Sunday Rescues – a poem by Skip Renker

Sunday Rescues

If we’re already saved, why pray
for someone to throw us a rope,
I wonder as I sit on the riverbank,
watch two deer slip out of the woods
to drink from the shallows, their heads
bowed on this Sunday morning,
revolving ears attuned, as if

downwind from an enemy
or a sermon. I sip coffee
from a thermos, peer down through
clear water at bottom-feeding
carp, prehistoric mouths
scouring the gravel bed.
Not many minnows get away.

The sun slanted through our tent flap
this morning, lifted us out of sleep
and back into the safety of each
other’s arms and abashed apologies
for last night’s quarrel. I smell
broiling trout, my wife busy around
the campfire. Upstream, a gospel

says nobody clambered out of the boat
to venture over water except Peter,
whose feet moved like his teacher’s
until dark wings of panic fluttered
in his chest, death ready to follow
on the heels of daring love, then
the sure grip, the lift from the sea.

.

F.W. “Skip” Renker has recent poems in Presence, Leaping Clear, and The Awakenings Review.  His poems have appeared in numerous journals as well as the Atlanta Review, Poetry Midwest, and Passages North anthologies, and he has a Pushcart Nomination.  His books are Birds of Passage (Delta Press), Sifting the Visible (Mayapple Press), and Bearing the Cast (St. Julian Press).  He lives with his wife Julia Fogarty in the beautiful lakefront town of Petoskey, MI.

Last Stop Merzouga – a personal essay by Susanne Davis

Last Stop Merzouga

Deep within the Ksour Mountains, there exist caves that hold humanity’s secrets. These were the words the Algerian man spoke to my son that afterwards, I would remember.

He’d been studying Arabic in Morocco for six months, my younger son, when at the end of his program we went to meet him for a trip to the Sahara. We took the train from Rabat to Meknes, and got on a super tour bus for an overnight ride south over the High Atlas Mountains. I spent the entire night praying as the bus driver sped around hairpin turns without guardrails. The moon was full and lit the cavernous drops from a height of 2260 meters. My two boys, young men really, slept peacefully behind me with no knowledge of the danger. I knew I wasn’t overreacting when a young mother holding two small children vomited into a balled up blanket from nausea over the ride.

We arrived safely just before dawn in the town of Merzouga and my legs wobbled from residual fear as I got off the bus and announced to my crew that I was the self- appointed guard dog. They laughed, needling me. If I was such a guard dog why hadn’t I anticipated the rough journey and done something to guard against it? It turned out they had each taken a sleeping pill to avoid a sleepless night on the bus. After that, each time a decision needed to be made, or some wrinkle arose in plans, they wanted to know why the guard dog hadn’t done her job better.

A Berber man, dressed in jeans rather than the colorful traditional robes of the other tour guides, met us. He held up a paper with our names so we would know him and he led us on foot, pushing his bicycle along side. He wound his way along the dirt main street and then cut through a dirt alley through the more private buildings to the hostel/camp situated right at the edge of the desert.

The camp was a beautiful structure with a flowing fountain in an open courtyard and bedrooms with cobalt blue doors and elaborate decorative metal work. The guide directed us up a set of steps at the side of the building to the rooftop.

“Go watch the sun rise,” he said. “I must go meet another party.” That party, it turned out, was the Algerian man who spoke words of poetry and mystery about humanity’s secrets. He was traveling with his German wife and their son. The three were to become our companions in the trip to the desert.

But as we waited for the sun to rise, we hadn’t yet met them. Up on the rooftop, there was absolute silence. None of the busy city sounds of Rabat, the capitol city, or the murmuring voices and diesel engines whining on the ride through the Atlas Mountains, or the calls from merchants and guides trying to get tourists’ attention. We watched the sun pour light onto the tufts of desert grass; it was like a curtain rising on a stage, illuminating the dunes and shifting blobs of brown that in a moment revealed themselves as camels, the very camels we would climb onto the backs of for our journey.

I watched the sun rise off the backs of the camels and remembered the last time I had been in Morocco, sixteen years earlier, with my Aunt who had lived there for decades. I felt my aunt’s spirit with us on the roof but didn’t say it to the others for fear they would laugh at me.

