Pantry Prose: Life of Joy or Fear? by Kerry Barlow

It was time to go back, time to walk again the path that I had walked so many times in my memory across the years, time to try and put the past to sleep.

I remembered that summer so well. It had been long, and sweltering, with days that seemed to go on and on. The day it happened we had all wanted to cool off down by the river. We had congregated at a wide curving stretch where the apparently slow-flow of water suddenly went at breakneck speed as it cascaded over the fifty-foot-tall waterfall.

Nestled down in a red sandstone valley, the river, and its surroundings, could have been so beautiful, if it hadn’t been for the landfill site that ran within a hundred feet alongside the bank where the waterfall smashed into the rubbish-strewn river bed and tumbled away over broken bikes and shopping trolleys. It was the warm mellow sandstone that was, in a way, to blame for what happened. We loved the fact that we could carve our names so easily in the exposed red-rock faces that rose up high above the slow-flowing river before the waterfall, but it was also that softness that let the river carve its character into the rock, a character that was cruel and vicious. The warm glow that filled the valley when the sun shone down upon the red-rocks belied the malevolence of the wicked relationship between water and stone. If they had never met, at that point on earth, or spent so many centuries enmeshed with each other, it would never have happened.

We knew the area so well as it was our playground, a playground that we had to reach by clambering over a tall chain-link fence. We then had to scramble through bramble and bindweed entangled undergrowth, crossing the freight live-line and the old passenger dead-line of the railway. Most had no fear of crossing the live-line, but I did. I was always the coward. I used to imagine the train hurtling towards us and taking us along with it as it passed, just as my parents said it would, but I never did see a train on the live-line. That fear of railways was embedded in my heart though, my parents’ warnings made sure of that. They didn’t know we crossed it regularly, they thought we heeded their warnings, but our main playground was the dead-line: the place we built our dens and fought our imaginary battles. They didn’t know we went beyond even there and played down by the river, our favourite summer place. They told no stories of the dangers of water, but instinctively I knew that the river was out to get me, and hurt me, just like the trains were.

It was a long trek to reach our favourite place and we were hot and bothered by the time we reached the river that day. There were lots of us there. Some children I knew, and some I didn’t. The girls were in their homemade floral summer shift-dresses and sandals, and the boys were in baggy shorts, t-shirts and black plimsoles. There was joy in the air, a joy that reverberated off the sandstone and swept down the river, letting everyone know how happy we were. Even the smell of sewerage and chemicals in the river didn’t deter us. Nothing was going to stop us cooling off. Nothing was going to stop the fun.

That day some of us were bold, brave and daring, diving and surfacing. Some of us were cowardly, just paddling in the shallows. I was, of course, one of the cowards. She was one of the bold, brave and daring amongst us. She was the one that first dived off the top of the waterfall. She was the one that encouraged others to join her. The joy oozed from every pore on her body and was like a rainbow aura all around her. Adding to her beauty were flowing golden locks that streamed outwards as she dived. She had the innocence of most eight-year olds that had not had fear etched into their heart: a child that knew life was for living to the full. She was the one that had the most fun. Meek, mouse-like me, envied her courage as I paddled in the shallows. ‘She’. I can’t remember her name; fear that day, carried it away.

The first we knew of anything being wrong was when her best friend suddenly noticed she wasn’t around. We thought she was acting the fool, as she did so often, but then we started to panic. “When did you last see her?” shouted one of the boys. Everyone agreed that they last saw her diving off the top of the waterfall. None of us knew what to do. We were frozen in place, fearful of running for help because we knew we shouldn’t be there. Then a man walking his dog came by and we told him that we hadn’t seen our friend since she dived off the top of the waterfall. “Stay away from the water! I’ll get help,” the man shouted to us all, “but stay away from the water!” he emphasised, and then he turned and ran.

It seemed like a lifetime before they came. There were police, firemen, and an ambulance. They couldn’t get close with vehicles and had to walk to us by skirting around the edge of the rubbish dump. When we saw them coming we were scared to stay, but we were also scared to leave. They started to question us about where she had jumped from, but all we could say was the top of the waterfall. After they had taken our details they told us to go home and to stay away. We knew we had to tell our parents. We knew we had to face their wrath. In some ways facing their wrath was worse than what had happened.

“We’ve told you again and again not to go over that railway line!” screamed my Father. He was a man we always dreaded to cross. He had a stature and hair colour that matched his temper and nature: short and black. He never missed an opportunity to lash out, and this time was no different. It was my Brother that took the brunt of it as he was closest, but we all felt the stings of his blows. “Why can you never be trusted?” he shouted. “Are you thick? Are you too stupid to understand what we say? Get out of my sight! Now you retards!” He turned to my Mother and said “I’ll teach them! I’ll make them sit down by the river and see her body brought out! That will give them a lesson they will never forget!” My Mother said nothing, just as she always said nothing when he was on one of his rants.

