Category Archives: quatrains

Susan Jarvis Bryant, ‘Once Upon a Tortured Trope’

Don’t ever judge crooks by their lovers, they say  
On book covers nailed to the wall.
The frog sends his kiss at the bend of the day
To Belle who is beast of the ball. 

As tough as a cucumber, cool as old boots, 
An untroubled damsel of flair
Is shooting for stars. When the pussy-owl hoots
She snares a short prince with blonde hair. 
  
They sail inky skies on a silver-lined dream
To greener scenes up in the hills.
But honey and moons aren’t as sweet as they seem 
When cats and dogs reign and milk spills.

His rose bears a thorn and his shoulder, a chip. 
Hyenas have stolen his laughter.
All charm hits the skids as she grapples to slip 
The grip of his gripe ever after.

*****

Susan Jarvis Bryant writes: “I really don’t have anything to say about the poem, other than I had huge fun writing it. It’s the same with all of my poems – I never suffer for my art, which makes me reluctant to call myself a poet. I’d like to say I write my poems in a tearstained, whisky-soaked haze while my Muse tangos with the ghost of Dylan Thomas through Welsh valleys, but this is not so.  I just snigger away as the ink flows like a bad comedienne laughing at her own jokes.”

‘Once Upon a Tortured Trope’ was originally published in Snakeskin.

Susan Jarvis Bryant is originally from the U.K. and now lives on the coastal plains of Texas. Susan has poetry published on The Society of Classical Poets, Lighten Up Online, Snakeskin, Light, Sparks of Calliope, and Expansive Poetry Online, The Road Not Taken, and New English Review. She also has poetry published in The Lyric, Trinacria, and Beth Houston’s Extreme Formal Poems and Extreme Sonnets II anthologies. Susan is the winner of the 2020 International SCP Poetry Competition and was nominated for the 2022 and 2024 Pushcart Prize. She has published two books – Elephants Unleashed and Fern Feathered Edges.

Art: AI + RHL

Using form: iambic trimeter: Janet Kenny, ‘Stars’

Look at the stars, she said.
Just look how cold and bright!
And most of them are dead
though brightening the night.
Time lives and dies like stars.
The past is death of now.
Impermanence that scars
our fleeting human hour.
The world inside a mind
that dies when we die too
leaves others left behind
resigned without a clue.
Forget me nots deceive
and daisy chains depend
on children who believe
our world will never end.

*****

Janet Kenny writes: “The poet is very old and has been confronted inescapably with the mortality of all things.”

Janet Kenny left New Zealand to pursue a career as an operatic and concert singer in London, then settled in Sydney, Australia, where she worked in the anti-nuclear movement and jointly compiled, wrote and edited a book about the nuclear industry, Beyond Chernobyl, published by Envirobook in 1993. Janet lived for many years in Sydney with her husband and visiting currawongs. She now lives in Hervey Bay, Queensland, with visiting butcher birds, spangled drongos, ospreys, pelicans, assorted honeyeaters and flying foxes.

Her poems have been published in printed and online journals, including AvatarThe ChimaeraFolly14 by 14Iambs & TrocheesThe Literary ReviewMi PoesiasThe GuardianThe SpectatorThe New FormalistThe Barefoot MuseThe Raintown ReviewThe Shit Creek ReviewSnakeskinLavender ReviewSoundz ineVictorian Violet PressThe Susquehanna Quarterly and Umbrella. Her work is in the collections The Book of Hope and Filled With Breath: 30 sonnets by 30 poets and in the Outer Space anthology, Cambridge University Press. She shared an anthology of bird poems, Passing Through, with Jerry H. Jenkins. She has received three Pushcart nominations.

A selection of her poems, and links to her poetry collections Whistling in the Dark (2016, Kelsay Books) and This Way to the Exit (White Violet Press), are on her website https://janetkenny.netpublish.net/index.htm

Photo: “Sizzling Remains of a Dead Star” by Euclid vanderKroew is licensed under CC BY-NC-SA 2.0.


RHL, ‘In the Spring’

In the spring, an old man’s fancy
ruefully reviews his youth;
thinks of girls both past and present,
wonders can he hide time’s truth.

His always googly gardening eyes
all ever which ways scan and glower
at the bud-bursting blossoming girls
exploding in their flower of power.

What is this green and noisy growth
that’s flourishing, fresh and unkempt?
Old’s good, so’s young… could one be both?
O Fates! from fate make me exempt!

*****

‘In the Spring’ was published in Bewildering Stories, an online weekly of Speculative Fiction, Poetry, Art, etc. Thanks, Don Webb!

at the museum” by derpunk is licensed under CC BY-NC-SA 2.0.

