“A Young Girl Pares Fruit,” “You Gotta Let It Hit the Skin,” “Like a Poor Girl,” and “Oyinbo Banana”

Editors' Choice Poems

“A Young Girl Pares Fruit,” “You Gotta Let It Hit the Skin,” “Like a Poor Girl,” and “Oyinbo Banana”

We’d also like to acknowledge excellent work by poets Holly Mancuso, Aby Macias, and Brittany Adames.

We hope you’ll enjoy these editors’ picks as much as we did.

A Young Girl Pares Fruit

by Brittany Adames

About Brittany Adames

Brittany Adames is an eighteen-year-old Dominican-American writer. Her work has been previously published in CALAMITY Magazine, Bombus Press, Rumble Fish Quarterly, TRACK//FOUR, and Rust+Moth, among others. She is pursuing a major in creative writing at Emerson College and serves as the poetry editor for Ascend Magazine and prose reader for The Blueshift Journal. She has been regionally and nationally recognized by the Scholastic Writing Awards.

National Poetry Month

You Gotta Let It Hit the Skin

by Shirley Jones-Luke

About Shirley Jones-Luke

Shirley Jones-Luke is a poet and a writer of color. Ms. Luke lives in Boston, Mass. She has an MA from UMass Boston and an MFA from Emerson College. Her work mixes poetry with memoir. Shirley was a Poetry Fellow at the 2017 Watering Hole Poetry Retreat. She will be attending VONA (Voices of Our Nation) in June 2018.

National Poetry Month

Like a Poor Girl

by Mira Martin-Parker

I wear my jewelry like a poor girl—large and real. I wear my clothes like a poor girl—cleaned and ironed. My whites are always whiter that white and I’m always de-linting myself when I wear black. There’s not a spec of dirt or fuzz on my sweaters. Like a poor girl, I am self-conscious at formal tables. I lose my tongue. I don’t order beer. Like a poor girl I read Dostoyevsky on the train. Because, like a poor girl, I have over educated myself. I am like a poor girl when I get my paycheck. I spend it all at once, down to my last ten dollars. I cannot save a thing. For, like a poor girl there are so many things I need, like a cashmere coat, tailor-made in North Beach, with silk lining and antique buttons. And it’s impossible for me to imagine going without wine from the wine shop, fresh baked bread, and organic produce, since like a poor girl, I must have the best of everything. My desk at work is always clean, my bathroom at home is spotless—I bleach each mold spot when it first appears. Like a poor girl, I live in the best city, in a lovely neighborhood, in a darling apartment. But in spite of all that I do, like a poor girl, nothing works, and it’s always apparent right away to everyone that I am a poor girl, and like the poor girl that I am I can’t help looking into the windows of Boulevard restaurant as I pass by on my lunch break, even though I tell myself that there’s nothing to look at inside but white people eating delicate portions of salmon and tossed greens and drinking glasses of wine. Still, I can’t help but look in at them—especially the men—because deep inside I will always be, just like a poor girl.

About Mira Martin-Parker

Mira Martin-Parker earned an MFA in creative writing at San Francisco State University. Her work has appeared in various publications, including the Istanbul Literary Review, North Dakota Quarterly, Mythium, and Zyzzyva. Her collection of short stories, The Carpet Merchant’s Daughter, won the 2013 Five [Quarterly] e-chapbook competition.​

Oyinbo Banana

by Uche Ogbuji

Who said they brought Magilla from Congo bush? Na lie! Saint Lumumba himself showed me His New York City stomping grounds. That Toby Couldn’t see for Kunta Kinte, though He made hay on claiming President Nonesuch For Kenya. Oh no, this ape of the John Doe Was fabbed in US of A. Republics Are King Kong of their combined simian subjects; This one’s about to eat its Jump Jim Crow.

The 45 speed of 419 scheme Plays like this:

                                   Oh you noble poor, rejects                       From the Merkin Dreamliner, we’re on your team.