We weren’t the only ones back there by the river the next day. No one could stay away, not children, not parents, not nosy locals. The place was like a giant magnet drawing every bit of scrap metal to it. We all sat and watched, day after day. We sat with my Father on a bare mound of soil in an area that separated the tip from the river, not far from where the police divers scoured the area below the waterfall. I picked up a piece of rubbish and tore the paper into tiny strips to pass the time. A police officer walked past, and my Father shouted to him “You should show the body to all these kids when you bring her out! You wouldn’t catch the idiots swimming in there after that!” There was pure hatred on the officer’s face as he stared at my Father for a long moment before he turned and walked away without saying a word.

It was eight days before they found her. They said that the river had corroded the sandstone, making tunnels under the waterfall which created lethal whirlpools that had dragged her down and into a tunnel. They made us all leave when they brought her out, so my Father didn’t get his wish fulfilled. We stayed away from the river after that, and we stayed away from the railway lines. Not long afterwards we moved away from the area, but I never forgot, and I knew that one day I would go back.

I passed my driving test when I was eighteen and I started to explore the places from my childhood again. At first, I stayed away from the river, but I knew that the tip was no longer there, and that the area had been landscaped to create a country park for the local people to enjoy. One hot summer day, a day that was just like that fateful day, I decided the time had come to visit and try to put the ghosts to rest. I no longer had to clamber over fences, and through undergrowth, as a carpark now stood at the entrance to the valley where the deadline met the old railway viaduct. Willow and hawthorn lined the route up along the deadline, and birds sang and flitted from bush to bush, while crickets chirped in the long grass. Gone was the odour of rotting rubbish, replaced now by the scent of flowers and nature. Gone were the dens made of wood and corrugated iron that we had made in the undergrowth. This was no longer a wasteland of rubbish; this was an area that Mother Nature had clothed in beauty, one she could be proud of.

I walked slowly along the dead-line and appreciated every tree, every bush, every flower. Did I do that to delay my visit to the river? Was it my subconscious mind trying to keep me away from the past? I don’t know, but I know a ten-minute walk took me an hour.

The dead-line was above the river which was now hidden from view by woodland. A wide path led downwards through the trees to meet the river just by the waterfall, with another path curving off upstream, running beside the river, under the towering red-rock, where we had paddled and dived all those years ago. The long grass was dry, and crackly, just as it had been on that terrible day. I sat down amidst it and watched the slow progress of the river until it once again dashed over the waterfall. The river no longer smelt of sewerage and chemicals, and no one could ever dive from the waterfall now: they had filled the riverbed below the waterfall with huge boulders after that tragic incident. The sound of water hitting those boulders mingled with the bird song that filled the valley with beautiful music.

I sat there, for a long-time, watching swallows flying joyously back and too, low along the river, catching insects for their young. They flew close to me also, so close I felt I could reach out and touch them: the acrobats of the air putting on a special show just for me. I heard a call then, a long low whistle, the whistle of one of my favourite birds: the kingfisher. I sat stone still and watched for its approach. On the edge of the opposite bank was a willow whose branches hung over the river, and it was there that the kingfisher alighted. She watched the water with an inquisitive eye, and then dived boldly down into the river. Moments later she shot upwards back through the water surface and towards the branch, a rainbow-like aura surrounding her iridescent blue and orange feathers. Water droplets that caught the gold of the sun fell earthwards and spread sparkles across the river. She sat on the branch, upright and proud, the performer in front of her audience. It was then, in the corner of my eye, that I spotted a movement on the ground. I slowly turned my head just in time to see a frightened furtive little mouse scurry away back into the long grass.

Mother Nature had healed this place, but the joyful and the fearful still played here. Seeing life acted out in nature, I wondered if it was better to live a short life full of joy, or a long one full of fear? Would the kingfisher or the swallow swap places with the mouse, and would she have swapped places with me?

Kerry Barlow has studied creative writing with The Open University.

Poetry Drawer: Close Enough by Laura Stamps

Me and Amelia. On our way
to the hospital. Visiting. We
are. A sick friend. But these
places. Geez! Whose idea
was this? Who? That hospitals
should be the size of small
cities? Tell me. I’d like to
know. Hey. At least they allow
support dogs. But still. All
these towering buildings. So,
so tall. All of them. All the
same. And now. Of course.
We’re lost. We are. Me and
Amelia. Driving around. Rats
in a maze. That’s us. Until,
until. We find the right one.
The building we want. And
a parking place. Alrighty!
I slip Amelia into her harness.
Attach her leash. And off
we go. Amelia in her pretty
little dress. Pink. Of course.
And me in my t-shirt. The
green one. The one that says:
“Emotional Support Person
for My Rescue Chihuahua.”
Close enough. Right? Yeah.
That’s what I’m thinking.

Laura Stamps is the author of over 50 novels and poetry collections. Most recently: “The Good Dog” (Prolific Pulse Press 2023) and “Addicted to Dog Magazines” (Impspired, 2023). Recipient of a Pulitzer Prize nomination and 7 Pushcart Prize nominations. Lover of feral cats and Chihuahuas.

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

Poetry Drawer: Moon Boon by Dr. Anila Pillai

Reading the philosophers
From sun to moon rise,
Transcended to ages
Amalgamating
the Infinite pain.

