Turtle Island Quarterly 23

2022

 

featured poet: Michael Spring (4 poems),

poem by Lorrie Ness, 2 poems by Joan Mazza,

poem by Jared Smith, poem by Barbara Parchim,

poem by Paul Willis, poem by J.I. Kleinberg,

poem by Emily Ransdell, poem by Tim Mayo,

poem by Brett Warren,poem by Bill Griffin,

poem by Richard Weaver, and haiku by Xiaoly Li

 

 

 

Featured poet: Michael Spring (4 poems)

 

 

 

tsunami

 

the boats broken from their moorings

look like drunk horses trying to find

their way around the docks

 

but the docks come undone too

as the water rose so subtly

no one seemed alarmed

 

several miles of rising

water still coming

as boats bang against other boats

 

and floating cars in the parking lot

and here they come – a pride of sea lions

flipping around in the water

 

they are thrashing the surface

bumbling over boats, tipping

them over – catching a ride

 

on the floodwaters

toward the sinking fresh fish market –

they are dunking cars along the way

 

barking, howling as they bounce –

blubber over metal –

they’ve waited a long time for this

 

 

 

 

mango at dusk

 

I believed, briefly, I was simply made

of the ocean’s

red and orange hues at dusk

 

sticky mango sluiced

my face and hands

as sweet juice found my tongue

 

the ocean appeared fleshy

I want to spend my life

with its textures and stirring currents

 

I tear into the mango – it is a poem

I devour (always I’m looking for that poem!)

finding more of this world to love

 

 

 

 

rowing toward Pianowood Harbor

 

the harbor master boasts most of it

was built from planks meant for pianos

 

including the hotel and diner

 

how many pianos might have existed

from the wood that built this harbor?

 

the one in the piano bar reverberates

the melodic voices in the room

 

when I land I might find luck

in this place – I am rowing –

 

I have heard the cautions

about the acoustics in the dining room –

 

I am rowing there now 

 

to your table where I will risk falling

in love with every word you speak

 

 

 

 

under the influence of Jung

 

tonight the black sky is an ocean

I sit at the bottom looking up

as moonlit clouds become dive boats

 

what if divers from that surface

dove down to see what I am? I’d slip away

into the things I love in this world

 

I’d be a single thread of music in a symphony

a wing of moss on a mountain of moss

a rock in a field of rocks

 

inside the rock there is a secret passageway

(as everything has) as the path evolves

 

into a dragon in a river of stars –

everything the alchemists sought in alembics

waiting for the ouroboros to emerge from fire

 

 

 

Michael Spring , of southwest Oregon, is the author of five poetry books and one children's book.  His most recent book is dentro do som/ inside the sound – a bilingual book (poems translated into Portuguese by Maria Joao Marques) published by Companhio Das Ilhas, Portugal, 2021. His poetry awards include The Robert Graves Award, The Turtle Island Poetry Award, runner-up award for the Paris Book Festival, and an honorable mention for the Eric Hoffer Book Award. In 2016 he won a Luso-American Fellowship from DISQUIET International. He is a poetry editor for The Pedestal Magazine and founding editor of Flowstone Press. 

 

 

 

 

 

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poem by Lorrie Ness

 

 

 

Road to the Farm

 

 

We’re feral without them,

two gravel ruts dividing meadow

 

from domestication. Like the single e  

            taming the wild

 

out of domastication. We are all chewing    

the mustard seeds,

 

our fathers bred into cauliflower, kale,

kohlrabi & cabbage.

 

Naming is the first step in differentiation

            and division. Cultivation

 

is how we convince it to stick.

Tucking homes

 

behind fields of corn, living in rows

on South Amber,

 

Winding Cross & Willow. Every one of us

            assigned a street number.

 

Independence has become a feeble attempt

            at solidarity.   

 

Like any two parallels converging

in the distance,

 

we spread apart & the horizon backs up

            on approach.

