ISSUE 19 - JUNE 2019

CONTENTS
Germaine Greer: “ If the world has dubbed you crone, you might as well be one. There is no point in growing old unless you can be a witch, and accumulate spiritual power in place of the political and economic power that has been denied you as a woman.”

Rupert Sheldrake: “Similar patterns of activity resonate across time and space with subsequent patterns. This hypothesis applies to all self-organising systems, including atoms, molecules, crystals, cells, plants, animals and animal societies. All draw upon a collective memory and in turn contribute to it.”

Christina Rossetti: “…and whilst it may truly be urged that unless white could be black and Heaven Hell my experience (thank God) precludes me from hers, I yet don’t see why ‘the Poet mind’ should be less able to construct her from its own inner consciousness than a hundred other unknown quantities.”

R. Nemo Hill: “I cannot speak of it, this lonely place
of rest—in which past harbors play no part.”

W. S. Merwin: “I think there’s a kind of desperate hope built into poetry now that one really wants, hopelessly, to save the world. One is trying to say everything that can be said for the things that one loves while there’s still time. ... We keep expressing our anger and our love, and we hope, hopelessly perhaps, that it will have some effect.”

Radicalesbians: “What is a lesbian? A lesbian is the rage of all women condensed to the point of explosion. She is the woman who, often beginning at an early age, acts in accordance with her inner compulsion to be a more complete and freer human being . . . than society cares to allow her to.”


Mary Meriam, Editor
Lavender Review


Berthe Morisot, The Orange Picker (1889)

ISSUE 19 - JUNE 2019 - CONTENTS


POETRYART
JESSICA K. HYLTON
Sidewalk Dandelion

LYNN MCGEE
Razed

RISA DENENBERG
Arrived

ELISA EVERTS
In the Depths of God’s Eye

SARAH CAULFIELD
Shabbos Goy

EMILY WIN
wedding bells ring 

AVA SERRA
Drawing On History Books


REBEKKA HOCHRATH
[imperative] forget at 4:39 am 

SOPHIE PANZER
Vltava Ballerina

ANNE MYLES

Spacewoman

CHELLA COURINGTON
Shipwrecked

ALEXA GARVOILLE
A Third Gay Boyfriend Comes Out to Me on Beaver Island

HANNAH COAKLEY
Dundas West, 2011 

KATHERINE FALLON
On Being Wed

ANASTASIA WALKER
The Length of an Arm









MARINA CARREIRA
Our Lady of #MeToo (2018)

STU WATSON
Parade of Longing (2019)

RISA DENENBERG
Water Colors (1998)

FRANCESCA ALAIMO
Boy with a basket of fruit (c. 2006)

LOUISE ABBÉMA
Portrait de Sarah Berhardt (1875)

BERTHE MORISOT
The Orange Picker (1889)

JESSICA BURKE
There Is Always A Cause (2007)

CAROLEE SCHNEEMANN
Eye-Body (c. 1960)

RENÉE SINTENIS
Daphne (1961)

SHELLEY MARLOW
Tree Witch (2019)

GRACE FIELDS
The Meeting of the Two Eves (2018)

ROBERT MAPPLETHORPE
Patti Smith “Horses” album cover (1975)

ELENA BOTTS
haley (2018)

SARAH MAXWELL
Love, what have you done with my tongue? (2017) 

JACK MANNING
Jill Johnston (1985)










Jessica K. Hylton

Sidewalk Dandelion

I stepped on you today
You crumpled under my
Weight while all I felt was a
Slight discomfort from
A disrupted step

But there you still stood
When you should have
Laid down like
A river rock bending to
The quick moving tide

But you?  You
Survive
Your fragile tendrils
Bust through concrete
Better than sweat powered steel

How we have tried to eliminate you
We assailed you with sheer man power
Ripping, tearing—anything to
Force you from your fortified cement
Trench line

We bombarded you with
Chemicals and gases rarely seen outside of
Concentration camps
Your gold petals denoting your
Non-Aryan vegetation status

And still you hang on
Ignoring the disemboweled remnants
Of a companion’s scattered scraps
A leafy corpse that covers
Your own body

I watch you
Straighten your bruised and flattened limbs
Twisting your face
Your yellow features
Insistent on survival




Jessica K. Hylton is an assistant professor of English and the MFA director at the University of Arkansas at Monticello. She earned her Ph.D. from the University of Louisiana at Lafayette, and her chapbook, The Great Scissor Hunt, was published by Headmistress Press in 2017.

