Posts

Temple in a city nominations

Congratulations to all nominated authors


Best of the net 2025

Sumitra Singam, Bird swallowers

Rachel Rodman, He Always Lied, I Always Told the Truth. And Then We Fell in Hate

Kathryn Reese, Post-vespers

Pushcart Prize 2025

Cole Beauchamp, If Only

Emily Rinkema, Lou

June Gemmell, The Homecoming

Kendra Cardin, A change in the recipe

S.A. Greene, Brian Wilson is dead and why can’t I stop crying?

Dominic Walsh, Slice of life, in absentia

Best microfiction

Elizabeth Rosen, Endeavor

Slawka G. Scarso, And then she told Jack off

Sumitra Singam, You-and-Kate in a field, loving me

Vijayalakshmi Sridhar, I heard you became a father again

Huina Zheng, The pin inside my body


Best small fictions

Ivan de Monbrison, Marseille, August 2nd 2025

Monica Dickson, How to make a living coffin

Emily Rinkema, Lou

Rachel Rodman, He Always Lied, I Always Told the Truth. And Then We Fell in Hate

Vijayalakshmi Sridhar, I heard you became a father again

JOY

Welcome to JOY, a special popup edition of Temple in the City. This edition isn’t meant to change the world or make light of the darkness so many feel and see around them. But we hope it will act like a sudden sunburst. A reminder that good things, beautiful things, glorious things happen all the time, all around us. Life grows in the most inhospitable places. We grow with it, whether we like it or not.

Some of the work here is just a few words. Or just the right words. Sometimes nonsense words or nonsense use of words. Words to make you smile or laugh or feel, for a moment, the warmth of a friendly sun, the touch of a loving breeze, the touch of another being, human or animal, equally in the dark, equally looking for strength to keep going. That moment can fuel the next moment, and the next. It doesn’t need anything else. It just is.

This idea started as a single, one-off micro edition but joy can’t be captured or limited. So we’re going to keep it alive and moving by making it an ongoing, open-ended issue. When a spark of joy comes our way, we’ll add it here.

Please let this issue wash over you. Let it give you some relief amid the burdens of being alive, with all that trying. Don’t ask it to be anything more or less than it is, then give yourself that same kindness.

We hope you find joy, here and everywhere you can.

Contributors

Karen Baumgart, Denise Bayes, Jessica Coles, Kristin Houlihan, Patrick Johanneson, Rachel Abbey McCafferty, Ben MacNair, Lance Mazmanian, Tracie Renee, Kathryn Reese, Slawka G. Scarso, Brigitta Scheib, Sumitra Singam, Karen Walker, Huina Zheng.

Fiction, Huina Zheng

Small magic

After a typhoon destroyed my father’s brick factory in our hometown, my mother brought back a large box of beads from the town factory. She said she had always liked handicrafts, but when we were younger she never had the time. Now that we were older, with my older sister twelve, me ten, the next sister eight, and my brother six, she could finally return to something she enjoyed. “Don’t worry. We’ll manage to borrow money to rebuild the factory,” she told my father over the phone, who was still in our hometown five hours away. “I’ll handle our living expenses.”

She sat in front of the television every day, stringing bracelets and necklaces as she watched her shows. She taught my sisters and me how to choose beads and match colors, and how to guide thin thread through bead holes so tiny they made you anxious. “Dark blue with light blue looks like sea and sky,” she said, rolling a frosted bead in her fingers. “Add a white one and you have a wave.” We concentrated hard; even my brother wandered over. His little hands grabbed fistfuls of beads, and my mother let him play until he got bored and climbed back onto the sofa to watch Doraemon.

She also brought home bags of plastic petals, stamens, and leaves. She showed us how to glue petals around a stamen, how to wrap green tape around wire to make a stem, and how to attach the leaves in just the right spot. But we complained about the sharp smell of glue and how plastic flowers lacked the scent of real ones. “Use your imagination,” my mother said. “We’re conjuring blossoms.” She told us we were magicians capable of creating beautiful, fragrant flower fairies, though she opened a window and set the fan facing outward for fresh air. 

