Rules of the Game

 
unsplash-image-uVrpmz1ATVg.jpg

BY BRENT AMENEYRO

The number of unaccompanied migrant children detained along the southern border has tripled in the last two weeks to more than 3,250
- NY Times March 11, 2021

 

The boundaries 

of the field 

were marked 

with sweaters 

and lunch boxes. 

When we played, 

there were no referees. 

Nobody told us 

whose team to be on. 

When the ball crossed 

the invisible line, 

everyone just yelled. 

Before 

a cañonaso—

to alert teammates,

to trick the opponent,

or, sometimes,

as a courtesy—

we’d point 

to the sky.


Brent Ameneyro’s poetry has been featured in journals, songs, and an art installation. He was the recipient of the 2019 Sarah B. Marsh Rebelo Excellence in Poetry Scholarship, 2020 San Miguel Poetry Week Fellowship, and the 2021 SRS Research Award for Diversity, Inclusion and Social Justice.

 

Up from Red Soil

 
unsplash-image-IY0oy3SS6jw.jpg

BY BENJAMIN UEL MARSH

I’m from an old place

where no one forgets the past, out of fear

of losing the present.

Fragments from history are the corner stone

of our modern structures. Old wood forms a new desk over which

I scatter my current endeavors.

I’m from a place of shade

where children hide in the summer woods

with bowing arrows bonded from their mother’s thread.

Where a backyard is a battle field and pine cones are grenades.

A place of twisters and thunderstorm,

bright flashes and rumbling booms. Good Jesus,

I miss the rain.

 

I’m from a place of deep roots,

of Black Origin, descendent of dark driftwood

mangled by mannish tides. Africa is lost.

I’m from a place that tested a nation’s resolve.

From which rebels marched to maintain a maliciously lucrative industry.

Where my great great grandmother spent her sweet sixteen lost

in the phonetic features of a presidential proclamation;

free at last.

I’m from a place built on red earth with sturdy steel,

while Liberty was reconstructed. 

Built right up, by men who look like my father, and Anglo-immigrants

just trying to sketch a dream with southern coal.

 

Where Jim Crow was born from the heads of stagnant adults

and buried under the soles of stomping children. That place,

presumed guilty because of its brutal past, the American story

disguised as a Southern narrative.

That place, from which Black men moved on,

to stop being boys and mature to adolescence.

 

I’m from a landlocked island, where good people approach your soul

but trip up on your skin,

where the institution of racism lies in rubble,

yet the dust still suffocates and separates;

you still don’t see me.

 

I’m from a place of worship, where God reigns

and churches blend

among homes as natural fixtures of life.

Where you can be sized up by the pew in which you sit.

Where preaching is the headliner and

the choir is just spiritual pre-gaming.

 

I’m from a small place

where the Other lives over the mountain,

and we struggle in the valley.

Where the money is tight as a mother’s hug,

where dreams are not lost but never dreamt.

A place where fathers fall short, and mothers

make due; there is no luck, only Faith and only Work.

 

Yet, I am from a place of joy;

instigated by good food, good folks, and the Father’s Grace.

I’m from that place,

Pittsburg’s younger sister,

who grew up so quick they called her magic.

I’m from a Tuxedo Junction, jazz note

played long and loud.

From a Livingston slave, and a deferred dream

that came to fruition in generational steps.

 

I am from that place where the past is not forgotten,

because the present sits on a foundation

of vintage steel, tattered cotton, and cultural conflict.

The topography

still bears the names of its former residents, and the current tenants

fight old ghost for new life.

 

I am from that place, that I have never forgotten;

it props up my present, because my past is too implanted in that red soil

to ever be uprooted.


Benjamin Uel Marsh is an assistant professor of psychology at the University of Tampa. He was born and raised in Birmingham, Alabama and began writing poetry in high school. As an undergraduate at Birmingham-Southern college, he founded a poetry organization where his love of recording thoughts in creative verse flourished.

 

Sinkhole

 
unsplash-image-zvkBC8OrUJ0.jpg

BY GEORGE MCDERMOTT

Neighbors’ yard is disappearing

with a distant sound of flowing water

like draining a swamp or flushing a toilet.

Sandy soil cascading inward,

municipal crews erecting barriers,

Action News drones overhead.

      Passersby stop and stare,

      cops can't disperse the crowd.

 

Move along, folks, nothing to see here.

 

More nothing to see with every hour—

the emptiness growing wider and deeper,

swallowing gardens, swallowing toys,

leaving neighbors no place to go.

They stand outside, wiping their eyes,

hugging themselves. Action News

      asks what they feel. They struggle to answer,

      look to each other, struggle and fail.

 

Nothing to see here.

 

People from other neighborhoods

hold their tongues, hold their distance,

hold their hooded eyes averted,

cling to their faith in separation,

in geography as privilege.

Neighbors murmur incantations,

      shading their eyes to squint at the sky,

      flinging flowers into the hole.

 

Nothing to see.


George McDermott grew up in New York, went to college in Massachusetts, and spent most of his adult years in Pennsylvania. He's now living in Florida, which is ... um ... different. His poetry has appeared or is forthcoming in a number of literary journals, as well as in the Philadelphia Inquirer.

