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  • Careless by Andrew Clark

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    Zingara Poetry Review: Poetry Picks

    It’s careless:
    your back arching across time
    the way you drift across miles
    to stand in front of me.
    We circle
    in the snow
    humming hymns, cheeks close.

    It’s careless:
    the way we smolder in the frost
    a quiver between the trees
    ice splintering around us.
    We are stars
    fallen from a fire
    once bright.

    It’s a walk to the barn
    in the biting cold
    it’s a place to hide
    from wind and world.
    It’s the two of us:
    a warm secret
    on the hay.
    —
    Andrew Clark is a poet whose work has appeared in The Ogeechee, The Miscellany, and The Pregnant Moon Review. He is the recipient of the Roy F. Powell Creative Writing Award from Georgia Southern University. He is a native of Asheville, NC, and is querying his Southern gothic magical realism novel. He is active on Twitter at @theandrewkclark. He is a contributor to Hilton Head Monthly magazine.

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  • Barnwork We Didn’t Talk Much About by Charles A. Swanson

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    Zingara Poetry Review: Poetry Picks

    Manure was the word we used, or barnyard
    muck. Not that manure was elegant,
    but more so in the cattle stalls.

    I still remember Christmas holidays,
    the manure spreader parked,
    ready, between two open doors,

    and long-shafted pitch forks,
    one with four tines, one with five,
    the wood worn smooth in the handles,

    the metal burnished and gleaming,
    and the litter (isn’t that a nice word)
    mixed with hay coming up in layers,

    almost like thin-rolled well-baked pastry.
    Cow manure smells sunny
    compared to pig. Cows eat grass,

    breathe grass, pass grass,
    and something, though faint, lingers
    of clover and sun and vegetable life.

    Outside, around the doors, where sweet rain
    fouled manure—imagine such a thing!—
    the cows’ stomping and milling

    made a black mess, a true muck—
    this is what shit looks like, I always
    think, even now, something fetid,

    fecal, foul, black as tar, suck-
    deep and miry. I walked through that,
    too, as barefoot country boys do,

    in summertime. But in winter,
    straining to pry and peel up
    a thin layer, a towel-length sheet

    of cow manure, I sang (whenever,
    I could find, a breath, between forking,
    and tossing) every Christmas carol I knew.

    —

    Charles A. Swanson teaches English in an Academy for Engineering and Technology.  Frequently published in Appalachian magazines, he also pastors a small church, Melville Avenue Baptist in Danville.  He has two books of poems:  After the Garden, published by MotesBooks, and Farm Life and Legend, from Finishing Line Press. 

     

     

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  • Wild Onions by Susan Carman

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    Zingara Poetry Review: Poetry Picks

    I brought home onion plants years ago
    after admiring them in a friend’s garden, unaware

    how like dandelions are these airy blooms, whispers
    of white lifted on the breeze to land

    far from where they began.
    My friend died a decade ago, but I continue

    to find still-green spikes poking up
    among fall’s spent flowers and gently curse

    her generosity. I pull them out
    each year – they hold fast to the soil,

    break off, roots stubborn as she was.
    The pungent scent of onion lingers on my hands,

    an homage to the bonds
    of friendship that transcend this life.

    —

    Susan Carman is a former poetry co-editor for Kansas City Voices. A Pushcart Prize nominee, her poems and essays have appeared in publications including Coal City Review, Catholic Digest, I-70 Review, Kalliope, and Imagination and Place. Her essay, “An Extra Helping of Grace,” received a national award from Penguin Press.

     

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  • Snow Day by Janet Reed

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    Zingara Poetry Review: Poetry Picks

    This new dog lifts one cold paw
    into the glove of her warm belly,

    eyes asking why abandon
    a blanket of down for one of snow.

    I tug her leash and pull on
    past the school and church

    in line with a wedge of geese
    honking I-told-you-sos overhead,

    their taunts like those I remember
    after bent-arm hangs and volleyball,

    pecking order lines at gym mirrors,
    high-school beauties with blue eye shadows

    and sharp tongues holding forth
    on the faces behind them,

    a Simon Says of trash talk,
    one girl forward, another back.

    I cared too much once, not wanting
    to be the lone goose on the back row.

    Those dance queens, like me,
    must think about those long-ago days,

    before wrinkles creased our eyes
    before nipples perky in vanity bras

    drooped in the folds of our nightgowns;
    youth and beauty double-crossed us all.

    We lucky ones lived to suffer our losses.
    We have what we made of things.