Handicrafts were not as joyful as she claimed. My older sister grumbled about her homework; my younger sister kept saying she was tired. One by one, they slipped back to their rooms. Only I remained, learning, amid the noise of cartoons, how to “grow” a singing flower in the fastest way. “What a lovely voice,” my mother said. “More melodious than a yellow warbler.”

One evening she carried home a bundle of half-finished clothes. “Flower season is over,” she declared. “Today we sew buttons.” She called it a skill every good girl should know.

We disliked it immediately. “Our summer uniforms don’t even have buttons. The winter ones have zippers,” my older sister said. “The needle keeps poking me,” I added. My younger sister cried outright after pricking her finger.

“Practice a few more times. Be careful. You’ll see, it’s easy,” my mother coaxed us, forcing a small smile. “Think of it this way. You’re letting the clothes bear fruit.”

We shook our heads. Even my brother frowned.

“Sewing buttons,” my mother explained, “is just the foundation. Once you learn it, you can make cloth dolls, knit sweaters, even do physics experiments.”

“This isn’t fun at all!” I burst out. “Handicrafts are your hobby, not ours.”

My younger sister sniffled; my older sister buried herself in her workbook. My brother had long since crawled under the table.

My mother looked at the buttons scattered across the floor and sighed. She pulled a strand of bright yellow thread from the box and, holding it under the light, slowly slid it through the needle’s eye.

“What do these buttons look like to you?” she asked. Before we could answer, she picked up a small round white one. “Doesn’t this look like a tiny robot face? See, the top two holes are eyes and the bottom two are nostrils.”

My younger sister stopped crying, peeking through her fingers.

My mother then picked up a square brown button. “This looks like a dirt block from your video game,” she told my brother. “If we sew it on with green thread, grass will grow right on top.”

My brother peeked over the edge of the table.

“And you,” she said, handing me a clear blue button, “hold it to the light. Doesn’t it look like a trapped water droplet?” Then she picked up a red button with floral patterns and dangled it in front of my older sister. “This one makes a perfect emblem for a magical girl.”

When she saw us watching her again, she smiled. “Each button is a little spirit waiting to wake up. And this needle,” she said, raising the threaded needle, “is the wand. When the wand touches the spirit’s heart, it will stay on your clothes and never run away.”

“So,” she asked, “who wants to wake the first little spirit?”

We glanced at one another and raised our hands together.

Huina Zheng holds an M.A. with Distinction in English Studies and works as a college essay coach. Her stories have been published in Baltimore Review, Variant Literature, Midway Journal, and other reputed publications. Her work has been nominated thrice for both the Pushcart Prize and the Best of the Net. She resides in Guangzhou, China with her family.

Poetry, Tracie Renee


February date

hot  

coffee 


in  

two  

cups 


and  

time 

enough 


to 

sip 

the  

steam 

TRACIE RENEE (she/her) is a librarian, a Publishers Weekly book reviewer, and a BOTN-nominated writer who lives and dreams in sort-of Chicago. Find her in HAD, Orange Blossom Review, on Bluesky @tracierenee.bsky.social and at https://linktr.ee/tracie.renee.   

Contributors, Imprint, issue 3

Welcome to Imprint, Temple in a City’s most recent issue.

To imprint is to mark a surface, or deposit a feeling or thought that lingers even if you don’t try to remember it. 

This issue brims with stories and poems that leave a trace. We hope you enjoy it.


