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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>I’m a neurodivergent, chronically ill queer person and have lived in Bellingham, WA since 1996, when I was 18 years old. My great overarching special interest is food, and I cook and bake all manner of seasonal vegetarian food. I am also an avid motorcyclist, especially motocamping, and am working on becoming a published motorcycle travelogue author. In my spare time, I read a lot of nonfiction science and anthropology, as well as science fiction, classic literature, short stories, and poetry, including Spanish language poetry. When I was a child, on long car trips, I used to think the moon followed me home.</text>
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              <text>&lt;ul&gt;&lt;li&gt;&lt;a href="https://waqueeranth.omeka.net/items/show/749"&gt;love poem to the moon&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;I have been as full as your beauty&lt;/p&gt;
&lt;p&gt;since I met you.&lt;/p&gt;
&lt;p&gt;Now this glowing with your rays&lt;/p&gt;
&lt;p&gt;is all to me.&lt;/p&gt;
&lt;p&gt;Let me be your moon.&lt;/p&gt;
&lt;p&gt;Let me circle around your beauty&lt;/p&gt;
&lt;p&gt;in awe of the honor of spinning.&lt;/p&gt;
&lt;p&gt;Let me taste you like cream&lt;/p&gt;
&lt;p&gt;from the top of sunlight's milk.&lt;/p&gt;
&lt;p&gt;Let me feel your pull change&lt;/p&gt;
&lt;p&gt;the rhythms of my inner tides.&lt;/p&gt;
&lt;p&gt;Pull me in towards your deep,&lt;/p&gt;
&lt;p&gt;dry ocean of dreams.&lt;/p&gt;
&lt;p&gt;Let me come to you&lt;/p&gt;
&lt;p&gt;behind midnight clouds.&lt;/p&gt;
&lt;p&gt;Let me see you in secrecy.&lt;/p&gt;
&lt;p&gt;Do you sleep beneath those charcoal veils&lt;/p&gt;
&lt;p&gt;or when you hide from prying eyes,&lt;/p&gt;
&lt;p&gt;full in your newness?&lt;/p&gt;
&lt;p&gt;Let me slip into that dark with you,&lt;/p&gt;
&lt;p&gt;and sit by your side&lt;/p&gt;
&lt;p&gt;and strain to feel the moonbeams&lt;/p&gt;
&lt;p&gt;of your dreams.&lt;/p&gt;
&lt;p&gt;Let me sing you to sleep,&lt;/p&gt;
&lt;p&gt;for you have taught me to sing,&lt;/p&gt;
&lt;p&gt;singing softly in those silent moments&lt;/p&gt;
&lt;p&gt;alone with you, moon.&lt;/p&gt;
&lt;p&gt;Let me come to you nightly, like a lover.&lt;/p&gt;
&lt;p&gt;Let me read to you the poems&lt;/p&gt;
&lt;p&gt;you have written on my heart.&lt;/p&gt;
&lt;p&gt;Let me touch you, moon, that&lt;/p&gt;
&lt;p&gt;I might know you are true.&lt;/p&gt;
&lt;p&gt;Let your light stain my fingers&lt;/p&gt;
&lt;p&gt;and remain in my blood.&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;&lt;p align="right"&gt;—&lt;a href="https://waqueeranth.omeka.net/items/show/750"&gt;Cordelia Ridley, xe/xyr or they/them&lt;/a&gt;&lt;/p&gt;
&lt;p align="right"&gt;&lt;i&gt;Note: you can listen to this poem read by the author, accessible via the Files.&lt;/i&gt;&lt;/p&gt;</text>
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                <text>love poem to the moon</text>
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                <text>Cordelia Ridley, xe/xyr or they/them</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>Hello fellow human, I am Patricia, a proud enrolled member of the Makah Tribe, and a being who is working on becoming who/whatever I am here to be. I work in the realm of spirit in my private healing practice and find poetry a natural and easy companion there. Healing ancestral and generational wounds in myself and facilitating this work in/for others has become my life’s passion. When I’m not writing or doing soul midwife work you can find me keeping up with farm chores and tending to our garden as she grows.</text>
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              <text>&lt;ul&gt;&lt;li&gt;&lt;a href="https://waqueeranth.omeka.net/items/show/745"&gt;Pull Out in the Living Room&lt;/a&gt;&lt;/li&gt;
&lt;/ul&gt;</text>
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                <text>Patricia Buckingham (she/they)</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;I tucked you away so easily for thanksgiving&lt;/p&gt;
&lt;p&gt;you came back out when sickness brought&lt;/p&gt;
&lt;p&gt;more bodies than home had beds&lt;/p&gt;
&lt;p&gt;you came back out in necessity&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;needing to transform&lt;/p&gt;
&lt;p&gt;                                        once again&lt;/p&gt;
&lt;p&gt;                                                            into a space for healing&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;                                                                                                    for holding&lt;/p&gt;
&lt;p&gt;for three moons you have been out&lt;/p&gt;
&lt;p&gt;providing a respite cave for dog and child alike&lt;/p&gt;
&lt;p&gt;a place to lay down that isn’t bed&lt;/p&gt;
&lt;p&gt;that doesn’t feel like “going back to bed”&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;cuz I already did that&lt;/p&gt;
&lt;p&gt;got&lt;/p&gt;
&lt;p&gt;          out&lt;/p&gt;
&lt;p&gt;                    of&lt;/p&gt;
&lt;p&gt;                              bed&lt;/p&gt;
&lt;p&gt;today, once is enough&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;It feels like time for couch once again&lt;/p&gt;