After we watched the sun rise, we went to our rooms, napped and then walked back into the little town for lunch. We returned to our camp late afternoon, as our guide had instructed. He and two others had brought the camels to the edge of the desert sand and they beckoned us over.

The other family waited their turn as the Berber guides helped our family one by one onto the camels’ backs. When all seven—we four and they three were mounted, the three guides led on foot, at the front, middle and rear of the line. The camels walked, connected by pieces of rope tied from the tail of one camel to the next camel’s mouth.

The other family spoke only amongst themselves and after Alex’s six months of intense language immersion and rigorous academics, our family made no effort to be social either; we were happy to reunite and enjoy the vista of endless dunes as the guides led us further and further into the Sahara.

We stopped just before the sun set. The party disembarked in exactly the reverse fashion as we’d mounted, one at a time with each camel folding itself to the ground to make dismounting easier. The guides led us away from the camels to the top of the nearest dune and offered to take pictures as the sky lit on fire. Our family stood together, a little apart from the German family as the guides took our pictures.

Then the father of the other family handed his camera to the Berber guide and asked for a photo of the seven of us together. He threw his arm over Alex’s shoulder as if we were all connected and that was how he and Alex struck up a conversation. When Alex told the man he had been living in Morocco to learn Arabic, the man began speaking Arabic to him, patiently repeating and searching for understanding between them because although they both were speaking Arabic, his was the Arabic of his native Algeria and Alex, while fluent, was speaking standard Arabic.

The man told Alex that he had studied geology. He’d left Algeria and now did something with water and engineering in Germany. But he said his life had started in Algeria. Alex translated for us and the man waited for him to finish translating, then went on speaking. The Sahara desert covered more than four fifths of his land, a land he loved. This is what he told Alex, as they looked over the three miles of Sahara desert separating us from Algeria, the two of them standing shoulder to shoulder in the desert. He told Alex that he reminded him of an earlier version of himself.

After a few moments, seeing the rest of us left on the periphery of the conversation, awaiting more translation, the two of them turned back to the group.

The Algerian man pointed across the desert and said, “Deep within the Ksour Mountains, there exist caves which hold humanity’s secrets. If you have ever the chance you must go. But not here,” he pointed across the desert. “This border is closed.”

One of the Berber guides heard him, and spoke firmly, “Yes. Very important. Not here. You must not cross.” He pointed to the Atlas Mountains in the near distance to our left. “Military rangers are posted there. If you try to cross, they will shoot you.”

I looked out over the desert. The mountains rose jagged and dark, snow glowing on the peaks. I couldn’t imagine snipers crouched with rifles trained on the border, or on us.

The Algerian man spoke to the guide. “I remember when the desert was the desert. There were no boundaries, and anyone could cross.”

The air became charged with tension, but the guide said nothing and the moment passed. The Algerian man went on speaking to Alex.

“How old are you?”

“Twenty,” Alex replied. “How long have you been gone from Algeria?”

“Twenty three years,” the man replied. “I am forty-five.” His eyes were full of light and his face unlined. His body was spry and lean.

Someone in the group expressed surprise at his age and he said proudly, “I run to keep myself in shape.” He looked back to Algeria in the distance just beyond the point of the horizon where darkness had fallen.

“1.5 million people died,” he shrugged. “That’s life. I left with my parents and my grandmother.”

“Why Germany?” Alex asked.

“My grandmother hated France,” the man said. “What the French did,” he shook his head. “No good. She would not let us go to France.” His wife stepped close to him then as if to keep him from slipping into dark memories. He took her hand and smiled. “My wife.”

We walked together down the dune to the Berber camp where we would spend the night. A series of rooms had been created with Berber carpets strung on the poles and as flooring over the sand itself. Inside each room, cots set up –for the four of our family in one tent, and three cots in another tent for the German Algerian family. Some native Moroccan college students on holiday shared another tent and came late to the dinner tent, just as the Berber hosts were carrying in huge bowls of couscous and meats that they’d prepared in another makeshift cooking tent. They placed the food on a low table before us and we ate for a few minutes in silence.

The Algerian man, who never gave us his name, waited for us to serve a second helping and then he spoke again. “My brother stayed. He married a woman.” He pointed to himself, “But for me, freedom was the most important thing.”