L. Acadia 
Mehreen Ahmed
Hilary Ayshford
Samantha Backlund-Clapp
Robin J Bartley
Lanie Brice
Chris Cottom
Ivan de Monbrison
Litsa Dremousis
David Gaffney
Ezra Gatlin
S.A. Greene
Alaina Hammond
Rachel M. Hollis
Amy Marques
Rob Moore
Jay Parr
Juanita Rey
Chris Scott
Calla Smith
Joanna Theiss
Christina Tudor 
Dominic Walsh

2 poems, Juanita Rey


PRESENCE

I never thought she’d be present

at the birth of her first great-grandchild.

She’s buried in Santo Domingo these many years.

But her ghost doesn’t just haunt the old neighborhood,

it can travel as well.

I’ve been carrying the eggs of her daughter’s eggs.

The shells have cracked.

A brown-skinned boy with a squawk like an eagle

and dark curly hair, 

is curled up in both our arms.


That was her phantom in the delivery room.

Quite spry for someone the age she would have been.

She peered over the shoulder of the doctor.

She helped the nurse to steady the newborn,

gently nudge the fear out of him.

Those are her hand-prints in the blood,

on my brow. 


So the line never stops.

Maybe her mother is around as well.

And the mother before that.

Pregnancy is not a singular event

but the latest in a long line.

Everyone embraces this new human flesh.

They tap the back.

They get the lungs working.

They kiss the cheeks so gently

it’s like a warm breeze from the islands.


IT’S ALL IN HERE

He doesn’t get my poetry.

To him it’s just words and more words,

sprinkled randomly on the page.


And yet he can’t help reading

this stuff I write.

As abstract, as arbitrary as it may be,

I am the author.


He tried conversation.

But found it unrevealing.


So he figured there’s

no other way into me

than through my creations.


What can I say?

Nothing.

Lines on a page.

is how I really feel.

Juanita Rey is a Dominican poet, US resident. Her work has been
published in Mixed Mag, The Mantle, The Lincoln Review, Lion and Lilac
amongst others.

Poetry, Ezra Gatlin

rose-colored glasses


sometimes, i think about dying

in a place where my sins backlight my regrets

i am the poltergeist 

seamripping crushed velvet in my sleep

i am the dancing santa 

on the dashboards of a suicide heist

drunk off cherry wine and cyanide rum


for a few short weeks in april, 

cherry blossoms fall like rain

homesick kanzan kiss the foreheads 

of unsuspecting travellers,

begging the wind to take them home

stupid sakura petals don’t know,

they’ll die dusting rooftops

i want to be good

where soul meets body

i want to be beautiful 

when pain flays passion

i want to drive past my guilt

while death becomes her


washing expensive stationery in watermelon juice

pressed magnolias and dessicated pulp

crumble beneath my fingers

i found god in a whore house

and on barren beach

just before the tsunami of

japanese cherry blossom

dances with the birds

Ezra Gatlin (they/any) is a black, transmasculine poet from Aurora, Colorado. They have new or forthcoming publications in Bluebird’s Scribe Review, Arcana Poetry Press, Page Gallery Journal, and more. They are a 2025 Poet–in–Residence with Bitter Melon Review, and are seeking publication for their first manuscript, “I think there’s something wrong with me.” They can be found at @bloodbornepoetry on Instagram.

Two poems, Amy Marques


Misundershared

My grandmother always kept a notebook

overflown with wonderings on whether anyone cares

about things left unsaid, unheard, misundershared

always writing, often feeling less than understood


Overflown with wonderings on whether anyone cares,

I temper thoughts,               pace the volume of speech

always writing, often feeling less than understood

crafting whole landscapes to explain the inexpressible 


I temper thoughts,             pace the volume of speech

for there are those who care to listen and join in

crafting whole landscapes to explain the inexpressible

because shared language translates the misheard  


For there are those who care to listen and join in

bravely, tenderly, exploring the spaces between

knowing how shared language translates the misheard

willing to plow and plant in common ground 


Bravely, tenderly, exploring the spaces between

attentive to sunrises, gathering clouds, seasons

willing to plow and plant in common ground

nurturing seeds of truths


Attentive to sunrises, gathering clouds, seasons

of birth, of growth, of dormancy, of decay

nurturing seeds of blossoming truths

making time to harvest words, share stories


Of birth, of growth, of dormancy, of decay

things left unsaid, unheard, misundershared,

making time to harvest words, share stories:

my grandmother always kept a notebook.

