Decomposure // Two Poems by Maple Scoresby

Image: Annie Spratt

A TRANS GIRL VISITS HER FAMILY

BY MAPLE SCORESBY
Hiding in the single stall men's room,
I try to reach out for help.
But there is no service
in this backwoods temple, and
the wifi is password protected.

With a sigh I leave the safety
of the small room and locked door
to wade into the sea of blood
relatives pouring into the pews,
and slide into my saved seat.

Standing at the podium,
the Elder gestures to the body
of my dead grandfather;
starting the eulogy
by praising the Church.
-
In two years my
grandmother will also be
eulogized by this same
Elder, who is her brother
by mother and by faith.

Just as bereft as the rest
of the congregation,
he will use her death
to accuse the left for
the downfall of our nation.

I won't attend in person
but my mother will send me
the recording and I will see
the world is ending
and I am the one to blame.
-
Here and now, the Elder invites
others to share, admitting
my grandfather had his flaws
and reminding us, it isn’t the time
to speak ill of the dead.

A long silence before
a Brother stands and speaks
on how active he was in the church,
these last months and weeks. Nods
of agreement flood the foyer.

At the social after the ceremony,
I trace footsteps of my past life;
as people who refuse to know me
give conditional condolences to
the person that I used to be.

CRAB APPLES

BY MAPLE SCORESBY

Unsupervised grandchildren gather
around a row of crab apple trees,
picking the bitter browning fruit off
the ground around the tree’s roots;
too young and small to grab the
pristine bright green apples, hanging
high in the branches of the tree.

The kids don’t mind though. They
know that if they root around enough
in the mush decomposing by their feet,
eventually they will find a crisp bite
of emerald, sour enough to make
their faces crinkle up just as
good as any high hanging fruit.

Maple Scoresby (she/her) is a Denver poet who tends to deposit her paychecks into the local claw machines instead of the bank. Her poetry tackles topics like gender identity, double standards, and pizza sauce. In her spare time, Maple likes to cry about how terrible she is at Street Fighter while drinking an obscene amount of eggnog.

When Siblings Visit // Leor Feldman

Image: Jessica Dismorr

WHEN SIBLINGS VISIT

BY LEOR FELDMAN
tighter than his own hands,
a familial hive claws his throat

prepped by tender olive
juice varnishes

the wood vinegar
against august trauma
now prepared for pickling

our railing indents the melancholy
splinters rise once again
and plead

to trace his face
connect the dots
of our generational trauma

born of the Mediterranean
feral freckles cut like diamonds

seeped in displacement and addiction

deep strawberry hair, darker in sea’s salt
feet like talons gripping sand

Leor Feldman (they/he) is a Jewish disabled writer who explores themes of culture, placemaking and the connection between our natural world and the chronically ill, genderqueer body. You can find their work in Humble Pie Lit Journal, South Broadway Press, Hey Alma and The Colorado Sun. Leor currently resides in Conifer, Colorado, yet is often found at community events in Denver.

Scribe // T. Lydia McKinney

Image: Mayur Deshpande

SCRIBE

BY T. LYDIA MCKINNEY
I
subscribe to the pronoun
we

as in

we
don’t f*ck with them

or

in this house
we
don’t play that

We,
the people
protect one another I’d say
we family but

we
don’t f*ck with them either

We world

We children

We weebles
wobble
but never squabble

we
don’t rob
or plagiarize

We strategize
categorizing our emotions
according to size

don’t sweat the small stuff
we
stick to our promise

for this reason

we probably won’t make any

sorry

we can’t answer questions
it’s against policy

get thee
behind we
Satan

Where two or three come
We shall be an everlasting love

a revolution
we solution
f*ck this pollution
sweep the streets

we mop
we silk road
we paved with gold

we cold
as molded clay pots

we play
until soul’s content

we disconnect
never attaching ourselves
to falling water

we run
lunge hurdles for opportunities
attuned to unity

we together
flock of feather

whether the weather is wet

where the wild things

We Empire
We Jussie
We police
We justice of peace
We prejudice

protect
project
anger and fear onto each other

We Marshall

We fall down
we apologize

We serve
we organize
for we are

human

We work it out

sometimes together maybe

We hope.

