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What do you hunger for?
The you who answers to your name,
all 30 trillion human cells of you,
is also the you made of 39 trillion
bacteria, virus, and fungi microbes
–all enough of a who to influence
how you sleep, how you feel,
and what you want to eat.

Choose a dish for all
of your yous to enjoy, maybe
a brightly glazed ceramic plate
or hand turned wooden bowl
or the thrift store find you love.

Your salad’s base might be
greens or other vegetation.
Its body might include
grains, meats, fruits, more vegetables.
Its garnish might be seeds, nuts, herbs,
maybe something pickled for tang.

Dress it to unify everything,
the way your skin cleverly holds in
all the stick and goo you call you.
You might toss this with your hands
for a brief sensory thrill in this time
when thrills are expensive.

Or you might arrange your salad’s
ingredients in different zones
of your bowl, each forkful
choreography for your mouth to enjoy.
After all, you are eating fellow life forms
who themselves once enjoyed eating
sunshine or sunshine’s yield in the nearly
endless circle of life eating life eating life

that will end, on this planet, some
four billion years from now
so go ahead, toss on extra cheese
and hum a little tune as you do,
singing to all of your multitudes.


Laura Grace Weldon lives in a township too tiny for traffic lights where she works as a book editor, teaches writing workshops, and maxes out her library card. Laura served as Ohio’s 2019 Poet of the Year and is the author of four books. Learn more about Laura at lauragraceweldon.com 

from the last of our bees
requires a spoon long and strong
enough to scrape a final huddled
glow from the jar’s corner. Gold
turned to crystal, gold flickered
with pollen’s memory of blossoms,
gold of real wealth in a time when
real, isn’t. A single worker bee makes
about a twelfth of a teaspoon of honey
in her short steadfast lifetime. Now
our hives are silent. I lift the spoon
to waiting mouths of our youngest
family members, each in turn says
ewww at the taste and I damn
the river of regret coursing through me,
smile instead at faces unaccustomed
to such sweet intensity. I refuse
for now, to consider all they face.


Laura Grace Weldon lives in a township too tiny for traffic lights where she works as a book editor, teaches writing workshops, and maxes out her library card. Laura served as Ohio’s 2019 Poet of the Year and is the author of four books. Learn more about Laura at lauragraceweldon.com.

I don’t want to go to Hell when I die,
to be dead and still be suffering and
not only suffering but suffering
worse than when I was alive, well, that’s not
good but in Heaven where the Afterlife
is supposed to be painless if not pain
-free there’s suffering of an
-other sort, I guess, too much blessedness
up yonder, sweetness and light and all those
things associated with God maybe
because He invented ’em, but there’s no

third choice is what I’m taught in church and Sun
-day School, you can’t die and live forever
on Earth, you have to bail out when you’re croaked
and if you’re good you get the Good Place and
if you’re bad the Bad, I guess it depends
as well on if you believe that Jesus
is the Son of God Who was crucified
for our sins, etc., everyone

knows the story, He who has ears to hear
let him hear
and so on and the point is
you’d better hear what you’re being told in
the sense that even if you don’t buy it
it’s so anyway, that’s how things are at
our church, plus they get my allowance,
twenty percent of it, I only get
a buck, they score two dimes of that, I name
those Adam and Eve and I kick ’em out

of the paradise of my pocket, pinch
each with thumb and finger, drop ’em in and
somehow they multiply though they subtract
me in a sense but what more can you ask of
sin? So after Sunday School I walk to
the Korn Dawg King for a free Fanta
because they honor my church bulletin
which is more than I can say for me, sad
to say, I don’t have much mammon, it’s like
drinking blood without eating the body
so I have a scrambled egg when I get home,
Man does not live by bread alone but it

sure as Hell helps, but all in all I’m set
for another week of sin surviving
me, ha ha. Next week we’ll try the root beer.


