The larks trilled their cries that
Nested in my ears in birdsong.

I saw the thaw of winter had begun.

Soon spring would rush in on her
Pastel heels bringing forth blooms.

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To read Linda’s bio and enjoy more of her verse on WIZ go here, here, and here.

the hand of winter stretched out
his grey gloves and poured snow
out of his pitcher it fell upon the
world in cold numbing waves it
washed away all the colors of fall —

it beat back my favorite lilies into
the hand of white dust like people
are prone to beat one another into
the dust for a sense of self worth. I
don’t understand why winter thinks

he needs to be such a bully he beats
his cold fiercely upon the land blasts
his wailing banshee winds upon the
zephyr and rips remaining leaf missives
from trees with such force they yelp.

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To read more of Linda’s verse on WIZ, go here and here.

I watched as the white of snow
starched the earth clean of sins —

like the Savior washed me white
by his blood.  It seemed a stark

contrast of his shedding white for
red and the earth shedding scarlet

for white, but I think He favors the
irony just as much as we do. I stood

in the bone numbing cold of winter,
letting its reflection embrace me tight.

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To read Linda’s bio and more of her poetry on WIZ go here.

I watched the world around me;

winter swallowed me in snow —

the skies were somber and grey.

Only a cardinal pierced the scene

of melancholy waves that washed

their newness upon the earth with

the promise of renewed hope.  As

the pains of yesterday were taken

from the land in ivory tears, I was

poured into chalices of reflection.

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Linda Crate is a Pennsylvanian native born in Pittsburgh and raised in the rural town of Conneautville. She has a Bachelors in English-Literature from Edinboro University. Her poetry has appeared in several magazines the latest of which include: Skive, The Scarlet Sound, Speech Therapy, Itasca Illinois & Willowtree Dreams, Dead Snakes, Carnage Conservatory, and The Camel Saloon.

Fire in the Pasture: Twenty-first Century Mormon Poetry, edited by frequent WIZ contributor Tyler Chadwick, made its debut at 2011 end in impressive style. Tyler reports that Fire in the Pasture has “risen as high as #2 in both Hot New Anthologies and Hot New Inspirational & Religious and #12 in Hot New Poetry.”  The Kindle edition “slipped into the Kindle Store’s top 100 Best Sellers in 20th Century American Poetry.”  Congratulations, Tyler and Th.!  For WIZ readers’ information, several WIZ contributors, including Sarah Dunster, Jon Ogden, WIZ’s new contributing editor Jonathon Penny, Steve Peck, Sarah Page, and myself have work included in its pages.  Ángel Chaparro Sainz, another frequent WIZ contributor, wrote the anthology’s afterword.  It’s a pleasure to see that so many WIZ folk threw kindling into Fire in the Pasture’s multi-colored flames.  A poem by Elizabeth Pinborough, another poet published in Fire in the Pasture, will appear on WIZ in February.

Karen Kelsay, a fine formalist poet and constant lyrical presence here at WIZ, has begun a publishing company, White Violet Press. You can reach the press’s accompanying blog with submission guidelines by clicking on the image to the left.  While most publications are by invitation only, WVP will look at unsolicited manuscripts year round. White Violet Press is now open for submissions, so WIZ writers–especially WIZ writers of a formalist persuasion–please go have a look and support Karen in her new creative venture.

In November 2011, my essay, “Plato’s Alcove,” was awarded finalist status and an honorable mention in Torrey House Press’s creative nonfiction competition.  The essay tells about my first trip to the desert.  An earlier version won 1st place in the 2003 Utah’s Original Writers Competition.  The version I sent to Torrey House is a more highly stylized, mixed-genre experiment. Want to read “Plato’s Alcove” at Torrey House’s website?  Go here.

Profound apologies for the lateness of this next announcement, but Fortunate Childe Publications published its autumn anthology, Vintage, in October 2011.  WIZ contributors Karen Kelsay and Carla Martin-Wood also have verse published therein (search on their names in the search bar to the left to read their poetry published on WIZ).  Also featured in Vintage: four of my poems, including “Deer in the City,” “Closing Time,” and two poems not on WIZ.  Leslie Ellison, publisher of Fortunate Childe, nominated my poem “Deer in the City,” which also appears at WIZ, for a Pushcart Prize.  This is my second Pushcart Prize nomination. Thank you, Fortunate Childe!  To find information about Vintage or purchase copies of this lovely seasonal anthology, click on the picture to the left.  I will soon be buying a few for myself. Several poets included in the anthology recorded readings of their work that you listen to here.

