Pantry Prose: It’s a Vast World by Balu Swami

He was dead. Yet he wasn’t. He went from a physical self to a conscious self. Even that is not quite accurate. He went from a bundle of particles to a single particle with a conscious self. There is still something missing. Take three: He became a single particle that may be a wave with consciousness. What happened to the bundle of particles? Totally incinerated. Completely disintegrated. That’s what a CME can do to you.

He was out there working on a malfunctioning satellite tethered to the interstellar space station on Planet Gi that was strangely close to Earth but within Venus’s gravitational pull. He was eight hours away from the station when the alarm sounded: “G5 storm.” His first thought was all his work was going to go to waste: the satellite communication system was going to go haywire. His immediate second thought was: “Do I have enough time to get to the safety of the radiation shield module inside the station?” He knew G5 storms – solar flares – travelled fast and he had no time to lose. As he sped towards the station, a second alert sounded: “CME.” Control confirmed that G5 had bypassed Venus’s orbit and was headed towards the Earth. At the same time, Control was tracking massive oceans of plasma engulfing Mercury and hurtling towards 51° south latitude and 21° east longitude, the second rock’s location. Hence the CME alert. He breathed a sigh of relief. CMEs – coronal mass ejections that erupt from the Sun’s corona – didn’t travel as fast as solar flares, so he had plenty of time to get to the safety of the station. This particular CME – 10^22 – had other thoughts. When he was an hour away from the station, a wave of plasma enveloped him, and he was entombed in his spacesuit.

His first thought was to go check on his wife. His other first thought was not to go check on his wife. Of late, their marriage had ceased to be a marriage. He claimed she had stopped loving him, so he threw himself at work. She claimed she had stopped loving him because he threw himself at work. No matter the cause, something inside had died for both. But curiosity got the better of him and he went to see her. When he hovered at the bedroom door, she shrieked: “who is out there?” She pushed the man on top of her – his fellow astronaut Dome – and went to the hallway to make sure. She returned to the bed muttering, “I swear I saw someone.”

He had an irresistible urge to go see his mother. But she was away. Far, far away. In a different galaxy, a different universe, a different dimension? He did not know. So he looked inward for his superposition. No luck. He went frantically digging up all about shape-shifting deities of the past: Bull or Swan, Raven or Coyote, Boar or Bat. Then it hit him. He needed a cat – a Schrodinger breed. The very moment Schrodinger entered his consciousness, he shifted to a wave. And he took off! He was racing – a billion kilometers an hour.

Subconsciously he knew his being was entangled with his mother’s. So he went in search of the qubits that carried his mother’s markers. He flew all over the Milky Way looking for a flicker of a photon or a pulsing electron. He spent quite some time on Kepler-47 convinced that he would find signs of life in at least one of the three identical planets. He flew past Gilese 1061, L-98 59, and many others whose names he had forgotten. No life, no dice. He left the Milky Way and was the lone voyager in an inky black void for a very, very long time. He could not tell how long since Earthly measures had lost all relevance in spaces far, far away from the solar system.

His conscious self had lost consciousness. He regained it when electromagnetic waves showered him with charged particles. A distant star came into view and disappeared. As he started to feel the futility of his search, he sensed the faint energy of an unknown and, yet familiar, electrical field. Could this be his mother’s biofield? He headed in the direction of the void where the mysterious star had appeared. He sensed life. There’s promise after all. The atmospheric pressure told him that he was entering the orbit of a planet. From up above, he saw the contours of a planet-like object and then the object itself – a blue and white marble much like Earth. He was picking up stronger signals from what he presumed to be his mother’s biofield.