Gale Acuff has had poetry published in fourteen countries and has authored three books of poetry. He has taught tertiary English courses in the US, PR China, and Palestine. Gale now lives in Tucson, Arizona.

Life screams at you like the vacuum
sucking up beer caps.
Where are you going?
Back to stacking place mats,
paper napkins, and the half-and-half,
which looks a whole lot bigger
through the fisheye of the water glass
that has become the vivarium of your life:
It whispers now.
Should you tell them
it costs $10.99 to stare out
opposite windows and fight over the tip?
You bring ketchup
even though he has soup
and your eyes are as bored
as your brain, as your body, energy
used up on the customers
who think a few crinkled ones
mean something more than the mind-
numbing—something. Maybe if you
keep moving the boss won’t
notice you forgot your name tag,
those slanted stickers, faded, cracked,
make it harder to pretend you’ll ever
have enough air to do more than breathe.


Vanessa Ogle is a poet, writer, and educator. Her poetry has appeared in Cordite Poetry Review, Smoky Blue Literary and Arts Magazine, The 2River View, and elsewhere. She received her BA from Stony Brook University and her MFA from Hunter College. In addition to her writing career, she has worked in a variety of restaurants and fast food establishments and has written about class issues and her experience in those industries for The Nation and elsewhere.

After supper with my parents I go
next door from the buffeteria to
the drug store to look at the comic books.
It’s 1965. They’re twelve cents each.
Georgia sales tax is four cents on the buck
so I can buy two books for a quarter,
which is my weekly allowance. I want
the Justice League of America and
the Legion of Super-Heroes because
I get more costumed crimefighters for my
money. My father’s money, I should say.
I’ll meet my folks in front of the Rich’s
department store, by the fountain, facing
the parking lot. Our car’s out there somewhere,
waiting like a loyal beast of burden
to take us home, a few miles away, to

Marietta. When we arrive I jump
out from the back seat, open the garage
door, stand to one side, and watch my parents
roll in. Father closes the door and we
go into the house–we never lock up–
and then he takes off his suit and tie and
dress shoes–he’s a principal and looks sharp
when he’s out in public. Mother
reads, or watches TV, while Father tunes
the radio to the Braves baseball game
and sits on the porch, studying traffic. 
I wait until he settles. Turn it up,
Son, he says. Sometimes he says, Turn it down.
When it’s just the way he wants it, I leave
for my bedroom, in the attic. It’s my

Fortress of Solitude, my parents too
tired, usually, to walk the thirteen
steps up to it–when they want me, they shout
from the bottom of the stairway. Tonight,
however–Friday night–they don’t need me,
only each other. Saturday nights, too.

If I come down, perhaps to the kitchen,
or under the stars to pet my old dog,

Father might ask me to fine-tune the Braves.
Mother might ask me to turn the channel
or clean her glasses or bring her a snack.
I’m a good boy and I’m eager to please.
I do what they ask and they let me be.
Then I go upstairs again and read how

good defeats evil, which it always does,
just in different ways from month to month.
I’m too young to know that evil wins, too,
at least its share and probably more–that’s
for grownups to worry about. Good wins
as I look at the pictures and read and

turn a page, then the next. Not that good
doesn’t take its lumps from evil. Not that
evil doesn’t make a contest of it
–that’s what makes life interesting, and church
on Sunday a necessity: to thank
God for what we have though we don’t have it

but always pray we do. Well, some of it
we have. But others don’t–poor folks, for one,
and if they don’t have it, we don’t, either.
Food enough, I mean, and heat in Winter.
Steady jobs and good clothes. Enough money
for Christmas. We have all of these but if

someone else doesn’t then neither do we.
If I were the Flash I’d be quick enough
to run around the world, our neighborhood,
at least, and count all the people in need.
If I were Superboy I’d see them all
with my X-ray vision. But I’m just me

so I fight evil the usual way,
by putting coins in the collection plate
(but not my comics-money–I get some
special from my parents for charity) and going to Sunday School and praying.
But all those people praying all those prayers
hasn’t ended poverty and sadness

–perhaps they don’t pray hard enough. As I
walk home from church I’m feeling older. Guess

I’ll have to wait for Jesus to return
before life’s perfect. Still, I’d like to think
that we do what we can. In this issue

of my life there’s a happy ending but
not so happy that my life’s been cancelled
like a magazine that doesn’t sell well.
There’s just enough unhappiness so that
I want to keep up with the adventure
in this comic book which God wrote and drew
from start to finish and Doom reads every day.


