Category Archives: animal

Mario Milosevic

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When I Was

When I was a bear
I filled the world.
My paws were wide,
and I walked large.
I ate all summer
and slept all winter,
dreaming of the time

when I was a dragonfly
and I wove the world.
Darting through air,
skimming over grass,
hovering on water,
my compound eyes
embroidering my dreams of the time

when I was a turtle
and I carried the world.
Walking slowly with the weight,
squat body on four thick legs,
hard shell holding me in,
keeping my dreams of the time

when I was a salmon
and I fed the world.
Sleek skin sliding down river throats,
pink flesh nourishing my cousins.
I swam upstream,
where death took me
and I swallowed my dreams of the time

when I was a tree
and I held the world.
Roots gripping soil,
branches embracing sky,
my vision
encompassing dreams of the time

when I was a raven
and I sang the world.
Single note struck from my throat,
pushed into air,
the sound a call to listen
to the unseen
and honor my dreams of the time

when I was a bear;
when I was a dragonfly;
when I was a turtle, a salmon, a tree;
when I was a raven.

 

“When I Was” is reprinted from The Journal of Mythic Arts and Animal Life (Green Snake Publishing).

 

Mario Milosevic’s poems and stories have appeared in Black Warrior Review, Rattle, Alfred Hitchcock’s Mystery Magazine, The Magazine of Fantasy and Science Fiction, and many other magazines. His novels include Terrastina and Mazolli: A Novel in 99-Word Episodes, Claypot Dreamstance, and The Coma Monologues. He has published three volumes of poetry: Animal Life, Fantasy Life, and Love Life. All his books are published by Green Snake Publishing. He lives with his wife, writer Kim Antieau, in the Columbia River Gorge and works at the Stevenson Community Library in Stevenson, Washington.

 

Ana Karina Luna

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If You Had Seen Them

I saw two Foxes naked in the water
in the alpine lake named Dorothy.
Who knows who those two giggly Butterflies were,
blue dragonflies smooching their wet hairs, their hands,
maybe they were Dorothies?
But placid so quiet
Dorothy floated them luscious,
held their soft bare bottoms
pushing to the sky their adorable triangles
their buoyant romantic hearts
beneath those two pairs of adventurous beast breasts—
alive, flesh and soul, they palavered by a slippery drowned trunk-phallus.
Then, they disappeared;
clothes ate them.
Today, I saw the Fox-Lioness
still rag-eaten, wandering in the city;
in her wishful eyes drifted my alpine image reflected in the lake of her longings,
and there I saw the Fox-Capra, the other Dorothy:
was she also still eaten by her clothes? Where? And doing what?

 

Ana Karina Luna is a freelancer Art Director and Graphic Designer living in Seattle for 14 years. She is originally from the Northeast of Brasil, where she studied Architecture & Urban Planning. In 2008, craving more art in her existence, she [inherited and] started a letterpress shop in the heart of Central District, called Miss Cline Press. Besides printmaking and poetry, she also experiments with wire sculptures and mixed-media drawings. SheI also loves dancing salsa and samba, and dreams of being a better Flamenco bailaora.

Steve Potter

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“Forcing twentieth-century America into a sonnet — gosh, how I hate sonnets — is like putting a crab into a square box. You’ve got to cut his legs off to make him fit. When you get through, you don’t have a crab any more.”           

 –William Carlos Williams

Boxed Crab

Dear Doctor Williams, with all due respect
For worlds of pleasure I’ve found in your verse,
On this account I feel I must defect.
I love your offhand lines — “so much for the hearse”
From “Tract” for one — and how you defied the norm,
Filled your poems with ordinary speech
And escaped the strictures of long-standing form
Extending by great lengths the poet’s reach.

But, gosh, the twentieth-century whole?
A crab so large should be delegged, declawed!
Who, dredging such a creature from the shoal,
Would not pull back in horror overawed?
A crab of such size must be cut to fit
Boiled, dipped in butter, eaten bit by bit.

 

“Boxed Crab” is reprinted from Able Muse.

 

Steve Potter was active in Seattle’s literary scene as board member and frequent emcee for Red Sky Poetry Theater in the ’90s. He performed at events such as Seattle Poetry Festival, Subtext, Rendezvous Reading Series and Cheap Wine & Poetry sometimes accompanied by guitarist Bill Horist or the sitar/tablas duo Bakshish. He edited an eclectic but short-lived literary magazine called The Wandering Hermit Review. While he keeps a lower profile these days, Potter is writing as much as ever. His work has appeared in journals such as; Able Muse, Blazevox, Drunken Boat, Galatea Resurrects, Knock, Marginalia, Raven Chronicles and Stringtown.

