Category: 2021 Edition

Ode to the Sun

by Stella Gleitsman

We think we are big men

But the only big man is the sun

The sun is the biggest crone in the galaxy
And we owe her our life

She is stretched and blistered skin on the back of an aged woman

She is the witch in the nursery rhyme

I see her lying on the corner every day, I keep my eyes forward and up

The sun is everything that makes your head ache and sway,
It is every hateful thing women have done to themselves,
Every descent into madness from heatstroke

Water that’s so hot it’s icy
Love that looks so much like hate it grows back as love
When it’s so hot, your tears melt your cheeks away
When it’s so hot, your skeleton shivers,
When it’s so on fire that it’s home again,

It’s mother’s arms again,
dressed in blood again.


Stella Gleitsman grew up in the Lower East Side of Manhattan and is a Writing and Literature major in her freshman year at LaGuardia. She has been writing poetry ever since she was 13 years old, often about mental health, feminism, Jewish identity, and spirituality. She views poetry as a place of healing, catharsis– a safe place to speak freely–and hopes that her poetry can connect with others and touch their lives in some way. You can find her on Instagram @stell__uh, and as well as her poetry account, at the handle @stellaisapoet.


Image credit: “Sun,” Nigel Howe. Flickr CC BY-NC 2.0.

 

rancour, black

by Amir Bouanane

the gathering of ether,
the dancer in the morgue
and the crow perched
awaiting the toll of 6 p.m.

then it bites the night, this
gavel that fares better for
its midday patrons, no matter
still; it’s an alcoholics reception.

that’s the way it oughta be,
says my father. it all breaks
into the dregs of autumn,
and i protract a thought—

segment it, parse out the
divinity. i offer it bare,
flesh pink—throbbing and
portly. he just nods.

stifles breath to muffle
and on cue, death begins.
real death; he who commences
the unspooling of shadows


Amir Bouanane is a New York City based, Moroccan-American poet, writer, artist and life observer who finds comfort in the gentle magic of words—through which he aspires to translate the soul imbued in scenes of life to give others a measure of catharsis or amenity.

October Silhouette

by Amir Bouanane

she bought two bottles of raindrops—
matched the evening with a light.

drowning rituals, exhales for past
-time; in every game—an outcome.

the memory vendor omits
this part—

it doesn’t undo the feeling of
ghost company. death too can

be a bargain, like the words
“if suddenly,” followed by

pause. then who is it that comes to
collect the bottles; why is it, now, when

i press my ear to the world, i am starved
to the sound of everyone living without

me.

 


Listen to Amir read “October Silhouette”


Amir Bouanane is a New York City based, Moroccan-American poet, writer, artist and life observer who finds comfort in the gentle magic of words—through which he aspires to translate the soul imbued in scenes of life to give others a measure of catharsis or amenity.


Image credit: “Bottle,” Bruce Osborn. Flickr CC BY-NC-ND 2.0.

Educe

by Iris Triunfel Flores

My mind is a thief at the bank of comfort;
drop of water lands on tissue
disease makes the body ache
hug lasts too long
ball bounces far out my grasp
glue keeps my back against the wall
sugar rush brings me down
mosquito hums too close to my ear
      tiny bass player
an affliction of the heart
a flea sticks to fur

 
My mind is a white room with one window;
I love you leaves you speechless
pill with a long list of possible side effects
      speedily acknowledge
words slice another’s soul
possibility of boarding a train about to leave
balloon was supposed to soar high
crushed snail
Daylight illuminates the rough edges
Moonlight reigns over someone that’s not me.

My mind is the brake to a speeding car;
a flower that blooms
box decorated with truth
an extension cord of all connections
      home to the curious
unit with omnific intent
it is the wick that burns

 


Iris Triunfel is currently a sophomore at LaGuardia Community College, majoring in Writing and Literature. She started writing poetry in her second year of high school and has since been dedicated to further expanding her knowledge of writing. She never had taken a poetry class or shared her writing before but LaGuardia Community College, more specifically the poetry writing course, was the first place where she shared her writing pieces and learned what it meant to truly write. There is a certain vulnerability in sharing your creativity with others, but Iris believes one of the most valuable things is the feedback you receive from people that want to help.

Some Questions for Louis Febres

Editorial Intern Brenda Lema had some questions for Louis Febres.

What inspired you to write “Something Lost”?

Languages have always fascinated me: their origins, evolution, and especially the idea of a language and culture being supplanted due to conquest.  That to me is one of the most tragic things that can occur to a culture.

What was your writing process like for this piece?

I wanted to write a micro-story for a class assignment and thought it would be a good challenge to write one about the demise of a language/culture. In keeping it compact, and establishing a kind of rhythm it turned into a prose poem. I’m not sure I had a process aside from trying to keep it as short as possible and trying to tell the story from the point of view of the people whose culture is being lost, but telling it in a direct, objective manner without any sentimentality.  Sort of like a news report.

