2023 MERAKI
LITERARY MAGAZINE
Heart Headed
Hope Donovan
acrylic on canvas
TABLE OF CONTENTS
“short talk on the milky way”
Blair Law
the milky way expands forever. but some people know how big it is.
they hold the secret in their pockets and the milky way in their hands.
vastness drips down their fingers as stars swirl around in the black.
they see the way that galaxies are formed,
they see the way that comets cross through space,
and they see every black hole ever born.
they’ll know these things forever.
dark skies stain their hands and stars stick to their eyes.
it’s everything they will ever think about.
their minds don’t have room for anything else.
it was always meant to be a blessing,
to see those wonders,
to understand past the mind.
but now they know how small they are
For Zachary
Hope Donovan
Acrylic on Canvas
“Purple Hull Peas”
Emmory Bridges
: to every young person that is afraid.
It’s time
to face the music
like purple hull peas.
To boil over,
starchy notes
stinging the stove,
shells cracking open
like fire alarm eyes.
To hum
foamy words
while the granite splits,
easy as dirt,
where we throw
the heavy spoon
off our backs.
Give us
salt-socked mouths,
but please
let us be unafraid
to sing.
I am sick of
cold pebble bodies.
Let us
sound from
green stomachs,
call into
a bubbling pot
down the drain
until we are
soft,
burnt,
free.
earth smiled at me today
Abbey Hebert
Photography
“Monkey Bars”
Emmory Bridges
I am
a loose thread
on God’s blue jeans.
I wonder if
they’re covered
in grass stains
from all this
rain I smell.
I swing
with nothing
in my head
but baby curls
that taste like sweat.
Dangling
in the sun,
I breathe in
my smallness as
a pocket string;
I let it all sit
like an old man
in a rocking chair,
content
with everything
I do not know.
Unadorned
Hope Donovan
Acrylic on Canvas
“Love Letters to Heaven”
Ahnia Leary
Blank page.
Lavender incense and fresh sage.
Convince the white men why I’m worthy enough to make a sub-par wage.
Transform and transcend to escape the invisible bars of this cage.
Is this bird still capable of singing?
The bells of creativity still capable of ringing?
Through trauma and triggers that can’t seem to stop stinging?
Sadness seeps into my sleep like watercolor paint;
How do I stop the colors from bleeding into my being?
I don’t know.
I’m trying, at least I think so.
After coming so far there’s only one way to go.
The lonely caterpillar waits and waits for its wings to grow.
They tell us that we reap what we sow.
So I shed my Earthly skin and let my soul show.
Put my hands up to the heavens to let the universe know,
That I inhale to affirm and release stagnation when I blow.
Keep me going Cosmic mother,
Fill my bones with the Divine,
Your love is like no other,
Sweeping through the sands of time.
self portrait #10
Tiersha Faith Laird
Woodblock print collaged in frame
“artifacts i have collected from others”
Abbey Hebert
i’ve heard the inner core of the earth
is a place where hope crystallizes
and it forever feels like sunshine melting into skin.
my bare feet on the concrete are burning
and my bones have become brittle
from years of collecting and holding
artifacts from those who have left me
with the taste of dust on my tongue.
help me dig this tunnel i beg
and to your raised eyebrow, i say i’ve heard
that the inner core of the earth
tastes like the cure for loneliness and this
must taste better than the ashes of the ghosts
who have already shoveled their way through.
you say you have tasted this same dust
and know the burning sensation it leaves
when they leave.
we set ablaze the artifacts
i have collected and we make crop circles in the grass
watching as clouds parted in the sky:
there is no thunder
“Ra”
Ahnia Leary
Do you think of me before you lay your eyes to rest?
When dusk paints the sky in creamsicle sherbet,
Does your skin shimmer in the warm light? My essence is all Encompassing.
Beams of Golden angels with gilded wings
Embodying eternity, we are reminded of who we are.
Does your tongue drip with liquid ambrosia at the thought of my words? Mouth watering whispers of tranquil empathy.
Radiating warmth that heals, that gives,
Life.
Astronomically insulating all that you worship,
I am the alpha and the omega, the beginning and the end Cyclical stories of rebirth are told in my name
Treasure me as you treasure the material things of the temporary Breathe into me with purified lungs so
I will always return.
Sync your grand rising with my ascendance.
Like birds of a feather,
We are one.
Illusions of Femininity - A Farewell
Ruby Zlotkowski
Charcoal
“Paper Stars”
Abbey Hebert
.....As the sky wails and screams, I realize that I can almost hear him laugh. Rather than joining my ex-husband and lawyer, I stay in my wooden chair located next to the only window in my house. Disregarding the sky’s harsh spits on the window, I stare at the paper flowers I’ve glued to the bottoms of the walls. Another yelp from the sky begs for my attention, and when I look outside, I see a mysterious star shoving the sun, who then abandons all laws of stationary placement and falls hopelessly towards Earth looking more like a ball of ice than fire. It’s a pathetic sight I am glad to have witnessed.
A knock disrupts the uncomfortable and lonely silence in the house. I open the back door as soon as I reach it and see a man standing there with raindrops embroidered into his skin. I don’t know how I know it, and you don’t have to believe me either, but I know that he is Sun. He seems heavily distraught, his aura leaking immense displacement. Copious amounts of wrinkles highlight his mouth and his forehead. My fluorescent lights shining yellow like fireflies are less bright than Sun’s skin, which is so pale and cold yet encaptivating.