Overture

Tell your daughter about the day of her birth


Tell her how you said let’s go, but not 

calm, not as together as you are now

maybe even panicking a little, driving

her mother to the clinic with the speed

of a glaucomic grandmother behind 

the wheel of a jeep you bought 

with a first grownup paycheck 

and how you stopped the car to yell

I’m having a baby to the closed clinic door

and how the nurse opened

what?

And you explained that it was your wife

having a baby and you could feel your heart

contract and blood push when they said

it was time, but not time, so there was time

to settle, to hold her mother’s 

hand until your daughter came 

perfect

and cried perfectly and breathed

until she didn’t and you didn’t and you didn’t


Tell her they grabbed her and ran

and her mother said go

and you raced to follow, to ask, to protect 

but they didn’t explain and she didn’t cry

then they said she needed help to breathe

to be

that maybe she wouldn’t learn, wouldn’t walk, 

wouldn’t


so they took her in an incubator, and you rushed,

chased them like a racer, like a father 

bargaining with God, with life, for


days, you sped from child to mother,

helpless hopeful prayers

threating God with boycotts of faith

pleading promises

waiting


You still remember, although it’s been

twenty-three years and your daughter’s fine—

has always been fine—she knows you know that

But maybe she doesn’t know that on the day she arrived

you almost lost her and you said you’d give 

life to protect her

and all you’ve done since

is try.

Amy Marques grew up between languages and places and learned, from an early age, the multiplicity of narratives. She’s been nominated for multiple awards, longlisted twice in Wigleaf 50, and has visual art, poetry, and prose published in journals such as Streetcake Magazine, South Florida Poetry Journal, Fictive Dream, Unlost, Ghost Parachute, BOOTH, Chicago Quarterly Review, and Gone Lawn. She is a contributor to the collective The Pride Roars, editor & visual artist for the Duets anthologies, author & artist of the chapbook Are You Willing? and the found poetry book PARTS. More at https://amybookwhisperer.wordpress.com.

Stories at: amybookwhisperer.wordpress.com Twittert: @amybookwhisper1 IG: @amyiscold

Two poems, Ben Macnair 


A poem about Christopher Walking

This is a poem about Christopher, walking,

because he doesn’t feel like driving.

He just needs some bread and some milk,

easy to carry in his on-ya bag.


I know that you are expecting this poem to

be about the Hollywood star Christopher Walken,

with his idiosyncratic way of speaking,

of dancing, and being in some classic films.


But no, this is just a poem about some bloke

called Christopher, going for a walk

because it is a nice day.

Cairo

We didn’t speak until Cairo,

I felt it rude to interrupt,

and he did seem to be having,

such a good time,

telling himself stories that 

no one else would believe.


Every sentence lasted ten minutes,

every paragraph was an hour,

every silence, a wasted opportunity

to shoehorn in another topic,

that wasn’t all about him.

Ben Macnair is an award winning poet and playwright from Staffordshire in the United Kingdom. Follow him on Twitter @benmacnair

Poetry, Kathryn Reese

Stim

The alphabet is an instrument and she’s in the kitchen strumming  “Coco banana!”

as she goes about breakfast. All the buzz—a whirlpool of milk, cocoa, banana

vanilla, cinnamon, honey smeared on the bench. She’s gone into improv—

doesn’t need the conductor. Just stage crew to clean or pass her cocoa, banana

cinnamon cinnamon honey no mango banana pushed through a sieve 

the lumps pushed from her mouth, the fruit pushed through her fist, banana

all we did right—and even     that pushed into the underside of the red tray table

and abandoned.         She made a bridge: coco-coco-coco-banana

peels to the sky. A whirlpool of milk. The buzz. The breakfast. The honey 

the honey the honey, the love. The incorrect proportions: cinnamon, cocoa, banana

The sludge.                                           The quiet part. 