Marina Carreira

Marina Carreira Our Lady of #MeToo (2018) 
Mixed Media (oil, acrylic, collage) 9” x 12”

Lynn McGee

Razed

You’re my other lost sister.
You’re the reason I look at my fist,
and see a heart.
You’re a voice message I transfer
to a new phone, each
new phone I get, and you’re why I watch
a building being razed in the view
from my office window; ceiling
by ceiling, floor
by floor.

A man in a white mask hoses down
debris. Another man wields
a sledgehammer, shatters brick walls
that held families in walk-up
apartments, bathtub magnificent
as a walrus in the kitchen,
soup steaming on the stove.

After a couple weeks, the building
is rubble scooped up by a bulldozer
and delivered to dumpsters waiting
at the curb. An exposed wall, bricks
that haven’t seen light in a hundred years,
is red as scraped skin. The syllables
of your name nest in my throat.
The city crumbles and rises
around me.




Lynn McGee is the author of the poetry collection Tracks (Broadstone Books, 2019);  Sober Cooking (Spuyten Duyvil Press, 2016), and two award-winning poetry chapbooks: Heirloom Bulldog (Bright Hill Press, 2015) and Bonanza (Slapering Hol Press, 1997). Five of her poems are forthcoming in the anthology Stonewall's Legacy, celebrating the 50-year anniversary of the Stonewall uprising, and other work is forthcoming in Across the Waves: Contemporary Poetry from Ireland and the United States (Salmon Books), Upstreet Literary Journal and others.

Stu Watson

Stu Watson Parade of Longing (2019)

Risa Denenberg

Arrived

            At last I am arrived.

It took a lifetime to pack, unpack, repack.
            Along the way, I eulogized suicides and cows

lingered in ghost-crammed cities
            found solitude in vacant towns.

Some say it takes an entire life to arrive
            and some not arrived even at death.

If not dead yet, at least I have a story. Look—
            I’m dangling a gun from its holster

ready to argue against another day. All the yellowed

            leaves tore loose and ran away.

If my life is rejected, if never wise, if barely alive,
            if not quite woke, at least I am arrived.

Arriving is the inner skin of leaving. All the wreckage
            and detritus of a life, left behind to founder

on its own. I’ve burned my story, every page of it.
            I never said goodbye.




Risa Denenberg lives on the Olympic peninsula in Washington state. She is a co-founder and editor at Headmistress Press; curator at The Poetry Café, and has published three full-length collections of poetry, most recently, slight faith (MoonPath Press, 2018).

Risa Denenberg

Risa Denenberg, Water Colors (1998)

Elisa Everts

In the Depths of God’s Eye

I woke up in the night
Gasping for light
Wanting on waking to
Walk into God—

To make my home in the depths of Her eye,
To be its apple—A favored fruit,
Neither forbidden nor fallen-
But softly, shrewdly shaken
From the fertile boughs of Her forest
At its prime, and at the designated time
Unshackled and claimed by Shekinah Herself—
Her shimmering, shuddering, soul-shining Self.

The moment Her gaze falls upon me I am lost.
The earth stops spinning on its axis
As my heart stops,
The sun and the moon and the stars stand still.
I am stunned. Utterly smitten,
Consumed with holy desire.
I want only to be seen by that loving eye,
To throw myself into Her gaze with abandon
Denouncing the unholy ground that I stand on.
I wish to fly into Her presence,
To fix myself and be fixed upon in
This queerly infinite moment of eternity—
Both beholding and being held,
Captivated, enchanted, suspended in Her gaze,
Besottedly in love.

So when She plucks me from my branch,
And the world begins to spin again,
I’ll spiral in splendor and splash with delight
Into that sparkling stream of Spirit and light
That babbles and bubbles—and sings—
Dancing its way to the Queen.

