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delicious new poetry
‘same spectral symphony’ — poetry by Julio César Villegas
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'All the trees are you' — poetry by Barbara Ungar
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'girl straddles the axis  of ancient  and eternal' — poetry by Grace Dignazio
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'How thy high horse hath fallen' — poetry by Madeline Blair
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'a paradise called  Loneliness' — poetry by Adam Jon Miller
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'a paradise called  Loneliness' — poetry by Adam Jon Miller
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'Tell me I taste like hunger' — poetry by Jennifer Molnar
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'Tell me I taste like hunger' — poetry by Jennifer Molnar
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'I prayed to be released from my longing' — poetry by Michelle Reale
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'I prayed to be released from my longing' — poetry by Michelle Reale
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'Resurrection dance, a prelude' — poetry by V.C. Myers
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'Resurrection dance, a prelude' — poetry by V.C. Myers
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'It is noon and the sun is ill' — poetry by Raquel Dionísio Abrantes
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'It is noon and the sun is ill' — poetry by Raquel Dionísio Abrantes
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'every moon rolling fat through the night' — poetry by Zann Carter
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'every moon rolling fat through the night' — poetry by Zann Carter
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jan1.jpeg
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'I have been monstrously good' — erasures by Lauren Davis
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'The light slices the mouth' — poetry by Aakriti Kuntal
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'quiet grandfathers  in dark tuxedos' — poetry by Scott Ferry
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'made a deal / with Azrael' — poetry by Triniti Wade
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'Time's metronome blank' — poetry by Rehan Qayoom
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'There is no choir on the mountain' — poetry by Dawn Tefft
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'to anoint the robes' — poetry by Timothy Otte
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'a stone portal in the woods' — RJ Equality Ingram
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'crooked castle wanting' — poetry by Lindsay D’Andrea
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'earth’s marble cage' — poetry by Annah Atane
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'silent, Sunday morning' — poetry by Nathalie Spaans
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'silent, Sunday morning' — poetry by Nathalie Spaans
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'this strikes me as a Rorschach' — poetry by John Amen
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'this strikes me as a Rorschach' — poetry by John Amen
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'O, to bloom, to arch open' — poetry by Karen L. George
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'O, to bloom, to arch open' — poetry by Karen L. George
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'the sky violent' — poetry by Robert Warf
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'Love is a necessary duty' — poetry by Tabitha Dial
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'the doors of the night open' — poetry by Juan Armando Rojas (translated by Paula J. Lambert)
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'the doors of the night open' — poetry by Juan Armando Rojas (translated by Paula J. Lambert)
Nov 29, 2025
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'we can be forlorn women' — poetry by Stevie Belchak
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Quarantine by Leslie Contreras Schwartz

June 23, 2020

BY LESLIE CONTRERAS SCHWARTZ

Quarantine

The lights in the bedroom flickered off and on. I lay in our bed listening to a heavy thumping coming from somewhere, quickening. In a half-dream, I created the idea of walking to the door and shouting, Who’s doing that? Even the thought of it was tiring, and I rolled over with eyes half-closed, lucid enough to be afraid to sleep but longing for it with the same urgency I longed to take a deep breathe without pain, or to be able to sit up with my lungs feeling crushed. I tried to fill my thoughts without something other than the every second of half-breathing, the crushing and stupor.

Was the sound growing near? Was it a foot banging a door, my daughter running circles in the living room, feet pounding in a rhythmic pattern? Was it the neighbor at some task again that required loud repetitive pounding and screeching? The questions were something to latch onto in my mind. I entertained them.

A slit of light broke from the bedroom door and my son crawled in beside me, wrapping his small limbs around mine underneath the coat of blankets. He was whispering but I could not hear because of the thumping. Who is doing that, I said. I slept.

My husband woke me to feed me soup, water from a straw. I sat up in bed, the room bluing. Our five-year-old was jumping on the bed, adding a beat to the drumming that started again when I opened my eyes (though I was sure I heard it in my sleep). It had been weeks since I’d left either the bed, or the couch, laying, blinking, and when awake, staring through the window, at a wall, at one of the children’s faces. Breath came as if through a tiny sieve, which I gulped in small pockets. You’re here, the doctor said this morning on the phone. Be grateful. So the air like fish eggs, like the meager rationing in the form of pills. Sucking, coughing, my chest strained and ready to snap. Nebulizer hush and burr. Inhaler sip. Eight more times. Times seven. Again. Times sixty days.

The world shimmered in blue, the faces of my son, my husband and our girls, cast in that same blue. One morning or one night, or the next day, or the night that was yesterday and before, tomorrow, I dreamt of running at full speed down our street, past the school, toward the bayou ten blocks away. The banks were filling with rain, ready to break over the edge of the concrete embankment, and I ran so hard every part of me ached and knew that this feeling, familiar, happened yesterday, today, and tomorrow. I woke up wheezing and choking. The thumping in my ears, my own heart racing, like I was running, every second running.

At the insistence of my husband, I sat outside wrapped in a blanket and feeling shorn. I watched my children play in the front yard while the light flickered through the leaves of the tree on the lawn. Underneath the world—or was it beside it, along it, between it? (There was no relative space to pin it)—I saw the pulsing of blue, an under-color to the kaleidoscope of reality’s rough imagery—my son’s kid sneakers of black and red and white, flashing lights when he jumped, my eight year old’s plastic sandals, both of them dangling off the edge of a spider swing, their small hands flayed out and waving. The laughter, her sigh. Underneath it all was this color, not an earthly blue, blue of ocean, precious stone or gem cut into rock, a sky flanking a horizon. No. This blue which was not blue was the color of sacred, deep, with a center to it, blood of childbirth, the whitened lips of the dead, the infant’s purple wail—all of it mixed together, long and unraveling, a cruel silence with a terrifying bell inside.