What can’t be said, the alphabet, the instruments, the broken strings. The reason (banana)

we can’t enter that room (banana) the cocoa marshmallow the soothing 

the strumming. The long note. Banana. 

 

Kathryn Reese writes poetry & flash. She lives on Peramangk land in Adelaide, South Australia. She works in medical microbiology and enjoys solo road trips, hiking and chasing frogs to record their calls for science. Her poems can be found in The Engine Idling, Epistemic Literary, Kelp Journal and Australian Poetry Journal. She was a winner of the Red Room Poetry’s #30in30 competition & the Heroines Women’s Writing Prize 2024. https://instagram.com/katwhetter? BlueSky: @kathrynreese.bsky.social


Poetry, Kristin Houlihan

Hibiscus


Lone blossom

First of the season 

Fuschia joy

Kristin Houlihan is a disabled poet, wife, and mother striving to live and love to the fullest while bedridden with Long Covid. She is cofounder and Poetry Editor at Epistemic Literary and Nimblewitlit Magazine, and her chapbook of micropoetry, Lift the Mask, is available widely. www.kristinhoulihan.com, Bluesky: kristinwrites.bluesky.social

Poetry, Karen Walker

Roof Manifesto as read atop 4402 Zurich St E on July 14 2026


Tomorrow, everyone will be talking about our art. Will be looking up.

Terribly simple the art. The word. 

Roof. 

Three letters on four walls. 

Art expects trouble:

“authorities” broadcasting, “Come down immediately,”

know-it-all pigeons (warning: they’ve actually read the roof literature we said we did) cooing rooftop psychology about why we don’t and therefore write

about rooftop bourgeoisie

: infinity pools, potted palms, spiced chicken lettuce cups. 

Roof Viktoria and Roof Allison, that’s why we’re up here. 

Never ever take the shining corrupting elevator, Roof Akiel. 

Fire escape escape. 

Roof revolution, Roof Michelle and Sherri and

others barely in favour of ourselves. 

So repeat after me: 

Roof, roof, roof. 

Roo roo, roo, 

Oo, oo, oo 

then just f. F this, F that far, far below.

F everything heavy and rotting, sticky or not worth the $29.99. 

Go mad. Up here, lose consciousness but carefully.  

Roof is where world soul goes to get away. 

In the question of aesthetics, height is key.  

I shall now dispense with gravity. 

Float hand in hand Roof Joe and Roof Kamal.  

Blow away, risky Roof Rosa.  

In the question of connections, key is how the roof sits on the building and hangs from the sky. 

Dispense with convention to free the o to fool and roam, to meow and moan as if in the throes:

yoof  

moof  

yoof di moof

Roof is where it ends and begins. 

poof

boof 

goof 

boof boof

spoof 

proof.   

Karen Walker draws and paints and writes in Ontario, Canada. Her recent work is in Full House LiteraryWeird Lit Magazine,Trash Cat Lit, Blink Ink, Switch, Turn and Work, and Temple in a City. @kawalker.bsky.social

Poetry, Karen Baumgart 

Karen Baumgart lives in Australia and adores beautiful quotes, pink things, cats, and chai lattes. She loves working in human services policy, especially when it enables marginalised people to have a voice. Karen used to be an English teacher and is quite certain that writing is, indeed, the best therapy. Instagram: @miss.cake.girl Bluesky: @cake-girl.bsky.social Twitter / X: @cake_girl__

Outtake

Inquisitive photo bomber interrupts the shoot.