A rather maternal nature evolves within me, and the first instinct I have is to invite him inside. As he crosses the threshold, he stumbles weakly, almost powerlessly, and just about falls again, farther and farther from his conventional place in the sky. His shaking hand reaches out to grab my forearm, and he is cold, and I am confused. Why is he cold? Isn’t he supposed to radiate heat and warmth?
My arm tingles from his tight grip. We walk at his slow pace, his body tilted towards me as if we were on an axis. His eyes deviate from how eyes are supposed to look, yet I could hardly tell since he could barely open them. Human beings do not have the ability to interpret how one feels through eyes, and since Sun does not seem to want to talk, I am left with my own questions about his emotional state. Is he relieved, sad, angry? I want to know how he feels about being pushed from his natural place, if it even is his natural place anymore. Once we reach my kitchen, we sit at my caramel-colored table, and I can’t help but continue to scrutinize this man sitting across from me.
His hair is a faint shade of gray like smoke as though he is older than he appears to be. As I watch him, he watches my stove, studying the slits where the fire usually comes out. His fascination with such a mundane object fascinates me. “What are you doing?” I ask.
Sun has a longing look in his eyes, and his hands keep colliding with one another awkwardly, his fingers turning red whenever he’d forcefully intertwine them. “Can you turn that on?”
“What, the stove?”
He nods.
The fire is erected once I turn the metallic knob. Like pieces of molten lava shoot out of volcanoes, the tongues of fire are ejected out of this shiny canon. Out of what was cold a minute ago burns a fire perfected with splotches of yellow and red and orange like a melting sunset. Sun, in his pitiful glory, starts weeping. He looks so broken, as though he’s made more out of glass than fire.
“What’s the matter?” I ask.
Once he blinks, water flourishes under his eyelids, and soon tears gently walk down his face. I never thought I’d see a combination of fire and water, and confusion pinches my brain; how can these two opposing forces co-exist? “I want the fire in me again.” His cries are cacophonous sounds. I reach my hand out to cut the fire on the stove short, hoping to also lessen his amount of sorrow and despair. “It’s not even by me anymore.”
I don’t know how to comfort Sun, but I feel a strong obligation to since he is the reason that my flowers on the walls thrived. Once I take in Sun’s appearance, I am both baffled and disappointed for I previously believed he was omnipotent. Crimson scratches and cuts birthed by branches of trees (he hit many while plummeting towards us) decorate his body. Dried up streams of blood stain his pallid flesh, and my maternal nature requires me to ask if I can clean him up. My attempts of care fail because he starts weeping.
“Red is the color of fire, and if you wash it off, I won’t have any more fire in me. Even just having red on me makes me feel like I’m up there.” He points a shaky finger towards the sky. This is why the stove was so godlike to him, for it gave him heat and warmth.
I ask, “Are you tired?”
He nods.
“Can you walk to bed?”
As Sun stands, his legs shake. Exhaustion can only be suppressed and ignored for so long; therefore I know that he is bound to fall eventually. “I might be able to crawl.”
Picturing Sun crawling provokes laughter in me, but I suppress it after considering the malevolent effects it would have on him. Sun is supposed to be one of the most powerful, sedentary forces of our solar system, yet even something that is considered natural and stable can fail and become too tired to continue. Picturing Sun crawling now depresses me.
“Why don’t you hold onto me?” I pat my arm. It is an uneasy thought that I have to and can easily carry Sun. Our positions have shifted, and I seem to be what Sun needs in order to survive.
I watch him. I watch him as he nods. I watch as he looks down at his feet nervously. And when he speaks, I watch how his lips move. “You’d do that?”
“Why wouldn’t I?”
“I don’t know. I guess it’d just be the first thing anyone’s really done for me.”
“Well it’s kinda hard for us to help you when you’re all the way up there.”
“That’s true, I guess.” He looks right into my eyes, as if there’s a highway that connects our two pupils, one directly to the other. “But I still help you when I’m all the way up there.”
I walk over to him then bend my elbow, and I watch his legs shake when he slowly stands up. As we move, I observe. Our feet make uneven sounds; mine are loud and demanding (plack! plack! plack!), and his are quiet and soft, so soft, in fact, that for a moment I wonder if those are his footsteps or if the storm outside has relaxed and little droplets of rain are patting at my windows.
Just as he’d lay horizontal in the sky, he so lays horizontal in my bed, and he utters a quiet but genuine “Thank you.”
My feet drag me to the door; I tell myself Sun needs rest. Leaving is challenging, though, since I don’t quite remember the last time I had a conversation with someone who isn’t a lawyer or divorce attorney or therapist. And, as my feet cross the threshold, I realize I am abandoning the possibility of making a real friend, a real connection. My voice is soft and smooth when I say, “It’s nice to have company.”
Before I depart from the room, he calls back, “Wait.”
I study him lying in the bed. His hands rest uncomfortably near his mid-thighs and it seems as though he has never been taught how to rest. Muscles all around his body are clenched anxiously as though he has a reason to be precautious and overly aware.
“Do you know what loneliness feels like?”
“Do you?” After he nods, I ask, “But didn’t you have all of the stars up there with you?”
“They were pretty far away from me. You know, they shine during the day, too, and they feel like they don’t really get much appreciation for it.”
