Enter the City

“The City of Tehran” by Moez Mirmotahari

Moez Mirmotahari is a multi-disciplinary, self-taught artist, a keen observer of life, and, above all else, an adventurer.

Born in Tehran, Iran his interest in the arts began early with his sculptures crafted from aluminum foils. The skills developed through this interest led him to becoming one of the youngest members of the AIS (Association of Iranian Sculptors).

Through his experimentation and studying of different styles and forms of literature, Moez has penned several poems and short stories in Persian and English. An adept linguist, he is fluent in a number of languages.

He has completed his BAs in English Literature and Management/Accounting as well as an MBA from UC3M in Madrid, Spain.

Currently, his artistic focus is on the art of photography, capturing moments of connection to our current times and in the trails of history. Through the eye of the lens, Moez translates the importance of preserving and illuminating our experience on our environment. Find more of Moez’s work at https://500px.com/moez13

“Welcome to Bella’s” by Michael Theroux

Outside, the crisp yellow heat is brittle and breathtaking,
and has just flattened the afternoon.
Inside, there is cool dark red wine,
piles of pasta, platters of cheese & crusty garlic bread
with little plates of olive oil and balsamic,
and fresh ripe fruit – and time.

Time enough for us to talk, leaning in close
Bella’s – as if the very canals of Venice ran by outside.
Not streets of the southern San Joaquin.
Dull car traffic seems to be replaced
by gayly painted gondola poling their quiet way along –
while we sit with elbows on a red checkered tablecloth.

Apropos for Italy to exist here in America,
to not blend in, but to stand out bright,
discrete and insular, its own three-block nation.
Whether Napoli or Cherokee, we are a Nation of Nations
exuding the heady aroma of Difference,
the essence of Diversity.

TERU-2023

Michael Theroux’s career has spanned from field botanist, environmental health specialist, green energy developer and resource recovery website editor. Now he is shifting from the scientific and technical environmental field to the creative. He spends his days writing incessantly in his home in Northern California.

Please note: Poetry is compressed to fit smart phone screens. If you are reading this poem on a phone screen, please turn your screen sideways to make sure that you are seeing correct line breaks for this poem.

City Photography by Edward Lee

Edward Lee is an artist and writer from Ireland. His paintings and photography have been exhibited widely, while his poetry, short stories, non-fiction have been published in magazines in Ireland, England and America, including The Stinging Fly, Skylight 47, Acumen and Smiths Knoll. His poetry collections are Playing Poohsticks On Ha’Penny BridgeThe Madness Of QwertyA Foetal Heart and Bones Speaking With Hard Tongues.

He also makes musical noise under the names Ayahuasca Collective, Orson Carroll, Lego Figures Fighting, and Pale Blond Boy.

His blog/website can be found at https://edwardmlee.wordpress.com

“The Problem of Sequencing” by Jim Stewart

Motivation: Brooklyn is a matrix of blocks
for example, on Church the cars roll slowly, and honk
to pick up rides off the street. Everyone knows a way
to get around, squeeze between. In a Hilbert space
the dimensions can be infinite. So where are you?
From Empire Ave to Eastern Parkway the hill rises
and the Messiah’s face is everywhere. The problem
is trivially solved in spacetime. But every corner
is different from the day before. In the old truck lot
piledrivers are pounding in another tower beam.
The pierogi place is a weed store. Everyone knows
a way to a place they saw five years ago, or twenty.
It’s still there, and all gone. I’ve seen people stay
right where they are and end up in a different city.

Jim Stewart

Jim Stewart has been published or has poems forthcoming in In Company, New Mexico Poets after 1970, Liminality, Rattapallax, Passengers Journal, and the Moonstone Arts Center’s Ekphrastic Poetry anthology. He co-edited and designed Saint Elizabeth Street magazine and hinenimagazine.com. He teaches programming and logic in New York.

Please note: Poetry is compressed to fit smart phone screens. If you are reading this poem on a phone screen, please turn your screen sideways to make sure that you are seeing correct line breaks for this poem.

“Dave’s” by John Grey

Old soldiers line up at Dave’s downtown,
buy newspapers, scratch tickets,
and play their Keno numbers.

Theirs are the silent footsteps
not drawn by the smell of bus-diesel,
but to spend another morning
with head-shaking headlines
and luck as forbidding as enemy planes.

While others rush to the job,
they take their time
just in case it’s not the surly Dave’s cashier
who’s there to take their money
but that losing lottery number…death.

It’s a warm day already.
There’s no wind.
The air is thick as the soup
their wives serve up
night after night.

Dave’s is air-conditioned at least.
And there’s a table at the back
where they can curse politicians,
their fortune, their knee-joints
and the threadbare thanks
they got for having served.

