Issue 26

p r e v i o u s   |   n e x t

J.I. Kleinberg

trial and error

 

Source & Method

Each contiguous fragment of text (roughly the equivalent of a poetic line) is removed from its original sense and syntax. Poems are built, in most cases, from lines sourced from different magazines.

Fine Gardening – April 1990, Horticulture – November 1992, Artforum – March 2019, Food & Wine – October 2005

J.I. Kleinberg’s visual poems have been published in print and online journals worldwide. An artist, poet, freelance writer, and dedicated finder of words, she lives in Bellingham, Washington, USA, and on Instagram @jikleinberg.

p r e v i o u s   |   n e x t
Issue 26
p r e v i o u s   |   n e x t

J.I. Kleinberg

my found questions

 

Source & Method

Each contiguous fragment of text (roughly the equivalent of a poetic line) is removed from its original sense and syntax. Poems are built, in most cases, from lines sourced from different magazines.

Columbia – Spring 2017, Metanoia – July 2018, Garden & Gun – September 2018, Tricycle – Fall 2001

 

p r e v i o u s   |   n e x t
Issue 26
p r e v i o u s   |   n e x t

J.I. Kleinberg

to make found love

 

 

Source & Method

Each contiguous fragment of text (roughly the equivalent of a poetic line) is removed from its original sense and syntax. Poems are built, in most cases, from lines sourced from different magazines.

Red – July 2013, Choral Journal – October 2012, Utne – Fall 2014

 

p r e v i o u s   |   n e x t
Issue 26
p r e v i o u s   |   n e x t

J.I. Kleinberg

flowers

 

 

Source & Method

Each contiguous fragment of text (roughly the equivalent of a poetic line) is removed from its original sense and syntax. Poems are built, in most cases, from lines sourced from different magazines.

flowers: House Beautiful – October 2015, Saveur – #186, Veranda – August 2012, Saveur – #186, Victoria – February 1995

p r e v i o u s   |   n e x t
Issue 26
p r e v i o u s   |   n e x t

Genevieve Wynand

The Fight

During risk and rudeness,
only the sketch of living
in between is the goal.

Both floor and
ceiling are essential —
indoor sustenance.

Workers weary
of going to work,
a daily risk.

Young children
ask for help,
for food.

The lights, hot
grease, sour uniform: They forget
you are a human being.

Left filling orders, forget
you have feelings (sad). Rude,
rude anxiety; sick always below.

Workers are people,
every day, invisible,
taken for granted, kind.

Bellow. Stop.
See each other.
Slow everything down.

(The painstaking effect
of causal ubiquity,
of black and white, exalted.)

Hold our gaze.
See the human
being.

Source & Method

An erasure poem inspired by Margaret Talbot’s ‘Billions Served’ in The New Yorker, November 30, 2020. The words follow their original order. Tense is modified, and plural made, only when the letters required are also available in sequence.

Genevieve Wynand is an editor for Pulp Literature Press, and a writer and poet with work in print and online. Visit her at genevievewynand.com.

p r e v i o u s  |  n e x t
Issue 26
p r e v i o u s   |   n e x t

Genevieve Wynand

Valor

Vital to an anxious world:
a legacy story about glass,
like this bowl hurled
to the ground, merely
dented, filled
with gold and silver.

(Spread resilience
in the fragile, hot minerals.)

Aspiration carries the misery
to people who require to be
at top speed
under stress.

Colder circumstances —
a tricky business — often
break and damage and
stop
a story

in the effort
to reinvent change for a century
(more hours spent with
new degradation and
likely to produce
sensitivity).

Begin with a molten bath —
atoms swap with atoms —
tension and toughness fortified
under urgency,
running

to protect our most valuable liquids.
An aura of effort,
the making of demand,
for everything racing
there’s not enough in the world.

 

Source & Method

An erasure poem inspired by Raffi Khatchadourian’s ‘Vital Vessels’ in The New Yorker, December 7, 2020. The words follow their original order. Tense is modified, and plural made, only when the letters required are also available in sequence.

 

p r e v i o u s   |   n e x t

 

Issue 26