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Journal

Elijah Welter

In the winter of separation

there is a raven that watches, that holds
all in its black eye. Sun gathers
where you stood
on the thawed, green patch.
I watch and, with the cold,
am the hard shimmer of ice layering
the apple branches.
Those times under cathedral
eaves, they speak to me
of graves, but they are not dead.
They do not know the feel of earth.
Squirrels a dry rustle through the branches,
falling beneath piano keys, the crushing
black and white of sky. The cold
falls closer and I move to stand
where you were,
feet wet in the melting grass.

 

Elijah Welter graduated recently from Corban University with a B.S. in Humanities. Currently living near the gray banks of the North Santiam, he finds inspiration in the works of W.S. Merwin, T.S. Eliot, and Gerard Manley Hopkins.

Cristina Luisa White

There, In Eternity

In the great beyond, that other world
where we must all begin
another life
I hope to meet Georges Simenon
and also Oscar Wilde.

It would be odd to see them both
in the same place, at the same time,
these men, so different
in manner and attire.

Georges, with his pipe,
like his Inspector Maigret,
in suit and tie, or open collar,
always honest, and direct.
And Oscar, ever-elegant,
the ready wit,
the cigarette
perfectly held, his wrist bent.

Gentlemen, I will say, welcome,
welcome to my table. Please, take a chair.
There’s bread and cheese,
there’s fruit and cake,
and refreshment
I thought you each might like.

For you, Monsieur Simenon, some calvados
and, of course, champagne for Mister Wilde.
As for me, I’ll light this slender joint,
the best maui zowie green,
and in this crystal glass, I’ll mix
calvados and champagne.

What grace, this pleasure,
to while away the hours
with Simenon and Wilde, you,
who filled me to the brim,
my mind and heart and soul;
you left me awed and always glad
to have known you in your work.

Let’s drink to writers,
to women, men,
to love and life,
then let us hear that chime once more
and drink to language, music,
poets, poetry
and this poem
that brought you, and you, and me
together, here
in this circle of infinity.

 

Cristina Luisa White is a life-long reader, writer, and artist. Her most recent book is Sex and Soul: A Memoir of Salvation. She writes and tends a small garden in Corvallis, Oregon, where she lives with her wife and innumerable books. You can see more of her work at www.cristinalwhite.com

Back Page: Anagama with Alice Martin-Kunkle and company

It takes lots of wood...
It takes lots of wood…
Group Effort!
Group Effort!
Night Stoker Chris Schwartz
Night Stoker Chris Schwartz
Behemoth
Behemoth
Firing Underway
Firing Underway
Hot stuff--do not touch door until cool!
Hot stuff–do not touch door until cool!

Willawaw Journal Summer 2017

Kesler Woodward–The Young Ones

Willawaw Journal Spring 2018

Notes from the Editor

Once again we have an issue of several distinct voices from the Pacific Northwest, the Mid-West, the East Coast, South Africa, Wales, India, and Australia, with ten poets specifically from Oregon.

From Gail Peck’s ekphrastic poem, “The Damaged Child,” to Jude Brigley’s “ At My Mother’s House,”  Sherri Levine’s “A Kind of Disaster,” Megan Munson’s “Marathon,” Gargi Mehra’s “In the Bowels of Her Birkin,” Judy Shepps Battle’s “Frozen Tears,” and Linda Wimberly’s “When,” we are taken through a variety of trauma including poverty, abuse, anorexia, oppression, grief, and mental illness. These are stories that need to be shared. These are voices that need to be heard.

Another cluster of poets situate the reader between human and nature, not as separate as we sometimes assume, as in Elizabeth Cohen’s “When I Was a Bird,” Katherine Edgren’s “Little Brown Beauty,” and Laura DiNovis’ “The Crab.”

We received some lovely watery poems in response to Petersen’s “A Municipal Servant Serenades at the Pier”—Marjorie Power’s “It’s Pronouned Yah-Hots,” Lauren Scharhag’s “Montego Bay,” and  Sheila Sondik’s “Bodega Bay.”

One of my personal favorites is the piece by Karen Jones, “We’ll Be Coming,” a rollicking poem which so magically brings to life her story behind a song so many of us shared as children. No spoilers! Just take a read.

My thanks to the grown-up voices of Sue Fagalde Lick and Penelope Scambly Schott and to the several other poets on these pages who make me happy to be an editor. Salud!

In addition to some fine art submissions by Jim Zola and Frances Van Wert, I want to offer special thanks to Terri Thomas (poet) and the Benton County Historical Museum’s exhibit, Beyond Words, which is where I found works by Leslie Green, Judith Sander, and Kathy Jederlinich–they knock my socks off!

–Rachel Barton

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