100 DEAD BABIES the conductor’s wand rises suspended in the air for a speechless moment one hundred dead babies wail away a mute harmony on the floor of the orchestra pit & the audience sways gently to the thunderous roar of the air conditioning unit and a billion goosebumps tickle their arms and nipples while the rest of the nation sways in unison as they veg-out on a lethal dose of CNN
3/7, 7:10 am
choose your week, name your month
can’t stick a label on time
my breath won’t bring anything closer
the floor tries to influence my direction
doesn’t trust stillness
if the light could switch itself off
the faucet would rather chant than sing
i almost forgot the stove, the subtle differences
of the flames’ shapes and colors
a dozen or so sparkling vibrations
orbiting my skull’s bald plain
thin fog no match for the sun
the sun never sleeps
always a car moving somewhere nearby
as my walls expand incrementally, unsure what to do
with the space tween interior and ex-
like the surprise of a line of jam
tween two volumes of cake
as long as i cover my hands, feet and head
if my mouth skips a breath
something else will catch it up
whether my heart is bass or drums
my eyes violins or flutes
take the time to make space
my internal compass searching for its sun
sky so vacant the stars can’t sleep
What If Sun and Earth Are Ovens
A hole in my working pond as if something screamed in
resolving spin, momentum, heat and appetite
as the stillest pond continues breathing
with the sun’s warmth exhaling before midnight, mindnight
when the dough immediately springs back when pressed it’s time
to keep it from fermenting any further:
bread with sausage,
bread with fermented cod, a loin of pork rolled in rock salt
to clear a path through the snow of hunger, this internal mountain pass
so steep you can only carry water and a cloak with many empty pockets
since I’m next to a bakery I like I’m hungry and must go in
used to be a warehouse, indoor soccer, testing grounds for
paper airplanes hurled by the lifters in the basement gym
powering the ovens with their cardio
where do they hide all the pumps that hold up the tallest buildings,
keep Miami above water, why does no one say our major earthquake
will be caused by all the new weight on the land of this
former delta of two large rivers negotiating a mutual surrender
after a billion years of yeast, tectonic dough folding toward the seethe
with permanent icing and seasonal convection above, our subductions
beginning to overheat and who knows what mutant crystal lattices
what heavy meatal muscles, inert and anonymous gases
releasing their eons of choreography as the dance floor
unzips everything’s jeans we have no idea what amazon will be selling
or what we’ll pay to stay here, the imaginary numbers of address,
the lack of durable seismic surfing gear, the temperature
when I’m hungriest, the shopping lists in solar flares
When Time Could Dance and Stutter
hollow as the breeze
take the skin off my arm
and see a busy neighborhood
storefronts to live above
how many years of path
window reflecting what’s several blocks away
who gets to scent this late morning
two dogs walking each other
because chocolate melts, cause oats
won’t leave the bowl voluntarily
last day of May, and June was stopped at customs
sent back to wherever the future is
like an underground spring not caring
which way’s downstream, the cat
who’s a different species each night
drilling at dawn’s door
clothes demand to be worn
clocks don’t need to think about moving
news breath, traffic breath
my lenses fog despite the temperature
I pour a little coffee into my milk
all the chairs are full, no one’s home
waiting for the rain to set the agenda for a dry week
striking my finger against the sidewalk
as if a match
becoming a mini-sun
a transformative flashlight
on the tightrope of noon
no one is ready to roar
with more days unseasonable than seasonable
what do we call this time
as if ‘June’ means anything out of context
out of habit, out of frustration
Unscription
suddenly sepia, watching myself
the air is frictionless, thin, breathable as normal
or have my lungs acclimated
so many feet in this crowd—which are mine
in the event of the inevitable
camera catching car, everyone gets out
and the car keeps going
I’m not in the road but on a the porch of a plantation
now a care facility, or a banquet hall
where is this
walking into empty places
clearcut 20 years ago and nothing’s changed
the doorknob comes off the door stays closed
window shutting like an eye
a chimney three miniature people are escaping from
the chimney of my neck:
is my head smoke or a stork’s nest
I’m running on the inside, trying to inflate,
the sunlight’s picky about which windows
to shine through, one window nudging another
the street too dry to reflect, mind wiped
by weeks of rain, not racing the earth’s rotation
but never wanting the day to be dry enough
to go out in, driving without windshield wipers
the air smells like gasoline, I doubt the existence of stars
rising from my fetal curl cause this is my stop
either the stairs up or the stairs down
like a parking garage with more birds in it than cars
staircases remind me of bow strings, of bass strings
notes the ears can’t hear but from chest to groin can
after dinner all the lights and walls go away
an on-shore breeze, a deep orange full moon
just clearing the ocean’s border
not sweat but salty rain from inside me
Retrospeculative
if rain fell as one thin sheet every couple minutes
would wind cooperate.
