Three poems by Marly Youmans

The most recent books by MARLY YOUMANS are the book-length poem Seren of the Wildwood (Wiseblood Books, 2023), a novel set in Puritan New England, Charis in the World of Wonders (Ignatius Press, 2020) and her most recent collection of poems, The Book of the Red King (Phoenicia Press, 2019.) She divides her time between Cooperstown, New York, and Cullowhee, North Carolina

November Mandevillas                                                       

So long to fathom that the hectic world

And common lives are not what they appear

But rarer, else—that nothing’s as it seems,

That there are imps and wyverns in our midst

And angels perching in our backyard trees…

The mandevillas wheeled inside to live

Inside a kitchen still are flowering,

Last blossoms deeper, darker at the edge,

Flesh more ethereal, more ruby-clear,

Each one sending forth its secret name

In joy despite the ebbing of the light

And all green dormancy that’s soon to come,

The word of being drowsy in the leaves

And growing stranger, swooning into dream.

Blue and Shadow

Evening sorts its blues and chooses cobalt—

Only hours ago it was noon, shadows

Brief underfoot—my shadow lengthened, slipped

Silently behind me, gathering dark

Like the train of a dress made out of years.


And is the shining Lucifer at fault

That shadows grow, that every light-drenched rose

—its gold-bed mined by bees, its petals stripped—

Must go, that even an ascending lark

Will fall? Such gorgeous blue! No need for tears.

The Cartagena Fair

1. The Night Fair and the Crone

                        And no matter what…

                        there’s no night fair more wild

                        than here in Cartagena.

                               —Federico García Lorca, tr. Rothenberg


The good Lord sent these children, difficult

But radiant… In truth, they weren’t at fault

For their unsettled humors, nor their lack

Of industry. Made feckless by the age,

The shedding of our myths and rituals—

When I rocked them in the ash-wood cradle,

Who knew that they would be so tough to sell

At Cartagena’s wildfire fair, the famed

Night-fair of love and ache and secrecy?

For they were chatelaines of beauty’s keys,

And I instructed each in courtly ways,

Enough to charm a queen or nobleman.

I’ll pack them off again tomorrow night,

To shine and lure at our unbridled fair,

Though I expect to tote them home once more….

Their father not one whit the better man,

Always with the betraying, stroking flanks

Of any shape or shade, so long as the mark

Pleased the arrow of his momentary

Desire: and yet he still desired my flesh,

Longed to kneel in adoration’s bonfire,

And I eventually forgave his wrongs.

Perhaps I’ll sell him too, if Venus comes

To sneak around the night fair, slipping here

And there like some old moon-haunched carny tart!

Or maybe we’ll plunk down and have a cup

Of something wild and starred, to laugh at men

Who once were each Adonis with his wand,

And children useless as abandoned gods

Lolling about in alabaster heaps.

2.  The Maidens to the Crone

How can we heed your words when night-fairs call,

And the green minnow-vein at a wrist flickers

As Lorca’s lightwheel spins against the dark—

Then all we crave is for Adonis now

To sear us here and there and here again,

To tilt in a car at the very top

Of the ferris wheel: the rings of the carousel

Go flailing, flaming, flung as high as the moon,

And we forget the all you ever said.


Golden fish ignite

And spangle sky: wildfire’s ours,

Ours the fireworked fair.

3. The Young Man to the Crone

How could I ever leave my mother’s house—

She who tied my mind to sunset’s reins

And made my brothers leap in gingko leaves

Or tumbling cherry blossoms in the spring,

She who let the crystal of my mind

Be filled by far-off scents and golden birds

And deepest cobalt reaches of the seas

Where stir the winding lamplit mysteries.


My mind is an Adonis. I cannot go.

4. Her Adonis to the Crone

All my wanderings were hunts for you

Who hid from me so often, your image

Twinkling, fleeing behind a scrim of trees—

Who knows where you would fly away from me,

Maybe hunkering in some scriptorium,

Laughing and crying with the bawdy monks,

Or kneeling in a candled radiance

By whittled relic-bones of saints long dead.

I pictured you uprising from a pool

Ringed-round with massy stones, one crooked tree

Lifting its parasol above your head,

And you, your face gone naked, water-sluiced,

In that instant an eft-faced innocent.


How I hardened against you!

