poet – Page 4 – THE CITY KEY

“Empty Venue/Full House” by Linda Romanowski

Performance played to an empty hall
live audience deprived they played on,
our lives depended on it.

The question begged of Orchestral performance,
who would hear their sound in an empty venue?
Their Facebook page unleashed a virus of its own
virtual seating unlimited, Livestream untethered.
The Fifth and Sixth symphonies of Beethoven,
the Fifth called “Fate,” four notes that changed the world.
They say those prime first notes came from bird’s singing
while Ludwig van inhabited Deaf’s door.

No time to lose, musicians dispatched mastery,
bound to inject perfection to its core
their bodies concentrated, driven, focused
to bring that bastard, Covid, to its knees.
At the Fifth, 4th movement, Livestream comments
exploded upward, hidden keyboards volleyed.

Multitudes heard the silver lining of sound.

The rushing notes as cells divided fast
beat that sucker to its knees,
bowed heads to Beethoven’s 5:4,
they played that most beloved, breathing gem,
played like penicillin bows, strings, elbows gliding,
brass kicked ass, feet stomped, pedals struck timpani,
racing, throbbing veins pounding an enemy.
Fingers smiled, pulled the trigger, rushing notes pulsing
thunder through the bloodstream, headed for each
tip of Covid’s crown.

Relentless notes, the antigen, music antibody gone viral-
Beethoven vaccine, set to vanquish the Invader.

Thousands of Yannicks conducted, fencing cell demons
to their jugulars, punched air in time to thwart destruction
chapped washed hands listened,
slammed favorite air instruments
pounded surfaces in kitchens, dens, cars.

Upraised thumbs, floating fireworks, streamed up screen,
signs of relief, healing, momentary pause
encores of hearts and bravos soared.

The most moving of all movements
no movements at all,
when the Philadelphia orchestra stood and faced
their empty venue hall.

Linda Romanowski, a resident of Ardmore, Pennsylvania, traces her roots to South and Northwest Philadelphia. Linda obtained her BA from Rosemont in Psychology and Elementary Education. She is currently enrolled in Rosemont’s MFA Creative Non-Fiction Program. Her primary focus is portraying her Italian heritage experience.

Since 2017, Linda has served as a reviewer for “Rathalla” magazine. Her essay, “Pot It’s Not,” was published in City Key in 2018. This year, she is a poetry reviewer for “Philadelphia Stories” for the Sandy Crimmins National Poetry Prize.

In 2019, Linda and her husband, Ken, participated in the Rosemont College Global Studies Program at the Sant’ Anna Institute in Sorrento, Italy. Her blog appeared on Rosemont’s Facebook page and was published in RoCo, Rosemont’s online publication.

In 2015, Linda received the Bonnie Hilferty Freney ’64 Memorial Award for volunteer service to Rosemont and currently serves as president of the college’s alumni board.

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.

“Carrol Avenue” by Joshua Ginsberg

You never promised
to make me a writer or an artist;
only that you would beat me like one –
backbreaking barbacking
reeking of beer and dragging ass home
just in time to curse the sunrise;
you hardened me to the clatter of the L,
showed me who serves
the best Chicken Vesuvio,
taught me to drink bourbon neat, and
where to find a stone mermaid
carved by the shore of Lake Michigan.
Whispered to me all the dirty things
you never told Sandburg.
On days so cold I thought I might shatter
you slid a warm sly smile into my pocket
waiting for a cab at Chicago and Milwaukee
while I read the inscription at the base
of Nelson Algren Fountain.
You lowered me down below the streets,
entombed so deep under
prairie style terracotta and concrete
that sunlight’s just a myth, where
you stole my teeth and wallet, left me
drained and dreaming, straining in the dark
to see through two bruised and swollen slits;

but it was there in the shadow of the bricks
of that rat’s nest palace of filth,
that at last you spread wide
your tarnished gold wings
and blessed me with
your secret face.

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.

