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  • ‘The New Natalism’ and other poems by Claire Kieffer

    July 19th, 2020

    The New Natalism

    Mother is in bits
    but only literally
    she doesn’t find it funny at all
    this new slug covered in shreds of skin
    his or her own, she doesn’t know.
    She doesn’t want to think
    about which of those are hers
    about the things she ripped out
    that took on a life of their own
    but from what she hears,
    you have a lifetime
    to get used to it.

    Father is aglow
    with a job well done,
    he knows they say the women
    do all the work, but privately he thinks
    he had a little something to do with it
    and that his wife’s tits
    never looked better,
    but maybe that’s the drink.
    The lads at the pub
    kept shouting the rounds

    “Let’s call him Derek”
    father says,
    a Derek would know how to play the guitar
    how to have fun
    how to fix cars
    how to play ball
    but still save for a mortgage
    on the sly.

    “Let’s call him Christoph”
    mother says,
    and she sees handsome Christoph
    bring her lilies to the retirement home
    father long since
    six feet under.

    There is a minute of silence,
    and two hundred and fifty babies are born

    Father says:
    “He will do great things,
    let’s give him the name of a leader
    Barack or Franklin
    or maybe Winston”
    “and why not Boris or Donald while you’re at it,
    here, you know what goes really well with Miller?
    Nigel!”
    Father says nothing,
    the lads at the pub warned him
    about pregnancy hormones.

    There is a minute of silence,
    And another two hundred and fifty babies are born

    Mother thinks of those
    Sunday afternoons
    they were one,
    It was love
    she was sure,
    she had seen it on TV.
    Offscreen, white deflated penises
    litter the floor
    each with its own harvest of thousands of slugs,
    whole cities
    in a Durex.

    There are minutes and minutes of silence
    Thousands of babies are born.
    As Mother and Father stare
    At the child, they thought they’d made together
    but really had made
    each on their own.

    Next week a hundred people will get a card in the mail
    “Welcome to the world”
    The card will read,
    “to baby Jack”

     


    Poem for a dead dog

    Days came and days went
    outside my window,
    summer days
    made of blue skies and green trees.
    Smells of freshly cut grass and sounds of voices
    tender evening chills and powerful sun streaks,
    but, I did not go to meet them
    for I knew they were all lies.

    And in the tender evening the stones
    who used to be my friends
    into treacherous traps turned,
    and in the blinding sun, I got lost.
    Wandering up or wandering down, I do not know,
    and tumbling
    until old voices passed me, and I was grabbed.
    Naked hands on bony pain, ascending,
    Master of my path no more

    I sit looking at the meaning of life,
    wobbly,
    one eye white as milk
    sixteen years, the old voices said
    sixteen, seventeen years
    that’s the age for a dog.
    And they had a meaningful ring
    To them.

     


    Fishponds

    There will be
    Still waters again
    Soon enough.
    Where do you see yourself
    In five years?
    They asked,
    And she said:
    “I have a right now plan”
    And it worked
    A treat
    She turned them down.

    There will be
    No more rough waves
    Rubbing you
    Harshly
    Lovingly
    On reefs of days
    Grey
    Cold
    Full of time
    And yet
    Empty.

    There will be
    Full days again
    Don’t fret, friend.
    It’s easy enough
    Just don’t
    Make waves
    We will be employed
    In harshly lit offices
    Again,
    Blinds down.

    There will be
    Still waters
    Again
    Soon enough.
    And, into untroubled souls
    We will look
    Like we used to look
    To the very bottom
    Of our grandmothers’
    Fishponds.

     


    Lungwater love

    I lie awake at night, eyes open to the imperfect darkness of the room. Hold watch as the same old shadows take their seats, the plaster flowers around the lamp dance inexplicable messages. Next to me a sleeping body; a body that loved me so during the day.
     
    But now there is no love, there is no hate either, no nothing. He is like a stone, a warm breathing stone. He turned his back on me in his sleep. His mind has gone all into himself, and unless I wake him there will be no reassurance of his love. He is walking the fields of dreams alone; I who would follow him anywhere cannot follow him there. Where is he walking, and how far from me? When he wakes up, will he be the same; or will his nightly walks little by little change him and take him away from me? If only we could never sleep and only share manageable walks of reality. Then we would never drift apart.
     
    But night after night he sleeps, and I lie awake feeling cold and alone like a snake. I want to climb into his dream and touch his heaving ribcage; but the sleeping body shivers and rejects me. It is the master of the ship now, no brain or heart here. It knows only needs and pains, and now it needs to rest and not to be disturbed; and it knows nothing of romanticism.
     
    Take rest.
     
    Take rest.
     
    Take rest.
     
    In the morning, flatmates wear clogs and tap-dancing shoes. Dead-fish eyes open inwards. Lungwater on the window, the only place on earth where souls mingle perfectly. Soon, the day’s first coffee will bring life into limbs again, we are at that stage of addiction where it could be cut with fentanyl for all we care. When I come home later he has made my bed, folded my pyjamas. The waking body abides.

     

    © Claire Kieffer


    Claire KClaire Kieffer writes poetry to paint pictures of the soul. She is originally from France, but after many years of living in Galway, she now calls the West of Ireland home. Here, she lets past travels and everyday things decant.

  • “Safer Distances” and other poems by Jennifer Horgan

    July 17th, 2020

    If you were able

    you’d go upstairs with me.
    Dream your hips poised mum
    jug-like

    dipped towards the sun.
    In some afternoon’s shuttered light
    we’re choosing fabrics to be hung.

    Your style,
    your certainty, tugs the rope
    of a French church bell.

    You’re young again, words held
    on winding steps in France.
    In this dream I have, as then,

    you’re sure-footed.
    There’s ceramic grace in your descent
    confident

    decanting scant, satisfied goodbyes,
    cascading floors,
    myriad lives.

    The wind snaps my back door shut
    as I move about the kitchen.