How has COVID impacted your creative work?

Working from home since March of last year and not having to commute due to COVID has certainly freed up a little more of my time for creative endeavors, though not as much as I would have liked (or would have imagined).  The general shock of the pandemic earlier on and the dread and fear that followed, plus the political climate last year with the election, certainly killed my desire to do anything but watch the news with my free time.  But I guess we’re now approaching the end of this long dark tunnel and there’s some light coming through, so I hope to be more creative/productive in the months to come 🙂


Read Louis Febres’s prose poem “Something Lost.”

Into This World

by Madelyn Romero-Melgar

I’ve always known my mother was born in El Salvador, but for a long time I didn’t know what being an immigrant meant. For us, it meant instability and uncertainty. It meant exhausting our options: spending a few nights with family but getting kicked out by their landlord, sleeping in shelters, or in our car. For my mother, it meant sacrificing her standards, like putting up with men that didn’t respect her, just to have a place for us to stay. Places that never lasted because my mother was a fierce woman, but each time we moved, she would comfort us with a promise that one day we would have our own house and our own rooms.

In the quietest neighborhood of Bay Shore, the White House peacefully watched my older sister regularly beat me at board games. It sang along with us to “Graduation” by Vitamin C on the radio. That song made my sister sad because it reminded her of old friends. One night, I saw a shooting star and wished for a million dollars. I went to bed imagining what I’d do with all that money. But the next morning when I shared the good news with my sister, she said it wouldn’t come true since I revealed it. The White House eventually kicked us out because of loud fights between my mother and her boyfriend.

The Apartments welcomed my brother into this world. We lived on each corner of those apartments; it knew us well. The East corner watched my brother take his first steps. The South corner danced to Selena with me. The West corner taught me how to ride a bike. The North corner taught my sister and I English. One night, my mother left to attend a party with her boyfriend. My sister snuck us out at midnight to go to the opposite corner of the apartments where my aunt lived. That caused problems for my mother within her family and her relationship. There were many fights here too. We eventually had to leave.

My mother told my sister and I that she was sending us on vacation to El Salvador. That vacation lasted most of the school year. It wasn’t much different than the Apartments, but instead of kids, I played with the farm animals. One day the girls in my class put gum on my skirt and laughed at me. My sister stood up for me and stayed with me during recess instead of playing with her classmates, even though those girls liked her. Eventually, she walked us out of school to never return again. My sister called my aunt back in the states everyday to remind her that we were there.

When we came back, my mother wasn’t ready to receive us. They split us up and I stayed on a busy street called Gibson Avenue with my aunt. Gibson introduced us to a case worker that wanted us to choose who we wanted to live with. I watched my sister cry uncontrollably for the first time. I knew it was my turn to be strong. We didn’t answer that woman but somehow we reunited with my mother.

1580 was a big blue house that stood between two towns. It gave my sister her own room but I still had to share with my brother. 1580 introduced us to kids with trampolines, and in its own backyard it had a tiny pool that we played in everyday. My mother eventually ripped it apart because we kept wetting the floors. 1580 taught my brother that he could run and hide behind me when he was being punished and that I would protect him. It taught my sister to stand in between and break up our mother’s fights with her boyfriend and their separation meant we had to leave again.

Cardinal Court welcomed my baby sister into the world. It enjoyed Selena too. It taught my brother how to ride a bike and it was one of many places I defended him from the bigger kids on the block. Cardinal toughened me up and it gave me two scars: one from falling off my bike and one from opening a can of food, which should have gotten stitches but I didn’t want to bother anyone. One day, I accidentally caught my sister smoking. She told me to keep it a secret and confessed that it helped her relax. We had to leave Cardinal behind for the same old reasons. 

After a long car ride, we ended up in North Carolina. My baby sister cried a lot. I think she missed her dad. I enjoyed rocking and singing her to sleep. North Carolina didn’t get to know us that well because her father eventually came to get us.

We arrived at a dead end street in Brentwood called Wendy Lane. I continued putting my baby sister to sleep since I learned how to calm her down. My new friends would come to my window to rush me to play baseball, football, and manhunt. My older sister was in high school, had a boyfriend, and started to work. Wendy Lane witnessed my first kiss and my first fight. It taught me how to make mac-n-cheese and write poems. It idly watched my mother’s boyfriend argue with us and throw our stuff away and it noticed when I stole his cigarettes and beer. My mother made many attempts to leave but we always came back. One day, as I was playing outside, I noticed police cars pulling up and my aunt pulling up to the house. I was greeted by my sister saying, “We are leaving for good this time.” Saddened but not surprised, I waved goodbye to all my friends as we drove off.

