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                  <text>&lt;p&gt;This is a collection of all authors who have contributed to the Anthology. To browse authors by identities, &lt;a href="https://waqueeranth.omeka.net/tag-index" target="_blank" rel="noreferrer noopener"&gt;visit the tag index&lt;/a&gt; or &lt;a href="https://waqueeranth.omeka.net/items/search" target="_blank" rel="noreferrer noopener"&gt;try our advanced search&lt;/a&gt;.&lt;/p&gt;</text>
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              <text>Oliver Brickman is a queer Jewish writer and performer invested in liberatory futures and reckoning with ghosts. The winner of the Split This Rock Poetry Prize, they have also received support from Hedgebrook, the Lambda Literary Foundation, The Yiddish Book Center, 4Culture, Artist Trust, and The Bloedel Reserve. Recent work has appeared in Narrative, Adroit, The Indiana Review, On the Boards' Performance Lab, and in the anthology Ghosts of Seattle Past. Oliver holds an MFA from the University of Virginia and lives in Seattle, where they work in a library, take care of 150 houseplants, and teach writing to youth and adults.</text>
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              <text>&lt;ul&gt;&lt;li&gt;&lt;a href="https://waqueeranth.omeka.net/items/show/747"&gt;At 15, I Tell My Mother I am Going To the Queer-Straight Alliance Sleepover&lt;/a&gt;&lt;/li&gt;
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              <text>&lt;p&gt;&lt;i&gt;*Note: Because of the formatting of this poem, it cannot be displayed on screen. Please read it as a PDF, accessible via the Files.&lt;/i&gt;&lt;/p&gt;
&lt;br /&gt;&lt;p align="right" style="text-align:left;"&gt;Author: &lt;a href="https://waqueeranth.omeka.net/items/show/748"&gt;Oliver Brickman, they/them&lt;/a&gt;&lt;/p&gt;</text>
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              <text>&lt;p&gt;&lt;i&gt;*Note: Because of the formatting of this poem, it cannot be displayed on screen. Please read it as a PDF, accessible via the Files.&lt;/i&gt;&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;&lt;p align="right" style="text-align:left;"&gt;Author: &lt;a href="https://waqueeranth.omeka.net/items/show/631" target="_blank" rel="noreferrer noopener"&gt;Clare Johnson&lt;/a&gt;&lt;br /&gt;&lt;em&gt;First published in &lt;/em&gt;Seattle Review of Books &lt;em&gt;on Aug 9, 2016.&lt;/em&gt;&lt;/p&gt;</text>
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                  <text>&lt;p&gt;This is a collection of all authors who have contributed to the Anthology. To browse authors by identities, &lt;a href="https://waqueeranth.omeka.net/tag-index" target="_blank" rel="noreferrer noopener"&gt;visit the tag index&lt;/a&gt; or &lt;a href="https://waqueeranth.omeka.net/items/search" target="_blank" rel="noreferrer noopener"&gt;try our advanced search&lt;/a&gt;.&lt;/p&gt;</text>
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              <text>Sydney Maltese is a theater artist, legal advocate, and writer in Seattle. Right now, she is seeking to consume and produce more art at the intersection of queerness and disability. You can find her creative work onstage sometimes, in dusty notebooks, in USCIS filings, and in windowsill planters</text>
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                  <text>&lt;p&gt;This is a collection of all poems currently available to read in the Anthology. To browse poems by author identity tags, &lt;a href="https://waqueeranth.omeka.net/tag-index" target="_blank" rel="noreferrer noopener"&gt;visit the tag index&lt;/a&gt; or &lt;a href="https://waqueeranth.omeka.net/items/search" target="_blank" rel="noreferrer noopener"&gt;try our advanced search&lt;/a&gt;.&lt;/p&gt;</text>
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              <text>&lt;p&gt;As each note you play descends,&lt;/p&gt;
&lt;p&gt;               One by one, the staircase of my mind,&lt;/p&gt;
&lt;p&gt;                              I too am swept down, pulled along&lt;/p&gt;
&lt;p&gt;                                             As song you seem to find&lt;/p&gt;
&lt;p&gt;                                                            Effortlessly – floating, falling,&lt;/p&gt;
&lt;p&gt;                                             Weightless in our air; then plucked&lt;/p&gt;
&lt;p&gt;                              As ripe fruits from their branches,&lt;/p&gt;
&lt;p&gt;               Clandestine, somewhere deeply-tucked&lt;/p&gt;
&lt;p&gt;In forests dense as sound,&lt;/p&gt;
&lt;p&gt;               Deep as bass, and dimly-lighted –&lt;/p&gt;
&lt;p&gt;                              I wonder – In this song will I be found&lt;/p&gt;
&lt;p&gt;                                             At last, when we are no more unrequited?&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;&lt;p align="right"&gt;—&lt;a href="https://waqueeranth.omeka.net/items/show/714" target="_blank" rel="noreferrer noopener"&gt;Sydney Maltese&lt;/a&gt;&lt;/p&gt;</text>
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                  <text>&lt;p&gt;This is a collection of all authors who have contributed to the Anthology. To browse authors by identities, &lt;a href="https://waqueeranth.omeka.net/tag-index" target="_blank" rel="noreferrer noopener"&gt;visit the tag index&lt;/a&gt; or &lt;a href="https://waqueeranth.omeka.net/items/search" target="_blank" rel="noreferrer noopener"&gt;try our advanced search&lt;/a&gt;.&lt;/p&gt;</text>
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              <text>Patrick Gulke is an artist, raised in the Midwest, now living on an Island in the Puget Sound. His work has appeared in the Visual Poetry journals Miniature Forests and Otoliths. When not making art, he loves worrying about film and poetry.</text>
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              <text>&lt;ul&gt;&lt;li&gt;&lt;a href="https://waqueeranth.omeka.net/items/show/692"&gt;In his absence&lt;/a&gt;&lt;/li&gt;