Memories radiate along,
With Blaring Roars and fierce Glints
through the pathway of deluge.
Serenity alluring through
Just like,
The absolute circle that radiates
taking the light of gleaning flame.

Memories with their cluster of pain
Gazing from the clouds
Emerge to reveal the blaze
Of Warmth in the dark.

Was then
The moments of sight
Still sharp and defined
A ball of brightness
In a feel of trance.

Smudged with emotions heavy
A smoulder I saw
Life in my hands
The torment, pain of life process –
Call it by any name!
Was no less than bliss
To see
My celestial boon.

Dr. Anila Pillai is an assistant professor of communication skills. She teaches in the land of Lions- Gujarat, India. Her passion is to pen her emotions in verse. She has published her literary creations as well as academic articles with national and international publishers. Kailani is her collection of poems published in the year 2022.

Books from the Pantry: Falling and Flying by Jeff Phelps reviewed by Neil Leadbeater

Prize-winning poet, acclaimed novelist, editor and playwright, Jeff Phelps, is the author of two novels Painter Man (2005) and Box of Tricks (2009), both published by Tindal Street Press and the poetry pamphlet Wolverhampton Madonna (2016) published by Offa’s Press. He is a founding member of Bridgnorth Writers’ Group and was recently a ‘poet on loan’ in West Midland libraries. He is married with two grown up children and now lives in Wiltshire. His website is www.jeffphelps.co.uk

Falling and Flying is an impressive first full-length collection of poems. The presentation and running order of the 57 poems contained in this volume is well thought out. The falling poems and the flying poems provide a strong opening followed by a series of poems that cover subjects at ground level and beneath the ground. Further in, there are groupings of poems about the moon, birds, saints and churches, memories from childhood, current affairs, music and art.

The collection opens with two powerful poems titled ‘Cadman’s Leap’ and ‘Cadman’s Wife’ which narrate the tragic early death of an 18th century showman and rope slider from Shrewsbury and the subsequent loss felt by his wife. The second of these poems achieves through rhyme and repetition a sense of sustained lyricism in its poignancy.

In ‘An Avebury Stone’ the distant past struggles to come alive where ‘one frozen circle dancer / [is] waiting for the music to begin’ and in ‘Devizes White Horse’ the animal that may have once ‘cantered across this sweet meadow / of orchids’ is now ‘a stranger to itself’. A preoccupation with the more recent past is evidenced in ‘The Lost Village of Imber’, an uninhabited village that forms part of the British Army’s training grounds on Salisbury Plain where the entire civilian population was evicted in 1943 to provide an exercise area for American troops preparing for the invasion of Europe during the Second World War. To this day, the village remains under the control of the Ministry of Defence.

Staying on the subject of war and the ravages of war, ‘On the Bommy’, Phelps’ concluding stanza makes us think about some of the bigger consequences of history turning a poem about a children’s playground among bombed-out buildings into a more powerful statement about the futility and cost of war:

Damage brings forth damage in its turn.
Each generation pays the next with interest.
We plundered that barren patch with no concern
for that family so cruelly dispossessed.

One of my favourite poems in this collection is titled ‘Waterway’. Its subject matter, an old canal, is only hinted at and not named. The details are sketchy and the location not given. A lot is left up to the imagination and the disconnection between what might have been there then and what is there now is handled well:

Now I haul myself up
expecting water or a towpath
and find only derelict gardens,
no sense of direction.

For all its evasiveness, it is a poem full of atmosphere and mystery.

Other poems range widely in both subject matter and location: a visit to an eye hospital, bicycles outside Oxford station ‘ranks of them waiting, flashing / in the sun like Wordsworth’s daffs’, dowsing with a ‘Y-shaped hazel, alder or goat-willow’, poems in praise of the moon, an ekphrastic poem based on an oil painting by Joseph Wright of Derby and a poem about Cornish saints. Some pieces are light-hearted, such as ‘Gerald the Ginger Cat’ and ‘An Idiot’s Guide to Freedom’ while others are more serious such as ‘I have been a stranger’ and ‘Yes I have wished.’

Several poems make reference to music, in particular, the ‘Psalm for Musicians’ and the ‘Schubert Variations’. This is not surprising given that Phelps’ son is a classically trained musician. The prose poem ‘Schubert Variations’ is a very fine piece of writing.

Here is the opening section:

When I heard the sound of coal tumbling into the cellar under my window I imagined black notes falling from a piano in a cascade of sharps and flats. The streets were full of horses pulling coal carts, heading to the country where there were operas in huge palaces. And that was how I came to run after them, pulling up my borrowed breeches, my spectacles thumbed and greasy.

Even here, attention is paid to form. Each of the six paragraphs begins with the phrase ‘When I heard the sound of…’ It might be a knock on the door, someone’s voice, a piano or the ‘symphony in [his] head’. As a composer, every sound is important to Schubert and it carries with it its own connotations. What is more, all these sounds are already present or hinted at in the first paragraph. Each one of them is expanded upon and explored in its own right in a poetic equivalent of a set of variations on a stated theme.