Gale Acuff has had poetry published in fourteen countries and has authored three books of poetry. He has taught tertiary English courses in the US, PR China, and Palestine. Gale now lives in Tucson, Arizona.

“Is it worse to be someplace awful when you’re by yourself,
or someplace really nice that you can’t share with anyone?”


This is where Theseus ditched Ariadne.
Jump-cut to sweating slabs of feta, to squids
dangling on clotheslines. His lanky frame in
bleached-out blue jeans


practically draining into the horizon.
Rakı going milky in a tall glass of
melting ice. In one version of the story
Ariadne marries


Dionysus—her wine-dark loneliness lit
up with a single sip. Olives green as eyes,
dry bougainvillea flowers like fingernails
over cobblestones.


Others say that no one ever came and she
hung herself. Cue the tomatoes, a gliding
knife: golden hour gilding the scene as Tony
shakes oil from a glass


bottle, preparing a feast as if someone
else might enter the frame. As if it doesn’t
end with him eating alone on a terrace
staring out to sea.


Gregory Emilio is a poet and food writer from southern California. He is the author of the poetry collection Kitchen Apocrypha (Able Muse, 2023), and his poems and essays have appeared in Best New Poets, Gastronomica, North American Review, Tupelo Quarterly, and Southern Humanities Review. He earned an MFA from UC Riverside and a PhD from Georgia State University. A mean home cook and avid cyclist, he lives in Atlanta and teaches at Kennesaw State University.



The guy drinking Seven Tails on the rocks scoops a lemon from his glass and lets the flea live.
What else is mercy but a way of wedging between worlds—the invitational body first
submerged, then lifted and let through, D’Angelo on in the background the whole time singing
Lord knows how far that I and I will fall behind. And Jesus Christ, he says next—not D’Angelo.
Not Jesus (at present he is nowhere to be found). But the guy with the Seven Tails—a nickname
which, when repeated enough, becomes biblical, whips you beastly into, yes the past, but also the
multiverse of all the pain you’ve ever caused. It isn’t saying sorry that’s hard. It’s knowing it
isn’t enough. Jesus Christ, a six-hour flight, says Seven Tails. And I think about Jesus learning
of air travel. How much faster he could’ve got home or at least somewhere he belonged. And I
don’t mean in the footprint of God. It’s not the flea’s salvation either. Poor guy, wings stripped,
slipping aimless now in a desert of marble. Maybe this wasn’t about mercy at all.


Kirsten Shu-ying Chen is the author of Light Waves (Terrapin Books). A MacDowell fellow, Chen has been a finalist for the Autumn House Press Chapbook Prize, and a semi-finalist for Tomaz Salamun Chapbook Prize by Factory Hollow Press, among others. Her work has twice received Pushcart and best-of-the-net nominations and has been published or is forthcoming in Bear Review, PANK, Hanging Loose, NoDear and elsewhere. She lives in New York. www.kirstenshuyingchen.com 

Sometimes my appetite
scrolls back to the days
where I never worried
about greasy pleasures
dripping in sugared condiments,
and I want to be back at the Paris Diner
with you at 2:00 a.m., high from every urge.

The Paris Diner was not in Paris.
Paris was not in our vocabulary, 
it was only a dive in Flatbush
that we stumbled into on nights 
when everything was satiated
by a yearning for fries and ketchup and whipped cream
that dripped over those curved fountain glasses.