He wandered along an ocean shore and entered the jungle. He had barely advanced when he heard his mother call out: “Son.” A big drop of water hit his head, and he turned around to face a large tree. “Mother, it’s you,” he cried and hugged the tree. He wanted to know about her transmigration from human to dendron. She told him she was a pharmacist in the same community where she was now long before she had become his mother. A massive asteroid had hit the planet and annihilated everything in and out of sight. It forced her to seek life elsewhere and that elsewhere happened to be Earth. After her death on Earth, she wanted to return to her place of origin. He was about to ask her about her work as a pharmacist when he saw a possum clamber up his mother’s trunk, chew on a bark and then scamper away. He asked her about the inhabitants of the planet and all she said was “No humans. No malevolent creatures.” He trekked around and saw a Raven-beaked Coyote, a Bull-faced Swan, and a Boar shaped like a Bat. They went about their business and appeared to live in harmony. He liked the world where there was neither predator, nor prey. He asked his mother what he should do to become a part of her community. She said, “Pick something you like and make sure what you do helps others.” It’s the same advice she had given him when he was thirteen, long before he became a space voyager.

Balu Swami lives near Phoenix, AZ, USA. His works have appeared in online publications in the US and the UK. His main interests are sci-fi, folklore, fairy tales, and myths. Many of his stories explore the area where the paranormal intersects advanced science.

You can find more of Balu’s work here on Ink Pantry.

Poetry Drawer: Lakeside Bird Feeder, First Day: Mallards, Mounted on a Chimney Wall: Lakeside Bird Feeder, Squirrels: Field Notes from an Old Chair: Lakeside Bird Feeder, Wet Snow: I Don’t Know the Biochemistry of a Hummingbird by D. R. James

Lakeside Bird Feeder, First Day

It should’ve taken only that scouting,
squawking jay to get the word out.

Framed in a pane, on a perch,
he was posed, a post card, puffed

against the brittle cold. His stylish
scarf feathers flicked an impatient face,

and his scruffy topknot signaled
who knew who in the neighborhood:

“Easy Supreme and Sunflower Mélange
swinging free off this deck!” See, he’d need

some wirier guys to stir it up, to urge
the tiny silo to flowing so he could

swoop in, scoop out the run-off: “Anyone
game enough to give it a go?” But, no.

And now, not a single soul for supper.

Mallards, Mounted on a Chimney Wall

I’ve a vague idea how they ended up
these two hundred lovely feet from shore,
this side of the tall double panes, veering

over the owners’ photos propped on a mantle,
over an old golden retriever twitching now
on his sheepskin rug. So I doubt it was due

to the wrenching updraft depicted
in their implausible contortions, the bunched
shoulders of their posed wings.

As mild chili simmers and Mozart saws
an easy soundtrack, they strive flat
against fine brick, forever matching

their sapphire chevrons, the shriveled orange
leaves of their feet. Meanwhile,
the drake’s clamped beak and his

wild dark eye seem to be carving
today’s northwest wind as if to permit
his trailing hen her subtle luxury

of squinting—as if, in wrestling her fixed
pin of fate, she entertains the greatest questions:
Why are we here? Where are we going?

Will we ever arrive? And, in a far softer thought
that has me perched on this hearthside chair,
my ear tiptoed to her dusty brain:

Why does it have to be me?

Lakeside Bird Feeder, Squirrels

Now if I had ambition I’d be
this kung fu squirrel, this lighter one,
this Jackie Chan, scaling stucco

to ledge to chimney to the hovering skid
of the evil whiz kid’s waffling chopper,
perpetual motion my only gear,

my sidekick wacky as this blacker one,
who tries but can’t quite nab his half
of the substantial stash. Their

choreography is manic, their fight scenes
replete with wall-walking, roof leaping,
jumps across gaps and gorges—all

their own improv’d stunts, every feat
a fleeting, one-take opportunity. It’s
those reflexes that make the difference:

when gravity catches their rare missteps
they can spin around an inch-thick span
of diagonal steel or the slippery rim

of a seed-spill dish, always squirming
all four feet first—whereas I’d just drop,
back-ass-down to the unforgiving earth,

my spindly claws and my mangy tail
spread like a shredded chute, a plea
for anyone at all to catch me. So,

I’ll leave these antics to my friends,
for today, the squirrels, until I can find
a way to foil them, deter them from

this wintertime welfare I’ve intended
for the birds, whose more manageable
business will give me the docile pleasure

I’ve been seeking: sitting here in a chair,
swathed in luscious listlessness, slinging
these escape lines toward anywhere I wish.

