Amen – a poem by Michael McNerlin Jr.

Amen

The white flag waves, after we come to the end
of what we don’t know what to say—amen.
We have said our piece, and our trouble too,
and You know better than we, what we meant to say.
“So be it.”—So be what? So be all that I’ve asked or said?
If that is the case, then I am the master and You the genie.
A heresy—nothing could be further from the truth.
You take no commands, and in no ways are You bound.
Amen. It is not the exclamation at the end of an imperative,
instead it is the little hand that reaches up
to take hold before crossing the road.

Michael McNerlin Jr. is an emerging poet from the Jersey Shore. His work is rooted in the numinous and explores how profound theological truths manifest themselves in unexpected ways. When he is not musing on how best to articulate the Summum Bonum, he is the grateful pastor of a small church in Wanamassa, New Jersey. He currently spends his nights holed up in his study working toward his first poetry collection.

The Infamy of Love – a poem by Philip C. Kolin


The Infamy of Love

The air turned purple, cubicles of flesh
opening into an amphitheater of taunts;
a desert crown, a kingdom of jeers;
the postulator of equivocation mouthing
the infernal alphabet of concessions.

Strewn palms in a field of lilies,
a tau cross emblazoned with light
become slivered shame drug across
stones once bread, the infamy of love--
ruby droplets, weeping canticles,
shattered bones, a bosom ripped
from its frame.

A mother's woe, prophecy's progress
beyond all telling; a veil imprinted
with the pain of ages, a temple within,
a temple without; a black sun rises
and sets at the 9th hour, gamblers' lot;
guilt, the foul odor of shame; clouds
turned to pyre smoke.

Another's burial plot, the place
where death will die no more;
yet the high priests more
In love with death than life--
"The body was stolen," they scowled.



Philip C. Kolin is the Distinguished Professor of English (Emeritus) and Editor Emeritus of the Southern Quarterly at the University of Southern Mississippi. He has published over 40 books, including twelve collections of poetry and chapbooks. Among his most recent titles are Emmett Till in Different States (Third World Press, 2015), Reaching Forever (Poiema Series, Cascade Books, 2019), Delta Tears (Main Street Rag, 2020), Wholly God’s: Poems (Wind and Water Press, 2021), and Americorona: Poems about the Pandemic (Wipf and Stock, 2021).

Trappist Woods – a poem by Daniel Skach-Mills

Trappist Woods
Before Vigils

Can you take the leap of faith
that this deer’s moonlit eyes are God?
Otherwise, how many dark nights will find you here,
wandering woods between the hermitage
and monastery at four a.m., praying
for what’s right in front of you?
This whitetail’s two wide-open answers
to Saint Benedict’s question: What do you seek?
become obvious, once you realize
there’s nothing out there to find
that isn’t already God, already You.
And that includes the nightjar,
and the Eastern Whip-poor-will.

What to do, then? —when, for so long,
we’ve gotten it so wrong— is a dilemma,
our I-think-therefore-I-am,
subject-needs-an-object
world
eclipsing our moon-wide-illumined eyes
from seeing deer, Deity, and planet
as ourselves.

Contemplative life—
hard to describe really, except as what it isn’t:
Via Negativa. Negative Way. What can be said,
spelled, spoken, named: too small to be ineffable.
No two-ness, either. Flower not foreign to fragrance.
Star not separate from shine. Humanity
undivided from Divinity.

What you want, what you’re after is pond:
a natural contemplative, reflecting what is.
Julian’s hazelnut vision too, perhaps, all creation
like a kernel, oned, held, loved, inside Mystery.
Wholly here. Holy Now. Holy Darkness.
Unknowing transcending certainty.
No burning bush, no bell. Only heaven
giving you stars to count on, owl-song
for your compass crooning through trees.
Your life, your love planted
in understory-cloisters so ancient,
what but Silence could pronounce
the wordless vows of stability
centuries take to root here?



Julian’s hazelnut vision: Described in her book, Revelations of Divine Love by Julian of Norwich (1342-1416 CE).
oned (or oneing): Julian’s terms for a process that leads to profound oneness, beyond mere intimacy, with the Divine.
vows of stability: Trappist (Cistercian) monks take a vow of stability to the community/place in which they live.

