New Poems by Our Contributors NATHANIEL PERRY and TYLER KLINE.
Table of Contents:
34 (Song, with Young Lions)
By Nathaniel Perry
All the young lions do lack
bones. They lie wasted on grass,
cashed out, exhausted and un-
delivered. A poor man cries
eventually. A troubled
friend cries eventually.
My Grandma Betty’s garage, like the rest of her house, was always neat and well-labeled. The tools hung in their places. The floor was swept clean. Along the walls, DIY wood shelving was stacked high with boxes labeled according to their contents. Herb Toys. Xmas Decorations.
Somewhere amidst all the old slot cars and yearbooks, up by the rafters in a far corner, were three produce boxes filled with ephemera from her childhood in Toledo: a trophy from the Maumee River Yacht Club, a 1911 desk calendar printed by her adoptive father’s plumbing and heating company—“We’d like to be your plumbers just the same as Dr. Jones or Dr. Brown is your doctor”—get-well cards, bank books, newspaper clippings.
The houses are photographed with light in mind:
The sun, they say, is shining here. The filter
hints at lemons: fresh laundry on a quaint
old line. The “den” becomes the “family room”
where we’d play rummy and watch TV, the square
footage enough to hold all of our misgivings.
1.
In December, one of those nothing afternoons after Christmas, my younger sister Ruth returns to the holiday house, where I am bored with extended family on the stoep. The guests get up, ready to greet them, while my dad finds chairs for her and David. But she pauses with a funny look on her face, as if she’s remembered a dream or eaten something sweet, and says she’s engaged. Now everyone rises, and I make my own lips follow in a smile. David is bashful behind her, accepting hugs and handshakes. I’d like to ask him why he didn’t tell me he was going to propose, ask my parents if they knew. Of course they knew.
Watch the author read from this piece at our Issue 28 launch party:
It was an early afternoon in mid-July, the sun at the height of its powers, and while Laura was stirring a gin and tonic, her co-workers were stretching their picket line across the parking lot of the New Epoch shoe factory. Sitting in a wicker chair on the stained deck of the palatial home of the floor supervisor and his wife, a cool breeze sweeping through the overhanging trees, her ears buzzing with the chirping of birds and the bubbling of the pool filter, Laura told herself she never wanted to be here. She knew any deal between workers and management had to be made with the backing of the entire factory floor. Otherwise, the bosses would try to pick them off one by one, like lions to lagging gazelle. Still, it had been decided she would accept the supervisor’s offer to negotiate over dinner, if not to strike a deal, then at least to feel the man out.
The screen door to the house screeched open, and Laura turned to find her supervisor’s wife, Fatimah, stepping out onto the deck with a tray of charcuterie and a pair of fresh drinks.
Falling is an art. No one, not even the preacher,
can tell you the way to your knees in the night.
Watch the rain. It practices its landing
on everything, drumming the roof, the car,
the pond. Watch the leaves, each a teacher
of twirl, the dance from branch to grass.
From window to pavement, the man was laughing
all the way down. However he landed, it was
hardly over. Now he’s called wise.
Walking is falling forward. Running
is falling faster. Watch the dark. It falls
so slowly while the sun yanks the rug
out from under you. At night some fall over
a book into a story. Some fall
for each other. We have fallen all the way
here. We could do it in our sleep. And we do. We do.
Wyatt Townley is Poet Laureate of Kansas Emerita. Her work has been read on NPR and published in journals of all stripes, from New Letters to Newsweek, North American Review to The Paris Review, Yoga Journal to Scientific American. Her latest book of poems is Rewriting the Body. More at WyattTownley.com
I’m standing in the exact spot
of this photograph, looking at the past—
my middle son, still alive, lying on the rug
at my feet in my oldest son’s house.
On his wide chest, his niece, weeks old,
sleeps, adrift perhaps in the familiarity
of the heart’s steady beat, her memory
of him formed mostly by this photograph.
Tracing dusty footprints, you can be led
to fornix, to tombs, the circus and bars,
to my lupan, my cell, my earthen bed;
what waits is not secret—see what I are?
I’m not a barmaid, an actor or slave;
I’m not being cursed because I had sinned—
I’m earning my keep in this grisly trade.
For that I am traif, but come along in.
I’ll lead you to places you’ve never had;
to hell in a basket: one bloody as.
By SHANE CASTLE
Laughlin learned to hear on the hobby farm in Montana. One late afternoon, the summer he and Cassie bought the five hillside acres outside Helena, he was setting wood posts for the new corral when he heard a sound among the ponderosas toward the top of their property. It was like nothing he’d heard before. He walked up the drive toward it. A breeze was swaying the tops of the trees, and he heard it again and imagined some kind of Mylar weather balloon, blown off course, deflated, stuck in a tree. That’s what the sound was like: someone blowing a taut edge. He remembered being a kid, his family visiting Meema and Peepa at their old place on Animas Creek. He remembered Peepa teaching him and his little brother, Tyler, to blow blades of grass like kazoos. Laughlin looked and looked but found nothing. He walked a while among the tall ponderosas, at times certain he was right under it, only to look up and see nothing, and it went on this way until that moment when dusk turned to dark, when, abruptly, the sound stopped.
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