&lt;p&gt;how do I know, shoulder shrug&lt;/p&gt;
&lt;p&gt;I just do&lt;/p&gt;
&lt;p&gt;keeping you out is feeling a bit stuck now&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;and putting you in feels way too much&lt;/p&gt;
&lt;p&gt;why does absolutely everything have to feel&lt;/p&gt;
&lt;p&gt;so big, heavy, impossible&lt;/p&gt;
&lt;p&gt;I know I could do it&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;I could take each blanket off&lt;/p&gt;
&lt;p&gt;wash the sheets&lt;/p&gt;
&lt;p&gt;fold everything up&lt;/p&gt;
&lt;p&gt;put it all away&lt;/p&gt;
&lt;p&gt;                         I could do that&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;I could fold you into yourself&lt;/p&gt;
&lt;p&gt;put your cushions back on&lt;/p&gt;
&lt;p&gt;cover you with something pretty&lt;/p&gt;
&lt;p&gt;pillow you a bit&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;I don’t want to though&lt;/p&gt;
&lt;p&gt;and I don’t want to be tough and power through&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;I wanna ask for help&lt;/p&gt;
&lt;p&gt;I wanna let someone help me&lt;/p&gt;
&lt;p&gt;I wanna let my people love me&lt;/p&gt;
&lt;p&gt;I wanna open up my heart and&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;                                                                 RECeiVE&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;so I’m gonna let someone else put you back up&lt;/p&gt;
&lt;p&gt;I’m gonna be okay going back to bed&lt;/p&gt;
&lt;p&gt;I’m gonna be okay getting up out of it as many times as it takes&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;and I am going to not be so strong&lt;/p&gt;
&lt;p&gt;practice is something I believe in&lt;/p&gt;
&lt;p&gt;and believing in something matters&lt;/p&gt;
&lt;p&gt;so I practice being soft, bending&lt;/p&gt;
&lt;p&gt;                                               like cedar bows dancing on wind.&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;&lt;p align="right"&gt;—&lt;a href="https://waqueeranth.omeka.net/items/show/746"&gt;Patricia Buckingham (she/they)&lt;/a&gt;&lt;/p&gt;</text>
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                <text>Pull Out in the Living Room</text>
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                <text>Patricia Buckingham (she/they)</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/469"&gt;Robin H&lt;/a&gt;&lt;/p&gt;</text>
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              <text>&lt;p&gt;Ching-In Chen is author of The Heart's Traffic: a novel in poems, recombinant (2018 Lambda Literary Award for Transgender Poetry) and Shiny City as well as chapbooks to make black paper sing and Kundiman for Kin :: Information Retrieval for Monsters. Chen is co-editor of The Revolution Starts at Home: Confronting Intimate Violence Within Activist Communities, Massage Parlor Organizing Project core member, Kelsey Street Press collective member and Airlie Press editor. They are collaborating with Cassie Mira and others on Breathing in a Time of Disaster, a performance, installation and speculative writing project exploring breath through meditation, health and environmental justice.&lt;/p&gt;</text>
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&lt;li&gt;&lt;a href="https://waqueeranth.omeka.net/items/show/702"&gt;Transfusion&lt;/a&gt;&lt;/li&gt;
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&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/704" target="_blank" rel="noreferrer noopener"&gt;Ching-In Chen (they/them)&lt;/a&gt;&lt;/p&gt;</text>
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              <text>&lt;p&gt;I trade for a minus tide which looks like we’re walking on moon. Green shrimp perch on fragile crater of dirt like entering world for first time. When you ask me where I’m from, I never say what I’m thinking. This mud covers my mouth at night, where I dream of missing my correct documents, not having affairs in order. I miss my step here and sink foot into muck, dipping past surface. Dream little fish drowning in my trousers, microbes biting skin. If I’m infected, I’ll shut door and pull blinds. I’ll keep eyes open as long as song spins.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;~&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;The artist has made a swirling square – a 20 x 17 inch black ink storm. The grass breathes each of our names, chanting to soft dirt. Circulation, soft, chime of throat. I trade swirling black-ink storm with cloud-like octopus ballooning across awakening sky. Water covered bits of ground I stood on yesterday when I soaked my shoes. Need to prepare, to upright and gather my own ship for this bright and biting future.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;~&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;I trade undersea green muck and moss with clean slate. Rain another threat, another law to cover sky. What can we dream of tomorrow, when our belts are even stricter, when our floor floods again. I am too often boxed in plastic, chilled, sodden tasting my own tongues. These days, I wait to breathe out front door, listening to trees flutter, waiting for them to sprout gifts.