“After the All-Star Break” by Claire Taylor

tomatoes 
straight off the vine
sun-ripe and wet as
a lover’s July skin

the day runs its
humid tongue up
my thigh

we are only sweat
and angles—exposed
elbows, bare knees, sharp

anger that hangs
heavy in the still
night air

I read once that on
hotter days
a pitcher is more likely
to hit a batter

remind me in October to apologize
for how I always
pitch it inside

aiming straight for your heart

Author’s Note: In my house, we track the year by the baseball season. Opening Day signals spring. Playoff baseball means fall has arrived. And once the All-Star break has come and gone, we are deep into summer, which in Baltimore means unrelenting heat and humidity. I wanted to capture summer’s specific blend of sensuality and aggression. There’s so much skin and sweat—you can’t help but feel horny!—but it’s also such a stifling, uncomfortable season. I spend all summer bouncing back and forth between desire and rage. I doubt I’m the only one. By October, it’s time for the playoffs and fall, and for me to make amends for all the fights I picked when it was too hot to do anything else.

Claire Taylor is the author of multiple chapbooks, including Mother Nature and One Good Thing (Bottlecap Press). She is the founding editor of Little Thoughts Press. Claire lives with her family in Baltimore, Maryland, in an old stone house where birds love to roost. You can find her online at clairemtaylor.com.

Three Poems by C.M. Green

Some Things are Inextricable

The rush of June returns and
once more it’s time
things of beauty spill out of my
mouth like pebbles like teeth
tiny and perfect and I’m only
three years removed from
psychiatric
hospitalization

but I want a prettier word, a neater phrase, something like

revivification
or
the continental divide

Two years ago the first anniversary coincided with my first
dyke march and I peeled away from the crowd to buy
myself pizza and think how it felt to be a dyke and be alive.
In the hospital I read brideshead revisited and it brought
me to life when little else would. I had recently shorn my
head of hair and kissed a girl for the first time and I was
still a woman but I was not very good at being one. Oh well

June will soon cease to signify
madness for me, I’m sure,
give it a year, two, three—
I once thought I’d never look at
my niece without remembering
how I lay on a hospital cot
for her first days, but
now she’s a person all her own.

From the Amtrak between Ashland and Richmond

Virginia is for lovers, a truth that stretches
from the appalachian corner to the peninsula
where I went mad and saved myself from madness.

You can tell me other states have trees, but
I don’t think they have trees like this—on the amtrak
to richmond I remembered what capacious love is,

and to spit truth in my hands and rub it together
I would have to say that this is home in a way
that boston can’t be.

On the james river I leapt from rock to rock
with my best friend who has asked me to
perform her wedding. Capacity, as a quality

of being capacious. The mountains here are
just better, sorry, than any others, because
they remind me of truth as love, as vast

as any ocean—and we have that too,
on the other side, chesapeake bay and atlantic
saltwater, and I grew up knowing that

this is where my bones will be buried.
The Last Summer I Believe We Will Ever Have

Kiera tells me the humidity in Boston is like
being inside a mouth and that
their IMPORTANT PAPERS are DISSOLVING!
And, I read about becoming a citizen archivist
because soon the boot will come for the face
of anyone whose art expands possibility.
And, Vickie says we should go to the beach soon.
And, I have central air in my new apartment
which I feel a tiny amount of shame about.
And, my mother talks about the supreme court
while my senator calls for court packing
while others claim victory and threaten revolution.
And, revolution doesn’t sound so bad at this point,
but not the one they’re talking about.
And, I miss Virginia like a lover.
And, Meadow and I went swimming
in the james river, just two
trans kids enjoying the rapids.
And, I want to move
to Richmond every time I visit.
And, summer makes me remember strawberries—
in childhood dusted with sugar, in adulthood soaked in vodka.
And, forty-thousand people have been murdered in Palestine because
the thing I won’t call my country will not stop sending bombs.
And, I don’t know how to keep writing.

