ISSUE 3 - NIGHT

CONTENTS
Mysterious, dangerous, consoling, sensual, beautiful, terrifying Night, a window into desolation, a blanket of comfort, the road to heaven or hell, agonized longing or sweet release into dreams. The world is dark and unknown, the sky infinite. We only recognize mother moon and sister stars. Many thanks to these poets for exploring Night, with special thanks to:

Judy Grahn, for pioneering spiritual strength and courage:
I drew a great first breath
and throwing back my head, I called down the moon
Olga Broumas, for a breakthrough poetic kiss:
                                                                This
is the woman I woke from sleep, the woman that woke
me sleeping.
Lesléa Newman, for making us feel comfortable and at home:
The new year is here and we’re happy and gay
Ed Bennett, for fiercely compassionate desire to save a gay man:
No lovers this night for either of us
in the bitter elixir of this shadowed room
Farmer-hunter-poet, Timothy Murphy, tells the owl’s story:
Downward to darkness on my muffled wings
The playful master of double-dactyls, Jan D. Hodge, adapts a story from The Book of the Thousand Nights and One Night:
I am a girl who is
madly in love with a
beautiful woman, as
she is with me.
Beautiful, soulful poems from Suzanne J. Doyle, Alix Greenwood, Rick Mullin, Catherine Davis, Joan Annsfire, and Holly Woodward bring Night into bed, awake, asleep, or somewhere in-between, with fabulous dreams and dreadful nightmares. The poems of Chris Kinsey, Ann Drysdale, O. Ayes, Erin Wynn, Joy Howard, Sandra de Helen, Alyse Knorr, Erin Dorsey, and Flower Conroy travel outside through “the redblack sky” with water, fire, fear, lovers, longing, and loss. M.A. Griffiths gives us “nothing / to fear, nothing, only ocean far ahead, the broad path moons pave,” and Seree Zohar offers the relief of “bread and stew, another icy night dispelled.”

Once again, I am awed by the dazzling artwork I found. Many thanks to Jane Lewis, Liz Ashburn, D. McCarthy, Mady Marie Bourdage, Sarah Gottesdiener, Nancy Macko, Juliette Gorges Coppens, Diane Tanchak, Jane Zusters, Maria Mackay, Grace Moon, and Tina Fiveash, for generously granting permission to publish your work. This issue also includes artwork by Romaine Brooks, Lady Clementina Hawarden, Rosa Bonheur, Hannah Hoch, Alice Austen, Mark Morrisroe, and Gisèle Freund. Thanks also to the agents and representatives who granted permission to publish some of the poets and artists in this issue.

A bouquet of roses to Rose Kelleher, who after I announced the Night theme six months ago, sent me the Edna St. Vincent Millay sonnet that begins, “Night is my sister, and how deep in love...” I fell in love with this poem and decided to publish it as part of this issue, along with other poems from the “School of Night.”

I hope you enjoy Lavender's Night issue. As Ann Drysdale writes,
Ah, Belisama, Summer-bright, take my gift…

Mary Meriam, Editor
June, 2011

ISSUE 3 - NIGHT - CONTENTS

POETRY ART
TIMOTHY MURPHY
Night Flight
Homosexual

JAN D. HODGE
The Tale of the First Captain

SUZANNE J. DOYLE
Some Sleep Deeper

ALIX GREENWOOD
Night

RICK MULLIN
Lorelei

CATHERINE DAVIS
for tender stalkes

CHRIS KINSEY
The river’s sneaking low.-

ANN DRYSDALE
Solstice Fire

O. AYES
called rush
the first rule of torture

HOLLY WOODWARD
Splinter

JUDY GRAHN
A woman among motorcycles

ED BENNETT
Night Shift

SANDRA DE HELEN
How to Influence Dreams

ALYSE KNORR
Portrait Number Six
Stellar Era Ends

M.A. GRIFFITHS
Kelpie

OLGA BROUMAS
Sleeping Beauty

SEREE ZOHAR
Unpinned

FLOWER CONROY
Granting Passage

LESLEA NEWMAN
I Want to Stay Up Talking But

ERIN WYNN
Pronouns Fade in Twilight

JOY HOWARD
Morecambe Bay, January

ERIN DORSEY
The Beginning

JOAN ANNSFIRE
Insomnia

VARIOUS POETS
Night Is My Sister
JANE LEWIS
Madam Chilli (2008)



LIZ ASHBURN
Lesbian Sonnet - Home

ROMAINE BROOKS
Self-Portrait (1923)

D. MCCARTHY
Bruised (2002)

MADY MARIE BOURDAGES
La Mer (1994)

SARAH GOTTESDIENER
Rainbow Moon (2009)

LIZ ASHBURN
Lesbian Sonnet - River

NANCY MACKO
Apis Mellifera (2000)

LADY CLEMENTINA HAWARDEN
Clementina Maude and Isabella (c. 1861)


JULIETTE GORGES COPPENS
Le grand sommeil (2004)

ALICE AUSTEN
Violet Ward and partner

MARK MORRISROE
Untitled (c. 1981)

DIANE TANCHAK
Angeles & Cristina (2008)

JANE ZUSTERS
Portrait of Margaret Flaws / Auckland (1979)


ROSA BONHEUR
The Horse Fair (1853)

HILMA AF KLINT
Youth (1907)

MARIA MACKAY
Sky is Mother also (1989)

GISELE FREUND
Self-portrait (c. 1930)

GRACE MOON
Shamless Honeymoon (2006)

TINA FIVEASH
Grace III (2011)

MADY MARIE BOURDAGES
La Vague (2003)










Timothy Murphy

Night Flight

Downward to darkness on my muffled wings
I hunt the wintry silence of a dream
whose spell is shredded by a rabbit’s scream,
the coldest, purest note creation sings.
Femur and fur strewn at a supper’s end:
bon appetit, Reynard, rival and friend.

Fieldmice and frantic voles submit to law
whose statutes I administer in sleep,
ruling my fields and barnyard by the deep
authority vested in beak and claw.
Focussing yellow irises, I prowl
in the infrared spectrum of the owl.




Homosexual

Before me looms a tower
locked to the likes of me,
and there I am to cower,
traitor to chivalry
and every martyr’s bones.
What petals shall I shower
over the stones, the stones?






Henceforth the Lewis and Clark Foundation’s Dakota Institute Press will be Timothy Murphy’s publisher. This year they will publish a combined volume, Mortal Stakes and Faint Thunder. In the fall they will publish Hunter's Log.

Jane Lewis


Jane Lewis, Madam Chilli (2008)

Jan D. Hodge

The Tale of the First Captain

Then Scheherazade told of a Sultan of Egypt who
especially loved and honored story tellers. He
called together his captains of police and bade
them each tell a story. Here is the tale told by
the first captain:

Having good reason to
savor my greatness (the
people bow meekly when-
ever I pass),
I take delight in my
unpopularity,
feared as I am by each
son of an ass.

