Beliveau Review

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Synaeresis: arts + poetry (12 issues) The Best of Afterthoughts 1994-2000 Dénouement: a poetry anthology

Beliveau Review

Vol. 2 No. 4 Issue 7

Beliveau Books STRATFORD

JUNE 2021 ISSUE

ISSN 2563-3619

Published by Beliveau Books, Stratford, Ontario Website: beliveaubooks.wixsite.com/home Email: beliveaubooks@gmail.com

Editors: Andreas Gripp, D.G. Foley, Carrie Lee Connel Front Cover/Back Cover photos: Andreas Gripp

Text font is Calibri 12pt.

Acknowledgement:

The territory where Beliveau Books of Stratford, Ontario, is situated is governed by two treaties. The first is the Dish With One Spoon Wampum Belt Covenant of 1701, made between the Anishinaabe and the Haudenosaunee Confederacy. The second is the Huron Tract Treaty of 1827, an agreement made between eighteen Anishinaabek Chiefs and the Canada Company. These traditional hunting and fishing lands and waterways have for generations been shared and cared for by the Anishinaabe, the Haudenosaunee Confederacy, the Wendat, and the Neutrals. We are grateful for the opportunities to engage in the process of learning how to be a better treaty partner.

CONTRIBUTOR

Carla M. Cherry Joseph A. Farina Kushal Poddar Cecilia Martinez Editor’s Review Terry Watada Barun Mandal Penn Kemp

Brian J. Alvarado Suzanne S. Rancourt Andreas Gripp D.G. Foley

Frank Beltrano Rhonda Melanson

Page

10 i, 12 18 22 31 38 40 46 49 58 60 62

C Yarkn an 2aie CECILIA MARTINEZ

Carla M. Cherry

Orison —for Adam Toledo and Ma’Khia Bryant

| saw a black baby girl laugh today.

She cried when her mama took her off her lap. Her mama tickled her under her chin.

Baby’s brown cheekbones rushed

to meet her North Star eyes.

| swaddled the song of her giggle. Sheathed it in my hippocampus.

Saw a baby black girl with a knife, shot today. Police, paramedics, cried out, What’s her name? What’s her name? What’s her name?

Ma’ Khia. Ma’Khia.

Stay with me, stay with me, they cried

while they tried to resuscitate.

Her blood on the ground underneath her head.

Dr. Adelaide Sanford said when she taught she would pull an angry girl aside

talk with her tell her how pretty she is until the girl forgot why she was angry and didn’t want to fight anymore.

An elder shared: his papa didn’t get past the third grade

but he made everyone sit at the table for breakfast every morning.

ul

“Now everyone makes a plate disappears to their rooms.’

Our babies need more lap time. Tickling under their chins.

Gazes into their North Star eyes.

Let us swaddle the song of their giggles.

As we demand that police be defunded,

that the system tear down the blue wall of silence

we must bring back the village. Keep our homes, our selves together.

For those who turn to the streets knives

gangs

guns

if there are thirteen-year-olds like Adam

sneaking out after midnight

to run with you

Please put your hands

on their shoulders, say,

Nah, go home.

Shield your heart.

Keep your head in them books.

Ode to Harlem

| met Harlem through my father’s eyes. Daddy, a son of 375 Edgecombe Avenue.

Harlem.

A place that fed you, mind, body, and soul,

if you were in a good building with good neighbors. P.S. 46.

Stitt Junior High School 164.

George Washington High School.

Daddy’s favorite teacher, Mrs. Purcell, had parties every Friday if the class was good.

Her voice, woo, was like a thunderclap.

You had your street gangs, like the Egyptian Kings or the Debs, but if your parents kept a tight rein on you, you were OK, and Nana and Pop-Pop kept Daddy close to the stoop. After school, there were Boy Scouts, Cub Scouts, Explorers, Brownies, Girl Scouts.

Minisink Townhouse.

Got around on streetcars on Amsterdam Avenue. Double-decker buses on Broadway.

They cost ten, fifteen cents.

Ran from the Cloisters, down Fifth Avenue.

Daddy sang in the boys’ choir at St. Luke’s Episcopalian. Baptized at Abyssinian Baptist Church.

Age 11, he carried groceries at Food Family Supermarket on 148th and St. Nicholas,

next door to the liquor store David Dinkins’ father-in-law used to own.

Daddy wandered the shelves of Michaux’s African National Memorial, and Black Liberation Bookstore.

His friend Bunky OD’d at the age of 16.

Daddy swore heroin was dumped in Harlem in the fifties

because of Adam Clayton Powell and Black people starting to control their own destiny.

Destroy the youth, destroy the community.

| met Harlem through my father’s eyes.

We read The Amsterdam News.