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;~&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;I trade a light blue full-belly sky. We sat in grass and twirled with wind and flower after visiting grand tree. Later in night, driving down tourist strip, we crave late-night fries, searching our pockets for errant coins. I feel mixed up in this box, trying to kickstart a low flame. I am only one this evening wearing mask, holding my breath porously. I’m thinking of what comes in, what goes out. I’m also waiting again for door to close so I can take down my face, lay down my hair.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;~&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;I trade another ink-black night with insistence on explaining everything. We could be light-diluted and sea-sparkling, asking for a thousand more decompositions from unfolding future. Instead an agitated sea of milk for at least 45 nights. You insist on slicking surface. The bacteria will grow again. I’m also keeping my mouth shut, saving this breath for now.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;~&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;I trade for a story where you stand in wind and do not bend. Instead, little plovers dip in and out of water. We watch as little feet patter on sea’s surface. Beyond this frame is the real storm —glimpse of upturn, disruption. There is no fear ahead, as if calm stretches out for miles, circling peninsula with its orbit.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;~&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;I trade sure electric afternoon to walk down sun. On other side an open gate waiting for a missing human. I trade ghost I have been waiting for. I’m imagining each hour spent quickly without much to distinguish. I set hooded light with slow glimmer at door. We quiet down inside and shutter our eyes down, wondering when we will be touched by the century. Instead, shift into next glaring hour, last meal shifting in our blood. Later you ask me what I remember, I pull my mouth wide to fish.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;~&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;I trade creature we came across under deck months ago – a shock of bright purple, seastar gripping to pull open treasure. We all saw this omen as beginning to wonder except you shut in our little cab, nursing old memory. I trade now for heat after cloud and fog. I dip my hands in muck, looking for hard shell, a home in mud to eat. I look at my fellow murderers sinking into earth. If I trade in my sharp eye, loud tongue for this long road of green. If I store my tiny shell in memory, filled up with birds I can’t name. I watch down road for something I can’t yet perceive, but fear is coming for us.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;I can’t quite make out this cloudy sky. We’re peering out from behind glass pane until released into night, walking through moisture. I can’t quite make out what is blocking us from sea.&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;&lt;p align="right"&gt;—&lt;a href="https://waqueeranth.omeka.net/items/show/704" target="_blank" rel="noreferrer noopener"&gt;Ching-In Chen (they/them)&lt;/a&gt;&lt;/p&gt;
&lt;br /&gt;&lt;p align="right"&gt;&lt;em&gt;Notes: This writing was first composed while at Willapa Bay AiR in response to “Minus Tide” and “Deception Pass” by Juliet Shen and the article “What Causes Swaths of the Ocean to Glow a Magnificent Milky Green?” by Sam Keck Scott in &lt;/em&gt;Hakai&lt;em&gt;. The form was inspired by a writing prompt by Aliah Lavonne Tigh.&lt;/em&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/704" target="_blank" rel="noreferrer noopener"&gt;Ching-In Chen (they/them)&lt;/a&gt;&lt;/p&gt;</text>
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              <text>K Van Petten (they/them) is a poet and musician exploring their in-betweens while floating between Bainbridge Island and Seattle. Their work explores otherness, multiplicity, and possibility, often blurring the boundaries of video, performance, audio poetry, and ambient music in exploration of queer identity and the intersections of sound and word. K's most recent project For Someone blends poetry and ambient music into a cassette release, created in residence at Centrum and distributed by Hello America Stereo Cassette. You can find them at &lt;a href="https://kvanpetten.com/" target="_blank" rel="noreferrer noopener"&gt;kvanpetten.com&lt;/a&gt;.</text>
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              <text>&lt;ul&gt;&lt;li&gt;&lt;a href="https://waqueeranth.omeka.net/items/show/695"&gt;For Jumping&lt;/a&gt;&lt;/li&gt;
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              <text>&lt;p&gt;grainy eyed heroes / this one is for you / the past / like a telescope / soaked our frontal lobes&lt;/p&gt;
&lt;p&gt;their superpowers starving / for purpose / against all odds / the adult world caught us / flailing&lt;/p&gt;
&lt;p&gt;branches / too tired to chest-puff / but we did / until the same toy gun / that got us here / splashed&lt;/p&gt;
