Sunday, August 21, 2022

MIKE GOOD—"CHANGING THE REAR BRAKES, I WATCH MY DEATH APPROACH" (Issue 24)

CHANGING THE REAR BRAKES, I WATCH MY DEATH APPROACH

“…if you’re

old enough to read this you know what

work is, although you may not do it.”

     

     —Philip Levine, “What Work Is”

You could have walked past that pockmarked driveway

never seeing the honey locust in the backyard,

behind the birch in the front where the dog tied to the porch

is making a ruckus, where rain began to fall, lightly at first,

then pinging across the roof, splashing

from the slapdash PVC downspouts,

as if these small misdirections could stop the brick

and concrete walls from sloping, bowing, from becoming dust,

where two brothers and their father crouch,

waterlogged, beneath the wheel well of a too-old car,

soaking in the grayest Pittsburgh rain, finagling bits with the needle-nose,

losing grip on the brake springs that are unwilling to stretch

across the pads, cursing each slipping piece, flinching

at the sharp and delicate kickback, tired after long

sledgehammering those rear drums apart,

only to break what was within, prying open a decade-
and-a-half of rust suturing metal

to metal, a thick and barnacled crust, heavy

and toxic as the brake fluids spilling now from the broken rubber wheel cylinder

busted open and bleeding

from all the hammering, refusing to compress

with the springs, to be anything but an obstacle, another part to repair,

for this family who cannot afford to move

beneath the mortgages, second mortgages, rent, repairs,

credit cards. You see now, both brothers still squatting,

both over thirty, both struggling to make

ends meet, like their father who works part-time even after retirement.

Look closer: as far as you’ve come, you still haven’t figured out

what it is. You want to keep walking, away from each decade

of sweat, stress, and toil and call it work. You wanted to march

on Labor Day with the teachers union but you have never taught. Instead

you tried to help yourself, went nowhere. Whether you have ever taken a sledge

to a tire and missed, felt your skin frying

on some manifold or forgot to flip the emergency brake

of your car and watched it tumble from the aluminum car jack

that came with the used Nissan and the tire iron that never fit the spare,

the car that just has to make it eight more months,

just eight more months, whether you have done this all

during overtime or in the morning before your shift,

you still don’t know what it is, because the work

is still not finished, is only beginning, is learning to say

how much they mean to you, to wonder

why you need this breaking to say anything at all, before everything becomes dust,

and when they are nagging and failing, and asking a lot of you,

more than you have, and even when you can’t fathom what they mean,

and your father might very well be the strangest man on earth,

you must begin to commit to the long work, the long shift,

to repair what you’ve never had,

you must realize that there are no punch cards

to measure the dollars saved or lost. There is only rain

sleeting across the roof, falling from that front porch

where you never sat together long enough, you

never enjoyed sitting in that cramped house, you were trying

to escape. You have always been trying to escape. You never will, and now

knowing this you could begin to understand. You could begin to rejoice.





ABOUT THE POET 

Mike Good lives in Pittsburgh and serves as managing editor at Autumn House 
Press. Some of his recent poetry and book reviews can be found in or are 
forthcoming at Bennington Review, december, Five Points, Full Stop
PloughsharesSalamanderSOFTBLOW, Waxwing, and elsewhere, in addition to 
anthologies such as The Pittsburgh Neighborhood Guidebook (Belt Publishing). 
His work has received support from the Sewanee Writers’ Conference and 
The Sun, and he holds an MFA from Hollins University. Find more at 
MikeGoodWrites.wordpress.com.


ABOUT SUGAR HOUSE REVIEW 

We loved reading the work that we’ve published (clearly), and we want an 
opportunity to better hear our contributors. We're featuring audio recordings of 
poems from our pages, read by the poet. This an open invitation to all contributors 
from any of our issues, we were delighted to print your work, now we’re eager to 
hear it.

Sunday, August 7, 2022

MELISSA CROWE—"OFTEN IN DREAMS SHE WAS MY GIRLFRIEND UNTIL I REMEMBERED, STILL ASLEEP, THAT IT WASN'T OKAY" (Issue 24)

OFTEN IN DREAMS SHE WAS MY GIRLFRIEND UNTIL I REMEMBERED, STILL ASLEEP, THAT IT WASN'T OKAY


Her hair was a miracle of brown-black curls,

spring coiled and shiny, and she sprayed it

with TRESemmé and hung it over the edge

of the bed while she slept on slumber-party

Saturday nights so she wouldn’t have to

wash it before church, and six birthmarks

half a shade darker than the rest of her creamy

olive skin traced her cheek from one earlobe

to the corner of her mouth. At video dances,

held tight to the stiffening groin of my own

partner, I watched her unfocused eyes

and bored frown while a punk kid, thick chain

padlocked around his neck, nuzzled hers.

Did she like it? I couldn’t tell, but when they

broke up, he carved her name into his chest

with the point of his knife. I still think of how

those letters, crooked and keloid, must mark him

after all these years. She introduced me,

kid from a canned-fruit-cocktail family,

to the pomegranate, its pressed paper rind,

those nestled ruby cells, each with a seed

that nearly filled it. So many tiny morsels

and so much work to get their meager juice.

But sweet enough to make it worth it. To stain

my hands, my face, my precious white cotton

leggings with the delicate cuff of lace at each ankle.

On a night when we’d driven three hours south

to walk the strange, thrilling circuit of the nearest

shopping mall (Orange Julius! The Gap!), we lay

on our stiff-sheeted hotel bed in our tank tops

and underwear, facing each other in the dark,

and she asked me if I’d ever thought about

kissing a girl. I said yes. Then we stayed silent

and still until morning, neither of us rolling over

to get comfortable or adjusting our hard pillows

or hanging our hair over the bed’s edge

to keep it neat. I could hardly hear her breathe.




