Anagha Smrithi

In second grade

I sit next to my best friend in every math class.
We draw on our desks, practice long division
and learn to twist elastic bands into stars
between our fingers.


She is pale-skinned, translucent in the light.
All the mothers agree that she is beautiful.
Mothers, who know things that we don’t
and scrub our knees with lemon rinds.


At lunch, we sit cross-legged in the shade
and share secrets. She teaches me things
that her mother taught her like rose water,
and how it makes you beautiful.


In the evening, I rip out the heads of roses
and carry them home in my damp pockets. I
hold them out to the mirror like an offering.
They start to wilt in my palm.


Under the white bathroom light, I crush the petals
into paste. A small violence, something of a ritual.
It smells of prayers and incense sticks. I imagine
that beauty smells like this. Of roses. Of smoke.


The paste softens with water. I rub it into my skin,
slowly, the way that mothers do. Then I wait.
I climb on my toes to reach the mirror
and I wait for it to happen. but nothing happens.


Nothing happens, except that I reek: of roses.
Of smoke. The smell lingers for days.


Anagha Smrithi is a 25 year old writer living in Bangalore, India. She writes about the body and everyday spaces. Her poetry can be found in Anthropocene, Nether Quarterly, Catharsis Mag, and Delhi Slam Poetry among others. Read her weekly poetry newsletter which can be found here.

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Akira Ritos

souvenir from a balikbayan box

I am not Pinoy enough but not Colonized enough. I am
a bad mango. Another bad omen. Where every part of me
is unripe and uncool. I’m still trying to unlearn nay’s
pronunciation of sal-mon, my uncomfortableness with
broken English, with internal American laughter aimed at
my beloved tita. Remember her US navy spouse, nudging
my shoulder when she says de-pot instead of dee-poh. Who,
like every Filo immigrant husband, tries to be more
humorous than kind. Be more man than brown. Perhaps he’s
uncomfortable too, with how American he wants her to be,
with how American he needs to be, in a world still wishing him,
her, Us, dead, & I’m doing my best with a miniscule will to live,
but I wake up believing I will inevitably make nothing of my life—
But I wake up, having made nothing of my life, undeniably here.


Akira Ritos (they/she) is a senior studying Creative Writing and English at the University of Illinois in Urbana Champaign. A 2023 AWP Honorable Mention and RootsWoundsWord Poetry Fellow, Akira has been previously published in Marias at Sampaguitas, Yuzu Press, the lickety-split, and elsewhere. Find them on Instagram @akirasoh, or Twitter @akirasohspice..

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Wai Julia Cheung

Lunchbreak Zuihitsu

I yank my body from the hanger. Hold it
in front of the sun to see it mottled with sickness. We call this office
architecture “田”-shaped. As in crops dried in a field of cubicles. As in cages.

Noon crackles on glass. Light slits through
scaffolding. Bodies of misshapen hounds slurried
into a crowd. Prowls for some bit of paradise. The hunt for subsistence at second wake. Hunger

is a primal urge. Hunger is human.

Dress shirts in Queens Road, crimped at the collar like broken necks. Woman on her knees
by the bin. Can’t you tell? She is all our grandmothers, digging for some God. I’ve forgotten
the Cantonese word for ‘shame’.

The food was fine. We ate out of the same styrofoam box. Wolves too aware
of the concept of scarcity. Sharing or competing for the morsels?
Gulps of lukewarm gossip. Pork chops with onions and ketchup torn by teeth.

Someone throws me a red-feral smile. Calls me gullible for not taking kindness as bait.
Loose language rattles in a throat. Resistance brimming in heat
mounted bodies. Shoulders touching in the diner is the closest thing we know of kin.

Minds suckle on the brittle idea of being.

A freshly baked pineapple bun glows in the distance. Our dreams
brining in all our cramped corners. We sweat them away. The cool breath of aircon
at our throats, learns to kill. Learns how to break a neck.

I prune into a business card. I give it away.


How much does otherness cost? What is the currency of time? Wai Julia Cheung is a poet from Hong Kong, currently living in Boston, contemplating the transactional absurdity and alienation in our day to day living. Perpetually in conflict with herself, she struggles with the distances between the voices she embodies – e.g. working in both corporate and corporage, she’s in the process of figuring out what’s corpo-real. Her poetry has appeared in the expanse of her journal-musings, in pockets of loved ones, and probably in the indecipherable mumblings of a half-thought by the Charles River. You will likely find her overthinking, or on her website: https://on-lunchbreak.com/.

