Tuesday, February 1, 2022

HOW LONG DID THIS GO ON FOR, Stephanie Kaylor


Memory arrives as a pin to hold the tethers of compulsion. In this hemming of excess, the image is always error. I tell my therapist I came to speak the honeysuckles that muffled the different octaves of our bodies, or the pouch of glass marbles—my fascination with the multiplicity of their worlds, to be the one perched above, onlooking. To watch them roll away. Of course, this is a lie. I tell my therapist that I have always lied, that always means sometimes, that sometimes I forget, that I forget—that I always, always forget. The hour is stitched behind us, our time up already.



Stephanie Kaylor is Reviews Editor at Glass: A Journal of Poetry. She is completing her PhD at UC Santa Barbara, and curates the Sex Workers' Archival Project. She lives in Brooklyn.

Two Poems, Michael Lee Rattigan

Ways of Listening

I

                A jolt arcs the body, stuns the heart.

Events witnessed while unconscious –

                                          “too shocked to be scared.”

Living green streaming in all directions

              impossible to spell out.


II

A wave’s wash – the view shifting to a corner

                                                                  detached

                 in the space between.

Flowers on a sill vibrate across, while footsteps

                   at a distance are heard on sight.

Unbound beginnings skimming the sea-gold grain on a windless day.

A door opening inwardly through twice-spoken tears

                                                 drops

                                                           into the mind.


III

A bellow for the breath –

    two shocks short of balance.

A line sown into place.



IV

An aureole blur,

the cadence of a man’s step –

                                     “whoa buddy.”

Conversation, out of earshot about a tree never seen before.

A child fussing over the toy

                            knocks down a wall in perception.




V

Two doves outside the window peer in and pace.

                                 Restless.

                                        Fly off moments before the horn.



Enquiry 

Branch broken on the threshold,
making sense to no one else – 
a temporary gateway. 
  
Feeling breath on the face – 
a humming of the blood’s 
metallic strength.   

An elsewhere here,
where another constantly follows
calling one’s name…

A thrice-heard voice 
amid the dust from bullets,
marking life.

As near to where one stands
as the seventh heaven’s    
source of belief.

Shining in the shadows
of an exile about to end,
pushing toward earth.

Not explaining “here” and “hereafter” –   
a wave sculpting the rock 
it wears away.




Michael Lee Rattigan (Caterham, UK) has lived and taught in Mexico and Spain, and translated the first complete collection of Fernando Pessoa’s Alberto Caeiro poems (Rufus Books, 2007). His first poetry collection, Liminal, was published in 2012 (Rufus Books). He contributed to the Selected Writings of César Vallejo, published in 2015 (Wesleyan Press). His latest collection, Hiraeth, was published alongside its French translation in 2016 (Black Herald Press).


Selected Works, Katrina Kaye

 Seventeen Years

In my dream you were alive.

I saw you:
a broken man with
crooked smile telling me
it’s been seventeen years.
You’ve been looking for me for
seventeen years. You’ve been
in love with me for seventeen
years.

It’s been seventeen years since
your spine cracked upon impact.
It was just one of those things
that happen, an accident.
No one’s fault; No one
to shoulder the blame.

In my dream, I look for the book
you gave me, the only thing
you ever gave me, hungry for a signature
scrawled on the first page. Your j’s look
like g’s  in fast black ink.

It has been seventeen years since we
raced the halls together. A good kid
who smiled too much. A chip of broken tile
and notes passed by girls. You never should
have become a name smeared to highway.
Never should have been anything more than
a fond memory, a high school crush, a missed
connection.

Now, you survive in the pit of my stomach,
and despite a promise of pleasant reminiscence,
the dream shifts to the crack of skeleton,

the shattering of front tooth. I can’t trade this image
for a kinder one. It haunts me.
It haunts me still.

More than anything in the world, I
want to find you, to call you,
to write you a message in my
sloppy script assuring you
some things never die. But
you are already lost to me.