Stylistically, the collection covers a variety of forms including sonnets, tercets, a prose poem and visual poems. The circular ‘Heartwood’ poem, reminiscent of tree rings, is a dendrochronologist’s dream because the exposed stump of the tree does all the talking. A number of poems follow strict rhyme schemes which are well executed. Helpful footnotes are provided where appropriate.

This is a wide-ranging collection that takes us through a good deal of history while at the same time raising questions about some of the more pressing issues of our own time. Highly recommended.

Poetry Drawer: You come to me in Hiding: Had I known: At your touch by Ritamvara Bhattacharya

You come to me in Hiding

At the deepest hour of night, You, my Lord, come to me in hiding.
In your strong arms, you pull me close enough –
You are my bliss.
You are the charioteer of my chariot moving past amidst all sorrow.
You, alone, are my friend.
You are my vulnerability, you are my catastrophe.
You are my bliss.
You conquer my enemies in concealment.
You, my Lord, solely is my friend.
You are the Rudra incarnation, you are the fear of the fear.
You are my bliss.
You are the thunder bifurcating my bosom.
You alone are my friend.
I bid you to lull me in death cutting me from the ties of all the bondages of Samsara.
You, you are my bliss.

Had I known

Had anyone known that you would beckon me?
I was dead-ignorant-asleep.
Samsara had encroached on me in deep darkness.
Had I known that you would pour in the bliss of grief in my soul,
had I known that you would drench me in tears!
I had not known when the sun of your benediction graced the eastern hemisphere,
without much thought, I could feel your gracious warmth filling the innermost folds of my heart, soul, skin –
You, my Lord washed off my shore with the tide of your immortal sea –
You broke open all the bars that I had put across.
You brought the wind of evensong, you brought hope in my heart.
The boat of my existence is now anchored at your lotus feet.

At your touch

My sadness has crossed the paths of infinity.
At last it has touched your feet, a summation of happiness and mirth.
Since days, I have shed tears boundlessly,
I have not known why it has been flowing relentlessly-
Today, I have woven a string of my teardrops, to garland you, O my Lord.
Your Northern Star has beckoned me in evading darkness.
I have never reasoned the sadness that I have borne all the while
I was still in quietness.
Today, after ages, at your touch, my sadness has become a string of the lute that plays for you.

Ritamvara Bhattacharya writes from a darling’s heart, Darjeeling. She believes in what Sylvia Plath said, “And by the way, everything in life is writable about if you have the outgoing guts to do it, and the imagination to improvise. The worst enemy to creativity is self-doubt.” She writes for the pleasure of it. She writes for the ‘I am in her heart’, a voice that creates ripples and sensation. She received The Nissim International Poetry Prize in the year 2020 and the Tagore Poetry Prize in 2020. Her poems have been published in some noted portals like The Muse India, Café Dissensus, The Sunflower Collective, Aynanagor, Chakkar, The Indian Periodical, Plato’s Cave and others. Her debut chapbook,’ In the mirror, our graves’ along with veteran writer Ravi Shankar N published in 2021 has received accolades. She is an avid lover of life, literature, colours and has lived in awe for the past quarter-century. She intends to see the world stricken with fear and courage, in silence and sound, in love and hatred, all. She believes contradiction adds to the aroma of living and would love to dwell in the same, giving birth to more celebratory bells. August Rituals is her first solo debut poetry book published by Writers Workshop in August, 2022.

Flash in the Pantry: Burnt Omelette by Mehreen Ahmed

It was uncannily quiet in the afternoon. I felt like a water sodden dead log as I walked to the summer cottage through the Whittle Thorn forest near our house, within the suburbia of Whittle Thorn. Moments ago, I heard in a news report an abduction in the suburb. Surrealistic, how some news sunk in without having any effect whatsoever, other than this parched feeling at the back of the tongue on a scorched afternoon sun. But I kept walking through the forest. A whipping bird lashed out as I slowed, I felt a whip crack my back. It did not bring a tear to my glass eye. They were a dry desert, prickly as cactus. I rubbed them a couple of times, I wish something would rub off from being with the best ones. There were the best, I tried to hang out with in their tranquil hangout.

A man ushered me into a cottage that smelt of burnt toast and burnt egg omelette. Nothing in this cottage could shepherd the delight of surging romance, a notion. Barren was not how I felt; it was a feeling of a much deeper sense of being abandoned. The abundance of hatred filled my heart from treachery and betrayal. This man whom I called ‘Uncle’ when I looked upon him as an ‘Uncle’. He shredded my childhood, put me through a paper shredder. As I recalled that other afternoon, I was at his place. Obedience was not in dearth, around the clock that was all I did. Obey, and followed him around the house until he broke. Hunger and lust were cascading like ink streaming out of a bottle. Real ink, who saw it these days, anyway? I did. I saw how his eyeliners darkened, painted with sooty coatings of coal ink. He grabbed me. I blinked and passed out.

When I woke up, it was evening. Bodily pains and shivers ran through my spine, I saw a diminishing sun over the horizon. Heavy like a dead log, I felt no remorse until I stood up and felt it, the blues between my thighs. Doors were open and I saw a few men. Jabbering away, one looked my way, I heard about the abduction then. Played the part, I was burning up, Uncle had a round head scar which I saw for the first time. With all the other men, he too was listening to the news of abduction. Play the part? What part was he playing? In the heart of it, I lay low and waited for my chance. I wish I had a crowbar.

