‘All the Times One Wanted to Walk Away’ & ‘Burial Rites’

Photographer - Tobi Brun

All the Times One Wanted to Walk Away

In Vienna, you thought it too profound to say love me.
Of our divine inferno, as you called it, I loved
being its prisoner and your beautiful disregard
of it: your reprimands lingering in the air’s orange perfume,
my soft weeping the lullaby to which you fell asleep,
your thundering snores the denouement of our evening.

The banisters sang songs of philos for the descent of
Eros: the mahogany reddened like my lipstick pigment
and the steps creaking in coital harmonies.
When you scoffed yet descended the stairs after it.

On the hotel veranda we shared breakfast—
colazione, you ameliorated—
my love ever as hot as the mocha espresso,
as tempting as spreading all the gianduja cream
atop my biscuits, leaving none for you.

When I twirled the knife in the juice
of the jar, replaying our joust of yesternight, pleading:
Darling, do not forget I am your mosque;
Let the horrors nesting in Past’s loins be our charm,
Let them mature into things you love: cherries, boutiques.
Venture! Let us organisms dance in the aggrandizement.

Then, Venice—how their servants welcomed you,
thinking you a crucifer imported, a blessing from Karlskirche!
when you are merely a postulant, rendered immobile
in your waiting to secure my love,
my approval dangling before your tongue.

Our voyage along the Venetian lagoon
where I collected stolen glances from the gondolier,
my pulse thumping like its rudder when
your possessive grasp landed on my neck,
held as you doused my cheek with a smacker.

Oh, all the times one wanted to walk away!
Though I am rendered defenseless like the Simonists
of Dante’s Hell plunged into the ground, their feet ablaze,
just as my heart is afire for your wiles and you.

Burial Rites

It begins when home soil is raided,
the reminder that no earthly dwelling is safe
from infiltration. Inundating Rain storms the
barracks of root and clay until all organisms are
flushed out. And when the bodies of so many
worms are lined up for execution on the cobblestone
crematorium, the mocking sun doing its worst,
they are granted no urn save for the trapping labyrinths
of shoe soles. And when passersby do trample and stomp
on and past the massacred and the still-writhing displaced,
unsure if it is the rain or the worm to blame for the littered
pathway—they were not outside during the storm, after all—
the grass blades shake from the shock of slaughter and plead,
if anyone is listening above, may He remove the Worm Crushers’
hearts of stone and give them hearts of flesh! so that
someone may look upon the site in horror and extend the courageous hand
that will transport the worms to Sod, will dig graves of flower petal
and dirt for their home burial, and will not stop, despite scornful stares
of onlookers, until each corpse has met its proper resting place.

Blake Harrsch is a poet corporeally in New Jersey with a writer’s heart determined to capture stories beyond temporal bounds. She is an English Literature Master's candidate and writing instructor at Seton Hall University. @blakeharrsch, blakeharrsch.com.

‘Wine or Vinegar?’, ‘What Another 'JC' May Have Meant...’ & ‘毀滅與的’

Photographer - Tobi Brun

Wine or Vinegar?

The earliest of the New Testament Gospel texts –
Mark –
states definitively that wine (οἶνον),
mixed with myrrh (ἐσμυρνισμένον),
was permitted or offered (ἐδίδουν)
at what is generally considered
the crucifixion of Jesus ...
in ancient times,
by the way,
myrrh had many applications,
including in anointing kings and high priests.

Further,
Mark states that while this libation
was permitted or offered,
it was the person now known as 'Jesus' who –
it may be read –
gave sweet intoxication mixed with a healing balm (metaphorically).

Such manna (מָן)
should not be confused with חומץ (vinegar) –
rather,
it is properly recognised
as a reference to superlative rhetoric
or philosophy.

That manna is apparent elsewhere,
including in a passage in Matthew 27:46 –
purporting to represent
'reasoning' [λέγων]
'shouted again' [ἀνεβόησεν]
in a 'marvellous discourse' [φωνῇ μεγάλῃ]).

For those with an understanding of Aristotelian philosophy,
the application of dialectic methods
and creative translation of various languages,
the relevant transliterated Aramaic and Koine Greek
might be read as shown below.

Being, existence, causation and fate (YHWH)
laments the query,
"Why produce myriad peaceful fruits?"

There – and here – exists
the fundamental generative good
in each emerging moment, my deity,
mine is where what is me is:
in favour of survival;
against abandonment; and
left behind as an inheritance.

