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week of April 19 - 25, 2004

Our sixth annual Yom Hashoah (Holocaust Remembrance Day) issue.

Eliyahu Abramson
Cara Alson
Helen Bar-Lev
Jim Bennett
Tom Berman
Joop Bersee
Bodo
Margaret Boles
Gerald Bosacker
Len Bourret
Alex Braverman
Tony Bush
John Davis
Daniel A. Elijah
Thomas Fortenberry
David Fraser
Maryann Hazen Stearns
Kristin Johnson
Philip Johnson
Tammy Kaiser
Rachel Kann
Ward Kelley
Miriam N. Kotzin
Donna Kuhn
Meredith Karen Laskow
Josie Lawson

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James Pinkerton
poetpinkerton@yahoo.com

Bio (auto)

James lives in Sunland, California. This is his first published poem

The following work is Copyright © 2004, and owned by James Pinkerton and may not be distributed or reprinted in any form whatsoever without written permission from the author.

Deepest Sorrow

Auschwitz grass grows tall
Once prisoners would eat it
with their sawdust bread

Norman Pollack
norman@poemtrain.com

Bio (auto)

I was born on January 1, 1942.  Many years ago I taught high school English in a suburban community in New Jersey (11 years). I have also owned three bookstores, served as an Executive Director for non-profit organizations for seventeen years and now currently market a software program to non-profit organizations all over the country. I am married to Vicki the past 15 years. We have a combined six children and eight grandchildren.

In my sophomore year of high school, my English teacher, Mr. Richard George, inspired me to begin writing poetry. British born, he is a well-published author in Great Britain and I always make it a point to thank him for his encouragement. I would call my own writing eclectic. With more than 1000 poems written, I have utilized most of the strict forms as well as free verse. My favorite classic poets are Frost, Hardy, Shakespeare, Wordsworth, Whitman and most recently, past Poet Laureate, Billy Collins.

I am the owner of a poetry writing/workshop site for almost two years now: "Poem Train" - www.poemtrain.com.

The following work is Copyright © 2004, and owned by Norman Pollack and may not be distributed or reprinted in any form whatsoever without written permission from the author.

A Triptych: From the Mountains

(1) From the mountains to a storm

From the Pacific mountains
they set them down,
those lofty pines.
With deliberate chainsaws,
they shattered the silent nights
while ears could still hear
the buildings rising.

The armies marched apace.
While broken splintered pillars
were loaded like slain ghetto victims,
on to cross country wheels.
They were less majestic,
lying prone,
not moved by winds
off distant shores.

The flatbed hearses
all in a row,
conveyed their cargo ====
a caravan of progress
down the highway.

All milling about,
some stood for hours
in line at the depot
waiting for Andrew to arrive.


(2) From the mountains - to a cemetery

From the Tatra mountains of Poland,
the wind saw them cut down.
Those lofty pines were
Once supple, and strong.
Now like shattered glass,
the silent nights
can only hear the saplings' sighs.

The armies marched apace
while splintered branches,
and brittle, mangled twigs,
were piled onto pushcarts.

The cargo loaded,
=== lying prone ===
unmoved by prayers;
they never heard from
those who were not there.

Boxcar hearses
on cross country wheels,
those caravans of progress
hauled half-dead timber
down groaning tracks.

In the shadow of Gerlach, *
those once majestic pines,
are now a graveyard's raw material.
Milling about,
they stand for hours
in line for selection,
soon to be sawdust.


(3) From the mountains to a mountain

From the oldest mountains,
he was told to cut down
those ancient trees
made strong by prescribed flames.
Lightning shattered
the silent nights,
and the water drowned
the saplings' sighs.

They had marched apace,
two by two,
to save the world from itself,
loaded like victims,
the would?be survivors.

The cargo secured,
they were unable to move
until the storm began;
There was a clap of thunder,
then came the fear of dying
for those who were part
of an unnatural selection,
a floating caravan of One.

Time's shadow passed over
the devastation, until finally,
two left the graveyard.
One returned with the branch
of hope.

Atop a Turkish mountain,
millennia away
from the peaceful mountains,
from the Tatra mountains,
and further still
from the forest's necessary surface fires,
some began to plant
the seeds again.

Dee Rimbaud
x-generation@ntlworld.com

Bio (auto)

Dee Rimbaud is an artist and writer, living in Glasgow, Scotland. His poetry, short stories and artwork have been published extensively on the internet and in hundreds of magazines and anthologies worldwide. 