Four years of Saturdays at Harlem School of the Arts—

Piano and flute for me, piano and ballet for my sister.

Black Liberation Bookstore after.

Read to Ms. Mulzac in polysyllabic breeze.

On to Better Pie Crust when we begged for cinnamon buns after. No sticky fingers on book covers.

Took us to the Schomburg when he researched our family’s roots, buried deep in North Carolina peanut and cotton fields.

He bought a copy of Harlem on My Mind. To see Harlem through my father’s eyes, 5

| poured over its photos and articles until the spine splintered: James Van Der Zee Speakeasies Ethel Waters Florence Mills Kid Chocolate Marcus Garvey and his Black Star Line Father Divine Joe Louis Rent strikes Protests Boycotts—Don’t buy here. Pass Them By. James Baldwin Percy Sutton Castro’s visit at the Theresa Hotel. James Powell and the riots of ‘64. Malcolm X on the podium, lying in state.

Family dinners at 22 West on West 135th. Copeland’s where | ordered entrees plus three sides. As loved ones joined the Village of the Ancestors, we held services at Benta’s Funeral Home.

College summer breaks, | returned to Harlem. Saw it through Daddy’s eyes. Went to Harlem Week. Bought cassettes from The Record Shack. 6

Shopped for African garb at Mart 125. Medallions, bracelets and codfish cakes from the street vendors.

Like my father and mother, | was baptized at Abyssinian.

| too strolled Strivers’ Row on Sundays.

People said Good Morning.

“Buy property,” Reverend Butts said, “I’m telling you now.”

After service, coconut and vanilla cakes

from the cake and pie man on the corner of West 138th and Adam Clayton Powell Boulevard.

As music blasted from elders selling gospel CDs,

we perused framed art that | would hang if | ever owned a Harlem brownstone.

Though Mart 125, The Record Shack, closed their doors rents went up, big box stores took over new White neighbors called police about loud music/laughter/domino games and not even the perfume of the linden and sweet gum trees could stop complaints about the drum circle in Marcus Garvey Park that kept it safer over 40 years, this granddaughter of Harlem is here to tell you it still feeds the mind, body, and soul— 7

the churches where tourists line up to hear Ze Gospel Music, City College

the Schomburg

The Apollo

Studio Museum of Harlem

Sister’s Uptown Bookstore

the people who say Good Morning on Strivers’ Row, Londel’s

Ponty Bistro

Make My Cake

Melba’s

The Cecil Steakhouse

Uptown Juice Bar.

Here | stand.

Joseph A. Farina

red geraniums

burnt sienna apartment buildings rise above the piazza blue shuttered windows, opened in the summer light

ledges fringed with red geraniums tended by housebound tenants their ancestry from mountain farms and valley fields

here in their urban gardens, reduced to single terra cotta pots

they dip their hands in the contained earth dreaming of sowing and harvests

and the blood call of roots.

Kushal Poddar

Neutral Days

Near the northern end of our city,

we meet, often in one minute cafe

to sip bitterness liquefied, and nod at its rather a Spartan decor, its walls' lime mortar grouting;

the war between us sees itself on a looking glass; the blood seems always high on a thinner

bearing steroids pushed to skirmish against

what we now cannot recall, and so our blood flows

in between like a neutral strip ripping free from flesh too dead to remember the fight.

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Once the Pestilence Ebbs

On the thin line

between near and far from the city

her village shivers yearlong in the bleary breeze

sent by the holy estuary.

People, busy with up-to-date devices, wild honey, black magic,

wood, and fish, do not see

her returning as if she is

a wandering ghost befuddled in those old roads, set to be startled seeing who now lives at her household.

| offer her a glass of water,

a break to unfold her story of absence,

and hear nothing she says —

why would one disappear only to return

to someone who does not fumble an ending?

She will leave soon.

The contour trills a little.

A folk takes off from the power lines. The music and the pitch stir the wind, and then nothing and nothing then.

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CECILIA MARTINEZ

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CECILIA MARTINEZ

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CECILIA MARTINEZ

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CECILIA MARTINEZ

Editor’s Review

WHALE DAY

And Other Poems

BILLY COLLINS

New York Times bestselling author of THE RAIN IN PORTUGAL

Billy Collins

Whale Day and other poems Random House, 2020

ISBN 978-0-399-58975-1 115 pp., Hardcover

It’s been no secret that Billy Collins has been my favourite poet for many years now and someone I’ve declared to be the best English- language poet of all time. While this may make a call of bias against me reviewing his latest book plausible, I’ll plead this isn’t the case.

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Being the best at what you do doesn’t mean you’re immune from slipping a half-step, repeating yourself, or even failing to reach your own standard you’ve set at a ridiculously high level. In a nutshell, yes, this means that Whale Day isn’t quite up to the mark of The Rain In Portugal from a few years’ back. That said, had anyone else scribed this latest collection from Collins, I’d have little or no qualms about it at all, which is a roundabout way of stating that Billy is basically competing with himself.

