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Joe Wilkins

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Aubade Ending with a College Acceptance Letter

That time at the Ingomar rodeo,
back of the horse trailers,
all that dirty July light, gleam & shit-spatter,
the dust like cuffs on our dark jeans
where we were shuffling about, our hands
full of one another’s shirtfronts
& belts. Hurry, you said, my boyfriend
is up for bulldogging. I don’t
remember which angry one he was. I remember
thinking you’d come to your senses,
once I left. This is trying to be but can’t be
that story. This is just a few bright rodeos & the dark
of my truck after a basketball game, you
next to me on the bench seat.


Elegy from the Fence Where Our Fields Met

The last, canted light of late summer spills
over the ridge, threshes
the dry grass into sheaves
of stalk & shadow, the going-away
sky gone so color-wheel
wild you can snap in either hand
the thin bones
of hope. I tell myself I am not
alone. There are others
who dream of you this often.


Joe Wilkins (Substack: https://joewilkinswriter.substack.com) was born and raised on the Big Dry of eastern Montana and now lives with his family in the foothills of the Coast Range of Oregon, where he directs the creative writing program at Linfield University. His debut novel, Fall Back Down When I Die, was praised as “remarkable and unforgettable” in a starred review at Booklist; a finalist for the First Novel Prize from the Center for Fiction and the Pacific Northwest Booksellers Award, Fall Back Down When I Die won the High Plains Book Award. Wilkins is also the author of a memoir, The Mountain and the Fathers, and four collections of poetry, including Thieve and When We Were Birds, winner of the Oregon Book Award. His latest novel, The Entire Sky, was published by Little, Brown in July 2024, and his current favorite sweet is any fruit salad drizzled with a little honey and lemon.

The Body Papers by Grace Talusan

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Dear Grace Talusan,

When reading your memoir The Body Papers, I’m struck, as I’m sure all your readers are, by the contrast between experiencing prejudice in the United States and privilege in the Philippines. Your recounting of grappling with privilege in Manila, especially economic privilege in a place where the U.S. dollar affords expats and visitors to hire care workers including cleaners, drivers, and more, contrasts with your experience being othered in the United States as a child, severed from classmates and potential friends as they confined themselves to their WASPy circles.

I am drawn to the way in which you describe your mother taking these tasks upon herself not only because the cost of care work is more expensive in the United States, but because of the determination and assimilation goals of the immigrant. You write the following:

When we were born, my mother hired one yaya each for my sister Tessie and me. Their only job was to care for us. Others—the lavandera, the driver, the houseboy, the cook—performed the many household chores. But in America, my mother noticed the other women doing it all themselves. She was determined to become like them (194).

During my childhood, I questioned my mother about the reasons why she did not speak any other language besides English, to which she would reply that her mother and father believed firmly in the idea that “We live in the United States, so we must speak English,” despite this country not having an official language. They believed that this was part of their assimilation journey, something that I can only assume was a driving force behind your mother’s determination to perform house and care work for your family. 

I would also like to highlight the following lines: “When I was a teenager, fit and tight, I recoiled at the nude bodies of older women, loose and lumpy, straining against their garments… I had not seen the real bodies of women before” (149). 

To state it bluntly: I was not a skinny child. In fact, during a long period of my adolescence in which I threw myself into the depths of meeting with talent managers and agents to achieve my musical theater dreams, I was told by a photographer being paid to take my headshots that I wouldn’t step foot onto a stage or into a camera’s frame with the curves I had. I was slightly pudgy, prone to injury, and anxious: Hollywood’s nightmare. Still, I had not seen real bodies either. I saw teens who were under-eating and under-sleeping, clawing at their own claims to fame before adulthood. We were confident, myself less than others, that being triple threats would get us cast, given our SAG cards, and immortalized on the screen or stage, but we were not real and neither were our coaches.

I am confident now that the lack of role models, especially women, with bodies that are healthy and age normally, create this notion in young girls that they need to slough off their baby fat as soon as possible and become pencil-thin — to stay pencil thin until they reach their coffins. None of that pregnancy or menopausal weight gain.

Seeing real, unaltered bodies of aging women is vital. We see what we will become if we live and take advantage of life — if we are able to balance a healthy life with one of pleasure and joy. I wonder what it will take for us to be okay with this, and I hope it is looking like the woman you describe in the gym. We would be lucky to be active and aging, and I believe that our goal should be to follow in her stead.