Uncle entered the room and looked me in the eye.‘Oh, how could you? You heinous son of a bitch, how could you do this? You heard me,’ I said out loud in my mind, those lousy moments as I glared back at him in silence as always, waiting for the next instruction. Instrumental to this abduction, Uncle took me under his wings after I became orphaned. Courage failed me and I waited it out, for my turn to avenge. Uncle held me by my shoulder as he walked me to the cottage. Others didn’t. What more could they do to me, I thought. 

Despicable people had vulnerability, and hubristic in thinking that no evil could touch them. Of course not, because they were all evil themselves. Evil upon evil upon evil, compounded to make a hot air bubble of ever-growing evils, when one day the bubble had to burst.

The cottage smelt of what it did: burnt toast and burnt egg omelette. Heaps of other kinds of smells entwined the space. Cocaine and alcohol staled the air, to say the least. Concern was how to smell the fresh air, still, and feel free. This was claustrophobic. Uncle’s gang was here already. They were planning something big. Uncle was hiding in plain sight all this while, playing a double part of a benevolent elder, deceptive and whimsical. It was now clear. I sighed, but not resigned looking for ways to get out of this. Burnt toasts and omelette. This wasn’t enough. There had to be dust storms and coal dust spatters; inhale to make lungs a perforated organ full of holes, I somewhat prayed. I was out of my wits.

Uncle sat me down in a chair while he negotiated with his gang. They were selling me out to the highest bidder, while oil was hotting on the puny cottage stove for more omelette. My prayers were answered. I saw a hole in the cottage floor. An object was flashing a shine to my glass eye. I picked it up when no one was looking. Sharp as a razor blade, I kept it in my fist. When a child was born it entered the world with its fist closed; it held a one-way ticket to the blue. This razor was that ticket. I began to cut myself, I screamed until they noticed. They couldn’t sell damaged goods. 

Blood flowed from the cuts but they bandaged every one of those wounds, while Uncle negotiated in the other room. I lay alone for a bit, then jumped blindly through an open window like a petrified kangaroo. Uncle hadn’t counted on this; I had lost some blood and they thought I was weak. Boom. Boom. Boom, I heard gunshots coming my way; I made it to a darkly dense hedge. Camouflaged in the forest, I hid myself well amongst the browns of its plains. Charming as it was, the cottage could have been a safe house but it only housed crooks like Uncle. 

The party was over, or I hoped it would be soon, but people still hopped around, lurking; my heart was thumping. I feared there were more, more like me, at risk. At least, I knew the Uncle’s hideout if I could get away I would burn the whole house down. Night owls came out of the woods, and sat on high branches, I wasn’t, not yet. Still, hiding away from the ubiquitous dance of spotlights through the forest. One of the owl’s hoots instilled in me some hope, the highways were close, and I knew, if I made it through this if I could somehow get to the highway soon.

Something was burning again. It trickled through my nostrils. Not more burnt omelette. Smoke was rising over the cottage, a spark there must have started a fire that was devouring trees and the forest denizens. More and more torches were snuffed out, useless against this fire’s luminous forces. Caught up in this towering inferno, the cottage was burnt down to a cinder too, with everyone in it before they even knew what struck them or how—raging, engulfing, a breathing dragon, and I? I was already in the firm clasps of the owl’s solid toes, as it towed me away. The party was over soon. It seriously was.

Multiple contests’ winner for short fiction, Mehreen Ahmed is an award-winning Australian novelist born in Bangladesh. Her historical fiction, The Pacifist, is an audible bestseller. Included in The Best Asian Speculative Fiction Anthology, her works have also been acclaimed by Midwest Book Review, and DD Magazine, translated into German, Greek, and Bangla, her works have been reprinted, anthologized, selected as Editor’s Pick, Best ofs, and made the top 10 reads multiple times. Additionally, her works have been nominated for Pushcart, botN and James Tait. She has authored eight books and has been twice a reader and juror for international awards. Her recent publications are with Litro, Otoliths, Popshot Quarterly, and Alien Buddha.

Poetry Drawer: POETS: SILENCE: LIFE: HOPE by Jasna Gugić – translated by Anita Vidakovic Ninkovic

POETS

Where are you, Poets,
You, Wizards?
Let us paint with our poem
This sorrowful world
And people with masks,
For behind the mask
Even eyes are lacklustre
And we no longer breathe.
Let us raise voice
And scrape the mud from our soles.
Let us raise voice
For all of those silent in their homes
And isolated,
Immersed in the misery
Of everyday boring jobs.
Let us cloak with our imagination
This programmed world
And keep the scent of childhood
And first kisses
Alive.
Let us bring back love,
That divine joy of life.
Let us pour it over from our poems,
May it flow down the streets
Worldwide
And may it touch
Every solitary man in tears
And women wearing black.

