TPR

Category: Issue 18 – 2025

  • As She Lay Dying

    by Joe Oestreich


    My grandma Esther is laid out in a casket, riding in the open bed of a pick-up. My uncles, her sons, are driving her body from Milwaukee to the Upper Peninsula to make good on a promise.

    It’s 1982. February. The funeral took place this morning. Now it’s early afternoon, and the Wisconsin dusk has already descended. Uncle Rich sits in the drivers’ seat, a Schlitz tucked in his crotch. He drapes one calloused hand over the wheel. With the other, he works the gear shifter that extends from the steering column. The truck tops out at three speeds: three on the tree. Rich downshifts to second and swings left across the snow-blown double yellow to pass a slow-moving farm vehicle. He’s a mechanic for Harley-Davidson, and this is his deer hunting truck. Rich knows these country roads. He knows which double lines are rules and which are merely suggestions. Safely back in the right lane, he drains the last of his beer.

    Over on the passenger side sits Uncle Jim. He’s a Milwaukee County sheriff’s deputy. On the floor, between his boots, rests an open 12-pack. He bends down for two more Schlitzs, then pries away the detachable pull-tabs, the sharp, summertime kind that teach you to watch your step when you’re walking barefoot. He exchanges full cans for drained ones. Drops the tabs into the empties and sets them on the muddy floor mats. He stomps with a boot to crush the cans flat, but then Rich picks that moment to downshift for another pass, causing the empties to topple over. Jim wings one can lopsided. He bends forward and plucks it up as the uncrushed can rolls under the seat, lost somewhere among the lures and bobbers and buck-shot cartridges.

    Normally, like say on a trip up to the cabin in Hurley, my uncles would just slide open the screen behind their heads and drop the empty cans into the truck bed. Or, if they’d already had a few, maybe they’d fire the cans out the window and see how many they could land in back. Given the effects of wind speed and aerodynamics on the trajectory of empty aluminum, they’d miss far more often than they’d hit, the cans sparking against the pavement and bounding toward a resting place on the side of the road—dead soldiers left to rust among the hubcaps and hamburger wrappers.

    But tonight Rich and Jim do not toss the empties into the bed. Tonight the cans stay up front. Because tonight Esther’s riding in the back.

    My mom told me this tale many times, the version she heard from her brothers. But I’ll be honest. I can’t say for sure if my uncles were drinking Schlitz. I don’t know if Rich crossed the double yellows. I don’t know if Jim dropped the pull tabs into the empty cans. I would love to know, believe me. But there’s nobody of that generation alive to ask. Jim died in 2016, Rich in 2021. In the early months of the pandemic, my mom succumbed to covid, coupled with dementia. I’ll have to do my best with the secondhand story.

    My grandma, Esther Roth (née Mattson), died when I was twelve. I didn’t know her well. My family would sometimes visit her on our Christmas trips from Ohio to Wisconsin, but my sister Jill and I had only ever met the old and senile Esther. She too suffered from dementia, probably Alzheimer’s, as my mom would later—and as I might eventually. But there was no definitive diagnosis. Getting a little diddly, was how my mom described her mom.

    Jill and I were scared of Esther. She was frightening to us the way all strangers are, but especially bent, wrinkled strangers. When you’re a kid, old people are the nightmare versions of your parents. As you grow older, your parents become the nightmare versions of you.

    Esther was family, but she hardly seemed like a grandma, at least according to my limited, Hallmark-card understanding of the word. My grandma was Frances, my dad’s mom. She lived with Grandpa Ruben in Watertown, fifty miles west of Milwaukee. Frances baked meringue pies and preserved raspberries in Ball Jars and set out crystal bowls of butter mints on chenille doilies. Frances and Ruben weren’t wealthy by any stretch, but they lived in a proper house. With a proper backyard. A driveway that boasted a proper sedan.