He must have seen the puzzled looks on our faces because he went on to explain: France had seized his country back in 1830 and during WW I, Algeria had hoped for independence and after World War II, when France’s promise for greater independence went unfulfilled, this became the Algerian war of 1954-62. Then, Algeria won its independence, but from 1991 to 1999 civil war pitted Islamists against the government.

“My older brother married during that time and stayed in Algeria because of his wife and her family. I was always afraid: afraid to sleep alone, to walk to school, even to talk too loud. 6000 civilians disappeared in the night. One of them was my uncle. My uncle had often talked too loud,” he said.

The Berber guide stepped back in then and announced a bonfire. He stared hard at the Algerian man as he shepherded everyone out to the fire. “We will sing you a song and then you may sing one for us,” he said.

We sat crosslegged around the fire, forming a circle. At the end of a traditional Berber song completed with instruments, the guides handed the rattles and drums to Alex for him to distribute. “Your turn to sing,” they said.

We conferred. Strangely, only one song came to mind that we all knew the words of. Off key, we sang John Denver’s “Country Roads take me home, to the place I belong…”

The Algerian man seemed pleased with the song. Every time we sang the chorus, he sang along, encouraging us. He had a good voice. When the song ended, he continued to hum the chorus to himself. A few Moroccan university students came out from the food preparation tent to join. They rolled a joint and started passing it just between themselves. The group broke apart then and headed back to the sleeping tents.

But I could see Alex wasn’t ready for sleep. He walked a bit past the tents, out into the dunes and I followed him.

Fearful of snakes and now the snipers in the mountains, I paused on a lower ridge while he made his way higher, holding his Iphone flashlight out before him. A billion stars lit the night, but still I lost sight of him with the rise and dip of the dunes.

“Alex, come back,” I tried to keep the fear out of my voice. “There might be poisonous snakes.”

He laughed. “It’s fine, Mom.”

I thought of the Algerian man holding his hand to his heart, saying “Freedom. The most important thing.” The snipers in the mountains somehow made the cost of that freedom so clear.

I knew where this was all going even if I didn’t really. I felt the ghostly presence of my Aunt, lecturing me to let Alex go. But, at least for the moment, I climbed the dunes to be closer to him. He was looking in the space between the camp and the border between the countries, not with fear though. He leaned forward, almost as if getting ready to sprint toward it.

As I saw the flaring forth of his passion there in the desert, I knew my time of being his guard dog, if I had ever been, truly, a guard dog, was almost over. Did the Ksour Mountains hold in those caves with their prehistoric pictures of horses and elephants a secret to humanity’s freedom etched into the stone? I wanted to believe so and I prayed that it be a freedom of peace.

At that moment, a shooting star fell across the sky, falling toward the Ksour Mountains.

“Did you see that?” I whispered.

“Beautiful,” Alex said, to let me know he had.

.

Susanne Davis is the author of The Appointed Hour, a short story collection published by  Cornerstone Press (in 2nd printing) and Assistant Professor of Creative Writing at Hope College. She holds an MFA from the Iowa Writers’ Workshop. Individual short stories have been published in American Short Fiction, Notre Dame Review, descant, St. Petersburg Review, Zone 3, Carve and numerous others and have won awards and recognition. Nonfiction has been published and in 2019 named best personal essay by Connecticut Press Club.

(Out)look – a poem by M.J. Iuppa

(Out)look

How do beads of rain
stick to windows?

Each droplet contains eyes
Looking inside of this

room’s confinement.

Outside— spring isn’t
hard to distinguish.

Red-wing blackbirds
bath in a pool of light.

Inside— silence
hums hypnotic.

.

 M.J. Iuppa’s fourth poetry collection is This Thirst (Kelsay Books, 2017). For the past 31 years, she has lived on a small farm near the shores of Lake Ontario. Check out her blog: mjiuppa.blogspot.com for her musings on writing, sustainability & life’s stew.