SILENCE

Silence in me
strikes in lightnings
of the sky, too grey
and destroys my accumulated
fear in the years
of non-belonging.
Silence in you
does not know my fears
and gets lost in the words
of unknown people
whose hands cannot
touch the softness
of our hearts.
Don’t let me stay silent
because my love is
louder than your smile.
The loudest one.

LIFE

This life is
soaked with tears
and the words are too small
to pronounce
all life in an instant
and my love
hidden in the corners of solitude.

This life is
soaked with tears
and the pain of the past
is stronger
than the impending ecstasy
in the kiss of the night
and my escape is stronger
than the strength of your will.
This life is
soaked with tears
and the joy gets crushed
by the sorrow of the
desperate and disbelief in a
new longing.
This life is
soaked with tears
but today there is a smile
in my eyes
so don’t walk away
from my smile.
Don’t let the grief
to put out these embers
at least sometimes
when I forget
that this life is soaked with tears.

HOPE

I would like to take
the paths of new hope
and erase my footprints behind
me because your escort is
superfluous before the rising sun.
I would like to walk
the land of solitude
for years
and walk on
the silence of the
pathlessness liberated
of all your words and
deeds. I would like to be
born again
bathed in purity
of my soul
and stand
in front of the starry sky
as a newborn.
And pardon
my rude words
and be patient
because my loneliness
is your loneliness, too.
You are my other self.
You do what I am afraid of.

All Rights Reserved @ Jasna Gugić

Translated by Anita Vidakovic Ninkovic

Jasna Gugić was born in Vinkovci, Croatia. She is the Vice-President for public relations of the Association of Artists and Writers of the World SAPS; Global Ambassador of Literacy and Culture for the Asih Sasami Indonesia Global Writers, P.L.O.T.S USA the Creative Magazine Ambassador for Croatia; and a member of Angeena International, a non-profit organization for peace, humanity, literature, poetry, and culture. She is also co-editor of the anthology, Compassion—Save the World, one poem written by 130 world poets.

The last important award with a single nomination for Croatia was awarded by UHE – Hispanic World Writers’ Union – César Vallejo 2020 World Award for Cultural Excellence.

Jasna is a multiple winner of many international awards for poetry and literature, and her work has been translated into several world languages. Her first independent collection of poetry was published in 2021, a bilingual English-Croatian edition, entitled Song of Silence. She lives and works in Zagreb, Croatia.

Many of her poems have been translated into several foreign languages and are represented in joint collections. Her poems have been published in magazines in the USA, Spain, Greece, Italy, Russia, India, Syria, Denmark, Brazil, Mexico, Bangladesh, Serbia, Albania, Nigeria, Belgium, China, Chile, Nepal, Pakistan, Korea, Germany and etc. Her poems are published in so many world-famous print and electronic magazines, journals, websites, blogs, and anthologies like Spillwords Press – USA, P.L.O.T.S. The Creative Magazine – USA, Mad Swirl – USA, Synchronized Chaos Magazine – USA, Cajun Mutt Press – USA, WordCity Literary Journal – USA, Medusa’s Kitchen – USA, Atunis Galaxy Poetry – Albania /Belgium, Lothlorien Poetry Journal – UK, Polis Magazino – Greece, Homouniversalis – Greece, Chinese Language Monthly – 中國語文月刊 – China, Eboquills – Nigeria, Azahar Revista Poetica – Spain, Sindh Courier – Pakistan, Magazine Humanity – Russia, Entre Parentesis – Chile, Daily Asia Bani – Bangladesh, Bharat Vision – Denmark, Litterateur Rw, Dritare E Re – Albania, Literary Yard – India, Gazeta Destinacioni – Albania, The Moment International News – Germany, Kavya Kishor English – Bangladesh, PETRUŠKA NASTAMBA, an e-magazine for language, literature, and culture – Serbia, Güncel Sanat magazine – Turkey, Cultural Reverence, a global digital journal of art and literature -India, A Too Powerful Word – Serbia, Magazine Ghorsowar – India, Al-Arabi Today Magazine, Magazine Rainbow, Humayuns Editorial – Bangladesh, Himalaya Diary – Nepal and Agarid br. 24 and 16, Online newspaper NewsNjeju, Korea, Willwash. wordpress blogzine – Nigeria.


Poetry Drawer: Nappies: Island Dreams: Polly Poodle’s View with a Room (Sestina) by Wendy Webb

Nappies

Nappies. Knew nothing about nappies
in 1965, nor 1970.
Nappies in 1980 meant:
Big Sis with toddler under one arm,
milk bottle in her mouth
and my camera playing tricks.

Yet in 1993 we bought full-size/
boy/known brand
and experts in disposables
within a week.
Tried pull-ups, swim shorts,
recyclables: sodden, all.
Too scared of pins.
Nappy mountain friendly;
reluctantly.

Advanced driving next:
ante-premature super-mini
(and willie test-tube in the hospital).
SCBU/humilactor/and that gentle
sweet aroma of breast-fed Tinies.
Experts in six weeks.

Gave up on nappies in 2000
(incontinence pads reach the parts…).
Occupational Therapy assistance,
a life-saver. Granny grab-rails
to assist the ‘crouch and drop’
of special needs. Learnt in no time.
A year for collection of
discharged equipment.