drive for a slice, cut for tomorrow
lean out the wall where a window should be
how do i shift gears in this living room
a 27 inch rear view
dialing 911 gets me helicopters
outside two o’clock is riddled with potholes
a million clocks step backwards at once—
no one wants to be now, ready but not willing,
clinging to the recent past coz it’s still edible
so many garden hoses migrating toward the ocean
i only wear shoes so i don’t root
if i was naked i might photosynthesize
and what would that do for the economy
i’m feeling retrospeculative
is the future north or east
would it take a billion staying up all night
for the sun to hesitate, whether out of curiosity
or self-doubt
like china, every continent should be a single time zone
no more of getting there before you left
a day no one remembered to experience
even the calendar goes right from 22 to 24
it’s usually Wednesday who complains
people used to be able to assemble clocks
but time could never be fixed
space is constant but room keeps shrinking
as do lots and apartments
not a walk-in closet but a studio
soon be a world where those over 5’ 10”
will either stay outside or develop back problems
i was once able to see the future
but my vision got corrected
i can’t decide which of the labels in my pantry
is my name, how to know which can wants to open
what i think is outside is a warehouse
i can’t see the other end of
one path is red, the other is slippery
there’ll either be a place to lie down
or a place to swim, the mice and fish
are slow enough to read but their
evaporating language, how a couple of my muscles
want to break off and fend for themselves
when i get this far inside
when the right direction’s not the answer
if i can get a majority of my parts
to believe they’re someone else
we just might reassemble
My Mother My mother my mother ! I want us to always be together like kidney and blood whenever You're not glad tears I must drop If you go on trip I will trap myself in a cage my love for you has no price yeah ! never can it be priced worthier it's than bride price not even that of the princess our home darkness in it no light shines when You are not around all food taste naught even if cooked with salt never will it have taste. no attire accessorizes your beauty you turn it into comely you glisten the Moon In the sky any food not cooked by you tasteless is what it is I love you my mother. ©️ Yusuf Salisu Muhammad. Yusuf Salisu Muhammad writes from Katsina state. He is Currently studying at Umaru Musa Yar'adua University, Katsina state of Nigeria.
Mr. Love By Yusuf Salisu Muhammad Your love calls my name which is always in a red in my heart is a white,white man it shines like a star oh ! he is a gold ah!, love you are a bété de scéne that no one angry at oh ! Mr. love recall when I chatted you You confided in me you will never betray & never bite me so if you dare do I will retaliate. Yusuf Salisu Muhammad writes from Katsina state.He is Currently studying at Umaru Musa Yar'adua University,Katsina state of Nigeria.