Field Notes from an Old Chair

Well, they’ve come, these early crews
though it’s only March, which in Michigan
means maybe warm one day,
the few new tender greens making

sense, then frigid and snow the next four,
fragile bodies ballooned, all fuzz
but feeding and competing just the same.
Who would’ve ever guessed you’d be happy

anticipating birds? Since you’ve taken up
the old folks’ study of how certain species
seem to like each other, showing up in sync
like the field guides specify, your chair’s

been scribing the short, inside arc between the feeder
and where you’ll catch a bloody sun going down.
Then, mornings, if you forget, two doves startle you
when you startle them from a window well,

and as if the titmice and chickadees,
finches and nuthatches can read
they trade places on perches all day—
size, you notice, and no doubt character

determining order, amount, duration.
At this point you could’ve written the pages
on juncos or on your one song sparrow so far,
plumped and content to peck along the deck beneath.

And that pair of cardinals you’d hoped for?
They’ve set up shop somewhere in the hedgerows
and for now eat together, appearing
to enjoy each other’s company, while all above

out back crows crisscross the crisp expanse
between the high bones of trees
and the high ground that runs the dune down
to the loosened shore. Soon hawks will hover,

and when a bloated fish washes up overnight,
luring vultures to join the constant, aimless
gulls, you’ll be amused you ever worried
that the birds would never come.

Lakeside Bird Feeder, Wet Snow

Like the trusty railing, the congenial
patio table, the steady deck itself,
and every firm crotch
in every faithful tree, the feeder’s
become a sculpture.

I should have black and white to lace
into the camera to capture
this transubstantiation, this emergence
from the overnight dark and storm,
an aesthetic thing in itself,
dangling like an earring
from the gaunt lobe of a different day—
a white arrow, squirrel-emptied,
aimed straight for the flat sky.

The first little bird to find it, sunup,
can only inquire, perch
and jerk a nervous while,
then quickly move along
in wired hopes the other stops
around the circuit will service
his tiny entitlement, will be
scraped clean and waiting
like a retired guy’s double drive.

By tomorrow I know this wind
and another early thaw
will have de-transmorphed my feeder
to its manufactured purpose,
its slick roof and Plexiglass siding
once again resembling an urbane
enticement to things wild, some Nature
available outside a backdoor slider.

And I know I’ll have also lost
more impetus for believing
in permanence—except
of the impermanent, its exceptional
knack for nourishing the dazzle
in this everyday desire.

I Don’t Know the Biochemistry of a Hummingbird

I can only wonder
at this blurred
whir of evidence, clouded
in the blue fan
of a thousand
wings. I want
to feel
their million beats
per second on my beard
and lashes, reel
from each swig,
the dozen
manic intervals,
stomach a zoom
to the forsythia, whose
scream of tender yellow
faded and fell
last week.
How
can mere filaments
in tiny shoulders flex
and reflex so fast?
How
can miniscule
sipping, the sucking
through a needle beak,
fuel a miniature tyrant’s
relentless burn?
Then, in the resting,
which is not even
a breath,
how rapid
the saturation
of liquid sugar
into blood, into
wing muscle, into
instinctual motive
for a horizontal
life? And how rapid
the depletion?

D. R. James, retired from nearly 40 years of teaching university writing, literature, and peace studies, lives with his psychotherapist wife in the woods near Saugatuck, Michigan, USA. His latest of ten collections are Mobius Trip and Flip Requiem (Dos Madres Press, 2021, 2020), and his work has appeared internationally in a wide variety of anthologies and journals.

You can find more of D. R. James’ work here on Ink Pantry.