    Esther lived in Arlington Court, a round, 24-story tower run by the Milwaukee Housing Authority to serve low-income seniors. I was always nervous riding the elevator to her floor. The building smelled like an unholy mix of institutional food and urine. Embarrassingly late into my twenties, I moved into an apartment that reeked like Esther’s home. A friend of mine said it smelled like prison. Old folks’ homes and prisons: places where days/months/years are constantly inventoried. But prisoners and old folks count in opposite directions.  

    Sometimes Esther would take the bus to Chicago to bet the ponies at Arlington Park. A first generation American, she was blessed with old-country intuition, passed down from her Finnish ancestors. She knew what to look for in a horse: one that had just taken a big, gushing piss.  

    There’s probably no data to support her equine urine theory, but Esther won more than she lost. Trouble was, even after she’d cashed in her tickets and ridden the bus home to Milwaukee, those ancestors were still speaking to her. Poltergeists are coming to steal your money, Esther, they’d say. Hide your winnings. She’d hide the cash well. Too well. So well that even she couldn’t find it. Blame the actual poltergeist, that little mischief-maker named Alzheimer’s.

    In Ohio, our phone would ring. Esther calling in a teary panic about the lost money. She’d stashed it in the laundry hamper. Now it was gone. Over the phone my mom would help her search. Have you looked in your shoes, mom? Have you checked the cereal boxes? Sometimes Esther found the cash. Sometimes she didn’t. In those cases, who knows? Maybe there were no winnings to begin with.

    Every so often, there’d be a span of several weeks where we’d get no calls from Esther at all. Mom would find out later that the poltergeists had stolen her phone.

    Esther’s service is my first funeral, my first glimpse of a dead body. Here in the mortuary everything is old and worn. Chipped veneer and frayed particleboard. Reminders that nothing lasts.

    My only dress-up outfit is a remnant from last Easter, a navy blue three-piece that’s already too small. Tie: clip-on. Pants: floods, revealing two inches of tube sock. Feels like I’m wearing a Halloween costume. Strangers smelling of mothballs and cedar tussle my hair. Plastic combs with missing teeth peek from the pockets of Sears dress shirts. Lee press-on nails tear through Naugahyde purses, digging for cigarette cases. Ancient, Aqua-netted women sit alone on folding chairs, their spotted hands running rosary laps.

    I don’t know these people, but everyone seems to know me. My mom makes the introductions. This is your cousin. This is your auntie. Everyone says how strong Esther was. How funny she was. How beautiful she looks now, inside the casket. Not to me, she doesn’t. She’s too white. Too made up. Too dead.

    The priest works the room, oozing conviction. Another day at the office. As he glides by, his robes stir the air with incense and cologne. It smells like mass—if mass were held at the perfume counter at JC Penney’s. He extends a comforting arm around my mom. “Ashes to Ashes,” he sighs. I assume he’s talking about the crowd out in the lobby, huddled around the ashtray. In here, everything is smoke. We’re all drifting toward the heavens, some of us faster than others.

    Afterwards, my mom and dad are hustling Jill and me across the snowy parking lot, when something catches his attention. He looks off in the distance and waves his hand. “Goodbye Esther.”

    “What do you mean?” asks my mom.

    “The casket’s right there.” Dad lifts Jill to his shoulders so she can see. “In the bed of that truck.”

    In the photograph that hung for years in my mom’s foyer, Esther is young and hearty. Tall with a high forehead and Scandinavian cheekbones. That Esther’s frozen in time, forty years from the stooped, senile woman I almost knew. Next to her sits my grandfather, an abusive alcoholic who made Esther and my uncles pay for whatever shitty deal life had dealt him. After chasing his frustration with Old Fashioneds, his mechanic’s hands would go work on his wife. Then on his sons. According to my mom, he’d pull Rich, Jim, and their brother Fred one at a time into a room. Through the door, she could hear the slaps, the punches, the tears. 

    Then he’d call my mom inside. But he never hurt her, never struck her. She was Daddy’s favorite. “Mary Anne is little and petite,” he’d often say, ignoring the redundancy—or perhaps using it purposely to reinforce his point.

