Pantry Prose: Toska by Robert Keal

– Must be.

– Seriously, Dad, there’s nothing in there.

– Ah, but what about that big rock that just moved?

– Whoa!

As soon as the colour-crazed Toonal TV logo and its accompanying laugh-track jingle both erupt in sync, and the Sock Puppet Squad whoosh on-screen with their googly button eyes and wide sticker grins, Joe Easton wakes up much faster.

“Quick, Mum – you’ll miss it!” he shouts through the lounge doorway, holding half a bowl of cereal under his already milk-damp chin.

10 minutes later…

It’s almost the break when she appears, still wearing her threadbare dressing gown. She doesn’t carry any cereal or toast. Not even a manky old banana from their fridge’s blue-tinted plastic drawers.

“Sorry,” she says, sitting beside Joe and making the tired sofa sag even more. “I dozed off again for a bit there. Right, what’s been happening?”

He shrugs.

She leans forward, peering across at him. “Ignoring me, are we?”

“No.”

“So, spill then.”

“Fine.” He twists round towards her, his own seat groaning. “They keep rapping about kindness and how being kind’s most important when times are hard. It’s easy for them to say, though – they’re socks!”

“You don’t think being kind’s important?”

“Yeah, but not every single morning.”

“Hmm.”

Joe lowers his bowl.

“Oi.” Mum points at the glass tabletop. “You’ll leave a ring if you’re not careful.”

Except Joe’s not really listening anymore. Ads hopscotch on the telly, jumping across the screen one after another, each eager to show off.

Several slots in, that promo from yesterday repeats, all jungle backdrop and CGI vines, with some cartoon creatures lurking about too; not as realistic as they could be, but they’ll do. Letters golder than buried treasure reveal clear instructions while wild animal noises play on loop:

HEY, KIDS!

WE KNOW YOU KNOW WHO RAINFROSTEDS’ NEXT MASCOT SHOULD BE… WE JUST NEED YOU TO TELL US.

PLEASE SEND YOUR DRAWINGS AND TOP 5 REASONS WHY TO:

Contact details, deadlines, etc.

Soon followed by:

OPEN TO CHILDREN AGES 6-11 (WITH PARENTAL/GUARDIAN CONSENT)

£1,000 PRIZE UP FOR GRABS!!

Joe presses pause on the remote, waiting for his mum to notice.

“Is this real?” she asks after a few moments.

“Seems it,” he says.

“OK, OK.” Now she’s nodding loads, reminding him of the bulldog bobblehead inside her car. “OK, we’ll start brainstorming today after school.”

Joe scoffs.

“And what’s that supposed to mean, young man?”

“No offence, Mum, but you barely ever eat breakfast.”

She mumbles something about “not always my choice”, which Joe can’t quite hear.

*

– Looks sort of like your mum in the morning.

– I’m telling.

– Don’t you dare!

Their kitchen table is round, biscuit-coloured with brown flecks all through it; a large inedible cookie. Joe found this out when he was really small, and his teeth still hurt at the memory.

He sits there now, not tempted in the least, crushing A4 sheet after A4 sheet into compact snowballs, before letting them fly behind him – where the recycling crate lives. Whether against wall, floor or hard plastic, each crumpled projectile thuds weakly.

“Maybe we should have a breather.”

Mum rises from her squealing chair opposite.

“I’ve almost got it,“ Joe insists.

“Fair enough, but I need water. Do you want some?”

“No, thank you.”

“Suit yourself.”

She walks to the sink. It’s almost lunchtime and she’s still wearing her Do Not Disturb Before 10AM pyjamas. Outside, sunlight eggs the dirt-smeared windows while giant weeds grow taller between slate tiles.

Joe rubs ink-stained fingers across his closed eyelids.

“Why don’t we ever go to the zoo?” he asks, yawning. “Dad used to take me.”

Mum slurps, replying, “Because it’s too far and I’m not comfortable driving long distances.”

“We could ride the bus.”

“Why are you so fixated on the zoo all of a sudden?”