    I have this wind sharp against my cheek,
    the joy of found time in a snow day,

    the love of this dog that trusts me
    to lead her on until she understands.

    —

    Janet Reed teaches writing and literature for Crowder College in Missouri.  She is a Prius-driving, Birkenstock-wearing, tree-hugging flower child whose poems reflect conversations she has with voices in her head.  She is a 2016 Pushcart Prize nominee. Her work has been published and is forthcoming in multiple journals, and she is currently at work on her first chapbook.

     

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  • November, 1993 by Jenn Powers

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    Zingara Poetry Review: Poetry Picks

    a row of blue lockers, hatred typewritten
    on strips of paper, soft
    edges
    from breath, salt. traces
    of pencil shavings, crushed
    chalk, mop water, dirty
    trays of hot lunch,
    grinding teeth.
    sophomore year, strangers
    floating down roads—hallways—
    snowflakes circling midnight
    headlights—hide
    behind the curtain. they mock
    no one believes
    local tragedies. can’t
    stop shaking
    for a permanent
    snow day

    —

    Jenn Powers is a writer and photographer from New England. She is currently writing a CNF memoir and her most recent work is published or forthcoming in Hayden’s Ferry Review, Jabberwock Review, The Pinch, Gulf Stream Lit Mag, and Raven Chronicles, among others. Please visit www.jennpowers.com.

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  • The Last Massacre in My Lonely Notebook by David Spicer

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    Zingara Poetry Review: Poetry Picks

    Solitude isn’t a gate that opens.
     –Norman Dubie

    I volunteered for the nightshift,
    so don’t surprise me, Emma,
    with your tribe of goats.
    I can’t sleep, and if I could,
    I’d dream of standing
    on a snow-topped mountain
    to view the valley below.
    Emma, I need solitude,
    not couriers from Eros
    or a copper cup
    filled with black coffee.
    I’d rather watch reruns
    of Alfalfa and his gang
    chasing geese or wait
    for angels to hold umbrellas
    for me—I doubt if I’d
    leave with them: my soul
    has too many scars,
    and gunshots on the beach
    don’t help. God, I miss
    the lack of terror now.
    Windmills circle in my ears,
    and I need to call a shrink,
    but my throat is a cipher.
    No, I want my black bones
    to heal, ice to drop from the sky
    like frozen tears, and a vase filled
    with scarlet pimpernel adorning
    the window sill. Then I could
    savor a slice of pumpkin pie
    before I write of the last Indian
    massacre in my lonely notebook.

    —

    David Spicer has had poems in Alcatraz, Gargoyle, Third Wednesday, Reed Magazine,  Ploughshares, The American Poetry Review, and elsewhere. The author of Everybody Has a Story and four chapbooks, he is scheduled to have From the Limbs of a Pear Tree (Flutter Press) released in the Fall of 2017.

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  • Change of Heart by Marian Shapiro

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    Zingara Poetry Review: Poetry Picks

    Suppose – no decisions
    could be changed, no fates
    rearranged,
    nothing broken, nothing
    needing repair –
    where
    would I be then? And you?

    —

    Marian Kaplun Shapiro is the author of a professional book, Second Childhood (Norton, 1988),  a poetry book, Players In The Dream, Dreamers In The Play (Plain View Press, 2007) and  two chapbooks: Your Third Wish, (Finishing Line, 2007); and The End Of The World, Announced On Wednesday (Pudding House, 2007). A Quaker and a psychologist, her poetry often embeds the  topics of peace and violence by addressing one within the context of the other. A resident of Lexington, she is a five-time Senior Poet Laureate of Massachusetts. She was nominated for the Pushcart Prize in 2012.

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  • Where the Peaches Are Always Ripe by Kim Baker

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    Zingara Poetry Review: Poetry Picks

    And then a knife
    lifting skin from a peach
    paring away the succulence
    as if fruit never bruises
    and she lost the rhythm
    for just a moment
    the aroma taking her back
    that summer
    his skin
    her sublime laughter

    And then the knife did what knives will do
    continued cutting
    even when she was already bleeding
    down to her very bone
    and she is alone
    his heart stopped long ago
    long before this peach
    this knife

    Her children never understood why
    she wouldn’t come live with them
    preferred to make her own bed
    and lie in the fragrance of what was

    So that all she can do in this existential minute
    is watch the bright red of her life
    flow through her fingers
    stain her apron
    empty her of all she knew
    watch it descend

    like a staircase to another place
    where the peaches are always ripe
    and she can swallow them whole
    because wasting the skin
    the pit of grace
    is just too human

    —

    When she isn’t writing poetry about big hair and Elvis, Kim works to end violence against women. A poet, playwright, photographer, and NPR essayist, Kim publishes and edits Word Soup, an online poetry journal that donates 100% of submission fees to food banks. Kim’s chapbook of poetry, Under the Influence: Musings about Poems and Paintings, is now available from Finishing Line Press.
    ​

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  • Dikaryote by Yu-Han Chao

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    Zingara Poetry Review: Poetry Picks

    Just because we pierce our septa,

               know how to wield a Mr. Softee

                          as well as sit on one

    doesn’t give you the right to call us

               the d word.