Just shave an edge more from your pennies our way And we’ll guarantee a lifetime of C.R.E.A.M. Our magic hat is bringing your jobs back, Bae!

Just need a deposit to get things rolling: Health care, welfare, public housing, let’s just say We’ll trade imploded tax code when we come polling Won’t hurt a bit! Trust us, our fathers made Grand puba, We keep the Illuminati Skeleton key in hock at the lodges, see!

Next to Brazzaville diamonds, to kryptonite For China when we throw cash at the Navy And best believe we’ll serve Mexico right From the get-go. Which brings us to that mob, The refugees and immigrants here to fight You good white people for each and every job.

We got your back, sending them all the fuck back, Skewer those fools on their own shish-kebab Our motto: build a wall; hug a smokestack, Jack!

Stand back from flood of green MAGAmillions The whiteman economy back in black.

It lives on in breathtaking resilience, Lure of big men, with their Beemer Benzes, Their WAGs spa-side touching up their brazilians.

An aspiring eye shutters out all offenses, It winks at junkets to Merry Lagos, Watering down its shock at such expenses.

But should they even think to dump the Negus Problem is, what you vote ain’t what you get; Our ballot box is stuffed—old Cold War threat Cyber-wise realized to come back and break us— Active Measures, comrade. This candidate Is echt Manchu, mind you, he knows no nyet.

He’ll yell: Look! Here comes a caliphate, Then auction off our rivers and our shale. Think we won’t deal to return the Kodiak State? Magilla’s taken the shop: we’re all on sale.

 

About Uche Ogbuji

Uche Ogbuji, more properly Úchèńnà Ogbújí, was born in Calabar, Nigeria. He lived in Egypt, England, and elsewhere before settling near Boulder, Colorado. A computer engineer and entrepreneur by trade, his poetry chapbook, Ndewo, Colorado (Aldrich Press) is a Colorado Book Award Winner and a Westword Award Winner (“Best Environmental Poetry”). His poems, published worldwide, fuse Igbo culture, European classicism, American Mountain West setting, and Hip-Hop. He co-hosts the Poetry Voice podcast and featured in the Best New African Poets anthology.

On Twitter as @uogbuji.

 

National Poetry Month
National Poetry Month

BMP Celebrates National Poetry Month 2018

Maybe you have lines living in you. Maybe you’ve been walking around like the speaker in Maggie Smith’s “Good Bones”: “This place could be beautiful, / right? You could make this place beautiful.” Maybe you’ve been inspired by Isobel O’Hare’s erasures, and have an urge to address some things. Maybe you’ve woken up in the spiked night, with a line swimming out of the deep. Maybe you have a story to tell. Or, maybe you memorized Jericho Brown’s “Colosseum” and have been repeating to yourself: “I cannot locate the origin / Of slaughter, but I know / How my own feels, that I live with it / And sometimes use it / To get the living done . . .”

These poetic efforts have touched me in the last few months, in that strange trigonometry of language, chance, and seeking, that we readers and writers do. Brown’s lines resonated with me, brought me low, and offered something – if not quite comfort, then a kind of recognition.

Poetry Month Feature

Poetry Month Spotlight

Matador Review

The Matador Review, an online literature and art quarterly, launched in January 2016 and is physically based in Chicago, Illinois. Their purpose is “to promote ‘alternative work’ from both art and literature,” and they regularly publish poetry, fiction, flash, nonfiction, and art features. In seeking work from both emerging and established artists, publishing interviews, and continuing to promote the work of their contributors through the Matador blog, The Matador Review seeks to be a “cultural conservationist for the alternative world.”

Perusing the The Matador Review, its literature and imagery, is a sensory pleasure – there are the voices and bodies we inhabit. Sutures are evident, as are scars.

For this National Poetry Month, we invite you to explore The Matador Review and discover it for yourself: the Spring issue is available now.