    Esther fought back, sometimes physically, but there was no winning. So she took all the kids north to the U.P., to Bessemer, Michigan, to stay with her Mattson relatives. They didn’t return to Milwaukee for nearly a year, but they did return. Esther had no real choice. Catholic marriage was for life. She needed to believe my grandfather would change. Maybe she could change him. Or maybe in time he’d change himself. For the kids, a lousy father was better than none.

    He ultimately settled things by dying of a heart attack when my mom was thirteen.

    Esther made her children promise that when she died, they would not bury her in the Milwaukee cemetery next to their father. No way would she spend eternity next to that man. “Take me up to Bessemer,” she said.

    They’ve polished off the beers, so Rich and Jim stop at a package store for a pint of brandy. They joke that they should pick up a hitchhiker, somebody to chip in for gas. Where ya headed? I s’pose we can get you most of the way. So long as you don’t mind riding in the back with our ma.

    The last time I saw Uncle Rich was thirty-something years ago, in the late ‘90s. I sat at his dining table with my mom, Jill, and my girlfriend Kate, who’d eventually agree to marry me despite the odd ducks that populate my family. I looked up at the buck heads mounted to the walls. Behind my chair sat a freezer, loaded, Rich told us, with venison. It had been a good season. The freezer was packed with tenderloin and backstrap. Round, shank, and sausage. He’d set a plate of that sausage out for us, along with cheese and crackers.

    “You know my little dog?” Rich said to my mom. “My little Chihuahua?” He told us that the dog had recently died. “She was my girl.” He looked sad—justifiably and appropriately. But it was weird seeing Uncle Rich sad. He was always smiling, always laughing.

    And now, as if on cue, he chuckled, then told us about the promise he’d made to the dog in the days before she died. “I told her I’d never let one speck of dirt touch her,” he said. “Not one. Never.”

    My mom nibbled a cracker. “So how’d you bury her, then?”

    “I didn’t bury her,” Rich said. “No dirt, like I said.”

    Suddenly I had a vision of Rich elbows deep in DIY taxidermy. I looked around the room for a stuffed Chihuahua.

    But Rich didn’t have his girl preserved, or, God forbid, mounted. He told us that right now, as we spoke, he was storing her in the freezer.

    I reached back, pointed to the appliance behind me. “This freezer right here?”

    “Yep,” he said, smiling. “She’s tucked in with the venison steaks.”

    My mom almost spit her cracker laughing. “How long are you going to leave her there?”

    “’Til the freezer conks out or I drop dead.” He walked over to the unit. “I’ve got her wrapped in her favorite blanket.” He cracked open the door. “You want to see?”

    Last summer, Kate and I, and our kids—fifteen and thirteen—drove from our home in South Carolina up to Wisconsin. The plan was to make our own trek through the Badger State north to the U.P. The optics were very different from the drive Rich and Jim made forty-three years earlier. No truck. No casket, obviously. Instead, a Subaru Outback with a Thule roof carrier loaded with tents and sleeping bags.  

    On the way, we camped in Baraboo, where my cousin Becky, Uncle Jim’s daughter, lives. Every family has that one person who researches the genealogy, goes all-in on ancestry. In the Roth family, that’s Becky. She showed me copies of all kinds of records: Esther’s birth certificate from 1906, Esther’s father’s death certificate from 1921, a news article mentioning Esther’s mother’s death in 1933. Becky sent me an article about our great-great grandpa on my mom’s father’s side, who, it turns out, was some sort of Milwaukee pickle magnate. She texted me cemetery names and Google-map pins. Kate, the kids, and I found Esther’s parents’ headstone in Bessemer. We found Uncle Rich’s gravesite in Cornucopia, Wisconsin.