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Uyen Dang

YOLK

Our dog hatched an egg one golden summer and Ba and I still believe it. It sat on its haunches

for months on end and had this terrible whimper that kept Ma up, drove her to tears. Its fur

turned white as salt and acquired this weird, fuzzy quality. We knew if we tried petting it, our

hands would pass right through and we may or may not learn what a spirit felt like.

Unfortunately, it gave a little growl whenever we neared so we didn’t dare test the theory. But we

kept observing, intrigued, mystified. Then, one day, sun dripping off leaves and everything, the

dog got up and there it was, bald as a head. Ma told us how we shouldn’t always trust our eyes,

so Ba and I soaked our tongues in the memory, swished it round our mouths ‘til we coated our

teeth in chicken fat yellow. So sweet. So heavy. We told people the story but said it was a shared

dream, thought they’d call it nonsense despite the grinning evidence. For years we did so, told

the story as our dream. The story as our past. The last thing I remember Ba telling me after he

died, I touched it long ago; inside, everything felt like you.

Field Notes from Day 7,969, a Ghost Story

I remember waking up in azure. Far above the old garden in the city I was born in then left. The

garden is full of daffodils and roses and other flowers I can’t name.

Sometimes violence crashes and leaves nothing but the ghost of unfurled golden petals.

2 layovers and 2 different planes. And we are 3 immigrants sitting in a row, taking up only 2

seats. Because I was small and fast asleep inside the crib. My mother’s body makes.

My mother says people kept vacating. The seat next to the airplane aisle. First, a man got up to

use the restroom and never returned. Second, a brunette in pink velour switched seats. Our

history kept whittling down. To an empty chair. My mother says this is a ghost story.

Someone I was told loves me is gone. All the flowers are turning into white. Lilies.

I didn’t cry during the funeral. Everyone was crying. Maybe I just didn’t. Hear myself cry.

My mother keeps telling me that I keep too much in. How all that weight can age. A woman. She

knows. She doesn’t know. That this. Is what I remember. When I was 3 my world fell apart twice

and the simultaneous separation of my family and the death of my father left a hole the size of a

pebble in my throat. Grief keeps leaking from.

The flowers have grown around stone, seeking the most nourishing soils to take root underfoot. I

remember wresting. Unresting one from its place. I could hear a California airport inside its

verdant bud. I. Didn’t know anything that small could hold so many ghosts.

It’s August 1 and my mother holds me for a long time at the same airport where we arrived 21

years back. For 2 years I will be living in the city we left. That is not the city we left. I want to

pretend that loss is only a roundtrip. Flight.

I tell her she won’t lose me like she did. Ba. She pulls me into her like breath, a surfacing from.

Some place. Not here.

The ghost inserts. Asserts itself. Into my mother. You didn’t lose Ba she says. He lost you.


Uyen P. Dang is a first-generation Vietnamese American writer from Saigon, Vietnam, where she is currently researching ghosts, cemeteries, and spiritual tourism. Her work appears in or is forthcoming in Exposition Review, X-R-A-Y, Passages North, and elsewhere. Find her at uyenpdang.com.

*Yolk was previously published in The Adroit Journal. Field Notes from Day 7,969, a Ghost Story was previously published in Sundog Lit.

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Mervyn Seivwright

Our Glass Home

I am glass

shattered

on the floor

in a seventeenth

century home

of echoed space. 

My daughters

away in America

across the Atlantic 

Ocean, their voices

vacant, reverberates Daddy 

I’m hungry. Can we 

watch cartoons? 

I don’t wanna clean my room,

Daddy―wake up memories

filmed in mirrors 

I pass by. Now scattered

onto the hardwood

where I seek

a torch to crystalize

a broken father

together. Their distance

has me viewing

illusions of their white

and pink bedroom

they danced in.

I smell lotions,

hair oils, tulip scented

tween perfume

passing in a draft

the wind funneled

beneath the window 

seal. I wonder,

have they forgotten

me, is their image 

of me tainted, practicing

parenthood, 

never knowing 

the exact science

that has me 

in bits and pieces.

The Front Room

I. 