So, when I say that I’m thankful:
the Care Home took charge
of extra-small dementia and
personal care… Nappies.
Nothing extra-sweet
like a pure breast-fed baby.

Island Dreams

Happenstance of Zoom meetings:
it was a new day, a new name, I could manage
to sign in/unmute/and Leave.
My dreams, like hot air balloon rising post-sleep,
for friendship on a little ethereal island
for a couple of hours. Memories are made…
of – a name – Poet and Editor,
speaking on Publication and Performance.
Vibrant young speaker challenging beginners
and experienced poets to move forward, floating
on enriched tomorrows; avoiding drowning lands.
Awaiting the fruitiest stork to fly in, select the wing-
beat for a new birth; far at sea before sunset.

I wake to stacked competition, soft mess of guano
bleaching the Farne Isles (post-season). Lark rise…

Polly Poodle’s View with a Room (Sestina)

I watch that awful photo fade so fast,
regret the scuffs and scratches from that time
no-one could imagine as worth preserving.
It was just a flat, shared grounds, open-plan,
somewhere to leave in daylight (leave behind).
So many times returning. One day, gone.

I know it was expected, now you’re gone,
I thought that bin estate would not fall fast.
My memories of you are there, behind
those boarded windows into frame-washed time.
I had thought to improve your room: a plan
that vanished – with you – nothing worth preserving.

The mantelpiece a hazard. Worth Preserving?
You knocked your head; the bed-head wrong. Now gone,
within such view (your things/path/grass). No Plan
to catch and throw each stick beyond that fast
road without a crossing, just dodging Time.
Don’t cross to corner shop. Don’t look behind.

I found it on the sideboard (bills behind
your lottery card). Was it worth preserving?
A rug/a chew, yet dog-hairs spread in time,
exacerbating your chest. Now long-gone,
Polly-Poodle. Oh, such a dame! So fast,
she ruled your heart (and purse), yet no Vet’s Plan.

You should have moved – for her, for you. A plan
for slowing down, city living left behind,
before that pooch ran out, wagged tail, too fast
for doggie treat from old man. Worth, preserving?
He left for hound-view heaven. Now all’s gone:
the flats, the paths, the busy road. And, time.

You kept quiet (what the doctor said). Your time
vanished before last visit. All cold-plan,
to pack/house clearance/keys; a service. Gone:
nostalgia/demolition/visits behind
one scratchy late-found photo worth preserving,
while I breathe peace to my view, over breakfast.

So now it’s time to leave this frame behind,
within my heart. For what plan’s worth preserving?
They’re gone, self too, releasing heaven’s fast.

Wendy Webb: Born in the Midlands, home and family life in Norfolk. Published in Indigo Dreams, Quantum Leap, Crystal, Envoi, Seventh Quarry) and online (Littoral Magazine, Autumn Voices, Wildfire Words, Lothlorien, Radio: Poetry Place), First in Writing Magazine’s pantoum poetry competition. She devised new poetry forms; wrote her father’s biography, and her own autobiography. She has attempted many traditional forms and free verse. Favourite poets: Dylan Thomas, Gerard Manley Hopkins, John Burnside, John Betjeman, the Romantic Poets (especially Wordsworth), George Herbert, William Blake, Emily Dickinson, Mary Webb, Norman Bissett, William Shakespeare, the Bible, and the Rubaiyat of Omar Khayyam.

Poetry Drawer: Last Look: Bad Patch: Crab Heart: Smoke & Sand by Stephen Mead

Last Look

This is ice-fire, the layers
of veins, crystal hard from the centuries
which flowed & flow still
when touched…

So us runaways, exiles, pariahs on
home turf know what blood is made in these jagged
streams carved between the shoves, the shaming shouts of:
“Shut up & get out!”

We know there is worth here & are miners of that resource
if fear won’t cripple belief, sell short the dream.

Look man, it’s all I got, got me
a ticket, got me a plan
though the streets took my man
& I’ve got a kid comin’ who’ll need something
besides skeletons I’ve been told, warned—–
better left in the closet.

Hell no. These are the roots, these are the voices to be brought out
in the light so as not to repeat things, so as to glean from the cracks
every rough shine teaching the gift of shelter—–

Can’t hock it, can only neglect—& I won’t—the estate of love
our arms deserved.

Bad Patch

To be mad as hell at God put yourself in the shoes
of some dying subway runaway, some throwaway hustler.

Read, between news sheets: abuse, deprivation,
the shamed spirit stripped to an armor’s shine called Courage.

Lord, wrung out by fury & then flung adrift, what luck,
love will still establish anchors,
a network for, if not, leprosy, the unwanted,
only, a bad patch, antiseptics will come to replace caring.

This is bitter business, this death, a vandal desecrating every cell’s sanctity
& then hocking what’s left.

Come on, Heaven, besides blind righteousness,
cough up an explanation.

Though bile-loaded, I won’t shun it, nor surrender to numbing,
the foul predator of fury.

Here, in these trenches, empathy replenishes, paints word, forges Will.