Warmly,

Carlin Steere

Sonia Greenfield

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By the Pound

This poem is so starved it doesn’t know where to begin,
so it opens with my mother’s rubber “fuck cancer” bracelet

too baggy on a narrow wrist tattooed with
her own mother’s name, but my favorite details

are captured in a photo, as if a photo can capture
and hold anything indefinitely. She took up

tap dancing again, reborn with jazz hands,
wearing a hot pink t-shirt. How often has her smile

reached her eyes like that? Anyway, Florida spits
its birds of paradise from the dirt and gators wend

through estuaries bisecting retirement communities.
Carnivorous flowers work in the same way—

attracting prey with turgid purples and nectar that cloys
with decay. I remember how she hissed they’re killing me

before she even knew. Hurricane Irma stripped her house
of its porches, its skirting, its laundry shed, so her husband

had no place to take his spoon and lighter. Her other daughter
reminds me of the way tropical mosquitos steal in small doses

and offer fever in return. Every itchy welt a reminder of theft.
I’m trying to learn the link between weight we take on

and what we lose. I look up cortisol, cancer, stress link.
It was like her blood went bad. Florida Woman

Drained to Death by Her Own Family. When she grew frail
she rejoiced in the exposure of clavicles that broke

when she fell. I remember how her mother—the Rose etched
on her wrist—ate laxatives or hid her body in snap-up

housedresses. Like the value of a life can be tallied by
the plusses and minuses of a bathroom scale dusted

with a thin layer of talcum. I would beg my mother
eat please eat, but her lips would thin into a grim smile.

She’d reply I’ll eat when I’m hungry,
and then she wasted away.


Nautilus

My mother’s two hands,
her manicured nails resting

neatly against the bed,
wrapped around rags rolled

tightly, grasping golden ratios.
If I could only alight on details

I wouldn’t need to see the whole
scene. If I could only unscroll

the two cloths to reveal
the divine at their center,

I might make sense of this
empty shell. Before I can

unravel how she could be
holding a galaxy in each hand,

all my questions answered,
a nurse switches off the vent,

drapes a white sheet, and wheels
my mother from the room.


Stages of Grief

The rain porch is finished after
extensive repairs and new paint—
brocade chaise moved in and the new chair
paired with paisley ottoman plucked
from the neighbor’s trash. We settle in
to witness the changing nature of storms:
slanting rain with low rumble, no heavy
drops but thunder like a shotgun blast.
Thunder that travels the sky like bass
slipping from speaker to speaker. Trees
shuddering or raving or leaves still
like they’re just listening. A slate sheet
of monsoon pocked white with hail
and then a long gentle pour after
the histrionics. Experts say to expect
a cool, wet summer.


Sonia Greenfield (she/they) is the author of All Possible Histories (Riot in Your Throat); Helen of Troy is High AF (Harbor Editions); Letdown (White Pine Press); and Boy with a Halo at the Farmer’s Market (Codhill Press). Her work has appeared in the 2018 and 2010 Best American Poetry, Southern Review, diode and elsewhere. A 2024 McKnight Writing Fellow, Sonia lives with her family in Minneapolis where she teaches at Normandale College, edits the Rise Up Review, and advocates for both neurodiversity and the decentering of the cis/het white hegemony.

Robin Turner

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After the Prescribed Burn at Little Pine Lake

For days wisps of smoke slow ghost it all along the still water’s ember edge. I watch them shapeshift from the safety of my rented cabin just up the hill. Sleep & dream. Take notes. What lingers. What haunts. What rises & goes.

After the burning.


All This Way

My mother, alive again, speaking to me—what was it—from a small space near a window. A cramped space. An unfamiliar room. And the light there? Dull. Dim. Unremarkable. Light not lighting, not gathering, around my mother. Had I summoned her? This dreary space. She’d come all this way. Slipped in between two slats of bent blinds covered with dust. Slipped back into this bent & broken world. This porous universe. To tell me something. To tell me. To tell.


A hill

or the hill?
Little hill? No.

Take out little.
It is a hill after all

not a mountain. Not
the mountain. Not yet.


Robin Turner‘s poems, prose poems, and flash fiction appear in DMQ ReviewRattleRust + MothTheTexas Observer, Ethel, Bracken Magazine, and in many other journals, anthologies, and community poetry projects. Her work has been honored with nominations for Best Spiritual Literature, Best of the Net, and the Pushcart Prize. Currently a poetry reader for Sugared Water, she lives near White Rock Lake in Dallas, Texas. A square of dark chocolate after dinner is her daily confection of choice.