“Because I need a cool animal for this, and the zoo’s full of them.”

“So’s the internet.”

“It’s not the same.”

“It is cheaper, though. Go on, get searching.”

She hands Joe her phone while he’s still groaning; however, he soon relents, unlocking it and typing ‘weird wildlife’ into the top bar.

Results flood the screen like a pixelated Noah’s Ark.

Several taps later, he grins and reaches for his pencil again, plus some fresh, unballed paper.

Mum sits back down. “Find anything good?”

“Maybe,“ he says, doodling fast.

*

– Do you think he enjoys pretending to be still all the time?

– I would; it looks peaceful.

Its limp, grey nose reminds Joe’s mum of those old windsocks they have around airfields. She starts giggling.

“Why are you laughing?” he asks her.

“I’m not, just appreciating.”

Joe flips the page. “I wrote my reasons why he should win, see?”

Mum squints as she reads each scribbled bullet point aloud:

“1) He’s cute.”

“People love watching cute things on TV. It makes them softer.”

“OK, if you say so. 2) You probably haven’t heard of him.”

“Me and Dad didn’t until we saw one.”

“Hmm. 3) He really does live in the rainforest.” Mum nods. “Nice and topical. Or should that be tropical?”

Joe rolls his eyes.

“Tough table. 4) He could make people smile.”

“Not enough smiles these days.”

“5) I want him as a pet, but he’s too big for our garden.” Mum chuckles. “Don’t even think about it, mister. Has he got a name?”

“Crap, I forgot to add it!”

“Language, Joseph.”

“Sorry.” Joe reflips the page, writing rapidly in the top left corner. “Will you send it for me?”

Mum tugs at the edge of her pyjama top. “Yes, on my lunch break on Monday.”

*

– What is he?

– Name: Toska. Species: Malayan Tapir. Age: 7 years – same as you, mate.

– He’s a long way from home.

Two weeks later and Joe keeps running home from school. Always the route sweats his heavy breath right out of him, but he still manages a feeble gasp of “Any post?” after letting the door slam shut each time.

Today’s no exception – standing there in the hallway, fists clenched at his sides and jumper clung around him, a superhero’s fallen cape.

He peeks into the kitchen, but his mum’s video-calling on her laptop (at least she’s dressed for this one, he thinks). She waves him off sideways towards the living room.

When he enters, his tomato cheeks ripen into a smile. He attacks the big cardboard box faster than he can see it; ribbons of brown paper float like the remnants of long-dead fireworks, before falling slowly to the crumb-fed carpet below.

Joe practically sticks his head inside, grabbing the creased note from on top. Swallowing hard, he unfolds it and reads:

Dear Joe Easton,

Thank you for submitting to Rainfrosteds’ Next Mascot competition.

We’re pleased to inform you that we loved your entry and will be making Toska the Tapir our new spokesanimal.

Tune in next Friday after SPS Adventures on Toonal TV (7.30am) to meet Toska on the telly.

And don’t forget your free Rainfrosteds to enjoy while you’re watching.

Congratulations again!

Yours sincerely,

The Rainfrosteds Team

Joe’s chest constricts a little and he sends more paper dregs spiralling. They must just have forgotten the money, he tells himself, as Mum appears and asks, “What’s the verdict?”

*

– Says here he was born in the zoo.

– So, he’s never even been to Malaysia?

– ‘Fraid not.

“Listen here, sunshine.”

Joe’s mum practically spits into the speaker of her mobile phone.

“No, I’m sorry, you guys screwed up. We did everything right. Now what are you” – she uses that last word for target practise – “gonna do about it?”

It’s been over two weeks of this; her slippers have left tracks in the living-room carpet, and her voice is deep as Dad’s used to be.

Joe says nothing, watching CGI undergrowth stir once more on the telly screen.

“No, I didn’t check social media… Because I haven’t logged onto any accounts since my husband died, that’s why. Grief’s one way to keep you out of the bloody Matrix, let me tell you.”

Blurred around the edges, Toonal TV’s latest cool-guy presenter appears as if emerging from digitised bushes. He wipes invisible sweat off his forehead and keeps panting too loud.