T. Lydia McKinney “The Prodigy Truth” is a Black non-binary performing artist, writer, social work protégé, and domestic violence survivor based in Houston, TX. They are a poetry slam finalist in both San Antonio (2022, 2023) and Houston, Texas (2022, 2024). When not writing, T. Lydia serves various communities as a direct support professional and case manager, supporting the lives of mentally-ill and disabled.

Near the Rappahannock, Wellfleet Oysters // Jennifer Browne

Image: Beatrice Bright

NEAR THE RAPPAHANNOCK, WELLFLEET OYSTERS

BY JENNIFER BROWNE

The liquor in an oyster is the brine
of the water-body held at harvest.
This river drains the Blue Ridge,
meets the Chesapeake with a sigh,
leaves a sweetness in the locals,
but on the new planks of Wellfleet
Harbor, I tasted your salt. Beloved,
that one word in the day’s chalk
floods the room with light. Could
I ever choose another having known
your waiting nacre, your shucked,
gleam-soft interior along my tongue?

Jennifer Browne falls in love easily with other people’s dogs. She is the author of American Crow (Beltway Editions) and the poetry chapbooks Before: After; In a Period of Absence, a Lake; whisper song; and The Salt of the Geologic World. Find more of her work at linktr.ee/jenniferabrowne.

for what do we sing if not flowers // Ally Eden

Image: Soraya Silvestri

FOR WHAT DO WE SING IF NOT FLOWERS

BY ALLY EDEN
a bee slips and shifts over the face of water

tiny figures on the bridge beneath

lightning antlers watch the river

growing rouge


i like august except sometimes

when newly softened leaves flutter

dead by the rail-yard & earth’s last good leg

brings down the sky like a marble fish


we cling to what floats

wifi tattered boards pink sneakers

rising incense on an eerie blue morning

Ally Eden (Former Poet Laureate of Fort Collins, Colorado) writes poems that are vibrant, poignant & tender. Their work invites readers to conversations about current events while invoking reverence for humanity & nature. A Spanish interpreter by trade, Ally’s poetic ethos parallels her role as a linguist — bridging difference by way of words.

Two Poems // Monique Quintana

Image: Karin Luts

MY FAMILY MADE A PACT WITH THE BEES

BY MONIQUE QUINTANA

and the hive is still there hanging over the washing machine. Expanding like my hair when I walk in the rain. In search of another man. Who wants to have an emotional affair? And fold clay into dinner cups and plates so we can playhouse. The bees listen to us murmur under the doorway, like a velvet blanket, I dragged from Cuetzalan. We make a cake and douse the windowsill flowers with imitation vanilla extract. I record myself talking for my She-Ra doll and try to make myself blonde. Learn the color of the maw under my nails when the wind bangs on my door at night, though I should be grateful. My sister says we’re going to The Continental grocery store on Blackstone Avenue, and I pack my bags because I want to cradle down in the fruit’s harvest. The misters wet my hair until it takes its natural bend. And I’m embarrassed by my hair even when I try not to be. Unhooking my feet from pomegranate shells never felt so lovely. Never felt so much like I am dolled fucked for sure. And you will have me for sure. I turn on the TV in my hotel room and catch a documentary about my colonizer ancestors blowing their busted hearts in the wind.

STAGE LOCKET

BY MONIQUE QUINTANA

Crow investigates the sea and begins to fight with his own reflection in the water. His sick self.  The crow twins are so engrossed in their arguing that they don’t notice that yellow roses have sprouted up from the water and all around them like a fence. The woman walking along the beach marvels at the scene and writes a list on her hand. A remedy. Snail pulse. A cloud beat. Salt around the eyes that becomes a mask. Crow pecks bone out of the sand with such ferocity that he makes a dress. Frightened by the art that he’s made, he abandons it there on the sand. The fragments tremble and ache. You, sister, pick up the dress, quick, your nails to the blue, and sigh because it would be unforgivable to rob our mother of her sea. Crow collects green bottle fragments until he has pieces to build a castle. Inside the castle, there is a papier mâché doll with black hair. The doll longs for a machine to take her to a table set with a warm bowl of soup with cilantro. To a brined kitchen. To clay parts. To a clock that resembles the ticking of a water bee.