&lt;p&gt;nonsense &amp;amp; dried color-blind our bruises / sweating I tell us not to worry / it is worry / that keeps&lt;/p&gt;
&lt;p&gt;us here / it is worry that knows we can / but asks in the dark / before / what it is &amp;amp; what it means&lt;/p&gt;
&lt;p&gt;find an in-between / but it doesn’t / make sense yet / are the sheep making sense / is their fence&lt;/p&gt;
&lt;p&gt;making sense of them / it’s harmless to wonder / wasteful too / there was a time before / these&lt;/p&gt;
&lt;p&gt;centers of gravity / &amp;amp; a time after too / it’s all the same ride / pencil me in for the midnight&lt;/p&gt;
&lt;p&gt;cycle / the pouring of moon joy going in / &amp;amp; out / pouring / you wonder / I find it more&lt;/p&gt;
&lt;p&gt;a trickle compared / to what / compared to suffering / honey / rain / batter / dust / the stars in all&lt;/p&gt;
&lt;p&gt;their nonsense stopped / mid main course / to check on YOU / running laps around yourself&lt;/p&gt;
&lt;p&gt;like a football field / in a huff / about some naked / problem / when you have two / choices&lt;/p&gt;
&lt;p&gt;wait there on the side of no fall / or jump the railing / &amp;amp; if you do / so choose / I’ll meet you&lt;/p&gt;
&lt;p&gt;with a blanket / we’ll have a picnic / go forehead / deep in saltwater / kill the germs / ingest&lt;/p&gt;
&lt;p&gt;the seaweed / make washington / state our ever after / it does rain here / a lot / it’s pouring now&lt;/p&gt;
&lt;p&gt;actually / pouring / you say / I’ve seen pouring / have you now / let’s drink to that / let’s find&lt;/p&gt;
&lt;p&gt;the funky orange stuff / that makes new / ooze from our trunks / that place / that hated you&lt;/p&gt;
&lt;p&gt;is distant / maybe / even nonexistent / but it doesn’t matter / either way / I think we can both&lt;/p&gt;
&lt;p&gt;agree / this is WAY better / &amp;amp; this is just the first transformation / juicy blood orange maps&lt;/p&gt;
&lt;p&gt;of langue / pronouns shifting into ungrammatical faces / finish lines shaped like circles&lt;/p&gt;
&lt;p&gt;just like we were / we were / less than babies / when we realized / there was something / else&lt;/p&gt;
&lt;p&gt;metamorphoses / posture / singing / dancing even / cave drawings and lichen and huckleberries&lt;/p&gt;
&lt;p&gt;and staircases and razor clams and subarus and mood moss and evergreens and microgreens&lt;/p&gt;
&lt;p&gt;and in-betweens and binders and tattoos / and no / pluto is not a planet but that never mattered /&lt;/p&gt;
&lt;p&gt;my mouth sinks into yours / like it’s the first real thing / that’s ever happened / and maybe it is&lt;/p&gt;
&lt;p&gt;/ for us / so / I’m asking you / do you want to jump the railing?&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;&lt;p align="right"&gt;—&lt;a href="https://waqueeranth.omeka.net/items/show/696" target="_blank" rel="noreferrer noopener"&gt;K Van Petten&lt;/a&gt;&lt;/p&gt;</text>
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              <text>Kelly Klem is an educator and writer based in Washington state, where she blends a love of storytelling with a passion for equity and human connection. Her work often explores quiet moments of resilience and reflection, drawing inspiration from everyday life and the people who move through it. When not teaching or writing, she enjoys long walks, public radio, and trying to keep plants alive.</text>
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              <text>&lt;ul&gt;&lt;li&gt;&lt;a href="https://waqueeranth.omeka.net/items/show/690"&gt;Stoic at the bus stop&lt;/a&gt;&lt;/li&gt;
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              <text>&lt;p&gt;Pulling on pilled fleece&lt;/p&gt;
&lt;p&gt;tucking citrus into knitted pockets&lt;/p&gt;
&lt;p&gt;impatient at pouring bus stops&lt;/p&gt;
&lt;p&gt;she’d rather be rolling rye&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;rather be sittin' by sputtering speakers&lt;/p&gt;
&lt;p&gt;peeling pears as the hours go by&lt;/p&gt;
&lt;p&gt;pulling plugs out of sockets&lt;/p&gt;
&lt;p&gt;she throws things high to watch them drop&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;lavender glances and cedar smiles&lt;/p&gt;
&lt;p&gt;the aroma of an obvious grin&lt;/p&gt;
&lt;p&gt;she speaks in hues of blue and green&lt;/p&gt;
&lt;p&gt;along the water she walks for miles&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;The soft sounds of early dawn&lt;/p&gt;
&lt;p&gt;careless waves in auburn hair&lt;/p&gt;
&lt;p&gt;reaching higher with each yawn&lt;/p&gt;
&lt;p&gt;the scent of the dark is cinnamon&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;soft scratches and delicate dents&lt;/p&gt;
&lt;p&gt;tight bindings lead to leaks&lt;/p&gt;
&lt;p&gt;her slippery secrets drift away&lt;/p&gt;
&lt;p&gt;the sea foams as we speak&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;&lt;p align="right"&gt;—&lt;a href="https://waqueeranth.omeka.net/items/show/691" target="_blank" rel="noreferrer noopener"&gt;Kelly Klem&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>Anya Kirshbaum is a bi/queer poet and somatic therapist living in Seattle, Washington. Her work has appeared in SWWIM, The Comstock Review, Cirque, MER-Mom Egg Review, Crannóg and Solstice Literary Magazine, among others. She was a finalist for the New Millennium Writing Awards and the Patricia Dobler Poetry Award, was nominated for the 2024 Forward Prize for Best Single Poem and was the recipient of the 2023 Banyan Poetry Prize. She is at work on her first collection.</text>
