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poetry

Prairie Witch by Rayni K. Wekluk

Prairie Witch | Rayni K. Wekluk

Tea leaves, fragrant in a small trash can. I see
Kansas and Lake Wabaunsee. Myself with all
the farm animals, square dancing at the fire
station. This watermelon season is infused
with last summer’s blood. Here now, I chant
lake and drown in it. Dark magic–a photo 

of an old lover easing into 
graphite, erasing itself.

As if we were never thankful. As if I wasn’t
on my knees in our cabin’s shower chanting
him, drowing in him. As if it were me who lifted
up my dress in the basement closet. How long
until I have nothing left to say? Until Kansas
stutters and I’ve cast a spell that sticks?

Bonus audio of Rayni reading her poem:

An illustration of a honeybee painted in warm orange and yellow tones against a black circular background.
about the author:
A close-up portrait of a young woman with long brown hair and red lipstick, looking directly at the camera with a serious expression.

Rayni K. Wekluk is the author of Garbage City Poems. Her poetry and nonfiction is published in Folio, The Linden Review, Collision, Passages North (forthcoming), and others. She graduates with a BFA in Creative Writing (Poetry) and a BA in English (CNF) from The University of Nebraska-Omaha in December 2025.

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poetry

The Year I Carried You by Sara Shea

The Year I Carried You | Sara Shea

The beauty of the land was blinding.

Bees drowsed in the pear blossoms,
           tulip poplars blazed green-gold,
      mountain laurel blinked open, soft pink.

    Carolina silverbells trembled, light as breath,
        shedding their white skirts to the wind.
      Flame azaleas split like lips exhaling.

   Monsoon rains soaked the hills until
    waterfalls roared and maitake danced
        soft, tender, fruiting at the root
             of moss-laden oaks.

       Serviceberries swelled purple in the heat.
          Jasmine and magnolia thickened the air
       to a slow honey that clung to my skin,
 sweetness pooling in the hollows.

  It was the year I managed historic
        Bald Mountain Farms in the Blue Ridge.
           The chickens laid warm brown eggs,
         and every morning, I cracked them open,
    yolks spilling, gold as the sun.

       Twelve calves staggered into the world
       that season; wet and blinking, their breath rising
     in the cool mountain dawn.
  Peaches hung heavy, their skins splitting,
    cherries darkened to a blood-red gloss.

        The June strawberry moon
              swelled on the solstice that year; the sky
       pulling itself into perfect alignment.

 We took the pontoon out on Lake Lure,
    rocked in deep water as the gorge blushed pink,
         then glowed solstice gold. We watched the light stretch
       its long fingers
                over the ridges,
                         over my body,
                               over you.

       That moonrise!
                Huge, full, ripe.
              You turned inside me then-
       a slow somersault,
the tide answering the pull of the night.

An illustration of a honeybee painted in warm orange and yellow tones against a black circular background.
about the author:
A close-up black and white portrait of a smiling woman with dark hair and glasses, carrying a joyful child on her back, both looking happy and playful in a natural outdoor setting.

Sara Shea received her BA from Kenyon College, where she served as Student Associate Editor for The Kenyon Review. Shea pursued graduate classes through the Great Smokies Writing Program, UNC Asheville, and Western Carolina University, where she studied under Ron Rash. Her stories and poems have appeared in The Connecticut River Review, Quarterly West, The Key West Love Poetry Anthology, Amsterdam Review, Gaslamp Pulp and Petigru Review. She is the recipient of numerous awards and fellowships. Shea writes professionally, producing marketing materials for a fine arts gallery in Asheville, NC.

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poetry

Red and Yellow Light Over the Top of Houses by Dolapo Demuren

Red and Yellow Light Over the Top of Houses | Dolapo Demuren

In one of my student’s essays on Hamlet,
the father in the introductory paragraph
is dappled, like a boy with daylight sewn
onto his chest. Like a boy with daylight sewn
onto the back of his arms. The student writes,

before Hamlet’s father was a ghost, he was all
of the leaves around Denmark, he was red and
he was yellow. He was on Hamlet’s roof, fallen
from the trees, the student writes. I remember
when I found my father fallen in his office,

his voice raised like a child whose address
is written on a slip of paper in his breast pocket.

An illustration of a honeybee painted in warm orange and yellow tones against a black circular background.

Read by the author:

about the author:

Dolapo Demuren (he/him) is a Nigerian-American writer and educator from the Washington D.C. metropolitan area. His poems and other writings are featured or forthcoming in the Adroit Journal, Prairie Schooner, The Maine Review, On the Seawall, and elsewhere. He teaches creative writing at the University of Maryland College Park.