Two poems, Yuan Changming


To depart (free haiku)

Means to move along with sunlight

& leave your shadow longer & longer

Behind, or the other way around



The Chinese Spirit: a Mythological Review 

    Unlike your legendary Alexander the Great 

None of us has come to conquer; nor are we 

To be conquered (even by God), let alone any

Human artifacts or behaviours, including science 

And tech blockades & tariffs. Rather, as Confucius 

Has taught us, we always avoid talking of strange 

Phenomena, feats of strength, disorder or sprits

Whereas we do worship our

Ancestors, especially those never accepting defeat

Such as the ever stubborn Houyi who persisted 

In shooting down all the nine extra suns as they

Made the world too hot; the determined  

Xingtian who soldiered on long after his head

Was chopped off; the old Mr. Fool who must

Remove the mountain blocking his way rather 

Than relocating his cottage; the simple-minded 

Jingwei who kept filling the East Sea with twigs

Where she was drowned; the devoted Dayu trying

To contain the Flood instead of escaping from

It in an ark as did your Noah, (so cute & creative) 

Yuan Changming co-edits Poetry Pacific with Allen Yuan. Writing credits include 12 Pushcart nominations for poetry and 3 for fiction besides appearances in Best of the Best Canadian Poetry (2008-17) and 2149 other publications worldwide. A poetry juror for Canada’s 44th National Magazine Awards, Yuan began to write prose in 2022, his hybrid novel DETACHING, ‘silver romance’ THE TUNER and short story collection FLASHBACKS available at Amazon.  

Poetry, Toni della Fata



Baby, are you a believer?

I don’t believe in God anymore.

But I believe in foxes, standing on the hood of my neighbour’s 2024 Toyota, 

in blood moons in the dead heat of summer,

in gravestones with handwritten notes taped to the marble, spelled incorrectly in a foreign language,

in crumpled birthday cards and sun-stained photos in a shoebox underneath my mattress. 

“Ci vediamo,” see you soon, I remember telling myself, 

at the foot of your bed, 

the mausoleum,

the pier,

at an apartment in Montreal’s east-end.

I believe in the text messages you sent me, 

in the accidental photo you took of yourself in the hospital, 

they sit undeleted, like cremated ashes on my phone.

“Don’t remember me like this,” you said in broken English, because you wanted me to understand,

I promised that I wouldn’t but of course that was a lie. 

I believe in the clock reaching half past noon, one April afternoon, sitting in my high-school’s music room, dread creeping like a morning glory up my throat.

I believe in early spring sadness, budding with the daffodils in the ditch off the cemetery’s main road.

I believe we’ll always be tethered together, your electric pulse in mine,


Though I spent years fighting it, 

I close my eyes,

Watch our images,

 blur,

overlap,

collapse.

Maybe if I can’t believe in God, I can at least believe in You. 

Toni della Fata is a lesbian writer based in Toronto, Canada. She is a professional daydreamer, whose work focuses on the fringes between fiction and reality. When she isn’t writing, Toni can be found in a nearby stream counting fish or somewhere on the coast collecting sea shells. 

Two poems, Peter Cashorali


The Lover

If you’re a hallucination that’s okay. If you’re the relationship with my mother when I was two that’s fine. If you’re the product of my having been born in 1954 and living since then in a temperate zone of the planet, sure. An aspect of capitalist consumer culture? Okay! Maybe you are just a trick of the light, made of the afternoon light and Thai food. Don’t you get it? I don’t need you to “really exist.” Just be with me.

Real

You’re faking it, and suddenly you’re not. You’re fooling yourself, and the real thing assembles out of your foolishness and is here. Surely there are wrong ways to go but on every path here it is, the where, the what, the who you seek, and despair of finding, and always knew was fake, that dug the cellar of your grief, that was how your family made its fortune, that your father gambled away when he was young, and the fortune roamed the world, searching for you on every road in back country so no road was the wrong one, that one morning at daybreak steps up to you, clasps your cold hands in its own and says, “Oh my God. You really do exist.”