HereAfter – a poem by Hamayle Saeed

HereAfter

Fissure in the sky and minarets plummet –
Rocket-esque seeds of the Lord’s famed mercy upon us.
‘Do unto others as you would have them do unto you.’
Subsistence lands lay before me, studded and
sprouting – the wheat cracked in wait.
A mirage glistening in a flooded field.
It’s not a desert but – still an illusion.
At times there are torrential rains and
monsoons to write exotic novels about,
Other times the seasons dry out even
the cacti. Pray, the farmers say.
Pray for a Bountiful harvest
And a Joyous Hereafter.
If you’ll fix the Here,
You’ll have an After.
The seasons come and go as they please,
Sacred machinations interlacing invisible
Heavens and Hells far, far above us.

.

Hamayle Saeed is an accidental wielder of the stethoscope with a deliberate interest in poetry. Her work has previously appeared in Papercuts and is forthcoming in Rough Cut Press.
http://desiwriterslounge.net/articles/details/

Lives of the Seraphim – a poem by Nancy Christopherson

Lives of the Seraphim

In Russian Orthodox churches the icons
are sacred. The faithful take candles
and light them to pray for themselves
in their only good clothes. The women
in scarves and heavy woolen coats,
the men with their hats in their hands.
The saints in their beautiful rich robes,
the priests in their flowing white raiments
with sacraments, swinging their incense.
Brass and dim light. Outside, at the top
of the steps leading in, someone trades
icons of saints the size of small coins for
a kopek, each one unique. String them
around your neck later or give them as
tokens to friends and family. The seraphim
will follow you out when you can’t
see them, their silks and their banners
flowing in daytime, their eyes squinting
from too much sunlight. You may
see one or two tears slipping down. They mean
you well and perch in the trees and on
rooftops, cling to bus rails as the cars
honk past. No one will notice, but in these
rounds where the blue smoke
of exhaust makes them cough at times,
they are blameless. Back inside they made
you feel blessed and you could do
something equally marvelous like call
out a miracle. Have the bus miss the car
as it misses the pedestrian as she
dodges the traffic between six unmarked
lanes with her purse slung over her left
shoulder and her sturdy shoes dancing. Just lift
her straight up to heaven like that. You
could do it if you wanted.

.

Nancy Christopherson‘s poems have appeared in Helen Literary Magazine, Peregrine Journal, Raven Chronicles, Third Wednesday, Verseveavers and Xanadu, among others, as well as various regional anthologies. Author of The Leaf, she lives and writes in eastern Oregon. Visit www.nancychristophersonpoetry.com.

The Redwoods – a poem by Heather Sager

The Redwoods

An eye opens, then another,
to the call to prayer
that is the redwood forest
and its found cathedral
of bedazzlement.

An expansion of green tracing limbs
arc over the hidden ocean of sky
while rushing wind through the canopy
tousles my hair and cools the fever
in my brain.

Those huge trees that stand with quiet grace
wear the moss of life.
The redwoods create a dark mystic circle
in which salmon dart in quicksilver streams
and I hear the ragged heartbeat
of my own breath.

.

Heather Sager lives in Illinois, USA. Her poetry has most recently appeared in Sandpiper, The Wild Word, Remington Review, Cacti Fur, Third Wednesday, CircleShow, Ariel Chart, and Northwest Indiana Literary Journal. Heather also writes short fiction.

Mountain Dharma – a poem by Kali Lightfoot

Mountain Dharma

Misery is a given, it’s everything else you came for.
Anne Dellenbaugh, owner/leader of Her Wild Song: Wilderness Journeys for Women

Steep ascent in the first half-mile, before beginners
feel good in their boots, inured to packs. Then the rain
starts. The trail a sudden creek, rocks cased in mud, clay

like sheet ice, weight of the pack a force in wrong directions.
It occurs to me that I carry my pack an hour longer than you
there at the head of the line. Not complaining, mind you,

I like walking sweep, nobody behind to step on my heels.
I stop and look at bits of the world you never see, rocketing along
at the front: a fine mushroom, tiny purple flower, two trees

grown together, or shiny shards of rock—arrowheads perhaps.
Co-leaders we are, but at the back I plod slower than my legs
would like, cheering the walking wounded, becoming expert

on foot care, blister treatment. Our hike explores the dharma
of mountains, and ourselves: intrinsic nature, essential quality,
character. Forty miles to the top of Mt. Katahdin,

you and I as much seekers as the women we shepherd.
We stragglers make camp in the dark, wet is our intrinsic nature,
squirming nylon tent ropes, stakes loose in rain-soaked loam.