    As genealogically savvy as Becky is, there was one piece of information she didn’t know and couldn’t unearth: the location of Esther’s grave. Becky assumes Esther’s buried in the U.P., but she can’t determine where. Uncle Rich’s son Fred is pretty sure Esther was interred in Milwaukee after all, despite the promise. His brother, Richie, thinks she’s in the U.P. None of my cousins, nor I, can track down the obituary that might provide a clue. Everybody agrees that the casket-in-the-truck trip happened, but nobody knows for sure if that trip to Bessemer resulted in the actual burial.

    Here’s what I know: I trust my mom. Before dementia stole her memory, she knew the truth. And she told me what happened. So let’s finish her story. 

    It’s evening when Rich and Jim arrive in Bessemer. Fully dark. Even colder, even snowier, than down in Milwaukee. But my uncles’ work isn’t quite finished. Before settling in at the motel, they drive around town, stopping by the homes of cousins and second cousins, friends and neighbors, any house they remember and any house that might remember them.

    Half-drunk, they stumble up icy front steps. Hats in hand, they knock on doors. 

    “We’re Esther Mattson’s boys,” Uncle Jim, the Sheriff’s deputy, says. “Sorry to bother you so late, but we’ve got some sad news.”

    “She’s right out here in the truck.” Rich points toward the street. “You want to say goodbye?”

    Esther can’t be buried. Not in the Upper Peninsula in February. The earth is hard-frozen, and spring, well, spring’s like a twenty-point buck: it’s not that people doubt its existence, but it’s been a damn long time since anybody’s seen one, and nobody’s holding out hope of it coming around soon. So tomorrow, they’ll drop off Esther at the receiving vault (a.k.a. “the dead house”) where she’ll wait until the ground thaws enough for the grave to be dug. Could be April. Could be May.

    Tonight, after they’ve rung the bells, knocked on the doors, and taken their mother on her last tour of the town, they check into the motel. Jim takes a final swig of brandy before bed.

    Rich says, “Let me see that.” But he doesn’t drink. Instead he replaces the cap. Pulls the comforter off one of the beds and drapes it over his shoulder. He opens the front door to the frosty night.

    “Where you going?” Jim says.

    “Taking this stuff out to her,” Rich says. “In case she gets cold.”

    And he walks outside to the truck. He lays the blanket carefully over the casket. Sets the brandy on top. “Goodnight, ma,” he says, tapping the box. “Rest well.”


    Joe Oestreich is the 2025 Elizabeth Boatwright Coker Fellow in Fiction from the South Carolina Academy of Authors and the author of four books of creative nonfiction, including Hitless Wonder: A Life in Minor League Rock and Roll. His work has appeared in Esquire, Sports Illustrated, Salon, Creative Nonfiction, River Teeth, Ninth Letter, The Normal School, and many other magazines and journals. Four of his pieces have been cited as notable in the Best American series, and he’s received special mention twice in the Pushcart Prize anthology. He teaches creative writing at Coastal Carolina University

  • mississippi choir boy sings his last sunday

    by Eve Devera


    at mississippi baptist there’s a boy with long eyelashes.
    when you pass him the offering bucket,
    his fingers linger on yours. he’s the preacher’s boy,
    but he leaves the pew early and his shadow hangs
    in the hot air like breath in prayer against your neck.
    you hold a post-service picnic by the dumpster
    where sin has never been so sweet, and he calls you his choir boy
    in the drawl of lazy summer air. you want to make him smile,
    so you steal the grape juice, set the jug to his lips,
    watch him bare his throat and drink it down.

    now, choir boy, don’t lose yourself in the revels
    of another smooth-talking pastor’s son. the sun
    will always set, and this lesson is one you’ve learned,
    but soon the sky darkens and you’re late to dinner.
    the table is empty and daddy waits at the door.
    he’s a man of his word with brimstone in his back pocket.
    he’s a snake crusher in a pair of steel-toes.
    he’s a bible thumper who doles out beatings
    with an arm that doesn’t tire till you see jesus,
    and you see him every sunday. do not lie to a man,
    or his belt will rain thunder down your back.