No point bringing up the good in their lives.
Morning is not the time.
Dave’s could never be the place.

File0005 V3 (2)

John Grey is an Australian poet and US resident. He was recently published in New Plains Review, Stillwater Review and Big Muddy Review with work upcoming in Louisiana Review, Columbia College Literary Review, and Spoon River Poetry Review.

Please note: Poetry is compressed to fit smart phone screens. If you are reading this poem on a phone screen, please turn your screen sideways to make sure that you are seeing correct line breaks for this poem.

From “Atlas” by Glenn Bach

Williamsburg Bridge
in the morning Manhattan bound:
the trees of the East
River park a thicket
of brambles, a brown blur
of winter, the sun behind you
a crushed daisy, hushed ferry cuts
a sword blade along the surface
of the river, the J train above your
heads a halo that goes and goes.

Williamsburg Bridge
in the evening Brooklyn bound:
a tug nudges a river barge,
you stood front window / front car
on the J train Brooklyn bound,
the underground
unfolding before you, graffiti-
thick and glimpses of squatters
and no sun forever.

And in the morning the same
rooftops and factories of Brooklyn,
the same barge again cutting
through a Hopper-painted
backdrop of skyscrapers,
green ribbon edging the Lower
East Side clockwork,
an ancient landscape
still and wise as the Hudson
Highlands, falling and falling
into Manhattan, an island
surrounded by water.

Originally from Southern California, Glenn Bach now lives in the Doan Brook watershed of Cleveland, Ohio. His major project, Atlas, is a long poem about place and our (mis)understanding of the world. Excerpts have appeared in jubilat, Otoliths, Plumwood Mountain and others. He documents his work at glennbach.com and @AtlasCorpus.

From “Atlas” by Glenn Bach

The fall of New York,
leaving the canyons of artifice
and the calculus of blooms
as we walk in our sleep, fireflies
in cupped palms, bees and their
drowning, this week a whirlwind
of weather slipped in
through an open window as keys fit
the steeplechase of locks
and shoulders find their coats
of Broadway and 115th,
flipped collars and checked
scarves framing fleeting expressions
at play across wind-bitten cheeks,
dispersing the thin threads
of words captured and elongated,
made firm in hand-set type, folded
and slipped into jacket pockets.

We breathe the runoff and the dust
of scuffling shoes, effluvia of insects,
hair growing imperceptible as bark,
cherry blossoms like WWII flak
in the sky.

Bricks across knees,
new words invented for what we see
emerging from suspended animation,
the light years of this continent
as we sew the holes in our pockets,
fill them with stones from both oceans.

But here the umber canyons, throbs
of gold taxicabs and all the trains full
of strap-hanging figures
with bodega-bought flowers
wrapped in cones of plastic,
children glancing up
at the giants
towering above them.

Originally from Southern California, Glenn Bach now lives in the Doan Brook watershed of Cleveland, Ohio. His major project, Atlas, is a long poem about place and our (mis)understanding of the world. Excerpts have appeared in jubilat, Otoliths, Plumwood Mountain and others. He documents his work at glennbach.com and @AtlasCorpus.

“Post Angeles” by Joshua Ginsberg

The big one had been coming for as long as anyone could remember. Forever, it seemed. Evidence of its impending arrival was predicted and measured by the space between spiderweb cracks in the foundations upon which the city stood. The way the dense net of veins on maps and satellite imagery rearranged itself.

When it finally happened though, hardly anyone noticed; when at last, the great illusion could no longer hold itself together. For the city, after all, was just that – a self-perpetuating illusion sustained by the power of its own fascination with itself, its brightly lit dreams of gold-paved sidewalks, and its dark, treacherous alleyways; from its palatial mansions and estates up in the hills to its squalid housing projects and everything in between.

The end had begun when people stopped thinking of the city as the terminus of their ambitions and dreams; its unraveling accelerated as those who already resided there stopped dreaming of what it was and could be. The invisible machinery fed by the hopes and despair and desires of it masses ground slowly to a halt. The projection flickered and started to fail, and little by little the city unbecame.

It happened first on the fringes, as such things often do, in those liminal places where the line between what was city and what was not had always been blurry at best. From there, change worked its way towards the center. The last illegible headstone in a small, weed-choked cemetery, a broken, uneven sidewalk, a mailbox no longer associated with any structure, sometimes even an unmarked side street would go missing. Then a house, an intersection, an apartment complex. Eventually entire neighborhoods ceased to exist, wiped clean from individual and collective memory. The vanishing of landmarks, cultural institutions, universities, airports, and stadiums accelerated until it swallowed every last bit of what had been Los Angeles. People sought treatment for medical conditions, flights arrived and departed, bankers banked, and sports teams played each other as they had before – They just did it from somewhere else, nearby. The major west coast studios continued to produce their films, just like they always had, from places like San Diego, Bakersfield and Henderson, Nevada.