    We may not have PhDs in Oral,

               but we’ve two years of training

                          (plus two years of Spanish)

               will eat anybody,

                          could pass as hetero.

    So what if we scissor and fuse our roots,

               fruit,

               fertilize each other’s eggs?

    We spend our entire lives treated like halves, not wholes

    How dare you call our favorite non-clone daughter halfie

               or the d word

                          she just barely reconciled our genes

    By the time she has her first O (brief, nearly dies of the p)

               her heart, worn on her basidium,

                          will break into four pieces

                          not quarters but pulsing halves

    should they land in the right place,

               sprout into

    meandering, scissoring hyphae,

    continue this figure-eight cycle ad infinitum.
    —
    Yu-Han Chao was born and grew up in Taipei, Taiwan. She received her
    MFA from Penn State, taught at UC Merced, and is working towards a
    degree in nursing. The Backwaters Press published her poetry book, and
    her short story collection is forthcoming with Red Hen Press. Her
    website is http://www.yuhanchao.com.

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  • The Muggy Night Air by Kristen Ruggles

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    Zingara Poetry Review: Poetry Picks

    There is an alley I walk
    with my dog in the late
    evening, between two
    buildings that have
    turned their backs on
    one another.

    Through the cracks in
    refrigerator box porches, green
    blades of long grass reach
    through and point at
    the yellowed light that
    gives the night a
    jaundiced feeling
    and illuminates my
    mental state.

    Those fingers reach for
    Me, prisoners
    trapped in wooden cells,
    much like the inhabitants
    of shoe-box homesteads
    behind protected wooden boundaries.

    They reach their
    hands through to me, asking
    for one last connection
    before the executioner
    with his scythe takes
    their heads for crimes
    against their own nature.

    —

    Kristen Ruggles is an adjunct professor in the First Year Writing Program at Texas A&M University – Corpus Christi.  She is pursuing a Masters of Fine Arts in creative writing in Eastern Kentucky University’s Bluegrass Writing Studio.  She has been published in the Sagebrush Review and the Rat’s Ass Review.

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  • To Go From Here by Michelle Holland

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    Zingara Poetry Review: Poetry Picks

    Our little lives extinguish themselves
    like lit matches – ephemeral brilliance –
    then darkness that can’t be helped.

    The match is not meant to burn long,
    just a moment in order to ignite
    something else – a camp fire,
    a cigarette, to sterilize a needle
    before the splinter is removed.

    We flame up, create our colors,
    burn briefly, with just enough time,
    maybe to start something.
    Another life, a movement, a poem,
    a garden, a body of work,
    a connection with a network
    of family, friends, our momentary mark.

    Before Jim died, an arbitrary sequence of events,
    his son, our daughter, the threat of fire –
    led to their family evacuating
    to our big, rambling adobe home,
    created a chance to connect,
    to get to know his silent ways,
    his wry grin, his shaggy, black dog.

    Just a guy and his family,
    a daughter, young and moody,
    whose tears brought him to her borrowed room,
    where she let him know she wanted
    no part of our hospitality, just wanted
    to go home. He listened,
    and later she groomed our big, friendly horse.

    Her father is dead now; only a couple of days ago
    he was alive. Suddenly, his match lost its fire,
    whatever he was able to touch with his light
    done. A son who wants to fly,
    the last ignition of a father who made the connection
    real. The fire will continue,
    in ways no one knows.

    Fathers die. Fathers die unexpectedly,
    commonly, on the floor sprawled, unaccountably breathless.
    The match was lit, and sputtered to its ashen end,
    but everyone else he illuminated continues to inhale,
    embrace the connection to keep our flames alive.
    resist the breath that will extinguish.


    Michelle Holland lives and writes in Chimayo, New Mexico.  Her books include the New Mexico Book Award winning collection, The Sound a Raven Makes, Tres Chicas Press; and Chaos Theory, Sin Fronteras Press.