One day, patrolling, I
slipped up an alley and
sat by a wall for a
bit of a nap.
Suddenly (could it be
unaccidentally?)
something fell heavily
into my lap.

Mercy! A purse with a
hundred dinars! I saw
no one about. With a
quick by-your-leave
asked of Allah and no
circumlocutional
wherefores, I buried the
purse in my sleeve.

Next day, returning, I
slyly pretended to
sleep, surreptitiously
keeping close watch,
counting, you see, on the
infinitesimal
odds of – but someone was
groping my crotch!

Startled, I seized what I
hardly expected, a
damsel’s bejewelled and
fairy-like hand.
‘Sweet one,’ I ventured, not
undiplomatically,
‘tell me your wish; I am
yours to command.’

‘Follow me, Captain, if
you wish an answer.’ She
led me up alleys I’d
never patrolled.
Thinking to please her, I
unhesitatingly
took out my zabb.° She said:
‘Won’t he catch cold?
°I trust no translation
is needed for this.
‘Put him away.’ ‘But if
he doesn’t tempt you, then
why did you give me the
purse, and behave
so unabashedly?’
Undisconcertedly
smiling, she said, ‘It’s not
you that I crave.

‘I am a girl who is
madly in love with a
beautiful woman, as
she is with me.
Sadly, however, her
extracensorious
father the kadi° will
not let us be.
°an Islamic judge
‘He has forbidden our
promise of passion (that
gnarly old miser!), and
keeps us apart.
Help us inhabit that
supraerogenous
joy which alone can bring
peace to my heart.’

Puzzled by this, I thought,
‘Girls will be boys?’ So I
tactfully asked (for I
wanted to know,
not being noted for
incuriosity),
‘What kind of love has a
doe for a doe?’
At this point Scheherazade saw the approach
of morning and discreetly fell silent, but when
the nine-hundred-and-thirty-eighth night had
come, she continued with the girl’s words:

‘Love is a mystery
few can elucidate;
it is enough that you
help with my ruse.
Since it is legal, your
nonculpability’s
never in doubt; you have
nothing to lose.

‘Dressing tonight in my
finest array, I’ll a-
wait your patrol by the
kadi’s abode.
When they arrive, I’ll be
unrecognizably
veiled, and pretend to be
lost in the road.

‘This is the story I’ll
tell to beguile them: that
I was out shopping and
stayed out too late,
which quite unsafely and
undignifiedly
left me locked out at the
citadel gate.

‘Itching to help me, they’ll
ask you to summon the
kadi and tell him to
watch over me.’
‘Sweet one,’ as I again
hypocoristically
called her, ‘your cleverness
wins you your plea.’

All went as planned, and the
kadi agreed that his
daughter could welcome her
in for the night.
I was still lost in im-
penetrability . . .
two gazelles romping in
wanton delight?

When I arrived at the
kadi’s next morning, a
fury accosted me,
shouting, ‘You louse!’
Why was I met with such
inimicality?
‘Scoundrel! You planted a
thief in my house!

‘Blessèd Allah, she has
stolen a belt with six
hundred dinars! It will
cost you your head!’
(He was a judge, and spoke
jurisprudentially!)
‘Give me but three days to
find her,’ I pled.

Though he agreed, I had
no way of finding her.
Downcast, I took to my
bed for three days.
Was such a robbery’s
unsolvability
destined to settle my
venial ways?

On my way back to the
kadi’s, I saw in a
window my sweet one, the
cause of my grief!
‘Wretch!’ I yelled up at her
deprecatorily,
‘why have you made me the
dog of a thief?’

Calling me up to her,
she reassured me, and
ushered me into a
fabulous room
bursting with rubies and
unclassifiable
treasure. ‘Despite what you
seem to assume,

‘why would I steal? I made
off with the money in
hopes the old miser would
die of a stroke.
You needn’t fear; I’ve a
superingenious
scheme to cast him as the
butt of the joke.

‘Go to the kadi and
tell him I never went
out of his house, but am
hidden away.
Though he will challenge the
nonsensicality
of your hypothesis,
do as I say:

‘Search, and while doing so
go to the kitchen, and
there you’ll discover a
sinister sight –
my bloody clothing, a
frightened-to-death-ative°
horror. The kadi might
well die of fright,
°Cf. the "autobiography" of Davy Crockett [1833]: "the
people screamed all sorts o' frightened-to-death-ativeness."
‘and if he doesn’t, at
least he’ll do anything
just to keep secret what
happened to me.
Yet if Allah wills the
inefficaciousness
of this deception, then
so it shall be.’

‘If we succeed, will you
marry me, sweetest one,
so that my itch can be
roundly assuaged?’
Smiling, she cited its
unfeasibility:
‘Have you forgotten my
heart is engaged?’
At this point Scheherazade saw the approach
of morning and discreetly fell silent, but when
the nine-hundred-and-thirty-ninth night had
come, she continued:

When I returned to the
kadi and offered my
theory, he blithered some
feckless tirade
as with conspicuous
noncordiality
I toured his premises—
what a charade!

While I was searching, I
glimpsed her belovèd, and
knew how a rose might be
drawn to a rose.
Finally, shouting an
overdemonstrative
‘Ha!’ I uncovered the
bundle of clothes.

Swooning, the terrified
kadi paid dear for my
silence, and died soon there-
after, the cur.
Sweet one, I hear, lives in
cohabitational
bliss with her jonquil. My
blessing on her.


Adapted from The Book of the Thousand Nights and One Night, trans. Powys Mathers from the French of J. C. Mardrus [New York: St. Martins, 1972], IV, 340-50.

Frank treatment of erotic subjects occurs frequently in the original Thousand Nights and One Night. Much of the language here attempts to capture something of the flavor of the original, as in this passage: “As I looked at this incomparable child and heard what she said, my brain became clouded, and I exclaimed in my soul: ‘O Allah, Allah, girls will be boys! But what sort of love can there be between two women? Can a cucumber spring up in the night from a place devoted to quite other planting?’ I beat my hands together in surprise, and cried aloud: ‘Dear mistress, I understand nothing of what you have said. Therefore please explain the whole thing to me from the beginning, in all its details. Do does sigh after does, hens after hens?’ ‘Be quiet,’ answered the girl, ‘for this is a mystery of love and very few may understand it.’ ”

Later, as the Captain is searching the kadi’s house, “I saw that sweet gazelle [the kadi’s daughter], who was loved of her own kind, flit from chamber to chamber to escape us. ‘The name of Allah be upon her and about her!’ I murmured to myself. ‘A reed, a wavering reed! All elegance and all beauty! Blessed be the womb which bore her, and thrice glorified the Creator Who moulded her in the mould of perfection!’ I understood for the first time how such a girl might subjugate another of her like, and I murmured: ‘Sometimes the rose will lean toward the rose, the jonquil to the jonquil.’ ”






Jan D. Hodge has written Taking Shape (a collection of carmina figurata), The Bard Double-Dactyled (“The First Captain's Tale” is from a supplement to that volume), and Poems to be Traded for Baklava (the Onionhead Annual chapbook for 1997). His poems have appeared in North American Review, New Orleans Review, Iambs & Trochees, Defined Providence, South Coast Poetry Journal, Light, Umbrella, and many other print and online journals, and in the text/anthologies Western Wind, Writing Metrical Poetry, and the forthcoming edition of Turco’s The New Book of Forms.