&lt;li&gt;&lt;a href="https://waqueeranth.omeka.net/items/show/693"&gt;Repair&lt;/a&gt;&lt;/li&gt;
&lt;/ul&gt;</text>
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                  <text>&lt;p&gt;This is a collection of all poems currently available to read in the Anthology. To browse poems by author identity tags, &lt;a href="https://waqueeranth.omeka.net/tag-index" target="_blank" rel="noreferrer noopener"&gt;visit the tag index&lt;/a&gt; or &lt;a href="https://waqueeranth.omeka.net/items/search" target="_blank" rel="noreferrer noopener"&gt;try our advanced search&lt;/a&gt;.&lt;/p&gt;</text>
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              <text>&lt;p&gt;Steps      9, 000&lt;/p&gt;
&lt;p&gt;Miles      4&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Brush of ankle&lt;/p&gt;
&lt;p&gt;Hand on kidney&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Interval&lt;/p&gt;
&lt;p&gt;remember to breathe&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Patience&lt;/p&gt;
&lt;p&gt;Lay on top of&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Associate    dis&lt;/p&gt;
&lt;p&gt;Remember t    o breathe&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Stew&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Hunger      Hydrate&lt;/p&gt;
&lt;p&gt;Tears      Touch&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Dad car&lt;/p&gt;
&lt;p&gt;Dad’s car&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Ashes on route&lt;/p&gt;
&lt;p&gt;Pause    meter ticket&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Pause    (dog)&lt;/p&gt;
&lt;p&gt;Hand on&lt;/p&gt;
&lt;p&gt;Empty house&lt;/p&gt;
&lt;p&gt;Kidney&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Note on door&lt;/p&gt;
&lt;p&gt;“I’d leave my..”&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Repair&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Brush&lt;/p&gt;
&lt;p&gt;Ankle&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Hand on&lt;/p&gt;
&lt;p&gt;Milwaukee&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Island&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;9,494    steps&lt;/p&gt;
&lt;p&gt;1,980.8 miles&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;&lt;p align="right"&gt;—&lt;a href="https://waqueeranth.omeka.net/items/show/694" target="_blank" rel="noreferrer noopener"&gt;patrick gulke&lt;/a&gt;&lt;/p&gt;</text>
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                  <text>&lt;p&gt;This is a collection of all poems currently available to read in the Anthology. To browse poems by author identity tags, &lt;a href="https://waqueeranth.omeka.net/tag-index" target="_blank" rel="noreferrer noopener"&gt;visit the tag index&lt;/a&gt; or &lt;a href="https://waqueeranth.omeka.net/items/search" target="_blank" rel="noreferrer noopener"&gt;try our advanced search&lt;/a&gt;.&lt;/p&gt;</text>
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              <text>&lt;p&gt;In           In                I I      I&lt;/p&gt;
&lt;p&gt;   Fuck&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;In&lt;/p&gt;
&lt;p&gt;inhis ab           I           abs&lt;/p&gt;
&lt;p&gt;In his abs                     I      I&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;absinthe      In    we slip&lt;/p&gt;
&lt;p&gt;we           I sip           him&lt;/p&gt;
&lt;p&gt;voice his      abs him&lt;/p&gt;
&lt;p&gt;his absence   sense scent   scene&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Hold&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;wrist      (s) his&lt;/p&gt;
&lt;p&gt;head        i&lt;/p&gt;
&lt;p&gt;cradle           i      I           I cra&lt;/p&gt;
&lt;p&gt;(dull)      grey      his chest&lt;/p&gt;
&lt;p&gt;you                     we cre&lt;/p&gt;
&lt;p&gt;ate    In his      i      I&lt;/p&gt;
&lt;p&gt;eat&lt;/p&gt;
&lt;p&gt;you    place    where   i      wear    you&lt;/p&gt;
&lt;p&gt;he create      hole      allow&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;I place my small body over the hole&lt;/p&gt;
&lt;p&gt;left in his chest&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;left&lt;/p&gt;
&lt;p&gt;whole      his chest   small body&lt;/p&gt;
&lt;p&gt;he           he      I    In    In    over&lt;/p&gt;
&lt;p&gt;   Fuck&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;I      I&lt;/p&gt;
&lt;p&gt;he left&lt;/p&gt;
&lt;p&gt;you&lt;/p&gt;
&lt;p&gt;are here    i allow&lt;/p&gt;
&lt;p&gt;we sip    slip&lt;/p&gt;
&lt;p&gt;I cradle&lt;/p&gt;
&lt;p&gt;you allow.   you hold   abs      I    I      your abs&lt;/p&gt;
&lt;p&gt;in       I allow        sense&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;in his absence&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;I place my&lt;/p&gt;
&lt;p&gt;you allow&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;&lt;p align="right"&gt;—&lt;a href="https://waqueeranth.omeka.net/items/show/694" target="_blank" rel="noreferrer noopener"&gt;patrick gulke&lt;/a&gt;&lt;/p&gt;</text>
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                  <text>&lt;p&gt;This is a collection of all poems currently available to read in the Anthology. To browse poems by author identity tags, &lt;a href="https://waqueeranth.omeka.net/tag-index" target="_blank" rel="noreferrer noopener"&gt;visit the tag index&lt;/a&gt; or &lt;a href="https://waqueeranth.omeka.net/items/search" target="_blank" rel="noreferrer noopener"&gt;try our advanced search&lt;/a&gt;.&lt;/p&gt;</text>
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              <text>&lt;p align="center" style="text-align:left;"&gt;&lt;i&gt;*Note: Because of the formatting of this poem, it cannot be displayed on screen. Please read it as a PDF, accessible via the Files.&lt;/i&gt;&lt;/p&gt;
&lt;p align="right" style="text-align:left;"&gt;Author: &lt;a href="https://waqueeranth.omeka.net/items/show/417" target="_blank" rel="noreferrer noopener"&gt;Winson Law (he/him)&lt;/a&gt;&lt;/p&gt;</text>