On Wendy Lane my mother pretended to work overtime as she secretly took her citizenship classes. My mother’s first act as a citizen was to fulfill her promise. We moved on our own to a little white house with blue shutters in Central Islip, a town we’d never heard of. Cranberry Street officially welcomed my mother into this world.

 


Read Some Questions for Madelyn Romero-Melgar


Madelyn Romero-Melgar was born and raised mostly on Long Island, New York. She is first-generation American and her parents emigrated from El Salvador. Throughout her life, she has faced many challenges that created a passion within her to help children and families. She is passionate about child development and developing healthy family dynamics. She is graduating from LaGuardia Community College with a psychology degree and aspires to transfer to a four-year college that will help her achieve her goals. Find her on Instagram @madx320.


Image credit: “Welcome.” Flickr Public Domain. 

I Can Carry It All

by Ethan Velez

“I always hate when movies do that. It feels like, oh, I don’t know.” Tabs spoke with her hands. It was hard to keep them by her side.

“It’s always like, the fucking teacher in front of the class,” she went on. “His voice is fading because our protagonist isn’t paying attention. Meanwhile, he’s going on and on about the theme of the book they’re discussing which happens to also be the theme of the movie.” 

Her hands clapped together, separated for emphasis, went up in the air to conclude her piece. Her cigarette smoke formed a line out the window.

Eduardo wanted to add, “Next teacher in a slasher is going to be teaching Frankenstein.” He did not.

“Are you all right?” she asked him.

There was nothing odd about a dizzy spell, so Eduardo only nodded. He sipped from a plastic cup of coffee he hated. He was sitting on Tabs’ bedroom floor, which he hated, while snow was beginning to brew outside, which he hated the most. 

“So Midsommar, yeah?” Tabs asked. 

“Yeah!” Eduardo answered. He hated everything else, but he loved Tabs.

Tabs found her USB in a bowl she kept on her desk. Her room was wide, clean, white. There were album posters and stacks of expensive sneakers she bought herself. 

“Snow’s falling,” she declared, her eyes fixed on her screen. Eduardo lifted one of her linen curtains. She was right.

He wanted to ask Tabs how she knew. He did not.

Everything in Eduardo’s home was free of witches and ghosts. No monsters unless they were mentioned in a Saturday morning radio sermon. His home lacked lore. He hated it, but he loved his parents, and found middle ground in waiting until he was with Tabs to watch movies.

Eduardo said goodbye to Tabs when the movie ended and the snow began to settle. He forced himself to the L train with a jacket too thin to keep him warm. 

In Eduardo’s neighborhood, the Russian Orthodox Church was a community landmark and just a few streets before his building. It was once large, dominant, and brick red. A color that reminded Eduardo of his old Sunday classrooms. 

All that remained was disaster. A violent fire swallowed up everything it once was just months ago. 

Eduardo breathed heavily and his skin itched. He rubbed his arms with his hands. It was a mistake to use a thin jacket. He could feel his throat tightening and waited for a clear crosswalk. He was allowed one step before the sirens of a FDNY truck jolted him back onto the sidewalk.

The sound ran down his ears. With it, he could imagine the sky, always dark before anyone was ready, taking long sips of smoke from the church’s steeple. Eduardo once saw the steeple as regal, only now it was a leering eye, judging him for walking away.

Eduardo dropped his keys at his front door, which he hated standing by. A faint sense of a threat loomed behind him. He thought he could smell smoke.

“¿Qué es esto?” Eduardo ‘s mother demanded when he was inside.

“It feels like someone is watching me,” he gave away. He shivered and couldn’t stop.

God is always with you, mijo,” she comforted him, satisfied. She wore a dull pantsuit and smelled like her favorite perfume: flowery and dense. Her hair was long, dark like Eduardo’s, which she proudly claimed had never been cut until Eduardo’s father told him otherwise. She cut it often when she was sixteen. 

“We have to go to church tonight, I’m speaking,” Eduardo’s father confirmed as he closed in. “Y tú también, mijo.

Eduardo perked up.

“One day you’ll be preaching too.”

Eduardo saw his parents off and joined the quiet of the apartment. The four walls of his bedroom were painted an inexpensive tan. There were two small bookshelves on either side of a sharp and square coffee table. His bed was a twin, and nailed above it was a cross that always felt ill-placed.

“It’s too far to the left,” Eduardo’s mom had said years previously. 

“It’s fine,” he  said.

“Es bien,” his father added.

Eduardo studied the cross as his body shuddered. It was too long, with a sad color and honed corners. Yes, he thought, it was too long. 

He made sure his heater was on, turned the lights off, and buried himself under his sheets.

“Everything hurts too much, it’s too cold,” he wanted to yell. He didn’t.