 

 

 

Lorrie Ness is a poet writing in a rural corner of Virginia. When she’s not writing, she can be found stomping through the woods, watching birds and playing in the dirt. Her work can be found in numerous journals, including THRUSH, Palette Poetry and Sky Island Journal. She was a featured poet at Turtle Island Quarterly and she was nominated for a Pushcart Prize in 2021by Sky Island Journal. Her chapbook, “Anatomy of a Wound” was published by Flowstone Press in July of 2021.

 

 

 

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2 poems by Joan Mazza

 

 

Amphibious

 

Beautiful word, bridge between wet and dry,

dreamy as my night travels beneath quilts.

I slip between worlds, live in either one at will,

step into water without knowing how cold

or deep, or what swims under a black surface,

skin exposed to the inhabitants. From depth

I rise to break that sky mirror splashing,

and gasp for air, my hair wet and streaming

like seaweed, slippery as a fish, a frog, a funky

snapping turtle that eats the catfish trapped

in this small pond I see from my window,

rippling in the breeze, opaque with pollen

blanketing its skin. Between worlds, I am

amphibious, ambidextrous, ambitious,

ambivalent about reading or writing.

 

 

 

Aposematism

 

None of us arrive with automatic alarms

built into our biology to warn how we

are dangerous when attacked or bitten.

Red and black coloration works for ants

and beetles, stridulation for crickets

 

and grasshoppers, and some snakes.

Announcements of a bitter taste.

I’d like a button in my pocket for men

who stand too close in shopping queues.

A booming male voice would announce:

 

Step away from the woman!

Step away from the woman!

Sometimes I want to shake my butt like

a rattlesnake, wear shiny red to match

the poison dart frog. But these would

 

seem to promise availability for play

not a warning to stay away. Spiked heels,

the same. I’ve yet to take up the manly

practice of open-carry, an AK47 strapped

to my back, tee-shirt saying, Sharpshooter!

 

 

 

Joan Mazza has worked as a medical microbiologist, psychotherapist, seminar leader, and is the author of six self-help psychology books, including Dreaming Your Real Self (Penguin/Putnam). Her work has appeared in Poet Lore, Potomac Review, Prairie Schooner, The MacGuffin, Crab Orchard Review, Slant, and The Nation. She lives in rural central Virginia.

 

 

 

 

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poem by Jared Smith

 

 

 

Only an Infinite Moment in Time

 

By lunchtime I have set many deals on paper.

I am alive with all the dollars I have moved

and scared by the lies I have gotten away with.

I sweep a hand across my face and put away the cell.

Turn it off.  Walk out among the other gray coats,

twisting between the laughter of young girls and

the sweaty bravado of hard hot men on the prowl.

The sun is blazing upon the concrete sidewalks

and the lights confused between red and green.

In New York you never stop walking at the end

of one block or street crossing, you just turn

corners and keep putting one foot before the other.

 

I’ve never been inside St. Peter’s before but today

the door is closed but unlatched as I guess it always is.

I am ashamed that I have never been here in the quiet.

A ghost sits in the third pew from the front

listening to candles flickering in glass tubes on the wall.

Perhaps those flames are prayers or the ghost a shadow.

I have not been here long enough to know and never will.

 

The ceiling is the ceiling, as high as believers can build,

and the holy icons of gold are stars in its firmament.

I am at peace, and somehow god in a box is peaceful.

I wonder at how a god that sees and is all things is

best seen within a box, a frame that closes upon itself,

while here I am but the son of man and I am the Eucharist.

 

 

 

Jared Smith's 16th book of poetry, A Sphere Encased in Fires and Life, will be released by New York Quarterly Books in the spring of 2022.  Jared is our contributing poetry editor of Turtle Island Quarterly, and has served on the editorial boards of Home Planet News, The New York Quarterly, and The Pedestal Magazine, as well as serving on the boards of directors of arts and literary non-profits in New York, Illinois, and Colorado.  His work has appeared in hundreds of journals and anthologies in this country and abroad, including in translation in Mexico, Mainland China, Taiwan, and Hong Kong.