A 2026 Pushcart nominee, Daniel Skach-Mills’s poems have appeared in numerous publications, including: Pensive Journal, The Christian Century, Sojourners, and Sufi (Featured Poet). His book, The Hut Beneath the Pine: Tea Poems was a 2012 Oregon Book Award finalist. A former Trappist monk, Daniel lives with his husband in Portland, Oregon, where he served fifteen years as a docent for Lan Su Chinese Garden. He was diagnosed with stage-four lung cancer in 2024.

Music for Tenebrae – a poem by Tony Lucas

Music for Tenebrae

shadows of a ceremony -
rarely enacted - haunt the culture
seamless robe of balanced voices
moving down the diatonic stair

winds and birdsong all fall silent
skies leach their colour westward
the nasal plangency – astringent
signifies exquisite pain


a solitary bird is flying
fast and high against the blue
whether some herald of deliverance
or the fell hawk coming for a lamb

pick up a corner of the veil
if there is blood it should be washed
not with your tears but rather with
the grace of mordent harmonies

winter takes toll on chantry walls
after the rinsing of spring showers
snails move in damp grass slick
as sweet agonies of passiontide


entering that velvet darkness where
the final candle burns - a black shape
like a wing - high up a pillar
under the clerestory beats

on the dim-lit belly of pale stone
moving against a harmony
of soaring voices – yet dispersing
as their final chord resolves



Since retiring from parish ministry, Tony Lucas continues with writing and spiritual direction. His poetry has appeared widely, on both sides of the Atlantic and he is working on a new collection, to add to those previously published by Stride and Stairwell Books.

A Spell for Banishment – a personal essay Harper N. Shaw

A Spell for Banishment

To banish a demon, one must name it.

Last weekend, I attended my 20th college reunion. But it was more than a reunion—it was an exorcism, a reclamation of a sacred space that had been defiled.

In college, I was sexually harassed for two years straight by a (wrongfully) trusted mentor. Like most predators, this professor would probably deny that he did any such thing. He never tried to kiss me or grope me, he would protest. He never demanded sexual favors in return for grades. Never mind that he strongly implied that I should have given him somethingin return for writing my letters of recommendation for graduate school. And never mind that he gave me a Valentine’s day card professing his love for me. And that, when he bought me an expensive dictionary as a gift, and I awkwardly stammered my gratitude for his friendship, he said, “Oh, Harper, we’re more than friends.” Never mind all that.

I didn’t know what to say when he gave me that dictionary, but I had also long since learned that saying something wasn’t enough. This professor had pressured me go to lunch with him at the faculty club almost every week, to the point where some of my acquaintances began asking me if I was dating him. I had tried to say no to these lunches—hadin fact said no very explicitly—but he had just laughed and waved his hand and said, “Oh, now, don’t be silly. Come on, let’s go.”  

At the time—as a 20-year-old perfectionist raised in the conservative South—I didn’t realize that I could have kept on saying no. Or that, when he refused to respect my decision, I could have walked out the door. I could have dropped his classes. I could have changed my major. But I didn’t know any those things were possible. I had told my friends what was happening, and they were horrified on my behalf, but they didn’t know what I should do, either. And I had told my parents, but they just told me to keep my head down and push through the discomfort for one last year. He wasn’t doing anything that bad, after all.

I have long since forgiven my parents for this failure—the failure to raise a raging storm on my behalf—because they are also deeply loving and supportive human beings. But for twenty years, I found it impossible to forgive this professor. Forgiveness felt like an excuse, an exoneration. And even more viscerally, I could not forgive him because I was still afraid. Afraid of him, yes, but even more afraid of myself: my anxiety, my tendency to freeze, my sense of utter powerlessness.  

So, I avoided my college campus because I dreaded running into him there. What would he say if he saw me? Would he wave me down and smile and make oblivious, meaningless small talk? Would he scowl at me, fully aware of his transgressions, defying me to label them? Would he think of me as a former student? An ex-girlfriend? A ticking time bomb? And I certainly didn’t know what I would say or do in return. Maybe selective mutism would overwhelm me, as it sometimes does when I am deeply upset. Or maybe I would scream: “You are a twisted, evil, disgusting troll!” and he would call the campus police on me. Or maybe I would vomit on him, which would serve him right.

In any case, I moved to a faraway city and pretended my college didn’t exist. I avoided all thought or mention of this professor, as best I could, but it didn’t help that I also became a professor in the same general field. It meant that I sometimes saw his name in a book or article, and it would punch me right in the gut. One time, I never submitted a book review I had agreed to write—never even read past the front matter—because the author thanked my abuser in the acknowledgements. Another time, a colleague mentioned his name at a conference dinner, and I began shaking violently. “Please don’t mention that name in my presence because he is a fucking creep,” I said. The dinner conversation sort of dried up after that.