    I look over to where you’ve been.
    Take in the disappointment of your seat.

     


    Taxi

    The driver’s words are tumours
    fat and fibrous, with teeth
    sure I’ve seen ‘em blacks fightin in our streets.
    his mouth is a gargoyle spout
    ink-snaked neck
    moss on rivered stone
    young voluptuous women
    blown across his bones
    Tell ya girl, soon Cork won’t be our own
    Soon Cork won’t be our own.
    Down the bend of the road, he shrinks to small talk
    his trip up North
    not noticing the cold tap run inside my tone.
    Got the cataracts done
    Got a deal
    Living in a fog, and me behind the wheel!
    Fright to god I didn’t get killed.
    His eyes are clean; they’re clean
    but there’s no light in them
    they belong to a child
    unsurprised by what’s been done to him.
    By the time I leave,
    I’m wishing him well.
    Remembering again
    what it means
            this being human

     


    Safer Distances

    I’ve seen my city’s private parts, advertised on plywood signs
    in block-lettered chalk
    Adult Only Store Used-up girls inside, starting life in another country but still
    I know them from somewhere
    I’ve eyed the types, those grey-skinned soggy men, sunken-eyed from watching
    body-parts unfurling

    The ships that line our docks are tough but grieve to watch the washed-up
    purchased lives they’ve lost
    Born without footing across slime and muck, slipping up and down inside
    our harbour walls
    Freezing to death in backs of trucks, not surfacing long enough to breathe
    and float and see

    black- water swirling menses, spitting ragged blankets up, onto concrete blocks,
    no longer fit to warm them
    until summer dries them out, maybe days from now, maybe never, maybe lost
    in the hacks and splutters
    The muttered lines about safer distances between us, between me and these girls
    on scratchy screens

                                    inside stores I’ll never enter


     Riverrun                      
          after James Joyce                            
     
    Riverrun
         past Eve and Adam
    Drip and bubble
     on his tongue
    River wash through
           stone and gravel
     Hot traintracks
     His schoolbag
    Oh River Run
     Thank him for the gift
     he gave me
    to celebrate my newborn son
     River protect
    the London boy
     who praised me 
    For just
     being there      
    River run
     through his black hair
    His wings so small
    so tightly clipped
    Riverrun a song of loss
    Forever present on our lips 
        Riverrun
             past Eve and Adam
         Thalweg
     Land bend
      Delta
       Flood
    Once 
    upon a time
    we left him stranded 
    but the current’s changing
    A change has come
    Riverrun, from where
     he kissed him
     in some 
    Underpass
    Overpass
    Armpit
     Ledge
    Behind a wall
     Wedge of stone
    River how you’ve
       always known
    to carry Adam
    Carry Eve
    Carry every love you see
      River run, past Eve and Adam
    Past songline 
    Fault line 
    Border 
    Blood
    Past tall orders
    Boys 
    born in armour
     Tense 
    Protective
     On the run
    Riverrun 
    through tidal waves
    Mudflats
    Basins
    Wider plains 
    River find the mouths you need
    Inside us 
    Make them speak 
    of ripples
    Oxbows 
    Currents 
    Streams
     Forever carving
       Changing shape
    Oh river run 
    and river make
     Build new mountains 
                                       
    His life’s at stake

                          None of this is helping
                             None of this is helping
    
    I hate feeling      wanting to hit something           not you
    something thick and unsuspecting    a giant block of ice maybe      
     maximum impact 
       Your words are GRATING            and I hate bloody zoom
    pressing small hard LUMPS under my skin   Declaring the ugliness 
    of life,
    My life        how I’m living it      Telling me how many mothers 
    are raped
    Speaking to their pain, explain      invisibilised deaths at sea.
    You turn words into verbs            even your words have energy  
    I can’t summon.
    You explain the wrongness of charity      Only solidarity, 
    connectedness  
    but I don’t feel it with you             hard blow to the ego
    to feel rage and your language, your speaking to, Honouring, 
    framing, your sensitive lens
    None of it is helpful;        I’m not at all helped.  
    Your naming of friends,  Libya  Syria  Ghana,
    Reminds me     how I’ve never met them. My life is angled away 
    from, what you call
                          the Global South
    
    I’m left    in no doubt      I’m not good.     I am not good.  
    Not like you, whose mascara is too 
    thick to look nice,         your hair still wet and dripping
    There is no time, no time, no time    your hair still wet and dripping
    I want everything to be better         the privilege that’s 
    mine is layered and sickening.
    But    none of this, nothing about this, or you,   is helping. 
    
    © Jennifer Horgan

    20200413_172648Jennifer Horgan is a teacher, freelance journalist, poet and lyricist. She was born in Cork, Ireland and spent twelve years in London and Abu Dhabi. She returned home in 2018 to work in Cork Educate Together Secondary School. Her work has been published in Crossways magazine, Idler, Euonia Review, Nine Muses, Blue Nib, Culture Matters – An Anthology of Contemporary Irish Poetry, The Irish Examiner and the Evening Echo.

  • “Trees Walking” and other poems by Joan Mazza

    July 12th, 2020

    Blue Moon

    So bright tonight, woods glow,
    as if some rare magic is near,
    orchestra building to a swell,
    crescendo
    followed by abrupt silence, pierced
    by an animal’s anguished squeal,

    sound that sends my heart thumping
    though my dog doesn’t bark.
    Imagination with a dash
    of desperation for a happening,
    some quickening.

    Stultifying summer heat,
    occasional cicada hum. All day
    anticipation, not dread, for a shift
    toward desire, propelled
    by a passionate cause.

    Circuitry fired up, tasting
    like obsession. Sweat drips
    from my chin. Off balance.
    Drunk on moonbeams
    and shadows.