5. Crone Gazing in the Mirror

I throw away my veils and golden charms

And look with interest at my face, my self,

Grown old: the tiny flick of wisdom’s light

I might have dreamed, the worn, repentant heart,

The limbs that will lie naked in the arms

Of my Adonis, hunter of my flesh.


Shoo the children out of doors like chickens

And send them to the Cartagena fair

To win a love, to find some craft or work

That satisfies our ancient urge to make,

To spy some secret altarpiece and kneel….


A scent of lavender catches the breeze,

Cicadas ratchet up the evening’s song,

And Lorca’s garlic clove of moon will rise

Again in its gold glory, tossed to skies

Of Cartagena, and shine upon the fair.

kneeling in almond blossom

ISABEL CHENOT has loved, memorised, and practised poetry all her remembered life. Some of her poems are collected in The Joseph Tree, available from Wiseblood Books

kneeling in almond blossom

Whatever mystery this is

takes a season


sharpened to the bone

and clenched, and under sagging skies


from vacant

trees, unravels a white skein.


What held the moon

in a twig’s blindness?


Now every tissue is a scrim

of light, and every vein


glows drizzling generous.

I half-believe, half-unbelieve


whatever mystery this is.

It verges on the dull, sunk day


unsheathed

relucent, stintless


on my knotted brain

choked around why


relentless

almost consummated crucifying


till I yield my grip on questioning.

Unloom and scatter,


hold the moon, unfold.

I yield to this.

Eternal Law

LEFCOTHEA MARIA GOLGAKI comes from Greece. She is a poet, book author, scriptwriter and playwright. Internationally, she has contributed to four poetry collections published by Scars Publications, The Poet, and Adelaide Literary Magazine. Some of her poems and flash fiction stories have been featured in Bright Flash Literary Review, Flash Fiction North, Uppagus, Litbreak Magazine, Aphelion, Eskimo Pie, Mediterranean Poetry, Twist & Twain, Academy of the Heart and Mind, The Sentinel, and Tri-Town Tribune

Eternal Law

My nothingness stretches
between two ends:
the ache of absence,
the numbness of becoming

a line from a poem

recited by the executioner.


I wear my grief,

pass my hand through my hair

and kiss the mouth of wretchedness

before I taste the tart wine

offered by pale angels.


The corrosive blade

cleaves the breezy day

slaying my once-valiant soul. 

A marred version of me

welcomes this transformation.  


Strange it is to see you –
waiting, with no words to say,
your eyes fixed on the wall.

You know I can’t console you.

My chain is too short.

Maker’s Mark

JOHN GREVLING lives near Sherbrooke, Nova Scotia, and is a graduate of McGill University. That seems to be the kind of thing poets put in their bylines

Maker’s Mark

You came back to me last week

A recurring dream from childhood

Unbelieved, misunderstood


It helps to talk about it though

She doesn’t understand

Thank God


It’s easy with her

With you it was so difficult

Still, one thought haunts me


Every man is born for some great work

I walked away from this masterpiece

Whatever it was supposed to be


Even as the wet clay dropped

From my hands I could see

Every curve dancing in my mind


I tried to take it up again but

It’s gone. There’s nothing left

Nothing but the impression of


Something very beautiful

Something that would have

Made it all

Worthwhile

The stricken queens

GAIL WHITE has been writing poetry since she learned to print. She currently serves as a consulting editor to Light Poetry Magazine. Her latest chapbook, Paper Cuts, is available on Amazon, along with  books Asperity Street and Catechism. She lives in the Louisiana bayou country with her husband and cats. 

The Stricken Queens

Taking refuge from the rain

in the Museum of Scotland,

I found them unexpectedly:

the Isle of Lewis Chessmen.

Kings and bishops, knights,

a berserker biting his shield,

dignified, large-eyed, calm,

and then – the masterpiece –

two dismayed ivory queens.

Each holds a hand to her cheek

under a heavy crown

and gazes, pale and aghast,

into her private abyss.


I think of Aud the Deep-Minded,

building a ship in a forest.

Grown rich in thinly-settled Iceland,

She will leave a wedding feast

to lie down and die.

I think of strong Gudrun,

four times married, a woman

powerful in revenge.

And what can a woman do –

after husbands, children, flight,

ambition, revenge –

but gaze dismayed at the past,

appalled at the future,

into her private abyss?