    sing, choir boy, let them hear you repent.
    let them hear your hymns and let your father forgive you.
    tear leviticus out in sheets, lie on the pages so the ink
    will stain your skin and soothe the welts. do this
    but know that your eye will forever be drawn
    to the beautiful boy with the forbidden mouth.
    he eats an apple before the next sermon
    and winks when you see him in the foyer,
    nods an invite to the back lot garden to feast on figs
    and sit in the shadows of the trees of eden.

    remember, choir boy, jesus didn’t flinch at the sound
    of those footsteps. but this patch of weeds is godless,
    so it’s a last kiss on the cheek as the lights of the mob
    come bobbing behind the church. judas lopes away,
    but your feet tangle in the threads of transgression
    and you stumble. they’re on you like stones
    and there’s no one to draw in the sand for you,
    choir boy, only the marks that your thrashing and wailing
    leave scuffed in the dirt. they used to call you angelic
    when you warbled your tunes, but now your body’s in the ditch
    with angel robes stained bloody at the hem.

    oh, choir boy, sing a little longer.
    spread your wings and fly past the dregs
    of mississippi to a place where they’ll look up
    to hear your song trickle through the clouds.
    one more hymn, choir boy, one more hymn
    for all the boys with broken halos
    who find themselves face-down in the mud.


    Eve Devera is an undergraduate writer from Charleston, South Carolina studying Management at Charleston Southern University. She enjoys crafting poetry that balances sound and rhythm with vivid storytelling, right down to the particulars. Her work can be found in Olive & Ash, for which she also currently serves as Editor-in-Chief. 

  • we are the best lie i’ve ever told

    by Isabella Ayers


    i love a man who takes what he wants,
    i leave my body so you can use it.
    have your fun. I’m listening to the cicadas
    and trying not to taste you.
    i’m making constellations
    in the popcorn ceiling
    and waiting for my cigarette.
    i’ll be okay. if not now, soon.
    i just have to wait until winter,
    wait for snow.

    maybe that night you will taste like magic
    and my doubt will drain
    like blood from a stone. make me clean
    as the white sheets that do not
    yet hold our footprints.

    for tonight, the air is too humid for you to hold me.
    the power is out, the fireflies waltz
    in the absence of street lamps.
    we do not watch.


    Isabella Ayers is a biochemistry major at Charleston Southern University seeking to pursue a poetry MFA upon graduation. She is highly involved in creative writing communities on campus as an editor for Olive & Ash magazine and a board member of Writer’s Guild. She has been published multiple times in Olive & Ash and received the annual Gilmore Creative Writing award for her work. In her spare time, she sings in an Orthodox church choir, wanders aimlessly in dense forests at night, and collects the bones of dead animals. 

  • I think I hate Charleston—

    by Patrick Adkins


    it turned me bitter to the taste of lakewater,
    flattened my love for even weather,
    killed Charlie Hall and left his ghost
    wandering the green screen,
    while the meteorologist lies
    with the same face he used in church.

    Charleston is a mean trick:
    made me despise Maryland crab cakes
    just to come crawling back
    for a cracked blue shell,
    the soft molted ones,
    the delicate, defenseless ones
    whose backs burst like promises—
    offered up to the river gods of Wando,
    those scaled oracles,
    who return the favor
    by curling their tails
    into fry baskets,
    feeding the low-country faithful
    like communion.

    I hate how Charleston taught me
    not to fear the wilderness,
    how to dance with a hurricane—
    pressed to the sheetrock,
    while God, that old carnie,
    grins and slaps the button
    on the Gravitron of the mid-Atlantic.

    It confused my body into longing:
    for salt behind the ears,
    for pluff mud caked
    beneath the nails,
    between the toes,
    a perfume of mildew and memory.

    and
    Bushee Park,
    where the Cooper splits clean through—
    a delta of blood,
    of runoff and regret.