“Hey, guys.” An exaggerated Australian accent makes Joe cringe; tapirs aren’t even from Australia! “I’m just looking for my new mate. You seen him?”

“The point is my son worked hard, won fair and square, and now you selfish people won’t give him his prize money. So, what am I supposed to tell him? That it was all for nothing?”

Joe braces himself as the final insult waddles into shot.

Identical to the updated cereal box perched on the table in front of him, Rainfrosteds really did turn his beloved tapir purple for some reason – with tiny white spots dripping like paint-splatter down his back and lime-green tufts of hair quiffing out of his head and tail.

Joe shivers, getting major supervillain vibes.

OTT again, the presenter cries out “Oh, there you are, Tim! Where were you hiding?”

So that’s why Toska hadn’t appeared on the box. But it’s only two syllables! If Joe can remember reading it years ago, Dad by his side trying his best to keep up and stay awake, then everyone else could understand it too.

Kids aren’t stupid, he wants to scream at the screen.

“Another free cereal? Are you actually serious? Fine, we’ll just see you in court. Goodbye.”

Mum jabs the button, then slams her handset on the table so hard the case cracks even more.

Right now, they can’t bear to look at each other, not with Tim the Tapir’s smug little grin, the colour of long-expired milk, all around them, and the creature’s high-honking laughter curdling in their eardrums.

Robert Keal hails from Kent but currently lives in Solihull, where he works as a copywriter. His recent fiction can be found in 100 Word Story and The Ekphrastic Review. He loves walking the tightrope between strangeness and reality.

Poetry Drawer: Endless Night by Christopher Johnson

The night is an endless frustrating vast empty well into which I am continually falling but never reaching the bottom, never drawing closer to the malicious water.

At 2 am, I wake up, my body electric, my eyes watchful and alert and as far away from sleep as is possible.

I peek through the Venetian blinds that drape my window like eyes from a woebegone factory.

Yes, I peek through the blinds, and I see nothingness—the black and implacable and impenetrable and unforgiving night as thick and dark as a swamp.

I return to my bed, which lies alive with sheets wrinkled and puke green and sweaty, and I pound my pillow into smithereens and slam it against the headboard of my bed.

I try to read Kafka’s The Trial. Strange choice to seduce sleep, n’est-ce-pas? But the words on the filthy page are like worms that curl into opaqueness, and Kafka’s paragraphs elongate till they are as impenetrable as the swarthy night.

I blunder my way out of bed and stumble to the kitchen and pour myself a secret bowl of Cheerios and return to my bed and slurp the cereal and study the little O’s as if they held some sort of meaning,

And I hope and pray that the cereal will gird me for the long fight through the night to find rest and meaning in the nothingness of the dark.

The night is a boa constrictor wrapping itself around my soul and squeezing the life out of it.

I’ve had enough of Kafka’s prose, which is a dark impenetrable puzzling of malice and myth-making words of anomie and soullessness.

I turn off the silver metallic lamp by the bed and plunge into the blackest of the night so far.

The pillow feels like a memory that I no longer want to hang on to.

I toss and turn, feeling the sheets beneath me like iron, the pillow like the repository of lost hopes and dreams.

The night screams on, growing more tragic by the minute, by the second, like an evil and rambunctious dragon.

I levitate from the bed. The sheets burble with unforgiving sweat.

I toddle down the hallway to the bathroom and hang my dick like dirty laundry over the toilet bowl, which in the death of night resembles a huge gaping mouth yearning to swallow me whole.

Drip. Drip. Drip. The peeing finally comes to a denouement that is completely devoid of significance. Done. My body is thankfully empty of urine.

Back to the Shakespearean tragedy of the bed. 4 am. 4:30 am. 5 am. The minutes click by like sodden and lugubrious steps that one takes in some netherworld where sleep is not delineated, defined, or allowed.

Facing one way. Rolling over. Facing another way. My eyes as far from sleep as New York is from Capetown, as Pluto is from Earth.

