
Photo by Rakicevic Nenad (pexels.com)
Nels Highberg
In Saskatchewan, outside Manitoba
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Photo by Ruvim Kerimov (unsplash.com)
The first cease-and-desist letter arrived: Stop! Stop turning our lights on and off like that! It arrived as an Unterlassungserklärung from a real estate agency in Stuttgart, the third-largest in southwest Germany. My fingernails had begun calcifying into light switches a few weeks earlier, though it took time to learn what meant on and what meant off. I only knew things had gone monodirectional, obedience replacing choice. The Germans were linked to the pointer finger on my left hand, the right pointer to a lamp store in Baltimore, a row of desk lamps. For weeks, everyone thought bulbs were failing, not that a man outside Hartford kept catching his hand in his pocket at Starbucks. One finger triggered an alarm, in turn setting off a chorus of dogs in Kentucky. I grew afraid to gesture toward anything, worried my pinky was wired to an elderly wife’s ventilator in Saskatchewan, outside Manitoba. So I sat still, hands flat on the table, fingers splayed. I listened for the hum under my nails, afraid a catch in my breath could unmake a world.
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Nels Highberg (he/they) is a poet-essayist, mixed-media artist, and professor of English and modern languages at the University of Hartford. His work has appeared in Brevity, Catapult, Intima, and Feminist Teacher, and he received an Artistic Excellence Award from the State of Connecticut in 2020.
Jim Tilley
License, Registration,
and Passport Please
Over the crest of the hill, a long straight stretch to get past the tractor-trailer truck doing 70 mph. I signaled, pulled out, sped up briefly to 90, passed quickly, then pulled back in ahead of it. Coming the other way, a vehicle blew by me, executed a high-speed U-turn, put on its flashers and pulled me over, retarding my progress towards Val d’Or in the Province of Quebec, not golden at that moment as the QPP officer demanded my license, registration, and passport. In French, asked what I could have been thinking. I answered: “Je suis en train d’écrire un roman et je dois faire des recherches sur l’hydroélectricité. Je vais visiter La Grande-1 à Baie James. (I am writing a novel and I need to do some research on hydroelectricity. I am going to visit La Grande-1 in James Bay.)” I didn’t say that Against the Wind was more about wind turbines, but wouldn’t have been complete without investigating the advantages of water-powered generating stations. The officer asked if I had made an appointment, almost surely knowing that one is necessary before touring the facilities. I said that I’d made two and provided him the details. He returned to his patrol car for ten minutes while I sat wondering how large the ticket would be in the province of my birth that I had long since abandoned for the U.S. Apparently to his surprise, he confirmed that I had indeed made both. I confessed to being sorry for my grande vitesse and he replied, en anglais: “Not a problem, sir. You have many miles to go before you sleep.” With a wink and a smile, the poet in him handed me an official, signed note en français to use if needed and tipped his hat. “You will have to go fast.”
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Jim Tilley has published four full-length poetry collections and a novel with Red Hen Press. His short memoir, The Elegant Solution, was published as a Ploughshares Solo. Five of his poems have been nominated for a Pushcart Prize. His most recent poetry collection, Ripples in the Fabric of the Universe: New & Selected Poems, was published in June 2024. His forthcoming collection, When Godot Arrived, will be published in 2026.
Amy Allen
Whalesong
Ours is the song of salty currents, of squid and sharks who swim alongside us, of places we’ve been and things we’ve seen. We call out to one another as we plunge to cold, shadowy depths, widening our jaws to pull in krill and plankton then flushing the seawater back through our baleen. We hear the hum of your ships, announcing your arrival long before we allow you to spot us. As your dark shadows hover above, we flex our fins, breaching our slick gray bodies as we maneuver around the recording devices you lower into our pods. Sometimes we perform for you, singing to one another of your overbearing presence. We listen as you name our sounds, as though they’re anything like your language, and we sputter at your ignorance. What you don’t realize is we spend our lives solely in song. We sing lullabies for our calves, ballads for our mating couples, requiems for those we’ve lost. We bellow anthems of warning for each other and our young, guiding them around your hulking ships that pass above and sometimes sink beneath us. We serenade our partners and roar at our adversaries. Our melodies are unique, but together, our notes create a harmony that is the soundtrack of our existence. These sounds are our chorus, the lyrics threading our lives together in an exquisite orchestra that illuminates the darkness of our world with music. Our choir’s refrain for you is unchanging, an eternal plea that you turn your ships back toward shore, bringing your microphones and recorders along with you. When you finally comply, a joyful hymn will echo among us, a holy song for which you do not have words — something that can never be captured.
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Amy Allen, Poet Laureate of Shelburne, Vermont, is the author of Mountain Offerings (2024). Her work explores the intersection of nature and human experience and appears in numerous literary journals. She also owns All of the Write Words, a freelance writing and editing service.