ABOUT THE POET 

Melissa Crowe is the author of Dear Terror, Dear Splendor (University of 
Wisconsin Press, 2019), and her work has appeared recently or is forthcoming 
in Four Way Review, New England Review, Poetry Northwest, and Thrush
among other journals. She’s coordinator of the MFA program at UNCW, where 
she teaches poetry and publishing.


ABOUT SUGAR HOUSE REVIEW 

We loved reading the work that we’ve published (clearly), and we want an 
opportunity to better hear our contributors. We're featuring audio recordings of 
poems from our pages, read by the poet. This an open invitation to all contributors 
from any of our issues, we were delighted to print your work, now we’re eager to 
hear it.

Sunday, July 24, 2022

LEONA SEVICK—"HAPA" (Issue 24)

HAPA

Taking my order by phone, she asks me

What do you look like? So I can find you?

Except that’s not how she says it. Dropping

words the way my Korean mother does,

still making herself understood, she waits

while I decide. Pausing, as I do, as

I have done since the first time someone asked

me with genuine interest what are you?

I answer this woman in a way I

know already she will never accept,

take the chance I never take. Yes, she says,

I think I know you. Spotting her just as

she comes through the door, I wait for her to

scan the room, find me and then decide. She

approaches, tosses bags on the table,

mouths the word I know she’s thinking, the word

I’ve heard a dozen times. Hapa. It is

the one my mother hates, the reason why

I was grown before she took me home to

meet her people. I see her stiff face, black

eyes of resentment at their turned backs, their

conditional love. Now I speak the truth

of who I am, or at least half of who

I am. This woman receives from me a

wide smile. I thank her, watch her go knowing

half a truth is better than any lie.




ABOUT THE POET

Leona Sevick is a professor of English at Bridgewater College in Virginia, where 
she teaches Asian American literature (she is an Asian American poet). Sevick was 
named a 2019 Walter E. Dakin Fellow for the Sewanee Writers’ Conference, and 
serves on the advisory board of the Furious Flower Black Poetry Center.


 ABOUT SUGAR HOUSE REVIEW 

We loved reading the work that we’ve published (clearly), and we want an 
opportunity to better hear our contributors. We're featuring audio recordings of 
poems from our pages, read by the poet. This an open invitation to all contributors 
from any of our issues, we were delighted to print your work, now we’re eager to 
hear it.

Sunday, July 10, 2022

ARAH KO—"CULLET" (Issue 24)

Sugar House Review · Arah Ko's "Cullet"

CULLET


I’ve swallowed glass for every bottle

you drank. Call me terror. Call me

reckonings you looked for

in the bathroom mirror. Call

 

me shit that oughta been slapped

out of you younger, before the old

men touched you in a stained-

glass cathedral. Call me window

 

broken by your ruined knuckles. My

blood is your blood; my nose is your

mother’s nose. Compared to you, I am

summer that never ends, tempered glass,

 

a nest of unhatched eggs. I say hello & you

pray my name back to me.



ABOUT THE POET 

Arah Ko hails from an active volcano but is currently based in the Midwest. Her 
recent work has appeared in SiderealFugueGrimoire, and New Reader 
Magazineamong others. Arah is an MFA candidate in creative writing at the Ohio 
State University where she serves as Wheeler Prize editor for The JournalWhen 
not writing, Arah can be found correcting her name pronunciation or making a 
mean pot of coffee. Catch her at ArahKo.com.


ABOUT SUGAR HOUSE REVIEW 

We loved reading the work that we’ve published (clearly), and we want an 
opportunity to better hear our contributors. We're featuring audio recordings of 
poems from our pages, read by the poet. This an open invitation to all contributors 
from any of our issues, we were delighted to print your work, now we’re eager to 
hear it.

Monday, May 9, 2022

SAMANTHA SAMAKANDE—"SELF PORTRAIT" (Issue 23)

SELF PORTRAIT

a lake of a window
whited out by the finishing
December        coming out the rear
of the worst blizzard to drop
by the east coast in years         the yawning
door     a snare of a mouth        collecting
lookers like the white gunks
at the corners of lips     becoming
spectacle in a paper gown
the gauzy shade of a dollar store
shower curtain              so many priests
in white robes charging in to format
my sins            chart them        take my
confession with my temperature
Were you trying to hurt yourself?
Why were you trying to hurt yourself?

ritualized         the thwack of a stethoscope
urgent against my rib cage and the throbbing
underneath       systematized     the chatty
machine and its long-winded
appendages     see-through and skeletal
and plastic      holding my hands and arms
at needlepoint             the itch on the belly
side of my palms        the tickle on the inside
of my elbow I am forbidden
to scratch or bend and the wail
of the machine when I do
the light and loose kind of faded
my mind is      the brilliant anger
bringing me back to my own body
the aching       unsoothable       the pressing
hard on my chest to find it
smell it like you touch the back
of your ear and smell it
the filmy afterbirth of grief        and I
right on the rim of dissolve

 

ABOUT THE POET 

Samantha Samakande is a Zimbabwean poet currently based out of Bloomfield, New Jersey, where she resides with her husband. She is a graduate of Allegheny College and is a junior editor for F(r)iction. It is her lived experience as an immigrant that made her a poet, an observer, and a daughter of many tongues and in-betweens. Her work has appeared in Pif Magazine, Hobart, and Gordon Square Review. In 2020, she was the second-place winner of Frontier Poetry’s Award for New Poets.


ABOUT SUGAR HOUSE REVIEW 

We loved reading the work that we’ve published (clearly), and we want an opportunity to better hear our contributors. We're featuring audio recordings of poems from our pages, read by the poet. This an open invitation to all contributors from any of our issues, we were delighted to print your work, now we’re eager to hear it.