I hated him, and I could not forgive him, and his memory stuck in me like a black locust thorn. For decades, I meditated, prayed, sang, chanted mantras, lit candles, took nature walks—all with this black locust thorn in my heart. I always struggled on the Day of Atonement, not because I had sins that needed forgiving (which I did and do, of course), but because I myself could not forgive. What is a Day of Atonement without forgiveness? I finally gained some relief when I assigned that enormous task to God, whoever or whatever that is. Let God forgive him, if God wills—to forgive is divine, after all, and I am only human.

Perhaps paradoxically, I eventually discovered that anger was the key to dislodging this black thorn. Anger and a fierce, fuck-you kind of defiance that has been difficult for me to access in my life. Don’t get me wrong, Prozac helps, too. But in addition to prescribing pills, my psychiatrist helped me connect the dots from my repressive Southern upbringing, a molesting babysitter, a sexual assault freshman year of college, these two straight years of sexual harassment, and, later, an emotionally abusive partner. She taught me to identify the deep pain that leaked out in nightmares and unexpected phobias—fear of flying, heights, bridges, highways, sunburn, dish soap. If I was going to get out of this psychic vortex, I had to learn to access my voice. I had to learn to access my anger. Fawning and freezing and fleeing had not helped me. I would have to fight.

So, I made plans. I suggested to my best college friends that we attend our 20th reunion. (Actually, it was my 21st reunion—look at me breaking the rules). In my heart, I held this vision of the reunion like a candle: me, in a sparkling party dress and ferocious Doc Martens, stomping up and down the hallway of the humanities building, burning purifying sage and clutching a black crow feather to symbolize death and rebirth and freedom. I would stomp through the halls with my friends and my talismans and my terrible, terrible anger—and I would set myself free. Maybe professors would pop out of their offices and scowl at the ruckus I was causing. Maybe the burning sage would set off the fire alarm. I didn’t care. Let them scowl and wail. Fuck the expectations of quiescence and compliance that had left me vulnerable for so many years.

When the day actually came, it wasn’t quite so dramatic as all that. But it was good. I set foot on a campus that I had avoided for more than 20 years. I met with old friends in the college quad, where we drank cheap beer and visited our old dorm rooms and reminisced about bygone times. We toured the campus, where we discovered that the student pub still smells satisfyingly of pizza grease and spilled Natty Light, even though it tragically no longer sells beer by the pitcher. We marveled at how young the students look, as middle-aged people are wont to do. We entered the nondenominational chapel, with its breathtaking gold mosaics glittering in the lamplight, just as the sun was setting, the perfect time to say a silent prayer.

And then, in the falling darkness, I went to the humanities quad with one of my best friends. I hugged the old tree growing there, a twisted live oak I used to sit with while I meditated upon Martin Buber’s I and Thou. I was so glad it was still there, my old companion. And then we went inside—into the heart of darkness. But our minds do funny things to protect us, don’t they? I had daydreamed about this moment for years, and I had nightdreamed about it for months. But my brain had completely blocked out which doorway actually led into the humanities building. I first led my friend through an adjoining doorway into the languages building (where to be fair, I had also taken many classes), and I stomped through those halls, fists balled, ready to fight a metaphorical fight. I went in several more doors, all leading off the same quad, until there was only one door left. “Um, I’m pretty sure that one is the humanities building,” my friend said.

She was right. She opened the door, and my adrenal system shouted, “Don’t go in there!” as though I were a cheerleader in some horror movie. When we entered the building, my heart rate spiked; when we went up to the second floor, I began to gasp for breath. We walked down the empty hallway, and I saw the familiar names of other professors—so many of them were still working there, 20 years later, wrapped tight in that ivory embrace. I squeezed my friend’s hand harder and harder, like I used to squeeze my mom’s hand during an airplane takeoff.  And then we found the door with the dreaded name. I cried. That had certainly not been part of the plan. But it turns out, tears are as cleansing as smoldering sage and as freeing as a black crow feather.

When we left the building, my friend handed me a pen and paper. “In case you wanted to write something down. And then we can burn it, or rip it up, or bury it, or whatever.” This is what I wrote: “[Name Redacted], you should not have sexually harassed me. It was wrong. I forgive you.” I named him, and I named what he did to me. I named the demon, and I banished it. I ripped the paper into tiny pieces and sprinkled them at the base of my Martin Buber tree.