Peter Cashorali is a neurodivergent queer psychotherapist

Poetry, Ronita Chattopadhyay

Burnt vegetables and spilled milk or what I will miss when you are gone 

and, yes,
extra sweet tea
because you have always refused
to believe in spoons and
used your unaided hands 
for measuring everything
and misplaced items 
that would turn up 
in the most unexpected places 
like your spectacles in the fridge
and your ability to sew,
to patch up things 
that seemed irredeemably torn
and your smile and your face
and your touch. 

Ronita Chattopadhyay (she/her) is an Indian poet and writer. Her micro chapbook Preparing to be Wrecked has been published as part of an anthology (Grieving Hope) by Emerge Literary Journal. Her work has also appeared in The Hooghly Review, Akéwì Magazine, streetcake magazine, Porch Lit Magazine, FemAsia, among others, and anthologies by Querencia Press, Sídhe Press, Rough Diamond Poetry and Bare Bones.  She loves mountains, books, music and tea. Socials: ronita.bsky.social (Bluesky) ronita_c (Twitter/X)

Poetry, Todd Matson

Author/Artist Todd Matson is a Licensed Marriage and Family Therapist in North Carolina, United States.  His poetry has been published Feminine Collective, San Antonio Review, The Brussels Review, and featured in Poetry for Mental Health.  He has also written lyrics for songs recorded by several contemporary Christian music artists, including Brent Lamb, Connie Scott and The Gaither Vocal Band.

Poetry, Peter Gutierrez


Afterparty

There were tides inside, lap-rolling and full of swimmings with and

Against the waves, lagoons of shifting plastic, and seabirds fighting

With the shore birds fighting with the waterfowl, intarsial contrails

Of diving, flying over, falling into. Nearly every morning she awakens

Only partly, the slosh of dreams and the chilled saltiness of reality

Staggering her back into jumbled half-action.

The clear light and the unclear, and how the two of them liked to switch

Between the two.

The clear undercuts the unclear, which is fun in a jungle

Sort of way—you never knew what phenomena you’d encounter in the fog.

Focus on breath in, hate out.

Breath in, hate out.

Janus felt the negative leave his core, or

At least decided that’s how he’d describe it

Later.

Breath in, hate out.

Or should that be breatheHe hated those online

folks who didn’t grasp the difference. (Spells & spellings.)

In any case: in through the twins, observing thoughts

As they froth and ferment. Then: out through the lips,

Fumigating the caverns of contempt in the digestive knowledge

Management system.

Distantly, a jet plane quiet-thundering through the clouds;

On the next block, a Sonata slides by, its tread smooth and humming.

He could sit here and listen to the dawn-sounds, the sound-

Makers afar and invisible, and be happified for the rest of his

Life, he mused.

His wife, Eleanor, enjoyed a different pathway into the light:

Influenced by an influencer, she went out each dawning before

Anything else. Barely dressed, barefoot or flip-flopping along, 

Ellie followed the notion of forcing undesired action into being,

Doing that which she didn’t want to do to skill her mind into

Facing the unknown; specifically, the rest of the unraveling day.

As a strategy, this swelled and broke like an egg. Those summer

Mornings in Maryland, inches past daybreak, and she could feel 

The hint of heat, the tingly precursors of rain, the immediate world

Still coated in night’s silences. This emergent love of the pale,

Creeping minutes in a pale and creeping hour derailed the project

(As happens sometimes). Later, a post she drafted explained it,  

How what she’d avoided became what she desired, and undid all

The wisdom of the shift. Yet also brought the amor fati peace that

Newsreel chatter, sparkly cocktails, party favors, and elbow-brushings

Had failed to.    

Her husband, whose name is likely Janus, was, is, and will be

Ever unaware of the sutured joinings of her Buddha nature. 

Peter Gutierrez is a poet and writer with work in Bruiser, Exist Otherwise, Not One of Us, and Lxminxl; his books include the story collection From Bad to Worse and the novella The Trees Melt Like Candles. You can find him online @suddenlyquiet.