Eyes alert, wired, steady, peering into the darkness and the future that lurks in that darkness,

And seeing nothingness. Peering. Staring. Unblinking. I lie strangling on the well-sweated sheets, the perspiring sheets,

And wait for a haunted sleep that promises never to come.

Christopher Johnson is a writer based in the Chicago area. He has done a lot of different stuff in his life. He’s been a merchant seaman, a high school English teacher, a corporate communications writer, a textbook editor, an educational consultant, and a free-lance writer. He’s published short stories, articles, and essays in The Progressive, Snowy Egret, Earth Island Journal, Chicago Wilderness, American Forests, Chicago Life, Across the Margin, Adelaide Literary Magazine, Blue Lake Review, The Literary Yard, Scarlet Leaf Review, Spillwords Press, Fiction on the Web, Sweet Tree Review, and other journals and magazines.

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

Poetry Drawer: communion: risky business: improving the drainage: props: soft landing by Livio Farallo

communion

blanket
and sombrero
dropped
in a pile,
she runs
through a vacant
city of gold,
echoes thudding
against eardrums,
sweat pouring
in a hum.

the priest
rings a bell
to the stirring
dust,
wipes his forehead
with the back of his hand,
spits,
walks back to the bottle
and eats the worm.

she calls him father.
he waves her in.
their arms
slow in the heat.

risky business

paintings
locked in
colour

and boulders
in falling rock zones,
never really falling.

you’ve never seen
a pebble bounce
or heard a hard crack
and you know
if you drive through
this same threatening
stretch of road
every year
and locate the same
boulder on a
precipitous ledge
it will always be
el cid dead on his horse
which gives you something
to talk about.

pigments are never
diluted with water
but seasons
change your taste
in fruits and vegetables
and leave you nothing
to choose at the market
except endive and spinach.
and the heavy green of one colour
is a still life’s
red tablecloth
hung over the edge
in perfect folds
of
shadowed smiles with teeth unseen

improving the drainage

walking along the street
near my home
where machines
are putting in new sewers;

no humans to be seen here.

just yellow backhoes and orange cranes
red dump trucks
with windows layered in foggy brown
and not a human within them,
not a movement.

slabs of concrete
and asphalt piled
for a campfire,
it seems;

smells captured under bulldozers
and released as steam.
a whole neighbourhood
glued in chaos
and coated in the sewage
of wet dust.

walking past the detour signs
and plastic blinking lights,
generators thumping failing thumping.

home finally
but not really there,
crouched unsteadily
on the sidedoor steps
fingering spider webs,
teasing apart the smells of bean soup
and a flooded basement.

props

the old men
who play chess
in parks

rarely speaking,
smoking tobacco
spitting juice
as young boys
watch and
run
for sandwiches
and coffee.
as sun
sprinkles through
the trees
just enough
and the breeze
folds a newspaper
just enough.

i have never seen this.

the old men
who wheeze
and take pills,
cough and
lock in dentures
before the sandwiches;
piss themselves
from the coffee.
who wear safari hats
and measure immortality
with captured pawns.

i have never seen this.

except in movies
                 grainy and frightening
whose titles i forget.

soft landing

chocolate evening
drips a candle
of slow light.
coffee,
gurgling breath
of steam aroma is
harboured in dreams
of unthinking
skin.
closed eyes
and the exquisite deadness
falls through murmurs
of crossed and barricading arms.
my hair is uncombed
my breath is unwashed
my heart is a trampoline
(and not a pump) so warmth
splashes randomly and
grease flies from bacon
but doesn’t burn;

a rare moment.

Livio Farallo is co-editor of Slipstream and Professor of Biology at Niagara County Community College in Sanborn, New York. His work has appeared or, is forthcoming, in The Cardiff Review, The Cordite Review, Roi Faineant, North Dakota Quarterly, J Journal, Schuylkill Valley Journal, and elsewhere.