Janet Ruth
Hook, Line, and Sinker
— after Paul Klee’s Fish Magic, 1925

All those scaley fish-memories ... That time you took me along on the first day of trout season. Your favorite bend along a forgotten stream — the secret spot where the fishing is best. I had to bait my own hook with the wriggling worm. All was fine until the stream bank collapsed under my feet and I went splashing into the cold flow, my boots filled with water. You hauled me out, made me stand in them all morning because you scared the fish and must have done it on purpose because you were bored, which I hadn’t but I was. Or vacation at Uncle Harold’s cabin in the Poconos, where we got to stay up late angling for catfish by the light of a kerosene lantern. Tramping through the dark to that inlet along Lake Wallenpaupack where we sat on the bank staring into darkness. Dragging in slimy creatures from the muddy bottom — watch out for those barbs on their whiskers! We kept our catch in a bucket on the car port, with a rock on top of the lid. But a skunk, or a raccoon figured out how to get in anyway and made off with the prize. We practiced our casts in the back yard with a rod and rubber weight tied to the end of the line. A robin chased the bouncing target through grass as we reeled it in. Casts in real time got hooked — in trees — the opposite bank — the row boat’s edge — the back of my shirt — thankfully not in anyone’s eye. Only one time, you took me along on a charter boat for blue fish — your favorite “deep-sea” adventure. You helped me catch one with reel and tackle attached to the deck chair. I’d pull up on the rod and reel in, dip the rod — and don’t stop reeling! — then pull up and reel some more. Somewhere — the picture of me standing proud with my catch. You showed me all the lures in your creel — telling me which one was good for what circumstance or which fish — all of which I promptly forgot. Some looked like minnows, some like worms, some more like cheap jewelry. You said they were just meant to catch the light and the attention of the fish. I preferred fishing with lures, which at least involved some action — casting and reeling back in. More interesting than casting out a worm on a hook with a weight, followed by just sitting and watching the bobber, waiting for it to dip ... and waiting ... and waiting ...
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Janet Ruth is an NM ornithologist and poet. Her writing focuses on connections to the natural world. Poems recently published in The Nature of Our Times and Ekphrastic Review. Her winning sonnet, “A World That Shimmers,” was set to music and performed by True Concord Voices in 2023. See more at redstartsandravens.com/janets-poetry/.
Edith-Nicole Cameron
Waiting for the Muse
I’m waiting for something but I’m not sure what. I don’t want cancer. I’ve decided against divorce. I hate my parents’ decline but dread its inevitable end. I’m 98% sure I’m not gay. But so many of the writers who most inspire me find their most inspiring words after enduring great loss — of a child, a partnership, an identity that heretofore held them intact. The metaphors and meaning they construct on the page seem to be assembled from their own broken parts, rearranged into fresh wholes exponentially greater than their sum. One shattered heart plus the full moon’s glow over Lake Superior equals a sonnet. Her name misplaced in the holes of her mother’s memory, multiplied by her wife’s sunlit hair blowing out the window as they pass a grove of Joshua Tree silhouettes: an ode to the wonder of now. I’m waiting on that wonder, mind meandering as I hurry between one child’s drop-off to another’s pick-up across town, when I’m abruptly forced to stop. Crossing the road, blocking my path, is a tribe of turkeys. A dozen at least, unrushed by my schedule, oblivious to the social construct of time. Now, here I am, waiting for turkeys. I’ll likely wait a while, and it turns out I’ll find inspiration in the wait.
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Edith-Nicole Cameron (she/they) writes, teaches, and mothers in Minneapolis. She used to be an actor, then a lawyer. They've had the good fortune of having work published in various journals, including Literary Mama, River Teeth’s Beautiful Things, and elsewhere.
Beate Sigriddaughter
The Muse Speaks
The poets imagine me as one of the girls in summer dresses, or an elfin-like nymph flitting from tree to tree in the forest, then vanishing in brightening air, or even as a guide to paradise. They paint a future bright with lanterns, fireplaces, and other flickering things. In reality, I'm cooking spaghetti for Giovanni and slicing salami for the kids' lunches, and I am tired with migraines and the knowledge that I am not inspiring anyone, not even the kids. In my dreams there are swans and things I probably will never do. Reality supports me like a comfortable stranger while I perform my balancing acts in this circus of money. Still, there is something lovely about opening curtains in the morning, with the dark slowly peeling away.
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Beate Sigriddaughter lives and writes in Silver City, New Mexico (Land of Enchantment), where she has served as poet laureate. Her latest poetry collection is Circus Dancer (Cholla Needles, 2025). See more at www.sigriddaughter.net.
John Brush
Wordplay
I was having fun with collective nouns. A shrewdness of apes. An implausibility of gnus. Until someone said it wasn’t poetry. And this person stood over my shoulder for years, brandishing a thesaurus and a giant eraser. "Must have meaning!" he thundered, slamming the thesaurus onto the dusty mahogany. And at this, I shriveled. Becoming smaller and smaller until I was no bigger than the words erased from the page. A calliope of heartache. A renaissance of sorrow.
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John Brush is a professor of English at Suffolk County Community College in New York. He is a writer of primarily prose poetry and previously won the Philbrick Poetry Prize for Chrysalis, a chapbook of prose poems.
Erika DeShay
Take a Moment to Brainstorm Before You Write
Write a multi-paragraph essay in which you justify your decision to become a teacher. Make sure to include why you spend more time worrying about other people’s children than you do about your own mental health. Support your thesis with at least two direct quotes from the students who have loved you. “You saw me in a way even my parents don’t.” “When I think about people who I really want to be like when I’m older, you’re pretty much the first person who comes to mind.” Include a counterclaim. You haven’t always been nice. You have seen monsters in the boys who stare you down. You’ve seen the sadness in little girls as they watch those monsters form. You have not known what to say. Proofread your essay carefully. Make sure to catch all continuing insecurities, deleting any redundancies. Print your essay before class. Print your essay before the end of the day. Print your essay before the end of the school year. Print your essay before you retire. Print your essay before it ends.