“That’s not your fault.”
He turns on his side, facing away from me and staring at the wall.
“Goodnight, Sun.”
“I’ve never been told goodnight. Only good morning.” He stays silent, and I assume I have said the wrong thing. “Goodnight.”
I leave the room and rush to my office, letting Sun regenerate. Light is still blazing through the windows, even though it is well past 8 o’clock. I want to blame that star for obliterating the sole purpose of night, the darkness. Instinctively, I walk towards the drawer and reach around until I feel the familiar textures of scissors, my yellow pen, and paper.
While Sun is asleep, I work. The star who burns brighter than Sun causes the sunlight of day to appear at night, and it is thick and overwhelming though my windows; I guess the storm has stopped. My hands rush back and forth, and I am reminded of how Sun used to constantly rush through his orbit, trying to please both sides of the world at once. Staring at the walls, I recall how I used to sit here when my husband yelled at me from the threshold, cursing me for wasting my time with this stupid project. As I think of this, it dawns on me to thank Sun for nurturing and supporting the flowers I’d draw and cut out while restricted and abused in my marriage. I always put the flowers next to the window, close to the Sun’s caring embrace. I try to remember if anyone has ever thought about thanking Sun, and it depresses me because I can’t think of one.
I cut and color while Sun rests in solitude.
The walls seem to mock me. I remember how the walls used to dig into my neck whenever my ex-husband held me there, threatening me. Ignoring the taunting thoughts, my hands start moving quickly again, creating not only Sun’s escape, but mine as well. The yellow paper has successfully captured Sun’s smile, something Earth hasn’t seen in a while, in their bright hue. I rush to Sun’s room, quietly though, for he is asleep for the first time in 4.5 billion years. As soon as I step into Sun’s room, I start to work again, taping the stars along the ceiling and the walls, creating a faint illuminating light in the dark room.
Sun’s eyelids open, and his golden eyes are revealed. I move closer to him and sit in the chair next to the bed. I’ve hated this chair and this room (it was my ex-husband’s) since the finalization of my marriage, yet in a room embellished with glittering celestial bodies, it does not seem so horrible.
Sun studies the stars and the erratic pattern by which they are strung throughout the room. The room suddenly turns into an observatory since Sun’s attention is focused on them.
“The Earth is so ugly from above.” My fingers go numb, and I’m scared that Sun hates my surprise. “But it’s beautiful right here.”
We stay there for the next couple of hours, two pitiful beings, trapped in the same room of alienation with yellow stars taped on the walls and a lawyer and ex-husband who have stopped waiting by now, I’m sure. The light from the other star is blocked by thick walls.
Sun weakly stands and his body starts vibrating. He shakes his head at me and grabs the nearest star, ripping it off the wall. Using the excess tape, he places it directly in the middle of his forehead. Then, he tapes one to mine.
Monstera
Morgan Love
Photography
“Private Hell”
Matthew Manzella
I saw the sun splitting apart today
eating itself alive for all the wrong reasons.
It didn’t become night
just an eternal shade of blue.
Since then the color
has remained as my constant.
The sky was a big diorama all along.
Suddenly I'm smaller than ever before.
I didn’t bother talking about it.
No one else got the news this happened
or maybe they just didn’t notice.
September’s Sunlights
Ahnia Leary
Photography
“migration patterns”
Abbey Hebert
I
the monarch butterfly landed on your arm
and i almost shrieked but you hushed me before
i could create my voice. you knew it would fly away.
you stared at it and told me that butterflies migrate
and sometimes they don’t return. the sun shined on you
and i think i saw the slightest sliver of hope in your eyes.
i might have made it up though.
II
i want to grab a butterfly and pick off its four wings
until it is only a stick that used to be beautiful.
i want to eat its wings and feel them flutter
inside my stomach.
i want to inhale the flaps of its wings and taste
where it has been and where it is going.
III
butterflies drink from mud puddles
and i imagine how pathetic it would be for a person like me
to kneel on the ground, the asphalt biting at my flesh,
and gulp from mud puddles.
Trees Above Me
Morgan Love
Photography
“Human Host”
Estevan Jorge
He gets home ready for the last movements of the day
The last movements his person could possibly exert.
His human is awake as if he just rested 3 hours.
He prepares for his shower, movements his body is so used to.
A 20 minute programmed dance.
A stumbling impression of an arabesque
A limp attempt of a left hook
A quick inspection of facial hairs and lack of hairs
One last right hook and the shower starts
Maneuvering unlabeled water knobs can prove troublesome
Definitely something he had trouble with at his friends
Left knob is for the hot water, right knob for cold
He shuffles being burnt and shocked
His human rambles on,
thinking of thoughts once thought,
in a different sequence that brings other thoughts-
no it will not end in infinite darkness
today was a good day
maybe my back hurts because that genetically modified chicken
or the seats at school are made with certain intention
As reluctant as he was to get in the shower, he is to get out
His person ready for the night to end
His human ready for the night to begin
the pillows feel like clouds from heaven
maybe i will dream of the clouds tonight
maybe i will dream of her again
thank God for this blanket
His consciousness sets like the sun
allowing enough light for his subconscious to live in the night.
STARE
Katie Rose Hogue
Acrylic Paint on Wood Panel
“Meat”
Matthew Manzella
You don’t want to cut too many slices off at once unless you want to dry it out.
