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Updated: Oct 30

Walking the Dog

 

It’s only a red light / a regular red stoplight / it doesn’t mean what it used to / the crawl across my back? a nerve somewhere sending its regards / from the headlands to the stern there’s a storm inside / and I resent my students who say what they think I want to hear /and I want to tell them don’t you know I’m younger than you / I keep not knowing anything / I want them to know that nothing too /the sparrow worries I’m after its nest when I’m just walking past /please treat the place like you live here / don’t throw chicken bones and nips / birthday cake candles in my garden / isn’t this world also yours / we broke it we own it / a redbud is a redbud even if it never blooms—I need that / and there isn’t a dog in the world except for my Dover at the end of her leash /and I know the car has no intention none whatsoever to stop at the red light / so we wait / wait at the curb  / nothing means what I was told



The Screen

  

My plane waits for me at the end of a tunnel,

its engines brum, knock of bridled explosions,

fumes, squirts of oil and grease, heads slicked,

free of grit, the metal skin mirrors the sunrise

My coming journey will pummel its steel,

test its jets— what can be dissected

and put together again

What gets larger through collective

experience is made of individual noticings

My student described the white bowl

in the museum and discovered

the orbit of earth, its imperfect round,

the moon with its pitted surface,

and what could I do, but thank her?

When the wonder opened,

I mean, the window, I was somewhere

again finally, my body had an earth

for a whole breath

in a blue sky,

but the passenger beside me closed it,

the sunlight streaming in

obscures his screen, 

everyone but me returns

to their movies, curated movement

of a narrative so unlike

life that spends itself heedlessly,

the little seconds whizzing away here and there,

who’s to say this led to that?

What is text, but probability,

the odds of one word

following another

and the predictable world

goes unfilmed, it’s full of the sleeping

and who wants to watch it?

The brain loves motion and will make a story

Let me say this:

I love to see the shadow of my jet

race across winter trees

Catch me! it says

Catch me if you can!



Spun-Butter Light Smothers The Rust-Tipped Weeds

 

Dusk

clotted with insects

sipping the last

bit of august

 

dancers

on the palm

of summer

           

tulle skirts

net light

little leap

of a season

 

tipping

into September

 

and from the underwelt

the click and twirl

of cicadas unwinding

dervishes

of the emptying

 

Mary Buchinger is the author of seven collections of poetry including Navigating the Reach (Salmon Poetry, 2023, Mass Book Award, honors, ) and The Book of Shores (Lily Poetry Review Books, 2024).




Updated: Oct 30

Be Fruitful and Multiply

 

Newly fascinated with germination, 

my 80-year-old father shows patience—

something Mom says he never had at 23

when planting the seed 

that would blossom into me.

Using thick and calloused hands

that once warmed the handles of hammers, 

wrenches, hacksaws,

Dad carves pineapple leaves from the fruit,

cuts close to the stem,

finds the corona of rust-colored root nodes,

nests them in a bed of potting soil.

Slicing lemons for his bourbon lemonade,

he extracts slippery seeds,

presses them into the peat moss 

and composted bark of a planter, 

considers how his next heir

might be a lemon tree: trunk strong and firm,

leaves green and smooth, 

skin clean and canaried near a citrus

window sunny with southern exposure.



Sometimes It Happens to You

 

If you’re driving through Alfred,

Dad says, never pick up a hitchhiker

carrying a single bag. Chances are

he was just released from County Jail,

and won’t that be a shit show riding shotgun?

 

His grease-whorled thumb and forefinger

rotate a glass of Tito’s on the counter.

Turning to my older sister, he adds, a man tries

to talk you into a car, his or yours, no way

you comply. Not under any circumstance.

 

I don’t care if he’s got a gun to your gut

or a knife sniffing your carotid.

I don’t care if he’s got some bullshit story

about an emergency involving wife

and kids up the road.

 

Run if you can but scream no matter what—

every ounce you got, y’hear?

Cause you get in that car and he drives off

with you, you’re 97% dead.

 

Better odds he bolts when you scream,

especially in a parking lot or on a street—

anywhere there’s a chance you’ll be heard.

 

Under sharp lights, the frost in his Marines

crewcut shines with the same Brylcreem

he’s used since he was fourteen.

 

And don’t smirk like this will never happen

to you, either. I’m not wasting my breath here!

You need to know how to react

in any situation because shit happens,

and sometimes it happens to you.

 

I say: Or me. And he tilts the weathered blue

of his eyes my way. Less so to boys, he says,

but who knows anymore in this fucking world.

And swallows two fingers of vodka.

 

Ken Craft is a Maine poet and author of three collections. His poem "The Pause Between" will appear in the Pushcart Prize XLIX: Best of the Small Presses 2025 Edition.




Updated: Oct 30

The Interpreter

asylum interview in Dilley, Texas 2019


In first person protocol

no omissions or additions

tongue and gums twist a path

saliva like ink to the press

ventriloquist for hire:

I’m the cold judge with a routine spiel

the lead respondent is deemed removable

I’m the nice lawyer asking the cruel questions

how many were there? how many times?


But mostly, I am her, the me that speaks

bloodshot ears, I mouth the horrors.

I see through the tear brimming

almost pick at the burn scars on her knuckles

look down at my notebook

when her eyes fall in shame,

why didn’t you go to the police?

we choke up,

I fake thirst so we both can catch our breath.

You steal a glance as if to plead

make my fear credible

I sneak a delicate nod and hope you read me:

I got you


The gavel drop breaks our bond.

Thankyous and goodbyes

God bless you and keep you safe


Home, I try to be just me again.

I shred the evidence:

pages where I said I was you

in half words, symbols, and scribbles

where my pen opened and closed wounds

fresh and old.

Only her, I can not shake

even after I scrub the stains from my hands.

 

Robin Ragan is a professor of Spanish at Knox College where she teaches translation and interpreting. She is a certified medical and legal interpreter who often works with survivors seeking asylum or other kinds of immigration relief in the United States.




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