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                  <text>&lt;p&gt;This is a collection of all authors who have contributed to the Anthology. To browse authors by identities, &lt;a href="https://waqueeranth.omeka.net/tag-index" target="_blank" rel="noreferrer noopener"&gt;visit the tag index&lt;/a&gt; or &lt;a href="https://waqueeranth.omeka.net/items/search" target="_blank" rel="noreferrer noopener"&gt;try our advanced search&lt;/a&gt;.&lt;/p&gt;</text>
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              <text>Patrick Milian is a queer, Cuban American writer and teacher based in Seattle. He holds an MFA in Creative Writing and a PhD in English Literature from the University of Washington, where he was also a Joff Hanauer Fellow at the Simpson Center for the Humanities. He’s tenured faculty in English at Green River College. He is the author of The Unquiet Country, from Entre Ríos Books, and the chapbook Pornographies, from Greying Ghost. His work has appeared in Poetry Magazine, Gulf Coast, Mid-American Review, Denver Quarterly, and elsewhere.</text>
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              <text>&lt;ul&gt;&lt;li&gt;&lt;a href="https://waqueeranth.omeka.net/items/show/651"&gt;You See Me&lt;/a&gt;&lt;/li&gt;
&lt;li&gt;&lt;a href="https://waqueeranth.omeka.net/items/show/652"&gt;An Unquiet Symptom&lt;/a&gt;&lt;/li&gt;
&lt;/ul&gt;</text>
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                  <text>&lt;p&gt;This is a collection of all poems currently available to read in the Anthology. To browse poems by author identity tags, &lt;a href="https://waqueeranth.omeka.net/tag-index" target="_blank" rel="noreferrer noopener"&gt;visit the tag index&lt;/a&gt; or &lt;a href="https://waqueeranth.omeka.net/items/search" target="_blank" rel="noreferrer noopener"&gt;try our advanced search&lt;/a&gt;.&lt;/p&gt;</text>
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              <text>&lt;p&gt;              &lt;em&gt;wherein they critically break out with harsh Hairs on their Backs, which takes off the unquiet Symptoms of the Disease, and delivers them from Coughs and Convulsions&lt;/em&gt;&lt;/p&gt;
&lt;p&gt;                           —Thomas Browne, 1690&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;It makes sense to me to taxonomize pain&lt;/p&gt;
&lt;p&gt;by how you hear it. Some hurt&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;pushes out of the body cacophonously:&lt;/p&gt;
&lt;p&gt;sounds of expulsion, like lungs&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;blowing out fluid, or a brain,&lt;/p&gt;
&lt;p&gt;hot with throb, letting loose a moan&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;that carries some out on its back.&lt;/p&gt;
&lt;p&gt;But it’s quiet as a night full of thieves&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;when the test comes back positive.&lt;/p&gt;
&lt;p&gt;Another question of semiotics,&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;like how we trust raw footage&lt;/p&gt;
&lt;p&gt;more than a painting—the reality of both&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;the light and the eyes squinting&lt;/p&gt;
&lt;p&gt;to keep the light out. They caught it&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;on camera when the museum visitor&lt;/p&gt;
&lt;p&gt;went berserk on a painting.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;First, she clawed at it. Next,&lt;/p&gt;
&lt;p&gt;she took off her clothes and rubbed&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;her body all over it, almost&lt;/p&gt;
&lt;p&gt;as if she was trying to get inside&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;the wall-sized canvas. Reports indicate&lt;/p&gt;
&lt;p&gt;she then peed on the floor,&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;staining the $30 million work.&lt;/p&gt;
&lt;p&gt;I think of that splatter, the sputtering&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;sound it must have made as she left&lt;/p&gt;
&lt;p&gt;a bright trace of herself,&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;when I find her mugshot online.&lt;/p&gt;
&lt;p&gt;There’s a huge, gleaming diamond&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;tattooed on her throat. The pain&lt;/p&gt;
&lt;p&gt;of the needle that worked over her&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;voicebox has fallen almost silent.&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;&lt;p align="right"&gt;—&lt;a href="https://waqueeranth.omeka.net/items/show/653" target="_blank" rel="noreferrer noopener"&gt;Patrick Milian (he/him)&lt;/a&gt;&lt;/p&gt;</text>
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                <text>An Unquiet Symptom</text>
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                  <text>&lt;p&gt;This is a collection of all poems currently available to read in the Anthology. To browse poems by author identity tags, &lt;a href="https://waqueeranth.omeka.net/tag-index" target="_blank" rel="noreferrer noopener"&gt;visit the tag index&lt;/a&gt; or &lt;a href="https://waqueeranth.omeka.net/items/search" target="_blank" rel="noreferrer noopener"&gt;try our advanced search&lt;/a&gt;.&lt;/p&gt;</text>
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              <text>&lt;p&gt;One of the first stops&lt;/p&gt;
&lt;p&gt;           on the tour is the royal family’s&lt;/p&gt;
&lt;p&gt;                      glass collection—crystal birdcages.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;clocks with translucent mechanisms,&lt;/p&gt;
&lt;p&gt;           chimes, tureens, and snuff boxes—&lt;/p&gt;
&lt;p&gt;                      so clear it’s like looking at nothing&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;but heat. No one in my family&lt;/p&gt;
&lt;p&gt;           wants my dead grandmother’s glass collection,&lt;/p&gt;
