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Lucky Girl

Nonfiction by Carol E. Anderson

It’s 1950. I’m three years old, standing in our backyard next to a patch of wildflowers as tall as I am. My tiny right fist peaks out from the sleeve of my oversized double-breasted coat with crisscrossing lapels. Chubby knees extend into sturdy legs that lead to small feet housed in white anklet socks and polished white tennis shoes. Whisps of blonde hair flow back in the wind. My bangs, short and choppy, look like I took the shears to them myself. Atop my head is a tiny woolen cap.

My face is turned up. Eyes squint as I smile at my mom with the camera—my gleeful expression punctuated by a slight suggestion of a dimple in my left cheek. I’m anticipating something wonderful. The zoo? The circus? A birthday party?

I’m unaware that by the end of my fifth year, my father will suffer a visual disability wrought by incompetent doctors. He will never work again. My mother, a secretary, will numb her fingers typing away in a tiny cubicle to support our family, working for a boss half as smart as she. I will wish her to be like all the other moms and stay at home, fix me snacks after school, and teach me how to ride a bike. My brother will withdraw into a world of thoughts and books. We will never be friends.

Standing on the lawn in my miniature peacoat, I don’t realize that by the time I’m fifteen, I’ll be rejected by the Baptist church for loving a woman. I’ll begin to understand the word hypocrite. I’ll believe my parents’ teachings of love, kindness, generosity, and fairness are principles everyone strives to live by—tenets issued by God. I won’t know these tenets have exclusionary clauses invisible to innocent eyes, that I will witness Christian fundamentalism grow in twisted power and gird its flocks to act with naked cruelty on the belief that difference is a sin.

I don’t realize that at the age of twenty-one, I’ll be outed by my college classmates, introducing terror into my daily life. I’ll be astonished that all my efforts to guard this secret are as useless as a sheet of transparent tissue paper.

I am unaware that at age twenty-six, in my attempt to be straight, my boyfriend will dump me on our six-week road trip to be with a woman he met at his brother’s wedding the week before—and he will not repay the $800 he owes me.

Looking up at the camera without knowledge of the need for hope, I don’t know that my father will die one month before my twenty-eighth birthday, and that I’ll survive—that I will remain wrapped in the shimmering cords of his love even decades after he’s gone.

I am unaware that at age thirty-two I’ll start my own business as an organizational consultant and will coach leaders to inspire people rather than control them—that this work will help me understand the complexity of human beings, and their scars.

I don’t know that on my fiftieth birthday I’ll start a non-profit called Rebellious Dreamers to lift up women to reclaim their dreams—that it will last twenty-five years and eventually fund microloans for women in the Democratic Republic of the Congo.

I don’t realize that when I turn fifty-four, I’ll meet my great love, each of us destined for the other, that knowing her will smooth the jagged edges of terror and loss, that we will build a home on nine acres of land surrounded by trees and be rich in our chosen family of friends.

Standing with my beloved, in our own garden now, I’m anticipating something wonderful.


Carol E. Anderson is a life coach whose passions are travel and photography. She holds a doctorate in spiritual studies, and an MFA in creative nonfiction. She is the author of You Can’t Buy Love Like That: Growing Up Gay in the Sixties. Carol lives in Ann Arbor, Michigan.

Another One Gone South

Poetry by Brian C. Billings

In the great Northeast,
I’ve soaked in rain;
I’ve chilled in snow.
I’ve had enough.
It’s time to go
to the water-strained Southwest,
where it’s best
to feel the kiss
of a dry metropolis
and bake to overdone
in the sun.

Abandoning myself to thirst,
I’ll brand myself the first
among the downward strays
who seek hot, vulnerable days.

Farewell to risk
when weather’s brisk
and tax that bites like a basilisk.

Farewell to rent
that puts a dent
in budgets that were all well-meant.

Farewell to bunkers.
No one hunkers
in the land of drills and junkers.

I’ll learn how to make do with less
in my arid new address.
Among the scrub I’ll decompress.

Sunscreen’s become my safest bet
for coping with the constant threat
of chaos where the climate’s wet.


Brian C. Billings is a professor of drama and English at Texas A&M University-Texarkana. His work has appeared in such journals as Ancient Paths, Antietam Review, The Bluebird Word, Confrontation, Evening Street Review, Glacial Hills Review, and Poems and Plays. Publishers for his scripts include Eldridge Publishing and Heuer Publishing. Read earlier poems from last March and December in The Bluebird Word.

March Weather

Poetry by DS Maolalai

the sun rolls like marbles;
makes passage down
georges st. the sun
looks in windows
at old hanging clothes,
aging to pale
bleached out
detail. I roll
with the sun
and against
in a pattern. move
between traffic
and dodge
around passing
pedestrians.
drink coffee
in this early
march weather.
this first
dusty day
of the year.


DS Maolalai‘s poetry has been nominated twelve times for BOTN, ten for the Pushcart and once for the Forward Prize, and has been released in three collections, most recently Noble Rot (Turas Press, 2022). The author’s poem The Lawsuit was one of The Bluebird Word‘s early selections in the inaugural February 2022 issue.