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Erika DeShay is a Black poet and English teacher living in Denver, Colorado. She is a 2024 Periplus Collective Fellow whose work has been supported by Lighthouse Writers’ Workshop and Kenyon Review Writers’ Workshop. Erika’s work has been featured in Callaloo, The Cortland Review, Fatal Flaw, and other journals.
Nadja Maril
Church Ladies
They told us not to take pictures. That didn’t stop the woman who’d told me on the tour bus about her world travels. She pulled out of her phone and started clicking. I warned her that the lady in black, the one who unlocked church, was watching us; but she assured me the altar shielded her from view. “I always take pictures,” she said. I tried to put a little distance between us and I stared at the frescoes of believers beckoned by angels into paradise while I heard angry words spoken in Bulgarian and our tour guide quickly ushered us out into the sunlight assuring us we’d find a lady like her at every church. I’d witnessed on the walls the birth of the holy child, the Last Supper, and sinners being tortured. In the churchyard I closed my eyes and tried to imagine an artist one thousand years ago, working in this damp place, mixing the pigments, warmed by his beliefs. Yes, I agreed. They are everywhere.
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Nadja Maril lives in Annapolis, Maryland, and is the author of Recipes from My Garden, poems and memoir. Her work has been published in dozens of small literary magazines. She is a founding member of the Old Scratch Press Poetry and Short Form Collective. Read her work at Nadjamaril.com.
JeFF Stumpo
[Tonight you are a heart attack
on stilettos…]
Tonight you are a heart attack on stilettos. You vavoom past a theater on 12th and appear on every screen inside. Every hot dog in the corner cart cooks without water. Passersby spin so fast the energy turns on all the lights in the city. You are illumination in drag, the great goddess Apolla. A drunk catcalls you, and the words come out like an Apollinaire poem. You catch them between long pink nails, roll them into a cigarette, walk off smoking hey sexy lady like it was a compliment you were looking for all along.
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JeFF Stumpo’s prose poems describing his lucid dreams, as well as rendering the hopes and fears of people he cares about into dreamscapes, are collected in these are the waterfalls in my head, winner of the Granite State Poetry Prize (forthcoming from Yas Press in April 2026). Individual poems from it have appeared or are forthcoming in places including Prairie Schooner, The Journal, Salt Hill Journal, DMQ Review, Subnivean, Gulf Stream Magazine, and Voicemail Poems. He has a (poor) website at www.JeFFStumpo.com.
Arvilla Fee
No One Tells the Mother
In all those birthing classes, breathing exercises, and how-to-parent books, no one tells the mother that her child, her precious newborn baby with wrinkled fingers and toes, butter-soft skin, and squinty navy-blue eyes will grow up to be an addict. You know — you’d think they’d throw that in somewhere, maybe some razor-thin paragraph with one of those red triangle warning signs. There is a slight possibility your baby could grow up to be an addict. Maybe stick it between colic and cradle cap. They should tell you that you won’t always fit around your child, two commas pressed together when you sing lullabies. That their goo-goo-s and ga-ga-s become swear words; tempers thrown over a banished lollipop become 2 a.m. rage-fueled denials and blame — well, if you were a better mother. And there really should be something about what to do when you stand in front of a casket, the box that holds your baby’s wasted body, and everyone is just so sorry for your loss, but you don’t even know how you lost him. What went wrong. Where you should have taken a left instead of a right. Had you skipped classes? Did you buy the wrong book?
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Arvilla Fee, from Dayton, Ohio, has been published in numerous presses, and her poetry books, The Human Side, This is Life, and Mosaic: A Million Little Pieces, are available on Amazon. Her life advice: Never travel without snacks. To learn more, visit her website and her new magazine: soulpoetry7.com/.
Sean Thomas Dougherty
My Mother Is Getting Small
She used to be able to look me in the eye. Now she reaches my shoulder. She doesn’t so much as walk as shuffle. Still she is proud, she cleans with a broom. She makes the coffee in the morning for my father. My father seems taller than last I saw him, but that could be because my mother has gotten so small. My father whispers to me if she gets much smaller I worry I might lose her. I worry I might sit down and squash her by accident, or I will throw her out with the week’s papers when she is digging in the bag for The Sunday Times. I tell him to tie a string to her, a string of light, and so we did. And for a while that worked. I’d come to visit and there would be my father letting out the long leash like thread, but eventually my mother said that was no way to live, tied to a tether like a child. She said, I feel like I am held by a noose. I worry when he naps your father might hang me. And if you could have seen the look of horror on my father’s face, he immediately flicked his wrist and the string of light rose up like a lasso in reverse, froze above my mother’s head, and there she stood happily marveling at her new halo.
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Sean Thomas Dougherty's most recent book is his memoir in prose poems, Death Prefers the Minor Keys (BOA Editions, 2023).