His first poetry collection, "The Bad Seed" was published by Stride (1998) and can be ordered online at http://homepage.ntlworld.com/dee.rimbaud/thebadseed.html  

His second collection, "Dropping Ecstasy With The Angels" was published by Bluechrome (2004) and can be ordered online at http://www.bluechrome.co.uk/storePoetry.asp

His novel, Stealing Heaven From The Lips Of God&Mac226; will be published by Bluechrome in September 2004.   

You can read his poetry, prose, short stories and novel - and view a massive collection of his artwork - at his web-site, which is at http://www.thunderburst.co.uk

You can buy limited edition prints of his art at http://www.surfaceonline.org/rimbaudshop.htm

The following work is Copyright © 2004, and owned by Dee Rimbaud and may not be distributed or reprinted in any form whatsoever without written permission from the author.

A Burnt Offering

(27th January 1995: The 50th Anniversary
of the Liberation of Auschwitz-Birkenau)



1.  

You covered up the mirrors:
Not wanting to see
The radiance dissipating,
The sexless city
Sucking you in
Erasing your face.

Without reflection
We clutched at each other:
Clinging together
Like little children.

We clung together
Till gravity
Pulled us apart.


Junked out on television
We watched the world
Disintegrating in raptures
Of violent dreams:
Each dreamer being
So much less
Than the sum of the parts;
Each dream, a fragment
Deconstructed from the whole.


The sirens and screams
That shredded the night's silence
Were a forewarning
Of the worst that would come

We could sense
The beast's bubbling breath
Under the skin of the earth


Fucking
To the hot dark rhythms of the night
We allowed ourselves the luxury of entropy:
The mute ecstasy of mutual extinction.
It wasn't love,
But the fire of it kept us warm.


In sleep we would lose ourselves,
Let loose shadowy spectres:
Abominations that slithered
Through the ragged gashes
In the veneer of our sanity,
Trailing a terrible afterbirth
Foetid and reeking of fear.

Our dreams gave birth to
Walled in ghettoes,
Bloody towers,
Children without eyes,
Animal corpses,
Beggars, Mobs,
Freight trains:
The armies of the dead.


Waking to the lightless morning:
Lost to each other,
Lost to the detritus
Of fear filled dreams,
We would shiver, cling together
And fill each other's ears
With the hot blood
Of promised tomorrows.


2.  

In holding together and clutching
We imagined ourselves whole:
Sublimated in a spurious spirituality;
Elevated above the chaos of spiky rooftops
And darkly smoking chimneys.

But the sky blew through every construct,
Insinuating a secret hunger,
Infecting us
With the knowledge of our fragility.

We were held together by mere fragments:
Broken pieces
That could never be anything more.


3.  

Sometimes, standing skeletal
In the rusted metal wind
With clouds clearing
From frosted skies
A blur of stars
Dazzling our eyes,
We would be surprised
By something bigger than love.

Momentarily
The futility would fall away
And we'd taste
That ineffable nothing
With an undefined
Inner sense.

Transcending the linear:
We would cross the border
Without passports or maps.


4. 

The night before you left for some other sanctuary
We tore the clothes from each other
And pulled our loins together:
It was a last frantic attempt at connection
Before our final separation.

In the deliberate darkness,
Not wanting to see what we'd lost in each other,
We thrashed to an angry climax.

You were a nazi storm trooper
And I, a sub-human Jew.


5.  

Last night I sat shivering at my desk
Watching the moon track across the sky
Listening to screech owls
Yammering in the distance,
The wind muttering to the trees,
The silence from my unsleeping bed.

Tonight I cannot pretend I'll sleep.

In the double-glazed safety of suburbia
I cannot excuse this agitation:
These solid buildings nurse the spirit
To slumbering, willing forgetfulness.

But I cannot forget you:
Your post-war, housing scheme passions
Assail me from across the great divide,
Shaking me to my very foundations.

Your ice blue eyes
Are watching me as I squirm:
You torturer, you.


I miss you:
I am at a loss out here,
On the periphery of prosperity
With this job, this house,
This security:
I miss our days and nights
Of unemployed
Reckless penury.

I miss the neon emptiness,
The dirty knickers,
The one bar electric fire,
The stinking fridge,
The anonymous screams
In the death still night,
The nightmares and the dreams
Of a greener, cleaner place.


