ISSUE 07
Steve Evans. Oteeyho Iro. Charles Haddox. Zama Madinana. Taylor Graham. Natalie Harris-Spencer. Jason Lobell. Maggie Yang. Aaron Weinzapfel. Meredith Wadley. Asma Al-Masyabi. Linda Neal. Shilo Niziolek. David A. Porter.
JENNIFER L.
FREED
Jennifer L. Freed (she/her) is author of the chapbook, These Hands Still Holding (Finishing Line, 2014), a finalist in the New Women's Voices contest. Her work appears in Atlanta Review, Atticus Review, Worcester Review, West Trestle Review, Zone 3, and others. Awards include the 2020 Samuel Washington Allen Prize from the New England Poetry Club for the poem sequence "Cerebral Hemorrhage." Those poems, as well as the poems in this issue of Subnivean, are part of a full length manuscript forthcoming from Kelsay books in 2022.
STILL
They are so small—
the tender boniness beneath their fluff, like magic
in our hands. We collect them, after
the popped balloons, the cake,
the tear of wrapping paper,
but their warm purrs pour through our fingers too soon,
so we decide to keep them all
in one soft gathering, inside
the old humidor.
We are taking turns
with the curving latch, its pleasing little click,
when the mothers come, and the party ends,
and the friends leave in a bustle of last laughing chatter,
and then it is only my mother and me, singing
as we clean up crumbs and paper cups.
And then she asks,
Where are the kittens, and I remember,
and I go to the cabinet,
and open it.
MY FATHER'S HEART
On mobile turn phone landscape and enlarge
REHAB HOSPITAL
On mobile turn phone landscape and enlarge
FROM INSIDE ASKEW
you don’t know
how you slant.
Your speech slips and circles.
Angles seem straight.
You’re sure left is right,
sure we are all wrong,
don’t feel yourself sliding,
don’t see yourself fall.
But there you are—down on the floor,
making light of the pain in your head.
We offer our arms.
You weep, ask why.
DIRECTION
On mobile turn phone landscape and enlarge
STROKE
My mother is gone.
A similar sister lives
in her body.
I keep leaning closer,
toward all that she shares
with my mother.
I keep leaning closer.
I want to believe I am wrong.
But the questions
this woman doesn’t
feel.
The answers
this woman doesn’t know
how to hear.
The way this woman’s face
moves over the bones and hollows
of my mother’s skull.