A Psalm for your body
i tongue this hill your body o woman
this pure ground of worship is a journey to horeb
a goddess I must appease
I must wet with petals of songs
here is my voice take it:
the mower plying your sacred lawn
from your scriptures
I eat the torah of longing &
fill the desert of my bones with chapters of your dew
o woman you are genesis you are fire & rain & clouds
you are leviticus you are the storm that cannot be
you are revelation gathered in the mouth of a brook
everything beautiful and broken teeth of a knife eating the
poisonous bud of history
even God knows: when hunger
tickles a woman's heart when the molars in her song
becomes the gasp of a dying bird
silence becomes a name screeching in the dark
these hands your hands are alabsters of memories
every touch every song they make prays me into
an altar of fresh wine all shades of sweet-darkeness & honey
o sweet honey sweet shepherd of my soul
come ferry this heart to a house filled with colours
The Soldier's Will You can take all his weapon But you can't take from him the spirit of a champion You can take his fellow brethren But you can't take away from him his divine amen You can take away his food But you can't take away from him the knowledge of his hood You can take away his health But you can't take away from him the beauty of his eternal wealth You can take away his frivolities But you can't take away from him the fullness of his priorities You can take from him the presence of wars But you can't take away from him the ' 'eternality' of the cause You can take away from him his meal But you can't take away from him the Soldier's Will
My New Face of personality My face is burnt; Should I hurt my thought? Fire tries to end my facial physicality; Should I affect my reality? I had no idea my face with experience such; Should I negatively talk about it much? I realized beauty comes from within; My facial look is just kidding; When the need for character steps in I realized my current facial condition is to make me reach a decision; Separate the grains from the chaffs of my situation; Appreciate a true friend and frown at a false companion. Now... It has motivated to smile in the face of life's hurdles It has inspired to surmount life struggles It has courageously positioned me to always stand tall It has amazingly strengthened me to see direction, despite a standing wall It has helped me define character in a proper perspective It has shown me why focus should be my prerogative. Though my face was burnt, causing facial deformity but... My facial deformity is not up for mockery; It is a situation that makes a good story My facial deformity is not up for ridicule; It is a situation that makes a good life riddle My facial deformity is not up for caricature It is a situation that makes the building-up of an amazing creature
Climate sensitivity is a term used by the Intergovernmental Panel on Climate Change (IPCC) to describe to what extent rising levels of greenhouse gases affect the Earth’s temperature. Specifically, it describes how much warmer the planet will get if the amount of greenhouse gases in the atmosphere doubles.
In this issue, contributors grapple with the effects of our actions on our climates: ecological, political, social, and personal.
Note: If you’d like to make a difference for the Earth by planting trees, you may visit One Tree Planted for information on how to replenish natural forests around the world. One dollar plants one tree! Also, if you’re an artist who creates work inspired by ecology and nature, you can include your work as part of Earth Day’s campaign to showcase Artists for the Earth.
Several writers from the B Street Writing Group in Hayward, CA address ecological climate change in a collection of pieces which they will perform at the Sun Gallery at Hayward’s first annual Lit Hop, Saturday April 30th.
Leticia Garcia Bradford wonders whether her individual actions are making enough of a difference for the environment. Linda Hibbard speaks on climate through the POV of a melting snowman. Gloria Lopez and Tess Tyler outline the effects of environmental change on humans as well as the rest of the ecosystem.
Patricia Doyne’s work crashes into our consciousness, illustrating storms as an effect of our changing planet. Lisbeth Garcia-Lopez brings a poignant tale of flowers destroyed by pollution. Al Murdach depicts a green statue of Jesus and its potential significance, including stewardship for creation.
Finally, with his trademark humor, Hayward’s poet laureate Bruce Roberts encourages us to pack our bikinis for Arctic sunbathing.
Other writers take a more personal and psychological approach to writing about landscapes of various kinds.
Loretta Siegel celebrates nature in a piece inviting someone to join her out “where the rabbits run,” while Michael Hough describes a walk out at night with his dog and the screech of owls in the air. Gabriel T. Saah’s speaker contemplates his deep love for his partner while walking along the beach at sunset. He draws on nature within himself, his own body, as well as outdoor scenery for imagery.