6.  

My heart is acrid as this ashtray,
Hard as blown glass.
There is no poem to our love:
I remember only
The muttering of your body against mine
In abstract;
One sideways blow
And the image is cracked.

I need your hands
To pull me out
From this stagnant murk.

I need your Teutonic no nonsense
To wipe away this Semitic self-pity.


7.  

Tonight I am alone, no hand to guide me:
Under my feet the world is trembling,
Mountains moving
To Mohammed's muezzin call.

Soon the infidel, the unclean
Will be routed out, cut down:
Devoured in ash and flame.


8.  

A postcard from Japan:
A picture of gleaming, erect Osa
Skyscrapers piercing
A Hiroshima red, sunset sky.

On the back it reads
"I am alive and well,
If a little shaken."

My brave, adventuring friend,
But a butterfly's kiss from Kobe:
She says, "don't worry",
But I do.

Drunk on my father's brew
Of cynicism and anxiety,
I watch the storm clouds gathering,
Drawing near
And I'm filled full
Of wretched fear.

These islands, he once mused,
Are but wretched specks
In a vast wilderness;
And these oceans
Just a dribble of sweat
Rolling down the buttock cleft
Of an indifferent deity.


My father knew
The heart of his father God
Even before
His bar mitzvah day:
He was but ten
When the news filtered through
From Poland and Germany.


9. 

"The struggle of people against power
Is the struggle of memory against"

.......Milan Kundera

Sleepless,
These flickering images of newsreel
Strobe blue in the late night corners
Of this hallucinated, tangled room:
Random, uncollated images
Of collateral damage;
Names colliding
In a jangling discordant poetry
Angola, Sarajevo, Eritrea,
East Timor, Cambodia,
Haiti, Soweto, Kuwait -
An endless litany
Of forgotten places
Like the dispassionate whisper
Of a distant, voiceless God.

Here, great Jehovah,
Are the bits of a child
Who stood on a land mine.

Here is the skull
Of a prisoner
Who had nothing to confess.

Here are the bodies
Of women and children
Who were queuing
At the well for water.


Here, there and everywhere
Uncountable numbers,
Unfathomable numbers:
I would tattoo them
On your loving arms,
Dear God.


10. 

My great aunt - my grandmother's elder sister -
Is over fifty years dead:
No exact record exists,
But somewhere in Hamburg or Hanover
Her skin still shades the harsh light of a naked bulb.

That is all that remains of her.

The books that were bound
By the glue made from her pulverised bones
Have long since been read and discarded;
And the soap made from her body fat
Was used up
Scrubbing clean
The blackened faces
Of Aryan coal miners.


11.  

I learned the necessity of lies early on:
Picking up a penny in the playground
I had a momentary dream
Of dainties, fruit salads and black jacks,
But it was soured by classmates
Who gathered round, taunting me,
Calling me "a fucking Jew".

The half-Jewish blood
In my veins
Boiled in shame.


12. 

Twenty-five years ago, this very night
I sat by the muttering gas fire,
In the blue light of the television
And the shadow of my father's chair.

It was then that I hardened my heart,
For I was tormented by his weeping.


13. 

Weep not,
For the dead are but dead
And the past is always passing
Further and further over
The ever-receding horizon.


14. 

Under the eiderdown I twist
Like a colony of maggots
Eating the last scant remains
Of a corpse.

I am cocooned against
The January frost,
Waiting for the watery dawn,
Wishing this knot of cloth
Was a chrysalis:
That I'd burst forth
From these dark dregs
Into that wondrous
And kindly light.

The clock on the mantle shelf
Savages the last vestiges
Of the night's silence,
Ticking its fascist beat,
Dragging me ever onwards.


Malign,
Its number fragmented face mocks:
Its tic-toc like the rocking of railway carriages
And the tarnished laughter of Polish permafrost;
Its hollow echo like the passing of freight wagons
Through war torn, crumbling factory towns.

This clock
With its bland, smug face,
Measures the pulse
With the clinical precision of Mengele.


15.  

The same sea in us all,
But waves breaking
On different shorelines.

Drunken footfalls
On the stair head
Mark the passing
From night to dawn:
The clock laughing,
Its hollow pedantry
As celebration reaches
Inevitable anti-climax.

