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FOUR WAY REVIEW

HOLLYWOOD FOREVER CEMETERY by Hannah V Warren

Wednesday, 12 November 2025 by Hannah V Warren
Red haired woman smiles widely in front of a brick wall.
https://fourwayreview.com/wp-content/uploads/2025/11/Warren-Hollywood-Forever-Cemetery.mp3

Los Angeles, CA

 

dear hollywood                                                          Snapshot
       Paint me       indian Peafowl        
                                                              persuade me a Succulent 

my sister & I are       lonely
                                                                       the   dead   are   Good
company
only when I’m alone    with Them      a lonely with them

     Horsehair pattern & revolt 
 
                                   we argue over      Mallards
Violence vs Nurture                               don’t vomit           in the
Rosebushes

                                                                               don’t sleep in the
                                           Crypts      
                  don’t piss on the Geese

                                                          don’t desecrate judy garland
don’t cremation            don’t steal johnny ramone’s Guitar 
                                                                                            &  use  it  as  a
                                            Vibrator

rip : strawberry clover & bur clover & wall barley
we Snake our hats                                    Fill   them   with   pink     
Peppercorns
                      lavender scallop a daisy chain to Death

my sister & I fill                            Perfume Bottles with blood      
                                                                                          &   sell   it to
                                                                        tourists
we knock   Bones on tin cans          & call it Religion
                               we remember                 all the ways we      are
Similar
& the Remembering hurts

 

Hannah V WarrenPoetry
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  • Published in Featured Fiction, Issue 34, Poetry
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SELF-PORTRAIT AS THE LAST LINGERING PETAL ON A CHERRY BLOSSOM by Anthony Thomas Lombardi

Wednesday, 12 November 2025 by Anthony Thomas Lombardi
Tattooed man in black and white Velvet Underground shirt looks off camera.
https://fourwayreview.com/wp-content/uploads/2025/11/selfportraitcherryblossomfourway.m4a

 

more than the millions of unsung buried in the potter’s
field off pelham bay, more than the estuary where tides
fold freshwater into saltwater & spit their bones into a knot
of krill, mackerel, menhaden, pale glow like a stray moon
wandered to the wrong side of the cosmos, slunk in a lost
shark’s jaws, predators plucked with rising ocean
temperatures from the atlantic & whisked a hundred miles
down the shoreline, it’s the cherry blossoms’ orderly bloom
in april, unquestioned embrace of death in may, petals strewn
like stars stretching so deep into deep space only astronomers
know them by name, that really gets to me. after the gray
-haired man draped in paisley sleeping beneath a straw hat
against a yoshino tree, the little girl hiding behind her
mother’s wedding gown, cameras flashing, buzzing
around the bridal party’s pink-cerise dresses
like a honeybee, the flattened cotton-candy blossoms
are simply swept into a dustbin every year on the day
you died. there are tons, & i mean tons, of spent petals
scattered across parks, lawns & ponds, routinely removed
& replaced, a broom brandished & taken to task by a botanic
garden employee but a blossom is underfoot awaiting
its own interment when a beloved texts me, made it through
another year of that one. we all want to make it somewhere
past the point no one thought you’d ever pass: leaving
the party at 2am, alone thank God, a fist of valium
from the bride. we settle for miracles: walking without
wanting, wonder in the weeds like the first man to hear
a parrot chatter, the bewilderment of a woman
who’d never known a note of music fainting the first time
she heard beethoven. i know it’s you stuck inside the lightbulb
flickering in my kitchen. i keep it humming days on end, marvel
at how much dark you continue to cut through.
a cluster of stars pierces fog like teeth in the mouth
of a shark. we made this world. devoured everything
but the pit. it isn’t enough to cook the ocean, trap the raptorial fish.
we drag her home & stuff her, friends take selfies, their heads
in her maw, pretend we were never in any danger at all.

Anthony Thomas LombardiPoetry
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  • Published in Issue 34, Poetry
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TWO POEMS by Sebastian Paramo

Wednesday, 12 November 2025 by Sebastian Paramo
Black and white abstracted photo of a man in profile
https://fourwayreview.com/wp-content/uploads/2025/11/Extinction-Economy-Sebastian-Paramo.wav


Extinction Economy,

or The Grapefruit Orchards of South Texas

I didn’t listen. When you said
it’d be bad. I learned the hard
way. It was stupid. A garden
once grew. Then there was a tree. It
bore grapefruit. Someone said, eat it.
Learn something you didn’t before.
A snake oil salesman said it. He
asks if the stars are baring teeth.
Smiling awake? Look, I’m naked.
These secret leaves. We plant orchards.

We become aspiring merchants.
We squeeze the bittered sweetness out.
We left out stories. We left out greed.
Or we made it everlasting.
Pestilence, famine, war, death
—could finally ravage the field.
We’re breaking up. When we started,
we were pure. Nobody else could
peel our skin. Touch the rubied
rind. Your delicious mouth alone.

