Monday, 14 March 2022

The Widow of Fajes Grandes

by Eve Rifkah


Whitecaps rise and fall as distant dolphins.
I once shook my fist, spat at the sea – Feh!
the devil in blue the devil in green-gray grabbed
my Josef – mine – What am I saying?
With the sea there is no mine.
Taught heaven hell, God and devil
out there is only air and sea
one breathes or doesn’t.
The sea took my man spun in sail and oar
and splintered keel. What kind of payment was that?
I say Feh on the priests
no God can heal my empty bed.

I turn my back to the sea
the ache snakes up my stomach
fills my throat with spume  
turn away     tighten robe    put kettle on
grind coffee    slice bread
pull out bucket and brush
clean these old tiles again
the wash water bites me cold    
I force again my hand
my flesh into the vastness
into the depths that I know has bottom
I will not fall in.


* * * * *

"The Widow of Fajes Grandes" is from Eve Rifkah's 4th book, Lost in Sight (Silver Bow Publishing, 2021).

Eve Rifkah was co-founder of Poetry Oasis, Inc. (1998-2012), a non-profit poetry association dedicated to education and promoting local poets. Founder, and editor of DINER, a literary magazine. She is the 2021 recipient of the Stanley Kunitz award. She lives in Worcester, MA with her husband and cat, Bela.

Sunday, 13 March 2022

 

A Daughter’s Vow

by Traci Mullins


I won’t care if you ignore me, hide your face behind a book, the only sound the ice cubes, tinkling in your gin.

I won’t care if you neglect me, leave Pop-Tarts for my dinner, the only sound the television, babysitting again.

I won’t care if you abuse me, remind me I’m your biggest mistake, the only sound your slap across my face, stinging me with shame.

I won’t care if you displace me, let your lover steal my place, the only sound a knife’s blade, hollowing my heart.

I won’t care if you betray me, play dumb at his seduction, the only sound your hiss, accusing me of lying.

I won’t care if you erase me, punish me for truth-telling, the only sound your silence, making sure I pay.

I can’t afford to want a mother.

I would care.

So I won’t.

I won’t.


* * * * *

Traci Mullins, a non-fiction book editor by day, has been writing flash fiction since 2017. Her stories have been published in three anthologies, Panoply, Fictive Dream, Bending Genres, Flash Fiction Magazine, Flash Boulevard, Cabinet of Heed, Potato Soup Journal, (mac)ro(mic), Blink-Ink, Ellipsis Zine, and many others. She was a two-time finalist in the London Independent Story Prize competition.


Saturday, 12 March 2022

Moonhood

by Sara Backer


Friend after friend moves
into the motherhood,
my hand unthinkingly dropped.
Though full friends before,
mothers need other mothers more.

As bystander, babysitter,
I only witness
that fierce bond, that richness,
the wonder, the children
who shape their lives.

Our context wanes, the distance
between mothers and Minervas
goes unspoken.
Grandchildren double
the distance.

Let us few, the childless,
often maligned as selfish or shrewd,
claim for ourselves the least-liked moon:
snow moon, bone moon,
bare moon of winter.

A moon for women who couldn’t
or didn’t—unable, afraid, or wise.
In bare rooms, we’ll cook bone soup.
Nourished by marrow,
no longer outcast.

Later, we’ll welcome the daughters
of others into our moonhood, 
and show them the magnitude
of night—of shadow, ice,
and sparkle.


* * * * *

Sara Backer’s first book of poetry, Such Luck (Flowstone Press) follows two chapbooks: Scavenger Hunt (dancing girl press) and Bicycle Lotus (Left Fork) which won a Turtle Island Poetry Award. Her writing was recently honored with a prize in the Plough Poetry Competition. She lives in the Merrimack River watershed amid white pines, red oaks, and black bears.


Friday, 11 March 2022

 

My Name Is Miriam

by Shelly Blankman


A world of dreams imploded by age,
my mirrored face gazes back at me.
Summers of buttercups would soon be over,
the sweet taste of life, too, would wane.
This is the sum of me, I thought.
This is who I am.
But who am I really?

My Hebrew name is Miriam
Its English translation, rebellious.
I am named for my grandmother's sister.

No one calls me Miriam.
She exists no more.
Her story like so many others,
their lives told in anything that survived:
Homes looted in Nazi raids, leaving behind
shards of glass, photos, and papers
shredded and burned.

Nothing left to share, no one left to share them.
Ghosts of children, too.  
A stuffed bear matted with drool.
A crushed game board, 
Stick-figured cats on crumpled paper.

And Miriam, like so many others,
robbed of strength and spirit,
no way to stand, nowhere to go,
mired in the mud where life used to be,
where men toiled
and women cooked
  and children giggled
and teachers taught 
  and rabbis chanted. 

Burning embers are all that remain
where skeletal villages are living graves
spit on by brown-shirted boys, barely men,
air thick with the stench of the dying, the dead. 
A fortunate few able to flee, jammed 
in a barge destined for dreams in America.

Among the chattel, my grandmother,
Miriam’s sister, her dress so lovingly stitched,
now stained and grimy, sagging on her four-foot frame,
so tiny against this monster war that had choked her childhood,
and in its wake, sweet Miriam.

In this barge prison, my grandmother, 
masking pain and loss like so many others
on the boat that day, headed in fear for freedom
hanging onto a frayed rope of hope through fickle waters,
hearts pounding with each ocean wave.
Like others, she cries and no one hears

My own grandmother, carrying only her small carpet pouch
filled only with a few photos, maybe a coin or two 
from her beloved Austria.