     


    Trees Walking

    I’m a willow today, pale, still green,
    stirred easily to weeping, waving
    flimsy limbs that rustle with happiness,
    taste of air and spores flying. I strike
    a pose, skirts twirling, fragrant
    as green beans and artichokes waiting

    for a Sunday crowd, sweet and sour
    pasted on their faces while my leaves
    flutter, reveal both sharp and rounded
    edges. “Hey, Schwarzenegger,
    what made you think you could keep
    secrets, like my family, who lacked
    your worldliness and education?”

    Watching you, I’m all muscle, diabolical,
    not diaphanous. Creatures live within
    my niches and notches. I have been
    barren, a desert. Not like you, Maria,
    with your good face hiding the happiness
    you deserve. “The rich have greater resources
    to manage life’s upsets. They have servants.”
    She knows the abyssal plain of satisfaction
    runs flat, deep underwater, too cold to swim.

    Where sunshine beats chilly rays, darkness
    grows darker. This tree looks rooted, but can
    walk away, as I did from today’s plans.
    Spontaneity I once denied. I won’t spend hours
    where I don’t want to be.

    Joanie, dear. At nearly any moment
    you can change direction, step off the line
    drawn on your calendar or book of life.

    Today is the foundation of the next
    two years, first page of the book
    of yesterday’s tomorrow. Inside
    an opaque crystal ball, Voilà.
    Nothing there but your imagination.
    Trees walking, dragging their roots
    like a train, dropping slender leaves,
    not rose petals.

     


    I’m not the one

    who frets about pimples and cellulite, who fears
    countries with enriched uranium. Whom to believe?
    My hair is all roots, grayer with every cut. I don’t
    go to spas, salons, fat farms. You won’t catch me
    at a healer, reader, or any séance. I don’t care for
    sports or stadiums full of shouting fans, can’t get
    excited about winning a weekend in Las Vegas.

    No video games or computer apps to track birthdays,
    no lottery tickets with impossible fantasies. I don’t
    send e-greetings but will craft you layered cards
    with folded papers, ribbons, window openings
    with photos. I buy stamps, pay extra postage
    for the thickness of a plastic jewel at the center
    of the paper iris. You’ll get it in the mail.

    I’m not the one arranging deck chairs on the Titanic,
    who cleans the inside of the dishwasher, irons sheets
    and underwear. I won’t ask to borrow money,
    tools, or your lawnmower. If I ask for a book, you know
    you’ll get it back. I don’t make lists for Christmas gifts
    or send Easter cards. When someone loses a love—
    person or pet—I send a handwritten, handmade card.

    I’m prepared for disasters that will likely never happen:
    flu pandemic that will keep me avoiding contagion
    for months at home with a year’s toilet paper, tissues,
    pet food. Yup. That’s me washing my hands again,
    remembering not to bite my nails, fire extinguisher
    next to backup firewood. There’s a lot of heat in books.
    After I read them, I can burn them if I have to.

     


    Bodo’s Bagels Before Poetry Class

    Today is a pot of beef barley soup. By the scent
    of bagels and this cold gray light like jagged cliffs,
    it could be New York in December, not early
    October in Virginia. Time warp.

    The brown tug of longing tells me,
    “It never was the way it used to be!”*

    In the parking lot, I get over myself by tasting
    oaks that murmur autumn through clamped jaws,
    toss acorns for passersby to catch. Everyone litters
    the carpet with poppy and sesame seeds, add cups
    and forks to Landfill Mountain.

    It’s the cause of young patrons falling into bed
    on third dates. “511!” is shouted when their food
    is ready, and, “Take screaming children outside!”

    The tossed salad of happiness will make you
    weep for all you’ve lost. The screaming child’s
    father lifts her to her feet. “Grow up!”
    Not wanting to, he makes her taller than all.

    Gentle devils storm the restaurant. You know
    this is your destiny. You don’t have to run
    a marathon or hike the Pacific Crest Trail, Chickie,
    to have that transformative moment. Don’t say,
    Oy vay. You’ll give me a kenahora!

    The carpet says, “Call a cleaning crew.”
    You order a dozen bagels to go.
    All plain. You have all the seeds you need.
    The barley soup chants your name.

    *quote from Shann Palmer


    Libido

    Desire is a blast of fireworks, tie-dye colors fading more
    each year. They wear thin, not like the end of your rope,
    not down to your last thread, you are part of the normal flow
    of a cycle all mammals know. Free of an infant, fertile again,
    time to mix up the genes, find a new partner with novel skills

    that make you sweat and quicken your breathing. Darker
    skin, lighter hair and eyes, one who makes music, defies
    norms, permits cries in the middle of lust.

    She smells like wet sand. He loves to pet and be petted.
    Each able to be alone. You didn’t lose your desire.
    It’s time to transform passion’s myths. Not your cheatin’ heart.
    That urge is your selfish genes, finding a way to get around,
    stalking parks where parents push swings. When your mother

    told you, Don’t do it! she meant, Do! Back then, she was drowning.
    Lubrication proves attraction, not wisdom. White lace
    and satin promises are best for coffin linings. Monotony

    is insured by monogamy, gay or straight, a narrow loop
    of landscape without scent or color. Long married, you sleep
    in separate rooms, yours pristine, and compete for novel excuses
    to avoid touching, sharing a bed, if only for a few minutes.
    How stable you seem, bathed in serotonin. Your cold passions

    are ice cream and skiing, the spark never ignited except
    with someone new and forbidden. Don’t think of it
    brings the object into focus, obsession you can’t shake.

    Au revoir! You want fireworks in color, without the lingering
    burn, the scar, the scent of gunpowder hanging on.

    © Joan Mazza


    Joan Mazza worked as a medical microbiologist and psychotherapist, and taught workshops nationally with a focus on understanding dreams and nightmares. She is the author of six books, including Dreaming Your Real Self (Penguin/Putnam), and her poetry has appeared in Rattle, Valparaiso Poetry Review, Prairie Schooner, Poet Lore, The MacGuffin, and The Nation. She lives in rural central Virginia, where she writes a daily poem.

    www.JoanMazza.com

  • “Shock Absorber” and other poems by Anne Donnellan

    July 11th, 2020

    Snare

    I am tired of you being you
    tired of the slit-eye side scan
    tired of the frivolous flip of your bone,
    tired of your toy dog dead head bob.