Three poems by Thomas Dupre

THOMAS DUPRE, 29, is originally from Kent, and lives and works in Paris. He has previously published poems or essays (on Ezra Pound and the Troubadours) in Valet and Azure Bell (an online journal), and has recently finished a manuscript recreating Ezra Pound’s 1912 walking tour in Provence and his lost book Gironde

1

A pretty affectation, picked up
Half by accident – follow
The next pen stroke, look-around
See where its leading,

IT is not futile to put a thing in order
Find the right position, nudge
To left, to right, then flicker on
The next correction

To begin a striking image – not
By being struck, but striking well
And never stricken; lucid, calm
All quite yourself, whoever’s writing.

And all entirely private: Wrapped away
Avoiding adulation and contempt, 
Forgetting worldly things, and staring always
Out into at least the middle distance. 

All this proceeds, until at last there is
No crowd, no choruses or seas
Approve or disapprove, or can consider
Worth considering. There is, still, the ticking
Of a broken clock, a budget pen
And sense of moving.

The two poems that follow are loose versions of Provençal models, taking as point of departure poems by Guillaume IX of Aquitaine, Peire Vidal, and Bertran de Born. A sirventes is an Occitan/Provençal satire in verse, often political or moral

2

Out there on the stone porches the eyes fade,
As the wind picks up pace he blows warm,
Routed are the forces of the jealous horde,
Made a detour through to the high walls, brayed
Torn by the harsh scrub through whence I flee dawn,
Floored at the sight of the first light and the watch-call. 

Out there on the stone porches my head bowed,
And the last joy-song of the south-bird
Flitted away on the hot air of the first hour.
Crossed a new path through to the tower-shade, loud
Soothed by the soft words of the dumb girl, heard
It all echoed in the opening of the night flower. 

Out there on the stone porches the gang wait,
And the last white swan on the Lee-main,
Shimmers through the rutted banks and the dull reeds,
Made a sign at the far-light as the night, late
Folds around the flat pan of the dark plain,
Into the smoke-quiet of a new world where the light leads.

And I shall no longer cobble out sirventes,
Because here the law will not allow them.
And I shall no longer sing beside the locked gate,
Before the sudden dawn-glow comes to rend us.
And all the amorous plaints you’ll just reject them,
And wonder that the dawn should start so late.

3

Draw me towards
East-breath of the old land
                        Teeming
            With well-thoughts
I, Begging
            One hundred in the place
Of each word…

Purification of the mind
In her breath,
                        Breath bears slight – 
            Note of sulphur
Dead shore, Rose bound…

Ripe cherry laid on the side-stall,
            Cheap abundant
                        Fly pecked – 
Charged by season
All shout! Demanding water
            End of the water
Night comes,
On will-flats.

No more sweet
                        Encased
            By odd streams,
Find joy
Piled in abundance
Till the grieved laugh.

Trapped by deceitful senses,

No other strength holds
                        In memory
            Lark’s birth
Whelps, sings praises

All
            To be better content
            In a feigned world.

Coo, malignant dove
Awaiting crow’s peck
Lamb soars above pastures,
Better than I remember

No matter how soon the night falls
All found arrayed in the same way
Heads down, chained
Each manacle forged with expectation
The gravest loop; steel,
Pointed and neck-bound
Looks to the here-after
In ‘joyful hope’ which binds
Eternally – 

Spectred land and dawn, the coast, mid-September

ISABEL CHENOT has loved, memorised, and practised poetry all her remembered life. Some of her poems are collected in The Joseph Tree, available from Wiseblood

spectred land

A single star – a pentacle
cut from the moon’s frill, or some future dawn –
flew near our car. The sky was simple
on one drowsing hill. Beyond,

grazed mountains – ghosts of mastodon.

dawn, the coast, mid-September

Far out, the seabirds

in the silver braids


wink like white ash. The ocean swerves

dawn-slung and early.


How slight, their mirrored legs – and how kaleidoscoped,

reflected curves of wading curlews,


closer, over tide-roped

shore. Each wave re-centers and re-blurs dilating curlews.


The middle distance spins and shimmers like a dime.

A seagull skims the fallow instant before shock:


the crack in time, when a wave crams its hollow

on a rock.


And closer by, prone shadows etch down-sill

of casements flushed with sand. Touch the bright rush –


reality. The night still drags its fingernails

along the rim. We are its tapering hand.


We and the brightness brush.

Six go in search of a bride

This translation by LIAM GUILAR is from the medieval Welsh prose tale, Culhwch ac Olwen. Having enlisted the help of his cousin, King Arthur, Culhwch and his companions set out from Arthur’s court to find Olwen, the daughter of Ysbaddaden Pencawr (Ysbaddaden Chief Giant)

Six go in search of a bride

And so they travel ‘til they come to a vast plain,

and they see the biggest fort they’d ever seen.