 

 

 

 

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poem by Barbra Parchim

 

 

Winesap

 

after picking apples for 6 to 8 weeks

my ladder and I are close partners

rungs and rails smoothed from use

uncounted trips up and down

 

it’s my last day of the season

and the grower

drives the forklift over to a secluded corner -

grass unkempt, trees scattered and very old

 

I lay the ladder in the grass

and climb the tree in front of me

broad horizontal limbs

fruit large and streaked – a Winesap

 

he relaxes in his seat,

the pressure of harvest behind him,

hands hanging slack as he talks

about the century old trees here

 

varieties that no-one wants anymore -

fallen out of favor -

not commercially viable

like the Red delicious, Jonathans or Romes

 

I am clambering in the tree, listening

as he speaks, the eyes,

bluer than Indian summer sky, soften,

the features relax

 

more talking than he’s done all season -

imagining before his time

and before his father’s time

when this tree was young

 

and it’s then that I see it -

this is love -

unreasonable, illogical and unprofitable -

the best kind

 

this matriarch will stand with all the others

until she can’t -

age will take her,

not the saw

 

 

 

Barbara Parchim lives on a small farm in southwest Oregon.   She enjoys gardening and wilderness hiking and volunteered for several years at a wildlife rehabilitation facility caring for raptors and wolves.  Her poems have appeared (or are forthcoming) in Ariel Chart, Jefferson Journal, Isacoustic, Cirque, Windfall, Allegro Poetry, Trouvaille Review, Front Porch Review, Third Wednesday magazine and others.   Her first book of poetry was published by Flowstone Press in October, 2021.

 

 

 

 

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poem by Paul Willis

 

 

 

 

Vineyard below Castel Rubello

 

 

Now, in November, the vineyard has long

been harvested of its many grapes.  The vines

relax themselves in the sun and drop lazy leaves,

gold and crimson, onto the long green paths.

 

Row on row bends down the slope in careless

flame until lost in shadow below the castle on the hill,

a place contested by Dante's Guelphs and Ghibellines,

then later damaged—two of the towers—in the

Second World War.  Orange and ochre butterflies

 

traverse the air around my knees, and a pale gentian

blooms alone beside my boots.  If you asked them

about blood betrayals and flying shells of artillery,

they wouldn't know.  They absolutely wouldn't know.

 

                                       —Porano, Italy       

 

 

 

 Paul Willis has published seven collections, the most recent of which is Somewhere to Follow (Slant Books, 2021).  Individual poems have appeared in Poetry, Ascent, Turtle Island Quarterly, Writer's Almanac, and the Best American Poetry series.  He is a professor of English at Westmont College in Santa Barbara, California.

 

 

 

 

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poem by J.I. Kleinberg

 

 

 

If nothing holds, then begin anew    

     How kind time is, altering space         

     so nothing stays wrong; and light,      

     more new light, always arrives.           

          Spencer Reece, “At Thomas Merton’s Grave”

 

 

Does the sun see its futility, to raise and raze,

day in, day out, in a longitude of desire?

Tides and breath repeat the one, one, one     

of the heart. In thrall, the moon, its hope, regret,

wax and wane, the way we hunger for light

and turn from knowledge. The crow, a grace,

swoops from the roof, its body a shadow

borrowed from love, its feathery darkness

a lesson in leaving: flight leaves no trace.

How kind time is, altering space              

 

in eccentric scrawl. Bedraggled chroniclers,

pockets torn away, messages scattered,

carried by wind, darkness, crows, we reckon

that lost is fate, absence the reverse of memory,    

that silence can be owned, terrible inheritance.

The crow laughs at our abstracted fright,

as if the sun could forget its job, lapse

into musings, hand over its duties

to goldfinch and raven, recalibrate right

so nothing stays wrong; and light,             

 

that rascal, crawls under the curtain, crosses

the room and escapes through the window.

Custodian crow, neither savage nor dark,

arrows toward art in a flurry of scraps,

even as gravity settles the strewn.