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              <text>&lt;ul&gt;&lt;li&gt;&lt;a href="https://waqueeranth.omeka.net/items/show/686"&gt;Oranges and Other Flowers&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 align="center"&gt;Marigold, she says, paint your room that color—&lt;/p&gt;
&lt;p align="center"&gt;your eyes shut against sun&lt;/p&gt;
&lt;p align="center"&gt;           the color inside your eyelids.&lt;/p&gt;
&lt;br /&gt;&lt;p align="center"&gt;Paint your walls that way—&lt;/p&gt;
&lt;p align="center"&gt;           maple leaves after summer,&lt;/p&gt;
&lt;p align="center"&gt;                Sandia Mountains at dusk,&lt;/p&gt;
&lt;p align="center"&gt;watermelon, tangerine.&lt;/p&gt;
&lt;br /&gt;&lt;p align="center"&gt;Paint the quiet that way—&lt;/p&gt;
&lt;p align="center"&gt;           Madrona lit before sunrise,&lt;/p&gt;
&lt;p align="center"&gt;                     a shade millimeters from sleep.&lt;/p&gt;
&lt;p align="center"&gt;Close your eyes, she says, look!&lt;/p&gt;
&lt;br /&gt;&lt;p align="center"&gt;Paint me that way, bright, she says,&lt;/p&gt;
&lt;p align="center"&gt;      salmon pinks and oranges,&lt;/p&gt;
&lt;p align="center"&gt;                outline my face, my hands held out—&lt;/p&gt;
&lt;br /&gt;&lt;p align="center"&gt;My fingertips—poppies,&lt;/p&gt;
&lt;p align="center"&gt;black-eyed susans, and spiced pumpkins.&lt;/p&gt;
&lt;p align="center"&gt;           My hands held out—&lt;/p&gt;
&lt;p align="center"&gt;                cantaloupe and honeyed wine.&lt;/p&gt;
&lt;br /&gt;&lt;p align="center"&gt;Paint me dangerously, cloaks of Pele,&lt;/p&gt;
&lt;p align="center"&gt;           washed in flame.&lt;/p&gt;
&lt;p align="center"&gt;                     Cover me in skins of winter fruit—&lt;/p&gt;
&lt;p align="center"&gt;mandarin, kukuzi, blood orange.&lt;/p&gt;
&lt;br /&gt;&lt;p align="center"&gt;Paint me persimmons&lt;/p&gt;
&lt;p align="center"&gt;sticky and sweet in your mouth.&lt;/p&gt;
&lt;p align="center"&gt;           Let it all in, she says,&lt;/p&gt;
&lt;p align="center"&gt;      the flesh, the rust of it.&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;&lt;p align="right"&gt;—&lt;a href="https://waqueeranth.omeka.net/items/show/687" target="_blank" rel="noreferrer noopener"&gt;Anya Kirshbaum (she/her)&lt;/a&gt;&lt;/p&gt;
&lt;p align="right"&gt;&lt;em&gt;Previously published in &lt;/em&gt;The Comstock Review&lt;em&gt;.&lt;/em&gt;&lt;/p&gt;</text>
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              <text>&lt;p&gt;Emily Dickinson goes to her first slam at 14.&lt;/p&gt;
&lt;p&gt;She brings a journal full of feathers and bees.&lt;/p&gt;
&lt;p&gt;She wears a cardigan over a printed button up her father&lt;/p&gt;
&lt;p&gt;said was too loud, which she leaves on a chair almost&lt;/p&gt;
&lt;p&gt;immediately. It will be there when she comes back.&lt;/p&gt;
&lt;p&gt;She reads a piece about grass. It’s actually about longing.&lt;/p&gt;
&lt;p&gt;It’s actually about a girl. She doesn’t know how to&lt;/p&gt;
&lt;p&gt;use the microphone. The judges award her&lt;/p&gt;
&lt;p&gt;an average of 4.8 points, but everyone encourages&lt;/p&gt;
&lt;p&gt;her to come back. Which she will never do. She goes home alone.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Emily Dickinson goes to her first slam at 19.&lt;/p&gt;
&lt;p&gt;She crushes the 1-minute rounds, each sundrenched&lt;/p&gt;
&lt;p&gt;word magnified to scorching. A boy offers to buy her&lt;/p&gt;
&lt;p&gt;a drink. A girl offers to buy her a drink. But her eyes are already&lt;/p&gt;
&lt;p&gt;swirling, soul expanding beyond her fitted pants and high-necked&lt;/p&gt;
&lt;p&gt;starch. Already absorbing the ether of applause. She runs&lt;/p&gt;
&lt;p&gt;outside. Stands in the chill autumn with the smokers, gasping&lt;/p&gt;
&lt;p&gt;against an empty night begging to be filled with anything.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Emily Dickinson goes to her first slam at 24. She does not read&lt;/p&gt;
&lt;p&gt;from a notebook, does not hide her slender fingers in a deep pocket.&lt;/p&gt;
&lt;p&gt;She recites a piece about spring that’s actually about a girl, actually&lt;/p&gt;
&lt;p&gt;about being a girl, it’s funny, and she knows it, and the audience steeps&lt;/p&gt;
&lt;p&gt;in her sonics like sweet tea. She goes up again with a piece about pain.&lt;/p&gt;
&lt;p&gt;Two men leave in a huff. No one misses them. She tries a stunt&lt;/p&gt;
&lt;p&gt;towards the end, pulls flower petals from her sleeves, but they spill out&lt;/p&gt;
&lt;p&gt;too early and everyone sees her wince, tells her to go in, and she snaps&lt;/p&gt;
&lt;p&gt;out an ending dark and crisp as winter dawns. A boy offers her&lt;/p&gt;
&lt;p&gt;a drink. A girl offers her a drink. Later she will write a poem about&lt;/p&gt;
&lt;p&gt;following the girl down concrete steps to taste her kiss. She will&lt;/p&gt;
&lt;p&gt;use plums for central imagery. The poem will be a lie or a wish&lt;/p&gt;