This is how I wake, chasing
rabbits and following sparrows. At
a loss for what I cannot quite
reach. You were always the illusive
one. So I lay here and I endure and
it is as sweet as the Sunday morning
we never shared.


Walking Dead

Burn it down.
Salt the earth.
Don’t let darkness rise.

Six feet in hallowed soil,
a crucifix,
a blessing,
should keep him.
Yet you still feel
his grip on spine
and your face
still radiates
the heat of his hand.

Not everything dead
stays in the ground.

Earth shakes,
dirt recedes,
and light of a full moon
can illuminate his rise.
He creeps in shadow,
circles corners of room,
hides behind recycled picture frames,
lurks inside a closet
half emptied.

You still feel him.
You flinch at sharp words,
loud noises.
You leave the lights on,
wake with a start when a car speeds by.
Some nights you shiver
as through still expecting
the turn and slap of front door
and warm tequila breath
on your neck.

Let the ground be sanctified.
Keep flowers on stone,
hands wrapped in prayer,
and when he creeps near your door
don’t invite him in.
Let pictures wilt,
flowers gather dust,
turn to ash.
Stake demons in the back.
Shake the curse
like excessive water,
and move out of shadow.

Take heed. Take care.
Fire. Salt.
Renew. Repeat.
Because you know,
not everything buried stays underground,
and a bullet squeezed through temple
can’t always keep the dead,
dead.




Looking for You

Under the waves,
I burrow

down

down

down,

safe under the weight of sand.

Content here,
holding on to you.
I envelop in cool earth
next to your crumbled bones.

ignorant to the creep of sun,
pulling tide back to
reveal barren beach.

Nothing survives here.

I try to stay entombed
but I am stripped,
exposed,
forced to surface,
to wake,
gasp for air.

The afternoon sun bleaches
bones and burns flesh.

I know you remain
although you hide well
among the waves,

turning in and out
with the swing of moon.

I still dig,
separate the damp sand
with bowed palms

trying to find a soft spot
below the shallow
to cup and curl into you.



Come Back

You looked in the mirror
before you did it. You cut
off all your hair in misshapen
awkward chunks, some spots
clean to your scalp.

You didn’t leave a note, but
two days before you killed
yourself you gave me your
grandmother’s watch, told me
you never wore the dented heirloom
and it didn’t fit your slim wrists,
said, it would look better on me.
When I pointed out that it no
longer worked your shrugged and
said simply, “time is a silly thing.”

I stand at your funeral
consumed by the list of things I
didn’t know about you, overwhelmed
by the uselessness of words and the
futility of remorse, devastated by
the continuance of the ordinary.

The sun rose this morning and the
winter still chills me to the core.
The radio continues to play and I
still know all the words to one song
after the other. Amanda, we will never
sing together again. We will never
exchange excuses of why we would rather
be alone. Amanda, it has been over
one hundred days and all I can say is come back.



Crack

if the storm did come,
i fear my first
instinct would be
to walk to the apex
bold and frenzied

my streets have been
dry for too long
leaving me desperate
to stand in the rain

i would trade my sight
for the scent of distant
thunder

my taste for the prickle
of hair twirled
in every direction.

i have prayed
for destruction.

but what do i know?

my mother was never
ripped into the sky
by unruly clouds,
my house never blown
down despite the coyotes
that surround back door
i have never wakened
to shattered glass
underneath my morning feet.

why should i distress of the
wrath of weather when my
New Mexican sky is endless blue
my sun bright enough i see
only red in the darkness.

i want the storm,
the wind, the water,
i want to be ravaged by the
wrath of unkind gods.

i know this wish
may not be kind

threats of storms ravage
those who prefer to hold tight
to rock and earth
and toss bodies
like crumpled paper
hoping to cling
on to abandoned words.

i have not felt
that windfall, and
i do not seek to
inhabit the pain
of the others

but i can’t
help but to search the sky for
gathering clouds and sit pale in the
wind hoping for the sky to crack.