Poetry Drawer: I Believe in My Tummy by Caleb Delos-Santos

(Inspired by “What I Believe” by Jacqueline Woodson)

I believe teriyaki chicken with rice tastes better than anything.
I believe my grandma agreed.
I believe God whispered to her our family teriyaki sauce recipe.
I believe my father taught the secret to me
to continue her legacy.

I believe I will continue her legacy
by clothing every meat I eat
with sweet teriyaki.

I believe my wife dislikes sweet meat.
I believe that does not matter to me.
I believe that does not matter to her either.

I believe our future children might not like it either.
I believe my wife and I will dress their meat
with teriyaki sauce anyway.
I believe my children will eat
teriyaki chicken with rice anyway.

I believe, if they like it,
they might even learn the recipe
and then forget it
after eating too much McDonald’s or Wendy’s.

I believe, despite this possibility,
they will still carry my grandma and father’s legacy.
I believe they will even honour my wife and me

because

I believe they will see, just like anybody,
that family is fitted
with so much more meaning
than chicken and rice
in sweet teriyaki.

Caleb Delos-Santos (he/him) is an English graduate student at Southern Illinois University Edwardsville. Throughout his four years of writing, Caleb has published poetry with nearly twenty literary magazines, including North Dakota Quarterly and the Madison Journal of Literary Criticism, and most recently released his first two poetry collections, A Poet’s Perspective (2022) and Once One Discovers Love (2023). Caleb also won the 2022 Esselstrom Writing Prize and the West Wind Literary Magazine’s 2023 Best in Genre Award for his nonfiction. Today, Caleb teaches English 101 as a teaching assistant and dreams of a successful writing and teaching career.

Flash in the Pantry: Maestro by Cheryl Snell

The conductor’s wife carried his balls in her purse, so he said. She was a bully, convinced that she was smarter than, more successful than, more desirable than he. Plus, her purse was bigger. In rehearsals, he had become so nervous that his baton kept slipping out of his hands. “What’s bugging you?” I wondered. “My wife,” he might have said─ but now I can’t be sure. At the podium, he watched my bowing arm for cues. My staccato, sautillé and spiccato all helped him feel the vibrations through his feet, he said. I wondered if he knew he was deaf. “I love you,” I whispered, to test him. He didn’t answer but launched into the latest story about his wife: how she’d taken to fishing out a can of Mace from the purse where she kept the balls, and setting it like a centrepiece on the table. He recited these details to me in the Green Room with his eyes squeezed shut from the effects of the spray. I held his hand, the one without the ring. I liked him to look less married, if possible, for the sake of my fantasies, which throughout my life have always been the best revenge against reality.

Cheryl Snell’s books include several poetry collections and the novels of her Bombay Trilogy. Her latest series called Intricate Things in their Fringed Peripheries. Most recently her writing has appeared in Gone Lawn, Sleet Magazine, Necessary Fiction, Pure Slush, and other journals. A classical pianist, she lives in Maryland with her husband, a mathematical engineer.

Poetry Drawer: When I walked into the room, they poured lava on my head and told me I was fired: I’d chop off my eyes for a kiss: The magician who lives below me comes home: I went to Niagara Falls by Ron Riekki

When I walked into the room, they poured lava on my head and told me I was fired

but I couldn’t hear because of all the ash
in my ears and the room was packed full

of people I didn’t know—a librarian who
said I stole a book back in 1968, a penguin

who said I made half its family extinct,
and my boss who looked like a hole in

an animal—and they were lined up, all
with notebooks, all ready to slice me in

half, but I thanked them, because now
is the time where all can collapse, so

you have to be gracious and smile and
accept them shoving a mountain deep

into your guts, and I walked away after,
heading nowhere, ending up in a grave-

yard where someone mowed the lawn
like they had rivers of madness in their

lungs, just circling and spinning and
weaving that machine into sand and

puddle and fence and I just stood there,
jobless, watching this guy with a job,

tearing up the earth as if he wanted
to erase every single thing in sight.

I’d chop off my eyes for a kiss

that’s how lonely my eyes are,
my memories like rope, so god-

damn garden-level beautiful; I
should have died for her, but

instead I just wrote poems. My
God, I should have died and come

back to life. I should have done
everything. Everything.

