BY: C. REES

Hazards

Shoal Creek
length, 11.2 miles;
drainage area, 12.9 sq. miles;
watershed, completely developed

(I)

In the teeming once-dump by the collared river
cottonwoods heave their presence from dirt.

Erosion everywhere—the past, its peoples—renewal’s blight
displaced this place. Houses stilt the creek, in Little Mexico,

reach over rocks made familiar by water’s daily temperaments,
each day’s spilling over

into dusk. The fruit packers, sex workers, bricklayers,
students in their converted warehouse, the meat cutters, the water’s edge,

tamale sellers, the candy makers with glass cases to keep off dust,
the creek bank, the edge of wash, sewers and retaining walls,

rubble and domestic trash, calcareous clay, alluvium’s corona,
the fossil fish teeth which teem Del Rio Clay, before

and between Tonkawa and Comanche people robbed, robbed still,
and still here—all rise as development’s din sinks to quiet.

The heat, an escarpment rising
and rising
to where the red-shouldered hawk
drips thermals.

Hungry on a hackberry bough
she sways with her caught dove plucked
from where it hunkered in runoff, fixes her gaze
to the displaced vista
where Our Lady’s absence marks
communities scattered.

Trust the creek to overflow again with not a drop
of forgiveness diluting its red waters. Paired herons pump
through a wedge of wire-sliced sky; invisible
a jay asserts a false-hawk from heat, voice, instinct.

All that human progress uncoils at flood’s touch.
Here, nature is often indivisible from refuse.
The city’s porous, impermeable flesh twitches
like paralyzed fur over blood refusing to be dead.

Low places perplex the patient, persistent towers,
their opaque and leering glass. In water’s
ceding gloss, a litany of flowers
questions our landscape—

horseherb, frogfruit, elbowbrush
ligustrum and honeysuckle
pilot plants and native species
mustang grape, sumpweed, fleabane
poison ivy and agarita, ferns in civic shadow.

Leopard moths lap at a street lamp,
worn glitches in this city’s plans.
The creek once excavated like a burial
resurrects under sudden flowing air.

(II)

Little Shoal Creek, tributary. Interred in 1917, and covered by a storm sewer.

Meander at its root – water down there, discontent down there.
In the time of dams, rain for days, though never enough to fill dirt’s coffers.
Flood debris, shadow histories, bottomlands: look to the low places!
the living jumbled creekwrack! even lower, where limestone coves the earth,
to infrastructure’s many disrupted species – pipes, ducts, access tunneled and forgotten,
an ecology of cracks, disconnected cables sleeping in bulk in unused halls –
a honeycomb
balanced
on a hive of stone.

Under the blooming trestle, in shade, he reads alone,
tucked in his concrete hive, he who knows his own name, we who do not.
Through day, the red-eared slider picks over shadows toward a moveless pool
of recent rain, past light-battered flies jewel human shit, the nightly needles
disarticulated like insects’ legs. A packed and sodden duffel steeps its bundled life
in stagnant water and debris. Chalk portraits on retaining walls, lost faces found
speaking out to those still waiting downstream. We fixed a logic to the creek, you said,
my guide in effluent and asphalt, we “rationalized” it. Concealed within hazard
Shoal’s diurnal sleepers, the unhoused founding refuge in water beneath
overgrown skyscrapers. Days packed in aggregate
in the photos you held in sequence: the creek thinned, miles narrowed,
whole months in blasted sepia in a cordial garland of poisoned weeds, whole gaps
where men clambered, their names buried in the rock and mud beneath
the child in stiff shoes gazing from atop the new-laid concrete pipe.
Smeared with heat, cypresses still archive its living meander
coiling with contexts flowing through vacant lots covert with seeds,
rowdy with hardscape, through switchgrass shuddering
with planks cast on stone the welder’s hiss
expansion’s cicada bellow fading false into the thrum of local locusts.
Humans are harbors— hold, extract, exploit.
Can false milkweed trust the dirt from which it glosses rubbled life?
Today the light is hard, tomorrow harder still.
Epiphytes synapse the live oaks, pull water from dense air.

BY: AUGUST SMITH

Not Enough Vision

Experience the poem here.

BY: SARA ROMA

Do the owls still spin?

I never know where I’ll be.
It’s usually not where I can see you.

I don’t know what to tell you,
I wait for others to move me.
I know me too. Only, it’s been awhile.
There’s something in between us now,
but neither of us can see it.

Well what does it matter then?
I think if one of us could explain it
to the other, at least the unknown 
wouldn’t be so frightening.

What do you think is between us?
I speculate all day. I couldn’t say. 
But I imagine it is restless, 
and it's everything we aren’t.
Where we are heavy, it is mass-less.
Where we spin, it can glide.
Where we look, it has no face.
It’s pure energy and potential and movement.
Only visible in a certain lens and placed
within numbers measurable yet malleable.
Of our forms it would mock with
full range of motion.

What is so wrong about what we are?
Nothing. I only wish I could un-know 
the sensation of these virtual ghosts,
un-remember the longings, the potentials, 
the anxiety, the call to action
so impossible.

I try not to dwell on what I can’t see with my own eyes.
So you don’t think of me when I’m out of sight?