Author’s note: I wrote these poems in the summer of 2024, which to me feels like the very last summer before something. I don’t know what. I spent the first week of July traveling between Massachusetts and New York and Pennsylvania and Virginia, seeing family and beauty at every stop, and as I travelled I wrote about the place of art in the face of rising fascism and genocide. The Supreme Court made some bad decisions. My three-year-old niece became my best friend for two days. I saw every one of my four siblings, and I saw my high school best friend for the first time since 2019. The news talked about the rise of the right in Europe. I visited my 95-year-old grandmother and brought her farm-grown plums. My mom watched a lot of MSNBC. And always, since October, Palestinian people are being murdered by Israeli forces and American weapons. How to write in the face of all this? How to reconcile the love in my life with the hatred in the world? Poetry is the place I have turned to to work through these questions, and these poems are the result.

C.M. Green is a Boston-based writer with a focus on history, memory, gender, and religion. Their work has appeared in Full House Literary, beestung, and elsewhere. They stand for a free Palestine, and encourage you to find tangible ways to do the same. You can find their work at cmgreenwrites.com.

“Be Careful” by Tom Snarsky

for Kristi


The smoke grows, & it gets harder
to see past. In the dream I am wearing

your ring on my right hand, only now
it’s inscribed with something, one

word
too small to see. It is getting darker

crows are having whole conversations
& I’m following you

who lead me
from just ahead

a phone light on the mountainside

Author’s note: Spinoza had a ring inscribed with one word, a constant reminder to himself that can be rendered in English as this poem’s title.

Tom Snarsky is the author of Light-Up Swan and Reclaimed Water, both from Ornithopter Press. His new book A Letter From The Mountain & Other Poems is forthcoming from Animal Heart Press in 2025.

“Pond Life” by Glenis Moore

The pond is calm today.
Its surface a glassy mirror
for the bright blue of the summer morning.
Leaves of water bistort dot the surface:
lie lows for the adventurous ladybirds
voyaging to the foreign land
beneath the shade of the bay tree.
Lime green duckweed tries to clump
where the sun bakes the water
but the water snails love to graze
in the slack heat while
the frogs doze in the silent depths
with the detritus of last year's blooms.
A newt turns beneath a leaf
and is gone, its yellow belly
echoing the golden dandelions
at the pond's rim as a soft breeze
ripples the water's face just enough
to disturb the pond skaters
and I look up to see
the pin prick of a skylark
in the brazen sky.

Author’s note: Our garden pond is small and yet it seems to attract frogs, newts, dragonflies, damselflies plus a host of other insects. It is also my sanctuary from the world’s madness where I can breathe and slip into the wild. On a warm calm day, such as the one in the poem, it reminds me that we are only one small cog in a vast array of beautiful wheels.

Glenis Moore is a relatively new writer working in the flat lands of the Fens near Cambridge, UK. When she is not writing she makes beaded jewellery, knits, reads and runs 10K races slowly. She has been previously published by Dust Poetry, The Galway Review, Infinity Wanderers and Cosmic Daffodil.

“Spring Evening” by Taylor Brunson

	Andrew Wyeth, 1948

Fields no longer seized by a sere sameness,
sunlight lingers to breathe warmth into
the room’s every seam, returning to

remind me: See? Imagine no virtue

in hoping for so little. Here, I find myself
given back to the animal I am, all fur,
all flesh, musk and appetite, loping

out of a season that saw the sun leant

into its own diminishment. A creature
surviving just to learn intimately
what rutilance the lengthening day

demands of your eyes, closed to the light.

Held flank against flank, our forms’
every slip and slope exposed. Of this tenderness,
what should I hope when there are so many

seasons left to pass? Imagine no virtue

in hoping for so little.
Your scent, curled
beneath my sheets, a specter
I would follow anywhere. See?