Mikki Aronoff
Itch
Scratch your itch to prove your mother loved someone other than your father, never mind you’ve just buried her. Move back into her home. Pitch and roll in her rocking chair, then wrestle yourself out. Prop open the hallway closet door. With the tip of her old wooden cane, root around hats stacked in millinery boxes on the shelves above the jackets and coats that once swung and swayed when she sauntered. Unearth her sewing kit, pocket the cash tucked under packets of needles and straight pins and a tangle of threads. Gather letters inked on onion paper and bundled in an old cookie tin. Stretch out on the well-worn sofa. Read. Suck in air as the fade of the script brings back the hush of his voice when speaking with your mother, his voice more soothing than your papa’s, your papa so tired at day’s end his words punched. As suppositions billow, pound them like a feather pillow when you make up the bed. Close your eyes, retrace frequent childhood trips to the library, book corners poking from frayed string bags. Hear again the questions your mother asked the sandy-haired librarian about setting. About character and conflict. Recall how he brushed his bangs from his eyes before leaning forward, elbows on the checkout desk, chin in palms, to answer. The rise and fall of his breath, his muted words. Remember how your mother pinked, how people behind her fidgeted and cleared their throats. How laughter blossomed there. Wonder if that’s why you now always have a book nearby. Try to recall the titles of the last novels your mother read, their twists and turns. Twinge at your hand-me-down existence, brimming with derivative bliss. Scratch.
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Mikki Aronoff lives in New Mexico, where she writes tiny stories and advocates for animals. She has stories in Best Microfiction 2024/2025 and Best Small Fictions 2024 and upcoming in Best Small Fictions 2025. More at facebook.com/mikki.aronoff/.
Debbie Feit
The Harvest
When my father dies, we strip him for parts. Slice off the best pieces, gulp down a few. The rest we pickle, package, preserve, knowing our appetites will demand more. Hunger pangs come after shiva, so, we cannibals peruse the pantry for nourishment. Nostalgia. We take Tupperware from the freezer, scoop out helpings of his unbridled Jewish pride. Sprinkle it with paprika, serve over a bed of Shabbos candles. Add it to our weekly menu. We unwrap foil packets of his praying and swaying with his congregation. Its luscious flavors leave us craving our own cultivation of the culture. His passion we ration, each of us seasoning it to our own desired taste. Gorged on our grief, we continue to feast, licking the bones clean.
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Debbie Feit is the author of the poetry chapbook, The Power of the Plastic Fork: A Daughter's Highly Unorthodox Kaddish, forthcoming from Porkbelly Press. Her work has appeared in Abandon Journal, Harbor Review, HAD, The New York Times, RockPaperPoem, and on her mother's bulletin board. Visit her at debbiefeit.com or on Instagram @debbiefeit.
Lisa Badner
Flying South

Photo by Aleksandar Pasaric (pexels.com)
What Is Age-Related Birding?
Age-related birding (A.R.B.) is a disease of the aging brain that may get more severe over time. There is no cure and it is the leading cause of serious injury, including walking into cars and e-bikes with phone in hand while looking up at tree branches or building eaves and in most extreme cases, with binoculars. About one in 10 people over the age of 50 suffer from this condition. A common side effect is the Merlin download at which the afflicted will stare frequently while furiously pressing record sound. A.R.B. occurs when the central portion of the left frontal lobe of the brain atrophies and one suddenly and without warning realizes that birds have bright colors, like red and blue and pink and scarlet and turquoise and yellow and make specific sounds which may constitute a song. In some severe cases, usually in the final stage, the afflicted will sing into the Merlin application in an attempt to make an identifiable sound. If this symptom is observed, it is essential to seek professional help. Most astonishingly, however, the condition causes a startling cognizance that these creatures can fly. One who is afflicted, suddenly observes them effortlessly gliding around and perching on trees. The afflicted realizes that, as she is fading, unable to run and walk as fast as she used to, while accelerating towards the ground, these colorful melodious creatures are soaring gloriously in the sky.
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Dust
I dread imagining how this will all end. For my mother. Who has not seen a doctor for 20 years. Only recently she watched my father’s quick demise. He did not see a doctor for 20 years. Nobody gets out of here alive. How will it end for any of us. She bites into her burger, with her strange set of teeth, some fake, some real, pointing in ten directions. Please go to the dentist, I beg. She tells me to mind my business. I haven’t had a burger in two weeks, she proclaims. But she had a burger last week. And meat loaf. And pastrami. Her arteries must be swirling with chunks of tortured meat. Plotting her demise. But does it really matter in a world of fascism and fire. The dead cow and its terrible life. The burger. The teeth. It will all end in dust.
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Lisa Badner is the author of the poetry collection, FRUIT CAKE (Unsolicited Press, 2022). Lisa's writing has appeared in numerous publications including Rattle, New Ohio Review, The Satirist, and, most recently, in One Art, Pine Hills Review, Fruitslice, and the Mid-Atlantic Review. She lives in Brooklyn, New York, and can usually be found riding a bicycle. See lisabadner.com for more.