Liz Ashburn


Liz Ashburn, Lesbian Sonnet - Home

Suzanne J. Doyle

Some Sleep Deeper

Lean as the whippets you would keep and strung
Taut as some ancient huntress’ bow,
You move to stretch your long, tormented bones
And dream the barren country we both know.

The altars there receive the very young
Who lust after the purity of stone:
The dry creek bed of seasons passed alone,
Atoning for a crime that’s not your own.
But something lies in wait and lures you on,
Along the subtle path that keeps you narrow,
And there, before your own lithe arm is drawn,
Swift beauty rifts you cleaner than an arrow:
The small song of a thrush dies in the brake,
The snake recoils its colors in the cave,
The saffron light a bend of willows shake
Abandon you to all the life you crave.

Beside me now you burn, white as the moon,
Prepared for some sleep deeper than I dare,
While I insist you’ll grow to love me soon,
Forgetting all I know of being there.






Suzanne J. Doyle was born in St. Charles, Missouri on March 3, 1953. In 1975 she graduated with honors in English from the University of California at Santa Barbara, where she studied under the poet Edgar Bowers. After being accepted to Stanford University’s Creative Writing Program in the fall of 1975, she received her MA in 1978. She has published the following slim volumes of verse: Sweeter for the Dark (1982), Domestic Passions (1984), Dangerous Beauties (1990), and Calypso (2003). For more than 25 years Suzanne has made her living writing and editing for high-tech clients in Silicon Valley, California.

Romaine Brooks


Romaine Brooks, Self-Portrait (1923)

Alix Greenwood

Night

Silence known by the light tap
Of rain, of after-rain
Shedding from leaves.
Night known by the star outside,
And dark clouds rimmed
By the less-dark sky.
The day known
By its uncoiling down through cells,
Slowly, into silence and night.
Body known by the press of cover
On limb, of limb on sheet,
On bed, on soil and rock and Earth.
None of it to last, not silence
Or night, or cloud or star,
Or day or body or planet;
Silence a ring I have made
Against cars and planes;
Night a contrivance
Against surrounding light.






Alix Greenwood writes: I am a British lesbian, white, middle-class. Some of my poems have been published in Sinister Wisdom and the radical feminist journal Rain and Thunder. In memory and appreciation of the late Fran Day, former editor of Sinister Wisdom, who encouraged so many lesbians to write, and with love to her widow, Roxanna.

D. McCarthy


D. McCarthy, Bruised (2002)

Rick Mullin

Lorelei

All last night, I slipped into falling moonlight,
slipped and fell where tentacled constellations
stirred the air. A strangely oppressive sweetness
buried my dreaming

far beneath the coelacanth’s endless shadow.
Monsters brushed beside me in trains of blindness,
throbbed their snaking covenant. Phosphorescent
grimaces tangled,

burning candles dangled on wild antennae.
Still the darkness, liquid and flowing slowly,
choked the moss and animal life about me
drowning my senses,

all but one. The song never ended. Rhythms
pulsed, atonal melodies chimed. I heard her
moaning, heard the davening spirit fishes
bidding me follow.

Now in cotton sails I am tossed and rolling,
lost to night’s indelible teasing banter.
Breathing clouds advance, and a rapid warming
marks her arrival:

Goddess white, astride the mosaic harbor,
holding heavy night in her folds of silver.
Waves arise. Viridian mirrors break like
thunder this morning.




Rick Mullin is a journalist and painter whose poetry has appeared in several print and online journals including Measure, The Raintown Review, American Arts Quarterly, Crannóg and Ep;phany. His chapbook, Aquinas Flinched, was published by Modern Metrics, an imprint of Exot Books, New York. His booklength poem, Huncke, was published in 2010 by Seven Towers, Dublin, Ireland. Rick lives in northern New Jersey.

Mady Marie Bourdages


Mady Marie Bourdages, La Mer (1994)

Catherine Davis

for tender stalkes

12.

Sleepless, I think: how I should sleep
Cradled, as once, all night and eased
Of all the anguish that I keep
Pent up, alone, awake, diseased.

But then I think how restless I
Have been with love, how I would toss
And turn, would, though with love, still lie
Alone, possessed by an unknown loss.

It is not lack of love that left us
Sad as Simonides, whose sadness
Never embraced this unloved madness
That let the thought of such loss war
With having, which grief has bereft us
Of peace. But that is where we are.






Catherine Davis (1924-2002) was a lesbian who, despite being abandoned by her parents and suffering physical, emotional, and moral destitution, wrote great poems. She studied with Allen Tate, J. V. Cunningham, Yvor Winters, and Donald Justice; held the Stegner Fellowship in Creative Writing at Stanford; and taught at several universities. Her poems were published in Poetry, Measure, Denver Quarterly, Paris Review, North American Review, Southern Review, and the anthology The New Poets of England and America, edited by Donald Hall, Robert Pack, and Louis Simpson (1957). She worked as a printer, and self-published four finepress books: The Leaves: Lyrics and Epigrams (Bembo Press, 1960), Second Beginnings & Other Poems (The King’s Quair Press, 1961), Under This Lintel (King’s Quair Press, 1962), and Looking In and Looking Out, R. L. Barth (1999). Helen Pinkerton Timpi and Suzanne J. Doyle have edited Davis’s poems, but publishers have shied from the project because they fear an heir might turn up and sue for copyright violation.

Sarah Gottesdiener


Sarah Gottesdiener, Rainbow Moon (2009)

Chris Kinsey

The river’s sneaking low.-

On the one deep, slow, bend,
the shallows shush
and the sleeping moon bobs.