What I’Il be sharing are the passages and instances where Whale Day is still exceptional.

Collins is known for his gift of taking the ordinary, mundane happenings of daily existence and showing us how profound they can actually be—often starting slowly and transforming what we otherwise would overlook into something glorious, almost godly.

While awaiting for the fortune cookies to arrive at the end of dinner at Imperial Garden, Collins decides to create a light-hearted fortune of his own: He who acts like a jerk / on an island of his own creation / will have only the horizon for a friend. This simple commentary of one having themself to blame for loneliness is conveyed through a Senryu embedded within the poem and in this as well as in Collins’ earlier books, we see the influence of haiku and Eastern verse—his use of brevity and observation condensing the language into easily digestible bits for the reader, which translates into an accessibility for which the author is renowned.

Again, with the theme of loneliness, Collins admits to a childhood spent often in a solitary manner. He finds companionship in Mice, but resists giving them names, / afraid they would all disappear / if our house happened to burst into flames.

Despite his lonely upbringing, Collins has come to embrace travel and interacting with people. In / Am Not Italian, his stopover in Perugia is marked by a relatively boring beginning to the day—a tediousness that most of us relate to but Collins is able to make it poetic:

It’s 8:40 and they are off to work,

some in offices, others sweeping the streets

while | am off to a museum or a church

to see paintings, maybe light a candle in an alcove. Yet here we all are in our suits and work shirts joined in the brotherhood of espresso,

or how is it said? La fratellanza dell’espresso

The preceding poem in Whale Day, The Emperor of Ice Cubes, may best encapsulate what happens in a Billy Collins poem. At the beach, Collins notes three shorebirds, so ordinary he’s even somewhat unsure of their identities (“probably sandpipers”). So they’re rummaging around the seaweed—nothing remotely spectacular about that. What happens though takes the reader on an unexpected twist in the road—an ice cube Collins tossed which happens to land near them. He then changes the point of view to that of one of the bird’s: “Did it fall from outer space?” Remind the sandpiper “of its second home in the Arctic ... with lots of ice to peck at on arrival?” There really is no mystery of its source—a beer cooler. Collins again reverts back to the humdrum, albeit now transfigured:

And it all seemed framed for me, this bigger seascape,

when | leaned back to look— nothing but pale blue sky,

20

clouds pushed around in the wind, and bright white waves

rolling over one another,

then breaking on the sand.

The Robert Frost-ian “Yellow Wood,” where two roads diverge, filled with “binary choices,” laments that one can’t go down two at a time / and be both tailor and candlestick maker. // But you’re free to dream of the other. / Take this poet, elbows on the sill, / imagining my life as a baker or evena tinker ... concluding, in his usual insightful manner, that the dictionary didn’t have the foggiest idea / what tinkering actually demanded— / what solitude and hardship such a life must entail!

This is as about as serious as Collins gets in Whale Day—there is no shortage of humourous episodes that will please his long-time fans such as myself. It may be, sorry to say, that this trough has been visited maybe once or twice too often.

Perhaps it’s because my expectations are so high with him, that this particular release seems like Collins has run out of fresh ideas, and if that’s the case (which happens to nearly every writer at a certain age and after so many books), then I’d recommend a hiatus to recharge and then unleash his magnum opus upon the poetry world—if indeed he hasn’t done it already and which we need to revisit if he has with a greater sense of awe and gratitude.

—Andreas Gripp

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Terry Watada

Haunted by the Immaterial World

Genyo-no ie, the House of Genyo

my mother’s house in Mihama, Japan,

above

a shallow and slow-moving creek atributary of the Mimi River, that flows to the sea

a sea of jellyfish and whales. the house at the top

of a long, meandering

road_ is hidden

behind

a wall of barns full of

farm machinery

and

storage bins

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the arched entrance leads to a courtyard wide

and dusty

a large estate of shoji,

flickering lights and polished floors and tatami

a concrete cooking area with wood-burning stove, a hand pump for water and

large ofuro for nighttime bathing.

And at its heart is the Genyo-no Oba

my mother’s sister-in-law, ancient and kind,

my aunt

her husband long gone,

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maybe died in the war maybe his younger brother too,

another uncle.

| wish | had known them.

makes me lonely somehow.

Genyo-no Oba cackled deep in

the estate echoes of

madness.