The magician who lives below me comes home

and looks wrecked, destroyed by magic, this slow trudge, and
I’m a peeping tom, slits in the blinds, but so curious to see this

body, bedecked in motley, and so old and so young at the same
time, a man-boy who’s never smoked, never drank, but greyed,

youth-aged, starving for money, gambling for fame, but coming
home to this metal neighbourhood where crickets don’t even come,

just the soft sound of traffic in the distance, blending in with his
footsteps, so tender, like rabbits that have been forgotten in hats.

I went to Niagara Falls

I didn’t get it.
All that mist.
I got back in
my car and
drove one
thousand
miles, to
Kansas,
where my
ex- lives,
happily,
without
me. I
told her
about
Niagara.
She drank
coffee in
her kitchen
that was
the colour
of the Civil
War. I said
I didn’t get
how people
could go
down that
thing in
a barrel.
She told
me her
ex- would
be home
soon. They
still lived
together.
Nothing
in this
world
makes
sense.

Ron Riekki has been awarded a 2014 Michigan Notable Book, 2015 The Best Small Fictions, 2016 Shenandoah Fiction Prize, 2016 IPPY Award, 2020 Rhysling Anthology inclusion, 2019 Red Rock Film Fest Award, 2020 Dracula Film Festival Vladutz Trophy, 2019 Très Court International Film Festival Audience Award and Grand Prix, and 2022 Pushcart Prize.  Right now, Riekki’s listening to Nanci Griffith’s “I Wish It Would Rain.”

Poetry Drawer: A Woman’s Tears: Tales of a River by Avantika Vijay Singh

A Woman’s Tears

A woman’s love is an extraordinary treasure!
She will give you love,
She will give you loyalty,
She will give you, her dreams.
She will give you, her future!
She will give you eternity!

But many a man never knows
the value of that treasure.
He will possess her,
He will desire her,
He will rest his heaving passions in her.
Like a plundering warlord he will only take again and again,
And lay the remains to waste.

He will grow large from that tree of love,
Not watering the tree with any affection.
He will grow vines of neglect
Subsuming her identity with weeds,
That sap her of her strength and love!
He kills the woman of her spirit,
And dines off her carcass like a bird of prey.

And the woman’s heart is crushed,
Like a river run dry
No longer fed by the rain of affection.
Violated day after day like the earth,
Into whose wombs wells are bored relentlessly,
Deeper and deeper,
In search of the elixir!

The saddest sound in the Universe,
Is the sound of a woman’s heart break!
In the silence of the night
She quivers and thrashes unseen!
Gnashes her teeth at the impotence of her fate!
Weeps soundlessly for herself,
Longing to escape the coils of a loveless union,
That trap her soul.

Tales of a River

She is a river of gold,
Flowing swiftly in the golden dawn.
The sun rippling beauteous in her joyous being
She whooshes exuberantly over the rapids,
As one by one she clears them,
In her flow.

Worshipped by man
Desired by man
Who always sought to control her
To contain her
Fight over her
For exclusive rights!

She is the river of discontent
In whom waste has been dumped,
by toxic relationships.
She cries for release.
The waves of agony crash
Against the high rocks of indifference!

She is the turquoise river,
Below the cerulean skies,
The woods behind her,
The shores distant.
With a sky full of stars,
She flows!

She is a ribbon of silver
Sparkling in the moonwake,
With the wisdom of the ages
Running in her veins!
Nurturing life,
Healing the wounds!

She is a river emptying soundlessly into the sea
Between existence and non-existence!
In her existence, exists her identity
In her non-existence, she loses not
Just different ways in which she emerges,
Her essence ever fragrant in her tributaries!

Avantika Vijay Singh is a writer, blogger, editor, script writer, poet, researcher, and amateur photographer. Poetry is her song from the heart to express her thoughts and emotions. Dancing Motes of Starlight, self-published during the pandemicin 2020, is her debut ebook on poetry.