Chris Kinsey was BBC Wildlife Poet of the Year in 2008. She received an Arts Council of Wales Writer’s Bursary in 2000. Her two collections Kung Fu Lullabies and Cure for a Crooked Smile are both published by Ragged Raven Press (UK).  A further collection, Swarf is forthcoming from Smokestack Books. She has had poems for children and young people commissioned and published by Pont Books. Her first two stage plays have been given rehearsed readings by Aberystwyth Arts Centre and The National Theatre. Her short film script Legless was shortlisted by TAPs (Cymru) for production. Chris also writes poetry reviews and a regular Nature Diary for Cambria the National Magazine of Wales. Chris has two rescue greyhounds and has been dubbed Greyhounds’ Poet Laureate. She lives in rural Wales UK.

Liz Ashburn


Liz Ashburn, Lesbian Sonnet - River

Ann Drysdale

Solstice Fire

Stinking pseudo-tinder from shameful, purchased packet.
Whispered apology - cover it quick with sticks,
not gathered nude and raw from damp trees
but sawed, smashed, slivered from pallets,
harvested secretly from unloved furniture
and - no, not flint - neat strikes from a wipe-clean box
foolproof and dastardly.

Ah, Belisama, Summer-bright, take my gift…

offered in honesty from a half-believing heart
that feels in a deep place that your precious fire
is more than warmth and light and the smell of cooking,
more than the clanging cries of the desperate forge,
more even than the fear that stands cold at my shoulder
in the scarily early onset of the evening
at the darkening doorway of this, the longest night.




Ann Drysdale now lives in South Wales, UK and has been a hill farmer, water-gypsy, newspaper columnist and single parent - not necessarily in that order. Her fifth volume of poetry, Quaintness and Other Offences, has recently joined a mixed list of published writing, including memoir, essays and a gonzo guidebook to the City of Newport.

Nancy Macko


Nancy Macko, Apis Mellifera © 2000, all rights reserved by the artist

O. Ayes

called rush


this was no purple blossom romance, love. it was me, sucking your lips at the bar, on the dance floor. it was you, pinning me against the wall, clasping my hand on the drive home. it was me, asking questions, you, straddling my hips while we lie on the wet grass as the cops drove by and shone a light. it was our laughs that followed, you placing my finger in your mouth, and i noting the deep blue of the moon, the brown gold of your hair in my hands, and again, your voice soothing even the stars.






the first rule of torture


she prepares for slaughter—pins her hair up, exposes the neck i had my teeth on just last night. i stay behind. i’d rather not see them cut her open or grab hold of her silken wrists. she voices her worry as the haloed, red sphere in the night sky appears: maybe this is a bad idea. later she would tell me, eyes rolling back, about the boy who danced with her in his kitchen as an old french song played from a gramophone.






O. Ayes received an MFA from University of Missouri–St. Louis where she served as Managing Editor of Natural Bridge. Her poems appear in FRiGG, Blackbird, Crab Orchard Review, Cimarron Review, and elsewhere. She blogs at oayes.org.

Lady Clementina Hawarden

Lady Clementina Hawarden, Clementina Maude and Isabella (c. 1861)

Holly Woodward

Splinter

Each morning, I collect myself in bed—
scattered arms, nerves asleep, legs astray—
the last part I find, fumbling, is my head,
the night has cast my mind so far away.
While gathering thoughts, I lose my dreams,
they fall and break like dolls I’ve knocked in haste—
sometimes a fragment on the floorboard gleams
and stops me cold, a lone and broken face
of one from long ago I used to know
but now, to save myself, try to forget.
The heart has doors that turn, and our dreams flow
backward like blue blood, while life burns scarlet,
But cut a blue vein, and it will bleed red—
or close any door, and you will fall dead.






Holly Woodward is a writer and artist. “Wanting,” a small online chapbook appears at Gold Wake Press. Four poems were published recently by Mezzo Cammin. Some prose is on the 92nd Y Unterberg poetry site, Podium.

Juliet Gorges Coppens


Juliette Gorges Coppens, Le grand sommeil (2004)

Judy Grahn

A woman among motorcycles

I remember a time, a night when the sky
was a sheet of crystal, and the air was dry
I became a Woman in the Middle of Motorcycles.

One night, a night of the full moon
rising just as Venus lowered in the West,
I went out walking, miles
into the hills, alone,
not even my dog went with me.
It never occurred to me to carry a gun.
I crossed an abandoned parking lot
whose asphalt had begun to rot,
with grass and thistles already pushing
thinly through,
and the first roar of the motorcycle
only startled me,
then two more, then three,
I wasn’t frightened until they were five
and circling me, their black boots
and jackets armor against the moonlight.
Dense with terror, I turned to see
they were ten, all single men, grinning
and grim and watching me.

I knew instinctively this was not the time to fall.
Begging, showing fear or pain would be my death.
I drew a great first breath
and throwing back my head, I called down the moon,
“Mother Moon,” then
“Mother Venus,” I called,
as the cycles crawled past, circling and waiting,
and roaring and watching me.
And then I said my mother’s name
and hers and hers and hers and hers

Grandmother Mabel I said,
Grandmother Kate I said,
Grandmother Clementine I said,
Grandmother Mary I said,
then I called my aunts to me,
Margaret, who baked bread when grandpa died,
Helen I know nothing of at all,
Agnes spanked me till I cried, Sybil helped build her
own cinderblock house by the shores of Lake Michigan,
Gertrude who wasn’t mechanical drove her
very first car straight up a telephone pole.
Betty worked forty years in a grocery store,
and Blanche wore a high-topped dress,
black stockings, a brilliant smile
in the only photo I have seen,
when she was seventeen, in 1917.

When I had finished with my aunts,
I called the gods and mothers of the gods, Mary,
Anna, Isis, Ishtar, Artemis, Aphrodite, Hectate, Oya, Demeter,
Freya, Kali, Kwan Yin, Pele, Yemanya, Maya, Diana, Hera, Oshun,
and after that some saints, Barbara, Joan, and Brigit;
as my memory ran out I made up some more saints,
canonized them on the spot.
And finally I called my friends including from high school,
then each woman I have ever worked with,
then some heroines, till I had chanted every woman’s name I know.

When I was through I said them all over again,
turning in my own circle with my face up and the moon
shining in, it must have been an hour or more I whirled
and chanted, filling my ears with my womannaming roar.

When I opened my eyes
the angry men were gone;
Venus had set, the moon was down,
I stood in the asphalt field
alone—
and not at all alone.





Judy Grahn’s poem, "a woman among motorcycles”, is part of her book-length poem, “The Queen of Swords”, which is included in its entirety in The Judy Grahn Reader, a collection out from Aunt Lute Press. The poem is also in Judy’s Red Hen Press poetry collection, love belongs to those who do the feeling. Judy is one of the founders of lesbian, gay, and queer movements; her first pro-lesbian article was published in 1966 in Sexology Magazine; yes, that is 45 years ago. She is currently writing a memoir about Gay Women’s Liberation, and she teaches women’s spirituality at the Institute of Transpersonal Psychology, and literature at California institute of Integral Studies. Journal

Alice Austen


Violet Ward and Friend (c. 1892)
Courtesy of the Alice Austen House.

