Solidarity

When protesters lie on the ground

it is called a die-in

and this is the tactic used

by my blue blotch pansies

when I’ve absentmindedly deprived them

of water. Before misting,

I try to pick out the ones

just taking a knee. I know

there must be at least one

who has gotten plenty of water,

in fact, is drunk on it:

thick roots, muscular petals;

the water having pooled

in his little side of the pot. He,

who is not even thirsty,

but lies down anyway

because his neighbors’ suffering is his own.


John Wojtowicz grew up working on his family’s azalea and rhododendron nursery and still lives in the backwoods of what Ginsberg dubbed “nowhere Zen New Jersey.” Currently, he teaches social work at Rowan College South Jersey. Recent or forthcoming publications include: Rattle, New Ohio Review, Sonora Review, and The Ekphrastic Review. He is the author of the chapbook, Roadside Attractions: a Poetic Guide to American Oddities. Find out more at: www.johnwojtowicz.com.

 

Street Impressions

Chester Avenue, Southwest Philadelphia, early 1960s

 

As on a children’s show,

the green-and-cream trolley

with wide windows for eyes,

an emblem above the headlight

like a little mustache,

would come into view—

its doors hissing open, then closed

before it went hiccupping

over the cobblestone tracks.

 

And down the back alley

past Rusty the Boxer

and Bunky the Beagle,

stirred up along the hairpin fences,

the songs of hucksters

carrying splintered baskets

of freestone peaches

and Jersey tomatoes;

the neighborly chatter

of clothes on the lines.

 

And the characters we’d meet

along the avenue:

Alex the shoe shiner

and John the milkman;

palsied Mr. Packer

with his handcart of Schmidt’s.

The older boys, who with sycamore pods

they gathered from the curbs

to chalk their lessons—

scrawled in cursive

on the slates of our necks.


Joseph Chelius is the author of two collections of poems with WordTech Communications: The Art of Acquiescence.

 

Gentradelphia

I see whiteness, lightness; is it righteousness?

I feel invisible, a little miserable.

Few Black women, more Black men.

White women and men and dogs galore.

I abhor the fact, the lack of colorful faces

in places where there used to be more.

The city is nicer on the surface,

but to what purpose? Who for?

The scene is pretty but lacks an underscore.

Sore, sore, sore of a space. Sore of a place.

Bandaged to heal, but when you peel—rip—it off

a scar covers up what was unsure.

And you can’t always remember the original lore.


Shaleia Rogers-Lee is an emerging poet. She grew up in Delaware County and currently lives in Philadelphia. She writes about Philadelphia, women’s experiences, being Black in America, fairy tales, and anything she wants to explore. Shaleia has an MA in Writing Studies and a BA in English.

 

Seance

The world of direct marketing

is a medium reaching out to you,

dearly departed first wife.

Three decades since our divorce

and as many changes of address,

Progressive still wants you to know

you can save when you bundle your insurance.

No tarot cards, no crystal ball, just an algorithm

that believes we’re still together,

that believes you’re still alive.

One flier seems to say

Give us a sign. Show us

you’re interested in Viking cruises.

And now, eight months since you died,

in the inbox of a seldom used email,

they want to know, dear dead one,

who you plan to vote for in the fall.

Of course, you never left me,

haunted me long before you actually died,

but I’m the only one who should know

you’re there in the guilty way I go on breathing,

the way I venerate the only photo of you I kept

like an icon of a long lost saint.

Now, Facebook necromantically

conjures your picture, tells me

you’re someone I might know.

The veil is thin in cyberspace.

I click on your image, make you my friend.

A friend is better than a ghost.

Isn’t it? Give me a sign.


R. G. Evans is a New Jersey-based poet, writer, and songwriter. His books include Overtipping the Ferryman, The Holy Both, and Imagine Sisyphus Happy. His albums of original songs, Sweet Old Life and Kid Yesterday Calling Tomorrow Man, are available on most streaming sites.

 

Flying Over Western PA

Allegheny hills flatten on ascent

carlights below I press my nose against

airplane glass as we bank I think the hillsides

rise just a bit just like breath before I left

Dad filled my washer fluid, Armor-alled the dash

I didn’t ask for Windex blue he is a man of few words

and many solvents. I packed last items glitter dress

satin heels he cleared snow off my windshield

started the ignition but listen: this is what a father does

he scrapes, wind blows because he hasn’t let her go

just yet she will live across the state and trace a path

engine ever humming bootbrush hills winter ever coming

leaving home it’s sunny second time this year

but the turnpike route, the windshield–both are clear.