Poetry Drawer: USA!!! by Mitchell Krockmalnik Grabois

My distaste for myself turned slowly to self-hatred
as the rich and powerful
kept shitting on me.
Poor me

Every time I stopped at a gas pump or a supermarket
and looked at the jacked-up prices as I filled my cart
or the tank of my beater
my stomach tightened
The rich got richer at my expense,
sucking the life out of me
My salary was always stretched, like an old industrial rubber band
always on the verge of snapping
I wondered why their greed was so justified
Some people have permission to do whatever they please
regardless of its effect on others
while I’ve got to get permission for a lot of things
from my wife
My world is negotiation and compromise—
that’s the work of marriage
Only the divorced escape it
and I don’t think I’d enjoy the loneliness
Very few people can stand loneliness

But greedy business owners
and the corporations who own them
and the corporations who own them
and the Jews behind it all
screw us over every day
(though the angry man tells us that
we’re not supposed to hate Jews anymore
even though they killed Our Lord)
But it’s ok to hate Palestinians

And one day our giant American bulldozers
will do their work, supervised by Israelis
and then the angry man
will put us all up for free
at the Grand Opening
of his Ultra-Luxury Gaza Riviera Resort
all the walls covered in gold
all the toilets made of gold
and me and my wife will have incredible sex
like we haven’t had since we were teens
on the most spacious bed and the most comfortable pillows ever made

And in the summer, we’ll float through the American Canal
and turn north to Greenland
where we’ll drink champagne and eat caviar
and enjoy fantastic spas
and be served by the darkest of Eskimos
and the Ukrainians will shower us with brilliant minerals
and Rare Earths

And where will the Palestinians be?
Dying of hunger and thirst and broken hearts,
they will wander in the same trackless desert
that the Israelites once crossed
until their God told them that they were His chosen people,
superior to all
and that they were free to smite everyone who stood in their way
Now the Jews, bloated with pride and revenge,
worship a mystical, powerful number: six million

So I held down my rage against all the exploiters,
and, in my favorite bar
drank my Budweiser from a Mason Jar
and waited for the glory days
when America would be great again
and I would be part of it

I smiled at my wife, I kissed her. She also found it hard to smile.
Her lips felt hard and chapped, and her cheap, peachy lipstick looked ugly
She’d been fired from her federal job
They’d sent her a letter saying that it was because of her lousy performance
but all her annual reviews had been as sparkly as diamonds and pearls
even the last one

Only later did I remember that the angry man
loved saying: You’re fired
It had been the core of his TV show

I’d voted for the angry man
the man who has as much hatred as me, including hatred of himself
Not everyone could see it, but I could
We were brothers
Mine was a mere trickle, but
his self-hatred was a flood

We’d surfed that flood together
yelling Beach Boys lyrics in each other’s faces
my face gross
pocked with teen acne scars
and the scars from my accident,
a face only a wife could love,
but he forgave me for my ugliness.
He was forgiving as Jesus,
his face as haughty as a king’s, eyes piercing
his orange face like a life-giving sun
We sang together
(I wish they all could be California girls)
until I was thrown off my surfboard
(he tried to catch me but failed)
and then I gripped branches
which tore my hands
as I tried to keep the current from sweeping me away

He’d told us that we were being screwed by the “woke,”
and by the Marxist elite
who controlled the deep state, which was an endless swamp
and that the last president was the devil,
always hiding in the brambles, devoted to doing us harm
and what the angry man said had made sense
Black and brown women
and men who’d turned into women
were the only ones who seemed to matter anymore
An avalanche of them
and another avalanche of illegal immigrants
It all crushed me

My dislike of myself turned to hate
like a slice of Wonder Bread
dropped into my malfunctioning toaster
popping out so black, it was untouchable, inedible
I think I’ll donate that shitty machine to Goodwill
and smile, thinking of some other asshole getting all frustrated
first thing in the morning

Drugs, entertainment, professional sports,
my team moving up in the playoffs,
almost getting the trophy and those big gold rings
none of that eased my pain
and hangovers made work worse
Too much fucking noise, metal grinding against metal
I wore a grimace all day
I could see it reflected in my buddies’ faces
I vowed to quit drinking, but knew I wouldn’t
I needed the brotherhood and the hilarity of our bar,
drunk and laughing until I was bent over double, helpless to stop,
tears falling from my eyes, unable to breathe
As Toby Keith’s beautiful, simple song goes, It ain’t too far
                                                                                come as you are
                                                                                I love this bar