Ed Bennett

Night Shift

This is not a lover’s night,
no velvet darkness cradling the room,
no kiss exchanged beneath benign elements;
tonight is blackness, constriction,
my breath drawn in shallow packets
as I listen to the drug-stoked breathing
of my broken patient.
This night, one of many,
when I begin my reach into hell
in hope of finding his soul.

Nineteen and handsome,
shoulders broad enough
to carry the hopes and aspirations
of a family who granted everything
except love,
cursed and lamented to every saint
when he came out to them,
ignored the weeping in his room
until he stopped, hopefully
coming to his senses.

Until they saw the blood congealing
and vacant eyes still wet with tears,
they brought him in out of duty
hoping his flaws could be addressed,
like a car towed in and placed on a lift.
A surgeon wrapped his sutured wrists
while I ordered meds and admission,
took a self-serving history
from the many voices of the family
confused by his blood, his trauma, his sex.

They asked if I could help him
and I wonder what they refer to:
loss of blood?
depression?
or this “thing” that queered him,
unknown, unnamed, uncomfortable
to speak of except in blind circles
with no one at fault, no one accepting,
until I am confused
because they tell me nothing.

Alone, I must calculate a life,
plan a talking cure
with psychotropic assistance
while they expect me
to put his emotional shards together
like a parlor mirror broken
in a drunken rage.
They are uninitiated to what I know:
one cannot cure what is absent,
one cannot address the absence of love.

Twenty years in school,
twenty years in a white coat
casting about like I have the answers
to every irrational puzzle presented.
They think I stand between normal and not,
defending society as it is and shall be
but it is never that way at all:
I am Dante on a barque in a sinner’s sea
forbidden direct communication,
forced to look into their pleading eyes.

Satan rows tonight in place of Charon;
the river flows beyond my sight
bounteous with the screams of the afflicted
increased by one
who sleeps beneath my jaded gaze
dreamless from the touch of medication.
No lovers this night for either of us
in the bitter elixir of this shadowed room.
Tomorrow I will try to read the cipher,
learn what they cannot see,
give what they cannot.





Ed Bennett is a Telecommunications Engineer living in Las Vegas and is a Staff Editor of Quill and Parchment. Originally from New York City, his work appeared in The Patterson Literary Review, The Externalist, Quill and Parchment, and Touch: The Journal of Healing. In March of this year The Lives You Touch Press published his chapbook, “A Transit of Venus”.

Mark Morrisroe


Mark Morrisroe, Untitled (c. 1981)
Gum print, 63.2 x 53.2 cm
© The Estate of Mark Morrisroe (Ringier Collection) at Fotomuseum Winterthur

Sandra de Helen

How to Influence Dreams

Say you love me, court me
sweep me off my feet
dance with me, make me laugh
dress up, be cool, do something
I can’t do for myself.

Make me moan with longing
sing to me, whistle for me
bake me a cake.

Buy me presents and tell me
I look pretty. Be unable to
gaze at any other woman
when you’re with me.

Smell good, have sweet lips
and a hot crotch. Bump and
grind with me, then kiss
me sweetly and say you’ll
see me later.

Call me, text me, send me
an email when I least
expect it. Bring me
balloons. Wake me up at
midnight.




Sandra de Helen lives and writes in Portland, Oregon. See her current work in The Mom Egg, Stillwater Review, Generations of Poetry, and “pay attention: A River of Stones.”

Diane Tanchak


Diane Tanchak, Angeles & Cristina (2008)

Alyse Knorr

Portrait Number Six

She took me to an Egyptian bakery
and we bought bagels from a woman
with shaking hands and all red costume jewelry.
Outside, men unloaded boxes from trucks and
an orange car backed into a parallel parking place.
When she reached for her change, her arm moved
out of her sleeve so that I could see her wrist,
and I felt the brief, familiar surge.
Outside, she put her hands in her coat pockets
and we started walking,
the subway below us and the sky above.





Stellar Era Ends

Our hands find each other even now, in this growing dark.
Somehow, your light reaches me and spreads its
Opal brilliance into my bones, into my
Open mouth.  To say that we have lived to see this—but there will be
No one to tell.   Of mornings in the garden, kissing your
Neck and smelling basil and earth and sweat.
Only now can we rejoice in this great
Wholeness, this great death.
My life has consisted of a handful of pulsings, of
Years waiting for this time—the time of
Losing all light, losing
Ourselves, and the
Very memory of
Everything else.





Alyse Knorr is the poetry editor of So to Speak: A Feminist Journal of Language and Art, based out of George Mason University, where she is pursuing her MFA in poetry and teaching undergraduate English. Her work has appeared or is forthcoming in Salamander, Cold Mountain Review, The Minnesota Review, elimae, Moria, Dark Sky Magazine, and the online anthology Poetry Ark, among others.

Jane Zusters


Jane Zusters, Portrait of Margaret Flaws / Auckland (1979)

M.A. Griffiths

Kelpie

The head is always a horse’s head, heaved huge against your own.
One risen from the sea, dark as depths that squeeze light shut.
Its neck streams against night, an arc arrowing to the rafters

of the sky. On those filaments, you can rise, abandon heavy earth,
hear flint farewells struck by metal, see sparks spit fat as stars
as journey’s wake kicks backwards, a jet hurling you out into ever.

Green eyes, great head, heat against your face, hooves hammering
distance into stone, tamping it, trampling time like meadow and nothing
to fear, nothing, only ocean far ahead, the broad path moons pave,

and on the other shore, and on the other shore, sure.





Margaret Ann Griffiths (1947-2009) was born and raised in London and later moved to Poole. Rather than seek publication through traditional channels, she was content to share her work with fellow poets on various Internet forums. Also known by the Internet pseudonyms “Grasshopper” and “Maz”, she began posting her poetry online in 2001. She suffered for years from a stomach ailment which eventually proved fatal in July 2009. Almost immediately after her death was announced on Eratosphere, poets from all over the English-speaking world collected her work. First published by Arrowhead Press in the UK (January, 2011), Grasshopper: the Poetry of M.A. Griffiths was reprinted and distributed in the USA and Canada by Able Muse Press (April, 2011).

