On the logs, the turtles dry in the sun: cooters, map turtles, sliders. As I approach, they drop, one by one, into the river and swim away.
A box turtle is swept along, bobs up and down, helpless, wiggles her feet and stretches her neck, trying to keep her head above water.
I reach her with my paddle, scoop her up – she slides off with a splash and floats further. Disappears under a downed tree.
Reappears, struggling downstream. I overtake her, grab her by the shell, plop her into my kayak. Ferry her to the shore, carry her inland to a patch of grass.
She takes off swiftly. No sign of hesitation or bewilderment. Some day she may tell the other turtles about her encounter with God.
The One who Left
Like water flowing downhill, letters now travel only in one direction.
Life goes on for those who stayed; a circle with one person missing is still a circle. The one who left floats, fragile tethers frayed by the teeth of time and distance.
After some years, even the Christmas cards remain unanswered.
Agnes Vojta grew up in Germany and now lives in Rolla, Missouri where she teaches physics at Missouri S&T and hikes the Ozarks. She is the author of Porous Land (Spartan Press, 2019) and The Eden of Perhaps (Spartan Press, 2020), and her poems have appeared in a variety of magazines. Her website is agnesvojta.com, and her facebook page is @AgnesVojtaPoetry.
Kay and Gerda’s glittering sleigh is whizzing past.
Arms extended to greet the cold, cocooned
within the sheltering fables of his wintry make-believe.
He escapes wind’s icicles.
Inside the overheated house
grownups chew finger-ends,
bite their lips
and tap each dawning line of every new poem
onto the lit-up screens.
This is the Crisis of their time
and they must let the algorithms spill out,
up and out of their system.
It’s your next session of messy play –
just allow the app to crash
and put away the print
the parts of speech
the current issue of Poetry Review.
Leave Unfinished Business.
Listen instead to the thrum of blood inside your head
that inner pounding of the heart,
allow your pen to play by ear, watch it self-indulge –
the exotic prosodies,
irresistible the gravitational pull to the black hole
where the last surviving band of poets
play out their compulsions
pulse them into the zone of singing singularity.
Julie Sampson edited Lady Mary Chudleigh’s Selected Poems, 2009 (Shearsman Books) and a poetry collection, Tessitura, was published by Shearsman, in 2014. It Was When It Was When It Was was published by Dempsey & Windle, in 2018. Sampson’s work was highly commended in the Geoff Stevens Memorial Poetry Prize, in 2019.
On Thursday 7th October it was National Poetry Day in the UK. To celebrate, you can hear a poetry reading from Bindweed Magazine’s Editor in Chief, Leilanie Stewart. The YouTube reading is from her recently published collection, The Redundancy of Tautology by Cyberwit Publishing.
don’t let that blithering battle axe get you down,
replete with well-stirred venoms, those same tired concoctions
threatening nights eternal, a girding of endurance and intention,
to see you off the crushing pestle-path,
that teething trash compactor grind;
Khopesh, trim my nails, a simple man’s pampering if you please,
nothing of dormancy or permanence,
a brief respite is in order having brambled the bush for so long;
excavation will bury a man, the whistling ditch digger will not tell you this,
nor that raccoon of an archeologist troweling through the leftovers again;
I am sick and you can be ill –
together we forage for sympathy or try for more luck apart,
my brand-new grindhouse nails on sheepish pander-flush display.
…something about a glass house casting no stones,
but this connoisseur felt fit to judge,
had elevated herself through the critical ranks with a specific carnage,
pulling limbs from once full body, married into royalty,
and what she said about your product was make or break,
at least that is what everyone was made to believe,
until someone did a little digging and found out she was an orphan,
dropped off at a common convent for unwed mothers,
nameless and poor as a pauper, so that her enemies pounced,
old money puritans and an army of young snobbish upstarts
waiting for her to stumble, all those she had torn apart
on her way to the top and then the many infidelities on both sides
began to surface and her marriage fell apart; the press there to capture
each outburst at the camera as all those tan power suits began to seem
more clunky and less like armour as the merciless “experts”
continued to weigh in.
The Cross-Eyed Gypsy
Sciatica and greasy spoon short orders all aplomb
and the cross-eyed gypsy appeared to be infatuated with a smoking cigarette
just under his hulking crooked nose,
almost lost there like some tourist asking directions
and the way his bat-glazed eyes hung around in the earthy head shop doorway
I began to think of those many paper-towels of self-absorption,
entire veggie patches uprooted and sent to market,
collarbones broken like human Christmas crackers out of season,
monthly extortion envelopes drumming up business
from business; pickpockets working in teams like flocks of pigeons
using distraction and quick hands for bread
and since I have never once voted for anything or anyone in this tired name brand land
I am told I have no say by toll booth operator, tapas bar olives,
imbecilic hairdressers lost to once sacred curls…
Romania or Bulgaria?
I watch the badge look to his hands
then rifle through denim pockets as the cross-eyed gypsy
keeps a close watch on his last mercy stick which has
already burned halfway down to the filter.
Ryan Quinn Flanagan is a Canadian-born author residing in Elliot Lake, Ontario, Canada with his wife and many bears that rifle through his garbage. His work can be found both in print and online in such places as: Evergreen Review, The New York Quarterly, Setu, GloMag, Red Fez, and The Oklahoma Review.
You spoke of uncertainty as if it were a nest. You gave me
its guarded beauty. It was a gold cup. It was a lake.
I could drink or drown there, but you caught me
looking at a crowd gathering on the shore. They were speaking
only your name. When they left, the scene darkened.
Is it enough to say that we kept watch? In another sentence,
a hidden machine replaces the word green for darling,
but this is the story of the lake and cup. I am in it as someone
writing. You are like the green curtains that open or close.
Jonathan Minton lives in central West Virginia, where he is a Professor of English at Glenville State College. He is the author of the poetry collections Technical Notes for Bird Government (Telemetry Press, 2018), In Gesture (Dyad Press, 2009), and Lost Languages (Long Leaf Press, 1999). He is the editor of the journal Word For/Word (www.wordforword.info).