Re-pair these shredded tangents of lives,

such pure desire, to story the unremembered,

image the unseen, to nab from the roil one mote,

to say this, this one, yes begin, as sure as the sun,   

more new light, always arrives                

 

 

 

Three-time nominee for Pushcart and Best of the Net awards, J.I. Kleinberg is an artist, poet, and freelance writer. Her poetry has appeared in December, One, Diagram, Otoliths, Pedestal, Psaltery & Lyre, and many other print and online journals. She lives in Bellingham, Washington, USA, and at chocolateisaverb.wordpress.com.

 

 

 

 

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poem by Emily Ransdell

 

 

 

August

 

 

                        All day the cedars

have been dropping needles,

yellow

and brittle on the deck.

                         So dry you can hear them

hit,

even inside the house.

                        They sound like rain,

not the dark, familiar drizzle

we crave,

but the drenching kind we need.

                        Hemlocks parched,

spruce and shore pine

tinged the color of flame.

                         Dorianne says if trees

could speak they wouldn’t.

What’s there to say anyway —

days so hot,

talk is just more tinder

for fear.

                        The Bootleg fire

was the size of L.A., then

Rhode Island, twice the size of Manhattan 

where the Statue of Liberty stands

gowned in smoke.

                         All the way  

to Nova Scotia, people are posting

photos of blood-red sunsets

and West Coast wildfire haze.

                        Here in Manzanita,

the air is clear. The scent of disaster

drifted elsewhere this time.

                        Behind the house,

bracken ferns curl beneath the laurel as if

seeking shelter. Even the squirrels

have gone quiet, even the crows

                        and the jays.

 

 

 

Emily Ransdell lives in Camas, Washington and Manzanita, Oregon. Her work has appeared in Poetry Northwest, Poet Lore, Tar River Poetry, Terrain, River Styx, Ruminate and elsewhere. She has been a finalist for the Rattle Poetry Prize and the New Millennium Writings Award, and was the 2019 runner-up for the Prime Number Poetry Prize from Press 53, as well as the New Letters Poetry Prize. Emily has twice appeared in American Life In Poetry.  She teaches at the Hoffman Center for the Arts in Manzanita Oregon

 

 

 

 

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poem by Tim Mayo

 

 

 

Snow 

 

Today it’s snowing. You hate it

for reminding you of the page,

that ultimate white-out.

Later, much later, the sun

 

will come out, the snow will blind you,

and your head will ache as the white hurt

your eyes feel leaves you groping

in the dazzle of impossibility.

 

When you were young,

impervious to the cold, the night

below zero, you’d go to the dim

woodshed, barehanded,

 

to split wood. Now, you wonder

why you did it, why you let the frost

enter your hands, though the baby fat

of your zeal stopped its spread.

 

Funny how you can forget the odd

things you did when you were young

with nothing really to do.

Can’t sleep? Split wood. Why not?

 

You used to like the snow,

the challenge it seemed to pose

like the deer in the backyard waiting to see

what kind of animal you really are.

 

 

A seven-time Pushcart nominee, Tim Mayo’s poems and reviews have appeared The American Journal of Poetry, Barrow Street, Narrative Magazine, ONE (Jacar Press), Poetry International, Salamandar, Valparaiso Poetry Review, Verse Daily, and The Writer’s Almanac among other places. His first full length collection, The Kingdom of Possibilities, (Mayapple Press, 2009) was a finalist for the 2009 May Swenson Award.  His second volume of poems, Thesaurus of Separation (Phoenicia Publishing 2016) was a finalist for the 2017 Montaigne Medal among other awards.  His newest collection, Notes to the Mental Hospital Timekeeper (Kelsay Books, 2019)), received an honorable mention in the 2020 Eric Hoffer Book Awards chapbook category. He is a founding member of the Brattleboro Literary Festival.

 

 

 

 

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poem by Brett Warren

 

 

 

More

Be thankful for what you have; you’ll end up having more.      