Political poem: A.E. Stallings, ‘An American Wakes Up in Athens, Greece After the 2024 Elections’

I wake up in the dark.
In dark I went to sleep.
There is a kind of stark
Accounting of lost sheep.

The day breaks with a dawn
So much like yesterday’s.
I turn the kettle on
And brew a dark malaise.

Things go from bad to worse,
Let’s call it entropy.
The blessing is a curse,
And treachery goes free

Or something. Never mind,
Here in the cradle of
Democracy I find
There’s history enough —

There on the shining rock
The entasis of state,
The subtle curves that lock
The crooked to the straight.

The centuries were slow
Where stood its solid scenes,
It took one night to blow
The roof to smithereens.

It boasts of Marathon,
It boasts of Salamis
Five generations on,
Of hemlock’s bitterness,

Between, the city nations
Of Greeks warred tribe with tribe
Why trouble with invasions?
It’s easier to bribe.

We still read Athens’ versions,
As though the Spartans lost,
As though the prudent Persians
Did not know what they cost.

Pericles died of plague,
And Phidias in prison.
Division’s sown, and vague
Suspicions have arisen.

It took nine years to build
Those columns in the air,
But half its marbles spilled,
Over fifty to repair.

It’s like a foundered ship,
That ruin on the hill.
It makes my heartbeat skip.
I’m afraid it always will.

*****

A.E. Stallings writes: “I [wrote this] poem the day after the elections. It was written on the fly, and has not been revised.”

‘An American Wakes Up in Athens, Greece After the 2024 Elections’ was originally published in Liberties Journal.

A.E. Stallings is the current Oxford Professor of Poetry. This Afterlife: Selected Poems was published in 2022. Her forthcoming book is Frieze Frame: How Poets, Painters, and their Friends Framed the Debate Around Elgin and the Marbles of the Parthenon

Photo: “Parthenon” by R~P~M is licensed under CC BY-NC-ND 2.0.

Jerome Betts, ‘Lines On A Lady In Bronze’

(The statue of Boadicea and her Daughters by Thomas Thornycroft was erected in 1902 near Westminster Bridge London.)

Set up, the civic skyline Shardless,
A proxy late Victoria then,
She charges, rein-free, grim, regardless,
Towards the Gothic giant, Big Ben.

Just what is known about this fiery
And long ago wronged ruler’s life?
Such fields for scholarly enquiry
Are now churned up by toxic strife.

For some, her Roman power rejection
Makes for a memory well kept green,
While others mock as myth-confection
Their proto-Brexit British queen.

Remainers, Leavers, play Have at you!
That chariot and rearing pair
Of  horses make a super statue.
Whoever wins, she’ll still be there.

*****

Jerome Betts writes: “I find statues fascinating with their largely unchanging nature as the people and scenes around them change and they make an obvious target for revolutionaries, rowdies and rhymers. Boadicea, unveiled without ceremony in 1902 because of Edward the 7th’s appendicitis, strikes me as a splendid piece of slightly unhistorical sculpture and useful landmark for visitors. Amusement at her lack of reins and apparent charge towards the Palace of Westminster blended with the Brexit debate when the piece was published in Better Than Starbucks. Whether this dooms the last two stanzas to the archives remains to be seen.”

Jerome Betts lives in Devon, England, where he edits the quarterly Lighten Up Online. Pushcart-nominated twice, his verse has appeared in a wide variety of UK publications and in anthologies such as Love Affairs At The Villa NelleLimerick Nation, The Potcake Chapbooks 1, 2 and 12, and Beth Houston’s three Extreme collections. British, European, and North American web venues include Amsterdam QuarterlyBetter Than StarbucksLightThe Asses of ParnassusThe HypertextsThe New Verse News, and Snakeskin.

Photo: “Boadicea Statuary Group” by Rafesmar is licensed under CC BY-SA 3.0.

Shamik Banerjee, ‘Memories of a Flood’

For one full week, the sun was dead,
     unloosening the gray,
wild clouds that swamped each paddy bed—
     the plowman’s great dismay.

The regal night sky, once agleam,
     was purloined of its stars.
Each lane became a water stream.
     Dinghies replaced the cars.

Mazdoors, waist-hidden, waded to
     their distant factory sites.
The Tongas‘ (since they were a few)
     demand reached greater heights.

But our town did what it does best—
     it kept the hoo-ha going.
In every church and temple’s chest,
     hope’s candles were still glowing.

On the roadside estaminets,
     sports went with malt whisky,
and there were pleasant tête-à-têtes
     on every balcony.


Mazdoor: an unskilled labourer
Tonga: a light horse-drawn two-wheeled vehicle
‘Memories of a Flood’ was first published in the San Antonio Review..

