Cipriano Ortega (they/them) has been fortunate enough to have their work recognized and shown both nationally and internationally. Cipriano strives to create works of art that probe the mind and make people question what they perceive as the normative. Whether that is shown in music, theater, visual art or some sort of culmination of all of the above; Cipriano enjoys blending all creative forms of expression. As a sociological artist, Cipriano deconstructs the worlds around them and observes it under a nihilistic perspective. As an indigenous POC, they also have no choice but to deal with colonialism head on by making it a daily practice to see the divisions we as a society create and continue to make the ‘normative.’
Caleb’s poem has very specific formatting to it. Please click the link below to view their poem, “Erasure”.
Caleb Ferganchick is a rural queer, slam poet activist, and author of Poetry Heels (2018). His work has been featured and published by the South Broadway Ghost Society (2020), Slam Ur Ex ((the podcast)) (2020), and the Colorado Mesa University Literary Review. He organizes the annual Slamming Bricks poetry slam competition in honor of the 1969 Stonewall Riots and coaches high school speech and debate. An aspiring professional SUP surfer, he also dreams of establishing a queer commune with a river otter rescue and falconry. He lives in Grand Junction, Colorado.
Website | Instagram | Twitter
Glass Cactus is a Denver-based screenwriting and filmmaking team.
Amanda E.K. is a queer writer, filmmaker and writing coach, and the former editor-in-chief of Denver, Colorado’s Suspect Press. She writes for Playlove and Out Front Magazine, teaches a weekly drop-in writing class, and she’s currently pitching her memoir about growing up in fundamentalist purity culture. Follow her on IG @amanda.ek.writer.
Jack Oberkirsch is a film/media composer from Denver, CO. His musical background is mostly comprised of playing drums and guitar in local and touring punk/hardcore bands. In the last few years however, he made a transition to composition and writing instrumental music. Of course, he still does play in a few local bands although things have slowed down in that field since COVID.
Working on The Pandemic In Pollyville has definitely been a challenge for Jack. With it being in the style of silent film, music has to cover the entirety of each episode which meant Jack had to write progressions and melodies that could carry the entire episode from start to finish. Also, the music used was very different in style from episode to episode so Jack had to tackle genres of music he had never attempted before to score some of the installments.
Shirtless in January
Pale potbelly poverty
Hanging over tattered belt
Over a pine-green trash can
Steele gaze forward
Popping a wheelie
On the Northside sidewalk
For half a block
Eli Whittington is a mediocre farmer and an okay parent. They enjoy long walks on rhe forest floor because the ocean is really far from here, and kind of scary. They are the author of ‘Treat me Like you Treat me like you Earth’ published by the late Suspect Press. They also have two tracks of spoken word on Black Marlet Translation’s Punketry album. They are really bad at playing banjo, but will always be, more punk than Brice.
Elizathebeth.com has poems on it that are nearly impossible to read on a phone.
We had language and we had water, they wouldn’t let us have both. We knew what the water was capable of. We said yes to it and our reflections. They closed the park at midnight. We spit at the sky and talked it into the ground with masks on we spoke from our heart. Those with the least to empty talked loudly with mouths wide open. The hate was too infectious to be prevented. They hated that which did not concern them. They were unconcerned with the hatred. They said that’s what it is as if it had always been because they said it because they said it that’s what it is. I didn’t say anything when nobody asked. I just walked into the water on a mission. It held me as water does. I became to become again. I floated away for dry land.
How little time the relatives have and how stuck they are in it. The ones who are determined to make love happen live as though it’s about to. At all times their hearts are breaking and while the city spins so fast that they are used to it each one is a quake in heaven. There are ghosts who would bleed to stop it, angels who mourn eternally for all the hurt that has already been absorbed and can’t ever be reversed. They have so much compassion and nowhere to go with it. The things they understand wouldn’t make sense in a vision. You can’t just be told it as ecstatic divine revelation. It has to be discovered by sitting in the dirt longer and writing every word down and walking the letter across town. I waited until I learned how to recognize the instruction and then followed it with a diligence fit for bricks that want to bring out the best from behind the sun. I only tried to tell you about it. When I couldn’t it was enough to kill. That was when I returned to the water. There were so many people walking out of it. I couldn’t look them in the eyes. They didn’t stop me.