Jessica Whipple writes for adults and children. She published two children’s picture books in 2023: Enough Is… (Tilbury House, illus. by Nicole Wong) and I Think I Think a Lot (Free Spirit Publishing, illus. by Josée Bisaillon). Her poetry has been published recently in Funicular, ONE ART, Pine Hills Review, and Identity Theory. Jessica’s poem “Broken Strings” (appearing in Door Is a Jar) received a Best of the Net and a Pushcart nomination. You can find her on Twitter/X @JessicaWhippl17.

 

Contrary to Popular Belief, or, My Parents Debate Religion Over Coffee

My father doesn’t believe in God the way

he thinks he should. There will always be

barriers between the holy and the tangible,

and today, it’s Big Bang vs Genesis. I think

this world will never have the answers for

bare feet on the water’s surface. But still,

he is suffering, too. My mother believes

the moonlit garden where we were born

is pure. My father sees the other half. God

is not limited to beauty; the world he built

is far from perfection. It is blossoming with

faith thin as the broken breath between

sips of coffee gone cold. Tension tethers to

our living room gilded by dawn. My father

 

my mother believes, but when he sees her,

stained glass and baptismal waters shifting

between what is known and what is felt,

he feels obligated to choose. Worries that

resurrection, water deepening to wine, and

sin cannot be explained. If God is salvation,

he is Monet’s lily pads, each lotus sunset,

and the earth we are buried in. For her, this

answers everything, creates all. But divinity

encompasses heartbreak, hatred, death,

ignorance and childhood leukemia and

trigger fingers. My father rests, takes

my mother’s hands, and silence swaths

doubts. Much like God asks, though, he

 

believes in being good, no matter what follows death. I’m not sure there’s a difference.


Annabelle Smith is a student at Franklin & Marshall College in Lancaster, PA. She has received national recognition for her work in poetry from Scholastic Art and Writing Awards. More of her work can be found in Spotlong Review, Potomac Review, Black Coffee Review, and other journals.

 

Oxygen Destroyer

As long as I’m alive, who can say I wouldn’t be coerced into using it again? – Dr. Serizawa (Gojira, 1954)

 

Brackish water detonates, stickleback failing

to squirm from the kingfisher’s bill.

 

Swept into the branches, what remains:

smash the spine, suck bladder from bone.

 

Pistol-mouthed sun edging the lips

of the river. Last night, I fired

 

upright in bed, struck by a moonbeam of panic:

Twelve years on, you’ve somehow escaped,

 

survived by a stream of electrons,

mourning notes, your candle’s animation

 

frozen on my laptop’s open window.

I almost titled this Open Window

 

to bear witness to not just your death

but the power of air, the advantage of height,

 

the threshold you once threatened

for my murder. Still your tremors

 

haul me, flailing on my side

in your mouth, from the boiling surface,

 

each eye fixed on its own dimension,

talon and water and sky. Here, the air

 

I can’t respire. The delta shrugs, pulls again

its body to its neck, forgets the waves,

 

the trace scales floating. Sleeps.

Surely you are not the last lizard

 

to crawl from this ocean.

If we keep testing this weapon,

 

you may yet rise again. If our atoms touch,

our bodies will explode.


Dan Schall is a poet and teacher based in Pennsylvania. His work has appeared or is forthcoming in Willows Wept Review, Anthropocene Literary Journal, Arboreal Literary Magazine, Merion West, Cartridge Lit, Thimble Literary Magazine, The Shore, The Light Ekphrastic, Right Hand Pointing and many other journals.

 

Tombstones in the Delaware River

Graves warehouse

immortality like a bank

stores bullion. Yet,

if the need arises,

a defunct cemetery

may wish to break

open the marble assets

deposited to its care

by evicting a few

unaccounted bodies

and auctioning off

its surplus headstones,

now repurposed as rip rap

for the Betsy Ross.

At low tide, when

the velvet waters

draw back you

can see the markers

stacked around

the bridge piers like art

displayed in a rich

man’s parlor, names

and dates showing

on their banknote

faces. They have ages

left, standing security

for capital improvement

in perpetual care, though

not as was intended.