Carried along on a current of grace,
On the watery wing of Her will,
Lost in worship and washed in the waves
Of an unexpected cleansing ecstasy—
I am ushered like royalty straight to the throne
Past visions of souls yet unborn and unknown
Straight to the inviolate core of Her enigmatic eye,
Where sacred dreams and secrets dwell
And treasures of the Spirit lie.
A thunderous hush, a flash of lightning,
A moment of unconsciousness . . .
And I come to in the inner sanctum, the holy of holies,
The luxurious place where light lives, loving and lavish.

There will I nestle behind the heavy curtain of Her lids
And make my bed wrapped in immutable silence
In the quiet light behind that lovely shimmering tapestry,
Floating like a perfect pearl
In the soft wet ecstasy of Her heavenly dreams.

And when my light-starved soul is sated,
I shall rise like a woman resurrected
To find it open in the morning
To the glory of the newborn day!

That luscious lid lifted like a grand curtain rising
On the unspeakable splendor of the spectacle of life!
Her masterpiece spilling out like planetary gems
Sprawling across the rich, dark velvet of space,
Diamonds, rubies, sapphires— And pearls,
Forged in the crushing pressure of Her palm,
Her hand, however gently squeezing, then releasing
And in one magnificent sweeping gesture,
Gracefully scattering them across the sky
Like glowing seeds, pregnant with light,
Inseminating the universe with brilliance.

Oh, how I will stand in wonder and drink in the light,
There at the portal, the window of God's soul,
Till I am drunk with the holiness rushing around me,
Soaking in the glory of the mysterious,
Infinite made finite, still breathtaking sky!

There will I behold in the star scape
That frenzied orgy of divine fertility,
Her fiery flowers flirting, flying, floating –
And in one exquisite motion,
Both conceiving and giving birth to the light—

Storms of stars released from their stalls,
Stallions of Apollo tearing across the sky—
Light flowing forth in fire and flood,
Flashes of lightning, electric streaks,
Rainbows drenched with hues so deep,
Crimson sunsets blazing
O’er the fiery surface of the sea,
Flames flickering in her blinding waves,
And half the earth a sculpted mirror
Reflecting Her glory in 3D.

I suck in the sight until I am exhausted and spent,
Both fueled and fatigued by the flurry and fury of joy
Till I collapse—dizzied, dazzled and dazed,
I am a witness.
And lifted to another realm, I see this mystery–
This thunderous riot of color and life—
This intergalactic Mardi Gras,
Perfectly at rest in the eye of Her storm,
Reflected in the placid face of the crystal sea
That spreads in majesty there before Her eternal throne,
The place where Her fiercely beautiful
Countenance glows, radiant, intoxicating—

Where Her lovely eye is both open
And poised in repose,
Both awake and at rest,
With the power to ignite at a glance,
But to mercy disposed.

There will I make my bed safe within the folds
Of Her iridescent iris.
Mother of pearl, Mother of peace,
Mother of worlds, and of glory unleashed!

Oh, be Thou my vision and my truest sight!
Take me into Your heart, Your soul, Your womb!
Let me rise on the wings of the dawn and take flight—
And then settle again as Your flower,
Nestled amid Your favored blooms
Those in whom You most delight.

<Sigh>

In peace shall I lie
In the depths of God's eye,
Bathed in Her light,
And cleansed
In the night.




Elisa Everts is an exuberant late-in-life lesbian who holds a PhD in Sociolinguistics from Georgetown University, where she received a four-year fellowship. She is an emerging poet with poems and creative nonfiction published or forthcoming in 2019 in misfit magazine, Mused, Anti-Heroin Chic, HerStry, Three Line Poetry, Zany Zygote, The Avalon Literary Review, and Muddy River Poetry Review, as well as seminal academic articles on family humor style and blind/sighted interaction published by Mouton and Georgetown University Press (2003 and 2004). She has also just finished a children's chapter book tentatively titled “This Little Pig is Family.” Elisa writes, teaches, and dabbles in public speaking near Washington, DC. A smattering of her work and thoughts can be found here.