But my aunts were alive, when | visited back in ‘59:

Hikosuke, ancient as well and stern;

Jo-mon, serious no-nonsense, her name sounded like “German” to me.

and the third whose 24

name may have been Kamu, she

gave me Japanese candy and kindness.

my favourite

| have a vivid memory of the four dressed in black kimono standing in a line, as if in a photograph, while mist surrounded them and swallowed

them.

and there was the youngest sister, absent from the photo, her remains translucent in the mist,

a child who drowned in the Mimi River so

long ago

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she walks the halls of Genyo, | believe.

my mother felt her presence, standing as she did

on warm

tatami floors

in the middle of the foyer to the other rooms of the house.

She stood shaking and crying

a pool of sorrow beneath her vulnerable feet.

| wanted to hold her comfort her console her. | tried, but could not.

| was only 7.

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and there was the stone samurai in

the garden outside a side-room

a fierce face, his sword and strength

protecting us and all past generations.

somewhere water gurgled in

the garden bringing peace as we sat in seiza, so my mother taught me.

and we visited graves in adjacent hills

wooden staves for markers strange lettering told of past lives, of strangers & relatives

incense burning constantly the

clouds drifting like ghosts, the scent their calling card.

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the bousan chanted the sutras in an ancient raspy voice full of dust & charred remains

and | was told the story of grandpa, another | never met, gathering his children before him and

the stone samurai and

telling them of his coming death. no health issues, no visible signs of disease, no prediction of accident,

just death at a precise moment of time.

they all laughed, I’m sure Kamu-no Obachan was the loudest.

yet Ojiichan did die at the predicted 28

time and day.

strange, | have lived that same story ever since.

villagers say | bear a striking resemblance to him. yet | have had no such premonition.

maybe one day

| wandered the halls of Genyo, so many decades ago, the haunted halls, of Genyo.

the darkness surrounded and engulfed me,

but | felt safe.

| instead walked

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through my ancestors’ ghostly shroud of trans- lucence

and cried for my mother in

the billowing incense and chanting of

the Heart Sutra

at her funeral.

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BARUN MANDAL

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(opposite page: BARUN MANDAL) BARUN MANDAL

BARUN MANDAL

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—! <x a Zz <x = Zz = ac <x [aa)

BARUN MANDAL (opposite page: BARUN MANDAL)

Penn Kemp

For Mary and Her Men

Do you remember the storms on Lake Geneva, the challenge set out by poets, and answered by you, Mary Shelley, yours

so easily equal in power and longevity to the men’s.

It was revolutionary then to spend a weekend dreaming Gothic. You chewed the era coming into focus—new but unrealized, science in action.

Thinking monster—this idea alive at the same time and

huge the way the past is thrown by a trick of light projected onto shadow

out of all proportion into

a future to be feared, unknown.

Then the thud of approaching golem, his wet eye unable to focus on anything as small as you, his author, his maker— the woman he yearned would be his one true love, lost.

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Spring CorresponDance

Rose-breasted grosbeaks peal bright notes matching light.

Quartered orange on bird-food post attracts orioles.

Purple finch peck along the bough- blossoming redbud.

Forget-me-nots reflect the sky. Dandelions mirror sun rays.

Striped chipmunk dappled in light. A brush of squirrel on bare branch.

Like calls to like across opening air.

May morning glories between spheres, hear and here.

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Brian J. Alvarado

Two Poems

you surprised us all with

a smuggler’s grin and the diviner’s mint— i’m not afraid if you’re not afraid.

but in the soonest swear to

come from a shamed god

i crept inside hell for a time and

became the crease in the couch,

hunched over my own vacant body, while those converged did the honour

of laughing for my vulgar but motionless mouth— i’m not afraid you’re not afraid.

i swear on my brothers i wasn’t always an oaf, and that something more than the sky blue brand pisswater truly enlivened me to save us

the scut of a lukewarm day,

sucking and squeezing the air out of a can

like a disgustipated Popeye,

and kicking gravel off the path in

rescue of our rations, while trying too

hard not to stumble on my

stupid Selinsgrove drawl

in public on the way.

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in another timeline, i’d have wanted

the gravel to take its sweet and timely revenge on sinful soles as they careened past the dumpsters, and left them for reluctant graveyard shifts to find

when night had not fallen, yet

won and stood tall.

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everything cries—

the collective bottlechime scrape across jagged plastic pavement,

the stale yelps from curious ageless fingers against atrophied epics, the wiry bray of strings stretched beyond reprise, and the whistly suckle

on the ant farm trail beads of melted flavored-ice tubes.

do we ever give in to listening to the hacking of a hickory

on our way home, long enough to hear it fall?

if the remnant chips are three molars deep,

could anyone not have

heard them clearer?

could we be sweeter

in our killing blows

to candles swirled in celebration and tragedy,

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swifter still in our need to crumple and condense fistfuls in failure,

and more pointed in our punctures, and the pressurized release

in letting helium-

woven desires go?