Katrina Kaye is a writer and educator living in Albuquerque, NM. She is seeking an audience for her ever-growing surplus of poetic meanderings. She hoards her published writing on her website: ironandsulfur.com. She is grateful to anyone who reads her work and in awe of those willing to share it. 

Selected Works, Luis Cuauhtémoc Berriozábal

The Son of Man

After Rene Magritte

Face apple man
stood still for hours.
His self-portrait
was so surreal.

His right hand was
lighter than his left.
I wonder if
he was lefty.

He wore a blue
coat. He only
buttoned two of
the three buttons.

His left eye and
left eyebrow were
more visible
than the right eye

and right eyebrow.
I wondered if
the green apple
and five green leaves

distorted his
vision. He wore
a white shirt and
a red tie. I

wondered if he
picked out his own
tie.  Behind him
was the blue sea

and a blue sky
with clouds that were
about to turn
dark. He wore a
black hat. He stood
in front of a
small wall.  He stood
rigid-like. I

wonder what kept
the green apple
suspended in
front of his face.

If he faced a
firing squad, I
would not be at
all surprised. He

seemed to be the
kind of man that
was a little
misunderstood.

Face apple man
called himself
the son of man.
I wonder if

his father had
a green apple
or a red one
in front of his

face. I wonder
if he moved to
the left or to
the right, his face

would be seen and
the green apple
would remain where
his face used to

be. I wondered
if he took a
bite of it, would
the apple bleed.




Marbles

A marble replaced his heart,
a black shiny marble small
as an eye. His feelings were
lacking; his speeches rolled
around not making sense.
His words rolled around in a
maze and could not find their 
way out. Marbles replaced
his eyes, black shiny marbles
like coal. He could look at
the sun and not go blind. He
would look at things and not
see the beauty or the horror
in front of his marble eyes.
He could not feel love or 
empathy in his marble heart.




In The Blur

After Gerhard Richter

In the blur
of color
violence
of style and
peace make up.

Peace takes shape
in splashes
of yellow
and red/gray

and blue. Art
needs to stand
out as the
saving grace

of mankind.
Priests had their
chance. Freud and
Jung had theirs.

In the blur
of brushstrokes,
photographs,
there is life.




The Greedy People

I saw the greedy people
on TV. They had expensive
taste and drank babies’
blood. I saw them eat raw
meat without a fork, with
bloodstained hands and
manicured fingernails.
They were like sharks. They
never slept. They wiped
their behinds with goose
feathers and hundred-dollar
bills. They ate the marrow
of death itself and kept
company with the devil
and his accountant.




Close My Eyes

Every time I close my eyes
something dies.

I blink it gone,
an entire empire.

This is my power.
There is no doubt
in my heart.

Listen to me.
Keep my eyes open.
I do not want to destroy you.

I can clear out a mountain.
I can see it gone
in my mind when I close my eyes.

I am not joking as
I peer into the sun.

I can make it disappear.
I can make you disappear.
I can promise you that.




Before I Died of Thirst

The sea sailed right by me.
The ship sailed with the sea.

The sinful knocked at heaven’s gate.
The faithful were sent to hell by mistake.

The tall tree was felled for matchsticks.
The arsonists keep rubbing wet sticks.

I took a sip of water before I died of thirst.
The devil’s backbone was in need of a nurse.





Born in Mexico, Luis lives in California and works in the mental health field in Los Angeles, CA. He is the author of Before and Well After Midnight (Deadbeat Press), Make the Light Mine (Kendra Steiner Editions), The Book of Absurd Dreams (New Polish Beat), Peering into the Sun (Poet’s Democracy), Songs for Oblivion (Propaganda Press), Raw Materials (Pygmy Forest Press), and Everything is Permitted (Ten Pages Press). His latest poetry book, Make the Water Laugh, was published by Rogue Wolf Press. His poetry and art have appeared in Art: Mag, Blue Collar Review, Medusa's Kitchen, Nerve Cowboy, Unlikely Stories, and Venus in Scorpio Ezine.