 

Stetson

 
unsplash-image-NNCEFRWlK-c.jpg

BY MIKE SCHNEIDER


for Melvin “Snip” Snyder



A gunslinger, if topped

by a rolled-brim white Stetson,

stands for justice — the code

was that simple. We were

the good guys. We won

the war. I was older brother, three

of us making trouble for Dad

& Mom, whose life was us. He’d

fought & killed for that. Driving

a Sherman over the Rhine at Bad

Godesburg, he eyed the high slopes

of evergreen darkness & many-spired

castles & veered south to waltz —

not quite — across the Blue

Danube & clank toward Munich,

deep into the land of wiener

schnitzel & striped pajamas. 1945,

he turned 18 that October. I grew up

incomprehending how all-the-way

violence engendered me. My first

therapist wanted me to see my Daddy

as a demon because he’d called me

dummkopf— dumbhead in Pennsylvania

Deutsch, old high-German dialect

that came down to us from King George’s

Hessians. Almost everyone I knew

as a kid originated in a land

where people Sprechen sie. All this

has more to do with who I am

than I can ever know.


Mike Schneider has published poems in many journals, including New Ohio Review, Notre Dame Review, and Poetry. Three times nominated for the Pushcart Prize, he received the 2012 Editors Award in Poetry from The Florida Review, and in 2016 the Robert Phillips Prize from Texas Review Press.

 

Shaping the Land

 
unsplash-image-ZVEIOd7VSGI.jpg

BY JAKOB RYCE

When you migrated to the south, beating your mouth in pitches, you claimed your wealth would bring prosperity for all. When you developed a taste for acquisitions, possessions, revisions, and cut the strings that tethered you to the fruitless land, the scorched land of willow and bark; far from the docks lined with mosquito fossils and the ceaseless choir of fowls. When you renounced the scrub and forest, pine and possum. When you stood up tall against the redwood that loomed over the entire wildwood bastille, said no more, and rallied strangers to bring axes and saws, their children to light spot-fires in the tall grass and burn anything that was not dead. When you rose early to raise steel towers against the flattened granite sky and showed them how to wield combustion. When you grew bored of the mountain’s secrets and cracks appeared in your eyes, you stirred up the muddy waters of want and of what was lost. When you chased the morning down with amber and strolled steaming into the yellow fields, striking down whomever crossed your path. When you mistook the dark women for wives and drove their children away; for all their talk of the seven mothers and magnetic horses and living things that should never touch the skin. When your neighbors spoke of consequences you still boiled with visions of land – land rich with blood, ancestors unbeknownst to you; oppressed in dreams, oppressed in visions, oppressed in earth; appearing in your dreams as rapt pale specters, drinking in rivers of sweat. When you held the branch of black angel flowers to your heart in dreams and held out your thick scoured hands, your family unable to look at you. Only after you churned the red earth for all its worth, for all their worth. Only after announcing that all ancient things be shaped into iron, after every animal had slunk away, and the sons and daughters of the past were rekindled with their shadowed families. Only then did you sit on your porch breathing in fire, master of your domain, watching the blackbirds plough and sweat for crops reserved for you alone – satisfaction on your lips, a hubris glint in your eyes. But even then, the land would remain unchanged, unyielding, and would always be as it had been, long before you and long after you.


Jakob Ryce is a freelance writer, teacher and poet from Melbourne, Australia. He has a B.A. in English Lit, and his work has been published in On The Premises, Drunk Monkeys, and the Wyndham Writing Awards. Jakob’s first chapbook of poetry is due to be published this year.

 

Tributaries: "Hermit Crab Struggles to Move House"

 

BY SARAH FAWN MONTGOMERY

unsplash-image-KMO8enB4UTU.jpg

I know the weight of a home

too small, spiraling

the self to fit in a darkness

that requires shrinking

in order to be held

close by the walls

pale pink, luminescent,

the smell of salt and brine

a terrible comfort,

sound of the sea

swelling around desire

to disappear, exposed

and soft as you leave

a home that never

fit, the filth of family

wet and stinking

at your scuttling feet

dragging tender vulnerabilities

across the hot sand,

seagulls circling overhead

to cry danger at your escape

the search to claim

a space in another discarded

shell, home a construct

you must accept

if you hope to survive

the tide or the muck

of rotting kelp,

the children’s urge

to crush you underfoot,

father skipping you

like a stone to ease

his bored disappointment,

and how you shine,

comma of tail tethering

you back as you crawl feverish,

afraid, toward something new.


Sarah Fawn Montgomery is the author of Quite Mad: An American Pharma Memoir (The Ohio State University Press, 2018) and three poetry chapbooks. She is an Assistant Professor at Bridgewater State University. You can follow her on Twitter at @SF_Montgomery

 

TRIBUTARIES: "Must Have Been a Bridge"

 
unsplash-image-WjnF1Tp-p3I.jpg

BY: PAUL CUNNINGHAM

society’s weight

floats

on river’s

surface, to such an exten t

I go blank

in the mirror my bones appear closer

closelysyllabled

than most ontological assumptions of

l i f e or m a t t e r

as I imagine every way a body’s blood

could possibly spiral, vortex

beneath my skin

mirror you stop me, the river

sometimes my head

rages,

infinite your touch, a memory above

I feel emptied of unnecessary weight

a river raging, reassembling

I traverse the current, con-

fluent waters, I cannot speak,

drifting, I

catch only a glimpse:

the sharp of a beaver’s

orange hammer-tooth

the noisy orange-red gnaw

of sunlight’s impact

how it alters landscape

surface and depth

how a mirror always

brings us back

into focus


Paul Cunningham is the author of the The House of the Tree of Sores (Schism2 Press, 2020), The Inmost (Carrion Bloom Books, 2020), and translator of Helena Österlund’s Words (OOMPH! Press, 2019). He is a managing editor of Action Books and a PhD candidate at the University of Georgia. @p_cunning