Sarika Jaswani highlights the solitude that gives her the space for creative thought, which she finds in rural, urban, and literary landscapes. Jelvin Gibson evokes the rich beauty of nature while mourning a lost love, and Mahbub waxes poetic on the delicate embrace of birdsong, sprouting grass, and pastureland.
Mamadee Kanneh probes the inner landscape of his moods, often as complex and out of his control as the weather. The sun, and its mythological connotations, illustrate Isabella Hansen’s speaker’s grief over the loss of her brother. Hazel Fry stares into the ocean and muses on evolution, ecology, fluidity, and femininity.
Geoff Sawers paints European urban landscapes with language evoking their complex, rich, and sometimes dark pasts. Do Toan Dien draws on the spiritual, natural, and architectural heritage of Vietnam in his bilingual poetry. Federico Wardal covers a talk from archaeologist Dr. Zahi Hawass on how researchers located Cleopatra’s tomb in a piece that celebrates ancient Egyptian culture.
Nadja Moore depicts various miscommunications: a humorous disconnect over dinner and a more poignant tale of a child ghost trying to get her family’s attention. Doug Hawley’s flash fiction explores through humor the dangers we face in the wild: age, declining health, animal and human predators.
Stephen House looks in on others with compassion – a man with mental challenges, animals bred and destined for slaughter – and also speculates on how we might bring different perspectives to the same circumstances.
Sheila Murphy probes human nature with a mix of short pieces and character sketches that explore both our fragility and our resilience. John Grey writes of the imperfect human experience: bumbling dancers, drinkers with bad breath, marital disillusionment after a flood. J.J. Campbell conveys the awkwardness, hope, and cynicism of love at midlife, while Emmanuel G.G. Yamba vows not to let death take him without a fight.
Ivan S. Fiske’s speaker draws upon various religious images to describe his profound connection with the person he loves. Michael Robinson presents calm odes to the spiritual nourishment found through instances of beauty in urban environments.
Christopher Bernard contributes a poetic piece on history and memory and speculates that becoming a poet might be a calling as much as a professional identity.
Still other writers play with mixed media and language.
Jerome Berglund pairs nighttime urban shots through a car window with haikus, while Heller Levinson fragments concepts, definitions and ultimately words into thought pieces. Mark Young’s first piece harks back to Ezra Pound’s style while his other poems reflect on political communication.
Other writers address the global sociopolitical climate.
Patricia Doyne mourns the invasion of Ukraine in a piece from the point of view of a little boy who loses his mother. Steven Croft addresses war in Ukraine as well as Iraq from a more panoramic perspective, while commenting on Bolivia’s economic growth.
Chimezie Ihekuna urges humanity to abandon war as a means to solve differences. Christopher Bernard depicts the Ukrainian tragedy through the trauma of a young refugee boy, while David Dephy’s work honors the beauty of Ukraine and issues strident calls for chaos to depart. Ike Boat shares his service as the master of ceremonies during a Christian university’s graduation in Ghana.
We hope that this issue adds a bit of inspiration to your day while challenging your heart and mind and imagination.
As a reminder, we encourage the readers and writers who enjoy our publication to write letters of support to be included in care packages to be delivered to refugees around the world by the nonprofit New Beginnings. Click here to write a letter online (anonymously if you wish) that will support and encourage a refugee family in their new home.
Also, PEN America campaigns on behalf of writers facing persecution for their nonviolent work. Click here to read and sign online petitions for different writers at risk. Also, the organization Free Women Writers is looking for volunteer editors for pieces they are collecting and publishing from women and girls in Afghanistan.
~ When I See Death ~ When we cross paths I won't even be scared Rolling up my sleeves And preparing my fist I'll join him into a fight When death comes for me I won't beg on my knees Crying for a chance For a life he didn't give But hit him in the face For the hurt that he caused me Taking my loved ones from me Emptying my house of family Leaving my life lonely And ending all my gravy I'm gonna unleash my anger against him Knowing fully well I will not win But for him to taste small pain That is experienced by mortal beings Before taking me with him