She enjoys a good laugh, especially over herself, and her blog “Ordinary People, Extraordinary Lives”. She loves taking long walks in nature, which germinate the idea of many of her poems.  

She is a lifelong learner and holds an M.Sc. (Zoology), an M.S. (Biomedicine) from BITS, Pilani, post-graduate Certificates in Sustainability from Blekinge Institute of Technology, Karlskrona, Sweden and Digital Marketing from MICA.

Poetry Drawer: Slowly Crept: Sonnet CDLXXXXIV: Sonnet CDLXXXXIII: Sonnet CDLXXXXI by Terry Brinkman

Slowly Crept

Charity to the neighbour absurd
Wolf in Sheep’s clothing
Monks and Friars slowly crept
Bearing Palms and Harps of the Blackbird
Patrons of holy youth sleeping Bluebird
Women blessed symbols slept
Dragon Lilies robes we kept
Ink horns eyes of Lady-dove

Sonnet CDLXXXXIV

Dumpy sort of a gait bone due trench
Two flashes of presumable ships rum from Maine
Gurgling noise shrewd suspicion pain
Day of reckoning Mono Publishing conservation bench
Best jumpers and racers wrench
Skin the goat an Ax to grind throbbing forehead vein
Loudly lamenting Galway Bay rain
Slightly disturbed in her sentry-box stench
Facial blemishes treasure
Effusion the redoubtable gravel
Dropping off into a restful measure
Silence all around we try to unravel
Manicure counterattraction female pleasure
Rum explodes piers and girders travel

Sonnet CDLXXXXIII

White tipped New Guinea’s chip
Wispy quiver and dance trouble
Poniards Gibraltar bubble
Muensters Boston weather drip and dip
Ill-fated Irish Times petrified drip
Weathered a monsoon Daunte’s rock doubled
Rumpled stockings showing her stubble
Impetuosity isosceles triangle flip
Temperaments at the door in trio
Passionate about the Ten Shillings viol
Visit coincidences Kilaru Museum in Rio
Washed in the blood of the sun denial
Spaniards old Leo
Exception here and there trial

Sonnet CDLXXXXI

Enlightened men morbid mined shrug
Buys dear and sells cheap her money amplify
A slow puzzled skin-Berean Butterfly
Old Meldish squeamishness drug
Super human effort as she dug
Shrugged his shoulders to deny
Dizzy-Billy all-be-plastered high
Coffee in a cheap-eating-house mug
Sticker for solid copper Tumour
Tee total skipping rocks rube
Fa-r-reaching circumstantial rumour
Piano playing cell-mate in a cube
Not listening at a yarn humour
Blunt horn-handle tube

Terry Brinkman has been painting for over forty five years. Poems in Rue Scribe, Tiny Seed. Winamop, Snapdragon Journal, Poets Choice, Adelaide Magazine, Variant, the Writing Disorder, Ink Pantry, In Parentheses, Ariel Chat, New Ulster, Glove, and in Pamp-le-mousse, North Dakota Quarterly, Barzakh, Urban Arts, Wingless Dreamer, LKMNDS and Elavation.

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

Poetry Drawer: Autumn in the Wings: If Only I Moved by Instinct: Leaf Fall: For Therapy, I Mix Metaphors: Slackening Observed: A Moment Depends Not Just on its Moment: After the Gale by D. R. James

Autumn in the Wings

Twigs’ lush medium is converting to
calligraphy, the dismissal of leaves
to launch its winter forewarning. Laden
with late acorns, squirrels chuck-chuck meaningless
memos, counter-balance full bellies, tails
unfurled. I am embracing—keepsaking—
the unscrolling calendar, harvesting
days tossed my way, the prodigious burden
of nows. Hunters will bruise this calm soon, but
until then it’s choirs of jays, cranes, and crows.

If Only I Moved by Instinct

Life has been a grand migration
to where you are today!
            —well known wisdom

I didn’t know!