The Matador Review would particularly like to signal boost torrin a. greathouse and her poems “When My Brother Makes a Joke About Trans Panic” and “Definitions for Body as Prison Metaphor.”

torrin a. greathouse is a genderqueer trans womxn & cripple-punk from Southern California. She is the Editor-in-Chief of Black Napkin Press. She is a Best of Net, Best New Poets, & Pushcart Prize nominee, and the author of one chapbook,Therǝ is a Case That I Ɐm (Damaged Goods Press, 2017). When they are not writing, their hobbies include pursuing a bachelor’s degree, awkwardly drinking coffee at parties, & trying to find some goddamn size 13 heels. torrin was recently given a shoutoutby Kaveh Akbar in The Paris Review‘s Poetry Rx column, and readers can read much more of their work at https://tagreathousepoetry.wixsite.com/home.

National Poetry Month

BMP Celebrates National Poetry Month 2018

Maybe you have lines living in you. Maybe you’ve been walking around like the speaker in Maggie Smith’s “Good Bones”: “This place could be beautiful, / right? You could make this place beautiful.” Maybe you’ve been inspired by Isobel O’Hare’s erasures, and have an urge to address some things. Maybe you’ve woken up in the spiked night, with a line swimming out of the deep. Maybe you have a story to tell. Or, maybe you memorized Jericho Brown’s “Colosseum” and have been repeating to yourself: “I cannot locate the origin / Of slaughter, but I know / How my own feels, that I live with it / And sometimes use it / To get the living done . . .”

These poetic efforts have touched me in the last few months, in that strange trigonometry of language, chance, and seeking, that we readers and writers do. Brown’s lines resonated with me, brought me low, and offered something – if not quite comfort, then a kind of recognition.

Poems by Rita Feinstein and Sarah McCartt-Jackson

Poetry Month Spotlight

Poems by Rita Feinstein and Sarah McCartt-Jackson

We are excited to share poetry by Rita Feinstein and Sarah McCartt-Jackson, whose chapbooks have been selected by editor Kiki Petrosino for inclusion in the Mineral Point Poetry Series this fall. Rita Feinstein’s Life on Dodge will be available October 16, and Sarah McCartt-Jackson’s Calf Canyon releases November 13.

Poems by Rita Feinstein

from Life on Dodge

When you left, there was a sound
like the scraping of a dagger
being unsheathed from my heart,
and in the left-behind hollow,
a red bat came to roost.
Good, I thought, because bats go
where moths go and moths go
where the light is, which means
there’s still something like a streetlamp
in me, however dusty and guttering.
But where its corona bleeds to black,
you can still hear it—the sleek shriek
of steel against bone, the infinite echo
of you pulling away.

You have gone, and so can I.
I can go to a red planet
with no name, no coordinates.
There is no wind here, no dust,
nowhere to stake a flag. No rotation,
no view. No ocean under the crust
and no ice at the poles. There is
no gravity, no atmosphere,
and no one to name its craters.
There is not a robot to help repair
the spaceship I don’t have.
There are no giant worms in the sand.
There is no sand. There is nothing here
but not enough of it.

This planet is my home now—
might as well name it. I name it Dodge,
in the hope that someday I will
get the hell out of it. Or that it will
get out of me. It lodges deeply
in my hips, constricting its fist.
It’s a hard, round ache in my breasts.
I can taste it on the back of my tongue,
sour like beef blood. The last time
I hurt this much, we were too poor even
for a bath plug, so you filled a plastic bag
with sand and let the drain suck it into place.
It was the best you could do. The iron-orange
water held, but so did the pain.

About Rita Feinstein

Rita Feinstein is a DC-based writer and teacher. Her work has appeared in Grist, Willow Springs, and Sugar House, among other publications, and has been nominated for Best of the Net and Best New Poets. She received her MFA from Oregon State University.