    I hate how everybody loves shrimp and grits now.
    I hate how they shut down Justine’s.
    I won’t touch another pecan
    until I taste her chicken again.


    Patrick Adkins was born and raised in Charleston, South Carolina. He now lives in Aiken, South Carolina with his wife, Dr. Chloe Adkins, and their son, Ambrose. His writing often blends the familiar and the surreal, exploring the strange edges of ordinary life.

  • Great Blue

    by Deirdre Garr Johns



    Deirdre Garr Johns is the author of the children’s book Weathering the Storm (Palmetto Publishing, 2024) and poetry chapbook, Fallen Love (Finishing Line Press, 2025). Her work is inspired by memories of people and places. Nature is an inspiration for her writing. Deirdre’s work has appeared in SylviaMagazine, South Carolina Bards Poetry Anthology, Eunoia Magazine, Nymeria Magazine, Silver Birch Press, Stone Poetry Quarterly, Sasee Magazine, and more. She participated in the Tupelo Press 30/30 Project in March of 2025. Deirdre’s website is www.amuseofonesown.com.

  • Sullivan’s Island

    by Jennifer Davis Michael


    Those images that yet
    Fresh images beget,
    That dolphin-torn, that gong-tormented sea.

    –Yeats, “Byzantium”


    I’m walking this Carolina beach
    so different from the Gulf ones I know well

    –wide, level, brown sand here,
    lank-ribbed like the Ancient Mariner,
    weird holes bubbling on its surface.

    No trace here of the uncounted slaves
    quarantined in this port, held
    in the hulls of skeleton ships,
    discharged into further blood and mire.

    A tall young woman flows toward me
    in a dress too refined for the beach,
    breathless: “Did you see the dolphin?!”
    I follow her pointing finger, shake my head.

    Still, I squint at the dazzling water.
    She turns back, points again. “There it is!
    Do you see it?” I spot what might be
    a flash of smooth flesh above the surface,
    or maybe just sunlight on rippling waves.

    But I say Yes to the exchange
    of wonder. An image
    only real if shared. The tearing
    of my eyes from the wormholes,
    the dancing floor below my feet,
    and everything that lies below the sand.


    Jennifer Davis Michael is a professor of English and Creative Writing at the University of the South in Sewanee, Tennessee, with a focus on British Romanticism and especially Wiliam Blake. Her poem “Forty Trochees” was selected by Rachel Hadas for the Frost Farm Prize in Metrical Poetry (2020). She is the author of two poetry chapbooks, Let Me Let Go and Dubious Breath, as well as a critical monograph, Blake and the City.

  • give thanks for the gravy

    by Lucinda Trew


    the first Thanksgiving
    like the first of everything
    was difficult after grandmother died

    following a long lean year of mourning
    we gathered to bake pies, hold hands
    pass plates and feast

    in the kitchen, aunts bustled, bumping
    backsides in a dance of raised mitted hands
    relaying Pyrex dishes to the timer’s ding

    a coven of aproned witches wiping
    steam-fogged glasses and the sweet-salty
    tears of laughter and loss

    it wasn’t until the bird was basted
    and done, plattered and preened with rosemary
    sprigs, that someone remembered the gravy

    grandmother’s secret, sacred gravy –
    a matriarch’s chore, no back-of-the-jar
    instruction, no time for watch-and-learn

    who, it was whispered and sighed, might
    step up to the pan and channel the lost art
    of blending jewel-like drippings into holy glaze?

    there was a hush and huddle, a kitchen conclave
    and by way of acclamation, the eldest daughter
    was ordained to remove fat and grease, deglaze
    with wine, gently loosening brown bits aswirl

    in the depths of a roasting dish, whisking
    a bereavement balm into being as we hovered
    held breath, awaiting the ascent of carcass
    and sweetmeats into holy elixir


    Lucinda Trew, author of What Falls to Ground (Charlotte Lit Press, 2025), is a poet rooted in the pine forests and red clay of North Carolina’s Piedmont. She is a Pushcart Prize and Best of the Net nominee, and recipient of Boulevard’s 2023 Poetry Contest for Emerging Poets. Her poems appear in Cagibi Literary Journal, The North Carolina Literary Review, Burningword Literary Journal, storySouth, and other journals and anthologies. 