The Matt Clifford (right) did so see his shadow thus marking four more weeks of Tax Season.
When you leave the desert,
your mind forgets the heat,
but your body remembers.
When you leave the desert,
the smell of wet dust
right after rain
lingers in your nose,
hopeful, electric, forever refreshing.
When you leave the desert,
the desert keeps a piece of you.
Mārta Ziemelis is a Toronto-based emerging poet and established literary translator. Her poetry has appeared in The Ice Colony and CRUSH Zine. It is also forthcoming in the Sapphic Writers zine “Out Of The Wardrobe”. Her Latvian-English translations include “Do you exist, or did my mind invent you?”, a poem by Gunta Micāne (TransLit Volume 11: An Anthology of Literary Translations, 2017), two short stories in the anthology The Book of Riga (Comma Press, 2018), and Narcoses, a poetry collection by Madara Gruntmane, co-translated with Richard O’Brien (Parthian, 2018).” Instagram.
Gwantigok, Penawahpskek, Passamaquoddy, Pashipakokee, long rivers, long through the land you flow long through us will you flow, flowing from where the rocks widen, from where pollack feed us. Piscataqua, Androscoggin, Cobbosseecontee, Olamantegok, Quahog, where water lies between the hills through the sheltering place, to where sturgeon gather together to red ochre river, color of our children. Shellfish place, treaty-making place. Sebastcook, Seninebik, Skowhegan, Baskahegan, our stories flow through little channels, bearing rocks and memories from where salmon leap the falls to broad open waters, turning back to where wild onions grow, With birch and ash along their backs, long rivers of first light through our families flowing: Wazwtegok, Winoztegok, Zawakwtegw, Gwantigok. Ndakinna.
Carol Willette Bachofner is an indigenous poet (Abenaki), watercolorist, and photographer. She is the author of 7 books, most recently Native Moons, Native Days (Bowman Books) and Test Pattern, a fantod of prose poems (Finishing Line Press)
Her poetry has appeared in various journals, such as Prairie Schooner, The Connecticut Review, The Comstock Review, Cream City Review, Crab Orchard Journal and others. Her poems have been published in numerous anthologies such as Take Heart: Poems From Maine (DownEast Books) as well as Dawnland Voices, An Anthology of Writings from Indigenous New England (University of Nebraska Press, 2013). She has won several poetry prizes, including the Maine Postmark Contest (2017). She served as Poet Laureate of Rockland from 2012-2016. Her photographs have appeared in various journals, such as Harbor Review (2021) and Spirit of Place where her photograph, ”Rigged” was an honorable mention given by Maine Media Workshop in 2013.
My grandmother is the ocean now roaring always somewhere even when quiet here and now her smooth surface breaks into waves She resists and yields at once in magnitudinal power tides pulled heavy from the moon in consort with the sun and of service to the earth I know her without seeing her hear legends of her raging depth feeling her live in each coastal drop She swells around my ankles to let me feel my roots when instinct crashes over me It is her—urging moments into eternity
Sarah (she/her) is a health advocate, activist, and poet who loves sunshine, storms, and quiet nights. She is a queer Jewish reiki-practicing witch, and poetry is how she understands and misunderstands Life . Sarah has been published in Stain’d Arts and South Broadway Ghost Society publications, and her work has been featured by the Helen Riaboff Whiteley Center. Her two self-published books, I’ll just hide until it’s perfect and Tend, are available now by contacting email@example.com.
Neelesh lies motionless in a dusty, dark brown ground hollow, in a sand-silt-clay combined earth bowl, his soft, spongy body muddied, bloodied. His extended metallic blue-green plumage with its sea-foam undertone, and its multitude of eyespots, is all askew, spun-out. And, a portion of his exposed, bulging, flesh fizzes with insects, the bug sounds blurring into a long, whirring noise. A white noise almost.
Beside him, that is half of him, bright, yellow, mustard flowers, with their pale green arrow-shaped leaves, and tall, slim stalks sway, even as they release little clouds of nitrate. Pungent whiffs that sting the nose, and the eyes.
Neelesh’s head, and legs are missing.