Get this—
my wife says I’m an optimist
That’s a hoot, but I can see me through her eyes
and there’s a little something there
She holds onto me like a life raft
which is also funny, as the angry man’s flood already swept me away
leaving my hands bloodied and temporarily deformed
making it even harder to work
But we do the best we can, helping each other survive
That’s marriage too

I still have hope that life on Earth can be different,
that when we finally meet the aliens,
they’ll envy us

Anyway, someday I’ll wake up
and I’ll be in Heaven,
trading high fives with Jesus

Mitch Grabois has been married for almost fifty years to a woman half Sicilian, half Midwest American farmer. They have three granddaughters. They live in the high desert adjoining the Colorado Rocky Mountains. They often miss the ocean. Mitch practices Zen Buddhism, which is not a religion, but a science of mind (according to the Dalai Lama). He has books available on Amazon.

You can find more of Mitch’s work here on Ink Pantry.

Poetry Drawer: Without the Red: Let Us Eat Again: Because of the Train by Dr. Ernest Williamson

Without the Red
For Lady Canada

Before she laid with me under the sun,
we dreamt awake our dine. Rapt.
Together. Penning to die Lady September
in Red October. Guess how we eloped without you?
two toasts froth with endlessness. Birds above the outside
mire seem to sing as we will. In oblong red woods-
where we end pretence and exchange it.
until I leave like November did.
Waving brown bearing red
Canada without Paris.

And to the newly, for many, for some-
there you have it. Matrimonies
calling Carrol,
four seasons
without
the red.

Let Us Eat Again

Afterwards. This is what is there-
Baker’s bread warmed served
With steamed asparagus tips
Draped in a raspberry puree the smell
loftier than head lice; my love, my darling.
let us eat again. as the main dish comes
to the fore. an empty one, whales a wine glass
The waitress, Kathy has it. Ghostly, red-tented eyes
two hundred pounds over
a hundred and two
dirty finger nails a seeable
must and stash.
a watered bluish wooden cross hanging
from her neck. Above the bread.
I was looking forward to dinner too.
The Famous number 5. A ribeye steak
with mashed white potato. It never came.
But Kathy in loud scream and bear red fingers
loves me. So says the chef
on the big screen.
beforehand.

Because of the Train
In memory of Bloke Porter

We have twenty minutes till dawn.
For at least twenty and twenty years
I have worked in night.
all the night. In all the nights.
Even though no one knows
or knew about it.

Nearly now
 we can go
 like many things
 Go away. Shrills cuss words in utterances.
 Mean letters coldly aligned
 shutter then lie down.
Though we pant in grey resultant.

  Because of the train.

  ennui in we in soaked silence
  who smile
  with wisdom of the fish bolts.
  As Romance and Old Visions of Rome
  land
  In our seats.
  We know nothing of these people.

Because of the train.

  Iced auburn rails against the rails.

 All of them so sweetly. I cannot begin to count
 the burns. our assumed words
  burned into our ears because we wasted not
 our time. In hour’s midnight.

     Because of the train.

 Soon birches will bend for
 in smile of us, even when lights
  release glitter ash
  minus
  moment
  plus, my soul.

  blessed is thy soul.


 Because of the train.
        in spite of no solace. We worked.
        and this too. this is what
        I too remembered.


                        Because.

Dr. Ernest Williamson has published creative work in over six hundred journals. His poetry has appeared in numerous journals including The Roanoke Review, Pinyon Review, Review Americana, Aroostook Review, and Yellow Medicine Review. Ernest’s work has been nominated three time Best of the Net nominee and currently, he lives in Tennessee.

Poetry Drawer: Echoes of Separation by Bimal Kishore Shrivastwa

The mango trees in the spring blow,
But without any vigour and glow.
Sadness hangs around the hollow house,
My sick heart finds no repose.

The stars hum a sorrowful tune,
The moonlight lurks mournfully,
The rivers look cold and motionless.
I feel weak like the stars and rivers.

