Mending Bones // Hillary Gonzalez

Image: Matt Artz

MENDING BONES

BY HILLARY GONZALEZ

In college, I sat in a room, painfully
lit by the overhead fluorescents,
at an uncomfortable desk meant
for someone much shorter than me,
listening to my Anthropology professor,
as he asked a room full of half-awake
students, what the first evidence of civilization was.
It was a test, which most people failed.
One intrepid student answered Egypt,
another offered the presence of agriculture,
others stared blankly–waiting for an answer.
It was a broken bone, he said.
Thousands of years ago,
a human broke their femur–
that long bone connecting hip to knee.
Had they been an animal,
they would have been left,
weakened and alone,
And as the day shortened
into the terrors of a wild night,
other animals would have crept in, no doubt,
circled around them, picking
them off as the weakest in the herd.
But this human was cared for.
Their bone was mended.
This was the pivotal sign that other humans
had wanted to care for them,
had perhaps thought of them as family,
had perhaps loved them.
Today, as I scroll on my phone,
I see video after video
of people begging to be seen as human,
of children whose limbs were blown off,
of people with no homes
holding up signs that say, “hungry,”
and I wonder if we can
still call ourselves a civilization?
Somewhere along the line,
perhaps when we traded
oral tradition for computer screens,
and living off what the earth
so readily wants to give to us,
for speedy factory convenience,
we forgot about the human
with the broken femur.
we forgot that deep down in our lineage,
we share the same tree roots.
now, I see signs in my city
as people march down the street,
saying “Jesus was a refugee,”
and I wonder if the people
yelling at the ones protesting
to protect our siblings,
would they even recognize
the face of their god,
if he were holding up a sign
in that same crowd,
demanding the deportations stop.
When did we lose our humanity?
What will it take for us
to see the value in mending
bones again–not for profit,
but because it’s what the spirit needs?

Hillary Gonzalez (she/they) is a Baltimore based queer, disabled, and AuDHD poet, whose work explores themes of eco-consciousness and reconnecting with the land, identity, and healing. They are the authors of Seasons and Wild Unfelt World, a collection of eco-poetry coming in 2026 from Gnashing Teeth Publishing. Their poems have been published by South Broadway Press, and in anthologies by Bi+ Book GangYellow Arrow Publishing, Loblolly Press’ zine: Understory, a fundraising anthology for the victims of Hurricane Helene, and In Praise of Despair, an anthology for disabled artists by Beyond the Veil Press.

SUN IN YOUR EYES // Azalea Aguilar

Image: Siora

SUN IN YOUR EYES

BY AZALEA AGUILAR

(Dad is wiping frantically at the windshield
condensation catching up
we are blind to the road ahead)

My therapist is wearing teal glasses today
When did this begin for you?
she lifts the wire frames
gently off the cushion of her cheek
pushing them closer to sight
was there a time before, I wonder
have I always been
meticulously watching
contemplating movement
sirens from school chairs
calculating distance
traveling closer or further
like counting seconds
between lightning and thunder
one one thousand
two one thousand
three one thousand
anticipating arrival
creak of a wooden floor
boots land heavy
do they shuffle or drag
are they staggered or constant
is he coming or going
slamming of a screen door
angry or rushed
in or out
her or him
idling in front of a fridge
hunger or thirst
boredom or pleasure
is it the beginning or the end
I tell her I can’t
remember
a time before

Azalea Aguilar is a Chicana poet from South Texas, gulf scents and childhood memories linger in her work. Her poetry delves into complexities of motherhood, echoes of trauma, and resilience found in spaces shaped by survival. Her work has appeared in Angel City Review, The Skinny Poetry Journal, and The Acentos Review.

Two of Cups // Erica Reid

Image: he zhu

TWO OF CUPS

BY ERICA REID
Even the  lions sprout  wings 
in a dream this desperate,
the one you begged for,
early bedtimes & lucid
machinations. Here, you
finally have it — if only in
a watery fog already
dissipating. For now it is
yours: harmony true as a
caduceus, clarity regular as
day. The dream’s central
art: your riven heart, the
other half given away.

Erica Reid is the author of Ghost Man on Second, winner of the Donald Justice Poetry Prize (Autumn House Press, 2024). Erica’s poems appear in Rattle, Cherry Tree, Colorado Review, and more. ericareidpoet.com

salmon run // Dara Goodale

Image: Ľudovít Varga

SALMON RUN

BY DARA GOODALE
every year     the air turns cold 
& trees catch fire—orange embers
glow backlit by pale
autumn sun
it is time to migrate

saltwater salmon go home
to the rivers of their youth
travel in leaps
of scales that shimmer
in afternoon light
the vice-grip of evolution
commands them to procreate
its primal hands tight
around slippery throats
most of them will not survive
the journey is high-risk
uphill battle they swim upstream
in the rush of current many are lost
there is no time to mourn

when they hit freshwater
salmon deny the need to eat
their bodies nothing but empty
vessels meant to sire new
offspring in sacred genesis
those who make it to the gravel beds
where they were born
lay their eggs & wait
for death—

pulled back
by invisible thread
salmon give up the free
expanse of ocean
where the world is boundless
for a wet grave—
they renounce the promise
of future & return to birthplace
where they die
martyrs
for their species
with no one left
to grieve them

Dara Goodale (they/she) is a Romanian-American lesbian, poet, and university student living in Lausanne, Switzerland. Their work has appeared or is forthcoming in the American Poetry Journal, Cleaver Magazine, Thimble Literary Magazine, Underbelly Press, The Passionfruit Review, and more.

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.

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.

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

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.