From over the hollow he lies in, and from the slits in the mustard stalks, you can still see the zigzagged portion of his savagely-cut, bulbous jugular, made light with the loss of head, and blood. As his underside. Made bereft of its support, with his understory completely gone.
It is hard to believe at this moment that his neck, once rich with iridescent blue, swung like a snake in dalliance or in quest for food. Or just like that. Just because he felt like. Or that his even-toed gait, and agile mating dance was admired by everyone who chanced on it.
It is the cool month of February in 2021, at our farm, in Mehrauli, on the outskirts of New Delhi. It is the time when the sun cannot decide whether to dim its light with shadow play behind clouds or shine with a light impishness so as to reflect a mere suggestion of heat. This unlike its avatar in summer where it brazenly flays the skin of the earth, and certainly of people, plants, and animals.
It is also the time when the land is vibrant with water-air-earth scents, with whistling birds who cannot contain their joy, with scurrying squirrels and chameleons, as with buzzing insects.
And, it is most certainly the time when our manicured greens are plump with unruly flowers, gaudy-red poppies, pink petunias, white lilies, mustard marigolds, mauve roses, yellow zinnias, and indigo shoe-flowers, all of who grow in wild abandon.
Ironically, Neelesh, our peacock, loses his life when the earth around us, here at our farm, on the capital of the country, moves uncomplainingly to the rhythms of a diverse life, to the interplay with the world around it. When everything around is so full of promise. When everything is lush with the covenant of growing.
For us, Neelesh’s death is a grand absurdity.
Over the month of January, we see Neelesh, our favorite and regular peacock visitor, ail with what we believe to be some kind of pox in his left eye. He barely sees with it, yet he tries to keep this eye-slit parallel to the grass. This for a prey-eye vision in the world he feeds from. Be it berries, flower seeds or the wiggly mass of worms that squirm in the soil. Ants, millipedes, crickets, termites, centipedes, and flying locust.
Neelesh comes more often than ever that month, every day and evening, his extended plumage and all, to demand his share of grain from our bird feeder.
“I believe he is asking to be fed rather than be allowed to seek his feed because of his condition,” my cook, Reba, asserts.
She is the one who has named this peacock Neelesh, which translates in Hindi as blue, and is the one who feeds him grain on demand, as assiduously as one would feed a brawling baby on demand. She makes small balls of mashed up rice, and leaves it lying if ever he wants “a change of taste”. And, the large cement water bowl that he drinks off is always full, “in case he is wary of bending too low, and is scared of being caught unawares by marauding monkeys or menacing cats,” she says.
By the end of January, Neelesh finds it hard to fly to and fro from his perch on the tall silver oak tree, one among the many that lines our boundary wall. So mostly during the day, he plinks and puckers around our greens, gathers himself together into a ball to rest in sunny patches, frightened by everything other than us, and in the evening, when he eventually decides to rest atop the tree, he emits cries. We believe his screeches to be hollers of alarm, conveying to us his fear of being eaten up by stealthy predators who use the night to subterfuge their intent, and his sleep to complete their kill.
It was one of the many cats that slink around at night on the farm that got Neelesh. At least, we at the farm believe this to be so. We have our suspicions on a tom cat we have named Bagadbilla because he is wild, grumpy, and smelly.
In this month of March, we are still trying to deal with the aftershocks of our experience as we are struggling to pull peacock Neelesh’s story in. It is a fluid feeling. We still grieve for his smell, and fear of death before succumbing to its abyss. For his loss of dignity and privacy in death, that, maybe, we denied by becoming spectators to it. And, for our inability to respond effectively to his beseech for help, for our failure to save his life.
My ex-colleague from a green organisation I worked for, Shoma Arun, who rushes to comfort us, says this, to us, and to Reba in particular, “There is no world in which humanity exists apart from the natural world. It is clearer than ever that our fates are intertwined, that our world should be a circumambient one, one that sees and accommodates the inter-connectedness and inter-dependence of living species. So take comfort in the fact that you have tried to cherish, and help a creature as much as you could, and as long as he lived. That you have played a role in nature’s orchestra, not that of an imperious conductor who believes he can control fates or nature’s design, but that of a contributor.”