Categories
poetry

True Apothecary by Ellie Gold Laabs

True Apothecary | Ellie Gold Laabs

This is how the night unravels
the coiled mesh of the mind.
It’s cold and blue as the center
of a flame. In certain seasons
the evening can take your knees
clean out—crawl you towards
some bright, unsteady dawn.
And you can look for yourself
in letters and the contours
of a bottle, impatient-seasick
to stumble over any pair of eyes
blind enough to meet your own.
And you can sigh and you can
bruise and you can stand so long
underwater your arms become
the trunks of trees, ages hence.
Yes, the windows open and shut—
again, again. And still you can ache,
still stumble. There’s really nothing
to be done. Only hold out a hand
to the mirror, and murmur, like love,
all the things for which you have
to be sorry.

An illustration of a honeybee painted in warm orange and yellow tones against a black circular background.

Read by the author:

about the author:
A black and white portrait of a young person with short hair, wearing a sleeveless top, resting their chin on their hand with a thoughtful expression.

Ellie Gold Laabs was born in Boston at the turn of the century with an East Coast sensibility and a penchant for big and difficult questions. She is now a poet, living in New York, with a harmonica and an obscenely full bookshelf. 

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poetry

The Widower Writes From the Shipwreck by Ellie Gold Laabs

The Widower Writes From the Shipwreck | Ellie Gold Laabs

I’ve hardly wanted after waves, but here
in this salt we were, I think, too much
each other. Every door, a mouth, every
mouth, a bed—spitting names only you
have heard. My wife, the river is drowning
all your doves and I’m so far beyond magic
I forget what it feels like to own a hat. I couldn’t
see darkness so now I go everywhere with eyes
inside my face. All these things it now seems
I’ve done, dragged by the current to bed,
to be named again—acrid.

When I was the needle, I became the blood.
When I was the blood, I became the suture.
A smile slips, skinless, from my face—
some hardness that was never spring.
My wife, I am the fault line in a city that
couldn’t settle earth, where the sea is wide
and indifferent. And the truth is I’ve grown
mauve while the others all are happy. I am
no longer habitable. Where have you gone.

An illustration of a honeybee painted in warm orange and yellow tones against a black circular background.

Read by the author:

about the author:
A black and white portrait of a young person with short hair, wearing a sleeveless top, resting their chin on their hand with a thoughtful expression.

Ellie Gold Laabs was born in Boston at the turn of the century with an east coast sensibility and a penchant for big and difficult questions. She is now a poet, living in New York, with a harmonica and an obscenely full bookshelf. 

Categories
poetry

Arouse Yourself, why do You sleep, O LORD? by Yin Cheng

Arouse Yourself, why do You sleep, O LORD? by Yin Cheng

Visual presentation of the poem 'Arouse Yourself, Why Do You Sleep, O LORD?' by Yin Cheng, formatted in a unique style.
An illustration of a honeybee painted in warm orange and yellow tones against a black circular background.

Read by the author:

about the author:
A smiling person wearing a straw hat and round glasses, standing outdoors with a colorful background of traditional architecture.

Yin Cheng is a 22-year-old Taiwanese American poet exploring the intersections of religion and mental illness. She is a two-time recipient of the Stephan Ross Huffman Memorial Poetry Award (2022, 2023) and a finalist for the Atlanta Review (2022). Her work appears in Beyond Words Literary Magazine and The MacGuffin.

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poetry

Autobiography of a Violin by Cassie Burkhardt

Autobiography of a Violin | Cassie Burkhardt


When I lift the instrument out of its case
to show my daughter,

unearthing it, as if from a dig–
what I feel in my hands

is not so much a violin
as a person—

a girl I kept shut away in a case
for twenty-five years,

slender wooden neck that barely weighs a thing,
angular, hollowed-out body of thirteen-year-old me—

anorexic, with monstrous braces
enough inner violence to snap a bow in half over her head.

Spent eighth grade in a treatment center
wanted to disappear, got so close she almost did.

I lift her up, curve my hand around her scroll
and she fits inside me still.

An illustration of a honeybee painted in warm orange and yellow tones against a black circular background.

Read by the Author:


Cassie’s Poem was selected as the 2025 Honeybee Prize winner in Poetry by Julia Kolchinsky. Julia had this to say about the poem…

“I was instantly struck by the control within each of the couplets and then taken by the central metaphor of the violin. While recollecting a traumatic past in its narrative, the poems lyric arc is one of tenderness–self love and acceptance not wholly arrived at but reached for, the way a bow against strings makes music. And once the melody ends, I just wanted to reread the poem again to keep listening to its music.” 

about the author:
A woman with long blonde hair smiles warmly while standing in front of a tree.

Cassie is a poet based outside Philadelphia. She struggled with anorexia as a child, but is now fully recovered. Her chapbook, Dear Boobs, is available from Bottlecap Press. She resides in Gladwyne, PA, with her husband and their three children. Read more of her poems and stories in Rattle, New Ohio Review, Cagibi, Philadelphia Stories, and other journals. She studies at the Writers Studio, based in NYC.