Monique Quintana (She/Her/Hers) is the author of Cenote City (Clash Books, 2019). Her work has been supported by Yaddo, The Community of Writers, Sundress Academy for the Arts, the Kimmel Harding Nelson Center, and Storyknife. You can find her at moniquequintana.com and on Instagram and X @quintanagothic

II OF PENTACLES, EARTH [REVERSED] // leta iris

Image: jötâkå

II OF PENTACLES, EARTH [REVERSED]

BY LETA IRIS
juggling the priorities of
my life, to an endless cycle of
t r y i n g
to catch each element and make it
do tricks. to impress, to prove i am
doing it (life) right, an example. the
eldest daughter inside
of me dictates my
ritualistic hunger to
succeed,
to mean something.
each all fall and splatter
on the ground, one by one
like spoiled plums, purple
ooze staining the earth below
me

fruit flies circling to devour
my potential as i lap up any
remnants of the spoiled, moldy
fruits of my wasted labor. dirt on
my tongue, seeds between my
teeth. fists clenched, knuckles
bruised from grasping onto the
flesh of my life until it seeps into

the concrete and i am just left
with the pit, the center. me. at the
core, i am stripped bare, an echo 
in a hollow body.

leta iris (she/they) is a bisexual, midwestern poet studying english, with a concentration in creative nonfiction and a minor in creative writing. she is the author of two poetry collections, when summer fades to fall and the fruits of her bittersweet sadness, left to rot. her piece, “animals,” was previously featured in the Experiences of Femininity exhibit at the University of Nebraska at Omaha, as well as several other small literary magazines. she enjoys caffeine, thrifting trinkets and collecting purses. you can usually find her beneath a fuzzy blanket, book in hand while cuddled up with her lifelong partner, cody, and her blue-heeler beagle mix, buffy. you can find more of her work on instagram, @tangledflxwers

[kansas anvil thunderhead] // Kevin Rabas

Image: Riijksmuseum

[KANSAS ANVIL THUNDERHEAD]

BY KEVIN RABAS

Around us, a storm cloud rose. Likely, it holds lightning and rain along with water. Although it
has not hit us yet, it will. (It will.)

Past Poet Laureate of Kansas (2017-2019) Kevin Rabas teaches at Emporia State University, where he leads the poetry and playwriting tracks and directs the Donald Reichardt Center for Publishing & the Literary Arts. He has sixteen books, including Lisa’s Flying Electric Piano, a Kansas Notable Book and Nelson Poetry Book Award winner.

Three Poems // Leo Rose Rodriguez

Image: Sebastian Schuster

ONE FOOT IN THE NEW YEAR

BY LEO ROSE RODRIGUEZ

for Rosh HaShanah

I travel the earth
with one foot on each side
of gender, a border
as imaginary and dangerous
as any nation’s boundary,
no secure footing in either.
But most places I enter,
I have to choose anyway.
I don’t have time to explain
to the cab driver why my face
and name are at war. When I state myself,
who hears how carefully I’ve chosen?

I travel the line past the cop car
parked outside the synagogue,
past the greeters checking names
to deter intruders on our most
sacred day. I realize I’ve never asked
before if there are cop cars at Eid.
Would they be any protection?
And there is another unsteady stance:
one foot beneath the pile of bodies,
one foot on their necks.

Nobody gives a shit about your definition,
sometimes. A word means what
it always has to them. A name,
a curl of hair, a shade of white,
a slanting slogan. They pull you
off your feet and drag you
over the border with one glance.

Every day, I step over a fault line
that stretches to the earth’s molten core.
I’m one foot in a new world,
one stuck in what is.

BECAUSE WE DID NOT DIE

BY LEO ROSE RODRIGUEZ
               I fold my arms across my lover’s
hard-won breasts, sink
my weight onto one thigh gripped
tight between
hers, our naked skin luminescing
in the dim twilight of our new apartment.

Reach across time, I’ll tell you
we did not die.

SELF-PORTRAIT AS HAPLOPHRYNE MOLLIS

PUBLISHER’S NOTE: BEST READ ON DESKTOP, OR IN LANDSCAPE ON MOBILE.
BY LEO ROSE RODRIGUEZ
Let me sell my bones to you.
Let me be a ghost to my own life, to become yours.
My teeth have hunted for a niche that holds them perfectly,
someone who will let me stay
at her side, no
become her side as mine atrophies.