Three Poems by James Croal Jackson

Writing a Break-Up Album in the Underworld of Los Angeles

parking garage stone and yellow emergency
the microphone’s metal web against my lips

to vomit last year in haphazard dollops
of song, wolf, and waterfall dry music

career in loneliness this lifetime achievement
many-tailed and thick porous semiconscious

rambling strummed brown fingernails clacking
away at my hard reverbertion of longing the car

window closed to keep the sound in

Passing Claudia

in this city is a familiar intersection /
brick / unlike the old: stone / spotted
your doppelganger waiting the stoplight
/ stalled behind a truck and called your
name / as I drew closer / turned green
you waved back / could not halt my car’s
slope southbound after hello / goodbye
all acquaintances become ruins / friends
who shift faces / places to call home first /
my mother’s / my skeletal wandering to
belong / shell possessing consciousness
beneath acacias / humid summer of moss
between the cracks of historic buildings

in this city my heart is polluted

driving in circles everyone talks
about the same thing love weather
politics rain this summer gone
in a flood another day awash
in the lust pitter-pattering
off the black hot concrete
incalescent the days we
drive in circles around
each other, lip symbols
tiny trinkets the tiny purple
piggy bank I bought for you
from a quarter-slot machine
in a mall outside Youngstown

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James Croal Jackson (he/him) has a chapbook, The Frayed Edge of Memory (Writing Knights Press, 2017), and poems in Pacifica, Reservoir, and Rattle.

He edits The Mantle (themantlepoetry.com). Currently, he works in the film industry in Pittsburgh, PA. (jimjakk.com)

Leaving the City by Shaun Haughey

A train of thought still connects me to the city

but I never reloaded my card to go back.
Instead, I left tall buildings,
letting them continue to pulse
and breathe and mingle at their block party.
I left the music of street performers,
the dancing legs of drunks in bars
and brilliant lights shining down from stars.

The stars faded,
dissolving into ribboned stories
cut apart by speeding cars.

Now, I sit slumped in my suburban chair
only moving to pull the blinds shut.
Here, in my room,
where acrylics dry quickly,
I no longer taste the toxic mixture
of turpentine and hair.

Here, I remain living a quiet, quaint life
and when I peak out the window to see
the city still beckoning in the distance

I want to go back there…

Shaun Haughey is an artist and writer from South Jersey. In 2017, he received his Bachelors of Fine Arts and Minor in Art History from Rowan University. While he attended Rowan, he was a proud member of the printmaking club. He also served as part of the editing staff at The Gallery. His work has appeared on a number of posters throughout the Philadelphia area for bands and events such as Circle of Hope, The NJ Proghouse, and The Tea Club. In his work, he explores mysterious anomalies to make sense of reality. Though he still doesn’t, he hopes that by delving into the mysterious, he can avoid an existential crisis. When Shaun Haughey isn’t ruminating on the meaning of life, he enjoys spending time with his family, reading comic books, listening to music way too loud, getting absorbed in video games, and flying in his TARDIS. You can follow his work on Instagram @shaun.hoy

“Beyond Power Lines” by Kyle Carrozza

For Chad Ostrowski

So many nights I walk suburban streets
alone. Porch lights send their luminosity
through trees, allowing me to write
between the lines of my journal.
I can write anything about the sun setting
over Central Pennsylvania, describe the burnt
orange hair of a girl I once knew or wanted to know, write
the words love, longing, or us — and still not say anything
as beautiful as the moon hanging in the sphere of the night
sky framed by power lines. Its face lights my way, maybe
not enough to see my destination but enough to know
that its glow is the sun waiting to come up another day.
Cell phone towers send signals into the sky:
Setting is temporary. Ending is illusion.
Calling a friend near midnight means
our voices, too, float out among the stars.
The things we say to each other
can reach across the distance,
our words filling infinity.

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Kyle Carrozza lives in Coatesville, Pennsylvania where he teaches and coaches soccer. His journalism pieces have previously appeared in The Coatesville Times, Scarecrow Grin, and The Korean Quarterly. This is his first publication of poetry, and he fully intends on bragging about it to the English teachers at his school.