That’s how it was explained to me when I started carving meats for weddings; ham, top round beef, turkey, pork, etc. There are various and specific ways to carve each meat, often requiring different knives for each piece. For example, ham you can slice into quarters, then carve thin slices off of those quarters. It will remain relatively moist (depending on how the meat is cured before cooking). It’s easy after you slice it down for three hours at a time. Top round however, takes time to learn; More than three hours. It is an unappreciated art. Carving top round means fighting a dead part of a cow (the top of its hind, specifically) with your grip to just slice it in two, and that’s assuming you found out where the knuckle of the meat is.
Once you separate the knuckle with a serrated edge, you slice the two halves further, preferably leaving one side with the outer crispy layer formed from half a day in the oven. Once you’ve divided the slab into quarters, you trace the direction of the grains that wind in and out alongside each other and cut against them, not into them, because then you risk drying it out when the juices leak. You use a different knife at that point: the serrated knife is good for cutting through crispy skin but will tear and ruin your cut. So you use a regular butcher’s knife to cut the thinnest slice possible so the piece can melt in your mouth. Thin to win is what I was told. And always politely smile in front of the guests like you didn’t just sneak off a shred for yourself off the food that the wedding couple paid for.
At this particular wedding, the bastard was staring at the slab, adorned in charred skin and brown juices from a day’s worth of slow cooking, underneath the limp heat lamp. It was his fourth time in the night coming up to me in his partially unbuttoned button down shirt and wine stained tie. I was well acquainted with the lingering scent of his heavy breath at this point; I could smell the assortment of wedding food littered all over emanating from his mouth, and recognized a flake of meat nested in his beard that I had already cut for him maybe an hour earlier. He had spent the past three visits requesting different parts of the cut; the medium cooked side, the medium rare cooked side, the strands of debris and fat I had set aside. Each slice caused the juices to leak out onto the cutting board in splotches and squirts. All of this had left me with grease running down my forearms into my gloves and a stained apron. It was the fourth visit that earned him the title of bastard.
“This piece is too dry”,
he yelled over the music after a bite in front of me.
“Another one.”
I took a fork and stabbed the two prongs in, bathing another slice in the brown puddle as best as I could.
“Don’t be shy,” he said, “get it in there. Put’cha elbow grease into it.”
There were six people waiting behind him when I handed over the second slice. In one fluid motion, it went from my fork to his plate and into his mouth, all for his voracious chewing to spit back on my face, the lukewarm grease assaulting my eyes with spices. The droplets landed and latched on to the centers of my irises with random precision. I shut my eyes only for it to all seep into the folds, a sting of a thousand angry cattle stampeding into my sight. In a stunned frantic moment, I watched the blade dance out of my hand in a swift crescendo of movement, jumping beyond the heat lamp’s light. I paused it in my head for one second, the stains against the shiny blade gleaming under party lights. As if defending me in retaliation, the knife sank itself into the neck, spilling back out the heap of brown before my feet, blasting out a fire hydrant of muddy water. I stared in terrored awe as the flecks of meat fell from the beard to his mouth spraying gasps choking on words. The knife worked its way down the center of his body, gushes of the grease pouring over the carpet. His skin unfolded, creases and crevices and flabs spread like a rounded sheet.
When it was all over the organs laid flaccid on the floor. The wedding continued on as the body’s stains were swept away into a dust pan.
It was determined to be a freak accident. I never suffered anything for it. Not a single lecture from the chef. We shared a cigarette after, the tobacco replacing the taste of juices in my mouth. I told myself to be more careful with my cuts. You can’t cut along the grain, otherwise you’ll dry out the meat.
“Woman Stuffed In A Kitchen”
Kalena Myers
This life is a cluttered kitchen, smelling faintly of dirty socks
Dirty socks stuffed in a casserole
Dirty socks stuffed in a kiss
Reminiscent of the stolen salt shaker from a restaurant on Magazine
So now we make crime pasta, crime sausage, crime sex
Salty tears stuffed in my throat
Just out of reach of Mother’s arms
Think about poems to pass the time
Think about buzzing flies at the windowsill and words not written
Poems stuffed in a life
Poems stuffed in a lie
Poems stuffed in a half-full salt shaker
Poems stuffed in a pie
And the most devastating thing is to cook something sweet
Like a strawberry cake
Equal parts laughter and salt and dirty socks
Because the kitchen is too full for cake
This must be a therapist’s key to madness
The crusted microwave where we find musky finger sandwiches
Ham and flowers and dirty socks
Daisies stuffed in a sandwich
Psychology stuffed in a woman
And all beautiful women maintain art
Glossed lips, red pepper, crushed spirits
Life stuffed in a kitchen
Life stuffed in a knife
Casual meetings in the frozen food aisle are not enough to satisfy
A tolerance to whiskey is more accurate for measurement
Three shots to find your soul
In this mess of a kitchen
Crayon stick figures on the refrigerator tell us who we are not
Crayons stuffed in the sunny eggs
Crayons, salt, eggs, cake, socks, flies, kisses, women, knifes, whiskey, souls
Sizzling like dreams in a frying pan
fay
Tiersha Faith Laird
Metal rod sculpture (arc welding)
“The Potato Eaters”
Abbey Hebert
it is possible to look at art and hate it.
van Gogh’s pain birthed five figures
who never look one another in the eye.
dark green hues excrete from the walls,
skinny hands perform favors
for the figures next to them, and a light
shines dimly between the potato eaters.
shadows dance on tired wrinkled skin
and into wandering eyes encrypted with longing.
as the light dims and stares ramble into cheeks,
no one notices the potatoes growing cold.
looking up
Tiersha Faith Laird
Iridescent watercolor and pen on paper
“Mississippi”
Emmory Bridges
Where will this river spit me out?