Expressed thus –
as may have been the case
for a philosopher, grammarian and rhetorician –
it is a life lesson
free from religious dogma
and relevant to all.

These are a couple of examples
of different interpretations
that may be applied
to the earliest Gospel texts ...
which,
believe it or not,
do not even include the name 'Jesus'.

As for the moniker 'Christ',
it is of only recent invention -
from about 100CE to 1300CE,
a word for 'Good'
was actually the epithet applied ...
and it was used in parallel with derivatives of an earlier descriptor:
χρυσός (meaning 'gold', 'precious' or 'treasured').

All might not be as we have been told
by those influenced by religious dogma –
including that this 'Jesus' died on a cross,
or was a man
(perhaps,
rather than a God,
she was an exceptional mortal woman).

Due to a progressive
(and terminal)
neurological condition,
I may never get the opportunity
to complete my PhD on this matter.

Regardless,
I enjoy sharing thoughts with others
as they arise ...
little by little, perhaps sense will prevail.

The action of the fates aside,
however,
what we can surely agree upon
is that the world needs more good works –
and for that,
all we need to act on
is our own 'divine' spark
(the best of intentions
produced in our own individual minds
[Michelangelo left that message
on the roof of the Sistine Chapel]) ...
after all,
as noted in James 2:20,
“faith without works is dead”
(and I suspect 'Jesus Christ' likely thought the same).

What another 'JC' may have meant ...

Julius Caesar (100 BCE – 44 BCE) –
Roman general, statesman, author and historian –
is believed to have once written,

“FERE LIBERNTER HOMINES
ID QUOD VOLUNT CREDUNT”.

The traditional reading of that passage
is something along the lines of,

“Men generally believe
what they want to believe”.

Rendered thus,
it is a maxim of sorts
that has a Stoic tone to it
(or some may perceive a Cynic).

An alternative reading –
one applying creative translation –
providing guidance
rather than observation
follows:

Humanity,
speak willingly, eagerly, gladly, cheerfully, vigorously and enthusiastically
that which wishes, intends, consents to and advances towards
imagination, thought, confidence and life-preserving trust.

Such an approach is consistent
with masterful philosophical approaches –
and consistent with the teachings
of another subsequent 'JC'.

毀滅與的
信仰是力量讓破碎的世界重見光明
信仰是力量讓破碎的世界重見光明
的與滅毀

Destroying, ruining and slander obliterates ...
provide, cause and participate in the optimal

Belief, justice and capability reproaching?
Broken.

Bindú?
The realm governed by a buddhá duplicating manifest brilliance:
hope in adverse circumstances, frankness and open-heartedness.

Truly,
to rely on this power and influence?
Pramāṇa.

Permitting destruction, ruin or exile?
Shattering, fragmenting and shredding.

The aim, standard and criterion?
A life, generations and a world
characterised by prudent views ...
only clarity, observation, intelligence, knowledge,
discernment, sensibility, understanding, and wisdom.

Winning the lottery?
Helping, supporting, befriending and choosing
extinguishing destruction, ruin and slander.

Douglas Colston hails from Australia, has played in Ska bands, married his love, fathered two great children and among other things, pursued a PhD he hoped would provide a positive contribution to the zeitgeist. Having been a former Pushcart nominee, his writing has appeared in anthologies and magazines, including: Tenth Muse; POETiCA REViEW; Impspired; Hive Avenue; Rue Scribe; Inlandia; and Revue {R}évolution.

‘girl writer en café’

Photographer - Tobi Brun

girl writer en café

She had eyes like mossy tree bark
that looked at me just once
but I saw the forest of her soul through the trees of her eyes,
My unworthy gaze met hers for the first and only time
And in that moment (I admit) my heart reached for the sun,
She went back to writing in her small notepad
at the table next to mine,
Her rimless glasses bending low to the paper
as she wrote shorthand,
What could she be writing?
I wish I had the courage to ask
but since my youth had been shy and yellow bellied
and will forever never know,
All I have is her short dark hair,
small silver hoop earrings,
Small-chested pink t-shirt
and white platform converse
meeting at the end of a long denim skirt,
My coffee got cold beside my neglected computer
as I snuck glances her writing-preoccupied way,
Hemingway’s A Moveable Feast mere words on a page
with no story or concept
as I struggled to not soak her presence in like a sponge
but failed miserably,
She stood to leave and my sunny heart eclipsed,
When she was gone I could still aftertaste her lingering memory,
But I could finally focus on my work
and begin to wring out the sponge
onto this page.'