I wait for the door to open,
The return of the revellers,
My sisters and brothers:
One flesh,
But waves breaking
On different shores.

Belatedly, the feast
Has been consumed.
Dry mouths have slaked their thirst
With dry waters;

And now the tongues are loose
With burnt offerings
To a dead poet.


16. 

Hark, the heroes are returned!
Drunken and clamouring,
Their voices raised and roused:
Glorious, victorious
And, by the way,
Totally fucking stocious.

The Saltire flies high,
Blowing in the wind
Of nationalist pride.
The Sassenachs
Are once again routed:
Slain by the true might
Of Burns and Bruce.

With haggis and neeps in the belly
And the power of whisky
On their tongues, they ask
Wha's like us?
These true blue blooded
Xenophobic Scots.

Has the bagpipe's wail
Deafened their ears?
For none among them can hear
The same sea
Which moves within us all.


17.  

It is not as many miles as you imagine
From Hampden to Nuremberg:
The cross is easily crooked.

When the soul is bled dry
There is nothing left
But the braying of empty minds.


18.  

Four fifteen, a forest
Of broken crucifixes,
Flags, effigies,
The reek of stale beer
In half drunk cans:
I fix a coffee
In the crematorial kitchen,
Resigning myself
To lack of sleep.

The celebrations are over
And darkened rooms
Are littered with snoring:
Making my solitude,
My sleeplessness,
All the more poignant.

In the broken wind
I hear black Lilith laughing:
Schottland Schottland
Uber alles.
Ich bin unbeweglich.

Four fifteen and I cannot sleep.
How can I sleep
When you are not asleep beside me?


19.  

Back in those halcyon days
When her nest floated upon the sea
My mother would lull me to sleep, singing
"Silent night, holy night,
All is still, all is quiet."

Back then, I believed
In the perfection of peace.


20.  

Finally, I rise,
Wipe the sleeplessness
From my eyes:
Discard the ragged heap
Of bleached out
Striped pyjamas.

The snow has turned to rain now
And a thin line of watery daylight
Has lain itself across the horizon.

I scrape my fine nibbed pen
Across the stiff white parchment paper
Of my leather bound writing book
And cannot suppress the image
Of Jewish skin:
It creeps upon me
With a Semitic tenacity,
Sending into the penumbra
Any Burnsian sentiments
That might be lurking
In the Scottish parts
Of my bastard blood.


21.  

Is it my bastard blood
Which makes me fear
My country's cry for nationhood?

What is this Scotland?
Is it not just a mass of land,
Part of an island,
Conquered by robber barons
Whose bloodthirsty mouths
Declared themselves kings?


Who are these Scots
That claim their nation?
Are they Picts, Celts and Norse?
Britons, Angles and Saxons?
Italians, Irish and Jews?
African, Chinese and Asian?

What line divides
The waves of immigrants
Who have settled
On this fragment of island?

Whose hand divines
The right to be?

Who is Scottish, exactly?
Who can call this crag of rock
Their homeland
And who must work
For their freedom?


22.

Ich bin, ich bin:
In the loveless dark,
In the icy January rain,
In the silent cold rage

There is a swastika
Where my heart used to be.

My love, my love
What has become of me?


23.

Weary gunmetal dawn:
A miasma of monochrome.
The wind is stilled
And leaden rain
Like dull crystal
Softly splinters
On slush stained pavements.


24. 

Here I am,
Within the soulless framework
Of technology
Filled with the rhythm
And hot impulses
Of our time.

Herr Goebbels:
Your ghost moves
In the salt wind
Whistling through
Rusted metal
Skeletal cranes;
Raw rasping
Teutonic laughter,
Ich höre Sie.

These abandoned docks
Bordering the cold wastes
Of the northern sea,
My footprints alone
In the grey snow,
But across the waters
And across time,
Your voice
Following me.

No solace
In the dark sodium light
In this unpeopled hour.


Across the waters,
Across time,
Your voice is
A thousand broken windows,
A tongue of fire.
Smoking chimneys,
A black leather zeitgeist.

From Zyklon B
To bunker suicide
You see, Herr Goebbels,
Tomorrow belongs
Not to you, not to me.


25.

Among the carnage of yesterday
And the carnage of tomorrow
What hope is there for today?
What hope
For this dismal grey morning?

Without you, my love,
There is no love.

Without you,
There is no God
To oversee this chaos.


26.