Rosa Bonheur


Rosa Bonheur, The Horse Fair (1853)

Olga Broumas

Sleeping Beauty

I sleep, I sleep
too long, sheer hours
hound me, out
of bed and into clothes, I wake
still later, breathless, heart
racing, sleep
peeling off like a hairless
glutton, momentarily
slaked. Cold

water shocks me
back from the dream. I see
lovebites like fossils: something
that did exist


dreamlike, though
dreams have the perfect alibi, no
fingerprints, evidence
that a mirror could float
back in your own face, gleaming
its silver eye. Lovebites like fossils. Evidence.
strewn

round my neck like a ceremonial
necklace, suddenly
snapped apart.

       o

Blood. Tears. The vital
salt of our body. Each
other’s mouth.
Dreamlike
the taste of you
sharpens my tongue like a thousand shells,
bitter, metallic. I know

as I sleep
that my blood runs clear
as salt
in your mouth, my eyes.

       o

City-center, mid-
traffic, I
wake to your public kiss. Your name
is Judith, your kiss a sign

to the shocked pedestrians, gathered
beneath the light that means
stop
in our culture
where red is a warning, and men
threaten each other with final violence. I will drink
your blood.
Your kiss
is for them

a sign of betrayal, your red
lips suspect, unspeakable
liberties as
we cross the street, kissing
against the light, singing, This
is the woman I woke from sleep, the woman that woke
me sleeping.






Olga Broumas first published “Sleeping Beauty” in BEGINNING WITH O (1977), © Yale University Press. Reproduced by permission of Yale University Press.

Hilma af Klint

Hilma af Klint, The Ten Largest, No. 03, Youth, Group IV (1907)

Seree Zohar

Unpinned

Bowing, treetops meet curlicues of smoke.
Relief is bread and stew, another icy night dispelled.
Massive, that grey sky shot with blood, passing
by, where a man hears “go,
seek yourself”. And they that stay
behind, estranged in their land,
what sacred cow
must they sacrifice to batten down
the bluffed and buffered
tent flap they have become.





Seree Cohen Zohar, Australian-born, emigrated at 20 to Israel where her life included some two decades of farming, echoed in her art, poetry and flash fiction. Her work has appeared in publications such as Routledge’s International Feminist Journal of Politics, Voices Israel, Arc, Skive, Jerusalem Post, Horizons, The Flea and Soundzine. Seree is a professional translator who lectures on the metaphysical within the Genesis texts. Most recently she collaborated (with Alan Sullivan) as the Bible language consultant on a contemporary English versification of Psalms, soon to be published. In her free time, Seree might be found trying out new flash-recipes on her unsuspecting family.

Maria Mackay


Maria Mackay, Sky is Mother also (1989)

Flower Conroy

Granting Passage

Leather-dark-polished nails
behold: me.  To your blessing
bestowing mouth.  Therefore I am:

crucified-open, starfish-splayed.
Begging for drink.
Begging for fountain.

Will I or won’t I come;
your patient
blind-worming.

Can I harness the redblack sky
of my mind,
the redblack birds of thought,

redblack clouds building
behind my eyelids,
the redblack trees’ redblack

branches into my teeth’s nerves,
my tongue’s dirt road of taste buds,
can I amass the redblack red,

concentrate it into one
flame, one focal point
& hold it there long enough

for you to cross & cross
the bridge, that like night,
is this body?





Flower Conroy’s poetry has appeared or is forthcoming in: American Literary Review; Serving House Journal; Psychic Meatloaf; Sweet; Saw Palm; Blaze VOX; The Battered Suitcase and other journals. She will be attending Fairleigh Dickinson University’s MFA program in January 2011. Ms. Conroy currently lives in Key West, Florida.

Gisèle Freund


Gisèle Freund, Self-portrait (c. 1930)

Lesléa Newman

I Want to Stay Up Talking But

You kiss me at midnight and tell me to hush
I lie back in bed and do just as you say
Feeling my cheeks and my chest start to blush
You kiss me at midnight and tell me to hush
Then make it quite clear that you’re not in a rush
The new year is here and we’re happy and gay
You kiss me at midnight and tell me to hush
I lie back in bed and do just as you say






Copyright © 2011 by Lesléa Newman.
Used by permission of the author.
All rights reserved.





Lesléa Newman is the author of 60 books for readers of all ages including the poetry collections, NOBODY'S MOTHER, STILL LIFE WITH BUDDY, and SIGNS OF LOVE, the novel, THE RELUCTANT DAUGHTER, and the children's book HEATHER HAS TWO MOMMIES. Her literary awards include poetry fellowhips from the National Endowment for the Arts and the Massachusetts Artists Fellowship Foundation. From 2008-2010 she served as poet laureate of Northampton, MA. Currently she is a faculty member of Spalding University's brief-residency MFA in Writing program.

Grace Moon


Grace Moon, Shamless Honeymoon (2006)

Erin Wynn

Pronouns Fade in Twilight

Strolling along the Cincy skyline
dancing in the moonlight to
the river’s beauteous music;
conscious and inebriated because
pronouns fade in twilight.

So they two-step to the river’s lapse
unafraid of—who’s leading who
because the beat the starlight keeps,
doesn’t know the gender blues.

The rusty belt of Ohio sleeps
as the shadow hidden love
dances despite the fact that
there are thousands of reasons why
their feet shouldn’t want to move,
but only one reason why they do.
And they find they know the words, the
notes, the sweet melody as well as
any of us who could dare to sing against
the river’s current
—with the light of love to shine us through.





Erin Wynn is a recent graduate of Northern Kentucky University. She lives just west of beautiful Cincinnati. Her passion has always been writing and dabbles in just about any type from poetry to novels to creative nonfiction. She follows Virginia Woolf's philosophy that we should "caste to the hedge" our culture, gender, or traditions within our writing, and our lives, and adds that sexual orientation need not apply either.

Joy Howard

Morecambe Bay, January
(for Barbara, in memoriam)

Talking to myself    muttering
myself up stairs and down
glancing at the empty chair
across the dinner table    smiling
in a sideways manner

Old    alone    remembering
this trip we did not take
for unremembered reasons
and now can never

So you’re not here to see the torrid
winter sun’s majestic couchée    lackeyed
by the polished mirror of a metal sea
the following dark of cold sky
strangely starless

I kiss the air
the space where you once were





Joy Howard runs Grey Hen Press, and edits and publishes anthologies featuring poetry by older women. These have proved popular both with contributors and poetry lovers, and with frequent readings taking place across the UK, there has been much fun and camaraderie involved. She also runs an annual poetry competition for women over 60.

Joy has been writing poetry for over 30 years (with a few gaps!)

Magazine publications include: Sofia, Sphinx, ARTEMIS poetry, and The Interpreter’s House.

Online at: Guardian Poetry Workshop, poetry p f, and Lavender Review.

Anthologies: most recent The Listening Shell (Headland Publications 2010).

