A Note About Anonymity

Issue 12’s content is set. We’ll be completing notifications to contributors later this week. Look for Issue 12 on May 3.

Please note that in our effort to read blind, we are now tightening our policy regarding the inclusion of identifying marks in submissions. We focus on the submission, not the submitter. That enhances diversity and helps new voices be heard. In the past, we’ve overlooked identifying marks on submissions if they did not interfere with our blind review.

That is changing. Please do not place any identification anywhere in your submission. Submittable allows for a cover letter and third-person bio. That must be the only place your name or other identifying information should appear. Here are examples of identifying information that will disqualify submissions:

  • name, etc. as header or footer on a submitted page (attachment)
  • cover letter as part of the body of the submission (attachment)
  • name, etc. in the title (e.g. – Panoply Submission, Ezra Pound) You can use initials if you must.

Thanks for helping us concentrate on the quality of the work! And thanks so much for submitting such wonderful art.

Andrea, Jeff, and Ryn, Editors

This Week’s Editors’ Choice, “Bitter Vision,” by Wendy Vergoz

Wendy Vergoz takes another look at childbirth and child-rearing, not always all it’s cracked up to be! We can relate.


Standing at the mirror, my son’s harsh
whine piercing, my daughter’s sharp wail jarring,
I brush my hair, silken, smooth.

I will myself: remember the downy circle
of crown first seen.
But gaping flesh births not just child.
The twisting, blue-black cord
wraps around my neck.
Neck snapped, still do brick-red nipples
offer—marble-cold, my body yields
warm milk.

Wendy VergozWendy Marie Vergoz is the recipient of a Creative Renewal Arts Fellowship from the Arts Council of Indianapolis, an Individual Artist Grant from the Indiana Arts Commission, and a Service Engagement Grant from Indiana Campus Compact. She teaches writing at Marian University in Indianapolis and a writing workshop at the Unleavened Bread Cafe for women survivors of incarceration, domestic violence, and addiction. She is the editor of two books: The Unleavened Bread Cafe: Twenty Years of Living Water and Voices Unlocked: Soulful Stories from 30th and Central. Her full-length poetry manuscript, The Unbinding, is under consideration. Her poems are forthcoming in Mothers Always Write, and they have been published in Cleaver Magazine, Flying Island Journal, Ground, The Christian Century, Literary Mama, and Anglican Theological Review. They have appeared in exhibitions at the Harrison Center for the Arts, “Spirit and Place,” “Art of the Moving Image & Spoken Word,” “Wrestling with the Infinite,” and “Religion, Spirituality and the Arts.”

 

To read previous Editors’ Choices (and contest winners), please visit:
Artisan – Karen McAferty Morris
At The Scottish Gallery a Baobhan Sith Takes a Pass on a Local Vicar – Linda Kennedy
Untamed – Dianalee Velie
A Further Response from the Hornet’s Nest – Robert Okaji

Issue 11, Winter 2018-9, “Untamed” Theme – Including Our First-Ever Contest Winners

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Welcome to Issue 11, our “Untamed” issue. What a treat it’s been to read the wild rambles of our contributors. We’ve got lots of work related to relationships, not one but two references to a garrote, some super-quirky humor, LGBTQ work, hippies, women’s consciousness/ascension, childbirth, end-of-life issues, and more! Our contributors sing.

This is our first-ever contest, one that’s brought us all some fine work. We thank all who submitted and congratulate our prize winners and all whose wonders appear here.

Best wishes to everyone for a wonderful 2019! Thanks for reading Panoply.