Shamik Banerjee is a poet from Assam, India. Some of his recent publications include Spelt, Ink Sweat & Tears, St. Austin Review, Modern Reformation, San Antonio Review, The Society of Classical Poets, Third Wednesday, California Quarterly, and Amethyst Review, among others.

Photo: Times of India, July 5, 2024

Weekend read: Cherokee myth: “Nursery Rhyme for Lazy Children” by Jennifer Reeser

They live at bottom of the deep
In ocean waters or in fresh.
They feed with greed on human flesh.
They kill the ones who oversleep.

You never will be fully grown.
They shoot with arrows while you dream,
Then drag you down like cod or bream,
But first replace you with a clone.

They leave it sleeping in your tent.
It has your eyes. It has your cheeks.
It wakes up early and it speaks.
The tribe won’t wonder where you went.

It does your chores and may amaze.
Like you, it plays and even thinks
But very soon, your double shrinks
And it will die in seven days.

Your people will not ever know.
You’ll never love. You’ll never marry.
Your twin’s the one that they will bury
For you’ve gone where the fish bones go.

But if you listen you will thrive:
Get out of bed and brush your hair.
The hunter’s coming. Be aware
Lest you be swallowed up, alive.

*****

Jennifer Reeser’s ‘Nursery Rhyme for Lazy Children’ was first published in New Verse Review. She cites the following Cherokee myth, ‘The Water Cannibals‘:

Besides the friendly Nûñnë’hï of the streams and mountains there is a race of cannibal spirits, who stay at the bottom of the deep rivers and live upon human flesh, especially that of little children. They come out just after daybreak and go about unseen from house to house until they find some one still asleep, when they shoot him with their invisible arrows and carry the dead body down under the water to feast upon it. That no one may know what has happened they leave in place of the body a shade or image of the dead man or little child, that wakes up and talks and goes about just as he did, but there is no life in it, and in seven days it withers and dies, and the people bury it and think they are burying their dead friend. It was a long time before the people found out about this, but now they always try to be awake at daylight and wake up the children, telling them “The hunters are among you.”

This is the way they first knew about the water cannibals: There was a man in Tïkwäli’tsï town who became sick and grew worse until the doctors said he could not live, and then his friends went away from the house and left him alone to die, They were not so kind to each other in the old times as they are now, because they were afraid of the witches that came to torment dying people.

He was alone several days, not able to rise from his bed, when one morning an old woman came in at the door. She looked just like the other women of the settlement, but he did not know her. She came over to the bed and said, “You are very sick and your friends seem to have left you. Come with me and I will make you well.” The man was so near death that he could not move, but now her words made him feel stronger at once, and he asked her where she wanted him to go. “We live close by; come with me and I will show you,” said the woman, so he got up from his bed and she led the way down to the water. When she came to the water she stepped in and he followed, and there was a road under the water, and another country there just like that above.

They went on until they came to a settlement with a great many houses, and women going about their work and children playing. They met a party of hunters coming in from a hunt, but instead of deer or bear quarters hanging from their shoulders they carried the bodies of dead men and children, and several of the bodies the man knew for those of his own friends in Tïkwäli’tsï. They came to a house and the woman said “This is where I live,” and took him in and fixed a bed for him and made him comfortable.

By this time he was very hungry, but the woman knew his thoughts and said, “We must get him something to eat. She took one of the bodies that the hunters had just brought in and cut off a slice to roast. The man was terribly frightened, but she read his thoughts again and said, “I see you can not eat our food.” Then she turned away from him and held her hands before her stomach–so–and when she turned around again she had them full of bread and beans such as he used to have at home.

So it was every day, until soon he was well and strong again. Then she told him he might go home now, but he must be sure not to speak to anyone for seven days, and if any of his friends should question him he must make signs as if his throat were sore and keep silent. She went with him along the same trail to the water’s edge, and the water closed over her and he went back alone to Tïkwäli’tsï. When he came there his friends were surprised, because they thought he had wandered off and died in the woods. They asked him where he had been, but he only pointed to his throat and said nothing, so they thought he was not yet well and let him alone until the seven days were past, when he began to talk again and told the whole story.

*****

Jennifer Reeser is the author of seven books of poetry. She is an author with Penguin Random House, London’s “Everyman’s Library” series, and Able Muse. Her poems, translations, essays and critical reviews have appeared internationally in POETRY, The Hudson Review, RATTLE, and elsewhere, with new work forthcoming in Nimrod from the University of Tulsa. She divides her time between her Gulf Coast estate and home on the Cherokee reservation in Indian Country, Oklahoma.

It’s too late to take up ‘sleeping in’ kid, time for school 🙂” by Brent Halstead is licensed under CC BY-NC 2.0.