Categories
poetry

In Defense of Liquor by Pamilerin Jacob

In Defense of Liquor | Pamilerin Jacob


            Nunc est bibendum
            ~Horace

Whiskey clarifies what God does
not. Its philosophy: pungent & purifying.
Look how we banish sadness from our bones
with a gulp. Join us. We are touring the world,
adding sweetness into every root & tongue.
Our blood, full of praise songs. Tornado-
in-the-gut, it unscrews the knees, undoes the need
for self-importance: dancing made easy.
Thanks to whiskey, we are freer than most.
Mouth full of liquor, my prayers ricochet off God’s
shin like tennis balls. Then he picks it up, bites into it.
Tastes good, he says, tastes good. Who let sin into
the world? Why is love so full of shadows? What were
Okigbo’s last words? I don’t care for such
anxieties anymore. There is a gun to be put down.
There is flight to be made. O glee, now that I
know where you live, I will never stop drinking.

about the author:

Pamilerin Jacob’s poems have appeared in POETRY, Lolwe, The Rumpus, Agbowó, Palette, 20.35 Africa, & elsewhere. He is the Founding Editor of Poetry Column-NND, as well as, Poetry Sango-Ota.

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poetry

ephemera 31 by Chris Lisieski

ephemera 31 | Chris Lisieski

hunter is deadly
quiet when he comes
home after seven
twelves on the rig
eyes in the defilade
between brow and cheek
nothing’s bad
enough to hold sway
like what he saw
in the desert a girl
holding half of her
twin like a red rag
doll like half
of her heart missing
so when he drinks
he does it with purpose
and his doodles
on the napkin
spiral looser
as the fallen soldiers
mount next to him
until becca brings them
to the recycling
quietly

More about the author:

Chris Lisieski is an attorney and poet. He graduated from Antioch College with a degree in philosophy and creative writing, and the University of Virginia with a J.D. His work has been published by In Parentheses, The Courtship of Winds, and The Journal of Undiscovered Poets. He has one good dog, one other dog, and a multitude of rotating hobbies.

 I’ve spent a lot of time thinking recently about how essential dualities are for human experience:  that pain is part and parcel to love; that happiness must contain sadness within it; that anger and peace are different ingredients in the same soup.  At a basic level, you can’t know, understand, or appreciate any single emotion without its counterpart.  If you feel joy, at some point, you’ll feel the absence of joy.  So, when I hear “the good life,” I think of the weird amalgam that flavors it, and how that includes “the bad life” within it.  Some bitterness, some sweet, some salt, all key to a rich broth and, in the end, inevitable to our very human lives.

Read our full Q&A with Chris here.

Categories
poetry

Don’t Ask Me About the Hymns by Ezra Fox

Don’t Ask Me About the Hymns | Ezra Fox


~ after Michael Kleber-Diggs’s “Coniferous Fathers”

i.

Speak to me about the boys. Sunday armor
ill-fitting and incomplete. Their starched
collars yet scuffed soles. I bow to no deity,
still I watch their lips, shape words
like abomination and love while knelt
in this stained-glass aquarium, swaying
to currents of guilt and glory,
as if still nestled in the flood
of their mothers’ wombs.

ii.

Only in dreams do we truly sing,
limbs unfurling like hesitant ferns.
In sleep, we are all Davids dancing
before the ark, unashamed.

iii.

After service, these boys, with patent leather
dulled to scars, litanies already fading
from their tongues, weave through each other
like water. Even their shadows play
at holiness, neckties slipping off like shed skin.
The chain-link net singing its metallic psalm,
each rebound a confession, each shot arcing
towards grace.

iv.

They don’t yet know which rituals they’ll spend
lifetimes unlearning, or how fiercely they’ll cling
to the sacrament of touch long after the sermon fades.

Ezra Fox reads their poem…

about the author:

When I hear “good life,” I think of my life. It wasn’t always like this. There were many years where I didn’t feel like this life was even worth living. But now, when I hear “good life,” I can just think of my life, how I cannot remember the last day I went without laughing. To me, my good life is how easy it is to laugh with my partner Annalise, how we laugh many times throughout the day until our stomachs ache. In that pang in our ab muscles, in the tears rolling down our cheeks, in the echoing of our laughter, I don’t have to think it—I can feel that this is a good life.

Ezra Fox lives and writes in San Francisco, CA. In their writing, Ezra is curious about impermanence, and non-duality, and how it pertains to their subjects of lineage, queerness, and spirituality. You can find Ezra’s work in or forthcoming in TriQuarterly, EcoTheo Review, Zone 3, Zócalo Public Square, and elsewhere. Learn more about Ezra at ezrafox.net.