Lynne Schilling
Theatre in the Dermatology
Waiting Room
Maybe he is six. He sits next to his mother, a little brother on her other side, playing on an iPad. After watching assistants enter the room and call out a first name, the boy asks, Mom, what would happen if she called a name and two people had the same name? This leads to a conversation about what would happen if two people have the same first name and the same initial letter of the last name? what if they have the same last name? the same birthday? the same time of birth? the same license plate number (his idea). A few minutes later an assistant enters and says, Carol? Two women stand. The action occurs behind him, and he misses it. His mother tells him what happened. How it was solved by the initial of the last name. His face does a happy dance — his eyes the stars you sometimes see on cartoon characters. He sharpens his attention with a squint. Minutes later another assistant enters and says a name no one appears to hear, but two people stand up, a man and a woman. The boy’s demeanor now resembles that of a research scientist, clipboard in hand. The man strides across the room, saying Bruce? The assistant shakes her head and says, Ruth? And with that, the woman comes forward. After that, two assistants enter the room and call out two different names at the same time, and two women sitting together, but not “together,” get up and walk in opposite directions.
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Lynne Schilling began writing poetry seriously when she turned 75. She has published in Quartet, The Alchemy Spoon, New Verse News, Rue Scribe, MacQueen’s Quinterly, Lucky Jefferson, and others. She has poems forthcoming in contemporary haibun online, Quail Eggs, and Thimble Literary Magazine. You can find her at lynneschillingpoetry.com/.
Maggie Bell
Long Covid
Take two of these in the morning and in the evening. Take one of these in the morning and in the evening. No, at lunch and at dinner. One of this in the morning. Two of that in the evening. Salmon. So. Much. Salmon. Dr. Z literally tells you to go for a hike. Dr. T tries to sell you Juice Plus. Therapy. Yoga. Meditation. Herbs. Acupuncture. Strangers on social media talking about a full recovery. Strangers on social media talking about wanting to die. Twitching in my right bicep. Twitching in my left glut. Twitching in my left eyelid. How do you sleep when you know you need to sleep? The phrase “blood pooling.” The phrase “brain inflammation.” Trying not to picture a squishy pink balloon expanding treacherously inside your skull. More electrolytes. More bananas. Too much TV. Cut out caffeine. Ouch. Wait, no, maybe just cut back. Never tequila. NEVER TEQUILA. A good day: a religion. A bad day: the truth. Feeling the best you’ve felt in over a year. Feeling back. Feeling 100%. Rich with spoons. Three nights later, losing your mind. You call your dad who always talks about himself. You cry. He comes to St. Louis. He talks about himself and brings you salmon. At least he is jovial. At least he is not your mom. At least he says “Tell me to shut up if I’m talking too much about myself.” You could never do that, but still. Your mom comes to St. Louis. Your mom comes to St. Louis. Your mom comes to St. Louis.
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Maggie Bell (she/her) is a writer and attorney who lives in St. Louis, Missouri. Her work is forthcoming in The Rumpus and has appeared in Assay: A Journal of Nonfiction Studies and Nine Mile Literary Magazine. You can find her on Instagram at @maggie.bell.writer or contact her at maggie.bell.writer@gmail.com.
Naomi DeMarinis
Boned
Water and salt wet the tissue that covers the skull. The face is face down, the zygomatic bone rests on the radius, the ulna rests on a pillow. The doctor will push the Jamshidi needle into the left upper hip through skin and muscle into the ilium, the part of the pelvis — flensed — that looks like a wing, wing a way of talking about shape, different from the non-wing parts of the pelvis — sacrum, ischium, pubis, coccyx — wing. It’s convenient, a figure of speech — only — because the body is an anatomy on the table — only — and no longer made of pearl, veil, canvas, crown, quirk, muddle, and life-rendered slant. Inside the/my body, there are wings made of bone. But flightless. I can’t escape this. I am crying but note that it doesn’t hurt much except for the lidocaine, pain like a careless step into a bee-worked patch of dandelions, the sudden buzz and stinger, the sting, venom spreading hot and red from the throbbing entry, ruining with day-wrecking shock the grass, the sun, the blue sky blue as awe. Just months before, a friend told me her wife went in for a bone marrow biopsy, and I thought, at least I’ll never need one of those. I remember that now as the needle passes through unfelt except for the doctor’s weight bearing down on the plastic handle — he calls it pressure — boring through my concentric rings outer to inner — epidermis, dermis, hypodermis, fascia, muscle, wing — all numbed until the marrow which gives a sucking pain when extracted and a plunging pain when deposited into little glass vials to be tested for leukemia. This is procedure and collection. And this is irony: never say never. My brain is in my skull, but my mind is in the room around. The doctor asks, “Do you want to see?” The body can’t say no, the arms raise the torso, the neck moves the skull, and the eyes see the red — the red, the marrow — pipetted into specimen collectors. Marrow is a delicacy. The mouth says, “I see.”
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Naomi DeMarinis is a writer from Western, Montana. Her recent work has been published in Pithead Chapel and bioStories. You can find her on Instagram @naomiofthesea or on her website naomidemarinis.com.
