were happy he found a wife.

 

On base the minister said too young so they dashed  

to find any preacher who’d declare man and wife,

there, ’58 in Fort Hood, watching Elvis drive past, and that

was the day’s story they told the rest of their lives,

 

these newly weds, for whom keeping secrets was custom

and silence and lies just how you tried to save your life.

Husband to mask grief, wife, a do-anything-dash

to leave father’s house, so focus the camera on the shiny knife!

 

Secrets crushed under silence so bestly, bestly kept, and

then soon a baby, then soon two more, and so they grew a life

pinned down in photos, truths dark backgrounded by the flash.

Look—he, a trying-to-be husband, look—she, a loving wife.

 

 

Elliott batTzedek is a Pushcart-prize nominated poet and liturgist. She is the recipient of the Robert Bly translation prize, judged by Martha Collins, and a Leeway Foundation Art and Change Award. She works in four slightly different parts of the bookselling industry, and also as a liturgist for Jewish communities across the U.S. Her poems and translations have been published in American Poetry Review, Massachusetts Review, The Broadkill Review, Lilith, I-70 Review, Hunger Mountain Review, Sakura Review, Apiary, Cahoodaloodaling, Naugatuck River Review, Poemeleon, and Philadelphia Stories. Her chapbook the enkindled coal of my tongue was published in January 2017 by Wicked Banshee Press. A chapbook of translations from Shez, A Necklace of White Pearls, is forthcoming from Moonstone Press in 2024.






  • Jul 8, 2024

Updated: Aug 1, 2024

The Weather Retort

 

I tell you thunder belly, cumulonimbus inner ear. Roil of pressure rising.

You reply insipid drizzle, muggy dew point skinned with gnatty scum.

You’re a supercilious mistral, stale windbag full of fug, shallow oil-slick

of a puddle. Don’t try diluting me to scattered showers, dismissed as just

some fitful tempest in a china cup. You ask if I’ve tried clear skies and common sense?

Batten down your stale toupée. No one wants to sniff your rehatched whiff, the dank

that underarms your ego. You’ve only seen my leading edge. In the calm before,

you could have sensed a supercell, a flanking line, an anvil, yet you never took

the time to overcast your eyes. Don’t you dare go back and diagnose me

with precipitation after rain is drenching down, advise that I should

see someone for my convective complex. Shut your

ornamental shutters. Tornado’s on its way.

This storm is coming in.

 

 

How to Go Out for a Drink

 

Walk in wearing hindsight, liquid liner, mirror glaze.

Keep shoulders down, each cuticle pushed back. Do not

drum the bar or slouch or twitch or cross your arms.

 

Someone will watch you suck stray whisps of nothing

through a technicolor straw. Bubble every adjective. Lip gloss

your conversation. No one will know you’re filled with boiling oil.

 

Use some snarky name you write across a napkin

when he asks: Terri Buldate. Shea Monhim. Ana Lias.

Phone number starting 555. Learn to smile while swallowing

 

stones. Prune bonsai with your teeth. Fill a pond with koi,

glance up, then drop your eyes and look away as ripples spread.

Rake each grain of sand until concentric circles wall around

 

a central stone. Now, deny the stone. Glue your poise

in place. Your eyelashes. Keep keys in hand, a razor filed

between your breasts. Ask for an Angel Shot, wingstripped.

 

When you leave, you’ll stir denuded feathers. Watch

them swirl in eddies at your feet, following your footfalls

as the door swings closed. Every echo, a plucked string.

 

 

Emergence Is Catching

 

Everywhere, the tunneled holes of sap-drunk cicadas,

their dormancy at last complete, emerging from

the warming earth. They surface, shed their

duller subterranean skin while all around them

air grows thick with rainstick thrums and chirrs

and tymbal music, drum bodies hollowed, quivering

on fences, branches, anywhere that they can vibrate,

venting thirteen years of pent-up lust. Males shake and rattle

like a brood of randy windup toys, scratching flint

to tinder with such fervor that I wouldn’t be

surprised if you and I, in listening, did not

wet our lips, did not also pulse and loosen,

shiver into buzz and turgid call, response

of mouth and parted thigh,

find what is winged and ready, fly.

 

 

Alison Hurwitz is a former cellist and dancer who now finds music in language. A two-time 2023 Best of the Net nominee, she is the founder/host of the monthly online reading Well-Versed Words. Widely published, Alison’s work is upcoming in Sky Island Journal, South Dakota Review, and South Florida Poetry Journal. When not writing, Alison officiates weddings and memorial services, takes singing lessons, walks in the woods, and dances in her kitchen. Find more at alisonhurwitz.com.






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