Three Poems, Howie Good

Stairway to Nowhere

I was late for a class I taught at the college. When I dashed into the building where the class was held, the lobby was empty. I started up the main stairway. The stairs grew noticeably steeper the higher I climbed. By the time I reached the top, I was drenched in sweat and convinced that something was wrong with my breathing. I had arrived on the outskirts of a country one only hears about when there is a coup or an earthquake or when a virus crosses the species barrier from animals to humans. Toothless old women in babushkas crowded around me. If you must scream, one said, scream quietly. 




Pertaining to Darkness

A phone ringing in my dream wakes me. I feel like a body that has been pulled from a canal after three days in the water. Gerhard Richter says that only when he destroys a painting, scratches it out, is it fit to be seen. If I look back, I see snakes and coffins, and if I look ahead, I’m walking on corpses instead of the ground.

&

Used paper face masks litter the sidewalk. How’s that allowed? Even the crows on the wire must be wondering what the fuck. A series of incidents doesn’t necessarily add up to a plot. I want to shake this person and that person and tell them, “You can’t be lost in your own world all the time.” 

&

I was sitting up in bed reading a book called People Love Dead Jews when I came across a quote from a Jewish sonderkommando. His responsibilities at Auschwitz included disentangling the naked corpses lying in heaps in the gas chambers and carting them to the ovens for cremation. Although hair caught fire first, he noted with scientific dispassion, it was the head that took the longest to burn. 




Reign of Terror

It was the year of shadows and mists. If I had had a suicide pill, I would have taken it. The voice in my head that used to confidentially offer suggestions had turned implacable, menacing. Unlike the pharmacuetically blessed characters in TV ads for antidepressants, no medication empowered me to go skydiving or whitewater rafting or on an African photo safari. Some days I couldn’t even make it out the front door. I lived with the kind of panic that I imagine many must have felt when the Committee for Public Safety arrived in a town with a traveling guillotine. 




Howie Good, Ph.D., a journalism professor at SUNY New Paltz, is the winner of the 2019 Grey Book Press Chapbook Competition for What It Is and How to Use It, the 2017 Lorien Poetry Prize from Thoughtcrime Press for The Loser's Guide to Street Fighting, and the 2015 Press Americana Prize for Poetry for Dangerous Acts Starring Unstable Elements. His other books include The Death Row Shuffle (Finishing Line Press), The Trouble with Being Born (Ethel Micro Press), both 2020, and Gunmetal Sky from Thirty West Publishing in 2021. His prose poetry collection Famous Long Ago is forthcoming from Laughing Ronin Press.

Selected Works, Angela Acosta

Mourning at Dawn 
 
I want to know that you were with me,
the night I sped down the highway into morning,
hoping that the mourning would cascade into memories
but I was numb.
The lock on, the love on, the Velcro of hugging skin
vanished quicker than the city lights near Hartford. 
 
The dawn awaits only me,
a truth lodged deep in my sore throat 
where I keep parts of you
from bobbing up at stoplights.
 
Returning home is only the illusion of loneliness 
because two arms never held four walls and a roof.




Our Queer Home in Space

In the doldrums of the twentieth century,
writers and artists dreamed up the impossible,
wishing for safe havens for queer and trans youth,
exchanging the epidemic of queer death for 
queer time travel, sending us to livable queer futures.

Once we cracked open the binary, 
we freed ourselves from gravity,
learned how to exist in bodies we’ve wanted since birth,
inherited knowledges from our elders to break Western epistemes
that gave us labels that could not recognize the diversity of our very existence.

Our futures were created by our elders, 
by countless generations living in the wrong story, 
writing new possibilities in their minds and diaries in the dead of night,
traveling not in a straight line, 
but folding the fabric of queer time
to find a place of refuge for our kind.




Earthbound

I am among the earthbound, 
never to plant a flag on another planet,
I am engrained within this 1g ecosystem
among the billions who inhabit spaceship Earth.