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Three Movements

i carelessly gloss over

the surgeon general warning

like a lazy barcode scanner

paid below minimum,

and wonder for a wandering moment if he must think God is sober when He comes out of the machinery— would He traipse around long enough otherwise, or is even a drunken God one crooked step ahead of us in keeping His rustle inaudible enough for our pursuit to submit to the trapdoor

of divine intervention, and

an absent curtain call?

in treacherous limbo,

i sought to cast lots

with my inner monologue

to see who would speak first, but all that came out were ties, and tongues, and flies,

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making us both more spinny,

and frustrated at each other

and everything else.

when we realized

no one else was around anymore, we cradled each other in the wake of the plague we invoked, convincing ourselves that we

had only last rites left.

our savior parted the mediterranean white-and-red sauce platter

with life saving pita—

i did not bow to this

eucharistic delivery.

it was only upon heading away

from the propulsive adagio

for truck drone that i conceded

to what could only be accepted as

a raucous windfall of hearty laughter. i made a break

for the nearest street grate,

in what must’ve looked to others

like an elongated genuflect.

the water i had stolen fell

silently through the grates, and

the wind whipped up a mightier holler.

45

Suzanne S. Rancourt

My Feet Still Burn

iam the dust between toes

thorns in roman soldiers’ feet

that marched upon the spring of lambs exile on Milotopos Machos cartwheeling the ridgeline

a Langadha wind-shear scythes

these medicine plants—their blossoms sprawl across battle fields

the land holds millennia festered wounds crickets the sound of windmills

still grind

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aspis

cold silk froth laid atop the double espresso

bitter tonic—sweet rust cinnamon

Spirals its waiting

to stretch its lengthened arrow across breasted lava floes shoot along the arete

punctuate nettles, sheep in shadows

seep easy into eager Minoan whispers

scatter sweat flies feeding on rubble

the other side of salt

47

Blue Moon SONET?

May in Greece something cycles—

the fishing trawler’s wake stirs up seagulls

| recall blue lips, blue fingernails, blue babies blues in E flat minor—that indigo blue beam

the game camera captured a couple days in a row streaming from heaven’s vast origins

grounding cobalt in both front and back yard

because heartache dropped anchor and as dedication to my venous and arterial self

it lodged amongst varicose fissures delineating mountains at sunset—

a snagged companionship unravels silhouettes unfurl along earth’s ridgeback my new teeth hiss wind never before heard an iridescent sound becomes forsaken love in a parkinsoned voice

penciled navigation and compass pricks

mars divorce maps—erasures disfigure failed flight geometrics the split tail swallows slice

their inquisitive air eddies

whirling pinwheels—all | want to know

how many swallows

does it take to bring good luck

1 SONET: Synchronous Optical Network- communication protocol used to transmit a large amount of data over large distances using optical fibre allowing multiple digital data streams to be transferred simultaneously.

ANDREAS GRIPP

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ANDREAS GRIPP

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A amee

ANDREAS GRIPP

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i) a i) ve t ANDREAS GRIPP

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ANDREAS GRIPP

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ANDREAS GRIPP

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Andreas Gripp

The Paean of Mephistopheles

The view over Wittenberg is obscured. My wings are ragged and lacking in the beauty of feathers. All who gaze upon me shun and shame and | fly only to flee.

Mythology has its reality revoked by lack of evidence. You'll play the skeptic with everything | question. How can you not care that 20,000 Yemeni children starve in the 2020s? The lion’s roar is mute and no one picks up the Charleston. It’s only your lips flapping now, cancelling out everything | say and the ones who re-tweeted, anathema.

| never knew how exquisite your hair was until you cut it off. | would have slipped the sweeper a twenty but it was trash-binned before | could arrive. Give my regards to the salon. They know not what they do.

What is ugly, anyway? Is it the absence of beauty or too much of it at

once? In the fire they’re disfigured. But then the ash that’s left at the end is the loveliest thing we’ve ever seen.

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Brother Dominic, why are the monks bald who bake your bread? None have felt the touch of women and they hide all day in their hoods. Your tunic was torn in Tunis, you left the faith but pretend to this very hour. While the others took of the Host, you chewed on gum instead. Beware the karma of cavity.

The manifesto you showed me was lacking in quotes. If there’s no scripture, how do you Say it’s from God? Do you also speak from Sinai? Is your backyard hedge aflame? And what do you feed us in lieu of manna? Excuse me while | polish the hooves of my golden calf.

They also churn to cheese, the milk. It’s been properly stored and aged. If you serve with Sauvignon, I'll eat like Jean Valjean. He knows what it is to be hunted, the stain of sin upon his breast like Nathaniel Hawthorne’s heroine. What is the name of your phantom Javert?