Using form: Quatrains with refrain: Jerome Betts, ‘Plus ça change. . .’

If, as a child, he had a spreading rash,
The squitters, then, far worse, was constipated,
Or boasted big blue bruise and graze and gash,
A doctor murmured, “Yes, it’s age-related.”

When, in mid-life, and seeking novel thrills,
He got a dose of something best not stated
So had to suffer jabs and bitter pills,
A doctor murmured, “Yes, it’s age-related.”

Come his declining years, which tax most brains,
His wits would wander, now grown antiquated,
And while he rambled down his memory’s lanes
A doctor murmured, “Yes, it’s age-related.”

Until, one day of flowers and muffled peals,
Cause of demise at last certificated,
As up the aisle he rolled, worm-food on wheels,
A doctor murmured, “Yes, it’s age-related.”

*****

Jerome Betts writes: “Hearing a phrase new to you can start some process in the brain leading toa piece of verse. Here it was my GP saying of some minor ailment It’s age-related. It stuck in my mind, and I think triggered a recollection of a Thomas Hood poem, The Doctor, its seven stanzas all ending with the refrain Yes, yes, said the Doctor, / I meant it for that!, the dodgy physician’s unvarying response to reports of the disastrous effects, even death, of his prescriptions. Not long after, the sight of a hearse on wheels rather than on bearers’ shoulders entering a Devon church provided the idea for the last stanza of this essay in black humour which appeared in Snakeskin.

Jerome Betts lives in Devon, England, where he edits the quarterly Lighten Up Online. Pushcart-nominated twice, his verse has appeared in a wide variety of UK publications and in anthologies such as Love Affairs At The Villa NelleLimerick Nation, The Potcake Chapbooks 1, 2 and 12, and Beth Houston’s three Extreme collections. British, European, and North American web venues include Amsterdam QuarterlyBetter Than StarbucksLightThe Asses of ParnassusThe HypertextsThe New Verse News, and  Snakeskin.

Illustration: “Great Grandfather and Child” by Melissa Flores is licensed under CC BY-NC-ND 2.0.

Melissa Balmain: ‘A Super-Subtle Metaphor’

(For my son)

Dear Unruly Backyard Maple:
I’ve been clipping you for years,
convinced that efforts to reshape’ll
pay for one who perseveres.

But now I get it, stubborn maple –
though I’ve trained your docile peers,
my double-bladed snip and scrape’ll
never give you classic tiers.

And I am seeing, steadfast maple,
how your tousled crown endears:
you shelter birds; come spring, your drape’ll
glow just like a chandelier’s.

So please forgive me, patient maple,
if it’s not too late, for here’s
my blessing, solemn as the papal.
Grow your way.
                        Love, Pruning Shears

*****

Melissa Balmain writes: “Looking back at poems I’ve written for and about my family, I realize many are metaphorical. I suspect that metaphor–like rhyme and meter–helps steer me toward interesting thoughts and away from over-sentimentality. (Whether my son agrees has yet to be seen!)”

‘A Super-Subtle Metaphor’ is the lead poem in the current issue of Lighten Up Online.

Melissa Balmain’s third poetry collection, Satan Talks to His Therapist, is available from Paul Dry Books (and from all the usual retail empires). Balmain is the editor-in-chief of Light, America’s longest-running journal of light verse, and has been a member of the University of Rochester’s English Department since 2010. She is a recovering mime.  

Photo: “Red Maple Tree” by Stanley Zimny (Thank You for 52 Million views) is licensed under CC BY-NC 2.0.

Richard Fleming, ‘Sunset’

At sunset he ascends the crooked hill
to ruminate on times past and to weep
for friends long dead and lost friends living still.
Each time he climbs this hill it grows more steep.

A day’s end is somehow akin to death
as time bleeds out and cannot be revived.
He stands on the hill’s summit, out of breath
and wonders how on earth he has contrived

to be the last survivor of his peers,
avoided heart attack or foul disease.
The red sky is a bonfire of his years.
Pure luck, the answer whispers in the breeze.

*****

Richard Fleming is an Irish-born poet (and humorist) currently living in Guernsey, a small island midway between Britain and France. His work has appeared in various magazines, most recently Snakeskin, Bewildering Stories, Lighten Up Online, the Taj Mahal Review and the Potcake Chapbook ‘Lost Love’, and has been broadcast on BBC radio. He has performed at several literary festivals and his latest collection of verse, Stone Witness, features the titular poem commissioned by the BBC for National Poetry Day. He writes in various genres and can be found at www.redhandwriter.blogspot.com or Facebook https://www.facebook.com/richard.fleming.92102564/

Photo: Richard Fleming post