Sweet Connections: Brian Benson

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Several times a month we connect with our contributors showing where they have been, where they are now, and what’s up for the future.

Name: Brian Benson
Title of Pieces Published in Sweet: Please Take Your Litter Home & Love Story
Volume: 16

You can find Brian in Portland, Oregon where we are hoping he will be receiving good news from our Pushcart nomination! Find out more about Brian on his website.

Find Him:
Instagram
Twitter/X

What are some major accomplishments you have had since your Sweet publication?

I’ve published essays in a few stellar journals, including Pithead Chapel, BULL Lit, Scrawl Place, and Bending Genres.

Can you tell us about a current/ongoing project that you’re excited about?

I’m currently working on an essay collection about my questions around and hopes for modern masculinity. Depending on when you ask me, I’d either say it’s almost done or it will never be done.

Who is your favorite author?

Sorry to cop out here, but there’s no way I can pick one favorite, so I’m going to just rattle off five that I love: Jo Ann Beard, Kiese Laymon, George Saunders, Eula Biss, Sigrid Nunez.

What is your favorite poem/essay/book?

Very bad at favorites, so just including what first comes to mind. Poem: “Instructions on Not Giving Up,” by Ada Limon. Essay: “The Fourth State of Matter,” by Jo Ann Beard. Book: “The God of Small Things,” by Arundhati Roy.

What inspires you to write?

Reading great books, reading not-great books, watching films, walking in the forest, living through really awful moments, living through really beautiful moments, conversations with friends, listening to others read their writing aloud, listening to others, period.

What are you reading right now?

I just finished Tom Spanbauer’s “I Loved You More,” and I just began Mosab Abu Toha’s “Forest of Noise.”

What is your favorite sweet?

Mint chip ice cream. Boring, I know, but I fell in love at a young age and it’s endured. I still haven’t made it myself but someday, someday.

I love mint chip ice cream! Especially with some chocolate sauce on top. Check out this great recipe from Chew Out Loud if you want to try making your own.

Thank you, Brian, for taking the time to reconnect with us again! Congratulations on your Pushcart nomination. We look forward to seeing more of your work in the future!

Are you a contributor who wants to be a part of Sweet Connections?  Come fill out our form!

Matthew Lippman

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Outside World Of Beers

(for Diane)

My friend Geoffrey, he’s a poet,
once wrote a poem with the line,
You and me and the department of beer.
My friend Michael and I, who is also a friend of Geoffrey,
often blurt this line out in the middle of a Mets game
or a meal at Chili Peppers
or a walk through the woods somewhere on the planet of Vermont.
You and me and the department of beer.
When Michael’s brother died of cancer, we sang it to one another
to push back the grief
or to hold the grief closer.
You and me and the department of beer.
What is the department of beer?
It’s a song.
It’s a red winged blackbird.
It’s God and God’s horror.
It’s God and God’s happiness.
My friend Mark, he does not know Geoffrey,
but he knows Michael,
in the time of answering machines,
had this as his message:
This is Mark and Musette, not ya Mamma.
I used to call him up just to listen to him shout that out on the tape.
This is Mark and Musette, not ya Mamma.
I did not want to leave a message.
I had nothing to say.
I never have anything to say.
I love to listen.
Words are music and music is words.
Michael and I, in the deep valleys of Ohio,
driving at dusk through the intergalactic paradise of fireflies
in silence
found God.
Once in a while,
because God was too intense to handle for long periods,
we would shout out, This is Mark and Musette, not ya Mamma.
And I forgot to say:
Musette was Mark’s wife
who did not like John Coltrane
and would throw pans at his head when she was upset about the broccoli
but loved to rescue birds.
Oh, beauty in all its forms.
Oh, horror in all of its back-alley shadows.
Sometimes a phrase finds you,
attaches itself to you, a riff, a bar of music,
and it makes you a better person
because you decided to put it inside of your blood.
That’s what friendship is.
I have not seen or spoken to Geoffrey in 25 years
but he is in my blood
and the universe keeps getting bigger
and that is why when people die who you are close with, well,
they get closer to you
in the expanding out of words and stars and songs and poems
that are grief.
That is why you have to drink beer with the living
at a bar called The Starship Bar at The Beginning of Time–
with dudes named Mike, and Mark, and Geoff, and Barb.
You have to raise your glasses to one another
because you are fireflies in Ohio at dusk
who found each other a long time back
before God even existed
or had anything to say to you or the rest of the world.