    If I dare to step on your shadow
    you gobble my frame with vacant glare
    torch my aura with ethanol
    as I utter a word you suck your teeth,
    shrivel me to a tick.

    Moontime, I dream you are a thread
    severed from my web
    knotted in nothingness
    choked in your own foam
    long leather tongue
    cracked with lesions
    speechless.

    Mornings I recoil
    snared in seamless servility
    too tired to rebel, I yield.

    Published Ropes NUIG Literary Journal 2019

     


    The County Show

    Days before the show –August fifteenth–
    you gathered your gifted greens
    in the cool of our bicycle shed
    scaffolds selected for delicate dressing.

    Apples grafted from pears
    your secret craft of trapping sweetness,
    straw strewn beneath trees
    softened the fall of ‘Lady Sudeleys’
    ‘Beauty of Baths’, and ‘Golden Delicious’
    poised on enamel blue-rimmed dishes.

    Our insides tingled with longing
    not for the radishes in wooden punnets,
    hairy marrows, cauliflower, and bleeding beets.
    Foods that we would never dare to eat!
    Not for the onion sets, shallots, and swedes,
    seed potatoes, round and kidney-shaped,
    but all for the festival spell of Show Day.

    Clad in our Sunday very best
    we feasted on candy cotton and sugar pink sticks,
    rode carnival chair o’ planes to the sky tip
    met the whole of locality and prided
    that again, Dad,
    you took glory in every category.

    (published Clare Champion 2019)

     


    Shock Absorber

    To be calm is brutal,
    when chaos annex the heart.
    and drones of doom
    stuff the head.

    I doze in a bone-coloured bubble,
    suspended on the brim of trouble.
    tumble and rise like a drunken vagrant
    stunned in my store of remorse.

    I wake with thistles in my throat,
    pinched lids sting from fret
    froth sizzles in my innards
    neck nape drizzles with sweat.

    All this veiled strain,
    like an oil slick on a swan’s plumage,
    I need rescue to contain pain,
    absorb the shock of this damage

     


    Defiance

    Those who knew
    what lies she lugged
    to morning mass
    lauded her resolve.

    Through a decade of nuptial rupture
    she prayed in a stained glass
    pool of innocent light
    solid as a glacier.

    Deceit defied absence,
    captured her face
    clad in blessed blue.
    She did daily devotion,
    paraded centre aisle,
    sacred host exposed,
    at the shrine of the holy family.

    One Easter Sunday
    he waltzed back
    and sat beside her
    in the pew beneath the resurrection.

     


    Driving To The Dementia Convention

    Driving to the dementia convention
    May morning in Connemara
    cotton wool clouds compete
    with sunshine sprinkles
    I embrace the optic banquet
    of roadside mixed greens
    copses crawling with shimmer
    ivy and holly leaves glazed
    porridge white hawthorn flower
    dressing the hedgerows
    lusciousness luring me
    deeper into trance
    of the majestic mountain way
    wrapped in awe
    I spot tall yellow irises
    signpost of the marshes
    changing blue forget-me-nots
    splashed on hillsides
    colonising clusters of mauve
    rhododendrons
    brilliant five-lobed bellflowers
    suck toxic layers,
    space invading.

    Destination reached,
    I peel myself from the scene
    to hear your pleas,
    locked in mind marshes
    thought-streams swamped.

    Don’t shut me out,
    find my roots
    feel my loss.
    I am alive,
    forget-me-not.

    (published Clare Champion 2018)

    © Anne Donnellan


    Anne Donnellan was brought up outside Ennis and has been living and working in Galway since 1980. She attends the Kevin Higgins poetry workshops. Anne has been published in the NUIG ROPES Literary Journal, A New Ulster, The Linnet’s Wings, The Bangor Literary Journal, Clare Champion, and the Galway City Tribune. She was a featured reader at the March “Over The Edge: Open Reading” in Galway City Library.

  • ‘The Writing Desk’ and other poems by Sinéad McClure

    July 4th, 2020

    Subsidence

    I’m of the age now
    That’s how my GP put it
    as he half muttered
    something about female hormones
    leaving my body
    I imagined them packing their bags happily,
    looking forward to exploring better terrain,
    cooler plains.
    They don’t leave quietly
    there is a deep boom
    sounding in me
    loud enough to raise heckles
    on the borders.

    Their retreating noise
    cuts the eardrum on the edge of sleep,
    an orchestra at the foot of the bed, the deep
    breath of an oboe, the high pitch squeal of a flute,
    F sharp, slices at the slope of dreams.
    Tinnitus has become a schizophrenic bed partner.

    They leave banging their suitcases off every corner of me.
    In tones that plumb the length of my brickwork
    until they lean into every crack—

    send me sideways,
    startle testosterone
    just enough for chin hairs
    and a wasp-like sting
    full moon.

    Then there’s the faux senility
    the walking-into-many-rooms-for-no-reason,
    the constant reminders
    you’ve forgotten something
    and the paranoia;

    An innocent email from my husband with the title
    Plant woman near Boyle
    Was the start of some elaborate murder plot
    and not simply the nomenclature
    Ms. Moss
    a horticulturist
    and what does he want with her
    only to study her petunias

    I’m of the age
    I have no choice
    I must go with it
    shrug into this hill
    shoulder the northwest winds
    slide in millimetres each day
    towards the sunset.

     


    Planting

    In the beginning there was bog,
    acres and acres,
    flat as lake water after rain,
    brackish after the cutaway.
    The log fuff, the spit-depth footed to rough heaps,
    tiny tepees peaked the horizon like sound waves.