&lt;p&gt;                      which is just a calamity of gravy boats&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;and ramekins she got from a catalog&lt;/p&gt;
&lt;p&gt;           a century ago and kept in the attic&lt;/p&gt;
&lt;p&gt;                      until she found her husband hanging&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;from a bowed rafter. Since then,&lt;/p&gt;
&lt;p&gt;           every piece has somehow survived&lt;/p&gt;
&lt;p&gt;                      while all the husbands, uncles, and brothers&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;have died young and starving,&lt;/p&gt;
&lt;p&gt;           lost in the belly of a forest no one can see.&lt;/p&gt;
&lt;p&gt;                      When your body warns you not to overstay&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;your welcome, listen for the harmony,&lt;/p&gt;
&lt;p&gt;           not the melody, and that’s all there is&lt;/p&gt;
&lt;p&gt;                      to divining. Put the song back&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;together splendidly to compensate&lt;/p&gt;
&lt;p&gt;           for the shattered prayer it once was.&lt;/p&gt;
&lt;p&gt;                      Both Boulanger sisters wrote unfinished operas&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;about princesses poised to inherit the whole ruined place.&lt;/p&gt;
&lt;p&gt;           The kings and queens went insane&lt;/p&gt;
&lt;p&gt;                      with their own unlikelihood.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;I thought I was seeing the semi-circular wing&lt;/p&gt;
&lt;p&gt;           of a moth orchid on the ground,&lt;/p&gt;
&lt;p&gt;                      but when I touched it—gummy&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;and a little hairy—I realized&lt;/p&gt;
&lt;p&gt;           it was a disposable electrode.&lt;/p&gt;
&lt;p&gt;                      There’s something to be said here&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;about the visible world, about devices&lt;/p&gt;
&lt;p&gt;           that look like flowers that look like insects&lt;/p&gt;
&lt;p&gt;                      that look into the abdomens of sick people,&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;but how boring to open this up&lt;/p&gt;
&lt;p&gt;           and let out an epiphany.&lt;/p&gt;
&lt;p&gt;                      All the hospital beds are pointed feet-first&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;at televisions playing the same story.&lt;/p&gt;
&lt;p&gt;           &lt;em&gt;Tell me about your family history,&lt;/em&gt; they ask.&lt;/p&gt;
&lt;p&gt;                      All I can hear is my mother’s voice,&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;soft as the ringback you hear while waiting&lt;/p&gt;
&lt;p&gt;           for someone to pick up the phone,&lt;/p&gt;
&lt;p&gt;                      that gentle tremolo of major thirds:&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;B♭, D / B♭, D / B♭, D&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;&lt;em&gt;That man they found hanging in the attic,&lt;/em&gt; she says,&lt;/p&gt;
&lt;p&gt;           &lt;em&gt;wasn’t my father. He was just some guy.&lt;/em&gt;&lt;/p&gt;
&lt;p&gt;                      &lt;em&gt;He could’ve been anyone.&lt;/em&gt;&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;The bloodline isn’t&lt;/p&gt;
&lt;p&gt;           a strung bow; it doesn’t tense up&lt;/p&gt;
&lt;p&gt;                      when you pull it toward you.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;It’s a sewing circle without thread:&lt;/p&gt;
&lt;p&gt;           punctured, punctured, unfixed.&lt;/p&gt;
&lt;p&gt;                      The body isn’t so precious&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;of a metal as you might think.&lt;/p&gt;
&lt;p&gt;           But be careful. Some of its edges are sharp&lt;/p&gt;
&lt;p&gt;                      where the old soul calved away.&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;&lt;p align="right"&gt;—&lt;a href="https://waqueeranth.omeka.net/items/show/653" target="_blank" rel="noreferrer noopener"&gt;Patrick Milian (he/him)&lt;/a&gt;&lt;/p&gt;</text>
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                  <text>&lt;p&gt;This is a collection of all poems currently available to read in the Anthology. To browse poems by author identity tags, &lt;a href="https://waqueeranth.omeka.net/tag-index" target="_blank" rel="noreferrer noopener"&gt;visit the tag index&lt;/a&gt; or &lt;a href="https://waqueeranth.omeka.net/items/search" target="_blank" rel="noreferrer noopener"&gt;try our advanced search&lt;/a&gt;.&lt;/p&gt;</text>
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              <text>&lt;p&gt;He turned to me, eyes still closed in sleep&lt;/p&gt;
&lt;p&gt;And said&lt;/p&gt;
&lt;p&gt;They might be wrong about how far away we are from the sun&lt;/p&gt;
&lt;p&gt;I walked to the sun and back&lt;/p&gt;
&lt;p&gt;Counting every step just for him&lt;/p&gt;
&lt;p&gt;To prove that they were&lt;/p&gt;
&lt;p&gt;In fact&lt;/p&gt;
&lt;p&gt;Wrong about the distance from the sun&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;&lt;p align="right"&gt;—&lt;a href="https://waqueeranth.omeka.net/items/show/647" target="_blank" rel="noreferrer noopener"&gt;Allen Cruz (he/him)&lt;/a&gt;&lt;/p&gt;</text>
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              <text>&lt;p&gt;Allen is an up and coming Puerto Rican writer who refuses to stick to one medium– or identify as a poet. His work seeks to encapulate the raw emotions of a childhood in Texas, adolescent experiences with complex trauma, and life after moving to a new coast. While most of his work remains unshared, you can find snippets on Tumblr as alanalytical. When he's not writing or reading, you can find him on LinkedIn under the same username.&lt;/p&gt;</text>