My mamma’s feet are soil-soaked,
a slipper-shaped army of dirt
circling the bank’s edge from her rounds.
My father’s house is a deck of cards
held against his ribs; he trades them
for sassafras roots and good stories.
My sister is mapping
the distance between
a puddle and the constellations.
My teacher pours wine for
every pattering god that passes by
the storm drain he molded into a church.
My friend stuffed a tree with fire,
let her laughter pluck it out,
and lives in the pile of fallen leaves.
My neighbor washes her hair
in a barrel and stays there, like one day
she will wake up wearing a new face.
I am dripping with a swampy quiet,
clinging to the belly of a watery beast
while it hunts and grows and spits
and loves. Maybe I will end up
on a peach pit, swirling in the grass
until a tree cracks open the ground;
or maybe a bird will scoop me up,
cradle me in its beak while swooping
over the river, letting me wave
to every single hand I have held.
a growing love
Tiersha Faith Laird
Acrylic and oil on canvas
“Along the coast of the most beautiful city in Honduras”
Angel Martinez
The bus dropped me off at the beach on the coast of Tela shortly after eight in the morning one day in late April. Dense clouds hung on the horizon, threatening rain. I sniffed the damp, salty air, feeling a familiar churning sensation in my stomach at the prospect of a walk.
How beautiful all this is! I thought as I walked along a path between dunes that, in just four kilometers, would take me to Triunfo de la Cruz, a black tourist village that bears the old name of Tela. The water was felt everywhere: in the river that flowed towards the sea, in the immense ocean, and in the sky, which, in the form of rain, began to fall persistently: water, water, water. The aquatic sensation was intensely stimulating. At the height of Los Cocalitos beach, the first human figure appeared in the landscape. A surfer in his wetsuit was advancing purposefully towards the sea, board in hand.
On the horizon line, the sky had turned an inky color, while the enormous expanse of water was acquiring somber green-gray tones and a suspicious calm that contrasted with the whiteness of the waves breaking on the shore and the gold color of the sand. The surfer stopped a few meters from the beach and remained motionless for a few minutes as if considering the situation. Then I realized that I had inadvertently reinterpreted Friedrich's beautiful painting, Monk by the Sea, in which, as in almost all the works of the German romantic painter, a human being from behind is absorbed in the contemplation of a nature that overflows. The trip could not have started better.
In the downtown area of Tela was the school where I spent around five to eight years.
During those years, the city was limited in my horizon to being the place where there was only a supermarket and the terrace of the "Café del Teatro," where young people and their motorcycles would gather, land that was still off-limits to me and my schoolmates. My memory was also linked to the rain because it was on rainy days when you couldn't go to the pool or the beach when we were allowed to go in a group to the city to lose ourselves in its narrow streets. My tour inevitably ended in front of a pet shop window where locals exhibited puppies to sell them. In those days the possession of a blond cocker spaniel seemed to me the most precious on earth. One day I witnessed, from outside, the sale of a cocker spaniel puppy. He gave it to her, who lovingly welcomed it into her arms. The happy trio left the store and got into a car as the couple chatted animatedly. I watched them walk away enviously, wondering if I would ever know that kind of happiness.
Tela was the first town founded by the Spaniards in Honduras. The city was founded on May 3, 1524, by the Spanish conqueror Cristóbal de Olid. Tela is a city where the water is felt everywhere. Two majestic rivers, El Lancetilla and El Tela, cross the city and divide it in two; New Tela and Old Tela, linked by beautiful bridges. Until the 20th century, the town was covered in canals that served as shipping and trade routes. Old Tela was the city's first civilization area, where companies started their businesses, and people started settling.
The first thing I did when I left my backpack at the hotel was to visit Old Tela, where my old catholic school is. There is the same church, the same playground, and the same swimming pool. I left the school behind and entered The Boulevard neighborhood. The single-family houses, each with a careful and exquisite garden, were still as beautiful as I remembered them. The sun shone as I toured the small utopian city where I had lived my first years. At that time of the morning, there were hardly any people in its streets. As I returned to the center of the city, the clouds were piling up on the horizon, threatening rain. The threat became a reality, so I took refuge in the Cathedral of San Antonio de Padua, a beautiful 12th-century building made of wood eroded by the sea breeze and the rain. I explored the church inside while admiring the big glass windows, the old wooden altar, and the choir podium where I used to sing years ago.
I spent the rest of the afternoon wandering through the narrow streets. As I walked, I realized how much the city had changed. It was no longer the city with only one supermarket that I remembered from when I was a child, now it was a mini-metropolis with a wide variety of stores and many people doing their daily shopping.
After that, I ventured into New Tela, where my grandfather's old house and most of the neighborhoods where locals live today are located. New Tela is also home to an old building that used to be the home of the Tela Railroad Company.
