POETRY FEATURED PROSE FEATURED ARTIST CONTRIBUTORS GUIDELINES ABOUT TIMELINE
Leslie Schultz


A View form Vista Drive

A short street. Three blocks long.
Houses like half-boxes of salt
plunked on either side. You sing

a song of sixpence. The sky
is grey. Dad pokes the key
into the lock. We don't ask why

we have come here. Next morning,
a moving van arrives, with all
our old things, shrouded, coming

under the lintel—just—not bumping
the still-strange walls. Spoons
go in the drawer, dolls are clumping

together in a closet corner
for now. Then beds are made,
lain on. The T.V., an anchor,

ignites in front of the fireplace.
On chill afternoons,
it becomes our safe place

to look. Or, sometimes a book
with pictures. We can't yet read.
One day, a cheery whir, mistook

for a lawn mower, sounds and stops
for hours. Outside, more showers.
Then the door to your room pops

open. Excitedly, you wave
us in, Karla and me.
We listen, do not misbehave,

follow you to the double
bed where your gifts are spread
over the surface. Such trouble

you have taken. Tiny stitches,
trims, hooks and eyes. Old scraps
of cloth dazzle and bewitch us,

new-made into doll clothes.
We seize on them with delight.
But this designs new woes.

Turning, I see your face. Something's awry.
Your gift has made you sad. And mad.
I want to cry. I turn away. I don't ask why.


Encased in Amber

Memory, like sticky pine sap, hardens
around an incident of darkest pain.
As time bombs buried long in mental gardens
can tick for many years but still refrain

from cascading into detonation,
one catches echoes of one's own raw voice—
those plosive words, that vicious intonation—
one would retract if given half a choice.

But words unspooled can never be rewound.
Anger doesn't care what it has ruined,
what delicate structure made unsound,
what lovely hope unstrung or song untuned.
Relics help us to remember what we've found:
those wounds within us shattered on the ground.

































AUTHOR BIO

Leslie Schultz (Northfield, Minnesota) is the author of two collections of poetry, Still Life with Poppies: Elegies (Kelsay Books, 2016) and Cloud Song (Kelsay Books, 2018). Her poetry has appeared most recently in Able Muse, Blue Unicorn Journal, Light, Mezzo Cammin, Swamp Lily Review, Poetic Strokes Anthology, Third Wednesday, The Madison Review, The Midwest Quarterly, The Orchards Poetry Journal, and The Wayfarer; in the sidewalks of Northfield; and in a chapbook, Living Room (Midwestern Writers’ Publishing House). She received a Pushcart Prize nomination in 2017 and has twice had winning poems in the Maria W. Faust sonnet contest (2013, 2016). Schultz posts poems, photographs, and essays on her website: www.winonamedia.net

POETRY CONTRIBUTORS

Barbara Crooker
Alexandra Donovan
Jehanne Dubrow
Kathleen Goldbach
Colleen S. Harris
Brittany Hill
Katherine Hoerth
Lynne Knight
Jean L. Kreiling
Angie Macri
Carolyn Martin
Kathleen McClung (Featured Poet)
Mary Mercier
Ann Michael
Leslie Schultz
Myrna Stone
Jean Syed
Ann Christine Tabaka
Sally Thomas
Doris Watts
Joyce Wilson
Marly Youmans

NEWS

The most recent addition to The Mezzo Cammin Women Poets Timeline is Phillis Wheatley by Kathryn Voorhees.

Kathleen McClung is the recipient of the 2019 Mezzo Cammin Scholarship to the Poetry by the Sea conference.

FEATURED ARTIST
Morgan O'Hara:LIVE TRANSMISSIONS render visible normally invisible or fleeting movement patterns through seismograph-like drawing done in real time. The pursuit of vitality carefully observed through human activity is drawn simultaneously with both hands and transmitted to paper. Following closely the intensity of each segment of an activity, the direction of the line as well as the quality of its intensity is transmitted. If a person makes a gentle movement, a delicate line is drawn. If the action followed is forceful or violent, a correspondingly vigorous line is made. This is done simultaneously and as much as possible without “thinking." The dialectic between observer and participant, control versus relaxed participation coalesce to form the conceptual base for LIVE TRANSMISSIONS. Scale and physical limitations are determined by real-life expediency. In 2018 there exist approximately 4000 LIVE TRANSMISSION drawings done both privately and publicly on five continents. LIVE TRANSMISSIONS communicate beyond the specificity of language.

HANDWRITING THE CONSTITUTION is a social art practice which O’Hara began in January 2017. It is a process by which people come together for a specific time period to handwrite the Constitution. This practice encourages a quiet, introspective process, a form of activism for introverts. As people copy out texts which guarantee freedom and human rights, a strong sense of community is silently created. www.handwritingtheconstitution.com

ARCHIVES
LINKS
POETRY
32 Poems
The Academy of American Poets
The Atlantic
The Christian Science Monitor
The Cortland Review
Favorite Poem Project
The Frost Place
The Iowa Review
Light Quarterly
Modern American Poetry
Measure
The Poem Tree
Poetry
Poetry Daily
Poetry Society of America
Poets House
Raintown Review
Slate
String Poet
Valparaiso Poetry Review
Verse Daily
Women's Poetry Listserv
The Yale Review

CONFERENCES
AWP
Bread Loaf
Poetry by the Sea
Sewanee


PUBLISHERS

Barefoot Muse Press
David Robert Books
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BOOKS
Alibris
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Grolier Poetry Bookshop
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Tattered Cover Bookstore

OTHER RESOURCES
92nd Street Y
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Poets & Writers
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