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The Word was in the Beginning. But then the fossils deemed it false. Why is Sophocles ignored and Plato’s dialogue inerrant? Is it due to tragedy? What would we be if we didn’t laugh? | called King Lear comedic in a pretzel-logic way. Three daughters worked out fine for Carol Brady. They never said she’d divorced. A widow was much more acceptable then.

Wasn’t it the Age of Aquarius or were the hippies tripped-up hypocrites?

Scales all turned to feathers before the dinosaurs’ days had ended. See it for yourself, just above the iridium line. Damn that bloody meteor!

Everything | take in is dead. And not just the animal flesh of my shoes and on my plate when I’m a Vegan-cheat. Watch The Maltese Falcon and tell me who’s still alive. Play Prince and Jimi and a little Lennon too. Imagine there’s a Heaven. That Norma Jean comes back at every itching interval.

Miles birthed the cool and he was kilometers ahead of the crowd. When the sun swells and swallows, will what we did on the earth matter at all? The rockets of Elon Musk are the singular hope we

hold. Let that be your final thought before you succumb to slumber.

The sheep you count are radioactive. Our spectres are known by their scars.

D.G. Foley

Binary Blown to Bits

My father once said, Dawn why ain’t you out there skipping with your friends? And of course my “friends” were the girls in frilly tops

or halters or tanks that showed off the first blush of breasts and that Double Dutch

was good for a Butch

like me and that plastic machine gun fights with

the boys would make me

a lesbo and yes, | then faked being girly-girl and jumped to the beat of The Go-Go’s

all the while watching Sam- antha jump up and down

again and again while Kevin and the boys marked me AWOL, my body supposedly

in some trench with the vermin biding their time before beginning their sickening instinct to feed.

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Second Partner, Second Pet

Richelieu isn’t the first dog I’ve had and he doesn’t seem to mind the comparisons with a few years’ past.

My first partner was Terry and he under- stood when | told him being woman wasn’t easy for me and | couldn’t live for either his or others’ expectations. When we had to put Dion down, we said goodbye to

him and to us.

Emma makes me French Toast

on the morning of our anniversary, beating me to the kitchen and post- poning my plan of Omelettes Olé. She uses real maple syrup from

a sugarbush in Québec.

As | savour its sweetness—and hers— | feel—no, | know—there’ll be no

au revoir until cruel nature takes

its destined, inevitable course.

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Frank Beltrano

Window Where a Mirror Might Be Better

With my ears focused for long distance

| escape my windowless office

tumble clean in the washing

machine, laundry room behind me

stalk the neighbours down the hall

all are not being careful

about Covid.

After intimate

conversations, | am back to bare

walls of white, left and right

that stare down at me. | have art

to hang there, but | put it off

rather than hang it up, these things

that mean so much.

Indigenous Ecua- dorians happily drinking and danc- ing in hardwood

Photo called Card Sharks, gift from

Al Sugerman, free To me, needs frame

Archangel Michael Symbol of Visual

Art Week, on a post- er from my youth

And finally, Arlequein by Bernard Buffet, another souvenir

of my youth—

hungover | entered Yolles Furniture Store going out of business for ten dollars, | bought a framed print a harlequin, sad, sitting, drinking alone. It might have been better had | brought home a mirror many, many years ago.

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Rhonda Melanson

The Herd Shook the Forest

till treetops dome less

and herd becomes murderer of the sun and its sins.

The moon assumes its laurels inches forward

its reflection- pale, shadowy

shifting value leaning to black.

| hear them applauding this slow movement their grand overtures.

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Back Then There Were Cups of Coffee

my dad's coffees were the smokes he gave up

Cups, new habit for our little family even me, aged ten.

After restaurant meals, he'd order one last cup— had to be hot

or he'd send it back. We'd laugh at the memory of him burning his tongue.

That last time he wandered off we followed aroma of beans to first Tim's, then McDonald's.

Bought him a cup of familiarity.

The Home's coffee too weak an elixir to comfort confused.

Start a new habit— drink juice from a straw.

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Blood Memory

It’s in their genes now: flasks, paddles, pill bottles with screw off caps

stone hearts quarried

after the sixties scoop

pitched back into chemical valley the memory of their blood where white count

outnumbers their red

our radiation failed them.

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ANDREAS GRIPP

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The Beliveau Review stands in solidarity with

Black Lives Matter and against the oppression, abuse, and exploitation of our sisters and brothers which have been going on for centuries right up to the present day. It’s critically important to use the platforms we have to speak out in opposition to injustice, hatred, and violence—in this context perpetrated against the Black community; and also against Indigenous People (both in this country and around the ie) a (¢) Pa od-v0) 0) (=o) Mmm @Xo) [016] oa -vo)e) (= [a 0) -1 8 a People with Disabilities, Women, Children, and members of the LGBTQIA2+ community.