Stephen Wallenfels

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The Very Last Time I Shot a Gun

 

I don’t recall whose idea it was the two of us
swishing through knee-high clover while
grasshoppers launched in frenzied flight as if they
knew our purpose before we did.

The gun lead-heavy in my hands and BBs rattling
in my Skittle box and his short legs churning
behind me while I watch for poison oak and gopher
holes and the silken weave of milk snakes big
as submarines.

We reach the water’s edge misty-still where our
quarry basks in memories of a lust-filled
night drunk on the endless possibilities
of a pond beneath the stars.

They slip into mud between the reeds but
we wait for their unblinking eyes to
surface then shoot and shoot and shoot until
all bubbles stop rising and the first belly
floats up a creamy pillow of unexpired air.

Later with windows open we listen to mayflies
bounce against the screen and the belly-growl of
far-off thunder and father popping the top off
yet another Bud my while brother whispers
I can’t hear them and he’s right

the baritone call for love is gone and that
aching note of silence is
emptiness defined.

 

 

Stephen Wallenfels launched his writing career with a short story about a lucky chicken’s foot in National Racquetball Magazine in 1985. That developed into ten years of publishing over 100 feature articles, columns and humorous essays for fitness trade journals. During that time he continued to develop his fiction skills and published several short stories for kids and adults. In 2012 he published his debut novel, POD, with Ace, the SciFi imprint of Penguin USA. While writing fiction receives the bulk of his attention, Stephen’s first love of the written word was, (and still is) poetry. He looks forward to courting that relationship again. He lives in Richland.

Jeremiah Webster

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Other Space

By the glass, by the portal,
by the water’s window, by the pane
is my boy, having positioned his stroller
by the aquatic gate, I stand and watch
his eyes mimic the walleye,
his mouth become the bass mouth,
his body go still as the scales that hang
in the care of Pisces before us.
He breaks his gaze
to look at me, seeking
assurances I cannot give, the reason
we reside in this space
and not the other.

 

“Other Space” is reprinted from Crab Creek Review.

Jeremiah Webster‘s poems have appeared in Crab Creek Review, North American Review, Rock & Sling, and Beloit Poetry Journal. His unpublished collection, Crux, was a finalist in this year’s Crab Orchard Review prize.  He has written the introduction for a new edition of T. S. Eliot: Paradise in the Waste Land: Early Works (Wiseblood Classics).  He lives in Kirkland.

 

Sarah Koenig

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Ransom Note

To Whom It May Concern:
We have your pet rabbit. Meet
Us at the corner of 65th and Spring
And we’ll hand it over, no questions.
OK. Maybe we’ll ask a few questions.
Why can’t birds fly backwards?
I have seen their ragged feathers
Sometimes and I know they want to
Do it. I have seen them resting
In the eaves, weary from long days
Of flying. Why do rabbits crawl into
Holes? Where do ants build a nest?
Would you come home with me?
I’ll make you a pot of tea.
We’ll sit by the window, safe from
The rain, and talk for hours,
Like two encyclopedias meeting
For the first time. And your rabbit
Can hang out on the kitchen floor,
Chewing grass from the backyard.
He will be utterly contented.

 

 

Sarah Koenig has a Master’s Degree in English from the University of Connecticut and has taught English and writing at home and abroad. For over 10 years she was a reporter and freelancer. Her stories have appeared in City Arts magazine, Seattle’s Child magazine, Overlake Hospitals’ Healthy Outlook magazine, the Weekly Herald, the Enterprise Newspapers and the newspapers of the King County Journal. She now works in the Workforce Education Services office at Highline Community College, where she helps students obtain funding and other support to retrain for a new career.

 

Thom Caraway

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The Leper Attends the Idaho State Roadkill Fur Auction

 

Like mine, their removal
is detachment from
the body, ruined
but not too ruined.

I think about the men
who hustle the long roadwork
of Idaho, who have learned
the language of blood,
smeared down fifty yards
of highway—the parallel skid tracks
of the locked-up vehicle,
a body inside, a body outside—
those men whose job it is
to quantify the dead.