Nottinghill was a slum village, 

West London, run by high rent 

Slumlords. A place of 1950’s access  

called home by Caribbean citizens 

of color in England’s KBW—

Keep Britain White, building 

a sanctuary from old-crumbled stone.

We cherished our terrace homes 

as a place to welcome weary feet, 

not dirty children’s play, us gaining favor

assist in decorating colors of island brightness,  

mirroring home from the dark mist clouds.

II. 

Each front room layout 

was coloured with shamrock carpet,

crimson settee, motif wood-grain coffee table,

wooden crystal cabinets,

filled with glass ornaments,

bright butter-glass Bambi deer,

hibiscus horses, teal tigers,

sitting on starched crochet

and white lace cloth.

A radiogram sat in corner

playing soca, old time reggae,

Jim Reeves on 33 

and 45 RPM wax records,

filled with hard drink 

mini bottles of rum, sherry, 

Baby Sham, Yawd beer.

Walls decorated with flowers 

embossed in infinity patterned wallpaper,

while a black-velvet scroll-map of Jamaica,

reminds of pride next to family pictures,

a three-dimensional Jesus image,

welcoming visitors from unwelcomed streets.


Mervyn Seivwright writes to balance social consciousness and poetry craft for humane growth. The Spalding MFA graduate is from a Jamaican family born in London, appearing in AGNI, Salamander, and 63 other journals in 9 countries, a 2021 Pushcart Nominee with collection “Stick, Hook, and a Pile of Yarn,” available for pre-order through Broken Sleep Books.

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Devon Blow


Devon is a multi-talented artist hailing from Los Angeles, CA, with expertise in illustration, design, writing, and social justice activism. Her creative vision is reflected in her unique style of Neo-pop art, which incorporates vibrant color palettes and socially relevant themes.

Devon is committed to promoting empowerment and inspiration among vulnerable, marginalized, neglected, and disenfranchised communities, while also celebrating cultural diversity in all its forms. Her impressive client list includes major names such as ADIDAS, Los Angeles RAMS, Oprah’s Book Club, ADOBE, LA Times, and the United Nations.

*All artwork is featured with the permission of the artist. Please ask for permission before sharing any content.

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Nawze Design

Artist Statement

Hello there, I’m Nawz, a 22-year-old graphic designer from Malaysia. My design work is largely inspired by emotions, making it an essential aspect of my creative process to intertwine photos with typography, ensuring they correlate and complement each other harmoniously. If you want to follow me on my creative journey, check me out on Instagram @nawzedesign. Thank you so much for your interest and attention.

*All artwork is featured with the permission of the artist. Please ask for permission before sharing any content.

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Danielle Taphanel

Artist Statement

A layered, ancient city, pale as salt, and full of rooms rimed in the lace of unknown sea spiders. A sudden break, like the seam of a cracked shell breaking open, and in the instant between destruction and creation, the obliteration of the past and the still-tender promise of the future emerges, a billowing wing of celestial flesh.” I wanted to capture a moment of impact that draws the viewer in, and as it does, creates more questions, more room for internality and interpretation. That moment is singular, but the story it tells suggests a fracture in the impossible sphere of time.

*All artwork is featured with the permission of the artist. Please ask for permission before sharing any content.

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Robert Oniha

Artist Statement

Several parts of African culture are slowly being forgotten. In its peak stages, colonial influence conferred inferiority to aspects of African culture and relegated them to the background. The after-effects of this cultural imperialism have made the average African blur the line between imperialism and development. Certain aspects of the ‘new order’ did not make sense to the established system. Unfortunately, these were accepted without much resistance from the greater part of the then society. A classic example is the generally acceptable ‘formal hairstyles’ which all involve some form of sleek updo or another- hair texture that is alien to natural African hair.

My present focus as an artist is to use my work to remind both Africans and non-Africans across the continents about the beauty, significance, and complexities of aspects of our cultures that seem to be dying out. My works are heavily inspired by great Nigerian artists like J. D. Ojeikere and Yinka Shonibare. One of the unique features of African textured hair is its ability to be sculpted and moulded into various shapes and forms.

I am presently working and plan to keep working on hairstyles from across the continent. My process includes drawing on primed canvas with charcoal, clothing my subjects with bits of fabrics that have African connections, painting the backgrounds with vibrant colours, and, weaving and twisting synthetic hair directly on the canvas.

*All artwork is featured with the permission of the artist. Please ask for permission before sharing any content.

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