    Then it became the soil of planting, acidic, damp.
    A graveyard earth.

    The first time I dug the soil it was to bury Margaret
    the matriarchal duck.
    I covered her in black plastic
    painted with a white capital M
    like a mini silage wrap.

    The next time I dug the soil it was to bury Charlotte,
    an early variety of potato
    which stopped too soon because of blight.
    It was a battle on the half acre.

    When I dug again I buried Arran
    Edward John has set me right
    “Plant the local variety” he cooed in his soft boggy accent.
    The blight-resistant crop would only need — to be placed upwards to face the glut of rain —
    “just butter and salt”. Edward John’s refrain

    It was the 30th of June.
    The long blade of summer was shortening.
    Rain grazed the road to Knockbrack
    I watched from the brow of the hill.
    I couldn’t face the smell of freshly dug earth that day.

    That year as well as Edward John
    I lost six ducks, five hens and a drake named George.
    I vowed never to name another living thing.
    Because in the end, despite the good advice,
    the bog is only suitable to ripen blueberries,
    or to turn the heather rusty like a lit match,
    or to swallow you up,
    drag you down among the flint and bones
    of those who come before you.

     


    Bushed

    The bramble is unforgiving
    once you take
    those sweet black fruits
    it spends the rest of the year
    making sure it strangles
    everything in the garden
    between barbed fingers.

    It holds my orchard hostage
    John O Gold and Discovery
    shake their crop to spoil for blackbirds.
    My plums can’t talk,
    the raspberries stop walking
    and the red currants offer their berries
    to any willing creature, except us.

    I make blackberry jam.
    Boil it until it screams,
    slather its thick black curd
    on home-made scones,
    savour each delicious mouthful.

     


    The Writing Desk

    You waited for two months
    after he had died to tackle
    the dodgy foot on his writing desk.
    You’d have to clear it out first,
    go through all the papers
    and then when that was done
    you’d turn it upside down
    stick the foot on hard.

    But you only got as far as his poetry
    pages and pages, ancient at the edges,
    journals and books, staples rusted.

    You sat and you read,
    until all day had passed
    with you
    curled on the bed
    cradling the years
    of words now made silent.

    The writing desk sits in the corner.
    The foot still wobbles.

     


    Space Taxi

    Soon I’ll be able to hail an Uber to Mars
    well not hail exactly
    I will inform my driver I’m waiting on the corner at Kiltyteige
    beside the tall, green house.

    I’ll be there early
    before the postman does his rounds
    watching the heron fly over
    and the grey wagtail
    dance in the river.

    Then Uber can deliver me to the launch pad
    Just off the bog road in Boyle—
    As good a place as any
    well known for its UFO’s—
    By then we’ll all be flying everywhere anyway
    one more lift-off will hardly be noticed.

    Maybe someone out footing turf
    will remark on the plumes of smoke
    coughing across the fields towards them
    wonder why the sloes have fallen off the blackthorn
    or the fallow deer are galloping their way.

    But they’ll get used to the daily flights
    And laugh like the rest of us
    at the irony
    of no bus route to Boyle
    but a shuttle to Mars.

    When I’m strapped in sucking
    my Simpkins Travel Sweets
    hurtling towards the blue sky
    Mrs. Higgins will lean across
    and ask
    Why are the windows so small?
    or
    Do you think there’ll be tea?
    And I will smile and nod
    and grit my teeth
    as the capsule separates
    with one neat shudder
    and outside cuts from blue
    to nothingness with stars.

    Soon there will be queues on the bog road to Boyle
    for the SpaceX Express to Mars.
    And the English couple in Cloonloo
    will sell their farm fresh eggs
    and raw honey.
    Mrs. Tansey from Bristle will tout her boxty,
    and young Walsh will sell space rock
    with Knockatelly running through it in red, sugar leading.

    By then I’ll have forgotten all about my trip to Mars
    and my re-entry with a splash at the mouth of the Garavogue
    and waiting in the Northwest rain
    for the train to Ballymote
    because I couldn’t get a bus from Sligo
    back to the corner in Kiltyteige

    When I could get an Uber to Mars.

     

    © Sinéad McClure


    Sinéad McClure is a writer, radio producer, and illustrator. She has written and co-produced 15 dramas that have aired on RTEjr Radio. Her latest production “Indestructible” was broadcast on Rtejr Radio in December 2019. Her poem “Tea & Sympathy” was published in Crossways Literary Magazine in January 2020. Her short story “Five Years” has been published in Meat for Tea, the Valley Review in Autumn 2019. Sinéad had three poems published in the June 2020 edition of Live Encounters. She has also written for ALHAUS magazine. She often revisits the theme of the natural environment in her work and has a particular interest in wildlife conservation.

  • Recent Additions to The Fired! Archive at RASCAL (QUB)

    June 27th, 2020
    Eavan_Boland_in_1996 (1) (1)
    Eavan Boland (1944-2020) peer-reviewed the Fired! Pledge and the Preamble to the Pledge.

    The RASCAL database at Queen’s University, Belfast, has hosted Fired! Irish Poets since early February 2019.  Fired! Irish Poets  was established in the summer of 2017 to address issues of marginalisation and the neglect of Irish women poets in both the contemporary and historical Irish poetry canon.

    Recent additions to the database include Eavan Boland (1944-2020): Obituaries and tributes for Eavan Boland. Hidden Collections: The Value of Irish Literary Archives, under the headings, ‘Critical Failures’, ‘The Shape of the literary archive’, ‘Women Writers in the archive’, and ‘The living archive‘, by Lucy Collins for The Irish University Review (50). Periodical Codes: ‘Centre’, ‘Margin’ and Gender in Poetry Ireland Review during the early 1980s” by Laura Loftus. EDIT:  28/06/2020 Another recent addition to the Fired! archive went live today Why Uncomplicated Recovery Isn’t Enough: Rhoda Coghill, Her Letters, and the Fired! Movement by Kathy D’Arcy. ‘“I Am Not Yet Delivered of the Past’: The Poetry of Blanaid Salkeld.” Irish University Review, vol. 33, no. 1, 2003, pp. 182–200. JSTOR. and Collins, Lucy, 2017 ‘Only the Dead Can Be Forgiven’: Contemporary Women Poets and Environmental Melancholia. C21 Literature: Journal of 21st-century Writings, 5(1): 3, pp. 1–21. The above papers and articles can be accessed via the Fired! RASCAL account at http://www.rascal.ac.uk/institutions/fired-irish-women-poets-and-canon.

