Poetry

  • Book Reviews,  Issue 42,  Poetry

    A Review of Tony Koji Wallin-Sato’s Poetry collection “Okaerinasai”

    by LIT Managing and Poetry Editor, Richard Berwind

    The cover of Tony Koji Wallin-Sato’s Okaerinasai depicts a black and white photo of an isolated farm recolored in an off-white ivory and surrounded by the encroaching black limbs of a tree. The square photo sits in a matte white frame with a larger blue border: a piece of art hung up on the wall of a gallery, or perhaps a home. The rest of the collection takes a reader on a journey of the singular, a journey of the collective, and the intricate relationship between both as Wallin-Sato asks us what even constitutes a home through the opening definition of his title.

  • Issue 41,  Poetry

    I CANNOT USE THE WORD MOON

    art by Richard Hanus

    by Penelope Ioannou

    in this poem out of

    respect for the phase

    I am going through. I’ve

    always wanted a New

    England summer with
    
the weeds and the man

    who is by no means

    extraordinary grilling

    bland burgers on the bbq.

    The humidity would be

    sufficient and I would
    
be formidable because I eat

    lobsters and think the stupid
    
corgi is adorable and
    
use this man for his boat

    or his body or his

    stainless steel pan.

  • Issue 41,  Poetry

    Verb To Be

    photo by Yasser Alaa Mobarak
    by Sisary Poemape-Heredia



    authored in June
    
to dance attuned,

    after the sun is down.

    where the glow is not but a breeze

    caressing a nightgown’s scars

    under

    in town.
    un pueblo is a constellation hidden light years beyond

    a mansion at the top of a hill,
    
even if no kings

    —especially if no kings—

    are throned to be
    
between the ages of seven and seventeen.
    i am king

    and at seven needed a hymn

    of Andean musing

    and love cruising

    warmisitay infused,

  • Issue 41,  Poetry

    Gloucester Dock

    photo by Allison Guan

    by Maureen Mancini Amaturo

    This New England morning wears a grey shawl.

    Traffic, lights, store fronts, and footsteps recede with the tide.

    A shy sun finds gulls laughing, cackling, and circling pewter views.

    Water slaps piers and boat bottoms.

    Dories waltz.

    Rusted chains hang like necklaces around rigging and pilings

    Pitted metal anchors lean heavy.

    Faded circles bearing ship names no longer save lives.

    Ropes, thick and strong, twined and defined like teen-aged braids

    enwreathe coiled hoses, nozzles down,

  • Issue 41,  Poetry

    IMAGINING OKJÖKULL FROM CASCO BAY

    photo by Allison Guan

    by Julia Morrison



    The tree has too many hands
    for me to trust it’s from anywhere
    but the future

    I keep trying to leave
    you before night
    falls out of my body

    Too many birds
    at bedtime
    I don’t have enough blue left

    for another morning
    Oleander tephra, volcanic ash and glass
    layers of the glacier under the microscope,

    otherwise we don’t see it.
    The noise and snow of the image
    developing,
  • Book Reviews,  Issue 41,  Poetry

    “ZOUNDS!” a review, and an interview with Aleksander Zywicki

    by Rebecca Endres

    ZOUNDS! does not lallygag. From the moment the raw, clear-eyed book of poems opens, Aleksander Zywicki brings religion and torn flesh to the forefront of his imagery. Consider the transmutation in “The Sign of the Cross” from the first section:

    my dead father has risen

    his arm to hang

    the wrenching Christ

    above our dinner table

    & my eyes like wounds

    are always opened

    In this childhood memory, the father figure, who looms over early memories and haunts his son from the grave for the rest of the book,