HOLLYWOOD FOREVER CEMETERY by Hannah V Warren
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
- Published in Featured Fiction, Issue 34, Poetry
TWO POEMS by Sebastian Paramo
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.
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.
- Published in Featured Poetry, Issue 34, Poetry
TWO POEMS by Rajiv Mohabir
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.
- Published in Featured Poetry, Issue 34, Poetry
TWO POEMS by Caitlyn Klum
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?
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.
- Published in Featured Poetry, Issue 34, Poetry
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