    The RASCAL Database is an electronic gateway to research resources relating to Ireland. The site can be used to search or browse information about a wide range of research and special collections held in libraries, museums, and archives in Ireland and abroad. The Fired! archive held in the RASCAL database includes digital resources centered in the development of Fired! including an archive of the original website, The Fired! Pledge, Bibliography, Critical Works Cited, group foundational documents, and external links to media-related materials and other electronic archival resources (the Internet Archive holds documentation related to Fired!). The authors included in the database are Anne Enright, Deirdre Falvey, Sinead Gleeson, Laura Loftus, Alex Pryce, Lucy Collins, Moyra Donaldson, Kathy D’Arcy, Walt Hunter, Terese Svoboda, and Mary ODonnell, among others.


  • “I Have to Believe that the Body Aspires to a Soul” and other poems by Ann Pedone

    June 27th, 2020

     

    I Have to Believe that the Body Aspires to a Soul

    I tell you/there was something about
    that woman/her face/undiluted/ lips open/as if
    she were waiting/for the sky to come/down on her.
    There was something about it that/I needed to know/something
    that/I wanted to remember/something/it was
    the light/that mattered/this woman/gathered/the light/ held it
    in-side of her/I should have/told her this/but I
    suspected/myself/what I know/and don’t know of the
    world/seemed/immense/I should have told her this/but she
    crossed the street/she was/gone/and I had/nothing to do with it.

     


    Love Song #7

    you are for me as you cannot
    be for yourself (a gathering)
    I return to
    without demand
    with-out diminishment
    your dark eyes
    amethyst hidden
    whose darkness is for a me
    a form of prayer
    a place of love’s rest

     


    The Sea

    I was going down in an elevator. I was in a building on the Upper
    West Side. I remembered a dream I had about Jacques
    Lacan. He was sitting with a woman in a hotel bar in Paris. She told him she had
    grown up near the sea. He felt for her hand.
    He moved her hand onto his thigh. She didn’t resist. Her hand moved
    deep between his legs. He spread his legs and thought about the way
    she had pronounced the word “sea.” Her voice sounded like a phono-
    graph. It sounded like water running
    down his spine.

    I stepped out of the elevator and started towards the subway.
    I remembered the word
    “sea.” I tried to say the word in French. I mouthed the word. It tasted
    like sweet
    pear. I hid the word in the dark of my mouth. I pressed my mouth
    to the window. I pressed it to the glass until my body dis-
    appeared. The subway doors opened. And I floated out
    luminous in the dark.

     


    Love Song #4

                    You told me to remember you/You told me
    Not to let go/Said it one day/And I
    Heard it/Felt it like a bird
    Lost in is own arithmetic/I need to
    Find a way to/Think about these things/Of what
    I am in your arms/When the night is
    Everything/The stars agree/In their ascent
    And I feel something rise in me/To love
    Is to live with the Unknown in front of you
    To recognize/That the sky is/A language
    Written in the light of/Earliest birds
    A text over water/Over time/Love me
    Love me/Before I come undone
    Before I say more, this song.

     

    “I Have to Believe that the Body Aspires to a Soul” and other poems © Ann Pedone

     

    Ann Pedone graduated from Bard College in 1992 with a degree in English Literature. She has a Master’s degree in Chinese Language and Literature from UC Berkeley. Ann’s work has recently appeared in Comstock Review, Adelaide, Apricity, Birmingham Arts Journal, Cholla Needles, Visions International, Neologism, Onery, Unbroken Journal, and Riggwelter. She lives in the San Francisco Bay Area.

  • ‘After Rembrandt’s Women’ by Iseult Healy

    June 12th, 2020

     

    Delicious

    She was no Eve

    this apple of a woman
    whose red dress
    surrounded the flowing flesh
    of twin hillocks, hung over the
    ridge of her cheeks
    to flow down to stocking tops

    Hot and juicy, easy-peel woman

    They ate at their pleasure
    wiped her juice from their jaws
    munched to the skeletal core
    that framed her bitter pips

    swallowed her inside them

    where she lay hurt for a day or two

    till they spat her out
    without a backward glance

    to take root once more

     


    Him 1

    He kissed me tenderly
    as he stabbed my pulsing neck
    vicious as he twisted the knife

    leaving me wretched
    in unbearable pain
    tearing at his face

    Him 2

    He kissed me tenderly
    as his pulsing cock
    stabbed me in a vicious way

    leaving me wretched
    in unbearable pain
    tearing at his face

     


    After Rembrandt’s Women

    Nipples sucked while I
    work the brush to the canvas
    the vermilion and ochre
    matching my puckered skin
    standing ready for pleasure

    Your tongue-tip a missile
    of heat and wetness
    while I stroke the viscous
    oils to the taut canvas
    stroke after stroke

    Painter and painted, one wet
    the other wetting in colours
    vivid and rich, beyond life
    till who is breathing and who
    is image is a matter of indifference

    A faint sigh, a thrill of senses
    a brush, a stroke, a flick of
    life across the dusky scene
    damp fingers dust the likeness
    pull the flesh towards the centre
    where it muffles in a heaviness
    of pure puce and nutmeg folds