Two Poems by Diane Grosse

Somnolent on the 1374

Floating bodiless over
a spectacle of color
crowds in harlequin regalia-
exaggerated bodies with
noses casting shadows
three feet long-
grotesque faces emit deep laughter.
The mind dances with sequined
guests as we glide on tiny smooth wheels
rolling through

a breezy meadow with
fluttering bouquets of butterflies.
Run and tumble, arms feathering
through multicolored daisies-
giggles catching in wispy fine hair

at a place of work
a familiar feel of tension-
the looming figure snatches
pages spitting from the printing mouth
waiting for approval.
Crinkles snake across
their forehead

Fordham
This is the local train to Stamford.
shift awake-

Tickets please.
force the ungluing
of eyes to produce the ticket
for a conductor
holding a slender cream baton
keeping time
gliding metal
starched white gloves
in flawless motion-
a kettle drum reverberation
lull

Days Before Winter Solstice

Shuffling office papers thirty feet up with windows
nailed shut for your safety, a barely traceable
scent of food turns a head, eyes settling past traffic lanes.
The bar’s picnic tables are un-hibernated, as are its patrons,
taking advantage of this seasonal mixup.
College gals lean forward, spilling out among themselves
(plus one); Overloaded straps about to ping.
Finger-combed hair is pulled back and
high in unison, piling to top knots –
All alike dolls.
Pitchers dribble. The girls follow,
washing down the gold.

Diane Grosse has been writing since childhood – spilling memories, desires, and fantasies onto paper. She has spent her professional life in the publishing industry, surrounded by words. After receiving a Masters in Writing, she upended her life, leaving her beloved New York for the South – and new sources of inspiration. Her first publication and award was for the poem, translated to Spanish as El Trovador, durng high school. Her writing has been published sporadically over the years in journals and newspapers. Most recently, her poetry was published at naturewriting.com, and an essay has been accepted for inclusion in a collection of works on the topic of human/animal interactions, forthcoming.

Three Poems by John Grey

NEWLY SINGLE

It’s been two months
since she told me she loved another.
That’s her explanation
but I still know so little
as I try to catch up to
the truth behind her words.
At least the bars were open by then.
And I felt sick enough
to risk the muted sunlight
of a drinking establishment
while her image floated smugly
in the alcohol.

Of course, the semi-darkness
did me no good.
I couldn’t help wonder
how the truth became a lie.
All that was left for me to do
was be part of her history,
even as I said goodbye
to all who lived it.

So now I can do what I want.
But I don’t believe happiness arranged all this.
Not now that I’m talking to the walls,
trying to explain to a blank TV screen,
almost went mad asking the refrigerator questions.
So goodbye coppery hair.
Goodbye large soft breasts
No doubt I know people I can talk to.
But to be in love with a woman?
I’ve no wish to be suspected of that again.
For some reason, it mattered once,
It would be wrong to deny it.
But perhaps a man is perfectly suited to living alone.
It is a difficult thing to do, and so maybe
it is just as well to learn how to do it –
without the presence of a saboteur.

I’ve said it aloud,
if that could make me feel any better,
a proclamation untitled and undated,
my sorrow made brave by alcohol.
I am speaking as clearly as I can,
mingled with the sincerity of the tears she shed,
her altered face, the change in my own,
the promise to never get this way again,
to not even look at anybody else.

Surely there’s enough in disinterest to keep me occupied.
I’ll be like the funeral of someone
musty and fusty, narrow-minded but clean
and only breaking out in bitterness
when no one is looking, not even me.

REHEARSAL

He cleans himself up
in the railway station bathroom.
Water has at the grit
lodged in the seams of his leathery skin.
He even nudges an old razor
across his stubbled chin.
Then off comes the shirt
and. with a moist paper hand towel.
he scours the dirt from his breasts.
see-through rib-cage
and scarred stomach.
Once done, he slips by
those with a train to catch.
back out into the streets
where his destination is
the same as every day –
a park bench, the shadow
of an overpass, the ground floor
of an abandoned factory.
His hair is matted.
His clothes dirty and disheveled.
And he still reeks like a dumpster.
But. in that men’s room,
those were more than just
half-assed ablutions.
more like rehearsals for a better life.
He never will get good at it.
He no longer expects to.

JOGGERS IN THE PARK

The joggers pass by me –
some float, some struggle,
a pant here, a grunt there,
maybe twenty of them
from the gazelle up front
to the red-faced tortoise at the rear.

The cherry blossoms are in bloom.
Day-lilies fringe the trails a tawny orange.
But these runners
are too consumed by how
they’re doing today
compared to yesterday.