Author’s note: Ekphrasis has become a means of extending how I relate to an art object, a channel to examine the self through a lens that feels beyond it. I wrote this poem at the turn of winter to spring and at a moment where a season of contentment in my life seemed to be drawing to a close, which felt deeply disheartening. And yet here Wyeth opened a spare room to me and asked me to consider, at the end of one season, why I might not hope for even more warmth and affection in the lush seasons sprawling ahead.

Taylor Brunson is a poet whose work has been featured in perhappened, Non.Plus Lit, and The Ex-Puritan. She serves as an assistant poetry editor for Four Way Review and Nashville Review. Taylor can be found on Twitter, @taylor_thefox.

“Galaxy” by Lydia Rae Bush

Quite frankly a little tired
of how much stamina I
have for shifting my
paradigms—

how long I can ride
the edge
of my realm
for overwhelm—

ah, I know
how to bask in the sun!

But I am tired of
being the moon
surrounded by
so much night—

tired of pulling the tides,
hoping they’ll create
enough winds to
push the clouds

so that I
can light up
enough sky to
erase the stars. I

love the stars,
always there to help
accomplish all
the sun demands of me.

Author’s Note: I like to explore poems and interpret a speaker’s experience by asking what the speaker is really saying—not by letting their expressions provide context regarding what they’ve not expressed, but by letting their each expression provide context regarding each of their other expressions. Is this speaker switching between metaphors to find the accurate one, or adding metaphors one after the other to create one coherent train, or stacking metaphors on top of each other to create a spectrum you could look down on from above? I pulled from Dan Siegel’s “Window of Tolerance” theory to create this poem.

Lydia Rae Bush is an Early Childhood Educator whose poetry focuses on Embodiment, Social-Emotional Development, and Trauma Recovery. Her work can be found in publications such as Poetry as Promised Magazine, Crab Apple Literary, and FULL MOOD MAG. X/Insta: @LRBPoetry

“The Crone Unfound” by Beth Gordon

All that summer we feared the unseen. Jaws in theaters: our canvas rafts like bait for watery monsters. We left them on the sand. Our parents drinking Bloody Marys on the beach house deck while we battled the ocean with nothing but our bodies. Over and over, we tried to swim to France. Over and over, we lost our way. Nobody noticed that we were bruised. Nobody asked why we were trying to escape. Can you see that I don’t know how to tell our story? Something was lost in the salt. Something was lost on the screen: the freckle-faced boy pulled under in a churn of blood. His mother forever changed. We learned that no one could protect us from God.  That we had to save ourselves from stingers: from teeth: from the deception of waves & light. Now I am landlocked & unable to blow wishes across the finite horizon. Searching for answers in the alchemy of nests. Still feeling the ache of what was taken. What was drowned. The mystery of the unreachable shore.


Author’s note: On a literal level this poem is about a formative childhood experience – my brother, parents, grandparents, aunt, uncle, cousins, and I would go to Oak Island, NC every summer. In the context of the Crone poems I’ve been writing since turning 60, this poem is interrogating that memory. What does my 12-year old self have to teach me? What are the things that only she knows? 

Beth Gordon is a poet, mother and grandmother in Asheville, NC. She is the author of several chapbooks including The Water Cycle (Variant Literature) and How to Keep Things Alive (Split Rock Press). Beth is Managing Editor of Feral: A Journal of Poetry and Art. Find Beth on Twitter, Instagram, and BlueSky @bethgordonpoet.

“some were gone” by Will Davis

meadowsweet from meadow-
lark plummet the rain like hand-

holds medium-dark where light
graces for lastly minutes

made sweat-beautiful
and heat-rich within

these rushed tides at the reed's
bending.


Author’s note: This piece was grown from sounds, especially those distorted by mediums like heat, water, distance, etc. The title is a style of heterograph, as ‘some were’ and ‘summer’ clasped hands in my mind. I wanted to instill a humid artefact, the thought of deep summer, with associations from the landscape of my home.

Will Davis (he/they) is a nurse, poem scribbler and immutable fire escape. Further scribbles through @ByThisWillAlone.