Between 1860 and 1900, the economy was based on the cultivation and production of bananas. By 1912, the government began to give concessions to nationals and foreigners who wanted to promote the local economy, thus starting the country's significant era of banana companies. During this time, the small town had a time of great splendor when the banana transnational, Tela Railroad Company, had its headquarters here. Starting in 1912, the company generated 80 percent of the jobs in the area and was even the city where the American embassy was located. In 1930, with the company's transfer to the Sula Valley, Tela faced severe unemployment problems. In 1976, this company returned the land it occupied to the government. After the disappearance of the Tela Railroad Company, the small town fell into a lethargy from which it has begun to awaken in recent times.
I kept wandering around the neighborhood area of the city. At that moment, a memory from when I was a little kid captured me. I walked to my grandpa's house, coming back to school, admiring the wooden houses built at least three meters from the ground- this was expected back in the day in the fear that the rivers could cause flooding during a storm.
I walked in the neighborhood's narrow streets as the night breeze approached, and soon after that, I was in a Garifuna neighborhood. The Garifuna are a people of mixed free African and indigenous American ancestry who are indigenous to the Caribbean island of Saint Vincent and speak Garifuna, an Arawakan language, and Vincentian Creole. The Garifuna are the descendants of Arawak, Kalinago, and Afro-Caribbean indigenous people. Along the bay of Tela are several Garifuna villages, and many of the most interesting in Honduras are found here. The night approached, and I decided to have dinner in the Garifuna neighborhood, which serves seafood in its style with natural juices that always excite my palate.
Since this was an expeditious trip, and I only spent one night in town, I returned to the city. I couldn't leave Tela without trying its famous chocolate. Given the wide range of delicious places, I decided on "Chocolate en Casa" because I liked the sound of that name and how it translates to "Chocolate at home." And also because in his advertising, I had read that "a warm welcome awaited me in its tea room, decorated with mirrors and stained glass from the 19th century, where you could taste their famous hand-whipped sparkling chocolate on rose-decorated Limoges crockery."
It was a delight to leave the humidity of the streets and sit at a small table among the large clientele of families with children, ladies with their dogs on their laps, and lively groups of friends having a happy snack. The service did not disappoint me. Shortly after I sat down, a steaming cup of frothy chocolate was placed on my table, a jug of more chocolate, a small container of cream, a jar of water, and a glass with a delicate white napkin. The sin was topped off with some delicious toasted brioche bread with butter and jam.
It's interesting how we always stick to our roots without missing them. I was home, I was back, and although nothing was like before, the feeling of pure love for my hometown was still there. Home is always home, no matter what, and being back gave me the feeling that everything is going to be alright, that all my problems will one day pass, and that my city will always be there for me.
The Sandbox
Kalif Cooper
Photography
“Ebony Sky”
Ahnia Leary
*Inspired by “The House Slave” persona poem
Sometimes I hear my mother whisper to me from the ocean.
She fills her wounds with the salt of my tears,
Births me into bondage with hip cracking devotion,
I will yearn for her presence for the rest of my years.
Black bodies beaten, bloodied, bruised, and broken,
Clothed in chains covered in rust,
Our children on display to be sold like tokens,
Worked until our bones wither away into the dust.
Who saves the pregnant woman of the cold plantation?
It’s now my turn to bow to the labor that gives life,
Who am I to enjoy the product of my creation?
The only baby I can hold belongs to the slave masters wife.
And so repeats the tale of centuries,
Grief becomes numb to the passing of time,
Children growing up without their mother’s memories,
The path to reunion rooted in the stars that we climb.
Sometimes I hear my mother whisper to me from the ebony sky,
She says, “I never left you, I never will”
Her words caress my spirit, that which never dies,
I lay my head on the wood of the cabin, and finally, I am still.
Fallen
Morgan Love
Photography
“The Last Fourth Of July Of My Childhood”
Kalena Myers
i stood at the edge of desolation in my shimmering mirage
of a black dress far too big
for the twelve year old it contained wiping my sweating hands
on the grass floor
in a vain attempt to rid them of silver sparkles it was hot
but there was an emptiness
in the heat a dryness that spoke of your absence
and there were no edges to the silence that remained
no edges to contain my grief
as the sun sank
so while the fireworks screamed to wide-eyed children
of our imagined freedoms i went inside and closed the door
and painted your room so that
even the walls would not remember even the walls would not
be happy
those sky-blue walls that brought with them
your slow death
and now all alone i wait to be swallowed up
by the eternity of this nightmare because i cannot forget
about the heat the fireworks the walls the screaming children
the absence of your arms the degradation of time
there is no way back to the little girl i never was
goodnight new orleans
Lia Appelman
Photography
“Do You Think They Knew We Didn’t Belong?”