Dreams of freedom mixed with fear.
No family or friends waiting to welcome her.
No one to say, “Cry on if you want, cry if you must.”
Invisible tears. No one must know her pain.

My grandmother, so small and frail at seventeen.
Her high-top shoes, scuffed with mud.
What would her mother say?
She shudders at the thought.
Her mother is gone. Her father, too.
Nine brothers and sisters left behind
in distant snaking smoke.

And her dear, sweet Miriam–her sister and confidante.
Her anchor to life, itself. Like the rest of them, a hellish life
cut short in a gas chamber, cement walls etched
in fingerprints by desperate Jews struggling to escape
only to be dumped in a mass grave.

Now, generations later, the smoke long cleared,
I carry her name. Miriam. Hebrew for rebellious.
Yet, how could Miriam rebel? How would she? 
How could she? No voice. No power. 

I am bound to rebel where she could not.
I am bound to remember her, all others who died with her,
and all those who would have been born for generations to follow
if only she had lived. 

I am bound to speak for those muted by fear
to show strength for those who cannot.

I am bound to rebel.
My name is Miriam.


* * * * *

“My Name Is Miriam” was first published by Poetry Superhighway.

Shelly Blankman lives in Columbia, Maryland, where she and her husband have filled their empty nest with three rescue cats and a foster dog. Their sons, Richard and Joshua, live in New York and Texas, respectively. Following careers in journalism, public relations, and copy editing, Shelly now spends time writing poetry, scrapbooking and making cards. Her poetry has appeared in The Ekphrastic Review, Poetry Super Highway, Halfway Down the Stairs, and Muddy River Review, among other publications. Richard and Joshua surprised her by publishing her first book of poetry, Pumpkinhead.


Thursday, 10 March 2022

Understanding My Mother

by Shelly Blankman


I’d tried to ward off age with dyes and creams  –
any cosmetic blasted by ads to make me feel
younger than I was, even as muscles and bones
became barometers of oncoming rain.

I refused to surrender to the enemy of time 
as my mother had. She had locked herself
in a prison of fractured memories, and that’s
where she stayed as we all grew up and moved away. 

She stopped shopping, dining out, seeing friends, 
hosting holiday meals. She watched TV endlessly. 
Once neatly dressed in freshly pressed blouses and skirts, 
she now lounged around the house all day in nightgowns,

content with her cats as her only companions – a shell
of her former self. I didn’t understand. Then the pandemic 
descended on humanity like a hawk on its prey, I could feel
the sadness of my mother course through my veins. I am 

the one imprisoned now because we all are. I don’t try
to defeat age anymore. I stay home, wear sweats or pajamas.
I watch TV and snuggle with my cats, the only ones safe 
to hug anymore. I don’t count crow’s feet or wrinkles or gray hairs.

I understand my mother now.


* * * * *

Shelly Blankman lives in Columbia, Maryland, where she and her husband have filled their empty nest with three rescue cats and a foster dog. Their sons, Richard and Joshua, live in New York and Texas, respectively. Following careers in journalism, public relations, and copy editing, Shelly now spends time writing poetry, scrapbooking and making cards. Her poetry has appeared in The Ekphrastic Review, Poetry Super Highway, Halfway Down the Stairs, and Muddy River Review, among other publications. Richard and Joshua surprised her by publishing her first book of poetry, Pumpkinhead.

Wednesday, 9 March 2022

Water Woman

by Karen Jones


When dammed,
divert to a side channel. 
When narrowed, rise,
reconfigure rigid borders. 

When displaced, belly up,
surround the obstacle,
meet yourself again
on the downstream side. 

Enter the fissures
of the earth. Abide
in dark spaces. Emerge
in unexpected places. 

When frozen, flow silent
under the ice. When dried,
rise in invisible mist, reform
to a thousand clouds, 

rain softly on your own
desiccated veins
until you overflow
to a wide and welling river. 

Offer your voluptuous curves
to the shore. Reflect the power
of the sun, chaining and unchaining
shimmering infinities of light.


* * * * *

Karen Jones is a teacher, poet, and life-long learner from Corvallis, Oregon.  Her poems have appeared in Willawaw Journal, Circle of Seasons, Cirque Press, and other publications.  Her chapbook Seasons of Earth and Sky (Finishing Line Press) was released in 2020.


Tuesday, 8 March 2022

 

Medusa

by Karen Jones

 
Granddaughter of Gaea,
she was beautiful in her youth.

Now her cursed face appears
in the upturned ball of the fallen tree
torn from the forest floor. 
She cried a splintering cry,
snake hairs yanked from the soil,
now all are broken, twisted
in every direction, a severed connection
to the underworld.

Her grimy eyes, hollow, dry,
dead on stalks, stare into empty air. 
Stones embed her cheeks,
but she no longer looks down.

Seasons turn. 
Vine maples root in her crevices,
Tendrils trace her brown forehead,
moss veils her face.  Water trickles
through trillium and fern, somewhere
deep beneath her body.

Life fills in.
She is beautiful again.


* * * * *

Karen Jones is a teacher, poet, and life-long learner from Corvallis, Oregon.  Her poems have appeared in Willawaw Journal, Circle of Seasons, Cirque Press, and other publications.  Her chapbook Seasons of Earth and Sky (Finishing Line Press) was released in 2020.