&lt;p&gt;or NSP entry. She goes home alone.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Emily Dickinson goes to her first slam at 35. She wears the white&lt;/p&gt;
&lt;p&gt;dress, but only to be ironic. She doesn’t bring a notebook. In the first&lt;/p&gt;
&lt;p&gt;round, Emily stares out into a crowd that has already cast her in a play&lt;/p&gt;
&lt;p&gt;she’s no interest in starring in, there are so many better stars to hold her&lt;/p&gt;
&lt;p&gt;gaze, her gay lives in sundrenched fields, she would much rather welcome&lt;/p&gt;
&lt;p&gt;them to count her feathers, feel the seasons&lt;/p&gt;
&lt;p&gt;murmur their own secret longings with her breath across their necks.&lt;/p&gt;
&lt;p&gt;But not tonight. She steps up to the mic and with the calm fury of a spring-thaw stream&lt;/p&gt;
&lt;p&gt;invites Billy Collins to fuck right off into the sun.&lt;/p&gt;
&lt;p&gt;She gets all 10s and goes home alone.&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;&lt;p align="right"&gt;—&lt;a href="https://waqueeranth.omeka.net/items/show/680" target="_blank" rel="noreferrer noopener"&gt;R. Thursday&lt;/a&gt;&lt;/p&gt;</text>
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              <text>&lt;p&gt;In 1891, Hans Christian Anderson was informed the man he was in love&lt;/p&gt;
&lt;p&gt;with was getting married…the next day. The groom was worried Hans&lt;/p&gt;
&lt;p&gt;would make a scene but luckily, he only absolutely justified that by reciting&lt;/p&gt;
&lt;p&gt;extended passionate poems about the man in front of God&lt;/p&gt;
&lt;p&gt;and everyone. The bride didn't even have the decency&lt;/p&gt;
&lt;p&gt;to be anything but lovely, so gentle, he couldn't even hate her for being&lt;/p&gt;
&lt;p&gt;with someone Hans claimed he loved as a woman, his longing forced to be&lt;/p&gt;
&lt;p&gt;secret, that is silent.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;In 1989, I see my first movie in theatres: The Little Mermaid. Picture me&lt;/p&gt;
&lt;p&gt;holding a Minnie Mouse doll, my legs lost in sequined fin, my 2 year old&lt;/p&gt;
&lt;p&gt;frame obscured beneath pink nylon with shiny purple shells, a smile so&lt;/p&gt;
&lt;p&gt;broad from a mouth so big&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;it is the widest gate to barrel an army of insults through, the softest target.&lt;/p&gt;
&lt;p&gt;My first conviction, condemned to be labeled repeat offender.&lt;/p&gt;
&lt;p&gt;“You talk too much.”&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;You know the story, right? She doesn't listen. She wants a body she wasn't&lt;/p&gt;
&lt;p&gt;born with. Sacrifices speech to be seen without drowning. It's obvious,&lt;/p&gt;
&lt;p&gt;when you think about it. I have written so many poems apologizing&lt;/p&gt;
&lt;p&gt;for their own noise and others where I pretend to be proud of the volume.&lt;/p&gt;
&lt;p&gt;When I cried,&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;my voice splintered exactly like my mother's, exactly how she earned the&lt;/p&gt;
&lt;p&gt;nickname Squeaker, a not-gentle-enough judgment, which never stopped&lt;/p&gt;
&lt;p&gt;her from calling me big mouth. We have always loved like oceans.&lt;/p&gt;
&lt;p&gt;Which is to say, crushingly.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Hans sent the man a handwritten original draft. The soft femme. The&lt;/p&gt;
&lt;p&gt;separated lover. The silencing. In the first version, there is no redemption,&lt;/p&gt;
&lt;p&gt;just the fall into the sea, just the foam and oblivion, too bleak to publish so&lt;/p&gt;
&lt;p&gt;after, the added promise of heaven, the potential for a more real self&lt;/p&gt;
&lt;p&gt;the next go around.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;I don't have long straight hair or need to cover my chest with any shell&lt;/p&gt;
&lt;p&gt;but what armor I choose, but when my mother asks if “losing my beautiful&lt;/p&gt;
&lt;p&gt;voice” is a trans thing, I am on the ocean floor, barely tethered. I am afraid&lt;/p&gt;
&lt;p&gt;if I open my mouth, the tidal forces of decades being mocked, dismissed,&lt;/p&gt;
&lt;p&gt;indicted for the squared volume of my words will rip all the forced silences&lt;/p&gt;
&lt;p&gt;from my secret grottos and spill them across her floor. I want her to stop&lt;/p&gt;
&lt;p&gt;apologizing for all the witches who have shown me magic. But the question&lt;/p&gt;
&lt;p&gt;is a conch shell curling infinitely with generational history and it has stolen&lt;/p&gt;
&lt;p&gt;my voice.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;In the story, every step on tender new legs is agony, but the mermaid&lt;/p&gt;
&lt;p&gt;dances for the Prince anyway. We are never allowed to complain about the&lt;/p&gt;
&lt;p&gt;wreckage of getting what we asked for, no matter who leaves us, no matter&lt;/p&gt;
&lt;p&gt;who lets the silences swallow us in the surf.&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;&lt;p align="right"&gt;—&lt;a href="https://waqueeranth.omeka.net/items/show/680" target="_blank" rel="noreferrer noopener"&gt;R. Thursday&lt;/a&gt;&lt;/p&gt;</text>
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              <text>&lt;p&gt;I keep reminding my students: it’s not lead, it’s graphite -&lt;/p&gt;
