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.
Aidan Cooper
Ponderosa
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.
Letter to Archilochus
The fox knows many things, but the hedgehog
knows one big thing.
—Archilochus, 680–645 BCE
Well, Archilochus, I guess your lyre
might help me mock, and maybe mourn, this loss—
today I broke the frosted Elvis glass
I bought at Graceland when the symposium
of poets toured the mansion.
In Montgomery County
Maryland, 2020
My partner wears the panopticon,
and I carry the rope. Hungry
for the rush, the chase, we locate
the missing black calf
about two-tenths of a mile
from East Silver Spring.
He’s wearing a long-sleeve
jersey T-shirt, navy blue jeans.
He’s three and a half feet tall,
and I can tell his age means
nothing to him. In his mind,
he treads with no care.
The report says he threw
a basketball, knocked over
a computer, and ran off
the school premises.
He looks at us, begins to wail.
My partner grabs him by the arm.
There is no crying! I taunt.
To lasso a calf, cowboys
must first use their weight
to hold the animal down
and then tie the legs together.
Does your mama spank you?
The boy shakes his head.
I tie the boy down with––
She’s gonna spank you today.
I’m gonna ask her to do it.
He wails even louder,
and screams, “No!”
He’s hyperventilating.
I command him to stop.
When the mother arrives,
I affirm point-blank,
We want you to beat him.
Beat him down to size,
the size he fits into a curb drain.
Beat him with your hands.
You can smack that butt, repeatedly.
My partner pulls out his handcuffs
to handcuff the boy,
the boy whose wrists are like
two thin stocks of red tulips.
My partner affirms,
These are for people
who don’t want to listen
and don’t know how to act.
The boy feels the cold steel of erasure,
of his name replaced by numbers.
The boy needs to learn,
or else…
We warned him.
Thea Matthews is a poet, author, and editor of African and Indigenous Mexican descent. Originally from San Francisco, California, she lives in Brooklyn, New York. Read more at TheaMatthews.com.
Forbes and Martha
By SARAH CARSON
Genessee County, Michigan
On the night hike through what Wikipedia calls the picturesque 383-acres of the For-Mar Nature Preserve and Arboretum, a man in ISO rated cold-weather cargo pants plays barred owl calls from YouTube, then recruits a kid with a headlamp to hold a Bluetooth speaker to a dogwood tree. I imagine the owls shake their heads in their hollow, that somewhere else in the dark of fallen branches, salamanders yawn, a doe wishes her fawn would settle.
Paper Summer
By YUNHAN FANG
This piece is part of a special portfolio featuring new and queer voices from China. Read more from the portfolio here.
By the summer of 2009, I found I was thinking less and less about the Wenchuan earthquake the year prior, in which 87,000 people had died, my father among them. That year, on the day of Xiazhi, I met a girl called Thirteen. We spent the night together, having sex and talking until the sky turned the color of moonstone.
You Have a Mouth: Rachel Morgenstern-Clarren interviews Ani Gjika
ANI GJIKA’S An Unruled Body won the 2021 Restless Books Prize for New Immigrant Writing and has been longlisted for the 2024 Mass Book Awards in Nonfiction. In this interview, Ani Gjika and poet and translator RACHEL MORGENSTERN-CLARREN delve into the profound influence of language and literature, particularly in the context of women’s liberation. They explore the pivotal role of books and language in empowering women, and shed light on the transformative and essential nature of literary expression in combating censorship, serving as a form of healing after traumatic experiences, and offering a new language to write about and confront the past.
Weekly Writes 2024: Committin’ to Get It Written!
Weekly Writes signups have now closed. To be the first to hear about our next round of Weekly Writes (January 2025), register your interest with this form.
Need some motivation? We’ve got you covered! Weekly Writes is a ten-week program designed to help you create your own place-based writing, beginning July 29.
We’re offering both poetry AND prose, in two separate programs. Whether you’re the next Dickinson or Dostoevsky, pick your program, sharpen your pencils, and get ready for a weekly dose of writing inspiration (and accountability) in your inbox!
Return to One’s Roots, Return to a Person, Return to Oneself: Vika Mujumdar Interviews Susana Praver-Pérez
Susana Praver-Pérez’s work, moving fluidly between English and Spanish, from Puerto Rico to California and New York, is a moving meditation on how place shapes our understanding of ourselves and the world. Praver-Pérez’s debut collection Hurricanes, Love Affairs, and Other Disasters, and recent collection, Return Against the Flow, reckon with how we make a place home, considering with care and generosity the landscape of Puerto Rico and its impact on her selfhood. In lyrical, narrative poems, Praver-Pérez examines how geography is defined by its landscape and people. Through the narrativization of lived experience and the intertextual poetry of others, Praver-Pérez’s collection, Return Against the Flow is a necessary documentation of the way language shifts across landscape and time.
In this interview, VIKA MUJUMDAR and SUSANA PRAVER-PÉREZ discuss place and geography, the shifting influences of language, and the transitory nature of diasporic belonging.