All that day they struggled towards it,

but ‘though they thought they were advancing,

they were no nearer than when they started.


And the second and third day they travelled,

and with difficulty approached the fort.

As they closed the distance, they saw a flock of sheep,

so vast they couldn’t see the ends of it. 

On the top of a mound, a shepherd, dressed in skins,

was guarding it and by his side a shaggy dog

bigger than a horse nine winters old.

He had never lost a lamb much less a full grown sheep.

No troop had ever gone past

without him doing it hurt or harm.

His breath would burn to the ground,

any dead bush or tree on the plain.


Kei said to Gwrhyr Interpreter of Tongues:

‘Go talk to that man.’

‘Me? I promised to go as far as you did,

I didn’t say I’d go any further.

We’ll go together.’


Menw mab Tiergywaed said:

‘Don’t worry about the hound,

I’ll glamour it and you’ll be safe.’


‘It is fine you are, shepherd.’[i]

‘May things be no better for you than they are for me.’

‘God’s truth, you are the chief.’

‘No one can harm me except my wife.’

‘Whose sheep do you guard and whose is that fort?’

‘Stupid men. Everybody knows

that fort belongs to Ysbaddaden Pencawr.’


‘And you, who are you?’


‘Custenhin Amhynwyedic and on account of my wife,

my brother Ysbaddaden Pencawr has ruined me.

And you, who are you?’


‘We are Arthur’s messengers,

come to ask for Olwen.’


‘Oh men, may God protect you.

For all the world don’t do that.

No one ever came on that errand

and left with his life.’


The shepherd arose from the mound.

As he arose, Culhwch gave him a golden ring.

He tried to put it on, but it wouldn’t fit.

He put it in the finger of his glove, went home,

and gave the glove to his wife. 


‘Where did you find this ring

It’s not your usual scavenging.’

‘As I was walking down by the sea side.’

‘A long way from your sheep?’

‘I was looking for seafood.

I saw a fine corpse tossed up by the tide

and found this gold ring on his finger.’

‘Take me there, husband,’ the wife replied.

‘If the sea won’t swallow a dead man’s treasure, 

show me his fine looking corpse.’

‘The dead man will soon be washed to our gates

so be patient a little and linger.’

‘His name, husband, tell me his name?’

‘Culhwch, your nephew, your sister’s son.

He’s come here looking for Olwen.’

‘Bittersweet is your news, husband,

I’ll see my nephew at last:

but that’s a quest no one’s survived.’


Hearing the noise of their approach

she rushed out to greet them.

As she opened her arms to embrace him,

Kei snatched a log from the woodpile

and placed the stake between her hands.

She squeezed it until it was a twisted withy.

‘Ha woman,’ he said, ‘that was an evil loving.

If you’d hugged me like that, no one

would ever make love to me again.’


They were welcomed into the house.

After a while, when all were busy,

she opened a chest beside the hearth,

releasing a youth with curly, golden hair.


‘It‘s a shame to conceal such a lad,’ said Gwrhyr.

‘I know it’s not his crime that’s being punished.’


‘He’s all that I’ve got left,’ she said.

‘I had 23 sons and Ysbaddaden Pencawr

has killed them all.

I’ve no more hope for this one

than I had for his dead brothers.’


‘Be my companion,’ said Kei, 

‘and no one will kill either of us,

unless they kill us both.’


As they continued eating,

the woman asked:

‘What errand brought you here?’


‘We have come to seek Olwen.’


‘For God’s sake, turn back;

before you’re seen

by someone in the fort.’


‘God’s truth, we will not,

until we’ve seen the maiden.

Does she come to a place

where we could see her?’


‘Every Saturday she comes here to wash her hair

and every Saturday she leaves her rings in the bowl.

Neither she nor her servants come back for them.’


‘Will she come if she is sent for?’

‘God knows I will not harm my friend.

I will not betray one who trusts me. 

But if you give me your word

she won’t be harmed, I’ll send for her.’


‘We give it.’

And so they sent for her.


[i] Throughout the story, there are conversations like the one which follows, which sound as though the participants are in a scene from a Beckett play. 