Otherwise,
when those raggedy squadrons
clamoured overhead last evening—

three V’s disarrayed
like frayed arrow feathers,

their leaders insistent as clowns
with braying horns, honking
for plane geometry—

I would have taxied, sprinted,
lifted arthriticly
from water’s edge (granted

more dodo than goose,
my splayed toes just scuffing
the webbed crests of waves),

and elbowed my way
into a rhythmic wedge

to claim my slot
in that mindless rotation
toward the life-saving draft.

Leaf Fall

Asymmetric chandeliers instigate
their rhapsodic drop, the ruddling scumble-
trove of falling leaves and epiphanies
whose sillage shellacs paw, pelt, and breezes.
Trapezes sling these acrobatic hues
into bold arcs, risky spins, pronounced turns
before alights the wind-borne troupe of the
trees. Stippled bark akin to camo backs
the show, and cursive limbs announce the new
season: caesura ending summer’s song.

For Therapy, I Mix Metaphors

From a frozen wedge of machine-split pine,
tossed on this settling fire, one frayed, martyred
fibre curls back and away like a wire, then
flares, a flame racing the length of a fuse.
Imagine this my innermost strand, a barely-dirt
two-track off Frost’s road less traveled, a thin,
trembling thread of desire, the uncharted blue vein
of a tundral highway. Or in some dread cloister
it dreams, and a sillier spirit suddenly moves—
like four fresh fingers over flamenco frets,
like dumb elegance uttering Old Florentine,
never meaning one of its crooning words.
It might dance—Tejano, Zydeco, any twenty
Liebeslieder Waltzes, any juking jumble
of a barrel-house blues—wherever arose
an arousing tune, the thrum of a Kenyan’s
drumming, the merest notion of Motown soul.
I do know: there must be this lost but lively cord,
an original nerve, perhaps abandoned, or jammed
as if into an airless cavity of my old house.
It waits, to spark, to catch, its insulated nest
punctured by the stray tip of a driven nail.
It craves some risky remodelling, that annoying
era of air compressor, plaster grit, dumpster,
and the exuberant exhalation of ancient dust.

Slackening Observed

A cardinal, its heaven’s sound, the winter’s
effervescent rag with salutating
gait. Notes etch, sun foils, and cathedralic
miles enlarge the whispering. To centre
oneself, to murmur, to intercept the
synchronizing run that’s rioting, is
as longingly still as the slope outside
the city’s heaves, the barn-red-confetti’d
woods, the uniform crisp of autumn days,
shallows iced to the shoreline, valley’s dream.

A Moment Depends Not Just on its Moment

You’d like to move on beyond mean memory,
skirt that peopled, hollow squalor, pack up
your numerous mind encampments
whose smoky cook fires now flicker, now
flare on this or that nostalgic hillside—
sometimes like coded reminders, sometimes
like brash blazes arousing anything
but simpering gratitude for a brainscape
stippled with so-called love. But then
a random moment’s rush of fragrant pine
rises also from vague beds of heady needles
in your rural past. And today’s savouring
of your young son’s self-liberation emerges
from its oblivious storage of almost forty years.
And the resuscitating pulse in a flagrant poem
owes a measure of its happy current to your
decades of emotional prohibition, your
suspension in the numb ice of wordlessness.
A generous peace depends on your history’s
stingy drudgery, and a restful season
of seeing who you might really be
depends on the eons of not letting being, on
the contrast with not knowing you didn’t see.

After the Gale

Ivory spines disguise the oaks’ south sides,
slivers of sunshine lightening their rough
trunks. What furrowed pallor, what dignity:
spires anchored to all others underneath,
delight clad in the plucked bones of winter.
What diligence, what staid bystanding: a
throng of distinct ascetics, enmeshed horde
of collective loners. It’s as if they’re
avowing how steadfastness, soon resumed,
enroots in you your essential locale.

D. R. James, a year+ into retirement from nearly 40 years of teaching college writing, literature, and peace studies, lives, writes, and cycles with his psychotherapist wife in the woods near Saugatuck, Michigan. His latest of ten collections are Mobius Trip and Flip Requiem (Dos Madres Press, 2021, 2020), and his prose and poems have appeared internationally in a wide variety of print and online anthologies and journals.

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