Chris Bullard is a retired judge who lives in Philadelphia. In 2022, Main Street Rag published his chapbook, Florida Man, and Moonstone Press published his chapbook, The Rainclouds of y. Finishing Line Press has accepted his chapbook, Lungs, for publication in 2024. He was nominated this year for the Pushcart Prize.

 

You Suck At Striper Fishing

You suck at striper fishing

declares a bumper sticker on a Toyota Tacoma.

 

I speed up to see the purveyor

of this, in my case,

truthful claim,

expecting a Duck Dynasty

character in camo jacket

and traffic-cone-colored beanie

but, instead,

find a young guy

in a vibrant silk button-up

which I quickly assess

isn’t a Reyn Spooner

or Tommy Bahama.

Maybe a Coogi relic from the 90s.

 

When he notices me,

I smile in a way

that is meant to communicate

but likely does not

that even if this isn’t his truck

and he also sucks

at catching striper, he is good

at catching people.

 

He nods

and releases me back onto the Schuylkill.


John Wojtowicz grew up working on his family’s azalea and rhododendron nursery and still lives in the backwoods of what Ginsberg dubbed “nowhere Zen New Jersey.” Currently, he teaches social work at Rowan College South Jersey. Recent or forthcoming publications include: Rattle, New Ohio Review, Sonora Review, and The Ekphrastic Review. He is the author of the chapbook, Roadside Attractions: a Poetic Guide to American Oddities. Find out more at: www.johnwojtowicz.com.

 

If All We Did Was Sweat

The man standing across from me has a long, barbed scar cutting straight down his chest. He’s leaning against the wall’s wooden slats, sweating heavily and breathing hard.

Beside me, a younger man points to his own chest, his own matching scar. “When did you get yours?” he asks.

They meet each other’s eyes, then begin to talk. They compare surgeries, both double-bypass, open-heart. They count blessings and trade tips for the future. “No more ice cream,” the older man says, and we all laugh.

It may sound like we’re in a medical unit of some sort, a hospital wing or rehab facility. In fact, we’re in my favorite spot in Philadelphia: the sauna of my local YMCA.

I started coming here less than a year ago. It’s only recently that I’ve begun to understand how meaningful it is to have this space in my life. This is a space to sweat, obviously, and a visitor won’t be in there long before their whole body is drenched. But it’s so much more than that.

The main “much more” are the people. I almost wrote “characters.” But to call them characters would flatten us all, add a quality of shallowness and goofiness to the enterprise, when in reality it’s anything but. Here is a space where people with worlds of differences in everything from age, race, religion, strength, health, agility and body type come together in temperatures soaring past 100 degrees, for as long as we can comfortably stand it. Sometimes we talk; sometimes we sit in amicable silence. If the others are like me, then when they’re in the dim wood-paneled room by themselves, they close their eyes and meditate, or pray.

I suppose this is what it means to be part of a religious community–one’s local church, temple or mosque. For many who have such a space, perhaps it’s not uncommon to find oneself surrounded each week by people from different backgrounds but with one shared goal. In the case of the sauna, that shared goal is good health. Thus, there is little talk of politics or the news. Our job is to help one another stay strong and heal, not tumble into conversational landmines. Our job is to help make each other well.

Growing up, I never had any religious group. My older brother went to Hebrew School in preparation for a Bar Mitzvah. Did he find community there? Was it a kind of second home for him? If so, he never said. When it was my turn to consider doing the same, my mother shook her head. “The only reason you should have a Bat Mitzvah,” she told me, “is to get money.” I did want to get money, yet even at age eleven had the good sense to know this was not the way to go about it.

Religious rituals in my world seemed random and muddy. My father’s mother lit candles Friday night in her home, but no one told me why. My mother gathered us to light the menorah, sometimes, and we got gifts, I think, though the only one I remember is a plain brown towel that was so rough and hideous I wonder to this day if it was meant to be some kind of joke, the kind without a punchline.

In my twenties, I thought about joining a temple. I wanted community. I wanted to meet people, to feel surrounded by families, food, something bigger than myself. I also, truthfully, thought it could be a good place to pick up clients for my budding freelance copywriting business.

At the Friday night service, I was so thoroughly confused that at one point I turned to the young woman sitting next to me and told her there was a problem with my prayer book. It appeared to have been printed backwards. “The Siddur is read from right to left,” she told me. I felt my face turn scarlet and mumbled my way through the rest of the evening. Though she was wonderfully kind, and there was indeed a joyful dinner afterward, the learning curve felt too steep. I never went back.