# # # # # # #

Blue morning sky struggles from behind thin clouds
as we, damp in our bones, crawl into the sun, walk sleepily
out of drippy woods to our kitchen on a granite ledge

beside a little tear drop pond, trees around us hung with last
leaves of autumn—a surprise we couldn’t see last night,
perfect for our first morning meditation on dharma.

It takes a moment for our eyes to find the moose standing
shoulder deep in the pond, basking in sun, oblivious to us.
She ducks her head, snorts, waggles a bit, splashes water

flashing with rainbows as light shines through droplets flurrying
around her. We stand silent while she grazes idly on floating
pondweed, splashes again, unconcerned with the statues

we have become. Finally she turns to shore, wades through weeds
to scrubby woods, shakes herself and strolls on knobby legs
into the shrubbery, heading off to perform her essential daily acts.

.

Kali Lightfoot‘s poems and reviews of poetry have appeared in journals and anthologies, and been nominated twice for Pushcart, and once for Best of the Net. Her debut collection is forthcoming from CavanKerry Press in 2021. Kali earned an MFA at Vermont College of Fine Arts, find her at kali-lightfoot.com.

 

 

The Stars Above, the Flowers Below – a poem by Janet Krauss

The Stars Above, the Flowers Below

It is a summer night
full into the season
the way the bushes
beside the house
sweep close
in conspiracy with,
yet pushing
against the dark
protecting this structure
blueing into the late hours.
The stars, brushed with haze,
dream for those inside.
So flowers at graves
soften the grey
of granite slabs
and replace the hands
that held those
once warm as a blossom
opening in the morning sun.

.

Janet Krauss, who has two books of poetry published, “Borrowed Scenery,” Yuganta Press, and “Through the Trees of Autumn,” Spartina Press, has recently retired from teaching English at Fairfield University. Her mission is to help and guide Bridgeport’s young children through her teaching creative writing, leading book clubs and reading to and engaging a kindergarten class. As a poet, she co-directs the poetry program of the Black Rock Art Guild.

Me, Dissembling – a poem by Susan Morse

Me, Dissembling

for Pamma

Afraid one of us will tear even more,
right before uttering my final word,
I carefully pocket scissors,
and choose to sit in silence,
thin as a paper cut-out.

How do we move forward,
you and I?

We seem swept down dark rivers of thought.
No rules have been broken, unless
my mindless chattering counts.
We merely grew older, more separate,
attuned to our own delusions of time.

The sky plumbs each fathom
of every star we have ever counted.
We have lost such minutes among the sharp outlines
we tore along the way.

If I could raise you up, would we go
on one wing, the white one?

Let’s say I could take you into starlit waters.
Let’s say we could hover, seagulls on kite strings.
Let’s say I could capture the wide white wing tips
of an ocean, the first breaths of a fine spring.

Oh, then I would blow my breaths of life
to you, refashion all of our regrets!
I would fill your paper silhouette.
Surely the white wing will do?

.

Susan Morse lived in Maine for thirty years, but moved to the Willamette Valley in 2016.   A member of the Oregon Poetry Association, she also frequently reads at the Salem Poetry Project.   Her chapbook,  In the Hush,  was published June 2019 by Finishing Line Press, and she has other poems in publications such as Cream City Review, Willawaw Journal, and The Mom Egg.  

NO DISTANCE – a story by Wayne-Daniel Berard

NO DISTANCE
(for Bill Milhomme)

“I’ve been searching all my life,” Martin said. “Integrity.”

His spiritual director leaned forward. This was just what she’d been working toward. Martin had begun direction at the Center four weeks earlier, just as Lent had begun. At first he had merely intellectualized everything, rationalized his life. “But how do you feel?” his director would ask him again and again. “What are you really looking for?”

“Integrity?” she asked him.

“Oh, maybe that’s not the right word for it, I don’t know,” Martin answered. “I want things — something – to be what it says it is. No phoniness, no fake images.

“I’m not looking for perfection. I know that’s not possible. I’d settle for the least possible gap between what’s said and what is.

“I’ve spent most of my life deeply involved with my Church, searching for integrity, wanting to serve it. I didn’t expect the Kingdom on earth, just for people to mean it, to want to mean it. To take the gospel seriously, not to go through the motions. And what did I find? Careerism. Clerical professionalism, amateur humanness.