You don’t have to feed me,
you don’t even have to look at me. All you have to do
is let me remain, laying down the burden that is my self,
let me deliquesce into you.
A flap of scales,
a deformed fin, a translucence

glowing in the deep. Ghostly seadevil,
let me become a ghost to my own life,
but don’t let me alone.

Leo Rose Rodriguez is a queer, neurodivergent writer and artist based in Minneapolis, on traditional Dakota land. They are the author of chapbooks “Fatherland, Motherland” and “…and this would be Moshiach”. Their writing has been featured or is forthcoming in Blue Earth Review, Rise Up Review, Sinister Wisdom, and elsewhere.

three poems from Buffalo Elegies // Alexander Shalom Joseph

Image: Brandon Stoll

These poems are from an as-of-yet unpublished collection entitled “Buffalo Elegies”. “Buffalo Elegies,” is a collection of twenty-three poems that reflect on the devastating impact of the near extinction of the American Buffalo during the brutal colonization of the American West. This chapbook is a series of 23 poems elegizing the sixty million buffalo who were massacred and honoring the 23 buffalo who remained. This work explores the historical slaughter of these animals, emphasizing their significance in shaping the Western landscape. The poems vividly contrast the once-thriving buffalo herds with the current empty and haunted environment, highlighting the profound loss and ongoing silence left in their wake. Ultimately, the collection serves as an elegy, mourning the buffalo and the indigenous cultures connected to them.

BUFFALO ELEGY #4

BY ALEXANDER SHALOM JOSEPH

to the west are the rockies
those granite tombstones catching clouds
memorializing that storm
of brown fur and short horns
the fallen nation of hooves
there used to be so many buffalo
there are none left here
we killed them all on purpose
haven’t you seen the pictures of their skulls stacked stories high?

right here there was once
a breathing snorting stomping tidal wave
trampling this dirt into soil
but the mountains are so quiet now
and so are the plains

we think they are peaceful
but they are not peaceful
they are dead
this mountain range is just a marker
on the largest mass grave
the world has ever seen
and has so quickly tried to forget

BUFFALO ELEGY #9

BY ALEXANDER SHALOM JOSEPH

standing in the midst of a sold out stadium show
I look out at forty thousand bodies
it is more people than I have ever seen at once
I do some quick math
and realize
that the number of lives
held in this expanse
of concrete and heat
is nothing compared
to the massacre known as western expansion
that intentional near extinction of the buffalo
it would take one thousand five hundred full up stadiums
to equal the population of the herd
that were exterminated
sixty million reduced to twenty three

this is when my mind begins to swim
this is when my I begin to drown
this is when I start to sink
into how much is really gone

and I look out over the city
from the bleacher seating
not seeing the sunset
not seeing the crowd
not seeing the show
seeing only what is not there
but is only thing that should be

BUFFALO ELEGY #12

BY ALEXANDER SHALOM JOSEPH

I drive these highways
which mirror past migrations
and for brief flashes
I swear I can hear their feral drum
through this valley
I swear I see the dusty cloud ghost of their stampede
on the horizon line at dusk
but I know what I am seeing
is just hopeful daydreams
for the fact is
we live in a cemetery
above their unmarked countless graves
I look out at these gorgeous vistas
the places people come
to take pictures of on vacation
and I see beauty
but I also see what isn’t there
it’s like a painting
without a foreground
just a sprawling landscape
with the subject
erased from the grasslands
from the back of coal trains
this
is a small attempt
to fill in the emptiness
it is an attempt to scream
“there was so much else here”
there was once
a living storm
a rush like fresh blood
that came to give life
to this dried up dirt
this
is a reminder
that we are not living
in a mere landscape painting
of the rocky mountain range
there was once a subject
and it was not us

Alexander Shalom Joseph is an award winning author of seven published books, most recently The Clearing (Middle Creek Publishing, forthcoming October 2025) and Living Amends (Galileo Press, forthcoming 2025). He has an MFA in Creative Writing and an MA in English Education. Alexander lives in Colorado, writes a weekly poetry column on Substack and teaches writing workshops in libraries, schools and prisons across the Colorado Front Range.