&lt;p&gt;bears more composite connection to diamonds, to them - not&lt;/p&gt;
&lt;p&gt;lead, different stone – pulled from different earth - soil&lt;/p&gt;
&lt;p&gt;soul, soiled by gunpowder. Lead leads to links of homo&lt;/p&gt;
&lt;p&gt;phones, graphs, nyms; leads to lessons on meta&lt;/p&gt;
&lt;p&gt;phor: foreign fatalities, familiar frictions. No, friends,&lt;/p&gt;
&lt;p&gt;your writing can’t poison you, not like that anyway. Yes,&lt;/p&gt;
&lt;p&gt;there was lead once, in the paint, the yellow shot through,&lt;/p&gt;
&lt;p&gt;as they say, pumped full of lead. I wish I could promise the world&lt;/p&gt;
&lt;p&gt;was softer now. Graphite is the gentle carbon dreams of.&lt;/p&gt;
&lt;p&gt;Wish I could tell you we replaced all the lead in the water, the air,&lt;/p&gt;
&lt;p&gt;the bodies, returned to the soil, teleported out as easily as paint -&lt;/p&gt;
&lt;p&gt;I wish the only thing that could harm you were words easily erased,&lt;/p&gt;
&lt;p&gt;replaced, taken back, trans/muted to something more like gentle.&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Pens may brag of strength, hold their own in battle, held the way&lt;/p&gt;
&lt;p&gt;we love anything that takes the world down with us, links through&lt;/p&gt;
&lt;p&gt;destruction, wounds wound tight together, but this smudge is so much&lt;/p&gt;
&lt;p&gt;more promise, potential, not like lead, “the opposite of a gun is whatever&lt;/p&gt;
&lt;p&gt;it's pointed at.” Remember, diamonds are forever, and isn’t that a kind&lt;/p&gt;
&lt;p&gt;of air, I mean oxy/moron, whatever you choose not to undo is what will&lt;/p&gt;
&lt;p&gt;last, isn’t that better than just what knows only how to end?&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;&lt;p align="right"&gt;—&lt;a href="https://waqueeranth.omeka.net/items/show/680" target="_blank" rel="noreferrer noopener"&gt;R. Thursday&lt;/a&gt;&lt;/p&gt;
&lt;br /&gt;&lt;p align="right"&gt;&lt;em&gt;Note: “the opposite of a gun...” is from Brendon Constantine’s ‘The Opposites Game.’&lt;/em&gt;&lt;/p&gt;</text>
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              <text>&lt;ul&gt;&lt;li&gt;&lt;a href="https://waqueeranth.omeka.net/items/show/681"&gt;Putting the Meta in Metonym&lt;/a&gt;&lt;/li&gt;
&lt;li&gt;&lt;a href="https://waqueeranth.omeka.net/items/show/682"&gt;Poor Unfortunate Soul&lt;/a&gt;&lt;/li&gt;
&lt;li&gt;&lt;a href="https://waqueeranth.omeka.net/items/show/683"&gt;Emily Dickinson Goes to her First Slam&lt;/a&gt;&lt;/li&gt;
&lt;/ul&gt;</text>
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              <text>&lt;ul&gt;&lt;li&gt;&lt;a href="https://waqueeranth.omeka.net/items/show/649"&gt;- Let me know -&lt;/a&gt;&lt;/li&gt;
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              <text>&lt;p&gt;Killing me will not save you&lt;/p&gt;
&lt;p&gt;Saving me will not kill you&lt;/p&gt;
&lt;p&gt;Without a choice we’ll be stagnate forever.&lt;/p&gt;
&lt;p&gt;We will never get out of this hell by just sitting there.&lt;/p&gt;
&lt;p&gt;Now tap on the wall&lt;/p&gt;
&lt;p&gt;Scream at me, just once, it's okay I promise.&lt;/p&gt;
&lt;p&gt;But you don't save me and you only almost kill me.&lt;/p&gt;
&lt;p&gt;Could we just be normal?&lt;/p&gt;
&lt;p&gt;Do something to let me know you're not dead inside.&lt;/p&gt;
&lt;p&gt;Your silence is deafening&lt;/p&gt;
&lt;p&gt;My screaming doesn't make you move&lt;/p&gt;
&lt;p&gt;Not even a twitch&lt;/p&gt;
&lt;p&gt;Please say something&lt;/p&gt;
&lt;p&gt;I don’t care if you hit me&lt;/p&gt;
&lt;p&gt;Just let me know your still in there.&lt;/p&gt;
&lt;p&gt;Please mom, just let me know your still there.&lt;/p&gt;
&lt;p&gt;I can’t hold on much longer.&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;&lt;p align="right"&gt;—&lt;a href="https://waqueeranth.omeka.net/items/show/650" target="_blank" rel="noreferrer noopener"&gt;Hannah Cherry (they/them/it)&lt;/a&gt;&lt;/p&gt;</text>
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              <text>&lt;p&gt;&lt;span style="font-weight:400;"&gt;Shrill ring shatters the silence of the dinner table.&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;Three times, then hang up                          pause        &lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;&amp;amp; call again&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;a not-so-subtle morse code, the &lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;predetermined plan unfollowed.&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;Air pulls taut and time &lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;      begins to unravel;&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;a private implosion.&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;The warring wondering what-if's&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;scattered across the good china&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;alongside the peas and corn,&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;escaping every effort at&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;impalement.&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;There's no pinning those two down.