Birthplace

Poetry by Alexander Etheridge

—for W.S. Merwin

Out under clouds in the broad wheatfield
is a certain breed of silence
where only the perfectly hushed
give voice
Wind through the stalks
A sound of colors blending everywhere
in fine webs of shadow and light

After hours here you can start to sense
God’s breathing
like slow shifts in the clockwork
of ancient life
Then you may leave your body

as you lie in the delicate wheat
to return and find yourself
new once more
as you were long ago

your eyes wide
in the freshly formed world


Alexander Etheridge’s poems have been featured in The Potomac Review, Museum of Americana, Welter Journal, The Cafe Review, Abridged Magazine, Susurrus Magazine, The Journal, and many others. He was the winner of the Struck Match Poetry Prize. He is the author of God Said Fire (2023) and Snowfire and Home (Belle Point Press, 2024).

suddenly the third day of spring

Poetry by Cecil Morris

laugh splashing
it is raining
but the sun is out and bright
and somewhere a rainbow
must be refracting missiles of light
must be fracturing tears
and the neighbor children
all three dark-haired slips in single digits
are outside and laughing
and squealing and opening their mouths
and pointing erupting glee
rain with sunshine
big juicy flashing drops
wetting their bare arms
darkening their dark heads
hearty fat drops smacking
sun-warmed concrete
with satisfying, cartoonish splats
the best of everything
how little it takes
to engender joy
laugh flashing


Cecil Morris retired after 37 years of teaching high school English and now tries writing himself what he spent so many years teaching others to understand and (maybe) enjoy. He has poems appearing in Ekphrastic Review, Hole in the Head Review, Rust + Moth, Willawaw Journal, and other literary magazines. Read his earlier poem Some Kinder Resolutions for a Better Year in The Bluebird Word.

Empty Netters

Nonfiction by Diane Choplin

Dada Brown gently jostled me awake, forefinger finger pressed to his lips.

“It’s time,” he whispered. “You dressed?”

“I slept in clothes.”

“Atta girl.”

Cautiously fumbling our way in the dark, so as not to wake Mama Brown, I felt my way down the hall as he gathered our gear. Once outside, we clicked on flashlights and made for an old chest freezer advertising Creamsicles in faded, cyan lettering. Dada Brown held open the lid while I stood on tippy toes and reached inside, plunging all ten figures into loose soil.

“We just need a handful in this styrofoam cup.”

I was six years old, digging for red wigglers on my first crack-of-dawn fishing expedition with grandpa. He and Mama Brown, my grandma-too-young-to-be-called-that, lived on riverside acreage in La Grange, California – a tiny gold rush town surrounded by rolling hills dotted with gnarled oak trees. Two blocks of nineteenth-century western-fronted shops defined its center. Overlooking these was a hilltop one-room schoolhouse with bell and similarly designed Catholic Church with pioneer cemetery.

We loaded Dada Brown’s forest green ‘66 Dodge truck, smooth-fronted like a VW bus, while Toby, his collie, hopped in the back, pacing excitedly. A short rumble down windy road brought us to a gravel pull out looking like any other. Adamant No Trespassing and No Hunting or Fishing decrees were nailed to nearby trees. Though Dada Brown was one of a privileged few locals permitted to ignore the signs, I still felt an exhilarating prick of danger defying them.

Juggling our poles, net, folding chair and cooler, we made our way across uneven pasture to a four-strand barbed wire fence, sunrise softly illuminating oak savannah. Dada Brown pushed down its menacing top line and climbed deftly over, one leg at a time. Then, as he would on every successive trip, he stepped on the bottom wire and pulled up the next adjacent, prying them apart for my passage through. Some fragment of me inevitably caught. He’d free my fly-away morning hair, my corduroy pants or yellow windbreaker, and we’d continue on, dodging cow pies. Toby led the way down the hill, skirting the lichen splotched dry stone wall, his tail moving in happy circles. When frog chorus suddenly halted, we knew he’d made the pond.

Squeamish about putting worms on hooks, I recoiled at first effort.

“They can’t feel it,” Dada Brown said, reassuringly.

I was skeptical about worms not feeling pain, thrashing as they do when poked.

“Did you know,” he added, “that worms have five hearts? If you cut one in half, they’ll heal and live on as two.” (His voice returns to me when I accidentally cleave one with my shovel: “It’ll be okay, Diane. You made one into two.”)

Somewhat appeased by their regenerative superpower, I reluctantly baited my hook.

Lines cast, Dada Brown settled on his folding chair, pole in one hand, thermos at his side. Unable to sit still, I propped mine against a log, braced it with a rock, and explored with Toby. We stalked bright green tree frogs, shy crawdads and praying mantis, catching each for closer examination. Once, I even managed a young garter snake, Toby barking wildly in what I imagined to be congratulations.

Tugs on line reclaimed my attention, but I don’t remember ever catching a fish. For lunch Dada Brown brought hotdogs we’d roast on sticks over a fire, or wax paper wrapped bacon and peanut butter sandwiches. We ate while making up stories about wily fish evading hooks, occasionally tossing pebbles for Toby to chase.

