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Cover Elena Koycheva
Bryce Emley
Asking Father What’s at the End
& other poems
AJ Powell
Butterfly-minded
& other poems
Faith Shearin
Biology
& other poems
Claire Van Winkle
Admitting
& other poems
Sarah W. Bartlett
Summer Cycles
& other poems
Nooshin Ghanbari
Vincent
& other poems
Meli Broderick Eaton
The Afterlives of Leaves
& other poems
Jeddie Sophronius
Refugees
& other poems
Paula Bonnell
In Winter, By Rail
& other poems
Addison Van Auken Waters
Girls
& other poems
Daniel Sinderson
Hallelujah
& other poems
Andrew Allport
All Nature Will Fable
& other poems
Marte Stuart
What an Insult Time Is
& other poems
Matthew Parsons
My Father as an Inuit Hunter
& other poems
Emily Bauer
Gently, Gently
& other poems
Bruce Marsland
A once lovelorn bard’s final journey
& other poems
Beatrix Bondor
Night Makers
& other poems
Isabella Skovira
Lawless Conservation
& other poems
Juan Pablo González
Colombia, 1928
& other poems
Molly Pines
The Pillbug
& other poems
Jamie Marie
On the Lake
& other poems
William A. Greenfield
If You Show Me Yours
& other poems
Bill Newby
Tuesdays at The Seagate's Atlantic Grille
& other poems
Elder Gideon
Male Initiation Rites
& other poems
Joel Holland
Dear Gi-Gi
& other poems
Martha R. Jones
How Lewis Carroll Met Edgar Allan Poe
& other poems
for Kat
The woman in Admitting sits in her reinforced fish tank
all day, smacking her gum and scratching
between her legs when she thinks the wait-
ing room’s back is turned. The light
flickers like a foot tapping or breath catch-
ing how sickness catches in a scorched throat.
Only this lock-and-key sanctuary could hold
such deviant light—its switch- blade of fluorescence
on bullet-proof glass, its warped waves and pockmarks.
The desk-girl doesn’t know what we know. She hasn’t learned
the art of knitting shadows, of fitting
tight into the corners one conjures in this labyrinth
of knock-kneed chairs. All she knows is hair
spray and fingernails— not cut short, like ours,
or bitten to the quick. No, from cuticle to curved edge
hers are sharps, contraband. Her hands tell us
that she is on the out- side. Their thick nails
will pick the ward’s lock at the end of her shift.
She’ll clock out before the snug chain of electricity
is released from the overhead lights. She’ll go out,
get a cab, get laid. We know she holds at least
one skill we can’t grasp: we will still see
her bruised-berry lips long after she’s punched out,
and the smell of her hairspray won’t quit, but by six
we’ll have vanished from her varnished world.
We admit it’s not the glass or needles or men
in white who hold us here for our own good. No,
what keeps us guarded goes deeper: That bored girl at the desk
is a mistress of the art of missing nothing
she’s lost or left behind while we are stuck
here in this strip-searched light with our past lives
laid out like tarnished cutlery. We roll up
our sleeves, bare our hearts and teeth, and shock ourselves
as we attempt to commit
the theory of forgetting
to memory.
There is technical language to describe a cat whose ovaries have been removed, but the word they used was fixed.
As in:
The day we had her fixed we picked her up and she was stoned, heavy as a sack of rocks.
We hauled her home, doing our best not to stretch the translucent film of exposed skin—her shaved underside cross-stitched by that mad embroidery where they’d sealed her shut with one ragged seam.
As in:
She’d just been fixed and we were afraid we might break her.
You said you picked me ’cause I wore white stockings & no lipstick & in the low light I looked a little like your kid sister Etta. Said you liked how I was all elbows. That you could tell from the get my pussy would taste like peaches.
You’re s’posed ta smile now, sugar pea, you said. So I did.
Before long, you got used to me—your favorite pit-stop on that beat-up highway from here to heaven and back.
I figured you’d tire quick, come to see that stockings run & lips crack & no matter how fresh & clean a thing starts, if your hands are dirty it’s gonna get stained. After some mileage I even told you plain: Peaches ain’t so pretty once they’re bruised.
True, you said. Then you spat on your rough palm, got yourself wet, hitched up my skirt & pushed into me. But damned if they don’t taste sweeter.
for Stacy
Stacy dreamt of cocks that spoke
Mexico City Spanish—rolling hard,
every syllable requiring tongue,
the body’s pestle grinding city dust
into its mortar. Coño de madre, she’d slur
through sleep, pressed into the dressing room’s
beat-up couch—restless,
sucking her thumb.
It was the only time she’d shut her mouth all night.
Inevitably the phone would ring, or one of us
would run a stocking and curse, and Stacy
would stir—irritable, like a child
whose pacifier has dropped out of reach.
She’d smack her lips, twist them to bare
her ruined teeth, and hiss What’re you putas lookin’ at?—
her voice all throat, her dripping thumb jabbing the air, slick
as meat on a spit.
She named her rabbits Zyprexa
and Xanax. Zyprexa made me
uneasy; he’d get loose
at all hours, wander to our bedroom,
and make small sounds like
the sucking of old shoes
in wet weather. He was the color
of dirty bed sheets and he smelled
like cabbage, but she loved him.
She called him Zippy.
When I asked about the scat on the floor
around his cage she said
the greenish lumps were pellets—
that rabbits ate their own crap
to get what they’d missed
the first time around.
She told me she liked rabbits
because they knew how things worked
and handled their shit
accordingly.
Claire Van Winkle writes poetry and prose. She teaches at several CUNY and SUNY schools and is the founder of the Rockaway Writers’ Workshop. In addition to her creative and academic pursuits, she works as a writing therapist researching and applying creative workshop strategies to inpatient psychiatric care. She is the recipient of several honors and awards. Her work appears in various publications including anthologies by Black Lawrence Press and Rogue Scholars.