No rocks. No pines. No oaks.
No sunbathers sprawled across the lawns.
No Frisbees. No dogs let loose from their leash.
No pigeon-soiled equestrian statue.
No quick kiss and the stroll that proceeded it.

They could just as easily
be jogging through the city dump,
an abattoir, City Hall, a department store.
Most likely the track is
in and out of an old clock factory,
tick-tocking their current pace,
teasingly clanging their best time ever.

I ramble on
and a squirrel darts up a tree at my approach
as if it’s life depended on it.
A jogger, if pressed,
would tell me the same.
I stop to admire a cluster of white flowers
in a cockspur hawthorn thicket.
That’s three lives,
three dependencies.

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John Grey is an Australian poet and US resident. 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.

Three Poems by Jeff Nazzaro

June Afternoon

But on a Friday afternoon,
first real scorcher of the year,
forgiving that January El Niño
aberration, they’re out

and about in the city. In a backyard
the size of an Orange County
bathtub, on the stoop, the sidewalk,
fire escape, passing a blunt

like a baton in a relay race. In the
street, old black mutt wobbling by,
a fresh-faced young mother,
husband at her side, presses an infant

into a minivan window for a final
grandma-grandpa kiss goodbye,
as a hunched old man pushes
his ice cream cart towards

Roosevelt Park, looking to cash
in on the vibe and the heat,
trading cold and sweet
for cold and hard.

Red on the Green

We’re all together here on the Green Line
this morning—Asian, black, white, brown, and all.
The man to my right sports a red knit cap.
In the bike space a man supports a pair
of boxing gloves around his neck, the laces
suspending the red leather mitts. There are
three red backpacks on shoulders, hands, and seats;
there’s a red lunchbox, too. This woman in
a tight red sweater just got off at Harbor
Freeway, maroon bag matching the torn shirt
of the large man asleep and snoring, matching
the ’68 Collegiate Tourist’s frame.
The vintage owner shifts the vintage bike
as needed, off the train and on the platform,
then back onboard. Original black grips
and pedals worn thin, worn black leather seat,
smooth-clicking 5 speed thumb shifter, brass Schwinn
nameplate screwed tight. The fenders steal the show,
polished chrome arcs reflecting LA sun.

Just Sayin’

Obviously cold and syrupy sweet,
the grown man in the Dodger cap
can’t wait to scoop it up into his mitts,
spoon it up into his mouth, having
stood in that parking lot in the shadow
of the Dollar Tree and the WIC office
and watched those strong little sun-bronzed
hands grip the blade, scrape the solid
block of ice perched on a red cart
beneath a rainbow-pie beach umbrella
to overfill a foam cup with cold shavings,
then ladle one, two, three full splashes
and a little dip, for just a skosh more,
of golden syrup into the golden setting sun
of a late afternoon, late October
in the twenty teens in the high nineties
on Washington Boulevard, downtown LA.

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Jeff Nazzaro lives in Riverside and works in West LA. He commutes three hours each way using Southern California’s wonderful public transportation system and swears he loves every minute of it. His poetry has appeared in numerous print and online journals, including Ekphrastic Review, Cholla Needles Magazine, ClockwiseCat, and Thirteen Myna Birds.

“London: Circle Line” by Eileen Moeller

A woman reads on the Underground
as it drags like a match along the tracks.

A woman wearing a handkerchief linen blouse
on the hot train reads a thick book
about World War II and bites her lip.
A young girl stares at her as she does this.

A girl who sits on her suitcase at the car’s end
with nothing to do but stare at the woman’s
head as it tilts toward the book,
her blunt cut hair, the drama of her face
as it acts out the words.

The words unknown, of course, to the girl,
except for what she can see in the angle of brows,
the pinch of lips, lashes flickering
the way signal lights
pull a train along
beneath the pages of city above.

Images float to those hungry for them.
That’s what they say
and that’s why some angle off
to an old lady at the other end.

A white haired lady frail in her thick coat,
in spite of the heat, who glances full of longing
at the blonde hair of the girl
squinting past her down the car.

This is how it works and always has, just like a fax.
Heat transforming text into text
and the certainty of response:

mysterious as the memory of a young girl’s
first awakenings to the world
as she hunches in silence with strangers
under the ground while London burns.