—Oprah Winfrey

 

 

I have little to offer the forest today

except not burning     not marking

not cutting or killing or harming    

 

but I know enough to be grateful    

for the familiar brutality

of icy wind off the lake    

 

for the trees that protect me from it

even dead they offer handholds

for the climb up     a weathered railing

for the way down   

 

the trees are not here for me    

but I thank them anyway

 

and if gratitude begins with attention

all I have to do is notice

the fiery carpet of sunlit needles

on a spiral stairway of trail    

 

all I have to do is listen

to the percussion of my boots

on roots     to know

I walk on hollowed ground

 

the genius work

of denning snake mothers    

whose blunt faces

push everything aside

 

 

 

Brett Warren (she/her) is an editor whose poetry has appeared or is forthcoming in various publications, including Canary, The Comstock Review, Cape Cod Poetry Review, Eunoia Review, Green Fuse, Halfway Down the Stairs, Provincetown Magazine, Right Hand Pointing, Rise Up Review, Unbroken Journal, One Sentence Poems, and Shot Glass Journal. She lives on a peninsula in the Outer Lands archipelagic region of the Atlantic Ocean. Her house is surrounded by pitch pine and black oak trees—nighttime roosts of wild turkeys, who sometimes use the roof of her writing attic as a runway.

 

 

 

 

 

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poem by Bill Griffin

 

 

Cling

 

The peach clings to its stone;

flesh needs a center that will hold.

How long have we been holding on?

Life writes its first draft

all fire and longing

 

but near the end just wants

to remember one last touch.

Juice lost down the sink, soft damn peach,

but when you lay down the knife

my fingers taste sweet

 

 

Bill Griffin is a naturalist and retired family doctor who lives in rural North Carolina. His poetry has appeared in NC Literary Review, Tar River Poetry, Southern Poetry Review and elsewhere. His ecopoetry collection, Snake Den Ridge, a Bestiary (March Street Press 2008), is set in the Great Smoky Mountains. Bill features Southern poets, nature photography, and microessays at his blog: http://Griffin.Poetry.com.

 

 

 

 

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poem by Richard Weaver

 

 

Starlings

 

swirl in unimaginable formations.

Hitchcock. Wizard of Oz. An endless confession

of wings. An anchor of memory compressed.

We watch them whirl, amazed their flight

doesn’t dissolve the diamond blue sky.

 

 

Richard Weaver hopes to return as the writer-in-residence at the James Joyce Pub; Among his other pubs: Little Patuxent Review, Steel Toe Review, Southern Quarterly, Xavier Review, Loch Raven Review, Pembroke, & New Orleans Review. He’s the author of The Stars Undone (Duende Press, 1992), and provided the libretto for a symphony, Of Sea and Stars (2005). Recently, his 165th prose poem was published. He was a finalist in the 2019 Dogwood Literary Prize in Poetry.


 

 

 

 

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haiku by Xiaoly Li

 

 

Horn Pond Haikus

                        

A Doberman Puppy

 

cropped, banded ears stand

erect, iconic, three-month-

old is pulled to walk

 

A Black Mutt

 

jumps to greet our dog

as fast, spunky, as any,

with only three legs

 

A Birch Polypore

 

on a fallen log

a Razor Strop Fungus carved

with a smiley face

 

A Silver Haired-Woman with a Cane Points to the Crisply Patterned Birds

They are Mergansers.                            

They will leave in early March

for colder water

 

You Need to Look Hard

 

wooden signs hanging

on bushes, heart-shaped, one says

You are important

 

 

Xiaoly Li is a poet and photographer who lives in Massachusetts. She is a 2022 recipient of the Massachusetts Cultural Council Artist Fellowship Grant in Poetry. Prior to writing poetry, she published stories in a selection of Chinese newspapers. Her photography, which has been shown and sold in galleries in Boston, often accompanies her poems. Her poetry has recently appeared in Spillway, American Journal of Poetry, PANK, Atlanta Review, Chautauqua, Rhino, Cold Mountain Review, J Journal and elsewhere; and in several anthologies. She has been nominated for Best of the Net twice, Best New Poets, and a Pushcart Prize. Xiaoly received her Ph.D. in electrical engineering from Worcester Polytechnic Institute and her Masters in computer science and engineering from Tsinghua University in China.

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