“Why does the earth pull in a creature’s story thus? Why are we all just mud-marrowed bones in the end? Why do all our stories, human, plant or animal, end in dust-covered death?” asks an insistent, tear-stained, sixteen-year-old, Kunal, our gardener Nandlal’s son, who draws and writes verses in his spare time.
He does not understand Shoma’s words. Or believes that his question is different. I know he also asks because he has just recently lost his grandmother. His mother says to me that morning, “His tears still feel as if they come all the way from his toes.”
None of us have answers for him.
What we do know is that Neelesh’s brutal, abrupt death makes us confront ours. It makes us face up to the fact that death is part of our living. It makes us confront the truth that death, and its aftermath, is frightening. And, that the idea of the oblivion at death being like nonexistence before birth is too scary to think of. To understand.
Days later, our psychologist friend, Leela Singh, brings some instinctive wisdom with her. “While we live in the present, with our brains that shield us from our eventual death with crafty ingenuity, we ingrain ourselves in biology, one that helps us live. We shut down predictions of death, believing that it happens to others, not us. It is called the escape treadmill. Yet death is a leveller. It will happen to every one of us,” she says.
“How does one handle this eventuality, the finality of death, especially if one has no belief in the afterlife? If there is no belief in being absorbed by God or a higher power, realm or consciousness? That at this point we lose the journey’s map altogether? This even as I am a Hindu living in India?” I wish to know.
“You need to cultivate the capacity, and responsiveness to this eventuality across your lifespan. In essence, having a good death is about how you live a good life,” she says reflectively.
Is this our answer then?
That death will come no matter what. In any way that it will. Like the rain that will fall. Like the sun that will shine. Like the wind that will blow. And that what we make of death, and how we react to contact with it will depend on us. It can be terrible, satisfying or seemingly merciful. It can be what we choose it to be. Just as we can choose what we make of our life.
Is it up to us then to decide on how to confront death? To still the fear of dying, as rigor mortis waits to creep in, and before the pronouncement, “Pupils fixed and dilated. No heart sounds. No breath sounds. No pulse” is made?
There is no denying that despite these arguments, and answers, the mystery, and fear of death remains.
I would say, for me, personally, though I have realized that true sorrow is the loss of life, not the state of death or the act of dying.
More importantly, I have come to the realization that there is time to understand the afterlife. Who knows, if I do understand it, and gain faith in it, my fears of death may just fall away? The earth, land, water, and sky may turn alive with possibilities. Of our energies returning in altered forms and states.
Chitra Gopalakrishnan uses her ardor for writing, wing to wing, to break firewalls between nonfiction and fiction, narratology and psychoanalysis, marginalia and manuscript and tree-ism and capitalism.
Author profile: www.chitragopalakrishnan.com
the worst place to store medicine is in a medicine cabinet
the worst place to store secrets is under the tongue
as they diffuse through the membranes, the capillaries,
bypassing the stomach, the intestines, the liver,
anything that could filter them, dull their potency,
tumbling directly into the bloodstream
filling up everywhere
the secrets that hurt, that bite, that claw,
are less painful than the one that could change everything,
could heal and mend and dissipate all the terrors we live alongside
the secret of loving those whom we do not tell
during WWII my german-born great-grandmother painted a WWI helmet red white and blue
stuffed it with dirt and flowers to match
hung it in her front window
next to the biggest american flag the neighborhood had ever seen
and dared anybody to doubt her
I think about her as I watch men and women
straighten their arms, stretch their hands flat
fingers that never held anything heavier than a cigarette
accusing people who live on the same street
of jobs stolen, livelihoods vanished
the country my great-grandmother held her heart up to,
dripping blood as red as anybody born on its soil,
is not the country I live in, is not, even, the country she lived in
all the things we caught by their tails, hate, injustice,
a constant confusing of equality with oppression,
only seem new to eyes socketed in white skin
a flag as big as the world can’t cover
a hate as deep as an ever-expanding universe
all the galaxies moving away from ours so quickly
no signal we fire, even at the speed of light,
will ever reach them
it’s just you and me, alone together,
and when we die, nobody will know but us
Kate LaDew is a graduate from the University of North Carolina at Greensboro with a BA in Studio Art. She resides in Graham, NC with her cats, Charlie Chaplin and Janis Joplin.