WIZ will be running its popular Love of Nature Nature of Love event again in February.  To celebrate Valentine’s Day, all month long we’ll publish poetry, essays, blocks of fiction, art, music (mp3s), video or other media that address the subject of love while making references to nature.  Or it could go the other way around: We’ll publish work about nature that also happens to give a nod to love.  We’re seeking submissions of original work or you can also send favorite works by others that have entered public domain.  So if you have a sonnet you’ve written to someone dear to your heart–even and perhaps especially your pet hamster Roley Poley or faithful horse Old Paint–or perhaps a video Valentine or an essay avowing your love for a natural space dear to your heart–please consider sending it to WIZ.  See the submissions page in the navigation bar above for submissions guidelines.

It’s here I pause with each December, where
the snow-trimmed walls of timeworn brick align
beneath the windowsill and winter’s bare
limbs bend beneath a delicate and fine

glossing of frost. It’s here I garner all
my thoughts of months gone past, beside the sheers
and yellow paisley chair. A woolen shawl,
a pearl and knit of smiles and raveled tears,

is wrapped around my shoulders. Nothing speaks
but morning’s melting icicles and wind
that steals the breath of graying skies. The creek
is frozen into timelessness and thinned

with dying grasses every shade of brown.
I take my stock of daisies dried and pressed–
my verses, scratched impetuously down–
time balanced here on its mid-point of rest.

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Karen Kelsay has been published in a variety of journals including: The HyperTexts, The Flea, The Raintown Review, The New Formalist and 14 by 14 Magazine. She is the editor of Victorian Violet Press, an online poetry magazine. She is a five-time Pushcart Prize nominee.

How ugly you all are,
An all-over ugly!

Iris bulbs unearthed and scythed
Of top leaves,
I lay your twisted, tuberous
Bodies across a gutted paper sack
And take a moment to grimace
At your grotesquery.

Dirt clings to your stringy reaching roots.
Not even warm water and bleach
Can pretty the rough hide of your skin.
Poor horrid hags!

But wait—don’t droop,
Shrivel dry in shame.

For I know your secret.

You keep it like a locket,
Or maybe a pearl,
Deep in the water of your flesh—
A tiara of petals, jewels of silk,
A blush pressed within paper wings.
Each spring, you rise
Slim-necked as swans and slender-leaved
To curve rainbows into blossoms.

Yes, majesty resides in these lumps,
These commoner dumplings—
Children of the coronet.

Who would guess such a spectacle
But those who’ve already seen
The princess curled within the peasant—
The goddess in the hag flower.

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Sarah E. Page graduated Cum Laude from Brigham Young University with a B.A. in English in 2007 and is pursuing her Master of Science and certification in Secondary English at Southern Connecticut State University. Her poetry has been published in Noctua Review, Mormon Artist, Inscape: A Journal of Literature and Art, and included in the anthology Fire in the Pasture: Twenty-First Century Mormon Poets. When not scribbling novels or taking pictures of the ragged aster and other weeds running rampant in her garden, she enjoys getting lost on long walks in the Naugatuck State Forest.

That industrious black-banded yellow worker, the bee, and a dragonfly soar swiftly, silently through the sky

The glowing rosy crescent rising slowly after the iridescent sunset and the stars glinting like jewels amidst a sky as black as tar

The fresh greenery mushroom every spring and the rolling hills with their lush grassy frills

The sun shielded by a cloud as if by a shroud, illuminating its edges with its beams, and the multi-hued glow of a rainbow—

When I see the magnificence of my environment–

I witness

The talent of the Great Artist.

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Ashley Suzanne Musick was born in 1989 on the twenty-sixth of February in the California city of Fountain Valley and raised and home-schooled in Anaheim.  In 2010 she moved to southwest Kern County, where she currently works on a farm and writes in her spare time.

I walk barefoot through the grassy
knoll,
your heaven – remembering your

green thumb and long sought after
gardens
lost to daydreams or disease.

The flowers you planted I never
learned
the names of, something exotic,

I was never good in Latin. These
you spent
the most time with, watering them

like children. I think they listened to
you more.
Your sister says I have no business

gardening – I killed her Wisteria
the year before.
To her, mine is the thumb of death –

I’ve never been invited back. Today
the morning
turns her head toward pastel, more

self-reflective, enriching shaman’s
tears.
The willow we planted still stands

a Titan among the wind, but these
magnolias
will spread their youthful petals

and die their best among the breeze.
Soon
the rain will come, and I’ll be gone.

I’ll have someone to look in on the
hydrangeas.

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To read Bradley’s bio and more of his verse, go here and here.

I keep the totem in my pocket
as a harp song sung with a

steady bear paw, wedged
between your photograph

and an eagle feather. Before
we parted, you whispered it

would serve me well on rainy
days when my road was too

much to stand on. This morning
I pulled the car to the shoulder

to watch an osprey hover with
a cold sun. I look out over rock

formations carved by hundred
year old shale, hold my breath

and chant.

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To read more of Bradley’s poetry and his bio, go here.