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Two Poems by Dianne L. Knox

Mow Me Down

He was mowing the ditch, not with a string cutter
but with a heavy mower
as I walked by he felt he needed to explain –
he was shirtless because of this remarkable day

his chest exposed treasured sweat diamonds
sparkling in this unusual sun
his muscles gleamed taut and strong
with his precision lowering and raising
of the blades – cutting a fine green line

I didn’t want to disrupt his concentration
his attention to detail his vision
I was temporary – a moment’s glance
a minor distraction to his work
he was part of my handsome walk

time made glorious with this spectacle of strength
this glistening of light beading on my mind.

Still Can’t Shake Those Small-Town Lost Booze Blues

We used to hide Grain Belt Beer in my girlfriend’s brother’s
’58 pinkish-tan two-tone Chevy Impala that hadn’t
run in years, so we knew our stash was safe.
Bro never let on that he knew our game plan
we knew his that time our booze went missing.

That old car is worth a helluva lot more
than the $400 it sold for off the showroom floor
plus the liquid gold, can you imagine the price?
The good old days were worth their wait
there was no price-tag on our weekend fun.

Wish we had those times back – back when a
six-pack split by six friends would make us happy
cars had sofas for seats, engines and boys took us
from zero to flight before the pedal was on the floor.

Dianne L. Knox, a Pushcart nominee, shares two poems about her life in the Midwest and now the Pacific Northwest. She has an impresive resume including working for a defense communications corporation, owning a small business, practicing and teachign Tai Chi, living in Singapore, and studing poetry at La Romita School of Art in Italy. She is a rabid reader, observer, and listener; she is involved with many creative groups, one being Women of Words, critiquing and enjoying each other’s poetry. She also received Honorable Mention for the 2025 Concrete Wolf Louis Award, published in Cirque Literary Review, Tidepools Literary Magazine, Baamdaad Anthology Afghanistan, and her book, Red Hot Pepper.

Featured image “70 Chevrolet Impala Custom.” Uploaded by Greg Gjerdingen from Willmar, USA to be licensed via creative commons 2.0 via Wikimedia Commons.

A Simple Machine by Eric W. Schramm

A Simple Machine
The noose that was used to hang John Brown is allegedly in the permanent collection at the Massachusetts Historical Society.

Frayed and wild threads
from where the knife tore
the rope from the gallows.

*

Now coiled outward
loop by loop,
then around the slip, tied
to its inevitable end.

Simple machine:
knot and gravity.

A length too short
for the boots kicking to find
their way back to earth.

*

What a curious gesture
of keeping.

This noose is tagged,
catalogued, and shelved
in climate-controlled
suspension of time.

*

Who saved it?
Carried it away
to the future?

Was it to be a warning
of “vengeance
against anyone
who would challenge
slavery?”

Families broken apart
and sold
down to New Orleans,
to the very pit
for fear
that John Brown
was contagious.

Or was it to be
a call to action?
A bell for freedom, say:
“In this very noose,
the Great Prophet
died for abolition.

Gabriel’s trumpet calls
for sacrifice
from sacrifice.”

*

Complexity at the end
of a length of rope,
a noose

its meaning dangles
in time—

this pendulum swings
from violence
to violence.

*

I, John Brown, am now
quite certain that the crimes
of this guilty land

will never be purged away
but with
blood.

*

This machine is always
ready for its labor.

Open-mouthed
waiting for the neck
that the crowd pushes up
those slapdash stairs,

then squared up
on the trick floor
for everyone to see,

to applaud what happens—
for everyone to be
satisfied
of some injury.

*

You may dispose
of me
very easily,—

I am nearly disposed
by now: but this question

is still to be settled—


*

In the morgue
of our troubled histories—

this length of rope
and its simple knot—

fulcrum of gravity
and intent—

this simple machine
still tied to fit.

Eric W. Schramm lives in Ann Arbor, Michigan and works for the University of Michigan. His poems have appeared in Clackamas Literary Review, Great Lakes Review, Passenger Journal, Gargoyle, The Literary Review, The Potomac, and The Louisville Review, among others.

Featured image in this post is, “Kennedy Farmy” by Acroterion, licensed via creative commons 2.0 via Wikimedia Commons. The Kennedy Farm served as John Brown’s headquarters during his 1859 raid on the federal arsenal at Harpers Ferry, Virginia.

Three Poems by Reginald Harris

Untitled: On the Bus

(A) Black men (man) glance (s)
at each other (me)
then quickly look (s) away.