Jacque Margaux is a Franco-American writer and hopeless romantic with a sensitive piscine soul. His poetry is his therapy. To cope with the loss of all those who he fears to approach, he writes poetry about them. He nurses his broken heart in Upstate New York. Some of his work may be found on the Instagram page of his close acquaintance, @notrileycreative.

‘Maranatha’, ‘Saints’, ‘Offerings’

Photographer - Tobi Brun

‘maranatha’

on the very first day of the year
we all sat tied-up and watched on the old projector
the same glorious service from a far away church
with a proper garden, a proper pulpit
something we could only dream of
while our mosquitoes flew in circles like the fans spreading out dust and heat
but at that time, we were equal
actually, we felt better than the ones suffering:
global warming, wars, hunger
how beautiful, isn’t it?
the pastor used to scream in complete awe
while the washed off colors of the screen flicked
how close we are from Salvation —
Maranatha we would sing
Jesus will come for us;
seven horns, seven eyes
continuing the year
the word reverberated in my mind
as if i was caged, brought back to that wooden bench:
i looked at the sunsets after thunderstorms
and kneeled praying for my life
i heard ominous music resembling the trumpets
and hid myself inside

Saints

I have Saints in my walls, my shelves, my bags
Some Saints I am not sure who they may concern
I just want to connect everything to the Holy.
Maybe in an attempt to find meaning in the mess my room is
Though I am afraid of reading the Bible
Realizing what it has to say about me
About the sour candy wraps scattered around
I don’t know much about the Gospels;
But I know about the rage of God to Cain
You know, it is the way the church raises that is killing me

offerings

i went to a chapel in a crisp monday morning
to sit at the bench by the Virgin Mary
she looked youthful, with her hands clasped and her kind countenance
the statue was made with white stone
but so colorful it looked with all of its offerings
many rosaries with beads of different colors and materials
flowers around her halo and on the holy ground
bracelets spelling a secret, prayer cards to São Longuinho
i could not even pay attention to my prayers because all i could think was
how beautiful,
it is a canvas of the community
of what we long for, of what we are

Anna Correa is an Brazilian immigrant based on Orlando, FL. She studies computer science and is an editor for her local school magazine. She has been featured at Phoenix Magazine, The Word's Faire, and Wingless Dreamer Publisher. More of her work can be found at annacorrea-archive.com.

‘Forgotten Histories from Ancient Texts’, ‘Peddler of Lies’, ‘Lux Leaena’

Photographer - Tobi Brun

Forgotten Histories from Ancient Texts

{Fragment 1}

The universe is a velvet kingdom
Filled with steam and mirages
And conversations between light and shadow
(being and unbeing)
Matter is Energy’s daydream
As Energy is Matter’s heart

{Fragment 2}

Do not be afraid
There is no such thing as the Void
All is filled and all is wanting

{Fragment 3}

Each one who ever was share
the same spirals of ingredients
reflecting galactic helixes
filled with steam and mirages

Peddler of Lies

Lies, lies
You can get them here
All kinds of lies,
I make ‘em fresh right here.

Oh, you don’t think you need them?
I hardly think you’ll do without.
How about a pack of

Penny lies,
We have your
“I’ll be right theres,”
your “it’s alrights,”
your “how interestings,”
your “beg your pardons...”

Oh, stopped you in your tracks, have I?
Let me tell you a secret.
I myself, I never lie.
Don’t sample the goods myself, you see.

Come, now,
See what else I’ve cooked up.
Sweet lies,
Whoppers,
Convenient excuses,
Self-delusions,
Embellishments big and small.

All the way up to niche items
statistical fudging
Financial finagling
False advertisement
They’re not everyone’s cup of tea.

If you’re willing to pay,
Behind the curtain, I’ve got
propagandas and grand conspiracies,
I’ll show them just to you.

Ah, you’ve made your choice, I see?
My, my, what a situation
you’ve got yourself in.

How delicious.
Of course, as standard,
regret comes free with every purchase.

Lux Leaena

All this gladness is roaring
A protest against darkness
Fireworks in the abyss
Confetti riding curls of smoke
I am a lioness of the light
Stalking shadows
Swallowing them whole

Ashley Williamson is an American poet living in the inspiring English Lake District. She holds an Undergraduate of Creative Writing at Oxford University. When not writing, she works as an industrial radiographer for a small family business in the aerospace industry. She wanders the Lake District, rock collecting and painting. Her poetry is featured in Ephemera, Liminal Spaces, Cathexis Northwest Press, La Piccioletta Barca, The Festival Review, and others.