Between our heated flesh and furtive kisses, 
we sipped something thick and creamy, 
and our simple lives flowed through a paper straw.


Laurie Kuntz  has published two poetry collections (The Moon Over My Mother’s House, Finishing Line Press and Somewhere in the Telling, Mellen Press), and three chapbooks (Talking Me Off The Roof, Kelsay Books; Simple Gestures, Texas Review Press; and Women at the Onsen, Blue Light Press). Simple Gestures won the Texas Review Poetry Chapbook Contest, and Women at the Onsen won the Blue Light Press Chapbook Contest. Her sixth poetry book, That Infinite Roar, will be published by Gyroscope Press at the end of 2023.  She has been nominated for three Pushcart Prizes and a Best of the Net Prize. Her work has been published in Gyroscope Review, Roanoke Review, Third Wednesday, One Art, Sheila-Na-Gig, and many other literary journals. She currently resides in Florida, where everyday is a political poem waiting to be written. Visit her at: https://lauriekuntz.myportfolio.com/home-1.

I would like to have six days back,
one for each decade, as a minimum,
for not having to think about holding
myself inward, moving one leg sideways,
obscuring the steatopygous view,
a few days I could move without thinking,

like before I was six months old,
when my pediatrician said I was too
fat and told my mother to give me only
skimmed milk. Mom could make a meal
for four out of one can of Campbell’s soup
with water; I taught myself to bake

cookies and cakes so that some days
when there was no other consolation
I could have something sweet.
Now what would be sweeter is a day
without clenching, without waiting for
the blow to fall, like when my 90-pound

grandmother tried using a French
word for it, as if someone who sat around
and read so much wouldn’t know
what the word avoirdupois means
or how much scorn can be heaped
on one person before each evening, adding up

to at least six days’ full, no matter how
much yo-yo dieting, how much angling
my shoulders and knees out of the picture,
contracting my thighs and tilting my hips
to squash between armrests, how much
pulling myself together every day.


As a lifelong dieter and food lover, one of Jeanne Griggs’ favorite experiences on a trip to Norway was being asked if she would like caviar for lunch and replying that she’d already had some at breakfast. A traveler, reader, writer, ailurophile, and violinist, Jeanne plays with the Knox County Symphony and the Celtic Fiddlers. She directed the writing center at Kenyon College from 1991–2022. Jeanne earned her BA at Hendrix College in Conway, Arkansas, and her doctorate at the University of Maryland, College Park. Her volume of poetry, published by Broadstone Books in 2021, is titled Postcard Poems.

The courtyard, cool, the menu en español
we, a gringa and me, her sullen mate,
both barely awake. The huevos, Oaxacan,
a cold dish my wife begins to eat
with all of her appetites intact
until she sees the bits of chilies
have legs, her plate seems to crawl
with chilies that have legs.

We look to the kitchen, aghast,
and then to the local folks at nearby tables
who eat without reservation. I look back
at the menu and read, chapulines
check my pocket dictionary:
grasshoppers! and I, who’d not
eaten the flesh of an animal
since 1972, take to the plate,
and eat every one. The crunch
satisfies a forty-year craving
for the gnawing of bones,
for the tasting of organ meat, for the rending
of limbs.

Deb leaves hungry and my
lust for flesh is not yet sated.
We wander to the market
and find plates of the critters
in great heaps. I buy two scoops
for a few pesos and find
the hoary hunter in me is roused.


Dick Westheimer lives in rural southwest Ohio. He is a Rattle Poetry Prize finalist. His poems have recently appeared in Whale Road Review, Innisfree Poetry Journal, Gyroscope Review, The Banyan Review, Rattle, Ritualwell, One Art, and Cutthroat. His chapbook, A Sword in Both HandsPoems Responding to Russia’s War on Ukraine, is published by Sheila-Na-Gig.

More at www.dickwestheimer.com.