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              <text>&lt;ul&gt;&lt;li&gt;&lt;a href="https://waqueeranth.omeka.net/items/show/648" target="_blank" rel="noreferrer noopener"&gt;Helios&lt;/a&gt;&lt;/li&gt;
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              <text>&lt;p&gt;The ordinary ones&lt;/p&gt;
&lt;p&gt;Move in a pack&lt;/p&gt;
&lt;p&gt;Callous/calloused and cruel&lt;/p&gt;
&lt;p&gt;Aloof and unfeeling&lt;/p&gt;
&lt;p&gt;I long to be part&lt;/p&gt;
&lt;p&gt;But, they see something in/about me&lt;/p&gt;
&lt;p&gt;I don't see or understand.&lt;/p&gt;
&lt;p&gt;I smile &amp;amp; try&lt;/p&gt;
&lt;p&gt;And it scares them.&lt;/p&gt;
&lt;p&gt;So I retreat into my&lt;/p&gt;
&lt;p&gt;Tender&lt;/p&gt;
&lt;p&gt;Sweet&lt;/p&gt;
&lt;p&gt;World of powder pink dreams&lt;/p&gt;
&lt;p&gt;Where everyone is kind&lt;/p&gt;
&lt;p&gt;And sing and dance&lt;/p&gt;
&lt;p&gt;And share.&lt;/p&gt;
&lt;p&gt;But, I stand alone&lt;/p&gt;
&lt;p&gt;Wings clipped.&lt;/p&gt;
&lt;p&gt;Fairy dust jarred.&lt;/p&gt;
&lt;p&gt;Buck up buttercup.&lt;/p&gt;
&lt;p&gt;I lower my voice&lt;/p&gt;
&lt;p&gt;And make no eye contact.&lt;/p&gt;
&lt;p&gt;Maybe I'll pass.&lt;/p&gt;
&lt;p&gt;But, the soft fragile glitter fueled boy still lives within me.&lt;/p&gt;
&lt;p&gt;So, today.&lt;/p&gt;
&lt;p&gt;Just for today.&lt;/p&gt;
&lt;p&gt;I am OK with that.&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;&lt;p align="right"&gt;—&lt;a href="https://waqueeranth.omeka.net/items/show/644" target="_blank" rel="noreferrer noopener"&gt;Dana Snyder&lt;/a&gt;&lt;/p&gt;</text>
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              <text>lack of acceptance</text>
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                  <text>&lt;p&gt;This is a collection of all authors who have contributed to the Anthology. To browse authors by identities, &lt;a href="https://waqueeranth.omeka.net/tag-index" target="_blank" rel="noreferrer noopener"&gt;visit the tag index&lt;/a&gt; or &lt;a href="https://waqueeranth.omeka.net/items/search" target="_blank" rel="noreferrer noopener"&gt;try our advanced search&lt;/a&gt;.&lt;/p&gt;</text>
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              <text>&lt;p&gt;Dana Snyder he/him/gay/fae 62 years young.&lt;/p&gt;
&lt;p&gt;Loves Writing!&lt;/p&gt;
&lt;p&gt;Worked at Disney/Epcot&lt;/p&gt;
&lt;p&gt;for 8 years as a performer. Mostly known for playing "TIGGER" and Peter Pan.&lt;/p&gt;
&lt;p&gt;Broadway/Theater&lt;/p&gt;
&lt;p&gt;Involved with over 100 productions.&lt;/p&gt;
&lt;p&gt;Inspirations:&lt;/p&gt;
&lt;p&gt;Krofft shows&lt;/p&gt;
&lt;p&gt;Sid Krofft is my fairy Godfather!&lt;/p&gt;
&lt;p&gt;Fairy tales and fairy tale retellings&lt;/p&gt;
&lt;p&gt;All forms of Theater/Dance and Music.&lt;/p&gt;
&lt;p&gt;But My true Joy is my Beloved Hubby Bobby!&lt;/p&gt;
&lt;p&gt;My Happily Ever After for 30 years now!&lt;/p&gt;
&lt;p&gt;I hope you enjoy my work!&lt;/p&gt;</text>
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              <text>&lt;ul&gt;&lt;li&gt;&lt;a href="https://waqueeranth.omeka.net/items/show/645" target="_blank" rel="noreferrer noopener"&gt;Ballad of a Soft Hearted Boy&lt;/a&gt;&lt;/li&gt;
&lt;li&gt;&lt;a href="https://waqueeranth.omeka.net/items/show/646" target="_blank" rel="noreferrer noopener"&gt;Gentle Genders&lt;/a&gt;&lt;/li&gt;
&lt;/ul&gt;</text>
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                  <text>&lt;p&gt;This is a collection of all poems currently available to read in the Anthology. To browse poems by author identity tags, &lt;a href="https://waqueeranth.omeka.net/tag-index" target="_blank" rel="noreferrer noopener"&gt;visit the tag index&lt;/a&gt; or &lt;a href="https://waqueeranth.omeka.net/items/search" target="_blank" rel="noreferrer noopener"&gt;try our advanced search&lt;/a&gt;.&lt;/p&gt;</text>
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              <text>&lt;p&gt;But for her, I am only disappearing here. Cotton wads or sugar cubes bought specially, for if&lt;/p&gt;
&lt;p&gt;I see her again and she wants some. The novelty, the invention. Actually, the years collapse&lt;/p&gt;
&lt;p&gt;and research is only so much distance, I’m only assuming they existed. A luxury perhaps, or&lt;/p&gt;
&lt;p&gt;something the vet carried. It actually wasn’t until 1937 or 1923 or later in the 1800s I guess,&lt;/p&gt;
&lt;p&gt;I don’t know what past I’m aiming for. To be useful to her, to have a thought in her care.&lt;/p&gt;
&lt;p&gt;Maybe it’s a timeless kind of longing. The vet more important than a doctor, till an accident I&lt;/p&gt;
&lt;p&gt;suppose, till children and it’s whatever the men say, I keep to myself. I feel they feel I should&lt;/p&gt;
&lt;p&gt;understand what he’s doing but I’m something secretly unwomanlike, when he calls I feel&lt;/p&gt;
&lt;p&gt;outside and left-footed. Somewhere else lingers on me too. Elsewise everyone with rapid hands&lt;/p&gt;
&lt;p&gt;and matter-of-fact barns, they settle and settle and carry nothing with them, carry their ways&lt;/p&gt;
&lt;p&gt;as if they are the world. They’re raising further up the valley, they’re clearing and calling, flour&lt;/p&gt;
&lt;p&gt;and cattle in hand. I stand blousy in my cotton trousers and sweat from my nose. The heat only&lt;/p&gt;
&lt;p&gt;awkwardly on me and the cold much the same. We are some the same, I’d say to her. Standing a&lt;/p&gt;
&lt;p&gt;little taller, look up into my face. And here, take what you want. Yes it’s true. My unknowing&lt;/p&gt;
&lt;p&gt;limbs. I don’t know what the vet needs or when to call for him. Who would I have sent word&lt;/p&gt;
&lt;p&gt;with, who can step like kin across my door. I’d rather sink under history, my living beneath&lt;/p&gt;
&lt;p&gt;scrutiny, who could know what to do with kitchens and beds. I call no one to supper, my bread&lt;/p&gt;