I am not afraid anymore, not of him, and not of myself. That’s what this trip was really about. It was not just a reunion with my classmates. It was a ritual conjuring of my frightened, silent 20-year-old self, so that I could whisper in her ear, “Don’t worry. This place does not belong to him. It belongs to you.”

Harper N. Shawe (she/they) is an author of fiction and creative nonfiction who centers the stories of women, LGBTQ+ folks, and other marginalized groups. Their writing is inspired by a multi-denominational spirituality and a love of nature. They live near Philadelphia, PA with their family and their tabby cat.

To the Cobweb Connecting Two Hands at the Eighth Station – a poem by Christina Ellison

To the Cobweb Connecting Two Hands at the Eighth Station

The spider that made you
had no idea of the implication
of connecting the carved, outstretched
hand of Jesus, mid-Passion,
to the wooden weeping women.

The figures were created to be apart,
an uncloseable gap between God
and man, and yet, there you hang,
fingertip to fingertip, the occasional quiver
from an air conditioning vent,
defying what was thought to be predestined,
achieving what even Michelangelo
didn’t dare achieve. 

Christina Ellison is a writer from Texas. Born and raised north of Houston, she is currently working among the cornfields of Nebraska. She is a fiction editor for Iron Horse Literary Review and New American Press, and her work appears in journals such as fifth wheel press and Hyacinth Review.

I Know You’re There – a poem by Mary L. Serantoni

I Know You’re There

Palms, oleander,
bougainvillea
sway and rustle.
High intensity winds
are finally commanded
to embrace the calm --
leaving trees,
branches, blossoms
strewn across
streets, roofs, lawns.
Walking through abstract
performance piece of found objects
curated by a higher power,
gives pause.

Monsoon made its way here …

Mesmerized by sky,
I stand at the shore
admiring
billowing puffs
of opalescence
gently pushing
against
thick dark cloak
swollen with storm.
There’s an opening
in the clouds,
shimmering
with streaming light.
I squint hard --
to see
if you
are there.



Mary L. Serantoni is a poet based in Arizona, originally from Chicago, Illinois. Her work appeared in Poets for Science, Farraday Newsome: Memento Vitae, My Body Is Your Nest, and Museum of Northern Arizona’s ‘Poetry Maps’ exhibitions (2024, 2025). She holds a BA from Chicago’s DePaul University, and is a member of BMI and a Poetry Workshop through a local nonprofit.

Invitation – a poem by Carol Krause


Invitation

Take my hand.
I know you are frightened.
Can't you see we are all losing together?
We might as well love one another down to the root.

Carol Krause is a poet who writes love letters that can only be deciphered in the dark. Her poetry explores madness, mystical mishaps, and unexpected mendings. Carol’s writing has appeared in Arc PoetryRoom, and Soul Forte, among other publications. Her debut poetry collection, A Bouquet of Glass, is published by Guernica Editions. You can find her in a cave at carolkrause.ca

Gently – a poem by David Capps


Gently



As a hawk loosed from a headwind,
thunderheads comb the sky’s oyster reefs,
dissipating along the shores.

As you might have rested with my shadow
in the shadow of the hazelnut tree,
teeming intimacies.

As your own hands grafted roots
that drew water like sound under earth,
thoughtfulness lingering

past words and public vigil. Yesterday is now
and many years hence. Children’s faces
float as leaves, butterflies.

Whoever we are, cleaving souls
along the leading edge of the growing block
that is time, accumulating pasts

like beads of an abacus, sliding
one by one across the wooden wire frame,
by whose hand you dimly know,

as fingers pressing silver pieces
villages placed in an infant’s salted bath,
each in recognition of His gift.


David Capps is a philosophy professor and writer based in CT. His latest work appears in Panorama and Necessary Fiction.

Vesper – a poem by Marlene M. Tartaglione

Marlene M. Tartaglione is an artist whose creativity manifests poetry, children’s literature, visual arts. Her work has appeared in presses nationally & abroad. Ms. Tartaglione has won 4 poetry prizes, her work presented at venues such as the Brooklyn Museum, M.O.M.A, New York Book Fair. Her poem, S C A R E B, has recently been nominated for a 2024 Pushcart Prize. Ms. Tartaglione’s M.B.A. studies were conducted at NYU; Ms. Tartaglione also holds a B.F. A. from the Cooper Union, where she studied with poet/ educator/ scholar, Dr. Brian Swann.