Website | Twitter

National Poetry Month

Poems by Sarah McCartt-Jackson

from Calf Canyon

Drought

It begins with drink. Our eyes drink color and reflect it back to our brains, which drink shape. Shape drinks shade, leafshadows scrambling on their stems like starlings stuck to wire. Wire drinks voices, spliced threads chopped apart and ribosomed back together in a winding ladder propped against our earlobes. Our earbones drink the wet sounds of leaves unfolding newborn fists, the desperate sound of fish gills in a boat bucket. Our hands drink the wormblood and hook. Our foreheads drink sweat, our forearms hair and knuckle. Our ankles the mosquito tongue, dry of our neighbor’s blood. Boatplanks drink scales and shoe soles and cigarette ash and oceanfog and the heat of sunlogged turtles, which drink the cloverstem milk, which drinks the roothairs, which drink the cavelight, which drinks the batwing, drinks the limestone, drinks the fossilbone slipped between a molten stone harvest. The inner core drinks iron-tasting pennies, nickel. Not enough liquid in the world to fill its iron core. And this is how in drought I learn a rogue billet does not raise a doe’s eye, how a doe does not lift from drinking.

Wildfire

We watched the fires spread.

Neighbors set up their lawn chairs

to watch their neighbors’ houses burn.

Which is how I caught a bottle

to the face when I threw a cigarette

butt out the window. And how

the bottle shattered and fractured

the windshield after my jaw and how later

he didn’t remember (or said he didn’t)

how the windshield cracked,

and I told him,

and he said that wasn’t true.

And so it wasn’t true.

Creston

I did not see the moonwashed lake behind our trailer or the yellow finch in the avocado tree. I did not see the fire, the smoke of which we watched from the mustard thistle lawn. I did not see the coyotes eating the dead cattle or the California mouse while it was still alive. I did not see old Ted (all thirty-three and married) wreck on Shell Creek Road with a nineteen-year-old passenger in lip gloss and cutoffs, when it was not just ten days before he took me to a baby’s grave on our way back from buying a pack of cigarettes, and me seventeen. The freeze on the vineyard edges. The lizard drinking from the wild pig bleed. The shotgun slug through the throat of a barn owl, hanging by a wing from its owl house.

I saw what happens when girls—who are not supposed to—witness their babies’ faces. I saw the helicopters circling like released seeds, their gondola buckets of water dangling. I saw the cattle troughs dry as the Camatta creekbed and cow bodies bulked in the live oak shade. I saw a peregrine falcon tearing the mouse bones, beak to skull, hunger coagulated in its nares. A flatbed truck with whiskey and paper cups, an empty graveyard with a moon big as a belly. Reservoirs turned to sulfur. Pig hooves charred in the barbecue pit. A fifty-three-year-old owl perched in the left ventricle of my heart.

National Poetry Month

BMP Celebrates National Poetry Month 2018

Maybe you have lines living in you. Maybe you’ve been walking around like the speaker in Maggie Smith’s “Good Bones”: “This place could be beautiful, / right? You could make this place beautiful.” Maybe you’ve been inspired by Isobel O’Hare’s erasures, and have an urge to address some things. Maybe you’ve woken up in the spiked night, with a line swimming out of the deep. Maybe you have a story to tell. Or, maybe you memorized Jericho Brown’s “Colosseum” and have been repeating to yourself: “I cannot locate the origin / Of slaughter, but I know / How my own feels, that I live with it / And sometimes use it / To get the living done . . .”

These poetic efforts have touched me in the last few months, in that strange trigonometry of language, chance, and seeking, that we readers and writers do. Brown’s lines resonated with me, brought me low, and offered something – if not quite comfort, then a kind of recognition.

BMP Celebrates National Poetry Month 2019!