Single collections: Exit Moonshine (Grey Hen Press 2009) and Refurbishment (Ward Wood 2011)

Grey Hen Anthologies: A Twist of Malice ; uncomfortable poems by older women (2008); Cracking On: poems on ageing by older women (2009); No Space But Their Own: new poems about birds (2010) ; Get Me Out of Here!: poems for trying circumstances (2011)

Erin Dorsey

The Beginning

To me you are smoky hair and train tracks,

Red-lined lips and beer bottle ashtrays.

A sparrow, a crow – something, anything free.

You exist on fence posts, sitting cross-legged with a shy smile.

Other times you are destructive, waking up with tangled hair and eyeliner smudges trailing your face like tears, bruises and hickeys lining your breasts and thighs. You expose yourself in bars and let girls fuck you on your bedroom floor.

I bet you didn't know I think of you like this, or at all.

I do my best thinking in the early morning, usually with the sun-drenched mountains as the backdrop, flying down 1-90 with the sun at my back, the jagged green all around and the promise of the city before me.

I do my best loving after a night of slippery bliss, gazing into the morning hours, those nights where we get three hours sleep because we just can't close our eyes yet. Those moments when I imagine you above me, within me, throughout me. . .the delicacy of your shoulders and the softness of your neck the beginning of my constant rapture with you.

I do my best writing when I fear it will make no sense, when bits and pieces invade and force me to pull over, to jot it all down, writing furiously while trying to hold the wheel, seeing every mom-and-pop restaurant from here to the mountains as a challenge, a place to conquer myself. When I allow my thoughts to linger on one tiny aspect - the grey flecks of a stranger's eyes; the images I create based on your words - they unfold like golden butterflies dipped in stardust, an excursion of fantasy, the threat and promise of completion.

I do my best impressions of you when I am bleeding, when my heart overextends itself and light spills forth from my fingertips. Only then can I evoke an ounce of the beauty you maintain within that perfect frame.





Erin Dorsey is a 30-something semi-feminist, anti-complacent, boat-rocking poly mom, with a penchant for writing and too much time on her hands. Her writing can be found at Let's Eat Cake, which began as a way to help people navigate their understanding of polyamory and openness from the inside out.

Tina Fiveash


Tina Fiveash, Grace III (2011)

Joan Annsfire

Insomnia

I have a loud clock
so I can hear time
disappearing by increments
I witness the night
as it repaints its portrait
in tiny mechanical movements
that mark life’s edge,
eroding.

Aches of the past arise
intertwined with
the muddy smell of childhood,
once again fresh and deep
and full of danger.

All light has vanished
except for the hour, illuminated;
all sound diminished,
banished to an outland of dark distance,
framed by the low, hollow moan
of a train passing.

Raw, sharp early morning air
stings my skin,
flings me into a razor-edged future,
empty of promise
or mercy.

My eyes bleary and full as new bruises
threaten from the mirror
I rise and push into the day
pursued by relentless warriors
who refuse to allow
my surrender.

Inside the light rail car
I use all my weight to lean
against the motion,
struggle to keep heavy eyelids open,
my bed, recent scene of restless torture
looms like a rabidly, compelling monster
calling and calling
yet perpetually keeping me
from my dreams.




Originally from Cleveland, Ohio, Joan Annsfire has lived in the Bay Area for more than thirty years and makes her home in Berkeley.

Her work has appeared in Harrington Lesbian Literary Quarterly, Sinister Wisdom (many issues), SoMa Literary Review, 13th Moon, Bridges, Evergreen Chronicles, Lavender Review, and others. She also has been published in the following anthologies: "The Other side of the Postcard" edited by devorah major; “Queer Collection" edited by Gregory Kompes; "The Cancer Poetry Project Anthology" edited by Karin Miller; “The Venomed Kiss” edited by Anita M. Barnard and Michelle Rhea; and “Milk and Honey” edited by Julie Enszer.

Her short stories have appeared in read these lips; 4Play and the upcoming issue #5 (as yet untitled) edited by Evecho; and "Identity Envy" edited by Jim Tushinski and Jim Van Buskirk.

Mady Marie Boudages


Mady Marie Bourdages, La Vague (2003)

Night Is My Sister

Night Is My Sister, And How Deep In Love
Edna St. Vincent Millay


Night is my sister, and how deep in love,
How drowned in love and weedily washed ashore,
There to be fretted by the drag and shove
At the tide's edge, I lie—these things and more:
Whose arm alone between me and the sand,
Whose voice alone, whose pitiful breath brought near,
Could thaw these nostrils and unlock this hand,
She could advise you, should you care to hear.
Small chance, however, in a storm so black,
A man will leave his friendly fire and snug
For a drowned woman's sake, and bring her back
To drip and scatter shells upon the rug.
No one but Night, with tears on her dark face,
Watches beside me in this windy place.




Night Feeding
Muriel Rukeyser

Deeper than sleep but not so deep as death
I lay there sleeping and my magic head
remembered and forgot. On first cry I
remembered and forgot and did believe.
I knew love and I knew evil:
woke to the burning song and the tree burning blind,
despair of our days and the calm milk-giver who
knows sleep, knows growth, the sex of fire and grass,
and the black snake with gold bones.

Black sleeps, gold burns; on second cry I woke
fully and gave to feed and fed on feeding.
Gold seed, green pain, my wizards in the earth
walked through the house, black in the morning dark.
Shadows grew in my veins, my bright belief,
my head of dreams deeper than night and sleep.
Voices of all black animals crying to drink,
cries of all birth arise, simple as we,
found in the leaves, in clouds and dark, in dream,
deep as this hour, ready again to sleep.




September Midnight
Sara Teasdale

Lyric night of the lingering Indian Summer,
Shadowy fields that are scentless but full of singing,
Never a bird, but the passionless chant of insects,
               Ceaseless, insistent.

The grasshopper’s horn, and far-off, high in the maples,
The wheel of a locust leisurely grinding the silence
Under a moon waning and worn, broken,
               Tired with summer.

Let me remember you, voices of little insects,
Weeds in the moonlight, fields that are tangled with asters,
Let me remember, soon will the winter be on us,
               Snow-hushed and heavy.

Over my soul murmur your mute benediction,
While I gaze, O fields that rest after harvest,
As those who part look long in the eyes they lean to,
               Lest they forget them.




I Wake and Feel the Fell of Dark, Not Day
Gerard Manley Hopkins

I wake and feel the fell of dark, not day.
What hours, O what black hours we have spent
This night! what sights you, heart, saw; ways you went!
And more must, in yet longer light's delay.

With witness I speak this. But where I say
Hours I mean years, mean life. And my lament
Is cries countless, cries like dead letters sent
To dearest him that lives alas! away.

I am gall, I am heartburn. God's most deep decree
Bitter would have me taste: my taste was me;
Bones built in me, flesh filled, blood brimmed the curse.