Francesca Alaimo

Francesca Alaimo, Boy with a basket of fruit (c. 2006)

Sarah Caulfield

Shabbos Goy

The soft seashell whorl of her headscarf,
The colour of a captured pearl.
Cut down from a painting, she smiles in my memory—
Something slow and Renaissance—
And asks if I will eat with her family.

I sit, spine rigid as a crucifixion, pinning all my words
Back under my tongue, just to be sure. Best behaviour.
I am scared, in that startled, understated British way, that something
I do not mean, capable of wounding by accident, will slip out.
I swallow mouthfuls of chicken, and warmed through by her and her husband,
Go back to the kitchen.

Each Friday, I dip in out of the cold dusk,
And never think twice about why they keep security stood on the door
During synagogue. A kind of blindness.

I see with my hands in this place.
I fold them through the water, around handles, and lift. Pots part the sink and come up streaming.
It is a small kingdom, but it is made mine for a duration,
Borrowed in the strange liminal space before Saturday night.
I keep my headphones pocketed until the singing stops, my head submerged in the sound of
Something holy I cannot unhear.

Soon, the kitchen will flood with committee,
Pouring out vodka into plastic cups and crackling with laughter.
The last thing I do is clean the floor, erasing the footsteps
Of every person who walked here tonight. Yom HaShoah is next week.
The first boy to call my name beautiful tells me this.
The velvet curve of his cap against his skull glints liquid.
The floor is spotless. I think of a pile of shoes, haphazard, to be wiped out.
And I can’t breathe.

On Sunday, I will be thanked for my help.
They have no idea their kindness is saving my life.

Sometimes, walking home, all an ache, I think of
How there is still Hebrew song
Curling upwards into the air, outflung:
Welcome home.





Sarah Caulfield is the author of Spine (Headmistress Press, 2017). Her work has appeared in Lavender Review, Voicemail Poems and What Rough Beast. She has lived in the UK, Poland and Germany, and currently lives in Japan.

Louise Abbéma

Louise Abbéma, Portrait de Sarah Berhardt (1875)

Emily Win

wedding bells ring

wedding bells ring
in the cracks and coves and
crumbles of the castle

the chime churns on
through the brown meadow
through the bushes and buried brides
past the town well—

while a sailboat slowly tips
starboard, and the sounds of
children fade and the seals
retreat, and silent
summer leaves sing their last song—

while the sun takes a last look
and sea salt parches the people above

and the ghost of you
whips through my hair
and whispers silence.




Emily Win is queer cisgender woman of mixed/Asian background. She is earning her MA in Creative Writing and Critical Life from the University of Leeds in Leeds, England, but she apprehensively embraces Toledo, Ohio as her hometown. When she isn’t reading, writing, or editing, she’s getting involved in local communities, swimming laps, or water-coloring from home. She is currently working on a collection of poetry/creative non-fiction that exposes, complicates, and affirms the relationship between womanhood, queerness, and Christianity.

Berthe Morisot

Berthe Morisot, The Orange Picker (1889)

Ava Serra

Drawing On History Books

A liter of kerosene
on sale at the family gas station
one town, half a playlist away
Buy two, get one free
and we’re on our way
Diana Ross and Janelle Monáe
uprooting roads, rediscover lazuli
down white man’s roads in white man’s country
where the wild grass pushes through dry blood
and wheels crunch over crystal tears

off to the country’s core
Phallus hub buried in the cave under the Hill
excavated by their fathers,
butchers in a land uncarved
now overseen by the desert imp who takes
a woman’s touch and tongue
but has never known her gift
He thinks gold to be sand
and these igneous walls around must be abound,
protected from the likes of feminine fire and brown
My love and I

earthquake through the floor
don’t bother with the front door
Down to the archives
where the banned and scorned murals hide
the minerals whisper different names, old names
They tell us whales were not always in the sea
and the sky is not a ceiling, it is infinity
In this underground, the sunless men hide
the carvings — tomes of kissing bulls
women who made love in volcanoes
became goddesses
All this amber and obsidian obscured
under decades of white pus
My beloved turns to me
asks if I’d like to make a canyon
crumble all this into the crust