Here, witnessing anguish, the hardest, most feared moment,
longing is a warrior angel for the gift of intimacy
staring pestilence down.

Crab Heart

My, what a device, each a hand a hook
hoisting me up to squeeze & leak out.
Such a sump pump, this muscle,
only central and capable
of thinking like Mengele.

All day I can feel it,
cramping animal fitted to size,
a vice with incisors clicking worse than a clock.

I feed it minutes, all paintings
wax paper wrapped in order to keep,
but it peels them in self-preservation then roosts in their chips.

Oh old bulging crab heart, old warty crustacean, what do you want?
To be boiled and salted, your shell picked clean too?
I would do so gladly but your hide is too tough & you’d bite off my fingers.
I know how you operate,
every night performing surgery & regenerating like a messiah.
My body’s the Eucharist with an altar for a soul.
So break, humiliate me as you must
& have yourself a banquet.

Smoke & Sand

Hemmed by the tender resentments,
a lifetime’s invisible shroud giving a brand to the hands even
so all that is touched smells of caste-marks…

Yes, I am dissolving from this with the aid of specific spices
& liquefied ointment to anoint what is wrapped upon sand
by light muslin.

Waves come, waves biblical as revival tents at Saks,
& I smoke off into old summers, into the sensations of green.

Here is the psychology of poetry returning heat back to fluid,
& I will mix it like white chocolate into a chilled cocoanut drink.

Sip, sip—–
the specifics of your mouth meant for sweetness,
that tang of risk, that volcano, that brook of your tongue
meant for desire alone…

Is it insanity this quest that I have should you belong to another
but still want me? So mad it may be, but whatever sun I now am,
borne from grit & from fog, pours full for your shores
as every beach waves.

Stephen Mead is an Outsider multi-media artist and writer. Since the 1990s he’s been grateful to many editors for publishing his work in print zines and eventually online.  Recently his work has appeared in CROW NAME, WORDPEACE and DuckuckMongoose. Currently he is resident artist/curator for The Chroma Museum, artistic renderings of LGBTQI historical figures, organizations and allies predominantly before Stonewall.

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

Poetry Drawer: Wall Pictures: A Momentary Lapse of Reason by Dr Susie Gharib

Wall Pictures

I view the five pictures on the opposite wall.
I had chosen aesthetic frames to beautify a very ugly office-room
and to suit their literary worth too.
The idea of personal affinities between the inmates of the frames
on me suddenly dawn.
I begin with Oscar Wilde whose elegance
is overshadowed by his doom:
a two-year imprisonment
followed by penury, meningitis, and personal destitution.
No wonder he died alone.

Next sits on my wall the enigmatic Edgar Allan Poe,
whose mysterious death has inspired so many essays and books.
He lay in a heap in ill-fitting clothes,
a victim to a beating, cooping, or alcohol…
a riddle over which to brood,
a pathetic end to a tragic figure
whose demise should have taken an epic form.

Above Wilde, the self-made Brontës before Branwell pose,
a universal emblem of talent, stoicism and fortitude.
First went Emily, resistant to every proffered cure,
eager to be rid of the house of clay that imprisoned
her chainless soul,
then followed Anne who died miles away from home,
leaving heart-broken Charlotte to sip a few drops of happiness
before quitting the world,
all departed in the prime of youth.

Sitting at a table, Emily Dickinson looks into the beyond,
probably waiting for the carriage to ferry her into the unknown,
an obsession with death that people find morbid,
but I don’t.
With a fetish for white, she shunned the multitudes
and died in quietude.

At the top, Charles Baudelaire, with pursed lips, looks on
at a world beset with technology, materialism, and the death of hope.
Abandoned by the woman he cherished most,
he carried in his eyes the loneliness of the world
and died feeling forlorn
in a nursing home.

A Momentary Lapse of Reason

When Pink Floyd sings A Momentary Lapse of Reason,
I think of your lapses
that extended over weeks and seasons,
of your suicide
that I regard as the worst type of treason.

You opted for the easy way out,
left behind grieving friends,
a distraught spouse,
a son who scratches your tombstone
with your chisel and mallet
every Christmas morning
and every anniversary
that his mom observes.

You make us all feel guilty,
and responsible for our inability to comprehend
what ailed your heart,
and a thousand ways that could have saved your life
continuously haunt our minds.

In my dream, you beckon to me
to follow you to the graveyard
that is adjacent to our playground
in Templetown
where we both grew up.
I always respond with the same words:
I cannot be selfish and abandon my dog,
the only friend I have,
then I wake up.

Dr Susie Gharib is a graduate of the University of Strathclyde with a Ph.D. on the work of D.H. Lawrence. Her poetry and fiction have appeared in Adelaide Literary Magazine, Green Hills Literary Lantern, A New Ulster, Crossways, The Curlew, The Pennsylvania Literary Journal, Ink Pantry, Mad Swirl, Miller’s Pond Poetry Magazine, and Down in the Dirt.

Susie’s first book (adapted for film), Classic Adaptations, includes Charlotte Bronte’s Villette, Virginia Woolf’s The Waves, and D.H. Lawrence’s Lady Chatterley’s Lover.

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