“Get the frogs,” we shouted. He gleefully obliged, biting water where stones broke the surface. Our raucous game eliminated all hope of hooking dinner.

Once the sun reached its apex, hot and glaring, we packed up. Not wanting to return empty handed, we stopped by the general store for a whole fish, later telling Mama Brown we’d caught it. She no doubt saw through our ruse, but my child brain, giddy to share in a secret, believed she believed.

I’ve been on a few fishing excursions since my early trips with Dada Brown, none nearly as fun. Trapped in a boat, I got antsy, itching to move. Casting lines from watercraft isn’t my idea of a good time. I can’t just park my pole and run around a bank, exploring. I have to sit still and wait. I’m not good at sitting still.

“Isn’t this great!” someone inevitably exclaims. Feet up with a fishing pole in one hand, cold beer in the other, they say: “I could be out here all day!”

Half smiling, I shift uncomfortably and stare off into the distance, where shoreline dissolves into dense forest, wondering what treasures might be found there.


Diane Choplin‘s essays have appeared or are forthcoming in Countryside Magazine, Oregon Humanities, Monologging, and The Oregonian. She lives and writes on a five-acre farm where she also raises rotationally grazed lamb, welcomes Airbnb guests, and keeps hopeful eye out for edible wild mushrooms.

Despair

Poetry by Michael S. Glaser

I take refuge among the trees
the Maple, Cedar and Chestnut Oak

where the wind dances with the leaves
and the birds invite my spirit to sing their songs.

The soft blue of the endless sky
knows that everything on earth is small

– even despair –

and reminds me that I am a part of something
wonderous – this sanctuary of mystery,

of sunlight, shadows and this breeze
that ruffles my hair

like my father did each time
he felt proud of his only son.


Michael S. Glaser has published eight collections of his own work and served as Poet Laureate of Maryland from 2004–2009. He now co-leads workshops which embrace poetry as a means of self-reflection. He co-edited The Collected Poems of Lucille Clifton (BOA 2012). Read more at http://www.michaelsglaser.com.

French Broad River

Poetry by Douglas Cooper

The hum of traffic on the bridge overhead, blends
with the gurgle of the river as it swirls around
the dock at the kayak ramp. A man wearing a bicycle helmet
sits on the bank watching a teacup Yorkie explore.

The bank is covered with huge catalpa trees, thickets
of sunflowers, Japanese knotweed, blackberry canes,
Asiatic lilies, and sweet pea flowers, making me
a world traveler standing in one place.

My friend Mick, with a twinkle in his eye,
asks the cyclist how many CCs his
electric bike could do. The cyclist answers
straight-faced, “Up to 30 miles per hour.”
“How many miles per gallon?”
“I can ride to work and back on one charge.”

About then, the Yorkie scampers across
the sidewalk toward an 80-pound husky
straining on his owner’s leash – a tiny hurricane hunter
flying straight into the storm.                               The cyclist
picks up the small dog and puts him in his cloth shoulder bag,
riding to safer places to explore the wonders of this world.


Douglas Cooper lives in the mountains north of Asheville, NC, with his wife and three pets. He has a BA in English from the University of West Florida, and attended many workshops with poet Francis Quinn. His work has appeared in Crosswinds Poetry Journal and The RavensPerch.

Early Spring

Poetry by Sharon Scholl

When everything portends,
clings to the edge of not quite yet,
teeters on perhaps.

Just a hint of green
pokes from wilted stalks,
risking little, wary of reversal.

Nothing signals go ahead!
Nothing gestures all safe now
to a land still hovering.

I sit with my seed catalog
deep in petunia fantasies
despite its warning, sow after frost.


Sharon Scholl is an ancient poet (91) still very active as convener of a poetry critique group and poetry editor of a local women’s journal. Her poems currently published are in Front Range Review and Third Wednesday.

The Pillars of Creation*

Poetry by Arthur Ginsberg

The pillars of creation fill my sight,
in ways I cannot fathom make me pray
and revel in the origin of light.

Though Galileo knew the stars were bright,
he could not know red dwarfs, light years away.
The pillars of creation fill my sight.

The James Webb telescope has taken flight
with golden panels opened wide today
to gather in the origin of light.

Men who’ve slipped earth’s bonds can ignite
the rapture mortals see in cosmic clay.
The pillars of creation fill my sight.

We peer now into space beyond the height
where angels fly and clarion trumpets play
and revel in the origin of light.

Beloveds who passed through tunnels, brilliant white,
came from the stuff of stars at which we gaze.
The pillars of creation fill my sight,
I revel in the origin of light.

*molten rock and dust in the shape
of pillars seen through the Webb
telescope, glowing in deep space


Arthur Ginsberg is a poet based in Seattle. Past work appears in the anthologies, Blood and Bone, and Primary Care. He received the William Stafford prize in 2003. He holds an MFA degree from Pacific University in Oregon. His most recent book, Holy the Body was published by Kelsay Books.

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