    The light fades, the colours dry
    I perforce return to this monochrome
    thing called life in this harsh planet of
    defined things but I know whenever
    my eyes light on this image, I will dive
    and swell and surge and swim
    in its rainbow of life till I drown
    again and again in its silkiness and
    soft stains and tints and hues
    and live once again

    Published in Rats Ass Review, USA, 2016

     


    Reasons For Starving

    Insanity
    Diabetes
    Wedding dress
    Abandonment
    Anorexic beauty
    Surgery
    Prison escape
    No food
    Fussy eater
    Enslavement
    Size 6
    The doctor said to lose weight
    Martyrdom
    Spouse
    Drought
    Protest
    Famine
    Genocide
    Death
    War
    Torture
    Insanity

     


    There’s An Old Man

    … dying at her breast

    she doesn’t forbid his last suckle
    his comfort of flesh, born and dying

    His lips relax, his breath ceases
    she sees his maleness – the young boy
    knees bloody, hair tousled
    or eyes alight to his first love
    his protection of offspring
    or his anguished awareness
    he is no longer alpha male

    She does not let him lose his pride
    helps him hold till the end all the power
    he possesses in mind if not in limb
    for his presence yet instils stability
    and safe harbour

    let him fear not he is alone when time’s past
    his power spent, his vacant need exposed to all

    Published in Rats Ass Review, USA, 2016


    Iseult Healy trained at the Royal Irish Academy and the London College in the drama and speech, also in the Irish Writers Centre, the Patrick Kavanagh Centre, as well as at Over the Edge, Galway. Aside from poetry, she has written several screenplays and performed in film.She has also contributed to The Synge Summer School in Wicklow over many years.

    Iseult is published in Fredericksburg Literary Arts Review (USA); A New Ulster anthology (NI); OfiPress (Mexico), Boyne Berries (Ireland), Rats Ass Review (USA), Hidden Channel (Ireland), Spilling Cocoa Over Martin Amis (UK) and coming soon: The Blue Nib, Ireland.

    Shortlisted Galway Hospital Trust Poetry Competition 2015.

    A member of the Poets Abroad, Sandy Fields, Ox Mountain Poets and A New Ulster groups.

  • A Celebration of Irish women poets on Bloomsday 2020

    June 10th, 2020

    ‘Words Like Stars’ by Roisin Ní Neachtain

    How they flow unformed
    Then fix themselves like the stars
    Shivering and held up
    Worshipped

    And I
    And they
    Staggering and squawking
    Sweating and squabbling

    Night and day

    Wobbling words
    Singing

    Dust

    Dust

    Dust

    Corrosive mantles
    Wrought to a stain

    Stain us
    Stain the water to the earth
    Hold these shapes in stasis

    Their lungs sooty and quivering
    How they wake songs in the trenches
    And beg for absolution

    © Roisin Ní Neachtain

     

    Roisin Ní Neachtain is an emerging Irish poet and artist with Asperger’s. Her work is held in international private collections and she runs a blog featuring monthly interviews with women artists. She is currently working on her first collection of poetry.

    ‘Cegenated’ by Anora Mansour

    Here is the dusk baby plucked
    for the reading of luck
    the tumbledown tarot rhymes
    menthol and black stubbed grime.

    Here is the child indigo
    whose mumbled tale is Esperanto
    paid for with a slap and a diva’s shriek.
    And she a frozen caste freak
    watches the blind elephant dream.
    While the deaf guard chews gum
    to the clap of a shoe
    so now she only nibbles nails for her food.

    Here is the child too mute
    to point to the clues
    the horseshoe in the kitchen
    spent salt and the sang-froid within.
    Shouts on the line and gunpowder cops
    black telephone cord snips
    by Mother raving “Tis I who am the plot!”

    Here is the child
    a ruin inside.
    Here is the child
    who stops growing
    at five.

    © Anora Mansour 

    Anora Mansour is a graduate of the University of Oxford. She lives between Oxford and Dublin. She has been published in a collection of Jazz Poems, various online sites, and has her own published collection of poetry and blog. She is African-American and Irish.


    ‘Old Lives’ by Emily S. Cooper

    Perhaps if things hadn’t turned out
    The way they did, and I hadn’t left
    Eight years before, jumping in beside
    Daddy in the car, placing the flower
    My boyfriend had given me on the dashboard
    Perhaps if the waves had been more violent on
    The Irish Sea that crossing, if perhaps
    I had taken that as a sign and turned back
    Commandeering the wheel
    Pushing the captain aside Get out
    Of my way and sailed back to Scotland
    Taken up a job in an allotment
    Worked things out with the Greek
    Then ditched him later for a tall Scottish
    Fella called something like Reuben or
    Robin who played in a folk band
    Perhaps I would have been happier

    Perhaps I wouldn’t have gotten that stomach ulcer
    And Daddy wouldn’t have confused
    His cancer for a matching ulcer
    They’d just cut it out in time and
    We could have gone to the Venice Biennale
    That year, like we talked about
    Me laughing at his conservative tastes
    How he figured craft was of utmost importance
    Not this conceptual drivel
    Cast a cold eye
    On life, On Death
    Horsemen pass by!
    He’d chant as we walked along canals
    Missing the dog at home
    That would not jump in a river
    And stove its head in the next summer
    Perhaps we would all finally learn
    How to get along at Christmas
    To sit down and eat in peace without
    Someone breaking a glass or shouting
    About the unfairness of it all
    And I’d go back to Glasgow to my empty flat
    Get my cat back from the catsitter
    Open the window and
    Drink a glass of cheap French brandy
    To bring in the New Year.