She kisses cocoa into my mouth
strikes a match in my lungs
I breathe fire, breathe black fire
bellow rainbow
Infection to dust, affliction to ash
excavate the jewels, run down the tunnel
shatter glass with lava rocks and marble
Leave her to climb atop the wreckage,
pluck the buttons at her waist, let skin spill free,
bend in the knee
She releases magma, consumes the Constitution in flame

Alarms scream to the masses of imp men
They scurry with buckets of political homogeneity
Carry tomes of galaxy mist within ancient opal
plastered in papier-mâché
Fists raised, clutching legislation folded into bullets
they instruct their soldier clones
Take aim, fire

the oil on our bodies
lights. Our laughter echoes into a serpent
Jazz queen and Nephthys meld into meteor
belch earth origin and eon aged smoke
a parting gift as we ride our kerosene sin
through the ceiling, we make it glass
out of the stratosphere
into Venus’ sulfur storm




Ava Serra is a queer woman who strives to highlight underrepresented identities in her art. Aside from writing projects and fawning over her cat, she is working on her degree in Environmental Science at Northwestern University. Since her introduction to poetry in 2016, her work has been featured in Nailed, Northwestern University’s French & Italian publication Rosa La Rose, POSTSCRIPT (2018 & 2019), and Sonder Midwest Review. She was also a finalist in the Gwendolyn Brooks Open Mic Awards in Chicago, where she dwells and frequently performs.

Jessica Burke

Jessica Burke There Is Always A Cause (2007)
oil painting
24 W x 32 H x 2 D (inches)

Rebekka Hochrath

[imperative] forget at 4:39 am

you say [goodbye] to your best friend, knowing
she will get impregnated by a german in mexico while
pigeons holler by the bridge. you wish you could walk without
her by your side, the consistent [click] of her predictability.
[un]fortunately, you don’t believe in hexed wishes [you can’t]
but the world does and so does she. you carry your feet, killed
woman, past an abandoned soccer cage, spotless graffiti [sometimes anti
social], and waving grass, smoking in the rolled-up white of the moon.
you don’t wave; the motion of a kiss rubs hard against the shell
of her yellow rain jacket. It is blown gone and away, she, your favorite
flicker. you stomp toward your future; she has hers in her hands, the feather
ring of promised fidelity. things change, you think, fingering
your pepper spray. but you have rights to more than footnotes and rainbows; you cannot decapitate
your hopes, the smoke signals of your self. she succumbs to the hetero shit. you are still god
[female] you must be – otherwise...the wind howls, her back is turned and you pull
tobacco. you have always known you would lose her to a man.
the confirmation of her rear license plate, red lights on, makes you shake
your heart. you don’t want any more. you behead your longing, musty and yellow, crumbling
parchment edges, magazine still full, blood blade. you cannot find a grave for your soul
less desire that was never meant for her to discover. she refused to care, against
her touches and her eyes, broken, against the torch she carried into your proclaimed
significance. instead, she locked the gun, the gun you have held in your hands to ratify reality. she took
it, always, pointed the weapon in a safe direction, unloaded and stored it where your brain could not reach.
she would be the one to shoot, dreaming [in] versions. however, you cannot control the wetness
between your legs when she moves her hands across your back and pets the prison of your nestled lies.
you wish you had told her the truth [absolute] but you have, your sisters insist, and the balance
sheet of give and take tells you [you waste love] it is your synapses strangling
every thought with clarity on the orbital target of her face. you know the truth, the fear
and the gun intimately when stroking your pubic hair that grows too fast for release,
when masturbating her name though the silence of the clean bed.
you have always wanted to put those bullets into air.

you eat your last bag of chips while she drives the car to the airport,
knowing the $4.39 you owe her will never be paid.





Rebekka Hochrath moved to Leeuwarden, the Netherlands, to be with her girlfriend. She works as a climbing instructor, having completed her master’s degree in American and English literature at the University of Mannheim, Germany. She loves the outdoors, hiking and bouldering, her cat Rey, and intersectional feminism. Her poetry has been featured in Sinister Wisdom and her short fiction has been published in Sweet Tree Review.