A quick check (-ing out),
a look to size (each other) up
the situation:

friend or foe or neutral (neither)
brother (Family) or enemy,
sane (or high) or not.

Does he (I) know
(or doesn’t know)
(or doesn’t want to know)

what it means to be
(or doesn’t want to be)
a Black Man here.

Mirror or blank wall?
The same or (somehow)
Different?

Does he hurt
(others)?

Does he hurt
(himself)?

Does he hurt
(also)?



Taboo

After
the reading
sipping
Donated Wine
from tiny plastic cups

sampling prosciutto,
celery,
baby carrots,
and little nibbly things
on toothpicks

our small talk turns
to food.
Someone asks:
What’s your favorite cheese?

. I don’t know many cheeses beyond
. Yellow, Kraft, and Gubmint.

I shrug and blurt out
Swiss?

To an awkward silence.

Humiliated
by charcuterie

as if I’d
. shown my paycheck,
. ripped off my clothes,
. told her what I really did over the weekend.

. . Revealed where I grew up.



“All I have to do is Stay Black and Die”
which is easy, I mean just look:

here I am, still one of “Ellen’s Black Children”
according to elder members on that side

of the family

. (of my family?)

The world reminds me
that I’m Black everyday

with furtive and not-so-furtive glances,
stares, empty seats beside me . thanks for that, BTW!

Inhaled breath, hardened looks,
feigned indifference,

Women: Too fearfully apologetic with I’m sorry
. After bumping into me

Men: Too brusquely dismissive with Sorry
. After bumping into me (if they say anything at all)

or just plain not seeing me
when I pass by.

Or

The chin up, the head nod, the softly spoken What up?
is proof of my Blackness.
. Also: when people who look like me
. look at me . as if I were . everything that they too
. have heard about . people who look like me
. is true – . of ME but not of them.

I could go on

. And as for death –
no need to explain how easy that is
to Trayvon, to George, Breonna, Eric,
to Ta’Kiya outside Kroger’s,
Sonya and her lethal pot of water,
dear sweet Elijah,
or even Eleanor Bumpers,
or Henry Dumas.

I could go on.

I could go back further.

I could go back even further.

I could go on.

I could go on forever.

Born in Annapolis, Maryland, and raised in Baltimore, Reginald Harris was a finalist for a Lambda Literary Award for his first book, 10 Tongues, and won the 2012 Cave Canem / Northwestern University Press Poetry Prize for Autogeography. His writings have appeared in numerous journals, anthologies, and online including The Gay & Lesbian Review Worldwide, The Hopkins Review, Poetry, Verse Daily, and the anthologies Gathering Ground: A Reader Celebrating Cave Canem’s First Decade, and This is the Honey: An Anthology of Contemporary Black Poets. He is a Lead Digital Navigator for the Brooklyn Public Library in New York.

Featured image “Baltimore, Maryland’s Domino Sugar Sign At Night.” Uploaded by David Robert Crews to be licensed via creative commons 2.0 via Wikimedia Commons.

Éramos varias mujeres/We were several women by Guadalupe Ángela translated into English by Yael Kiken

The following poem was translated from Zarpamos, a selection of
poems by the Oaxacan poet Guadalupe Ángela, translated from Spanish
into English by Yael Kiken. This is the first time this poems has been
translated into English. Rights have been secured to publish this translation.

English Translation
[We were several women]

We were several women
who had built
vessels out of leather
to heed the call.

The fortress
was arranged in a spiral
and that day they opened
the entrance for us.

We began to enter the water.
Some pedaled, others
used sails, propellers, paddles,
others had gathered so much strength
that they were blowing.

We were going towards the center
where waiting for us was
the bird who would hand down
the word which belonged
to each one of us.

We were in a hurry;
we had lost the
scent of land.

Some preferred drowning
before arrival.
We knew the word
would burn our clothing
but still, we did not want
to waste any more time.

We would have to
take the word gingerly
between our palms
even though its texture
would change us.

We’d left behind
all those
who we had helped,
believing we were their caregivers.

Even though I knew of some
who, after receiving
the word, could no longer
maintain balance
and became so dizzy
they vomited.

It was not easy
because before giving us
the word with its beak,
a man with a wheel
sharpened it
and sparks flew
as we heard a sound
that tickled.

By now I was close.
The bird observed
from its tower
how I anchored
my raft and ascended
the first rungs.
The word in its beak
looked like a yellow flower
and it came to me.