“Then teaching school. God, what a joke that was! They call it education, but it’s three-quarters baby-sitting. You can’t tell the truth. You’re expected to pass almost everybody along. And I taught art — watercolor in a riot zone! Still, they’d jiggle the SAT scores, pluck out a survey or two, and pronounce everything rosy.

“And even in my own art. I try. I try so hard to get it right, to close the gap between what I see in my mind, what I feel, and what’s becoming on the canvas. Sometimes I come so close, but . . .

“That’s all I really want. For something to be what it seems, to bridge the gap. No distance.”

His director sat back. “Have you ever seen our art collection?” she asked. “It’s quite good.”

That wasn’t what Martin had expected — it caught him off guard. “No . . . no, I haven’t,” he said.

“I think we’ve talked enough for this session,” his director said, pushing back her chair. “The gallery is down this corridor and to the right. I’m sure you’ll enjoy it.”

If she hadn’t stood at her office door watching, Martin probably would have just gone on home. As it was, he started down the hall a little angry. He had just told this woman what he had never told anyone before. Why hadn’t she responded? Was she belittling him and his search?

In a black mood, he opened the gallery door, and . . .

Pow! The strength and loveliness of the Center’s art nearly overwhelmed him. Never in his life had he seen such beauty all in one place. He had expected the collection to be solely religious, and many of the pieces were. Still, they were unusual. In one corner, Richard recognized a work by the very young Picasso, called “Christ Forgiving Satan,” in another a Durer print of the newly risen Christ as the gardener, a straw hat tipped jauntily to one side of the head.

But there were plenty of non-religious pieces as well, at least they seemed non-religious. Each of them did possess that inner power, that glow. Several of Hermann Hesse’s watercolors were among them, as well as the mysterious Keltic knots and swirls of Deidre McCullough. A shadow so real as to both warm and cool the heart seemed to spread across the stones of an Italian tower in a Tom Martino landscape.

Over against the far wall of the room, Martin caught sight of a particularly interesting painting. He had seen it somewhere before, he thought, or something very like it. It showed the crucified Christ, suspended in dark space above the world. But there was no cross per se; Jesus hung there in space, arms extended, with nails floating in front of his hands and feet.

Martin stared at the painting a long time. It was almost perfect, he thought. He himself had made several attempts at a crucifixion scene — all failures.
The painting seemed to mesmerize him, for as he watched, it seemed to dominate the entire room. It was growing larger and larger — or else Martin was being drawn deeper and deeper into it. Soon — he didn’t know how or care — the young artist was floating right beside the crucified Christ.

He was so close now, he thought to himself. So close. He could feel it — integrity, rightness. It was pulling him closer and closer to itself. “God, finally,” he said to himself.

Still something was not quite right. There remained a gap of meaning, a wedge of some sort between himself and . . .

He couldn’t stand it! He was so close! He put back his head, raised his arms to heaven and cried out loud.

He started to move again. He was afraid to change his position even in the slightest, afraid to break the spell. With arms extended and head thrown back, he slowly drifted about the crucified figure, until the two men were back to back, suspended over the bright earth.

Closer and closer the two pressed together. Martin could feel Jesus’ struggle to breathe; the blood from his scourged shoulders ran down Martin’s back. It was terrible; it was beautiful. It was both together. Together.

And then Martin heard a great, ringing crack and, a micro-second later, a horrible pain flashed through his arm. A nail had been driven through Jesus’ wrist and into his own.

Again, that thunderous sound, and again the pain — in his other wrist, his feet. It hurt — my God! It hurt beyond imagination. But yet . . . there was purpose to it, a reason. No posturing from the cross, no pose. Not a drop of blood was futile; not one agonizing gesture that didn’t lead a symphony of worth.

Martin could feel Jesus’ head turning toward him; he moved his own as best he could.

“No distance,” Christ said.

Wayne-Daniel Berard, PhD, teaches Humanities at Nichols College, Dudley, MA. He publishes broadly in poetry, fiction, and non-fiction. His novella, Everything We Want, was published in 2018 by Bloodstone Press. A poetry collection, The Realm of Blessing, will be published in 2020 by Unsolicited Press.