Carolee Schneemann

Carolee Schneemann, Eye-Body (c. 1960)

Sophie Panzer

Vltava Ballerina

Castle light bleeds across the river
in the deep blue afternoon

falls across the spray gold statues
the smoke-filled magicians
the sequined dancers

and a woman
studying a book
waiting for her tram and her girlfriend.

I know her well, but I will bury myself
inside the dark fibers of my hair,
my black sheep coat

because I have spiced wine on my breath
desire purple on my lips
and I am no dancer, not like the girl in the leotard

spinning and stretching for silver crowns
but I know the steps
that will carry me between

hello and her bed
and they always end
in a solo.




Sophie Panzer is the author of the chapbooks Mothers of the Apocalypse (Ethel Press 2019) and Survive July (Red Bird Chapbooks 2019). She currently edits prose for Inklette and previously edited fiction for Scrivener Creative Review. Her recent work has appeared or is forthcoming in Little Old Lady Comedy, Josephine Quarterly, and Anti-Heroin Chic.

Renée Sintenis

Renée Sintenis, Daphne (1961)
bronze

Anne Myles

Spacewoman

What strangeness yet remains to be explored!
She climbs the kitchen stairs from the back door

into a silent house and the glow of wood.
Would she prefer to find there, if she could,

anything other than the waiting pets?
A cat’s a mystery, pure as a planet.

Her steps repeat the age-old two by two,
but her body’s rising like a rocket to

a place almost uncomprehended,
where story turns to mist and evanesces.

The Star of One is full of peace and fur,
not hard to breathe there, but for the terror

at flying through the interstellar gaps,
no extra fuel provided, and no map.

Dizzied, she rests her hand on her flesh suit
to feel her heart still beating, revolves the weight

of her skull helmet. Surely she was chosen
to watch the rising of a foreign sun,

to hum along with solitary spheres,
and send back photos of the distant Earth from here.




In Summer 2019 Anne Myles is retiring from a 25-year career as an English professor and beginning an MFA in poetry at the Vermont College of Fine Arts. Recent work has appeared or is forthcoming in Crosswinds Poetry Journal, Whale Road Review, Green Briar Review, and North American Review. Here's a January 2019 interview about her midlife return to writing poetry.

Shelley Marlow

Shelley Marlow, Tree Witch (2019) 
mixed media: pen, ink, foil, wrapping paper, yellow candy wrapper

Chella Courington

Shipwrecked

I tell my lover I want to die soon
She pulls me to her
Our breastbones side by side
            She becomes a field of lavender
            crushed blooms
            a diamond in the crocus
            I long to unwrap

                                       *

I’m afraid     I can’t love     afraid
if I open myself           you'll  hear the
Siren I am

                                       *

My lover says she knew we were at risk
I called myself too worn
She looked at me like a mother at her newborn
            Whispering
            between
            no past     no singing

                                       *

I'm hurting     my body a violated vow
words riddled     shards of what
I desire

                                       *

My lover hears     my song     no less sad
than sweet     crawls into the dark
closet with me

                                       *





Chella Courington is a writer and teacher. With a Ph.D. in American and British Literature and an MFA in Poetry, she is the author of six poetry and three flash fiction chapbooks. Her poetry appears in numerous anthologies and journals including Spillway, Gargoyle, Pirene's Fountain, and The Los Angeles Review. Originally from the Appalachian South, Courington lives in California with another writer and two cats.

Grace Fields

Grace Fields The Meeting of the Two Eves (2018)
acrylic on canvas

Alexa Garvoille

A Third Gay Boyfriend Comes Out to Me on Beaver Island

So many outings had I attended, but never my own.
This was the job of the girlfriend with the gaydar:
I dry humped a gay man on his mother’s rug,
penpaled the fire chief out of the closet,
and approved of the dick doodles hidden from view.

I was the grand marshal of their parade. I let them come
out into my loving hand while my own desires beat
like the sands into the shore.

Looking like a boy at fourteen,
I had him double-taking.
He fooled me, too: his skinny face
and popped-out hip, done-up hair, the flannel.

We mistook the other for what each was:
he was girl enough for me, and I
could man up for him. In the mirage
of this pheromone-fuzzy trip,
we fell
not so much in love,
but in step, settling
like frantic seabirds into crashing waves
for each other.