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Beliveau Review / Beliveau Books

editorial

Andreas Gripp

Carrie Lee Connel Donatien Beliveau (in spirit)

CONTRIBUTORS

Brian J. Alvarado is a New York-based writer and performer. His work has been featured in printed publications of: RiverCraft, Trailhead, Bay View Literary Magazine, Gnashing Teeth, and DenimSkin, and online in: Squawk Back, Contraposition, Open Door, Trouvaille Review, and 3Elements Review, among others. He holds a BAin Creative Writing from Susquehanna University. https://www.brianalvarado.com/

Frank Beltrano has written a poem and folded it into a paper airplane that summer when men landed on the moon. More recently, he has had two poems ride the London, Ontario buses, had a poem printed on a postcard, had the same award winning poem printed on 1,000 posters. He has been published in journals, in both Canada and the US, has read poetry in bars, coffee shops, library basements and art galleries. A few years ago he erased his way to second place in Geist magazine. A recent poem is forthcoming in Rattle. And so it goes...

Carla M. Cherry is an African-American poet and a veteran English teacher. Her poetry has appeared in publications such as Random Sample Review, MemoryHouse, Bop Dead City, Synraesis, Anti-Heroin Chic, 433, and Raising Mothers. Carla is studying for her M.F.A. in Creative Writing at the City College of New York. She has written five books of poetry—her latest is Stardust and Skin (iiPublishing 2020).

Joseph A. Farina is a retired lawyer in Sarnia, Ontario, Canada. Several of his poems have been published in Quills Canadian Poetry Magazine, Ascent, Subterranean Blue, Tower Poetry Magazine, Inscribed, The Windsor Review, Boxcar Poetry Revue, and appears in the anthology, Sweet Lemons: Writings with a Sicilian Accent, in the anthology, Witness, from Serengeti Press and Tamaracks: Canadian Poetry for the 21st Century. He has had poems published in the U.S. magazines Mobius, Pyramid Arts, Arabesques, Fiele-Festa, Philedelphia Poets and Memoir, as well as in the Silver Birch Press Me, at Seventeen Series. He has had two books of poetry published: The Cancer Chronicles and The Ghosts of Water Street.

D.G. Foley is a Stratford-area visualist, scribbler, and is one of the editors of Beliveau Review. Their new chapbook of poetry is ghosts & other poems and is available from Beliveau Books.

Andreas Gripp is the editor of Beliveau Review. Their latest book of poetry is The Last Milkman on Earth while their newest photo/art book is still and unstill, both published by Beliveau Books. They live in Stratford, Ontario, with their wife and two cats.

Penn Kemp has participated in Canadian cultural life for over 50 years, writing, editing, and publishing poetry and plays. She has published 30 books of poetry, prose and drama and 10 CDs. Penn is the League’s 40th Life Member and Spoken Word Artist (2015). Penn’s new collection, A Near Memoir: new poems (Beliveau Books), launched on Earth Day, 2021.

See www.pennkemp.wordpress.com and www.pennkemp.weebly.com

Barun Mandal has an MFA in Painting from the University of Hyderabad in India and has won a variety of awards and fellowships for his art. He lives in Kadapa, Andhra Pradesh.

Cecilia Martinez is an award-winning self-taught artist from Jersey City, New Jersey. She has learned how to manipulate different mediums through patience and practice, trial and error. In the five years she's been in the art scene, Cecilia has already had her work exhibited in more than 80 shows in venues throughout the country, including the National Association of Women Artists Gallery in New York City and the Augusta Savage Gallery at the University of Massachusetts Amherst. Additionally, her work has been featured in a segment on Al Jazeera TV, which reaches more than 30 million viewers worldwide. Cecilia’s artwork is also regularly published in art magazines and journals in the United States, United Kingdom and Europe.

Rhonda Melanson is a teacher and poet living in Sarnia, Ontario. She has published a chapbook, gracenotes, and is a co-editor of the blog, Uproar.

An author and a father, Kushal Poddar edited the magazine Words Surfacing, authored seven volumes of poetry including The Circus Came To My Island, A Place For Your Ghost Animals, Eternity Restoration Project: Selected and New Poems and Herding My Thoughts To The Slaughterhouse: A Prequel. His works have been translated into ten languages. He is based in Kolkata.

Sundress Best of the Net Nominee, Suzanne S. Rancourt, Abenaki/Huron descent, has authored Billboard in the Clouds (Northwestern University Press, received the Native Writers’ Circle of the Americas First Book Award), murmurs at the gate (Unsolicited Press, 2019), and Old Stones, New Roads (Main Street Rag Publishing, April 2021). She is a USMC and Army Veteran with degrees in psychology, writing, and expressive arts therapy. Widely published, please view her website’s publication list: www.expressive-arts.com

Terry Watada is a Japanese Canadian writer living in Toronto and has 5 poetry collections in print. His 5th, "The Four Sufferings" (Mawenzi Book Publishers) was released in late 2020. He has compiled a 6th. "Crows at Sunset" was shortlisted for the Eyelands International Book Awards (unpublished category, Athens Greece) in 2020.