Brain Mill Press Celebrates National Poetry Month 2019

Break Poetry Open

Poetry Contest: Break Poetry Open

Open All April – Fee Free

Send us your poems that challenge what poems are, what poems do, how poems mean. We’re especially interested in new forms, new takes on existing forms, and experimental work, as well as poems that ask us to broaden our definitions of “poetry” in general. We want innovative and inclusive voices, poems no one has written yet, the poems inside you that have been begging to be written.

Submission Guidelines

Please submit 1-3 poems in a single document.

Submissions will be reviewed for suitability by Brain Mill Press staff. You will receive editorial development and feedback on your submitted piece and a contract granting Brain Mill Press the limited right to reproduce your piece on Voices. You will retain all other rights to your work.

Your poetry and profile will be published on bmpvoices.com and promoted on our social media outlets. Your post will contain your headshot and bio, as well as information you may wish to include about recent work and your website and social media links.

Brain Mill Press strongly encourages submissions from people of color, women, LGBTQIA+ writers, First Nations writers, and disabled writers. Please direct inquiries not answered in this call to inquiries@brainmillpress.com.

Prizes

Each week, the Brain Mill Press editors will select one or more submitted poems as the editors’ choice pick(s) for the week. Editors’ choice selections may choose any poetry title from the Brain Mill Press catalog for their prize. In early May, the editors will select a winning poem, and the poet will receive the full collection of Brain Mill Press poetry titles for themselves, as well as a second collection to gift to an organization of their choice.

“Chicagoshit” by Kwyn Townsend Riley and “Lolita Learns To Drive” by Courtney Felle

Editors' Choice Poems

“Chicagoshit” by Kwyn Townsend Riley and “Lolita Learns To Drive” by Courtney Felle

We are delighted to present this week’s selections from the Brain Mill Press Poetry Month Contest by talented poets Kwyn Townsend Riley and Courtney Felle.

We hope you’ll enjoy these editors’ picks as much as we did.

Chicagoshit

 

As a Chicagoan, Kwyn channels her Southside experiences into her writing. Audiences have referring to her writing as “inspirational” and “eye-opening”. Most of her poems are center on many social justice issues including racism, sexism, rape culture and gun violence. To Kwyn, poetry makes the truth sound beautiful and less painful. It serves reality a little warmer to those who are hopeless. She has released poetry videos on her youtube channel that have gone viral. Her poetry has been featured in the Huffington Post, BLAVITY, ForHarriet and a host of others. She has performed at many college campuses including but not limited to California State University at Monterey Bay, University of Cincinnati – Blue Ash and Denison University. She has also performed her poetry in Germany. She hopes by sharing her vulnerabilities that will help others with the same issues sleep better at night.

National Poetry Month

Lolita Learns To Drive

Courtney Felle

Courtney Felle imagines herself living in the liminal space between the Northeast and the Midwest. Her work currently focuses on the landscape of queerness, disability, and gender, and can be found in Blue Marble Review, Chautauqua Literary Journal, and Pen 2 Paper, among other publications. In addition to writing, she edits Body Without Organs Literary Journal, reads poetry for Helen: A Lit Mag, and campaigns for congressional candidates.

National Poetry Month
National Poetry Month

BMP Celebrates National Poetry Month 2018

Maybe you have lines living in you. Maybe you’ve been walking around like the speaker in Maggie Smith’s “Good Bones”: “This place could be beautiful, / right? You could make this place beautiful.” Maybe you’ve been inspired by Isobel O’Hare’s erasures, and have an urge to address some things. Maybe you’ve woken up in the spiked night, with a line swimming out of the deep. Maybe you have a story to tell. Or, maybe you memorized Jericho Brown’s “Colosseum” and have been repeating to yourself: “I cannot locate the origin / Of slaughter, but I know / How my own feels, that I live with it / And sometimes use it / To get the living done . . .”

These poetic efforts have touched me in the last few months, in that strange trigonometry of language, chance, and seeking, that we readers and writers do. Brown’s lines resonated with me, brought me low, and offered something – if not quite comfort, then a kind of recognition.