&lt;p&gt;stays flat in my hand.&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;&lt;p align="right"&gt;—&lt;a href="https://waqueeranth.omeka.net/items/show/631" target="_blank" rel="noreferrer noopener"&gt;Clare Johnson&lt;/a&gt;&lt;br /&gt;&lt;em&gt;Earlier versions of Unnamed and Unwomanlike were published together as part of "I Imagine I Come From Somewhere" in &lt;/em&gt;quiet Shorts&lt;em&gt; Vol. I, Issue 4, Winter 2011.&lt;/em&gt;&lt;/p&gt;</text>
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        <name>Author Tag: dyke</name>
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        <name>Author Tag: low-income</name>
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                  <text>&lt;p&gt;This is a collection of all poems currently available to read in the Anthology. To browse poems by author identity tags, &lt;a href="https://waqueeranth.omeka.net/tag-index" target="_blank" rel="noreferrer noopener"&gt;visit the tag index&lt;/a&gt; or &lt;a href="https://waqueeranth.omeka.net/items/search" target="_blank" rel="noreferrer noopener"&gt;try our advanced search&lt;/a&gt;.&lt;/p&gt;</text>
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              <text>&lt;p&gt;In that time a father just shifts, or maybe it’s mothers, or who knows anyone really.&lt;/p&gt;
&lt;p&gt;He teaches you some and holding an axe, before he peels away too, before the woods&lt;/p&gt;
&lt;p&gt;always belonged to someone and you have to look for work. It’s in the woods when you can&lt;/p&gt;
&lt;p&gt;and otherwise the fruit, get a little more if you set the ladders. You’re a slight stub when&lt;/p&gt;
&lt;p&gt;someone calls you a man but you thought you had so much growing before that. Or it’s just&lt;/p&gt;
&lt;p&gt;a fact, passed around from house to house. He’s only gone for poaching or some new woman.&lt;/p&gt;
&lt;p&gt;I’m not sure there’s such a thing as childhood then. He’s not your father quite just like a man&lt;/p&gt;
&lt;p&gt;knew your ma. You could set together some or learn a garden, you would work in the fruit and&lt;/p&gt;
&lt;p&gt;then a little bigger in the woods or selling, maybe it’s my imagination failing, maybe you laugh&lt;/p&gt;
&lt;p&gt;like a kid anyway and your garden pays for the school clothes is just oh that’s just how it was.&lt;/p&gt;
&lt;p&gt;Who pays for the house, or are you moving place to place still. The other men just men but you&lt;/p&gt;
&lt;p&gt;lower your lashes a breath, just so, I want the houses to empty as you grow, relations blankly&lt;/p&gt;
&lt;p&gt;peeled off in the woods. You blessedly beneath anyone’s notice. That father quick before he&lt;/p&gt;
&lt;p&gt;moved on, or your mother even, easy this one time as there’s no futures to worry, soon nothing&lt;/p&gt;
&lt;p&gt;shared. He’s setting a moment soon to thump the door, soon to grow you up that slow inch more.&lt;/p&gt;
&lt;p&gt;He’d pinch you off by habit but for leaving. There’s no reason to get real close. This is how I’m&lt;/p&gt;
&lt;p&gt;going to give you a future near impossible, a natural neglect that lets you bolt, you flower. Say&lt;/p&gt;
&lt;p&gt;that father never named it, maybe he says uncaring a little laugh, you’re the only one I ever seen.&lt;/p&gt;
&lt;p&gt;Be damned, laughing easing this one time, if you aren’t the only one I knew. Hold my future&lt;/p&gt;
&lt;p&gt;breath and wandering him carelessly out the door and bolt that door too. Later and looking&lt;/p&gt;
&lt;p&gt;over your shoulder a little but why not with another man, you find some words for each other&lt;/p&gt;
&lt;p&gt;later. When you are really grown, when this other flowered man asks somehow and puts his&lt;/p&gt;
&lt;p&gt;hand right there, just so.&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;&lt;p align="right"&gt;—&lt;a href="https://waqueeranth.omeka.net/items/show/631" target="_blank" rel="noreferrer noopener"&gt;Clare Johnson&lt;/a&gt;&lt;br /&gt;&lt;em&gt;Earlier versions of Unnamed and Unwomanlike were published together as part of "I Imagine I Come From Somewhere" in&lt;span&gt; &lt;/span&gt;&lt;/em&gt;&lt;span&gt;quiet Shorts&lt;/span&gt;&lt;em&gt;&lt;span&gt; &lt;/span&gt;Vol. I, Issue 4, Winter 2011.&lt;/em&gt;&lt;/p&gt;</text>
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              <text>&lt;p&gt;Clare Johnson is a multidisciplinary writer + visual artist interested in celebrating overlooked spaces and histories, opening up connections/empathy by fostering intimacy in places we usually share anonymously. Honors include fellowships from Jack Straw, Hugo House and Crosstown Arts; residencies at Mineral School, Surel’s Place and James Castle House; and publications including Seattle’s Department of Neighborhoods' &lt;em&gt;Seattle Histories&lt;/em&gt; series, where you can find her &lt;a href="https://frontporch.seattle.gov/2022/04/18/seattle-histories-we-all-have-different-memories/"&gt;lyric essay about growing up queer on Capitol Hill&lt;/a&gt; during the AIDS crisis in the 1980s and 90s. Recent public art projects include a &lt;a href="https://artbeat.seattle.gov/2022/10/04/art-interruptions-2022-explores-history-connection-and-portraiture-along-delridge-highland-park-neighborhood-greenway/"&gt;scavenger hunt of art on the backs of traffic signs&lt;/a&gt; (currently viewable in West Seattle), a mural around the entrance of DESC's Bloomside permanent supportive housing in Burien, and window art in Cal Anderson Park about HIV and family (the originals from which are on display at Gay City: Seattle's LGBTQ+ Center). Her recently completed hybrid manuscript, &lt;em&gt;Will I live here when I grow up&lt;/em&gt;, mixes poetry, memoir, art, family stories and lost queer histories. For almost two decades Clare has also drawn/written on a post-it every night to hold onto something from each ending day, making over 6,000 pieces so far, which were excerpted for years in a monthly &lt;a href="https://seattlereviewofbooks.com/writers/clare-johnson/"&gt;Seattle Review of Books lyric essay column&lt;/a&gt;. Her new lyric memoir piece for &lt;a href="https://trailoffquicklook.com/2024/09/06/theres-a-lot-i-dont-know-clare-johnson/"&gt;TrailOff&lt;/a&gt;, an app combining stories with tailor-made walking routes and sound design, is available for free to experience in Seattle. &lt;a href="https://www.instagram.com/clare.e.johnson"&gt;Follow Clare on IG&lt;/a&gt; for more work and projects.&lt;/p&gt;</text>