Bundle of laughs, moments of joy,
Shared with you in the past,
Appeal to my senses like the surf and turf.
Flood of memories chokes the heart.

The sun rises after every dark night.
I will touch your tender hand,
Embrace your arrival with a band.
I know separation awaits reunion.


Bimal Kishore Shrivastwa, PhD, is an Assistant Professor of English at Degree Campus Tribhuvan University, Biratnagar, Nepal. An anthology of his poems is published from Litlight Publication, Pakistan. Other poems from Mr. Shrivastwa are published from the UK, the USA, Bangladesh, India, and Nepal. Besides teaching, Mr. Shrivastwa loves promoting anything creative.

You can find more of Bimal’s work here on Ink Pantry.

Pantry Prose: The Seer by Joe Ducato

‘The fence bit me,’ the kid thought as he struggled to run through the dusk and the tall grass.

That’s what he would have said to his grandfather, Bud, if he’d ever come home with a leg wound like the one he was trying to run with. Bud would’ve thought it a kick.

The kid felt the blood trickling down his leg, and the bottoms of his pant legs were getting heavy with mud and what-not. He remembered how his grandfather used to put sand in his pant cuffs where he snuffed out his cigarettes. He was glad his grandfather wouldn’t see how he’d turned out.

The wounded boy stumbled onto a shed, nearly ran into it. He smiled because the shed was real, not a prop in a fever dream. He fell to his knees then reached for the shed’s door handle and snagged it first try. Somewhere he could hear the dogs getting smarter. His wound stung with sweat. He pushed the shed door and dragged his body inside, welcoming warm air.

When he looked up, he saw an old woman in the corner sitting on a stool in front of an easel. Her hair seemed unending.

‘She doesn’t even care that I’m here’ he thought.

The woman snarled, “I got nothing for you!”

The kid lay quiet. He could see her eyes, could see she was blind.

“Go on I said!” the woman growled, “I smell blood and there’s nothing here that can help you.”

“You can’t see what you’re painting,” the boy said.

“Can’t see anything,” the woman barked.

The boy lowered his head then looked up through a dirty window at barren trees.

The pain in his leg was becoming unbearable. The boy managed to sit up.

“You don’t know who I am or what I’ve done,” he said.

She waited, then shrugged:

“Don’t much care. Ain’t what you’ve done anyway, but what you’ll do and I’m thinking not much.”

“You don’t know me.”

“True, but if I had to guess I’d guess you’re just another fool who’s let their horses get away, and now that they’ve wandered off, you’re too stupid to know how to get them back so you’ve carved out a world of trouble for yourself. Just a guess.”

“Shut up!” the kid shouted.

The old woman clenched the paint brush.

“And seeing as it would take different thinking to get your horses back, well, that pretty much closes that case.”

She dabbed her brush in a palette on her leg.

“Red smells the best.”

She asked, “Are you, what is it they say? Bleeding out?”

“Am I?” the boy shivered.

“I’m no doctor.”

The kid stared at a scythe hanging on a hook.

“How can you even know what you’re painting?”

The woman laughed. The boy tried to straighten his leg.

“What’s it like to be blind?” he asked.

“You tell me.”

She pulled the brush from off the canvas.

The kid took a breath then slowly, painfully got to his feet and limped over to the woman.

“I smell fear,” she said.

“I killed someone,” the kid whispered.

The woman sighed.

He noticed more tools hanging. Curious, he dragged himself over and put a hand on a pitch fork, testing the sharpness of the prongs.

“Could I have this?”

“Your kind don’t ask,” the woman grinned.

The boy turned.

“I’ll spare you because you’re old and blind.”

The woman wiped the tip of the brush with a rag.

“I’m an artist. You’d think I’d be good enough to kill, but have it your way.”

“Who are you?” the boy asked.

“Another one of those crazy seers,” the old woman replied.

The kid thought for a second.

“My grandfather used to talk about seers when he talked about the old country.”

The woman nodded.

The boy held up 2 fingers.

“How many fingers am I holding up?”

“Two,” the old woman replied, “Most put up 2. People aren’t that creative.”