Selfyeast of spirit a dull dough sours. I see
The lost are like this, and their scourge to be
As I am mine, their sweating selves, but worse.




The Taxi
Amy Lowell

When I go away from you
The world beats dead
Like a slackened drum.
I call out for you against the jutted stars
And shout into the ridges of the wind.
Streets coming fast,
One after the other,
Wedge you away from me,
And the lamps of the city prick my eyes
So that I can no longer see your face.
Why should I leave you,
To wound myself upon the sharp edges of the night?




Hymn to the Night
Henry Wadsworth Longfellow

I heard the trailing garments of the Night
         Sweep through her marble halls!
I saw her sable skirts all fringed with light
         From the celestial walls!

I felt her presence, by its spell of might,
         Stoop o'er me from above;
The calm, majestic presence of the Night,
          As of the one I love.

I heard the sounds of sorrow and delight,
         The manifold, soft chimes,
That fill the haunted chambers of the Night,
         Like some old poet's rhymes.

From the cool cisterns of the midnight air
         My spirit drank repose;
The fountain of perpetual peace flows there,—
          From those deep cisterns flows.

O holy Night! from thee I learn to bear
         What man has borne before!
Thou layest thy finger on the lips of Care
         And they complain no more.

Peace! Peace! Orestes-like I breathe this prayer!
         Descend with broad-winged flight,
The welcome, the thrice-prayed for, the most fair,
         The best-beloved Night!





Night
Louise Bogan

The cold remote islands
And the blue estuaries
Where what breathes, breathes
The restless wind of the inlets,
And what drinks, drinks
The incoming tide;

Where shell and weed
Wait upon the salt wash of the sea,
And the clear nights of stars
Swing their lights westward
To set behind the land;

Where the pulse clinging to the rocks
Renews itself forever;
Where, again on cloudless nights,
The water reflects
The firmament’s partial setting;

—O remember
In your narrowing dark hours
That more things move
Than blood in the heart.




There shall be no night there
                                                 In the Fields
Charlotte Mew

Across these wind-blown meadows I can see
     The far off glimmer of the little town,
     And feel the darkness slowly shutting down
To lock from day’s long glare my soul and me.
     Then through my blood the coming mystery
Of night steals to my heart and turns my feet
Toward that chamber in the lamp-lit street,
     Where waits the pillow of thy breast and thee.

‘There shall be no night there’ —no curtained pane
     To shroud love’s speechlessness and loose thy hair
For kisses swift and sweet as falling rain.
     No soft release of life—no evening prayer.
     Nor shall we waking greet the dawn, aware
That with the darkness we may sleep again.




Spellbound
Emily Brontë

The night is darkening round me,
The wild winds coldly blow;
But a tyrant spell has bound me
And I cannot, cannot go.

The giant trees are bending
Their bare boughs weighed with snow.
And the storm is fast descending,
And yet I cannot go.

Clouds beyond clouds above me,
Wastes beyond wastes below;
But nothing dear can move me;
I will not, cannot go.




True Night
Alvin Feinman

So it is midnight, and all
The angels of ordinary day gone,
The abiding absence between day and day
Come like true and only rain
Comes instant, eternal, again:

As though an air had opened without sound
In which all things are sanctified,
In which they are at prayer—
The drunken man in his stupor,
The madman’s lucid shrinking circle;

As though all things shone perfectly,
Perfected in self-discrepancy:
The widow wedded to her grief,
The hangman haloed in remorse—
I should not rearrange a leaf,

No more than wish to lighten stones
Or still the sea where it still roars—
Here every grief requires its grief,
Here every longing thing is lit
Like darkness at an altar.

As long as truest night is long,
Let no discordant wing
Corrupt these sorrows into song.




On Contemplative Ease
Elizabeth Hands

Rejoice ye jovial sons of mirth,
By sparkling wine inspir’d;
A joy of more intrinsic worth
I feel, while thus retir’d.

Excluded from the ranting crew,
Amongst these fragrant trees
I walk, the twinkling stars to view,
In solitary ease.

Half wrap’d in clouds, the half-form’d moon
Beams forth a cheering ray,
Surpassing all the pride of noon,
Or charms of early day.

The birds are hush’d, and not a breeze
Disturbs the pendant leaves;
My passion’s hush’d as calm as these,
No sigh my bosom heaves.

While great ones make a splendid show,
In equipage or dress,
I’m happy here, nor wish below
For greater happiness.




Out in the Dark
Edward Thomas

Out in the dark over the snow
The fallow fawns invisible go
With the fallow doe;
And the winds blow
Fast as the stars are slow.

Stealthily the dark haunts round
And, when the lamp goes, without sound
At a swifter bound
Than the swiftest hound,
Arrives, and all else is drowned;

And star and I and wind and deer,
Are in the dark together, - near,
Yet far, - and fear
Drums on my ear
In that sage company drear.

How weak and little is the light,
All the universe of sight,
Love and delight,
Before the might,
If you love it not, of night.




Wine of Light
Simin Behbahani

The stars have closed their eyes, come.
The wine of light flows through the veins of night, come.

I have poured so many tears waiting in the night’s lap,
that twilight has blossomed and the morning has bloomed, come.

In my mind’s sky your memory etches lines of gold
like a shooting star, come.

I’ve sat so long with the night telling my tale of woe
that the night and I have turned pale with sorrow, come.

If you are waiting to see me again when I die,
understand, this is the time, come.

If I hear anyone’s footsteps, I imagine they are yours,
with all this beating, my heart is bursting out of my breast, come.

You didn’t come when the sky was full of stars like grapes,
now that dawn has picked them one by one, come.

You’re the hope in the heart of Simin-the-broken-hearted,
put an end to my misery, come.

translated by Farzaneh Milani and Kaveh Safa


The School of Night
Alec Derwent Hope

What did I study in your School of Night?
When your mouth's first unfathomable yes
Opened your body to be my book, I read
My answers there and learned the spell aright,
Yet, though I searched and searched, could never guess
What spirits it raised nor where their questions led.

Those others, familiar tenants of your sleep,
The whisperers, the grave somnambulists
Whose eyes turn in to scrutinize their woe,
The giant who broods above the nightmare steep,
That sleeping girl, shuddering, with clenched fists,
A vampire baby suckling at her toe,

They taught me most. The scholar held his pen
And watched his blood drip thickly on the page
To form a text in unknown characters
Which, as I scanned them, changed and changed again:
The lines grew bars, the bars a Delphic cage
And I the captive of his magic verse.




A Clear Midnight
Walt Whitman

This is thy hour O Soul, thy free flight into the wordless,
Away from books, away from art, the day erased, the lesson done,
Thee fully forth emerging, silent, gazing, pondering the themes
        thou lovest best.
Night, sleep, death and the stars.