&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt; &lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;Sorry, what were we saying?&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt; &lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;Impulses travel lightning fast down the line,&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;connecting souls&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;like station depots&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;burning bright in the dark mask of&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;living absence;&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;a midnight sea of stars.&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;My heart                        flown&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;impossible distances&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;at the muted sound of &lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;      your quiet laughter&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;from the other side. &lt;/span&gt;&lt;/p&gt;
&lt;br /&gt;&lt;p align="right"&gt;—&lt;a href="https://waqueeranth.omeka.net/items/show/609" target="_blank" rel="noreferrer noopener"&gt;Kait Wilder (they/she)&lt;/a&gt;&lt;/p&gt;</text>
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              <text>&lt;p&gt;Born in Phoenix, Kait left the desert for the Pacific Northwest, preferring the rainy woods and rocky coasts. Now in Seattle, they love exploring new neighborhoods, searching for good food and art. A fan of graphic novels and sci-fi, you can find them curled up with a book, chai, and a cat in their free time. New to writing, they've enjoyed exploring poetry with a few fellow enthusiasts they met through work at the library. These ten minute prompts broke through creative block, making poetry feel accessible. This first publication is due to the group's encouragement and inspiration.&lt;/p&gt;</text>
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              <text>&lt;ul&gt;&lt;li&gt;&lt;a href="https://waqueeranth.omeka.net/items/show/610" target="_blank" rel="noreferrer noopener"&gt;"The phone is for someone"&lt;/a&gt;&lt;/li&gt;
&lt;/ul&gt;</text>
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              <text>&lt;p&gt;She left and the past was fully behind her&lt;/p&gt;
&lt;p&gt;familiarity gone&lt;/p&gt;
&lt;p&gt;family gone&lt;/p&gt;
&lt;p&gt;Supporting herself and two others as they grew&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Memories of the past crept up&lt;/p&gt;
&lt;p&gt;letters of the future haunted&lt;/p&gt;
&lt;p&gt;visits from the present triggering&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Young minds grew&lt;/p&gt;
&lt;p&gt;thirsty for stories&lt;/p&gt;
&lt;p&gt;of the statues that towered over and supported their life&lt;/p&gt;
&lt;p&gt;only hers grew silent&lt;/p&gt;
&lt;p&gt;only key things shared. memories of the past folding into the&lt;/p&gt;
&lt;p&gt;background as the louder voices brought theirs forward&lt;/p&gt;
&lt;p&gt;soon only fragments remain&lt;/p&gt;
&lt;p&gt;and the shards shrouded in pain&lt;/p&gt;
&lt;p&gt;pain creating a permanent wedge&lt;/p&gt;
&lt;p&gt;distance from herself&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Young minds know little&lt;/p&gt;
&lt;p&gt;they grew tired of already retold stories, only 3 parts per million&lt;/p&gt;
&lt;p&gt;true&lt;/p&gt;
&lt;p&gt;She stands facing the corner, wondering if her stories are true&lt;/p&gt;
&lt;p&gt;covered in dust they remain&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;Young minds aged searching for a connection&lt;/p&gt;
&lt;p&gt;red lines ache when holding their calloused hands&lt;/p&gt;
&lt;p&gt;lost in the see of forgotten souls and dying friends&lt;/p&gt;
&lt;br /&gt;&lt;p&gt;her story remains silent as the winds fly to the horizon&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;&lt;p align="right"&gt;—&lt;a href="https://waqueeranth.omeka.net/items/show/583" target="_blank" rel="noreferrer noopener"&gt;Kai River (they/him)&lt;/a&gt;&lt;/p&gt;</text>
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              <text>&lt;p&gt;Kai is a creative human with a deep desire to understand and communicate connection. They enjoy exploring the mundane and extraordinary with poetry or prose, particularly by reframing experiences from unconventional perspectives. With a family history of published authors, a writing best friend, and numerous writing workshops hosted by local poets, this poem grew into Kai's publishing debut. Future projects may include fantasy prose, steampunk themed epics, and scientific reflections of being a cat parent. Now to settle into a warm cup of tea..&lt;/p&gt;</text>
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              <text>&lt;ul&gt;&lt;li&gt;&lt;a href="https://waqueeranth.omeka.net/items/show/584" target="_blank" rel="noreferrer noopener"&gt;Silent Her-story&lt;/a&gt;&lt;/li&gt;
&lt;/ul&gt;</text>
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        <name>Author Tag: queer</name>
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        <name>Author Tag: white</name>
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