Of course I do. You see, like this:
back-to-back, we can watch out for each other.
It isn’t the same as being eye-to eye.
Behind our backs is the non-visual,
the unconscious, 
the living illusions.
When we are looking away
half of the world is gone.

The world is still there regardless.
How is it that our freedom should be 
at the mercy of chance and curiosity?

Worry more about the
questions we doubt to ask.
The in-between lies a life that 
is ours, what question
answers that?

You look for the cipher of a code
you already know. What is it that is so bad?

Here. Let me describe the creek.
Just today I saw fourteen people walk under the bridge.
It’s the same amount as last week. And the same as the
address on the hotel down the avenue. 14, 14, 14, special?
Well, just indulge me. You see take the one, and add
the four, to find a five. And here, we have half of ten,
like a shell, like a clam, like you and I: half and half.
East and West, isn’t that something?
Now. Tell me something you see.

Okay… well the sun sets on my side, as you know,
and yesterday there was a couple on their balcony.
I had only been seeing one of them for quite sometime,
but this time they were both there, and the sky was
very purple, violet even, and it colored the river and the
parakeets had just come back and they were more
like liquid than bird. Moving in perfect unison. And
for a moment they seemed to hang unmoving
in a crescent over the building. Nearly at twilight,
as the waning moon peaked thru the street lights
they descended and spread into the distant
trees of fading green.

I wish I could have seen
me too

BY: PRUDENCE ARCENEAUX

Moving to Mars

I’ve been thinking about moving to Mars. Here

we got 20 acres and the sanctity to build 

churches of cladboard, grown in the almost yearly

ablution of ankle washing in The Trinity, 

blessed in the blood of snakes and yardbirds and ravens 

and other hollowed beings. The rumor? 

He won the land in a card game. The truth? I never saw 

slips of papers painted with kings or rulers, 

faces and numbers, at the white table by the chassis. There 

were always bones, disguised as sticks, 

before they were required to platter bodies above ground,

and made one more way we can’t give

ourselves to the future. I don’t think there is a measureable 

amount of beveling to my marrow to help 

my great great great grandmother recognize me, give 

reason to reach out her hand to my neck, 

trace the browned bib, and yet only find one callous 

on one finger of one hand. I’d only be 

guessing the green beans had no chance this year, thumb

nails zipper tear through skin and pod, 

the string too brittle to weave or rope. The rains finally came. 

Too late. Parch meant loss, not escape. 

The last five years I thought I was working on language 

for rootedness, to a place that smells 

like butcher blocks and feed troughs, but now I know I can’t 

be the only person only just learning

about second families, and which names my cousins want 

to be called. It’ll take the 800 days 

to outline all the ways this Earth is too little for me, my ancestors’ 

dreams not enough, how the gravity 

of this world keeps me compacted, spine compressed, my eyes

too round in their sockets to challenge

the air: how their vision skimmed the tops of whatever harvest

of corn was highest, their belief 

in my destruction as high as the mudline on the house. I need

a place where my genes can unravel. 

What’s the difference if my blood boils here or there?

BY: DREA BROWN

What Becomes of Stone

when you come to the place that is 
only because someone was not
it is a marvel of iron and stonemasonry
outside the rusty rose of its domed heart
in the labored breath of shadows
you will feel trouble staring back

begin with points of origin and port with cycles of catch and release
suspicion of loitering and shiftlessness
conspiracy to thieve a mare or freedom 
or rumors of limestone and the leased dead
quiet kept bones under leafy shaded lots 

standing on the right white x in the funk 
of its memory you will raise your hands 
and surrender before doric columns
to the impatience of invisible things
and fervent tongues of the old ones 
singing come come come

a woman plunges into batiked green sea
becomes a rush of bubble and foam 
patient in an estuary’s stillness
the small boy draped across her belly
sighs in a dream of lost things

and the rocks cry out mama 
and the rocks cry out josina 
and the rocks cry yards of raffia and indigo
and the rocks cry in grief and aqueous pleasure
cry for the bruised beginning of a new world 
then burst into violent flowers of light tunnel 
to an eye of providence, a furrowed forehead 
umber dunes of nostril and apex then flatten 
into the mouth of your grandfather and his and his 

this is important
you will want to touch the soil of each chiseled face 
and find your hands stretched toward sunset granite

BY: SARAH MATTHES

Missing It

Virtual shadows on a virtual wall —
my hand breaks

no field
of sun, leaves

no trace. Extending an arm 
into tall grasses,

I’m punctured.
A good reminder: to feel

what is missing
is supposed to hurt. 

Low in this mowed 
lawn the bulrush replaces

the city spires,
telephone wires.

Sweating over the overturned
wheelbarrows, wishing for pixels

of rain. A stone
hut houses a devastating 

pinecone, like a love letter
with no postage

in a child’s plastic mailbox.
From the inside

I am palming the edge
of a log, from the outside I am

worshipping the air.
Nothing there. All I want 

is to pick this lemon, feel 
its living stem twist

and comply. Whole
minutes given 

to putting my finger on it:
the brink. How far can I go

into the bark 
before it overtakes me? Meanwhile

the tree in my yard
only meets me at night

when I walk directly into it,
looking the other way.

Peering through this hard
portal I see that

I am missing
the world, 

then look up at the world
and feel 

that something
is missing.