These tomorrows, these yesterdays:
If you were here
They would all be erased
In the pyre of our passion play.

These flags, these abstract
Arbitrary divisions
Would be wiped away.


The slate would be clean:
No scribbled saltire,
No tricolour or union jack
Would sully its perfect blackness.
There'd be no star of David
Muddying the sky,
No crescent moon.
All would be dissolved
In the fire of our Shiva-Shakti.
All would be undone
In the tender loop of love.

If you were here
I'd be blinded to unbelieving eyes.

No more would I see
This scorched skin,
These skeletons in stained shrouds
Of striped cloth.

If you were here
I'd believe in a listening God:
One who heard the trains
One who tasted the sweat,
The sorrow, the bitter ash
Of Auschwitz-Birkenau;
One who could conjure rainbows
And promise a perfect new tomorrow.

Stephen Roxborough
roxword@fidalgo.net

Bio (auto)

Stephen Roxborough (aka roxword and Rox.) was born in New York to a Canadian father and American mother. He was raised in the Midwest, grew up in Vancouver, B.C. and graduated from the University of Wisconsin, Madison. He is a board member and Northwest Regional V.P. for the Washington Poets Association, as well as Head Poet for Madrona School for the Arts on Guemes Island. An award-winning performance poet, Rox. was nominated for a 2003 Pushcart Prize. He currently lives in Anacortes, WA.

The following work is Copyright © 2004, and owned by Stephen Roxborough and may not be distributed or reprinted in any form whatsoever without written permission from the author.

shoe keepers

my flooded eyes
swim in a sea of footless
shoes   submerged in
silent screams   calm as
fingernail grooves

inside an oven wall  

yellow stars still burn
and rage where showers
of horror reigned
boxcar after boxcar
on the chosen

ashes to heartache to dust

yet 12 million soles
remain  12 million heels
arrayed with 12 million
tongues still speaking
for the speechless

awash in waves of lament

unthinkable to forget
or repeat or
forget or repeat
or repeat   each shoe
a perfect fit  for
every step we take

Ryfkah
Everyfkah@aol.com

Bio (auto)

Born in Chicago, Ryfkah (Peggy Horwitz) now resides in La Mirada, California with two of her three daughters. She is a sixth grade teacher at Los Alisos Middle School in Norwalk. She is an avid student of Kabbalah, Jewish mysticism, and of the teachings of Rebbe Nachman of Breslov. Ryfkah has been published in anthologies including a chapbook collection of her own work, If Venus Had Arms, by the North Orange County Poetry Continuum and various print and on-line magazines. She has been featured at poetry venues throughout the Los Angeles/Orange County area. She is a founding member of the poetry performance troupe, WomanSong that is anti-abuse and pro the celebration of life.

The following work is Copyright © 2004, and owned by Ryfkah and may not be distributed or reprinted in any form whatsoever without written permission from the author.

The Player

Blessed art Thou O Lord
King of the Universe
Who is the True Judge

The man plays piano
Beethoven
as black hats beards
women youngsters
babies
parade to the left
to the right

He once davaned
for peace
Oseh shalom
he once prayed
Now he plays
ebony
and bone

Often in the dark
like stacked porcelain
lice ravaged
he meets skeletons
in black hats and beards
He wraps a remembered
prayer shawl around his heart
kisses tzizi fringes
as if the lips of somebody’s
grandchild another’s mother

He switches to Wagner

Dare he play next what is taboo
Is this the fruit posed by
the snake or is he to be made free
Eden’s return

Blessed art Thou O Lord
King of the Universe
Who is the True Judge

Glenn Smith
gnarl@olypen.com

Bio (auto)

Though born in Florida, most of my four decades have been spent among the fickle mists of the Pacific Northwest, specifically Sequim, Wa. I didn't develop a yen for writing until the late seventies, dived headfirst into rhyming verse, and produced a ream or so of tripe I'm embarrassed to lay my eyes on today.

Around this time, I chanced upon a thick tome of e. e. cummings work, and finally realized just what kind of task I was up against with this poetry business. After a lot of false starts, I produced several pieces that bore a semblance to readability, and early in the 90's discovered AAPC amongst the jungles of usenet. Honest criticism being a foreign concept to me at the time, the first few comments drew blood, but also brought about a noticeable increase the quality of my revisions.