Original
[Éramos varias mujeres]

Éramos varias mujeres
quienes habíamos construido
las naves de cuero
para acudir al llamado.

. La fortificación
. se había dispuesto en espiral
. y ese día nos abrieron
. la entrada.

. Comenzamos a entrar al agua
. algunas pedaleaban, otras
. llevaban velas, hélices, remos,
. otras tenían tanta fuerza
. acumulada que soplaban.

Íbamos hacia el centro
donde nos esperaba
el ave que nos daría
la palabra que nos pertenecía
a cada una.

. Teníamos prisa,
. habíamos perdido
. el olfato hacía la tierra.

. Algunas prefirieron ahogarse
. antes de llegar
. sabíamos que la palabra
. nos quemaría la ropa,
. pero aun así, no deseábamos
. desperdiciar más tiempo,

. Habría que tomar
. con delicadeza
. la palabra entre las manos
. aunque nos alterara
. su textura.

Habíamos dejado atrás
a todos aquellos
a quienes habíamos asistido
creyéndonos enfermeras.

Aunque supe de algunas
que , después de recibir
la palabra no podían mantener el equilibrio
y mareaban hasta el vómito.

No era facil
porque antes de darnos
la palabra con su pico,
un hombre con una rueda
la afilaba y salían chispas
mientras oíamos un sonido
que cosquilleaba.

Ya estaba cerca
El ave observo
Desde su torre
Como anclaba
Mi balsa y subia yo
Los primeros peldaños
La palabra en su pico
Parecía flor amarilla
Y venia.

Author of poem:
Guadalupe Ángela (1969-2020) was a prolific writer and beloved teacher from Oaxaca, Mexico. Her work is part of the anthologies Tres ventanas a la literatura oaxaqueña actual (2005), Oaxaca: Siete poetas (2006), and Anuario de poesía. Her work is anthologized in Zarpamos, which has been translated into Italian and German. Ángela was an integral part of the robust literary community in Oaxaca, organizing frequent readings and workshops.

Translator of poem into English:
Yael Kiken is a professor and poetry translator who has studied literatureat the University of Michigan and Georgetown University and has taught writing in a wide range of settings, including DC and Michigan correctional facilities, DCPS elementary schools, and international classrooms in Honduras and Oaxaca. She currently teaches writing at Howard University and lives in Washington, D.C.

Featured image “Oaxacan wood carvings. Visitor Center art show, May 30, 2015.” Uploaded by Santa Monica Mountains National Recreation Area to be licensed via creative commons 2.0 via Wikimedia Commons.

Three Poems by Brittany Morgan

Ode to Mama’s Mac and Cheese

A recipe passed down
from her Mama
when she was twenty-four
and hungry.

Some kind of tomatoes,
whatever noodles you can find,
and any cheese you have around.

That mac and cheese
fed us all
when pantry shelves
were bare—
when empty pockets
echoed louder
than the rumbles
in our stomachs.

Prayer
answered—

testament
to mouths
finally fed

History

I.
Stories
tell us we’re invincible;
history
reminds us all we’re not.

II.
My people—
mountain people—
work stories into this clay
and weave our memory
into this
hazy Appalachian horizon.

III.
The onion roots
my granddaddy plants
each and every season;
the muddied boots he’d wear,
day after day working
that field—this is what history
will remember about people like him.

IV.
Remember us all
for the songs we sing—all string,
all spirit; remember us all
for everything we’ve given;
everything we’ve yet to give.

Twenty-Nine, And Still

I.

Twenty-eight years spent living
as ghost-child, turned teen, turning
phantom-limb—longing for alignment, for all
my nerve-endings live-wiring themselves to something
greater than the sum
of all my hollowed parts.

II.
Twenty-nine, and still
haunted—still shrugging off past selves. The old,
scratchy, worn winter coats never fitting
just right, just barely
keeping that frost-bitten bitterness outside
my cold, clumsy reach.

III.
And I’m still waiting, witness to all
versions this serendipitous soul holds
to its horizon. But I am getting tired.

IV.
There’s only so much
hallelujah left
in this softening marrow.

Brittany Morgan is a poet and writer who earned her BA in English with a concentration in Creative Writing from Longwood University in 2020, and her MFA in Creative Writing from West Virginia Wesleyan College in 2023. She is also a poetry editor for Heartwood Literary Magazine and is currently at work on several writing projects.

Featured image “Appalachian mountans” by Masterman242 to be licensed via creative commons 2.0 via Wikimedia Commons.