Kalena Myers
With our food stamps and
Our baggy clothes and
Our queerness
While we trespassed on their sacred
Green-eyed wealth
It was a dangerous walk
A gorgeous lie
The leaves fell in metamorphosis
And their silver complexion spoke
Of eternity
The creators painted our reflections in gold
But we retained our humanity
We beheld their existence as something
Growing and collapsing
We did not belong to this space
For it was beautiful
And it was grotesque
And when they go home
To their dark and glittering hollows
We are still stuck in this cage
Left with scraps -
Suburban Blues
Kalif
Photography
“Organs”
Blair Law
Everything is backwards
I'm turning inside out
And upside down
I'm shaken and stirred and spilled all over the floor
There's blood coming out of my ears
And yet the world keeps spinning
It just feels like it's standing still
GROUNDING
Katie Rose Hogue
Pencil drawing
“11 Days Later”
Blair Law
11/3
Tonight I dreamt about the deer from yesterday. The one we ate for dinner. It was a healthy buck
but it went down quickly. It never saw me. Didn’t run. One shot to the chest did it in. But in my
dream it was off. The buck had a strange gait when it walked into the clearing, stumbling a bit or
maybe limping. Its face was obscured by the foliage as it drank from the river. I could only see
its body. I took the shot. And fired. But the deer never hit the ground. The bullet had gone
through its flank and out the other side but there was no blood, just white puss frothing and
leaking from the bullet hole. Then I saw its face. Its face was full of holes, rotting from the inside
with jagged bone jutting out. Teeth. Sharp teeth. Teeth for eyes and teeth for nose. Its face was
wet with drool. Those mouths were hungry. It was that second that I woke up and ran to the
bathroom to throw up. I rinsed and rinsed my mouth but even now, I can taste rotten meat.
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11/4
She’s stopped eating since my dream. I don’t know what to do no matter how much I pray. Her
eyes are sunken in and hollow and her skin is pale and tinted gray. She’s developed what looks
like bumps on her limbs and her face. I know I’m not dreaming when I say that they’re growing,
when I saw that sometimes they gurgle. When I say that there’s movement beneath her skin.
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11/5
Last night a dream came to me that she was full of holes. She looked just like the deer, chasms of
rotting flesh on her body, white foam dripping from each putrid crater. This disease had taken
her. There was no getting her back. I love her. But I can’t fix this. But I can save her from what’s
inside her, what’s growing beneath the surface. I won’t let her end up like I saw her last night. I
do this for her. Because she can’t become that unholy creature. I can’t let her be tainted.
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11/6
I’m done. She’s saved, floating down the river now, serene and untainted. I saved her soul for the
greater good, so that she might still go to heaven. I’m sorry my love- but I don’t regret it. I’ll
pray for you so that you might be whole again above.
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11/7
I made sure to secure the house but there must be others. there ar noises now. trying to trick me.
trying to get me to leave this room. leave my House. There’s crying coming from our my old
bedroom. A baby wailng. It won’t work though. i never had a child. i know i didn’t,
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11/8
the cring was in my dream. i wasrunning. i couldnt reach it. my baby’s crib. that can’t be right. i
never had a child. ther is no baby. but the drea. i was running but every step. my bones were
crunchng. breaking under my weihgt. the crib was infront of me but my legs were broken and i
couldn’t crawl fast enuogh, the crying was screaming and my brain couldn’t take it .but then
there was a ringing,so loud that it drowned the crying, it was mercy when my ears began to bleed
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11/9
the crying stopped
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11/10
imstarting to strave buti can hear the noises all around me. theyr calling to me. tricks that play
with my mind, id like to kill them all bt my rifle is in my old bedroom. i wnated to protect them.
i can’t remebmer if i did. it’s starting to reek in here.
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11/11
i fell asleep again. i woke up in the dream to findthat that i could feel moveing beneath my skin.
there were massive sores redgreenrunnyyellow. i was dying. i cuold feele myself rotting.
movingbeneath the sores pushing puss and plasma out of the wuonds. sharp teeth eating me from
the insideout;; they’re going to be the end of me.
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11/12
i haven’t been able to think about antyhing but my last dreami haven’t been able to fall asleep
since then i’m afraid it will be the last thought in my mind when i starve in here. i’m trapped but
i won’t be tricked// they won’t force me out i’m too smart for thatthey won’t get me. i’ll pray to
be delievred from this. my God is one of mercy and i have done nothing wrong. only He can help
me now.
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11/13
she’s come back. every night. right outside the front door. i can hear her whispering to me. she
knows what i did and she knows i am damned. God please forgive me for what i’ve done. i have
to see her again.
MELTING MIND
Katie Rose Hogue
Gouache with Digital Detail
“Missing Person Report”
Marigny Beter
There is a girl missing on the signs at Walmart and on the milk and on the tv
Her parents say she likes then they stop as a woman whispers something to them
She liked
And now there is a girl dead on the tv
And I think she looks like me or she did or maybe she doesn’t or didn’t
No one will tell me
She is dead and she is young or was young or isn’t or wasn’t
They don’t say or won’t say
There is a girl dead on tv who was missing
There is a girl dead on tv who was missing who is now found but not in the way we wanted
There is a girl dead on tv who was missing and I feel like I am her
I feel like I am buried in a shallow grave unable to breathe to move to yell to cry
I can only hear the call of my parents and my friends and the police dogs sniffing above me and I try to scream but the wretched loose earth falls into my lungs until I am silenced
There is a girl dead on tv in the ground behind her job in her house at a party in a bed on the side of the highway in a van in a room in a basement
There is a girl dead on tv who is in pieces who is whole who is missing her hair who is naked who is dressed in new clothes who is propped up who is laid out who is violated who is sold who is toothless who is barefoot who is bruised who is bloody
There is a girl dead on the tv who used to be missing
Waiting for a Miracle
Kalif
Photography
“The Battle of the Yellow Carnation”
Liam Patrick Dalton
The words have been said
The lies have been told
Shots exchanged and taken in
A million plans made, and a million plans erased by deceit’s hands.