Nowadays, most of my waking hours are spent repairing medical equipment, keyboarding, flailing about the Olympic Mountains with my wife Tammi (who puts up so patiently with compulsive pencil buying) and relaxing in front of vintage "B" horror videos with a daughter or two. Time must also be put aside for iron work and horse care; I can sleep when I'm dead. Throughout all this, scraps of paper and writing instruments are seldom far away.

I've been published in several local periodicals that include Looking Ahead, The Jimmy-Come-Lately Gazette, and Tidepools. A few pieces have also been accepted by Frisson, Vortex, The Ledge and Lullaby Hearse.

The following work is Copyright © 2004, and owned by Glenn Smith and may not be distributed or reprinted in any form whatsoever without written permission from the author.

Summer Camp

In shinhigh boots, young men converse
in easy camaraderie,
confident that shiny teeth
won't be lost to fire or earth.

A shying girl avoids poison
breath or sudden holes.
The little grind, perhaps some juice
for these happy dozen boys
will buy another gasp or three.

Quiet slips dim the marrow
of thinnest folk that chip
stubborn clay from final grooves.
Their efforts help hide hunger
and hanging skin
from flyblown peace.

Blond fellows with oaken stocks
tap noggins just to note
how many days a stagger lasts.
The decorated may still provide
some lucky soul an evening shade.

A greylord muses over darkly
kosher vintages, finest cheese,
and common grass's equal glee
in clod or blood or melting heart.
Another summer day provides
a moment of divinity.

Christopher Stephen Soden
monkeyman@airmail.net

Bio (auto)

A native Texan, Christopher Stephen Soden has been pursuing his vocation as a poet now for over 25 years, recently branching out into performance pieces and dramaturgy. He majored in English at Southern Methodist University where he was poetry editor of the student literary magazine: Espejo. In December 2002 he was accepted into Vermont College's MFA Program in Writing. He is President of The Dallas Poets Community, a workshop that seeks to advance the cause, expression and appreciation of poetry. He has been honored by The Poetry Society of America's Poetry in Motion Series, Fourth Unity, Distinguished Poets of Dallas, Richland College and The artsDFW Poetry Contest, among others. His work has appeared in The Great Lawn, Gertrude, WordWrights!, New Writer, The Chiron Review, Poetry Superhighway, The Dallas Review, Borderlands, New Texas 2002 and The James White Review. It can also be found in the anthologies: Blood Offerings, Other Testaments, Gents, Bad Boys and Barbarians, Above us only sky, Touch of Eros, A Certain Touch and Best of Texas Writing 2. He likes to spend his leisure time doing crosswords, singing with the radio, taking long, hot showers, eating out, sleeeeping, going to movies and making sock monkeys.

The following work is Copyright © 2004, and owned by Christopher Stephen Soden and may not be distributed or reprinted in any form whatsoever without written permission from the author.

Keep the pack

The name of the documentary
is not important. There are many
discussing the charismatic, somehow
comical megalomaniac with emphatic
moustache (slighter than your index
finger) who engineered the confiscation
of Jews, Gypsies, Queers, other breeches
of humanity and their subsequent annihilation.

This particular film was noted for its' length,
if not necessarily its' scope. Running
in excess of nine hours, broken
into two parts over two days, we saw
the weary, expressionless faces
of witnesses as each described
the same incident from their own
personal grasp of the details.

The camera took us from train station
to gate to shower to oven to pit.
Never blinking. What is there to say?
Have you never asked how much easier,
more enjoyable the world would be
without them around to spoil it?

Never got sick of dealing with drivers
or clerks whose command of English
was worse than incompetent? I never
wanted anyone dead. Never blamed them
for my impatience or petty, arrogant

demeanor. Sitting next to each other,
though, in the velvety seats of a posh,
restored art house, clustered in ponderous
noiselessness of extinguished light
and photographs staggered across
a fierce lantern, we shared in the disgrace.

As if smeared in the ashes and grease
of locomotion. Shuddering as we listened
to testimony of participants and bystanders,
who were calm, disinterested, even tedious.

And again, what is there to say? Can a flood
of earnest regret overcome frustration and rage
that culminates and crowds our days
until we are ready to choke?

An older couple approached me
during intermission, asking if they might
cadge a smoke. Though trembling
at the time, I didn't think to look
at their wrists. When they explained
they could share, I was incredulous.