This past winter, I decided to celebrate Hannukah for the first time in my adult life. I made the decision because my partner’s mother had mailed us a plastic Christmas tree. Since we decided to decorate the tree, it seemed only right to also light the menorah.

It embarrasses me to say this, but it is the truth: I had to Google what Hannukah actually is. Either I couldn’t remember what I’d learned or I never fully knew. Something about oil, eight days, burning, light. I purchased a menorah at T.J. Maxx. When we lit the candles, I didn’t know what to say. I looked at my daughter, bowed my head and told her, “Namaste.”

It’s a strange position to be in, to understand oneself as Jewish and yet feel no sincere connection to the religion. My father, who passed away this past spring, is part of the last generation to be physically touched by World War Two. He was born in a Jewish ghetto in Japan-occupied Shanghai and later lived in a refugee camp in Cyprus, then in Israel, before coming to the U.S. at age eleven.

He rejected all religious practices, had an uncertain view of God. He called himself a “cultural Jew.” Maybe this was true for him, a taxi driver in New York City during the height of Woody Allen movies and Lenny Bruce comedy. But the phrase holds no meaning for me, a woman whose early cultural life was shaped by hip hop, sitcoms, and John Hughes movies.

“You should write more about being Jewish,” my father always told me. “You have such a unique perspective as a third generation of survivors.”

“I don’t know what it means to be Jewish,” I always replied. “I don’t relate to being Jewish at all. I never even think about it.”

“Exactly,” he would say. “That’s the perspective.”

So, then, where to go?

These days, the sauna is my temple, sweating my personal purification ritual. It is the perfect place for a woman like me. Faithful, without a faith.

And the truth? One thing I love most about this space is its freedom from doctrine, its neutrality, its existence as a place where no conversation drives too vigorously down any particular lane. The woman who sat beside me two weeks ago told me firmly that she believes in home-schooling, that she’s worried about what could happen if the internet shuts down, that “times are changing fast.” That was as specific as she got. Times are changing fast. A sentiment few would disagree with.

The two men who sat on the lower bench last week talked about how great the neighborhoods around here used to be, how everyone used to get along. They lamented how the city had changed. They stopped themselves before getting into specifics. They wiped the sweat off their brow with their forearms, nodded, laughed, drank their water.

As I listen to it all, I wonder, is this not unlike religious ceremony? We use careful words.

We find common ground in injuries, arthritis. Popping knees and slipped discs. Bee pollen as a cure for asthma. Peppermint oil for cardiovascular health. The “silver sneakers” crew talk about the temperature of the swimming pool, who was late to class, who is always late to class, and the small hot room fills with the wild laughter of seventy-year-olds sounding as delighted as naughty children.

In this way, we seek to protect one another from certain outside harms—the world’s harsh divisions, its spitting animosity. We make space for what is here, a shelter that, though we don’t acknowledge it as such, we all surely feel on some level is protected territory. We gather for a sacred bond, however brief, among people who are different from ourselves, yet so alike.

Let me not romanticize what the space is. There are phones and gadgets. People staring at screens. Young guys who don’t know how to modulate their voices for small, quiet spaces. There is the noisy crinkle of water bottles; the tinny echo of loud music through headphones; someone talking on their cell.

Nonetheless, it is what I have, the only temple I do have. So please, let me find glory here. Let me tell you that sometimes we sit together, and we say nothing at all. We see the scars on one another’s bodies. We match them to our own, or else we choose not to ask, decide not to tell. We allow the heat to work on us, allow our pores to open. We come here as strangers, in search of what is higher than ourselves. We seek ways to become more purely ourselves.

It is in this space that we find our way both into our bodies and out of them, a way to live comfortably in our own skins and perhaps touch on something just beyond. We close our eyes. We breathe. And if all we did was sweat, in the end, it would be enough.


Becky Tuch is a fiction and nonfiction writer, based in South Philly. Her stories have won awards and fellowships from Moment Magazine, The MacDowell Colony and The Somerville, MA Arts Council. Additional writing has appeared in a variety of venues including Salon, McSweeney’s Internet Tendency, Tikkun Magazine, Gulf Coast, Post Road, and Best of the Net. She is also the Founder of Lit Mag News, a bestselling Substack dedicated to demystifying literary magazines. Learn more at www.BeckyTuch.com.