I am in good company,
all of humanity’s saints and sinners
lay under my feet,
covered in plants grown with the energy of Sol.

I live at a time when I have no option to leave,
no near-light speed travel, no hypersleep,
or the cold grip of the metal harness of my first off-world shuttle, 
no miraculous life-extending technology to make it across the Milky Way. 

We can’t all leave
and what awaits us requires the resources
of the lifetimes and imaginations of billions,
generations of preparation and impending tragedies.

May our children inherit the Earth,
may we continue to bathe in the Mediterranean 
while brave souls sample alien oceans on super Earths,
may we console the families of those light years away,
while herds still roam the savannahs and prairies. 

If the Earth is truly an oasis in space,
then may we the Earthbound keep it safe,
may it not merely be a hovel of misery
of the unfortunate and underprivileged, 
but an option gifted from our ancestors.




Dejando huellas

Los sabios dicen que hay lugares donde
uno se siente más en paz,
pero lo que no se dice
es que hay que buscarlos durante toda la vida. 

Pensaba que encontraría mi ecosistema perfecto 
en un pantano de Florida poblado por los caimanes
y el musgo español en el campus de la Universidad de Florida. 
Pensaba que lo encontraría en la cima de una colina al lado del mar Pacifico 
cerca de la casa de mis abuelos en la Costa Central de California
que ofrece un panorama de un mundo acuático entrevisto.

Cuando tenía veintitrés años dejé mis huellas 
en la tierra de la Península Ibérica.
Tomé un pedacito de tierra en las manos
y supe con certeza que allí pertenezco 
en un rincón de la meseta castellana. 

Mis antepasados vienen de ambos lados del Atlántico, 
de ambas historias de los colonizadores y los colonizados.
Ya no hablamos los idiomas de nuestros antepasados,
siendo yo la única hispanohablante superviviente. 

Nunca he tenido raíces fuertes 
por las docenas de historias entretejidas de mi familia,
pero en las afueras de Madrid
estando sola en San Lorenzo de El Escorial
me equilibré con la madre tierra.

No es mera curiosidad por la cultura española 
por parte de una turista,
ni tan siquiera una obsesión con el idioma.
Es más, es la intuición de un ser humano. 

Cuando veo el sol rutilante al aterrizarme 
en España, sé que allí quiero estar. 
Quiero sentir los vientos ligeros en mis brazos
y el aire seco que pasa por los ramos de los olivos
tal como lo cuentan mis poetas favoritos. 

Mis huellas se cubren con lluvias y hojas,
y me tengo que marchar a los Estados Unidos, 
pero por un momento me junto con la tierra
en un momento fugaz de conexión terrestre.




Leaving Footprints

The wise say there are places
where one feels most at peace,
but what goes unspoken
is that it is a lifelong search.

I thought that I would find my perfect ecosystem
in a Florida swamp inhabited by alligators
and Spanish moss on the campus of the University of Florida.
I thought that I would find it on top of a hill next to the Pacific Ocean
near my grandparents’ house on the Central Coast of California
that offers a panorama of a glimpsed aquatic world. 

When I was twenty-three, I left my footprints
on the solid ground of the Iberian Peninsula. 
I took a piece of earth in my hands
and I knew with all certainty that it was there where I belong,
in a corner of the Castilian Meseta. 

My ancestors come from both sides
of the Atlantic, from histories
of the colonizers and colonized alike,
with me being the only surviving fluent Spanish speaker. 

I’ve never had strong roots
given the dozens of interwoven histories of my family,
but in the outskirts of Madrid,
alone at San Lorenzo de El Escorial
I found my balance with Mother Earth. 

It wasn’t just mere curiosity for Spanish culture
as a tourist, nor was it even
an obsession with the language.
It was more, the intuition of a human being. 

When I see the bright sun upon
landing in Spain, I know it is there I want to be.
I want to feel the light breeze on my arms
and the dry air flowing through the olive trees
just as my favorite poets describe.

