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Index: Poetry & Fiction

‘Earth at Apogee’ and ‘Curbed’.

Sandra Kolankiewicz:”I can’t write of the oceans
without seeing that landmass of
plastic swirling in the Pacific,
bigger than Pitcairn Island

Pain.

Jesse Glass: ‘Pain—grim tapdancer, Fred Astaire of the last rites,
Amelia Earhart of the subconscious:
little blue plane with the black propeller
flying over the dark side of my heart!’

Three poems.

Claire Crowther: ‘Is seriousness a growing problem for outdoor bowls? There is studying opponents, calling to officials and denigrating bagger totals. St John in Revelation warns that those elders who survive a plague do not repent of their fornications. Where are you?’

Four prose poems.

Jane Monson: ‘The house is starting to record the home’s absence; plays it back to them at bedtime. In the floor’s creaks, cracks and groans they relive all the battles and defeats; the refrain of each other’s roars and whimpers.’

Poetry in paragraphs.

Simon Collings: ‘”The Prose Poem Now” takes us from the present back to 2000, “The Postmodern Prose Poem” covers the second half of the twentieth century, and “The Modern Prose Poem” covers the century from the 1940s back to 1842.’

Poems from ‘The Slip’.

Simon Perril: ”’The Slip” is the final volume of a trilogy excavating a crime scene at the centre of archaic lyric. Archilochus, ancient Greece’s first lyric poet, was a soldier, part slave part aristocrat, who took part in the earliest colonial expeditions…’

Only Fools Rush In.

Michael Buckingham Gray: ‘He leads her through the glass doors to a table and sits her down. Fetches her a cup of coffee and makes himself one too. Swings by his desk and slips a blank sales contract under his arm. Then returns to the table and is about to sit down when another salesman walks by and asks him where the manager is.’

Nine haibun.

Sheila E. Murphy: ‘Friendship lapsed beyond a referent. He grew tired of sorting. She knew her history was thin, and thus preferred to formulate her own. The picket fence might have been wicker; fence might have been stone.’

‘Hurt Detail’ and two more prose poems.

Lydia Unsworth: ‘I swallow myself to sleep―on trains, in soon-to-be-demolished houses by the sides of rails. I raise my arm at the steamy driver, her eyes and the things we train them to deter. They say a foolish death is a happy one, that she who looks both ways has an excess of empty time.’

Ten prose pieces, five about men.

Mark Russell: ‘It is as common to etch a dying soldier’s last words into the warm black tarmac of the I-95 as it slips quietly past sleeping voters in the Carolinas, as it is to hunt for young boys and old women in the oily swamplands.’

More delicate, if minor, interconnections.

Tom Lowenstein: ‘Landlocked I remain, balanced uncertainly in the margin,
but still facing outward to some theoretically out of reach infinity.’

As Grass Will Amend (Intend) Its Surfaces.

Peter Larkin: ‘grassings of an interior desertion    micro-stems where structural roots have been withdrawn      what is the browsing line to trees is hoof-opportunity for meadows, treads it abrasional dell, a measure of seed-craters’

Six small stories.

Georgia Wetherall (from ‘The Smokers Club’): ‘The man brought a pipe to our table and asked me what flavour I liked. I said something fruity. With or without tobacco? With, I tried to say, but my dad interrupted and said without.’

Play — for 26 voices.

Alice Notley” ‘Can anyone make anything I
Suppose not everyone wants to make a thing But we’re
Making art speaking.’

Four poems from ‘Credo’.

Stephen Wiest: ‘…the unknowing is how we live
Keeping us alive by asking or accepting
Until it kills us all’