When he came out to me the next summer
at camp, he thought he broke my heart.
In a cross-legged seagrass conference,
amid twiggy shoring up of sand, he told me
in a sob of downturned shame.
I smiled and I laughed
and I patted his knee. By now, I knew
the routine. Even the gulls,
like queens preening in the wings, cackled
approval for what we all knew.

His tears, and others’, I took coldly
like a serum to steel my unease, to hide
in plain view on his arm: a beard
and her beau, so much the same,
except for their taste in men.

I had no appointment for confession.
My own outing was a brimming
spring of unspoken suggestion
(this hair, those clothes)
leaving, I thought, no room
for denial or for questions.

That June, a clarinetist took me
to a practice room and held my hands in hers.
Those lessons—mouth on my ear lobe—
would never leave the lake.




Alexa Garvoille is an MFA in Creative Writing candidate at Virginia Tech. In addition to writing poems, she also researches creative writing pedagogy.

Robert Mapplethorpe

Robert Mapplethorpe, Patti Smith “Horses” album cover (1975)

hannah coakley

Dundas West, 2011

her fingers were sandpaper.
tracing mountains, rivers,

boundaries i did not even know existed,
until suddenly they arrived and i

became resident of a new land,
where combinations

of yes no back forth,
swallowed, ceased to be.

in her palm spun a territory that
defied the law of physics.

the air above was ashen,
its gravity scorched my feet

as i, aloft and churning, kept
captive in between.

it’s true. atmospheres break.
rain clouds burrow deep.

her grit made the water sweet.
i drank it.




hannah coakley is a poet, food activist, nutritionist, and queer zen farmer living in fort collins, co. her work has been featured in Rebelle Society, The Voices Project, and the Mad Farmer Literary Series. she works nationally in private practice and can be reached via her website.

Elena Botts

Elena Botts, haley (2018)

Katherine Fallon

On Being Wed

Beside Lake Champlain in high July. Hands
bound in white cloth, we paused, were wished upon:
may your days together be good and long 
upon the earth. The lake glittered, called

forth the myth of the monster inside it,
unknowable. Flat-out crude, sweat trickled
down my inner thigh. All of love is pure
speculation. I promised you safety,

truth, the long work of lasting beside you,
knowing what lasting requires of those of
us who’ve lived before like molting birds. I
promised to love you as long as I could,

and to treat you with love for as long as
I live. I’ve failed, yes, but not in all ways.





Katherine Fallon received her MFA from Sarah Lawrence College. Her poems have appeared or are forthcoming in Meridian, Passages North, Permafrost, Colorado Review, and Foundry, among others. Her chapbook, The Toothmakers' Daughters, is available through Finishing Line Press. She teaches in the Department of Writing & Linguistics at Georgia Southern University, and shares domestic square footage with two cats and her favorite human, who helps her zip her dresses. She and her favorite bread recipe can be found at katherinefallon.com, and she is reachable on Instagram @ghostelephants.

Sarah Maxwell

Sarah Maxwell, Love, what have you done with my tongue? (2017) 
Instagram: @sarahmaxwellart

Anastasia Walker

The Length of an Arm

We don’t measure distance
in units like inches or
miles or light-years but
in the strain in your smile
when I mention my breasts
the half-swallowed breaths
drunk from our silences
the arc your nose traces
with the turn of your face
the length of your arm
your raised palm demarcating
intimacy’s border: just
here, and no closer.





A Maine native but an academic gypsy for most of her adult life, Anastasia Walker is a poet, essayist, and scholar who lives and works in Pittsburgh. Trans-themed poems of hers have appeared or are forthcoming in several journals. Through 2016-17, she blogged for Huffington Post on trans and LGBTQ+ issues, and she has recently begun posting similarly themed pieces on Medium.  She volunteers for the Transgender Law Center’s Prison Mail program, and is a proud member of her community’s Indivisible group. She’s committed in both her work and life to furthering a broader and deeper understanding of what it means to be trans.  Twitter: @staswalker22

Jill Johnston

Jill Johnston photographed by Jack Manning/The New York Times (1985)