That's not at all necessary, please,
you can both have as many as you like,

astonished at the strange, nearly ridiculous
nature of God, that He could provide
me with such simple means of penance.

I lit their cigarettes (would have fed them
from my kitchen, washed their clothes)
and together we quietly, gratefully
drew clouds into the chambers
of our lungs, soothing inhalation,
tainted breath kicking into the blood.

T.L. Stokes
pongee7@yahoo.com

Bio (auto)

T.L. Stokes is a native of the Pacific Northwest and lives in North Bend, Washington with an odd assortment of teenagers and an English mastiff named Bogart. She writes full time as well as runs a small business and goes to school. Lately the air has been heavy with the perfume of cherry and apple trees. Ludwig, the old man with the sign, stands in the sun by the corner. Folks wave to him. He tips his orange hat. Last night a boy aimed his slingshot and hit the neighbor lady's cat. Mercy, the homeless girl staying here, has to leave. She wants to panhandle in Seattle for $86 to take a bus to Arizona. Unless we can find a youth shelter to take her in. She's doing well in school. Her boyfriend in Arizona isn't. He's sick and was arrested last week for dealing drugs. She wants to go and feed him. She's fifteen.

The following work is Copyright © 2004, and owned by T.L. Stokes and may not be distributed or reprinted in any form whatsoever without written permission from the author.

The Black and White Dream
and the Apple Tree


1.

I had a dream last night I heard a child crying.
The wailing came from an alleyway. There was no wind.
Like a wounded bird the sound drew me,
as if it was coming from me.

The child was sitting by a broken wall
gulping air through a tiny mouth. I looked at her face.
And you know, I couldn't tell if she was Iraqi, Israeli,
Palestinian, Afghani, or American.

There was no flag above her, no gun at her side,
no one shouting from behind.

Where are the children of war?
Ghosts of holocaust,
the motherless

warn us.

You, they speak without tongues, are the children.
You carry us as the flame of life within you.
We are one, your skin is knit with our skin.
You see with our eyes. You hear.

And so, they follow us into the alleyway,
watching as our eyes flash white
searching for the gun-holders.
Stand with us, looking down at the sobbing child
holding onto a piece of her mother's garment,
the silence leaning there is too deep for revival.
We sigh like falling mortar.
There are no prayers

to dry such hungry eyes.

2.

I speak to the child as if she understands me.

See? All I have are two hands to lift you.
If you trust me I am your savior.
I can not make you leave this place.

Then I see her rise up, a young woman with black eyes,
rounded belly, giving birth to sons and daughters
who see my face as the enemy.
They suck at her soft breasts.
She sings songs to them of judgment and God.

Our God is a Mighty God. She looks at me with hatred.
It is what she believes. What fell with her
when her mother's arms were broken.

And the children of war who are of us,
have become our enemy. We say to ourselves
our God is mighty.

We mimic what we fear in those other faces.
We take aim.

Hurry, shoot before the bullet hits you.

3.

Where are the children? Who has left them behind?
I hear the ghosts of holocaust as birds in the apple tree
bursting with white and pink flowers in the neighbor's yard.

You can see it through my daughter's window.

All they sing about is peace. It is more than a warning.
I tremble with the beauty. I watch the birds. I smell the sweet
perfume of the blossoms. I will not pick them. Their
mouths open,

I hear flute and Tibetan bells.

4.

There is a different place than war.
You must turn away from one to see the other.

Jan Theuninck
jan.theuninck@belgacom.net

The following work is Copyright © 2004, and owned by Jan Theuninck and may not be distributed or reprinted in any form whatsoever without written permission from the author.

Mauthausen 186

Stone by stone
we made a step
Step by step
we went to heaven.

Christine Marie Umscheid
christinu@voyager.net

Bio (auto)