The kid lowered his hand and turned his attention to a finished painting hanging on a wall. He studied it.

“Why waste your time painting a field?”

The woman turned, showing the kid her marble eyes again.

“It was the last thing I saw before they came for us. I paint the world that can’t be killed.”

“Everything can be killed.”

“Sez you,” the woman said with calm conviction.

The kid looked at the painting on the easel.

“That’s nice – an apple.”

“Found it this morning on the path where they say the deer like to sun themselves. Not another apple tree for miles, just this one.”

He looked out the window.

“Almost dark now.”

“I know. I smell it.”

The kid stood silent for a long time then whispered.

“I’m scared.”

The women plucked a rag from a pile of rags she kept in a basket by her side and offered it to the kid, who took it and wrapped his wound.

“Does it hurt?” she asked.

“Like crazy.”

“Good.”

The kid turned to the pitch fork, then back to the old woman, who was holding one hand in the other; the one that didn’t work. The boy stood at the window, then turned but was stopped by the woman who held her arm out. In her hand was an apple.

“Thanks,” he said, taking it. The woman said nothing.

The kid shoved the apple in his pocket.

“What will you paint next?”

The woman sighed.

“Never know. Something good. Always something good.”

The kid left the shack with a bandage and apple, but not the pitch fork.

The landscape was somewhat moonlit. Dogs were becoming smarter and closer.

He made his way slowly across more tall grass, limping and stopping only once to catch a glimpse of ordinary life through an ordinary window.

He found the road then began limping toward the gathering of lights.

Joe Ducato lives in Utica, NY.  Previous publishing credits include; Adelaide Literary Magazine, Santa Barbara Literary Journal, Modern Literature, Avalon Literary Review and Bangalore Review and among others.

Poetry Drawer: Ode to dreamful Erlking by Paweł Markiewicz

You dreamful, dreamy, moony and dreamed King of Elves!
You became in the most amazing ways:

A dazzling statue of Buddha, as if a ghost created it from the moony dreameries.
A parrot on the statue: the paradise-like birdie, awoken from stunning, meek, tender dawn.
A bonfire – the shimmer in the soft night with its warmth born from the muses of the tenderness.
A bewitchment-enchantment of a bliss, that brings amaranthine wind from paradise.
A poet worships the statue belonging to the dreamery of the Erlkings from the morns.
A pearlful inspiration in the wise mind, full of eternity of the Morningstar.
The poet who writes the most dazzling poesy like soul-softness of muses with tears.
The bonfire is being adored by the awoken bird of the melancholy of the times.
A daydreaming of the sylvan elves, bewitched in the dawns and the gorgeous Golden Fleece.
A whisper, that melancholy, for me and fancy of sempiternity, gives.

We praise, You most tender Erlking, and your treasure:
ontology, eschatology, epistemology, ethics, aesthetics, logic, metaphysics, epicureanism and stoicism, all of them, enchanted by tender Buddha in a most picturesque way.

Paweł Markiewicz was born 1983 in Siemiatycze in Poland. He is poet who lives in Bielsk Podlaski and writes tender poems, haiku as well as long poems. Paweł has published his poetries in many magazines. He writes in English and German.

You can find more of Paweł‘s work here on Ink Pantry.

Poetry Drawer: The Swan Couple by Avantika Vijay Singh

there once lived a swan couple
devoted to each other as they cosily huddled
flying together across sapphire skies
seeing the golden dawn of a new sunrise

life sailed across a river of dreams
carrying echoes of songs that gleam
smiles shimmering on the shores of love
as they cooed like a pair of doves

life flew on the whispers of the breeze
a gentle, fleeting rustle of the leaves
in the hush of twilight’s solitude
they heard the symphony of the interlude

’til time, cruel time
snatched him in life’s prime
and she was left alone in the twilight
alone in the grief of her soul’s long, dark night

she cried and cried
copious tears on time’s tide
her heart breaking each time Facebook brought back her reveries
and mine breaking to see her memories

and then one day, she spotted Cygnus
the Swan constellation in the northern sky,
seeing her mate in the silver stardust,
she smiled, silver-haired, and tried to adjust
making peace with grief in her heart
while honouring love that would never depart