Each side loads a rifle or a message, equally venomous weapons of choice
With Yellow Carnations blooming on the killing floor battlefield
“Take aim!” Is cried as the die is cast upon the table
Rifles cocked, both sides fire upon the child standing still
From the left approaches the Jester’s army
With a house of cards machine gun tongue to tell
The lies, half-truths, and manipulations as ammunition
From the right marches in the Saviors
White bullets loaded into red pistols flying
To engulf the boy standing still in security
An inch for a mile, and a lie for a smile.
The exchange is met with an offense from the right
Embers of the fire meet in the middle like forbidden lovers
The jester sits atop a crooked throne with a cracked crown
A robe of plastic fur is draped around his pallid figure.
He cries to press on and try for a forgiveness attack
The horses neigh and cry as the crown falls below him
Spilling out the roaches and spiders crawling around
The boy standing still reaches his arms out into the clouds
To try and touch the sun or the moon
He’s seen this war before a million times.
He knows the stratagem of the Jester and the Savior
No final die is cast upon the ground as the sides meet
In a crawling finale of words and bullets flying forward and then back
The Jester’s crown has broken and the Savior is wounded
Both sides retreat as the clouds open up their gaze
The boy standing still sings a simple tune.
As he walks across the scorched ground
Buried in yellow carnations and half-baked promises
The boy standing still sits down on a log and ponders what it means
To fight the battle of the yellow carnations.
Is it to slash the throat of a lie?
Or is it to dance upon the chaos of dysfunction?
Can you find beauty in desolation or is it just an illusion?
LUCID LOVE
Katie Rose Hogue
Acrylic Paint with Digital Detail
“Mexican”
Estevan Jorge
The experience of the man who can
Not in his motherland but in the nation under God
As the stars twinkle silently in a city of promise
with opportunities ahead, just for the price of your arm and some legs
At the cost of swimming past power hungry river
At the cost of claustrophobic cramping, to get past the money hungry migra
At the cost of stretching relationships like powerlines to phones he didn't have
At the cost of 50 dollars to the coyote, an extra 400 pesos if you have a kid
Time and time again his trek north ends
with a snake in his hand, he once returned to his motherland, greeted with open arms
then he returned to open arms and eager handshakes
He now returns to turned backs .
From the land he was created with
to the land he helped create
It is now the land he has no stake in
From the land that tilled for him and his
to the land he tilled for his and theirs
It is now the land he doesn’t know
As evident as the wind that blows, the grass that grows,
history is not repeated, only erased.
“My Grandmother”
Kalena Myers
Mediocre Mexican food has never been as good as it was
this summer in Rome, after a month of pasta.
It was just -
spicy.
Did you know? In Rome, there are cathedrals
everywhere.
It’s all quite Catholic.
Anyway,
I saw your eyes in this homeless man sitting outside
a church, begging, unheard by those walking
out of prayer.
I don’t know why. It was something about
his gray face -
tear streaked,
desolate and holy and tired and still reaching.
Don’t think about death.
Think about the profundity of spicy Mexican food in Rome.
Think about the Catholics taking over;
all those churches that came from
nowhere.
Don’t think about death.
“Who Lives”
Kalena Myers
We cannot catch up to the past
Chasing death in this life
And our anxiety overwhelms us
On the kitchen floor
And in the metro station
Answering the teacher’s question
What is the root of fifty-four?
What were you like as a child?
How often are we convinced
To stay in these bodies
Analyzing the politics of
The gap between our thighs
And the texture of our hair
This existence together is not casual
But we have failed
In these twenty-seven years
To find ourselves again
Standing in the puddle in our yellow boots
Splashing up water into the sun
inner war, inner peace
Abbey Hebert
Acrylic painting on canvas
“(Note)”
Matthew Manzella
I’ve seen you paler
but i haven’t seen you
breathing like a dying train.
I’ve seen you naked
but I haven’t seen you
bathed in your own vomit.
I’ll find you there again if i have to
throw your head over the toilet
pour water down your throat.
I’ll read what you left,
find empty answers, and
ponder on it like a blind child.
“Immediately After a Fight with My Mother”
Abbey Hebert
The bottoms of my shoes and the sidewalk exchange sweet nothings
I trail through a path in my neighborhood forest and
a bird chirps on a nearby branch,
a shriek I confuse for a moment with my mother.
Looking up, I see the bird resting in its nest looking down at me
Its beak, I believe, is what beckons me to climb the tree
for it reflects the sun and places a spotlight directly on my feet,
the feet that have just abandoned my mother at home.
I start climbing.
My hands grip at the tree’s strong branches and
my feet continue to find solid stepping stones until
I finally reach the branch the bird is rested on.
Upon the sight of me, it flutters its wings as though
wind has just passed through its feathers.
Its brown coat blends with the neutral tones of the tree,
yet I find it stunning anyway.
The bottoms of its feet and the bark on the branch exchange sweet nothings
as its small, twine-like feet hop over to my lap.
My hand slowly makes its way to touch the wings,
yet the bird, unsettled, flies away.
It trails through its own path in its neighborhood forest.
I stay on this branch staring at the nest,
finding myself at peace knowing eventually it will return home.
A wind rustles the leaves of the tree,
and I finally understand my mother.
Hummingbird’s Anointing: For Barbara
Ahnia Leary
Acrylic paint on canvas
Curve I
Myranda Cook
Graphite on paper
Curve II
Myranda Cook
Gouache on paper