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              <text>&lt;ul&gt;&lt;li&gt;&lt;a href="https://waqueeranth.omeka.net/items/show/632" target="_blank" rel="noreferrer noopener"&gt;Unnamed&lt;/a&gt;&lt;/li&gt;
&lt;li&gt;&lt;a href="https://waqueeranth.omeka.net/items/show/633" target="_blank" rel="noreferrer noopener"&gt;Unwomanlike&lt;/a&gt;&lt;/li&gt;
&lt;li&gt;&lt;a href="https://waqueeranth.omeka.net/items/show/720"&gt;There's Something Else&lt;/a&gt;&lt;/li&gt;
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              <text>&lt;p&gt;To the little boy who unabashedly loved The Little Mermaid,&lt;/p&gt;
&lt;p&gt;one day you will find your safe people.&lt;/p&gt;
&lt;p&gt;To the kid who changed schools four times before the age of 10,&lt;/p&gt;
&lt;p&gt;one day you will find your safe people.&lt;/p&gt;
&lt;br /&gt;&lt;p align="right"&gt;Slowly but surely the safe people will start to appear,&lt;/p&gt;
&lt;p align="right"&gt;teaching you that your identity is nothing to fear.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;To the tenderhearted teenager tormented by the tenets of toxic masculinity,&lt;/p&gt;
&lt;p&gt;one day you will find your safe people.&lt;/p&gt;
&lt;p&gt;To the closeted college student made to feel it’d be better if he no longer existed,&lt;/p&gt;
&lt;p&gt;one day you will find your safe people.&lt;/p&gt;
&lt;br /&gt;&lt;p align="right"&gt;Safe people teach you that you are worthy, purely because you exist,&lt;/p&gt;
&lt;p align="right"&gt;safe people teach you how to fight for yourself, teach you how to resist.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;To the perfectionist social worker battling his own undiagnosed anxiety,&lt;/p&gt;
&lt;p&gt;one day you will find your safe people.&lt;/p&gt;
&lt;p&gt;To the young adult imprisoned by internalized homophobia and religious trauma,&lt;/p&gt;
&lt;p&gt;one day you will find your safe people.&lt;/p&gt;
&lt;br /&gt;&lt;p align="right"&gt;Safe people will flock to the truest version you share,&lt;/p&gt;
&lt;p align="right"&gt;safe people will listen with empathy and go out of their way to show how much they care.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;To the guy in his mid-20s abandoned by his community after openly expressing his queerness,&lt;/p&gt;
&lt;p&gt;one day you will find your safe people.&lt;/p&gt;
&lt;p&gt;To the 30 year old man ashamed of the body he sees in the mirror,&lt;/p&gt;
&lt;p&gt;one day you will find your safe people.&lt;/p&gt;
&lt;br /&gt;&lt;p align="right"&gt;Safe people empower you to break out of your comfort zone and grow,&lt;/p&gt;
&lt;p align="right"&gt;safe people are in your corner for both the highs and the lows.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;To the author of this poem, take a deep breath and exhale now,&lt;/p&gt;
&lt;p&gt;Your beautiful collection of safe people has finally been found.&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;&lt;p align="right"&gt;—&lt;a href="https://waqueeranth.omeka.net/items/show/615" target="_blank" rel="noreferrer noopener"&gt;Jeff D'Angelo (he/him)&lt;/a&gt;&lt;/p&gt;</text>
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              <text>&lt;p&gt;Jeff is a pediatric nurse by day and neurodivergent creative by night. Over the past three years, Jeff has explored a variety of methods for storytelling through classes at Hugo House including poetry, fiction and memoir. Jeff is a Seattle native, graduate of the University of Washington and has worked in healthcare since 2012, first as a mental health social worker and now a nurse. Outside of work, Jeff performs and teaches improv classes at Bandit Theater. His other hobbies include exploring various forms of dance, going to local drag shows, solo traveling and being “Uncle Jeff” to the children in his life.&lt;/p&gt;</text>
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              <text>&lt;p&gt;Forgive me, I wanted some company.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;You worry I will veil myself in filmed garments&lt;/p&gt;
&lt;p&gt;from the back of my childhood drawers,&lt;/p&gt;
&lt;p&gt;the stuff of dreams — my dreams.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;I make you a promise, that line about history:&lt;/p&gt;
&lt;p&gt;History won't repeat itself, but it might rhyme.&lt;/p&gt;
&lt;p&gt;You love me, so you don't puncture&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;my flimsy logic that treats the past&lt;/p&gt;
&lt;p&gt;as a blueprint for the present as the future&lt;/p&gt;
&lt;p&gt;remains unscathed and new.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;I know it, so I guide you to the table,&lt;/p&gt;
&lt;p&gt;pads pressed to your budding blades,&lt;/p&gt;
&lt;p&gt;my rosy guest of honor.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;We heard this chapter&lt;/p&gt;
&lt;p&gt;would rewind our years, re-peach&lt;/p&gt;
&lt;p&gt;our perimeters, bristle our masks.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Yes, and.&lt;/p&gt;
&lt;p&gt;As I ripen, a former self inside me&lt;/p&gt;
&lt;p&gt;rudely ashes.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Can I cradle myself&lt;/p&gt;
&lt;p&gt;both in Becoming and Ending&lt;/p&gt;
&lt;p&gt;while weaving you into the flamestitch&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;of my family? My best stories,&lt;/p&gt;
&lt;p&gt;I've told you once, a thousand times.&lt;/p&gt;
&lt;p&gt;So you know. You know the milk,&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;wine, and honey is milk, wine, and&lt;/p&gt;
&lt;p&gt;honey but sometimes it precedes a&lt;/p&gt;