Christina-Marie Umscheid (Christina-Marie), born 1946 in Weiden, Germany was raised in Saint Louis, Missouri and has lived in Petoskey, Michigan since 1976. She has dealt with cancer three times and disabilities associated with treatment, such as visual and physical impairment. Publishings include such magazines as; CHICAGO REVIEW, HIRAM POETRY REVIEW, CALIBAN, ODYSSEY, THE POETRY REVIEW, NEGATIVE CAPABILITY, THE OLD RED KIMONO, GREAT LAKES REVIEW, HURON REVIEW, THE MAC GUFFIN, SOU'WESTER, GREAT MIDWESTERN QUARTERLY and MOONSHADE (e-zine and paper). Her debut on the Internet e-zine, WORLD POETRY, was December 1996. Since then she has poems published by such e-zines as BLUE PENNY QUARTERLY, SWITCHED-ON GUTENBERG, COMRADES, POETRY TONIGHT, BLACK SWAN REVIEW, VALPARAISO POETRY REVIEW, FRICTION MAGAZINE, GINO’S GHAZAL PAGE, and RECURSIVE ANGEL. In 1999 she was published in the anthologies, VOICES OF MICHIGAN and AT THE EDGE OF MIRROR LAKE, RECURSIVE ANGEL, LIGHTENING BELL, and CONCRETE WOLF. Her book "From the Belly of Jonah’s Whale", new book due soon – Even the Sparrow

The following work is Copyright © 2004, and owned by Christine Marie Umscheid and may not be distributed or reprinted in any form whatsoever without written permission from the author.

Kristallnacht

She was only 16 years old
at the beginning of the war.
and working for the only furrier in town.

The night before was Kristallnacht -
windows had been broken.

Weiden was a small town
where only one Jewish family lived.

Broken glass all over
that single store.
She asked,
“What happened?”

Her boss told her it was an accident, vandals
And she believed.

Michael Virga
mavbuon@hotmail.com

Bio (auto)

Michael Virga (MV) is a cyber-poet residing in Birmingham, Alabama. His poems have appeared in various collegiate & professional electric & print journals, including Stirring & AMAZE, and just recently in MELIC REVIEW XXIII. MV is an IBPC Honorable Mention: March 2001 & 2004.

The following work is Copyright © 2004, and owned by Michael Virga and may not be distributed or reprinted in any form whatsoever without written permission from the author.

untitled

Day hung upside down
on the unused towel bars

by the ninth hour
the last minutes'

glass turned
on its head
draining down

through the apertures
the hiss in the plumbing 
expectorates the chest & lungs

the inhumane
manmade
eclipse
fogs up

disgraces the face
cleansed of color

rigor mortis piled in
the raw & disheveled

bagged in blackish blue silhouette
the concentration already decomposing

into a compost
regaining breath

Elizabeth Willett
bettw@comcast.net

Bio (auto)

I am an ex-school teacher/administrator. BA - Education, an MA - Reading Specialist, and an MA in Educational Administration. I freelance design web sites. I live in Florida or New Jersey depending on the season. I am an activist in a local “Save Our Beach” group trying to prevent more over-development of our Florida city. I have been taking courses and writing poetry seriously for about two years. ByLine Magazine: 2nd place in the Humorous Poem category, honorable mention in the Sense of Place Poem category. Poet of the Week, Poetry Super Highway September 15-21, 2003

The following work is Copyright © 2004, and owned by Elizabeth Willett and may not be distributed or reprinted in any form whatsoever without written permission from the author.

Flashback

The sameness of my now days
soothes me;
routine comforts.
My cup needs no more
lest I tumble into a memory
and trembling hands
and teary stare
draw concern.

Excuses wither
questions probe at still-moist scabs.
Before closes in on now.
Again,
I clutch a tiny jacket,
a tiny, yellow-star trimmed,
jacket.
Again,
I scream.

Lori Williams
Delilahhhhh@aol.com

Bio (auto)

Lori is a born and bred New Yorker who works as a legal assistant in the publishing field. She is the single mother of a teenager,who is on his way to the Navy. She is sure this will give her much fodder for future poetry. Her work has been published in numerous print and on-line publications, most recent and upcoming in Snow Monkey, New Zoo Poetry Review, Fairfield Review, Avatar Review, Red River Review, Urban Spaghetti and Poet's Canvas.

The following work is Copyright © 2004, and owned by Lori Williams and may not be distributed or reprinted in any form whatsoever without written permission from the author.

Sisters At Camp

They counted the weeks by rib. Their cycles
ceased, and soldiers laughed - Hannah, tonight
I'll come, and bring a slice of bread.
Sarah, an apple for you tomorrow.


Together strong, they talked of schoolwork
and heaven, but in the dark with the weight
upon them, Mama and Papa and Jacob came,
all fat and pink.

Scraped of the sweetest flesh, they bled
then, and for a moment reclaimed beauty.
In blood runs life, they whispered
between bites and the count of bones.

Previously published in Branches Quarterly

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