Matthew Lippman is the author of six poetry collections. His latest collection, We Are All Sleeping With Our Sneakers On (2024), is published by Four Way Books. His previous collection Mesmerizingly Sadly Beautiful (2020) is published by Four Way Books. It was the recipient of the 2018 Levis Prize.

Jacqueline Goyette

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Summer’s End

We eat panzerotti piping hot — freshly fried dough, mozzarella, tomato sauce that is salty, tangy, thick — on a bench behind a van parked in the piazza off of Via Garibaldi in the town of Macerata, Italy on this, the feast day of San Giuliano. My mouth forms little puffs of mozzarella steam in the cool of this summer night, the last of these nights perhaps. Or maybe they are already gone, ended a week ago and even earlier, when we weren’t paying attention, when we spent the days complaining about the heat, this heat wave, the nights when not a single breeze could cool us, when we slept sticky, woke up in pools of sweat. Those days are gone, and (how cruel) we miss them, even in this magic festival, this last day of August, in fireworks, in panzerotti, in cotton candy and Italian hazelnut brittle. No matter how we beseech them to stay: those days are gone.

So tonight we keep our eyes open. We watch the vendor pack up his wares in blue plastic bags and store them, ready for the next fair, the next city, the next end-of-summer night. This piazza is shell shaped, a half circle, so that the wind gathers her things here — scrap paper, old receipts, a bottle, a plastic bag, leaves that rustle in the breeze, tumble, creak and crackle: speak of autumn, the ghost of things to come.

Later we will walk through these streets with their lights on, their crowds and stalls, marvel at things for sale, the spiderman masks and carved wooden dolphins with girls names painted in pinks and yellows: Ilaria, Giada, Martina, Katia. We will eat sugary almonds from paper cones, run into friends, family even, walk the tail end of summer at ten o’clock at night. Isn’t it true that we celebrate the things we lose the day we lose them? The way we say goodbye to seasons, years, lives and those we love. It is not grieving that we do, but this: balloons and music, dancing, too much wine. We wait till the days are gone, the whole town bundled up in scarves and leather jackets and the first breath of autumn and then we say goodbye. We mourn in celebration. As Antonello and I walk, he will point out the memories of his youth, graffitied on the ancient brick walls. Even at night you can see it in his eyes – how this city shaped him, the roads that fold and crease, run labyrinthine through his mind. Times with friends, childhood at the pizzeria, a first beer at that bar (the one with the green sign, the girl working inside, wiping down the countertops in the tilted light). Even this very day: the feast of San Giuliano, the times Antonello and his friends watched the procession of saints down to the church or set off fireworks from the back yard, raced ducks and chickens down the narrow stretch of street in front of his house: all hail the summer! He laughs (his eyes crinkle) in memories that are not my own. Memories that are at once here and gone, like this night, the moon, a pearly puddle in the sky. Like the summer that is fleeting.

But back there in the shell shaped piazza when it is just us, when the van has packed up, the crowds are thinning, the wind is picking up her trinkets and tucking them away (reaching her fingers into our hair too, to keep us) we get up from the bench and I turn around. Wrap my arms around Antonello’s neck and kiss him. Happy summer, I say. Buon estate. Let’s hold it tight this one last time. Summer and Macerata and this night, all lit up: fantastic. Crowded and shimmery and full of fanfare, of San Giuliano and a thousand shuffling feet. Our endless grief parade.


Jacqueline Goyette is a writer from Indianapolis, Indiana. Her work has been nominated for Best of the Net and has appeared in both print and online journals, including Lost Balloon, trampset, JMWW, Heimat Review, The Citron Review, Eunoia Review, and Cutbow Quarterly. She currently lives in the town of Macerata, Italy with her husband Antonello and her cat Cardamom. And yes, she has a sweet tooth, especially for candy like Lemonheads and watermelon Jolly Ranchers.

Özge Lena

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Minor Details

We lie on a fallen beach
within the sooty winds of the east.

What makes a war-stroke city
so human and inhuman?

Far missiles are weaving
the heavens of a scorching summer.

Minor details like red blobs
on a ragged tutu.

The bittersweet scent of fires
makes our eyes water deliciously.

Or a tin prosthetic leg shining
behind a cracked window.

In this new world of water
scarcity, we lick each other’s tears.