My footprints get covered by rain and leaves,
and I have to return to the United States,
but for a moment I join in union with the earth,
in a fleeting moment of terrestrial connection.




Angela Acosta is a bilingual Latina poet and scholar. She won the 2015 Rhina P. Espaillat Award from West Chester University and her work has or will appear in On Spec, Eye to the Telescope, Pluma, and MacroMicroCosm. She is currently completing her Ph.D. in Iberian Studies at The Ohio State University.

Three Poems, JP Seabright

Start By Sending A Pawn Back

OBJECT: To be the first 
EQUIPMENT: 16 Pawns 
SETUP: Shuffle the deck          
facedown 
Movement is clockwise 

GAMEPLAY:
your first turn 
forfeit (skip) 
take the top card move accordingly “Discard Here"
You may not start a pawn out with any other cards!
You may JUMP over your own 
BUMP that pawn back to its own color 

move into your own SAFETY ZONE

Notes: Two pawns of the same color may never occupy the same space
your only possible move 
you forfeit your turn
you cannot move
you must move, even if it's to your disadvantage

WINNING:
all four of your pawns HOME first
Once HOME, do not move  
slide ahead to the end and BUMP any pawns in your way
land on a SLIDE of your own color, don't slide, just stay put

Safety Zone: Only you may enter your own color SAFETY ZONE
No pawn may enter its SAFETY ZONE by a backward move

you may not move your pawn forward beyond your own SAFETY ZONE entry
pass the entry space 
played against you
your turn ends 
forfeit your move if you do not wish to change places  

BUMP that opponent's pawn back to its START
If there's no one else to pick on

VARIATION FOR ADULTS:
All regular rules apply except:
Your turn ends; do not move  
if no opponent 
if no opponent has more 

We will be happy to hear your questions or comments about this game




Towards  *  Whether     


Completed
fidgeting             nearing hills
alongside calendars fixed ritual
digested 
eager sympathy
recruiter wallet period homes 
rooms

Silly beast
upper taken landed crop
torn oiled 
career tile trend
sting shot
grid axed
across artist
energy

Kinks
easy moth noises
leaves note
roses anyone
hardly rising
venue gentle
ranged
lists insist
chin pitch



Towards  *  Whether is an anagram of What Three Words, whose website is the source of this found poem using the author's many living spaces over the years.




DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT  DON’T squash spiders  DONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDON they’ll come back to haunt you  DONTDONTDONTDONT

DONTDONTDONT DON’T swat flies  DONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONT  for they are angels in disguise    NTDONTDONTDONT

DONTDONTD  DON’T throw stones   DONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONTDO if you can’t see where they land  DONTDONTDONT

DONTDONTDONT DON’T taunt cats DONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDO  for they know more than you’ll ever understand   DONT

DONTDONTD DON’T hit dogs  DONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONT  for a bark is never as bad as a bite  DONTDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTD (Despite what they tell you, this is a lie)  DONTDONTDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONT DON’T shoot birds  ONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONTDONTD for they can see inside your soul TDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONT  DON’T eat meat   DONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDO  you don’t know where it’s been DONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDO (It was once a shitting, puking, fucking animal like you)  DONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTD  DON’T kiss me  DONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONT for I might cry and you won’t like that  NTDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTD  DON’T hold me  DONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTD because I’ll shiver and shake and not in a good way DONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONT DON’T ONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDON  JUST DON’T  DONTDONTDONTDONTDONTDONTDONTDONT

DONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONTDONT

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JP Seabright is a queer writer living in London. Their debut poetry pamphlet, Fragments from Before the Fall: An Anthology in Post-Anthropocene Poetry is published by Beir Bua Press. Their debut prose chapbook NO HOLDS BARRED is out early 2022 from Lupercalia Press, as is GenderFux, a collaborative poetry pamphlet, with Nine Pens Press. More info at https://jpseabright.com and via Twitter @errormessage. 

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