  • In South Carolina

    by Jo Angela Edwins


    July 4, 2024

    I just sliced a deep red tomato
    grown in a kind man’s garden,
    a gift he gave me today
    out of his kindness, and I stacked
    each slice on top of a piece
    of white bread slathered
    in Duke’s mayonnaise,
    and I salted and I peppered,
    and I topped it all with another
    piece of white bread slathered
    in Duke’s mayonnaise,
    and I lifted the sandwich
    and took a giant bite,
    and the juices ran pink
    and creamy down my chin,
    and, yes, I am Southern-born
    and raised by two Southerners
    who were nowhere near perfect
    but were decent at heart,
    and they did not shove bitter vegetables
    or hatred down my throat,
    and I have no patience
    for anyone I know
    who would wish to make harder
    the life of the kind man
    who grew that tomato,
    a man with brown skin
    and another kind man
    for a husband, and they
    are Southern too, and if
    the sharp knife of your vote
    cast in pride or selfishness
    cuts them or really anyone
    until blood runs in the streets,
    know that the knives of cruelty
    cut both ways, and everyone’s blood
    is the same deep shade of red,
    and one day all of it may run
    down the chins of the monsters
    to whom you gave the tower keys,
    and maybe then you’ll wonder
    (or maybe not) in your own hurt
    why the God you say you pray to
    didn’t save you from yourself.



    Jo Angela Edwins has published poems in over 100 journals and anthologies. She is author of the collection A Dangerous Heaven (2023) and the chapbooks Play (2016), and Bitten (2025). She has received awards from Winning Writers, Poetry Super Highway, the Jasper Project, and the SC Academy of Authors. She teaches at Francis Marion University in Florence, SC, and is the poet laureate of the Pee Dee region of South Carolina.

  • The Bitter Southerner: Now Available

    by Alexis Rhodes


    Double-take at the ad copy: Oh
    it’s not about me. (A regular reminder
    is necessary.)
    Please note I am
    Unavailable.
    Emotional labor hours have hit their quota
    and overtime is billed at a rate of
    $6 million per hour or
    my sanity.

    I have picked too many
    broken locks
    and been disenchanted with the contents.

    Sent my dragons to defeat offenders
    and my minions returned
    carrying their children.
    I have raised many
    many
    children.

    I am bitter and
    Southern
    like a mint julep.
    Meant to be savored
    but used for my
    effect instead.

    I am Unavailable and would rather
    be left alone
    condensation sweating into the porch table
    leaving a ring
    or a stain
    all my own.


    Alexis Rhodes (she/her) is a queer, polyamorous poet, playwright, and performer based in North Carolina. Her poetry has been described as raw and confessional, with just enough humor to lighten the mood. Alexis has been published with Action, Spectacle, Maudlin House, Blood+Honey, Wayfarer Magazine, and more, has forthcoming publications with Paddler Press, 1922 Review, Writers Resist, The Closed Eye Open, and more. She has completed five manuscripts and is submitting to presses. Alexis lives with her husband, two kids, and a hedgehog named Hedge. Instagram: @alexis_writes_things

  • The Calling and Response

    by Albert DeGenova



    Albert DeGenova is a poet, publisher, teacher, and blues saxophonist.  He is the author of five books of poetry and two chapbooks. His most recent is Human Nature from Kelsay Books. He is the founder of After Hours Press and co-editor of After Hours magazine, a journal of Chicago writing and art, which launched in June of 2000. DeGenova received his MFA in Writing from Spalding University in Louisville, and is currently Executive Director of Write On, Door County. He splits his time between the metro Chicago area and Sturgeon Bay, WI.