Or a glassy eye seen from the half
open zip of a black body bag.

Sirens start to announce
another curfew down in humid shelters.

Or playing tag with the bullets,
but never being the it.

We run under the sudden rain
of an air strike, hand in hand, laughing.

Or a ruddy painting of a dusky beach
pierced by shrapnel pieces.


Özge Lena’s poems have appeared in The London Magazine, Abridged, Orbis, The Selkie, 14 Magazine, and elsewhere in various countries including the UK, USA, Canada, Bangladesh, Iceland, Serbia, and France. In 2023, she was nominated both for the Pushcart Prize and Best of the Net. Özge’s poetry was shortlisted for the Ralph Angel Poetry Prize and the Oxford Brookes International Poetry Competition in 2021, then for The Plough Poetry Prize in 2023, and for the Black Cat Poetry Press Nature Prize in 2024.

Pushcart Nominations 2024

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Sweet Lit is proud to announce our Pushcart nominations for this year.

CREATIVE NONFICTION

Karen Kao, Food Fight, Issue 16 February 2024
Brian Benson, Love Story, Issue 16 January 2024
Mary Ann McGuigan, The Assignment, Issue 17 September 2024

POETRY
Diane LeBlanc, “B is for Bird,” Poetry Prize finalist June 2024
Sarah Carey, “Tahane Recalls His Escape,” Issue 16, April 2024
Amanda Anastasi, “Avoidance,” Issue 17 October 2024

We hope you will go check out these amazing pieces again and send wishes of good luck to each of them. Thank you for sharing your work with Sweet!

Sweet Connections: Stephanie Anderson

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Several times a month we connect with our contributors showing where they have been, where they are now, and what’s up for the future.

Name: Stephanie Anderson
Title of Pieces Published in Sweet: Flight Animals
Issue: 9.1

You can find Stephanie in Boca Raton, Florida – teaching, writing, and playing with her Italian greyhound puppy, Augie. Find out more about Stephanie on her website.

Find Her:
Instagram
Facebook

What are some major accomplishments you have had since your Sweet publication?

I started as Assistant Professor of Creative Nonfiction at Florida Atlantic University this fall – I am so happy to be back in the classroom working with creative writers! I’ve published a number of essays and short stories that vary in form and subject since “Flight Animals” appeared with Sweet in 2016. And I’m humbled to have won several writing awards, especially the 2020 Margolis Award for nonfiction writers of social justice journalism.

Can you tell us about a current/ongoing project that you’re excited about?

My second nonfiction book comes out November 19, 2024. It’s called From the Ground Up: The Women Revolutionizing Regenerative Agriculture. I’m thrilled to share this book with readers because it offers a message of hope and action about our food system and climate-smart agriculture. It highlights diverse women working all across the food system to bring about change that benefits all of us. From North Carolina to South Dakota, and California to Washington, D.C., women are leading the way!

Who is your favorite author?

Naming just one seems wrong! Let’s go with four authors whose books I’m teaching this semester: Mitchell Jackson, Viet Thanh Nguyen, Jordan Kisner, and T Kira Madden.

What is your favorite poem/essay/book?

Another tough one, but I keep coming back to Braiding Sweetgrass by Robin Wall Kimmerer for nonfiction and The Shell Collector by Anthony Doerr for fiction. And anything by Lauren Groff is gold.

What inspires you to write?

Often I’m trying to share information and/or tell the stories of people who are doing unique or change-inspiring work. I like the role of literary journalist, someone who follows and conveys ideas readers may not have heard about before. But I also enjoy the creativity, the way a little mosquito of a narrative will bite me and I have to scratch the itch.

What are you reading right now?

Student work, which is a joy. Also essays by Eula Biss, Nicole Walker, and Katrina Vandenberg for next week’s class. For fun, I’m reading Rejection by Tony Tulathimutte.

What is your favorite sweet?

I think I said this in a past Sweet Connections, but the sugar cookies my family makes during the holidays are my absolute favorite sweet treat. The recipe is from an ancient Better Homes and Gardens cookbook. My siblings and I always made them with my mom growing up, and we still do whenever we’re spending the holidays at the family ranch in South Dakota. You can see from the photo that the recipe has been well loved over the years. I prefer them unfrosted, but you do you.

Thank you, Stephanie, for taking the time to reconnect with us again! Congratulations on the book. We look forward to seeing more of your work in the future!

Are you a contributor who wants to be a part of Sweet Connections?  Come fill out our form!