Three Poems by Friedrich Hölderlin

Translated by SEAN THOMPSON, who writes and translates from German and French in Ireland

To the Fates

Oh grant me just one summer, destiny,

And then one autumn for my ripened song

So that my heart can die more willingly,

Being sated with sweet sounds, and slumber long.


The soul which does not claim its sacred right

In life will not rest peacefully below

But if I once attain that glory bright,

The poem, heart, the holiest thing you know,


Then welcome, silence of the world of shade!

I am content, though at that nether shore

The bronze notes of my lyre can lend no aid.

I lived once like the gods, I need no more.

The Neckar

My heart awoke to life within your valleys,

Your waves played round me, none of all those hills

Which know you, wanderer, are strange to me.

The breath of heaven often, on their summits,

Lightened the pains of bondage, while below

The blue-tinged flood of silver gleamed, like life

Poured from joy’s beaker. All the mountain streams

Rushed down to you, and with them went my heart,

You bore us to the hushed and noble Rhine,

Down to his cities and his isles of pleasure.

It seems the world has beauty in it yet.


Yearning for earthly charms, my eye escapes

To golden Pactolus, to Smyrna’s shore,

And to the woods of Ilion. I long to land

At Sunium, to ask for the silent path

To your high pillars, O Olympia,

Before the stormwind and the passing ages

Have buried you in wrecked Athenian temples

With all their sacred statues, for it is long

That you have stood alone, O pride of a world

That is no more. And O, Ionian islands!

There, where the salt air cools the panting shore


And whispers through the laurel, when the sun

Keeps warm the grapevines and a golden autumn

Transmutes the sighs of the people into song,

When pomegranate ripens, when the orange

Gleams through green night, when mastic resin drips

And kettledrum and cymbal-clash set up

The labyrinthine dance. To you, O islands!

Someday, perhaps, my guardian God will bring me,

But even then my Neckar will be dear,

With all its pastured shores, its gentle meadows.

Curriculum Vitae

I strove for height. To thwart my strife

Love weighed me down, then roughly pain

Dragged me. I trace the arc of life

And end up at the start again.

Six poems by Claudia Gary

CLAUDIA GARY teaches workshops on Villanelle, Sonnet, Meter, Poetry vs. Trauma, etc., at The Writer’s Center (writer.org) and privately, currently via Zoom. Author of Humor Me (2006) and chapbooks including Genetic Revisionism (2019), she is also a health/science writer, visual artist, composer of tonal songs and chamber music, and an advisory editor for New Verse Review. Her 2022 article on setting poems to music is online at https://straightlabyrinth.info/conference.html. See also pw.org/content/claudia_gary

What My Heart Is Saying    

A while ago it spoke up

complaining there’s enough

to process here without 

waves scattering new nacre 

on briny sand


or dredging up seaweed 

to glisten then decay


or sending driftwood planks

to scrape at its incline 


or drawing out its words

with undertow


reminding me a harbor

is subject to erosion

susceptible to tides

but also now and then 

to a starfish.

My Story Has No Villain 

Even the stag that stood before your door

and looked me in the eye—making me stop

and wonder, “Should I be elsewhere?”— was not

a villain, may have been my guardian.

And only when I called out, “Let me through!” 

did he stand down. Does our present create 

the future, or does some idea about

our future block a pathway and create

the present, antlers shuffling warm air?

Legato Notes   

1.

Even a flock

of soot-colored grackles

landing on wires

returning to gray clouds


today even this 

is a moment of peace

2.

Let me dissolve

out of the narrative

into the moment


Delicate and strong

my soul is not leaving

but sheltering in a corner

3.

From unmade bed and plenitude of sighs

to turmeric and lack of peppercorns


melisma to staccato

staccato to melisma


a peppercorn for your thoughts

a murmur for your kiss

Song for Today          

With no time for melisma,

a clear syllabic song

becomes the quiet engine

to move this day along


although the singer slumbers.

Today his peaceful heart

rouses within its rhythmic space

to reason and to start


elaborating newly

a song launched years before

and bring it to fruition

despite a time of war.

Una Corda     

To pull away from sound

precipitates a longing

for greater sound.


I build a house of music.

Its cornerstone is silence.

This soft pedal 


divides each tone’s foundation

in half and lets it settle 

into desire.

Setting 

The room is quiet, warm,

soft voices speaking, sighing,


creating poems and later

music spilling over 


into a performance

that intrigues, overwhelms.


But how to return 

to that quiet room? 


With these words I knock

gently at the door.