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New from Beliveau Books

penn kemp

https://beliveaubooks.wixsite.com/home/books

New from Beliveau Books

https://beliveaubooks.wixsite.com/home/books

New from Beliveau Books

A digital anthology of poetry by a variety of writers that deals with finality, coda, and epilogue, within the context of our place upon this planet. Poems that acknowledge what has come before us, the drama of struggling to survive in the 2020s, and a look to possible futures whether the outcomes may be positive, negative, or stasis in nature.

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02/02/21 https://beliveaubooks.wixsite.com/home/books

New from Beliveau Books

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A curated selection of poetry from Afterthoughts magazine, which was based in London, Ontario, and ran from 1994 to 2000.

Beryl Baigent The Best of Afterthoughts Peter Baltensperger - ~ Deanne Bayer 1994-2000: an anthology of poetry ier Bees Jean Berrett Jeff Bien Lois Ann Carrier Andrew Cook Ruth Daigon Shira Dentz Jason Dickson William Doreski Vic Elias Louis Gallo Katherine L. Gordon Daniel Green John Grey Mary Anne Griffiths Chris Guiltinan Gregory Wm. Gunn Sarah Haden Bernadette Higgins Pamela Sweeney Jackson Constance E. Kirk M. Laska Monika Lee Lyn Lifshin Claire Litton Dan Lukiv Jim Madden John Monroe Lee Moore Sylvia Parusel Ben Passikoff Molly Peacock Sherman Pearl A) Purdy Jack Rickard Kenneth Salzmann Hillel Schwartz j K.V_ Skene Beliveau Books _/ Mary Rudbeck Stanko ISBN 978-1-927734-25-4 Gina Tabasso a) Ay sy , Bob Vance TA, Laeee P_A. Webb ee? Fredrick Zydek

Autumn 2020 https://beliveaubooks.wixsite.com/home/books

New from Beliveau Books

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https://beliveaubooks.wixsite.com/home/books

All 12 issues of Synaeresis can be easily read & downloaded at: https://beliveaubooks.wixsite.com/home/magazines

Synaeresis

arts + poetry

All 12 issues of Synaeresis can be easily read & downloaded at: https://beliveaubooks.wixsite.com/home/magazines

S hf n ‘a e r e S i s

All 12 issues of Synaeresis can be easily read & downloaded at:

https://beliveaubooks.wixsite.com/home/magazines

Issues of Beliveau Review can be easily read & downloaded at: https://beliveaubooks.wixsite.com/home/magazines

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Beliveau Review Call for Submissions

Beliveau Review is a free, digital journal, published quarterly, showcasing Canadian, American, and International poetry, flash fiction, visual art & photography. It is a continuation of Synaeresis: art + poetry.

At the present time, there is no payment available but there are no submission or reading fees of any kind. The editorial staff is volunteer-oriented. Contributors will be able to download a free PDF of the issue they are in from the Beliveau Review website:

beliveaubooks.wixsite.com/home/ magazines

poetry (1 to 6 poems) flash fiction (1 to 3 stories) photography (1 to 6 photos) visual art (1 to 6 works)

Please email your submission as a separate attachment (MS Word / jpg). Please include a brief bio of yourself as well in case your work is selected for publication.

Email address: beliveaubooks@gmail.com Response time is usually one to five days.

WE ARE NOW OPEN YEAR-ROUND FOR SUBMISSIONS. NO DEADLINES.

There are no particular themes in Beliveau Review other than exceptional writing and visual art.

The subject matter is open, though please don’t send in any work that is derogatory to or demeans a person’s gender, orientation, race, ethnicity, faith, etc. No graphic violence or pornography (please note that nudity and pornography are not necessarily synonymous). Please send only new and/or previously unpublished offerings (We don’t regard social media sharing as previously published).

We welcome submissions from ALL poets & artists (though please keep in mind the aforementioned), and we especially encourage writing from folks who are BIPOC, LGBTQIA2+, Women, People with Disabilities, and Individuals who have been marginalized.

Beliveau Review VII

Brian J. Alvarado

Frank Beltrano

Carla M. Cherry

Joseph A. Farina

D.G. Foley

Andreas Gripp

Penn Kemp

Barun Mandal

Cecilia Martinez

Rhonda Melanson

Kushal Poddar

Suzanne S. Rancourt ——- \ Terry Watada_ a

ISSN 2563-3619