Let it rot, love. Tell everyone
we’re not together. We ate it.
But everyone was hungry. Plant
another fruit tree. Let limbs frost.
One day, the rich will keep them fenced.
Nothing green. No orchards to tend.
Bruised. Nothing good. Don’t let me pick
for you, or you, or you, or my
self-portrait as a newborn whim.

Listen, an angel could save me.

 

https://fourwayreview.com/wp-content/uploads/2025/11/Wet-Bark-Sebastian-Paramo.mp3


Wet Bark


I consider the pastoral.
I’m considering the storied violence—when people once

gut bark, they gut buffalo, they grind bones
daily and they wait, and when they

walk down hill country. Years of dust,
years of pollen stick to the fields, grass

blooms. Beasts come grazing. Believers,
come eat. Get sick. Love another. Then die
 
in places like Dripping Springs.
Driftwood. Spicewood. Blanco. Marble Falls.

Lampasas, Texas. These days feel
like bluffs, like broken-in homes. 
 
Like trespassing signs everywhere
or uprooted. Trees litter yards until

not a single body leaves. 
These days, it either rains or

it’s the bygone era of hills
coming like a downpour in April.

I’m drowning and flooded by 
denial. Have you heard the news?

We’ve reached the timeline where 
we bit jetstreams in the ass. Suddenly, 

the slowing patter of sobbing 
sounds like my Father dying. 
 
These are the days when Fathers 
are buried. Or burned.

He could be godless. I stalked
Barton Creek one morning like nothing 
 
was wrong. Watch me wade knee-deep 
in ghosts, the creek, the water snakes, and 
 
watch me cutting branches away. I hike out of 
light rain, fog, cloud, thunder—and the flash flood 
warning.  I keep my chin above water.
I know there’s a meadow. Flowers are coming.

Brambled mornings when the woods get damp
are coming. Birds will eat cedar berries.

And someone will cut and plant something new.

PoetrySebastian Paramo
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  • Published in Featured Poetry, Issue 34, Poetry
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TWO POEMS by Rajiv Mohabir

Wednesday, 12 November 2025 by Rajiv Mohabir
Man stands at seashore in a white shirt with a big grin, resting his hands on his head.

In Sixteen Bridal Adornments You Come,
 
          opening to another. What cannot be 
 
          carried from room to room?
          You line eyes in burned ghee
          cured under the full moon,
 
          toe rings gleam 
          against your dark
 
          skin, brush the doorstep 
          of stone. You open another
 
          door. Stay there, 
          standing. Your earrings flicker, 
          thresh gold: 
 
          a votive collaboration
          with candlelight.
 
          You need another
          to light your match.

 

अंतिम श्वास / At My Last Breath 

A crow perches on a deer’s collapsing 
ribcage in a field of cut corn stalks, gold 
tarnished beneath snowfall. The tractor blades 
that harrowed the fawn, rust in winter wind, 
snow-bitten into fragments. Tomorrow 
asphalt cracks widen with thaw. The red 
fox curling against the highway shoulder 
widens until it opens to earth, each cell 
lifting into arid light. When the crow 
comes for me I want to recall you full-
leafed at Gaviota beach, your swimsuit 
a whelk shell ashore; for the sun of you 
to pull me up, to release me to mist.
 

Issue 34PoetryRajiv Mohabir
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  • Published in Featured Poetry, Issue 34, Poetry
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TWO POEMS by Caitlyn Klum

Wednesday, 12 November 2025 by Caitlyn Klum
Woman in a black t shirt looks off camera, in front of a brick wall.
https://fourwayreview.com/wp-content/uploads/2025/11/Heaven-FWR-2.m4a

 

Heaven

What I call Sissy Spacek
time of day. Like an ink stain looming

behind the live oaks. I was draping
laundry over the porch railing to dry
and pretty much thinking

a wild piece of laundry
in the sky. What about you? It disappears

so quick in this heat or folds
over. Otherwise we are filled

with fire. Further away,
trees were emerging

from their brights tents and stretching.
Orange lingering in the clouds,
those open-minded houses.

Isn’t it the worst color?
Like she’s only trying
to look around and go home.
Did you go?

The end of summer was forcing
a flock out a bay window.
That’s all there was today,

but I didn’t. Sometimes I can
think a white veil

over the city. The sun pouring reds
into a space no larger
than a bird. Have you seen it

from every angle? The circus
with its silence stripes
and eyes? Boats
rowing quieter than snow?

 

https://fourwayreview.com/wp-content/uploads/2025/11/Theater-of-Love-FWR.m4a

 

Theater of Love

So much was impossible
to realize with only the stage
and its limited materials:

A brick wall, a basket filled
with white sheets, and another interior
behind the scrim, meant for later.

People dressed like Jackie O.
Often, the way they behaved
made you understand the setting
had changed: a sandbox

to a house. A house
to a house overgrown with trees.

The prince fled
through the emergency exit door.
When he died, his father let sand
fall from his hands.

Other times, people
were unintelligible. In the middle
of speaking, the old woman
began to crawl on the ground.

Information moved like stacked plates,
one under the other. On top
was something you knew
or would later know.

Caitlyn KlumPoetry
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  • Published in Featured Poetry, Issue 34, Poetry
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