I rested my head back on the chair and stared at the sky that was no longer the sky. I blinked and felt close to that color—this underwater, the blue eggs, blue veins on an infant’s foot, the black feather of a blue jay that feigned blue, the blue mouth of a glacier. Was this what ran parallel and twinned to our lives, a universe linked with a battered rope to this one, where I had died, and hanging by a thread to the universe where I lived. The giant bell in its cruel silence behind the blue, and my rollercoaster heartbeat readying me for the terrifying drop to the ground. I longed to hear the bell. I would not share it, only save it inside my body, and never, even to my worst enemies, tell anyone the sound it made that killed small parts all at once with a blow. I opened my eyes, feeling heavy. I had already heard the bell. I had already imagined my children without me. I sat feeling the holes of it, growing cold. Light overhead grew brighter until wind threw the branches together, a dark shadow enveloping our family. Spin faster, I said to my children. Do it again.

SUPPORT LESLIE CONTRERAS SCHWARTZ BY DONATING VIA VENMO: @Leslie-ContrerasSchwartz

Leslie Contreras Schwartz is the author of Who Speaks for Us Here (Skull + Wind Press, 2020), and the collections Nightbloom & Cenote and Fuego (St. Julian Press, 2016, 2014). Her work has appeared in Gulf Coast, Missouri Review, Iowa Review, Pleiades, among other publications. She is the Houston Poet Laureate.

In Poetry & Prose Tags FLASH F, Lyrical essay, essay, Leslie Contreras Schwartz
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Photo by Julia Baylis

Photo by Julia Baylis

Poetry By Leslie Contreras Schwartz

May 15, 2017

PAPER DOLL CHAIN

Girls folded in upon girl and
another girl, holding hands of paper

a mask of thick mascara, eye-
liner, owling their eyes

paper dolls for play, holding
hands and repeating
thoughts, solo boats set afloat

by boys and men, pushed
farther still by the white world.

How to anchor except by holding hands with other
girls, girls to size and compare,

how their edges crease or fold more than
yours, how you want that too. That rusty anchor

in my best friend, which I hold onto,
its breast shape and weighted steady

as she practices her hand-smother and the gentle crush
of me. How else are we to prepare for the Mexican boys

now roaming the hallways, their arms
a hanging hook around some brown girl's neck?

Girls wanting to know
what it takes be a woman, how much to erase.

The rubber tip leaving no mark
left of a girl in a woman set inside the body of a man

or a boy. For now, it's a game of that blow
she knows is coming. I let her teach

it to me, practice and practice the art of being
inside other bodies, hers and then his
and his, all those brown, white,

red red bodies.
Never mine.

 

ANIMAL LIFE

Those black-beat wings. A rustle in my chest, those balled fist-of-hearts beating like lit
bulbs that click on and off, secret spark.       Too many people move about, waist deep in
swamp stench, the doors of buildings breaking into dark waters.     No matter to them.
Their bodies glide like liquid, agile, part of this covering up and over.           So, hide, little
warriors of fur, blood-rimmed eyes staining the night, the quiet blinking, the barely
breath. Hide to live amid these bloated houses, straining to contain all its things,
cosmetics and laced-up shoes and plastic toys that constantly sing. Because everything
sings, constantly, a radio tune that no one wants to hear but keeps on playing. Those can't
keep my hands to myselfs
, those go love yourselves.   A smothered piano, a cello, a
symphony, in the tight muscle around my lungs, beating into me like my own bright
blood. I cannot live here if I don't save this hush, this furious sound.

 

HEADLONG

On the photograph "Pleasure and Terrors of Levitation," by Aaron Siskind

Headlong, body-long
spun into air--
a white man containing a woman
containing her crippled
walk, her brown body,
in his limbs, that whip-shaped
hair. He carries
her freedom in his levity,
that will to never fall to earth,
to be held buoyant by nothing
but air and belief in his own brilliance.
O, to be that light,
and to still be weighted
by the body's core of muscles,
bone and tissues, toughing its way
through sinew and blood to move
and be seen, to be allowed to be
a body that moves through the world
at will, that flock of black birds
crashing through the sky
of white starlight. Not
this life of boxes within boxes
within boxes--

Let me be that. Let all women
and girls, men and boys,
be that, stretching their bodies
along the sun-track to God,
not caring how many times
we fall apart and break,
that fall-apart dance so familiar
to us all. All those beautiful broken
spines lined up to make a ladder
to find what is missing.


Leslie Contreras Schwartz  is a Mexican-American writer of Maya descent, and a third-generation Houstonian. Her first collection of poetry, Fuego, was published by St. Julian Press in March 2016. She writes poetry, essays, and fiction about the lives of women and girls, particularly as survivors of bodily and psychic trauma. Her work has appeared or is forthcoming in The Collagist, Hermeneutic Chaos, Tinderbox Literary Journal, Houston Chronicle, Catapult, and more. She lives in Houston with her husband and three children.

In Poetry & Prose Tags Poetry, Poems, Poet, Leslie Contreras Schwartz
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