Nancy Kline
Bearded Femur
The bone man wears goggles and a white coat. He has switched on his electric saw, as though he were the Frozen Logger, but it isn’t trees he’s aiming at, it’s my leg, all jolly when he says, Don’t move! and presses his roaring metal-toothed instrument against the plaster that has trapped me for ten weeks from my armpits to the bottom of my left foot VROOM! A roar, a whine, the plaster dust sprays up, the saw blade’s whirling heat a dragon on my skin Crack! One piece of the cast splits off Crack! and he lifts away another, yellowed, stinking, trailing its interior rags. I’m lying still as stone, air touches my unswaddled skin, I’m laughing, mommy’s laughing Don’t move! in the roaring white room on the metal table as my prison falls away. In a cloud of plaster dust I sit up for the first time in ten weeks. I look at my healed left leg, it is the most peculiar thing I’ve ever seen. No broken bones are sticking out of it, it isn't crooked, nothing shows how much it hurt ten weeks ago when I fell out of the apple tree and landed with my thighbone snapped in two beneath me Crack! None of that shows now. But my leg is covered with a thick black growth of hair, as though I were the bearded lady at the circus, not the white-blond little girl I know myself to be, as though an oddball part of me has suddenly appeared, a hidden part, what a surprise! or even someone else's part, which they attached to me while I was sleeping in the operating room and it has taken root inside the cast and is now growing out of my white body. Except I know it’s mine, I can see that. As I will come to see, grown up, that my desire to touch another woman’s body with my own (what a surprise!) is part of me. I look up from my bearded femur to my mother, seeking explanations, but she’s busy sobbing now, and laughing, and groping around inside her cuffs for Kleenex Come on down! the doctor says, he snaps his goggles off. When the bottom of my left foot bumps the cold linoleum, small puffs of white transparent cells cascade from underneath my bear-fur hair, I stand up in a heaping footprint of dead skin, ecstatic, wobbly, on my feet.
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Nancy Kline grew up in Greenwich Village and broke her leg in Woodstock. Then she became a writer, translator, and teacher. Her leg is now arthritic. Which is to say, the past is always present, one way or another.
Nicole Gulotta
Threats to Extinction
Live long enough and death will appear: an old friend, cousin, father-in-law, the dog you raised. It’s in the wind, always was, and once you see it you can’t unsee: deer in the street, cicadas dropped from trees, tire-smashed raccoon, heaps of schoolchildren. One day you’re shopping at the grocery store and your phone pings: active shooter. Active shooter—nearby college—high school—across the street from your son’s second grade class. Once there were earthquakes, practicing duck and cover, and now it’s lockdowns and closets because there are so many guns and you cry in the shower thinking how he came home saying they had a code red drill today and when you asked what that meant he said shhh, it means there’s a wild animal in the hall, get down.
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Nicole Gulotta is the author of Wild Words: Rituals, Routines, and Rhythms for Braving the Writer’s Path and the literary cookbook Eat This Poem. She lives in North Carolina with her family and hosts the Slow Writing podcast.
Gary Fincke
Reading to the Shelter Dogs
As if the children are priests, the small dogs in each cage are attentive through the wirework. The young readers concentrate, proud of a skill so recently learned that each page begins with a brightly colored picture of things to love. One boy mimics the sounds of farms. Another revisits the roar of trucks. And one girl reverses her book to show her terrier a picture of himself, softly barking what she believes could be understanding and consolation. Nearby and smiling, the woman who sponsors this charity understands that salvation is as improbable as a governor’s intervention, knowledge that these children have been spared. Although even among the very young, somebody is likely to be eager to share the shelter’s terrible secret, outing another sort of Santa Claus, by daring that reader who flips her book to return next week and ask for her special friend the terrier, the one who, when she stood, closed book in hand, furiously barked.
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Gary Fincke's latest book is After Arson: New and Selected Essays (Madville, 2025). He is co-editor of the annual anthology Best Microfiction.
Rick Pongratz
Hiking in the Desert on Our Anniversary
We have been walking quite a while on the meandering trails; we’ve started repeating ourselves. There's a lot of cacti — sandy washes are hard walking — not much shade under the creosote, no place for a rest here. It's always difficult on an end-to-end journey, knowing it will end but not knowing when. Parched and hungry for something other than what we’ve brought, we start to see things that aren't there. The motives of the coyote seem suspect. The cholla leans out into the trail. We are full of barbs.
We turn to one another. Our eyes meet across the chasm. How did we end up on different sides of the slot canyon? It's not far, if we stretch, we can touch, but neither of us step that close. It happened subtly, the cleft starting beyond the spring. Slowly deepening, each of us unaware as we focused on our own steps. We forgot we were on this trail together. It's not far but a slip when jumping across is a lot to gamble. We could return together, to the spring, but it was quite a ways back and neither of us suggest it. We could press on, tolerate the distance between us, hoping it doesn't become something grander. Goodbye seems too much; can't just leave someone you’ve loved in the wilderness.
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Rick Pongratz's writing appears, or is forthcoming, in Rattle, Bellevue Literary Review, Frogpond, Modern Haiku, and Whiptail. He works as a mental health clinician and studies creative writing at Idaho State University, and currently resides in Idaho with his family, where he enjoys anything in nature.
Tom Vandel
Ice Sculpture
The Downey twins, two years old, were found with arms wrapped around one another, pajamas torn off, high up in the only tree left standing in the snow-blown Nebraska yard. Their teenage cousin, Ned, scrambled up into the skeletal pine and deftly extricated them from the ice-encrusted branches and lowered them to the scoured ground by rope, the boys clinging to each other, unconscious, a human ice sculpture in the delicate, twenty-below morning dawn. Tears froze on the cheeks of those who swathed and blanketed the boys. Miraculously, they were revived by a bonfire and today breathe on. Their home gone, their lives undone. Please, who would guess a tornado would come calling on a cold winter day? What did they do? Built a new home. Planted more trees.