Instead, Eduardo thought about his father preaching. He thought about Tabs and her wicked, thrilling movies. About the fire. The night the church burned down was, all things considered, a peaceful night.  “ELECTRIC ISSUE?” flashed through TV screens that morning, videos of scorched walls and black wood circulated on Twitter, and by evening it was well behind everyone. 

Eduardo didn’t see any of it. What he did see (for the brief moments before it went dark) were his limbs stretching beyond him, blurring yellow lights, and the buildings in his neighborhood shrinking.

He forced his eyes shut and listened as the wind knocked the front door back and forth in its frame. It was furious. Like someone on the other side needed to get in.

Eduardo listened until he couldn’t. He focused on the dark in his eyes until he couldn’t see. In succession each sense plummeted until, without warning, an ache shot through his body. 

It was warm. And then it was numb.

“Did you see the way she just gave in?” Tabs asked Eduardo the next morning. She often needed some hours after a movie to really comprehend her thoughts on it. “She’s hurt, but then she gives in.”

Eduardo nodded with his phone on his ear. 

“I like Midsommar more,” Tabs continued. “because in the end, your family is going to fuck your shit up. They’re programmed that way. But in Midsommar, she’s saved. In Hereditary, everybody just dies.”

Eduardo made a face Tabs couldn’t see. “That makes sense, actually.” 

 


Read Some Questions for Ethan Velez.


Ethan Velez is a Manhattan native, sculptor, writer, and amateur bartender. His work is inspired by Italian horror movies of the 70’s and his mom.


Image credit: “church,” bigoneep. Flickr CC BY-NC 2.0.

Some Questions for Alicia Evans

Editorial Intern Brenda Lema had three questions for Alicia Evans.

What inspired you to write “Whatever Will Be,  Will Be”?

The inspiration for “Whatever Will Be, Will Be” came from my own life experience. I have made some mistakes along the way but they were all stepping stones to the person I am today. Watching the Hitchcock classic with my mom really happened. It wasn’t until I became an adult that I understood that we don’t know what the future holds for us. We don’t have a crystal ball to tell us what is in our future. The words of the song “Que Sera Sera” hold so much meaning to me: “The future’s not ours to see.”

Another inspiration for this story was taking Fictional Writing with Dr. Sonia Alejandra Rodriguez. She showed us how you can take an incident and turn it into a story.

What was your writing process like for this piece?

My writing process, I don’t know if it is the conventional way, but for this story, I had the title first.Then I knew I wanted it to be about a wedding day. So I just wrote what came to me. Then of course I read what I wrote and was like, nope that doesn’t fit. It was a lot of writing and rewriting before I felt it just might be okay. I also listened to the song “Que Sera Sera” over and over while I was writing.

How has COVID impacted your creative work?

At the beginning of COVID, I was stuck. I could not think let alone be creative. That started changing when my professors started having us include something about the pandemic in some of the assignments. I had to change the way I was looking at this pandemic. Once I did that, it helped me see a story in everything: from the discarded mask tossed on the sidewalk, to the woman that walks past my house every morning at 7:15.

 


Read Alicia’s flash fiction piece “Whatever Will Be, Will Be.”


Image credit: “Doris Day: Qué Será Será, 1956,” Wolf G. Flickr CC BY-NC-ND 2.0. 

Tears of a Clown

by Brianna Jo Hobson

Eyelash curl, the insect lipstick is wet.
Heartstrings cut, the eyeshadow castrate.

My smile, a deep segmented crack—foundation coils to jack in the box my neck.
No matter how much I stroke, the painting won’t dry on its own
The vanity brush is artifice down my throat.

My eyesight bloodshot, the tile beneath my feet, solidified pus
Conditioning at its finest, the mirror tells me;
“I’m prettier in folds of hemorrhage eyelids.”

Hidden behind bile eyeliner, the tears of the clown have now widened
Nosebleeds run thin and stain the inside of my bra lining
“Did you hear she hides her flaws with blush and highlighter?”

They say you can’t be proud if you choose to play your face
Feminism is not about what they give you—it’s about what’s taken

When beauty is at stake, makeup becomes the knife on your plate.

 


Brianna Jo Hobson is a poet, essayist, and short fiction writer from the Bronx. Her work skews more towards horror as she is heavily inspired by folklore, surrealism, dark fairytales, and the gothic subculture. She was one of the recipients of The Award for Outstanding Achievement in Creative Writing in 2020 and is a part of LaGuardia’s graduating class of 2021. She aspires to have a career in book publishing and will be attending Baruch College in Fall 2021, pursuing her Bachelor’s in English. You can find her blog here and find her on Instagram @m0thluv.


Image credit: “Palette,” Toshiyuki IMAI. Flickr CC BY-SA 2.0.