Eileen Moeller and her husband, Charlie, have lived in the Philadelphia area for the last twelve years. She has two books: Firefly, Brightly Burning, published in 2015 by Grayson Books, and The Girls in Their Iron Shoes, published in 2016 by Finishing Line Press, and has many poems in literary journals and anthologies. Her blog: And So I Sing: Poems and Iconography, is at http://eileenmoeller.blogspot.com

Five Poems by John Grey

A CITY AFIRE AT NIGHT

No foot can survive unscathed,
not walking over these coals,
not while the city burns
and before the guilt rains down.
Nowhere to run
that isn’t molten,
a pool of tar
flooded with crying,
a conflagration,
where even the gutter creatures
barely survive.

Broken glass, syringes,
acids and powders,
hookers in flaming dresses,
the angry heat
sputters around,
red and luminous,
yet weeps to itself-
incandescent tears
in a dreaded backstreet
of people fused to the spot.

Heaps of them burn,
variegated scars
begin to smoke
intense as hell
in clots of black,
red-stained rivers
smog orange moon,
overheard wires sizzling,
the sky is aflame,
the coast can never be clear.

THE WOMAN WHO JUMPS FROM A BRIDGE

I don’t do
this out of despair.

It’s just that the part of me
that’s been down so long
wants to exert itself,
to make something
of all this nothing.

It is a series of events
that do not aim
for release,
and certainly not joy.

How it works
is that

all off my truths
hit the water
at speed,

create suffering
for myself
but end it
instantaneously.

Then I can claim victory,
that one breath left to me.

AN OLDER BROTHER’S NEW HOUSE

Prideful is the last word I’d ever use
to describe the man
but as we step outside
through the sliding doors,
there’s more than shyness
in that awkward smile,
more than addiction
in the way he releases a cigarette
from the box
and lights it in a kind of
unspoken triumph.

His blue shirt is open to the throat.
His skin is leathery
but his mood is as smooth
as the petals of the tulips
slowly shutting down for sunset.
I feel as if I’m on a tour of
a historic house
with him as my guide
when it’s just the place
he finally can afford
after years cocooned in one of those
pale stucco dwellings
pressed into the side of the hill.

And now here he is,
after a hard day’s work
in which he can feel every dollar earned,
with a cigarette in one hand
and the palm of the other
flat against solid brick.

He watches the smoke rise.
dissipate, be rendered invisible by air.
Now, for certain,
with his name on a deed,
that will never happen to him.

OCCUPANCY

You know there’s rooms such as these:

a dull kitchen
with a woman slumped in her chair,
a cigarette burning down to ash
in one hand,
a cold coffee cup holding up the other

a parlor
and a man crashed on a couch,
staring at a baseball game
on a dusty television screen,
half-slobbering, half-drinking,
his fourth beer of the night

a dark bedroom
and a young boy
hanging from a belt,
one end wrapped around
a light fixture,
the other crushing his throat,
and a chair kicked to the side
for all his life was worth

You already live in these rooms.
And some day,
you’ll meet the occupants.

KISSING SOLDIERS GOODBYE AT AN AIRPORT

People stop what they’re doing. The guy in the
bar raises his beer in salute. The ones who’ve been
there overnight toast the uniform with slowly
raised eye-brows. A little kid is slapped by his mother.
“Stand to attention,” she says, as if the anthem
is playing though it’s just the usual voice warning
all and sundry not to leave baggage unattended.
An old woman wipes a tear from her eye.
She’s seen it all before. It doesn’t always end happily.

It’s not like you see in the movies, the train load
of men in brown uniform hanging out of the window
kissing their childhood sweethearts. The farewells are
scattered. And it’s a busy airport of course. Over
by the x-ray machine, an entire family is paying
their tribute to a bespectacled man in his thirties
who was a banker yesterday. By the sign that says,
“Welcome to Rhode Island”, a middle-aged couple embrace.

Boy kisses girl between sobs sure but it’s the girl
who’s in green and brown, her tickets stamped Baghdad.
A pregnant woman leans over her belly to peck.
And a child of eight or so turns away from a departing
figure, cursing his father for leaving him. Goodbye is
a strange kiss, odd meeting of the mouths, one lips
off home, one to war. Swapping spit, we used to call it.
In lieu of touch, a jaw full of each other.

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John Grey is an Australian poet and US resident. 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.