This Morning’s Fog

This morning’s cold fog straddles my back fields. Like a cautious horseback rider it eases towards the barnyard enshrouding the barn and outbuildings in grey mist. I am doing morning chores: speaking as I am wont to my hens just released from last evenings lockup into the chicken yard. I’ve tossed a small kitchen bucket of scraps from last night’s dinner leftovers. There’s always a mad scramble when I let them out in their rush to snatch up whatever tasty bits. Some hens have stayed in nest boxes, already laying or keeping an egg from the cold. The fog’s now beginning to retreat to the trees lining the creek bisecting the farm. Two young calves slip out of the still fog-shrouded field heading for the barn where I’ve put out a double scoop of grain and screening pellets for them. I’ve also cut the strings on a bale of hay dropping a couple of flakes into their feeder. The rest of the cows are still invisible out in the far field. I turn back toward the house needing a second cup of coffee to ease the rest of the morning fog away.

awaiting
coffee pot
bubbling

Ed Higgins

This Morning’s Fog

Another dead chicken

In the chicken house this morning. The second one this week. I carry the stiff hen out to the back pasture for the coyotes, since fall is coming on. In spring and summer I’m happier treating turkey vultures. Several of my hens are old–and chickens of course are not ordained for long lives. Commercial hens lay themselves out in one to three years.
After their laying slows with these battery-caged chickens it’s off to the slaughter house and chicken soup–or other worn-out laying hen products. My uncaged, roam free hens can last 6 or 7 years, depending on the breed. Occasionally, one of my barnyard and pasture grazing chicken can reach 12-15 years. Because I am old myself, far beyond any chicken years, I am not indifferent to how my hens slip into eternity. So I do not early-cull my layers when they slow down, or stop laying altogether. This hen I am carrying to the back field has her dignity still intact, if no longer her well-being.

wind ruffled
feathers
hen unriled

Ed Higgins

Another dead chicken

The Grass Is Greener

I met Ponce de León by the fountain of youth. He was full of stories about Mallorca, in the old days, when only a few intrepid travelers were around. Paradise. Here it’s all about money. Gold, silver, tobacco, chocolate, the naming rights to popular venues. We wanted a life off the grid, maybe a place in Belize. Forty years later here we are. Problem is, all those intrepid travelers from Mallorca.

a dry martini
civilization
and its discontents

Robert Witmer

The Grass Is Greener

Dumb Charades

A dancer is always naked— When clothed has
forgotten is a dancer. There are only clothes
then. And a head. Like caught committing a
crime. Like face vanished become body and is
planning a crime. Moving about a subway of the
earth. With its wrapped-around map fallen off.

slipping into the sea exposed cliff

Vishal Prabhu

Dumb Charades

Tales of Love

Twenties

Alcohol poured on double grief. Delirium Tremens. Three faces (not Pound’s petals) on a clothes horse, at night, menacing, nodding, we know, we know! A well-wrought poem quelled atavistic fears, silenced the chattering voices. A gothic novel beside the fire, the taste of foam from large bottles of stout, bracing, belief in something more, maybe a love affair. Not a great aspect from the front room – a suicide burial ground at the crossroads. Ballybough (reclaimed from the sea) Boy Does Well! Through the arch of Trinity College. Academic silence. Editor of Icarus, long established literary magazine, affording some importance, in demand among poets in pubs. Companions, oblique-minded; one found dead, stone cold at a leaking gas fire in College rooms. Another, rolling cigarettes with claw-like nicotine-stained fingers. Habitué of the psychiatric wards. Sheltered accommodation at last. Was love not at all possible for them? More like honourable obsessions. Intimacy opening a fault line, turbulent waters rising within. Again, a persisting poem, tugging at the sleeve, righting a listing mind.

Thirties

From where did she come when my breathing was shallow? Not the girl next door. For better, for worse, for richer, for poorer. Vows abandoned. A drunk’s dried-out dinner in the oven. No, not of this world. A plume of lilac blossoms for the bare formica table. A glistening orange when I was sick. A picnic on a park bench in spring. I was reaching, breathlessly. She placed three kisses on my cheek, took a broken vase and repaired it with gold, to hold flowers. Lilies the colours of ice. A dark crimson rose, fire still burning there. She planned to gather irises in the local park, but I never saw her again. Persephone abducted by Hades? Body of young woman found in Fairview Park.

Forties

Curious shire horses buffeted me in the short-cut field. In the car between the hedgerows, her skirt snagged on my haversack and lifted. Was the intense attraction we felt, evidence of a death imprint? Both survivors, witnesses of death too young. Could love erase the numbing mark? Indelible? Introduce our chilled selves to blue skies? Eat strawberries from her garden? A light kiss that last night on the writers’ retreat. Love had been seeping in all week. Taste of toothpaste. A longer kiss leaving in the morning. An empty train station. Trains spawning distance. A wish that they would collide. So broken, a collision, an attempt at intimacy. Letters, keepsakes crossing the Irish Sea. Walking a tightrope, slacking. The subterfuge was killing her. First to the post in the morning. ‘Trollop!’. ‘Home wrecker!’ The death imprint was deep within us. Feel nothing so that death can be redundant, not repeated? In dreams, hands holding the pain of our survival. Truer, sadder lives to live, even at a distance..

Fifties

Through the ornate metal archway of the old park, to a wooden bench in the shade, a bower, away from joggers, walkers, racing dogs and children playing. The furtive nature of our meetings. Holding hands only at night, kissing down a side street. Was there a boyfriend, a husband? I didn’t question the secrecy too closely. Smitten. Old couple following the sun from bench to bench. ‘He’s ninety, you know!’ Suddenly, her tongue inside my mouth, doing somersaults, knocking off my trilby hat. In bed, facing each other, kissing, cherishing. In some kind of love. Her other love began to appear, furtively, behind a tree, in a cafe. Persistent. Riding shotgun at her flat, enabling her bulimia? Frail, shoulder blades sharp. I asked, ‘how is she?’ His reply, I like your hat.’

Gerry McDonnell

Tales of Love

The White Rabbit

Straight down the rabbit hole—
Never a goodbye, never a hello—
He is more nonsensical
Than you know,
Always in a hurry
To get nowhere fast,
Like the driver who’ll pass you,
So impatient, on the road
When you’re already speeding.
But he is late, late,
For a very important date—
Will call Mary Ann “Alice”
And Alice “Mary Ann.”
And what’s up with that?
Who is his dream girl anyway,
And does he even know?

a fat bee lands
on a lazy daisy . . .
the riverbank

Anna Cates

The White Rabbit

Open Sesame

A cat is not where she appears— Walking to
and fro the horizon. Asking. Am I close enough.
Have I come close enough to you. And she
means it as much. But something is shifted. By
someone. In an old loft somewhere. The horizon
is stretched out again.

receding
into outer space—
a ball of wool

Vishal Prabhu

Open Sesame

Lost Little Death

Over the hills one can see war-vultures, circling. My heart is in danger: its enemies prepare for the kill. I want to let light in, but light itself comes apart. I want to listen to the soothing sound of the rain, but every raindrop falls on broken stones.  Only the long, white syllables of my last Ah’s and Oh’s can be heard. I drool in my sleep as a wake of hungry vultures perch upon my tongue.

smouldering moon
together we will burn
these etchings

Réka Nyitrai & Alan Peat

Ekphrastic haibun based on ‘El Buitre Carnivoro’, Francisco Goya
(c. 1815-1820)

Lost Little Death