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Tom Vandel is an author of three books, including a crime noir novel, a book of short stories, and a collection of poems. The latter two were finalists in the High Plains Book Awards (2022, 2023). He has been published in Montana Quarterly, Bel Esprit, and Design Observer, and posts his writing at tomvandel.substack.com.
Kimmy Chang
Diptych of the Wet Season
Bindweed
come into my garden of nightmares. look at the boxes my pa built. see the cedar sheen? my ma’s sealant. her mesh bags too, strung for field mice. the shovel? pa forgot it. neither returns. only rain, showers and storms, so i prune pea sprouts mottled with rot. the fairy eggplants dangling above barren pumpkins get my secrets; every web in the garden knots me to the past. when ma fell, my arms stayed caulked to my sides. the jar pa labeled SPOILED fogs on the shelf beside unpaid water bills puckered with mold. on the wet window, pa’s dimple and ma’s crescent eyes multiply in distorted spheres, like they’ve come back to watch me work. bindweed braids its blush through my toes, laces my flip-flops in green. a county NOTICE flaps on the fence, a watering ban and fines for waste; still, i drag the hose out like a bad habit. the garden presses a cask to my chest and drops me to my knees. call it reckoning, call it relapse — i name what grows here: mildew, debt, bindweed, and what i keep watering anyway. i down its sake, clutch the cherry tree’s roots, moss damp against my cheek. the shishi-odoshi, its hollow clack, splits its bamboo spine as the shovel rusts deeper in the soil, the handle pointing nowhere, like a finger connecting the distant dots of stars.
* * *
Lineage
“Her mouth, Ma’s,” my aunt said; “Grandma’s brow,” my mother corrected. In our family, likeness is evidence. I turn the phone face-down, my pocket token on the ledger, blinking with missed calls I let rot. The dog never cared for faces. She loved salt on knees, the socket of a tired shoulder, the way i smelled after bad news. Sixteen years: the heart-shaped tag heating my thumb, night’s sake-glass rings silvering the oak, a laurel leaf filed from a trophy into dust. Prestige left, proof right; they balance each other like teeth in a cracked smile. After the dog went, the garden exceeded itself, bindweed through the bloom, mildew in the lung. I thought floodwater; I thought the necktie of lightning; the shovel’s lip shaped my name without vowels. tomato cages slumped like bad vertebrae. Then bluebonnets muscled through the screen, planted, forgotten, a mockingbird stitching insomnia to the blinds, forcing a sprig of song against my face until i almost recognize it.
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Kimmy Chang is an emerging poet and computer-vision engineer based in McKinney, Texas. Her work has appeared in Bombay Gin, trampset, ONE ART, Sky Island Journal, and elsewhere, and has been nominated for a Pushcart Prize. More at sites.google.com/view/kimmychang/poetry.
Bea Sophia
16:47
I wrote about the seizure on the Northern Line at King's Cross and my agent said tourists don't want to read about the Tube and I said I wasn't writing for tourists I was writing for the three women who held my head while the carriage emptied and she said that's too specific an audience you need broader appeal which means write it so Americans understand which means don't mention the Northern Line say subway which I won't because it wasn't a subway it was 16:47 southbound Northern Line at King's Cross the floor tasted of rust and the woman in the Tesco uniform kept saying you're alright love you're alright while the businessman filmed it for his wife or for proof I don't know and the other woman had a Waterstones bag with three books in it I saw the spines: Ferrante Ferrante Lerner and my agent said who cares about the books they were reading make it universal make it accessible which means erase the postcode erase the exact station erase the 16:47 erase the Tesco uniform erase everything that made them stay when everyone else moved to the next carriage and I realised being there means being the kind of specific everyone wants you to generalise into nothing so they can take your seizure on the Northern Line at King's Cross and feel something without having to know what the Northern Line is or why King's Cross or that the woman in the Tesco uniform missed her shift and got written up for it which I know because she found me on Facebook eight weeks later to ask if I was alright love
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Bea Sophia, aka sophiasharkey (Substack) and beasophialovesgnocci (Instagram), writes 4+ poems daily — an addiction fueled by necessity. Her visceral work and essays, rooted in psychology, explore creativity and social justice. She founded The Page Gallery Journal to champion experimental writers and foster a radical literary community.
Howie Good
Graveyard Train
The days were like pieces from different puzzles, never designed to fit together. I was living, as if on a dare, with my future killer. Clock hands spun wildly. I cringed at the thought of what might happen next. Medicine had become a bastard child of commerce. And so when they nuked the tumor, the ability to dream in color was also vaporized. Little remains of who I was, fragments of memory, like dark scenes half-glimpsed from the window of a passing train.
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Howie Good is a widely published but little-known poet.
Peter Chiu
Finding the Afterlife at Union Station
When Union Station was first built, you could sneak in during maintenance hours and listen for the sound of a stirling engine howling, carrying people you knew had passed away, like a family member or close friend, even a neighbor. The moments were brief — the faces disappeared as soon as you recognized them, like a cloud of steam. No one could explain where the passengers came from, or where they were going. But that was irrelevant. Most of us just wanted the chance to see loved ones again. We never spoke about Union Station, we were afraid the platforms would disappear. It was difficult not to be superstitious back then when we didn’t know any better. There’s no magic in figuring out how it works, we said. The entire operation seemed fragile and loose, like a dream. In some rare cases, folks reported seeing their own faces staring back at them through the train’s dusty windows.