Avantika Vijay Singh is a communications professional wearing the hats of a writer, editor, poet, researcher, and photographer. She is the author of Flowing… in the River of Life and Dancing Motes of Starlight (ebook) and editor of five anthologies. A recipient of the Nissim International Award Runner Up 2023, WE Gifted Poet 2024, and WE Illumination Award 2024, she has been published in national and international journals. Nature’s beauty, sustainability, life, spirituality, and humanity are her muse, lending immense depth to her poems.

The Swan Couple poem can be found in Avantika’s new collection: Gold Dust on Sunbeams: An Anthology of Poems

You can find more of Avantika’s work here on Ink Pantry.

Poetry Drawer: Overexposure: Jealousy: Workers Backs: Try This One On: Laughter by Stephen Mead

Overexposure

It could happen to anyone, what emotions
do to undo us.
Reveal the unexpected.
In such abrupt instances is it each other we really feel?
Consider this fort of a man.
He’s some cool-headed professor.
Hasn’t his authority been resented, so
stern, so robotic? Here he is now
projecting slides of his Nicaraguan humanitarian trips,
all the peasant women & children, their hunger & his own.
The lectern cracks with some savage gentleness,
& his is a surprise.
Looking back down the road, years & poems on,
where’s a snapshot of this,
& where in the whole world is the wiser revealed?

Jealousy

These glimpses are just beyond nonchalance,
this demeanor of civility. They are ready to flare
Pompeian, jet like lava from the blood.

We don’t make love to each other.
A third party intervenes, its green gaze mirroring the hidden,
a sudden fit enlarging a moment of tenderness
for grown children reduced to shrewish slithering Medusas.

One look and be now stone-turned stolid.
What shines the length of our flesh?
Heated, greased lightning with the fervor of alcohol?
Lust incites possession, fears the urge, loathes the irrational
while passion sips tea and hands us our heads
as salted meat on the breakfast tray.

(Poetry-art hybrid available)

Workers Backs

Rope-made, the knots, the ties tight between
what lifts & goes & pulls & pushes
hour after hour with or without
any breaks at all.

Any breaks?
All loads are shouldered & found
as a squeeze between boulders,
breathing to go home

Wouldn’t you want to go home
by placing hands there on these muscles
that could steam like horses
watered down after a race
& then go further, give them all
a blanket & a day & a night
where their backs could be

just touch for themselves?

Try This One On

The fender’s impact shrieks.
These wheels, teeth, eat
whatever flesh gets in the way.
Oh you can have that world,
brutality a past-time,
the predator sizing up
the diamond miners’ worth,
so useful unless they get out of line.

Human resources, commodities:
the ghetto boxer’s survival
dependent on beating fists.
Bets from the screaming crowd
are only part of the packaging.

Pal, they’ll call you.
Pal, play your hand.
It’s a shell game.

Later, if lucky, shrewd,
demand top price while the ring,

the ring still takes toll.

Laughter

The good guru—–
wisdom/innocence,
a rush as if from rocks,
water gushing through.
Give air, a gasp, a snort,
innards/spirit, a spray
of baby’s breath, soft rustles
now, hush hush fingers, clap,
cover the whispering
lips, eyes reflecting the sound,
eyes only, squinting & maybe
a few trickles, (lick, trace, let fall),
carrying further what spirits know
living in the torn forth sound.

Stephen Mead is the resident artist/curator for The Chroma Museum, artistic renderings of LGBTQI historical figures, organizations and allies predominantly before Stonewall: https://thestephenmeadchromamuseum.weebly.com/ 

Stephen is a retiree whom, throughout all his pretty non-glamorous jobs still found time for writing poetry/essays and creating art.  Occasionally he even got paid of this. Currently he is trying to sell his 40-year backlog of unsold art before he pops his cogs:  https://www.artworkarchive.com/profile/stephen-mead

You can find more of Stephen’s work here on Ink Pantry.