On that last night, power went out across what remained, and when the light returned it was provided by the sun rather than the electrical grid. The highways, high rises, the massive subterranean tunnel system and infrastructure, all forgotten. Erased from ever having been.

There were the people of course. Some small number continued to reside there, in huts and hovels, hotels and hostels. But most simply ambled back to their cars and drove off to wherever they were now from. Some went for long hikes or pitched tents and camped out under the stars, because really, what else was there to do in unincorporated Angel’s Valley?

Less fortunate were others (though how many will never be known), who had become inseparable from the city itself, the ones who had lived most or all of their lives completely immersed in the river of fantasy that gave form and flesh to blueprints and engineering diagrams. The ones who had trafficked for so long in illusions that they had, in one way or another and for reasons each their own, sacrificed or traded away what was most substantial in themselves for whispers, promises and possibilities – They went along with the city that they were of and from. Together as one, people and place faded from photos, paintings and email marketing lists.

Kiana was one of the few who witnessed the city’s great and final disappearing act with her own eyes, from her family’s fishing boat. “Look! It’s happening,” she called to her uncle and two brothers in the cabin, “the city, it’s finally gone!” But there was no response, as there was no one else aboard the boat that had suddenly always been hers alone.

Joshua Ginsberg is a writer, entrepreneur, and curiosity seeker who relocated from Chicago to Tampa Bay in 2016. He is the author of “Secret Tampa Bay: A Guide to the Weird, Wonderful and Obscure,” (Reedy Press, 2020), and his poetry, fiction, and non-fiction has appeared in various print and digital publications. He maintains a blog, Terra Incognita Americanus and has been a business proposal and resume writer for over 10 years. He currently resides in Tampa’s Town and Country neighborhood with his wife, Jen, and their Shih Tzu, Tinker Bell.

Editor’s Post “New York City, May, 2023”

Ayesha F. Hamid is a poet and creative nonfiction writer published in Blue Bonnet ReviewPhilly Flash InfernoSheepshead Review, and Rathalla Review. Her full-length memoir The Borderland Between Worlds is available through Auctus Publishers at Barnes and Nobles and Amazon.  Ayesha also has a full-length poetry collection called Waiting for Resurrection. She is a Poetry Editor at Ran Off With the Star Bassoon and an Assistant Poetry Editor for The Night Heron Barks. She is the Editor-in-Chief at The City Key.

Ayesha holds a Bachelor of Arts in French and A Bachelors of Science in Sociology from Chestnut Hill College, M.F.A. in Creative Writing and an M.A. in Publishing from Rosemont College. She also holds an M.A. in Sociology from Brooklyn College.  Aside from writing, Ayesha also loves film, travel, and photography. You can find Ayesha on twitter @ahamidwriter Ayesha is a lover of cities, big and small.

“A Quality of Silence” by David M. Rubin

Slumped on a ratty couch three feet from the fifty-five-inch screen, Kovlov sighed along with Ryu. His cell buzzed and he hit green to Elaine’s midflight yelling that he had better Venmo $1200 as she had to pay her rent. Kovlov grunted, tapped the red icon, and refocused on the movie where an elderly woman, a middle-aged man, a young woman, and two young children sat on individual tatami mats around a low wooden table. The elderly woman scooped rice slowly into bowls. The doorbell rang. Kovlov’s roommate Sal popped from the kitchen, crossed between him and the screen. He opened the door to a man in a suit who queried, “Eugene Kovlov?” and dropped a sizable envelope on the floor. “Consider yourself served.” The family held their bowls, gently shoveling at their portions. A teapot marked the foreground.

Sal closed the door and kicked the envelope toward the couch. “Kovlov, you’re wastin’ away. Maybe eat some Ramen or something.”

When the movie ended, he clicked off the TV, headed into his room and flopped onto the futon.

Moonlight guided a SEPTA train as it emerged from underground and clanked up onto the elevated tracks that ran alongside Route 95 above Northern Liberties, Fishtown, and Kensington row homes, soot blonde brick schools, and entropy riddled factories.

“Wakey up!”

One-eye took in the clock which was mostly hidden behind tipping piles of Japanese cinema books. Why the hell was Sal waking him up? A red neon 1. Maybe 1:00 PM? Could be 10, 11 or 12? Or maybe any hour at all and the one a minute’s digit. He’d hold still within the warm comforter, thwarting any consideration of least bad choices that would hurl him into the world. He might wait until the 1 changed to a 2, which meant waiting on average 30 seconds to 30 minutes, but his concentration broke and he slipped back into oblivion.

“Kovlov! Wake up and listen good. You owe me $1400.”

Continue reading “A Quality of Silence” by David M. Rubin