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Peter Chiu’s recent work has appeared in Crab Creek Review, The Indianapolis Review, orangepeel literary magazine, and elsewhere. He lives in Los Angeles with his family.
Kip Knott
Sundowning

Photo by Kaique Rocha (pexels.com)
Darkness shuts down the day just in time for sleep to clock in and flip on the conveyor belt that delivers dream after dream all night long from both the living and the dead. I watch myself sleeping alone in a bed made of webs. Or is it a bed made of rays of light stretching out beyond stars and dark and infinity? Either way, I sleep ensnared, afraid the slightest twitch will awaken the person who sleeps inside my brain and allow him to begin dismantling the synapses that separate me from him.
* * *
I watch the shortest day of the year fall off a cliff and drag night down with it. Did the day simply slip as it tried to peer over the edge that demarcated light from dark? Or did it just give up and jump of its own accord? Perhaps it was pushed by some supernatural force. Whatever the truth may be, darkness now eagerly fills its place as if an agreement has been struck with the universe that, for the moment at least, death may light the world with the ghosts of stars too long dead and too far off to truly haunt the living.
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Kip Knott is a writer, photographer, and part-time art dealer living in Delaware, Ohio. His writing has appeared in Bending Genres, Best Microfiction Anthology, Ghost Parachute, ONE ART, Poet Lore, and Virginia Quarterly Review. His most recent book of poems, Rothko’s Gospels, is available from Tiny Wren Publishing.
Özge Lena
Allegory of the Lungless Poet
At sunset I buy a bag of oxygen from a rag and bone shop for €99.90 and a piece of lung for the half-alive baby with the rest of the money. I run in the foggy streets madly, pass the plastic statues of the tyrants and torn flags, jump over the creeks of bleeding ink, adrift blank pages sticking on my body as I rush back to the ruins of the library where I find a bright black boar eating the baby’s mouth. Gasping in my gas mask, I scream silently. The moment I throw the lung to the boar, a Molotov cocktail falls on the broken shelves, the regime burns all the books in the country. I recite a poem like a prayer as I feed the oxygen to the flames. I tie the baby on my chest and dive into the fire.
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Özge Lena is an internationally published poet. She recently presented her poetic approach, "Catapoetics,” at the International Conference on Poetry Studies, University of London. Her work has received Pushcart Prize and Best of the Net nominations and been shortlisted for the Oxford Brookes International Poetry Competition, The Plough Poetry Prize, and other awards.
Sherri Alms
Aphrodite of the Apocalypse
I was born as silken sea foam on my mother's body as she emerged from the ocean, then a blue we can't imagine now, sapphire and peridot, turquoise and emerald. I was supposed to bear love and beauty, bring forth new creatures, new life, new planets, stars, black holes, moons. But the gods forgot me. Until it was too late for love and beauty. They left me over and over, in a reed basket on the banks of the Kasai River, a car seat abandoned on the side of the road, a damp, wilted box, a trash can on a street corner in Copenhagen, a laundromat on the corner of Laredo and Main in Sheridan, Wyoming. I did not speak until I was 13 and then I whispered. A gray toxin shrouded the world, trees drooping and breaking. Birds plummeting, dead to sidewalks, car tops, roofs, skyscrapers. Each thwack a prayer to the Pantheon for restoration. Unheard. Unheeded. I watched anemones withdraw themselves back into dirt smelling of unhatched eggs, narcissi turned to brown crumbs. I saw animals lined up one by one — the last rhinoceros, bonobo, cheetah, pangolin, brown bear, and African forest elephant — to wade into the River Styx and turn to black foam that dissipated like ashen soap bubbles at a funeral. I was infertile in this world, a useless goddess, barren of magic, barren of beauty. A crone withered and bent. When finally the cow, the pig, and one sparrow flying along disappeared, when the oceans turned to briny puddles, and babies drank their mothers' licorice tears, the Pantheon stepped down from their ivory-cloud thrones. They were the last guests to the party in reverse, funereal confetti floating down as the world whimpered and disappeared.
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Sherri Alms writes weird, sweet, and occasionally angry stories, poems, and essays. Her work has appeared in Salvation South, Cleaver, Rattle, Jelly Squid, and other publications. She is a freelance writer who lives with her husband and two cats in Gettysburg, Pennsylvania.
Unbroken is a quarterly online journal that seeks to showcase prose poems and poetic prose, both from established and emerging voices. We desire to give the block, the paragraph, the unlineated prose, a new place to play.
Unbroken is edited by Ken Chau, Dale Wisely, Katherine DiBella Seluja, Tom Fugalli, and Tina Carlson.
Roo Black is founding editor emeritus. Our Battleship game strategist is Dr. Boyd Razor, Ph.D. Our Ambidextrous Bloodhound Press lounge attendant is Chen Kau, whose new favourite number is 30. His current favourite songs are The Clash's "The Magnificent Seven" and "The Call Up" from Sandinista! (1980), Bruce Springsteen & The E Street Band's "Darkness on the Edge of Town" from The Roxy July 7, 1978 (2018), and Bruce Springsteen's "High Sierra" from Tracks II: The Lost Albums (2025). He is currently reading The Catcher in the Rye (1951) by J.D. Salinger for the 21st time (and for the first time since 1998).
Our thanks to the contributors to this issue and all who submitted their work.