Love is not
the coexistence
of two alonenesses.

Like the roadkilled raccoons,
porcupines, deer, skunk,
the occasional bear, the coyote,
house cat, lost dog—
like all the other beloveds
lost on the back roads
of this terrible wilderness,
and like the men who
collect, strip, and scrape
the pelts, I would also
remove my skin if it meant
my permutation into the world.

 

“The Leper Attends the Idaho State Roadkill Fur Auction” is reprinted from Ruminate.

 

There was a time in his life when Thom Caraway wanted to be a truck driver. He still occasionally regrets his decision not to pursue that path, a regret that was inadvertently reinforced by his son, Sam, who recently said, “Bus drivers have the coolest jobs. Why aren’t you a bus driver?” Thom lives in Spokane, and does a variety of things that, to a six-year-old, are not as cool as driving a bus. (Though one might be: Thom has just been named Spokane’s inaugural Poet Laureate.)

 

Aaron Counts

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Becoming Iron

High above the hustle
of the Brownville Projects,
bullies find Mike’s solace:
a rooftop walk-in filled with
pigeons named for boxing greats.
In his hands, Mike cradles
his prize racer, Mongoose,
cooing as the bird pecks
seed from his lips.

Lemme hold it,
the big guy says, and wrenches
Mongoose from Mike’s chubby
fists. The sidekick chuckles
and the bullies pass the bird back
and forth, take turns pushing
Mike away, laugh as he pleads
with them to thtop it.

Mike almost holds in his squeal
as they pop the head off Mongoose,
twisting its cap as easy
as opening a soda bottle.
The big bully shoves
Mike back in the coop,
then throws the limp bird at his soft
chest and walks away smiling.

When they’re gone, Mike raises
his arms; palms open like he’s addressing
his congregation, and commands
the other birds out of the coop.
Feathers flutter in the air like dirty
snow, and Mike slumps
against the back wall, crying. He wipes
his nose on his sleeve and vows
to take the head off every fool
that tests him.

He’ll start with the tips of their ears.

 

 

Aaron Counts has written and read with professors, prisoners, high school dropouts and national book award winners. He is a teaching artist with Seattle’s Writers-in-the-Schools program, and his non-fiction book, Reclaiming Black Manhood, has been taught in area jails, prisons and juvenile detention facilities. He holds an MFA from the University of British Columbia.

Jeremy Voigt

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After Looking at Paul Klee’s Ad Marginem

 

The owl was eating something I could not see.
I had come out early and it was time to go back.
I wanted one more turn where the trees opened
in their damp, green glaze to the flat tongue
of field. My feet on the gravel path felt good
and the day, to be sure, would be difficult.
I made it within five feet of the bird before it looked
at me and I thought it would lift, but it remained
faithful to its indifference.
………………………………….Out of an old chaos
through the trees and sun his mate arrived
and landed ten feet above. They did not care
if I moved, or breathed. I was lost trying to keep
my eyes. He finished the meal and I left
to return later that week, searching beyond the edges
of trails in the leaves and mud for the orb
of what was eaten—the impossible to digest.
I want to cut it open as I once did in a classroom,
to see the inside of what was on the inside.
I find nothing. When I look up I cannot see the sky,
just boughs moving from green to green to black.

 

 

 

 

Jeremy Voigt has published poems in Willow Springs, Beloit Poetry Journal, and recently in Post Road, as well as in the chapbook Neither Rising nor Falling. He is the editor of Cab Literary Magazine, a philanthropic literary journal, and lives with his wife and three kids in Bellingham, WA.

 

Donald Mitchell

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BEAVER SIGN
(for my brothers)

We can smell them
long before we see
the fallen cottonwood
on the other bank,
or the pale bones
of chewed stumps.
It’s a blend
of resin and musk,
stronger than any church incense.
More like a song
it drifts against the wind
following the steelhead
upstream. Such places
obey different laws
than we obey. Our father
taught us
to be taught
by signs like this.

 

Donald Mitchell live in Deming, WA on his family’s 130 year-old homestead. He is a self-published poet and his works include the collections Signs of Faith, The Shark Skin Man: A Story and Poems, and Hello Eternity. Raised by a preacher who was also a woodsman and fur trapper, he found an early draw to the soul of the woods and streams of the Nooksack River watershed. This attraction led him to interests in biology, anthropology, comparative culture and religion and the perilous art of making poems.