&lt;p&gt;Slaughter.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Still, we dine, gorging on pretense:&lt;/p&gt;
&lt;p&gt;the wayward 'daughter' and her&lt;/p&gt;
&lt;p&gt;hard-angled lover.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;In my bedroom, I mime her, that ashen girl&lt;/p&gt;
&lt;p&gt;inside of me. Trace the periphery of&lt;/p&gt;
&lt;p&gt;need. Limbo my fingers near your thighs&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;hot as Helios, burned-up as Hades. Then gift&lt;/p&gt;
&lt;p&gt;you my archives, soft and unburied.&lt;/p&gt;
&lt;p&gt;Your hands move mine&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;through an impassable gate. Rhyming my past&lt;/p&gt;
&lt;p&gt;with such slant, skilled revisions.&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;&lt;p align="right"&gt;—&lt;a href="https://waqueeranth.omeka.net/items/show/607" target="_blank" rel="noreferrer noopener"&gt;Britt Clair&lt;/a&gt;&lt;/p&gt;</text>
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                <text>KATABASIS, or GAY BRINGS LOVER HOME</text>
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                  <text>&lt;p&gt;This is a collection of all authors who have contributed to the Anthology. To browse authors by identities, &lt;a href="https://waqueeranth.omeka.net/tag-index" target="_blank" rel="noreferrer noopener"&gt;visit the tag index&lt;/a&gt; or &lt;a href="https://waqueeranth.omeka.net/items/search" target="_blank" rel="noreferrer noopener"&gt;try our advanced search&lt;/a&gt;.&lt;/p&gt;</text>
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              <text>&lt;p&gt;Britt Clair is a writer, facilitator, and teaching artist. They run Artists&amp;amp;&amp;amp;, an event series in WA and BC that platforms LGBTQIA+ artists across disciplines (and-and.ca). They recently received a CCA grant to support the completion of their lyrical memoir, Queer Time. More at: brittclair.com.&lt;/p&gt;</text>
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              <text>&lt;ul&gt;&lt;li&gt;&lt;a href="https://waqueeranth.omeka.net/items/show/608" target="_blank" rel="noreferrer noopener"&gt;KATABASIS, or GAY BRINGS LOVER HOME&lt;/a&gt;&lt;/li&gt;
&lt;/ul&gt;</text>
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                  <text>&lt;p&gt;This is a collection of all poems currently available to read in the Anthology. To browse poems by author identity tags, &lt;a href="https://waqueeranth.omeka.net/tag-index" target="_blank" rel="noreferrer noopener"&gt;visit the tag index&lt;/a&gt; or &lt;a href="https://waqueeranth.omeka.net/items/search" target="_blank" rel="noreferrer noopener"&gt;try our advanced search&lt;/a&gt;.&lt;/p&gt;</text>
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              <text>&lt;p&gt;in late summer&lt;/p&gt;
&lt;p&gt;nature bodies beautiful&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;we walk sandy bottom trails&lt;/p&gt;
&lt;p&gt;willow thickets spit out&lt;/p&gt;
&lt;p&gt;sun cliff tower walls&lt;/p&gt;
&lt;p&gt;still we go deeper&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;salt water lips we swim&lt;/p&gt;
&lt;p&gt;muskgrass swaying in stream&lt;/p&gt;
&lt;p&gt;wet rainbows quiver we glimpse&lt;/p&gt;
&lt;p&gt;warm shallow ripples&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;we roll on dunes curving down&lt;/p&gt;
&lt;p&gt;large bodies burnt brown bent up&lt;/p&gt;
&lt;p&gt;soft red glinting in river silt lines&lt;/p&gt;
&lt;p&gt;that gorge bottom sound&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;recreational pleasure please&lt;/p&gt;
&lt;p&gt;watch us&lt;/p&gt;
&lt;p&gt;hard and touch us&lt;/p&gt;
&lt;p&gt;gentle&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;dark forests dive&lt;/p&gt;
&lt;p&gt;    deep down parted mounds&lt;/p&gt;
&lt;p&gt;wood muscle moss&lt;/p&gt;
&lt;p&gt;bush silvered gloss&lt;/p&gt;
&lt;p&gt;cedar grain aged lines&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;an imp among&lt;/p&gt;
&lt;p&gt;woodland creatures offers&lt;/p&gt;
&lt;p&gt;blackberries and beckoning&lt;/p&gt;
&lt;p&gt;eyes twinkle&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;stone worker builds&lt;/p&gt;
&lt;p&gt;pleasure gardens&lt;/p&gt;
&lt;p&gt;bodhi brings down&lt;/p&gt;
&lt;p&gt;the sky rings&lt;/p&gt;
&lt;p&gt;truth off sun cliff&lt;/p&gt;
&lt;p&gt;tower wall echoes&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;over golden hour bottom showers&lt;/p&gt;
&lt;p&gt;slick soft river silt&lt;/p&gt;
&lt;p&gt;late summer nature bodies&lt;/p&gt;
&lt;p&gt;wood muscle moss&lt;/p&gt;
&lt;p&gt;holding and held&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;this orbit still spins&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;&lt;p align="right"&gt;—&lt;a href="https://waqueeranth.omeka.net/items/show/602" target="_blank" rel="noreferrer noopener"&gt;J. Turner Masland (he/him)&lt;/a&gt;&lt;/p&gt;</text>
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                <text>J. Turner Masland</text>
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        <name>Author Tag: activist</name>
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      <tag tagId="33">
        <name>Author Tag: Buddhist</name>
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      <tag tagId="34">
        <name>Author Tag: gay</name>
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      <tag tagId="43">
        <name>Author Tag: low-income</name>
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      <tag tagId="20">
        <name>Author Tag: neurodivergent</name>
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      <tag tagId="26">
        <name>Author Tag: queer</name>
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      <tag tagId="48">
        <name>Author Tag: Rural community member</name>
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      <tag tagId="22">
        <name>Author Tag: white</name>
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