    Enjoy additional poems by Michelle Holland: “Take The Apple”, “Approaching Another New Year,” and “Empire of Dust”.

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  • Where the Dead Go by Denise Low

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    Zingara Poetry Review: Poetry Picks

    Snow petals ghost
    the northern wind.

    Among wild plums
    my father’s face kites

    in wickerwork limbs
    gray-eyed, trapped,

    no escape as trains
    huff roadside tracks.

    Within twist of this,
    a flounce of cold chill.

    Beneath, below, within—
    where does he anchor?

    —

    Denise Low, Kansas Poet Laureate 2007-09, is author of over 30 books of poetry and prose. Forward Reviews writes of her memoir The Turtle’s Beating Heart: One Family’s Story of Lenape Survival: “An accomplished poet, Low’s well-honed prose flows with lyric intensity.” American Book Review wrote of her Jackalope: “an engaging and humorous read, one that reveals a great deal about the parallel, contemporary Native America that exists and thrives in ways largely invisible to many other Americans.” She teaches for Baker University’s School of Professional and Graduate Studies. She has won three Kansas Notable Book Awards and has recognition from Seaton Prizes, Pami Jurassi Bush Award of the Academy of American Poets, Roberts Prize, and the Lichtor Poetry Prize. Low has an MFA (Wichita State U.) and Ph.D. (Kansas U.). The Associated Writers and Writing Programs, national creative academic programs and independent writers, selected her to serve as board president. She is on their Inclusivity Committee and is a contributing editor of The Writer’s Chronicle.

    Also enjoy my interview with Denise Low  and her poem “Remembering Monk, 1966”

     

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  • Death like your Father by Lola Haskins

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    Zingara Poetry Review: Poetry Picks

    He drops your eyes into a bowl of water. Like those Japanese packets
    you think vaguely, remembering first tendrils then flowers.

    He wraps your arms and legs in newspaper and packs them away.

    He’s brought a special case for your breasts. It’s lined in velvet,
    with a depression for each one.

    He sets them in right-side up, so the nipples protrude like little doorbells.

    He asks if you have anything to say. Yes, says the chunk of you that’s left.

    Like your father, Death is good at looking understanding. So good that
    when you’ve done, he thinks to pause before he continues,

    your heart’s blood cupped in his hands.
    —

    Lola Haskins’ most recent poetry collection is How Small, Confronting Morning (Jacar, 2016). Her prose work includes an advice book and a book about Florida cemeteries. Among her honors are the Iowa Poetry Prize and two Florida Book Awards. She serves as Honorary Chancellor of the Florida State Poet’s Association.

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  • 13 More Ways to Sabotage Your Writing Practice

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    Missives and Meditations
    1. Believing you are of the wrong age, weight, gender, race, nationality, religion or anything else other or not other.
    2. Always attending conferences.
    3. Never attending conferences.
    4. Only reading Facebook and Twitter posts.
    5. Only reading what you like and or that which doesn’t challenge your sensibilities.
    6. Reading only the genre in which you write.
    7. Sacrificing your health, family, values, and quality of writing for the sake of getting published.
    8. Believing you don’t have a story to share.
    9. Not locking your office door (or otherwise protecting your writing time and space) when you write.
    10. Saying no when you should say yes.
    11. Saying yes when you really mean no.
    12. Never doing research.
    13. Doing too much research.

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  • Girl In The Cornfield by Natalie Crick

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    Zingara Poetry Review: Poetry Picks

    He goes for days without
    Seeing a soul.

    It’s cold out,
    And getting dark.
    One of the children is a girl,
    Untouched as the field she stands in.

    Her skirt lifts mid-calf in the breeze,
    One hand holding out for his like
    A flower curling out from a stone,
    Turned into nothingness.

    The purple sky violated by orange
    Weeps over the creek,
    Shaming the white of her body with
    A ghostly stain.

    The old farm stands like
    A woman unwilling to give in,
    Cradled by the hill.
    She is alone

    On the fading road,
    Her exposed neck swan-like.
    The dried bone is so pale
    It blushes blue.

    —

    Natalie Crick, from the UK, has poetry published or forthcoming in a range of magazines including The Chiron Review, Interpreter’s House, Ink in Thirds, Rust and Moth, The Penwood Review. Her work also features or is forthcoming in a number of anthologies, including Lehigh Valley Vanguard Collections 13. This year her poem, ‘Sunday School’ was nominated for the Pushcart Prize. Her first chapbook will be released by Bitterzoet Press this year.

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