    © Emily S. Cooper 

    Emily S. Cooper is a graduate of Goldsmiths and the Seamus Heaney Centre at Queen’s. She has been published in Stinging Fly, Banshee, the Irish Times and Hotel among others. She has been awarded residencies by the Arts Council of Northern Ireland, Greywood Arts and the Irish Writers Centre. In 2019 she took part in Poetry Ireland’s Introductions series and was a recipient of the Next Generation Award from the Arts Council of Ireland. She has been shortlisted for the Mairtin Crawford Award, North West Word Poetry Prize and was highly commended for the Patrick Kavanagh Award. She is currently writing a monograph on solitude, a collaborative collection with Jo Burns on the muses of Picasso, and her first poetry pamphlet will be published by Makina Books in 2020. She lives in Donegal and is represented by Harriet Moore at David Higham Associates.


    ‘YOU|OUY’ by Jade Riordan

    © Jade Riordan

    Jade Riordan is an Irish-Canadian poet, an undergraduate student at the University of Ottawa, and a selection committee member (poetry reader) with Bywords. Her poetry has appeared in The Blue Nib, Cordite Poetry Review, Corvid Queen, Eunoia Review, Noble / Gas Qtrly, Room, and elsewhere.


    ‘The Moment Daphne Survived’ by Maria Karapish

    First, it was my legs that went shooting down
    below the known world that knew me.
    As they reached further and further
    and continued to extend until I touched
    upon something safe and nurturing and
    secretive but liberating all at once, as my lower half
    was shielded from your hungry eyes.

    Second, was the fear as I continued being engulfed
    by not just my final resting place, but by a new vessel if
    I was to continue living on in a way that could be considered living.
    Without suffocation from your paralysing advances
    Yet you still reached for me one final time and at that moment,
    I couldn’t even scream, my mouth was the next to go.

    Next, came the pain no longer anesthetized by shock,
    accompanied by your own screams of anguish and perverse tragedy
    at what was being made of my mortal self as I seeped into the soil.
    Oh, my steadfast arms splintered away and upwards as I grew those
    bare branches in turmoil.
    The strain so searing became the numbness of absolutely nothing
    as my transformation allowed me to assume the shape of a new self,

    Here I am Apollo,
    a newly formed loathsome laurel.
    As now I would never again have my windows,
    the light would someday be welcomed in other ways.
    I left the world I knew in those moments, this new
    sentience only took seconds to understand, unlike the painfully earnest
    consternation you felt while watching your desire’s demise.

    © Maria Karapish

    Maria Karapish is an Irish-Ukranian poet and artist, her main project includes the In My Orbit zine that contains her original poetry and illustrations. Her poetry focuses on themes of mental illness and how that affects everyday life and relationships along with pieces that stew over those many ‘what if?’s that refuse to leave your brain.


    Mythical Night

    Oh Night, oh calm and mythical night,
    Have you not seen the moon? How bright!
    ‘Tis not the sun but the twilight,
    To the earth holding tight.

    How soothing! Cool and warm in winter’s night,
    Calling it the noon, ‘‘tis all right’’
    See the stars twinkling at height,
    A moth gently flying around a streetlight.

    The trees singing in a soft breeze,
    And their shadows dancing in sweet harmony,
    Tomorrow night all trees shall freeze,
    But tonight listen to the crickets humming their lullaby in melody.

     © Asma Zulfiqar

    Asma Zulfiqar is a secondary school student who is dedicated and persistent about achieving her goals. She expresses her innermost feelings in poems that are otherwise hard to convey to others. She shares her perception of the world and her experiences through poetry.

     


     

  • “Children of Agent Orange” and other poems by Asma Zulfiqar

    June 7th, 2020

    Mythical Night

    Oh Night, Oh Calm and Mythical Night,
    Have you not seen the moon? How bright!
    ‘Tis not the sun but the twilight,
    To the earth holding tight.

    How soothing! Cool and warm in winter’s night,
    Calling it the noon, ‘‘tis all right’’
    See the stars twinkling at height,
    A moth gently flying around a streetlight.

    The trees singing in a soft breeze,
    And their shadows dancing in sweet harmony,
    Tomorrow night all trees shall freeze,
    But tonight listen to the crickets humming their lullaby in melody.

     


    Monster in Your House

    Hold on to the curtains tight,
    Pull down the bruised red blind,
    Here it comes in the night,
    You say it is not right.
    But someone has got the blight,
    Blue unseeing eyes that turn white,
    Let enter nor shine no light.
    Smiling, stuck in oblivion in fright.

    Will it all end in demise,
    Or will you finally escape tonight,
    You and your child?


    
    Stranded on an island
    
    Stranded on an island
                   -all alone I was,	
    Lonely I seemed
                  -brief would’ve been
    Hidden by the mist,
                  -no one I saw.
    Mist so thick
                  -suffocated I was,
    Looking at the skies
                  -nothing but a blur,
    And by the night never-ending
                  -blinded I was,
    When I looked at the sea,
    I wished to escape,
    For comfort from the rain,
    I thought once and again,
    
    When every step would hurt,
    When every breath would kill,
    Tell me you, who are free,
    Would you not make the same mistake I did?
    Would you not just jump and swim away?

    Follow-up
    
    And when I was too far away,
    The fog had lifted,
    And the shadows no longer existed,
    Had I only, little longer waited,
    I’d have seen the weeping willows cry,
    A cry full of pain and sorrow,
    Because on the island I no longer exist.
    

    Trichotillomania

    I took them away one by one
    It started with one and ended with none
    They warned me to stop
    But I listened not
    I hid that which wasn’t there with pitch black
    Hoping I won’t get their stare
    When I looked at the mirror
    I would see, not those that were missing
    but those still standing
    They said that my chances would
    one day, run out
    they will never come back
    I tried over and over
    Giving it my all
    But I kept on going
    And when I’d remove my mask
    I would see, how much worse
    I had become.


    • ‘Children of Agent Orange’ by Asma Zulfiqar (2) [PDF] 

     


     

    Children of Agent Orange and other poems © Asma Zulfiqar

    Asma Zulfiqar is a secondary school student who is dedicated and persistent about achieving her goals. She expresses her innermost feelings in poems that are otherwise hard to convey to others. She shares her perception of the world and her experiences through poetry.

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