Andrea, Jeff, and Ryn, Editors

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Contest Winners
First Prize – A Further Response from the Hornet’s NestRobert Okaji
Second Prize – UntamedDianalee Velie
Third Prize – At The Scottish Gallery a Baobhan Sith Takes a Pass on a Local VicarLinda Kennedy

Additional Contents
450Frances An
Apologia for a FetishBingh
ArchangelSteve Deutsch
ArthritisPat Hanahoe-Dosch
ArtisanKaren McAferty Morris
At the EdgeGloria Nixon-John
Ballet: The Second Lesson – PliésVictoria McGrath
The Bear in the LabyrinthCarol Flake Chapman
Bitter VisionWendy Vergoz
Bride of Porcupine Kathryn Almy
bull marketAnne Casey
Child’s PlayNeil Flatman
Dress Code – Brad Garber
FeralGabrielle Langley
FlightChristopher Wang
Four o’clocksRobert Nisbet
The GarroteAaron Brame
Good MorningNeil Harrison
The Heart of the MarrowEva Rosenn
How to Be a Leopard SealCarla Myers
In Praise of ReasonStephanie L. Harper
Just SupposingJames McKee
OpossumJulie Stewart
The other we eat is the tale we know bestKelli Allen
the pegasus clock in ICU15AM Roselli
Persephone Coaches HadesM.S. Rooney
Pine Twig Nest with Reindeer MossGail Comorat
Reuven Rubin’s Orange Groves near Jaffa 1928Mare Leonard
Scene #3Thomas Dedola
Train Ride with Hair on FireMartha Kalin
We were once menJack Ritter
What If They Could Be Wild?Irene Fick
Wolf CallChristy Wise

Announcing Panoply’s Nominees for the 2018 Pushcart Prize

Such a joyous occasion! We’re constantly rewarded, constantly grateful for the wealth of artistry we receive. It fills our spirits. At this time, we get to recognize our favorites among all of the treasures. Here are our nominees for 2018. We thank them – and all contributors – for the chance to feature and share their work. Have a look and join us in congratulating them all.

Biscayne Bay Lies Still, Like Glass – David ColodneyDavid Colodney

The Hail – Jacob ButlettJacob Butlett

The Harrow – Bill NewbyBill Newby

Monet’s Portrait of His Wife on Her Deathbed – Robin Wright

Robin Wright
A New Hope for a New Zion – Charles McCaskillCharles McCaskill

 

Red Wallpaper – Ron BurchRon Burch

Review of Lauren Davis’ Chapbook, “Each Wild Thing’s Consent”

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Poetry Wolf Press, poetrywolf.press
24 pages
$10 in print, $8 digital
Physical format is handmade. Stapled. Printed using French Paper Company paper.
Partial proceeds go to a local Jefferson County nonprofit called The Dove House.
Author website: LaurenDavisPoetry.com

Submitted by Jeff Santosuosso, November 2018

Book titles guide us. In Lauren Davis’ breathy debut chapbook, we’re taken through a series of journeys to a conclusive observation. We live in a natural world and are part of it. We exist, participate, and partake with the consent of what surrounds us, tacit or deliberate. In fact, we ourselves grant our consent to each other. At our heights, we are intimate, sharing our vulnerabilities and desires. Yet we risk physical injury, even death. We also risk spiritual decline. But the risk is worth the reward as these intimacies reveal the power of the metaphysical. In her effort to “describe the feminine divine,” Davis shows us that in sharing, after earning consent, we make spiritual connections and reach plateaus we could not make or reach alone.

A good chapbook follows a theme, a great one delivers that theme in all its multi-faceted roundness. It echoes and reverberates, reveals the depth of the theme, sometimes linearly, sometimes discursively. Wind-blown references uncover the hidden. And so it is with “Each Wild Thing’s Consent.”  The theme develops organically, beginning with physical love and sensual stimulations.

Her starting point could not be clearer in the first poem, “Volvodynia.” From the initial religious imagery, Davis pivots to the bodily, the female. She’s set her tone: The feminine divine will be discovered with courage and boldness, but also reverence. “My Body Incapable” laments just that. As her speaker recovers from the pain and exposure of a gynecological exam, her mate manages the tricky task of collecting and tossing broken glass, the images juxtaposed clearly. But already the bonding has begun, the consent given and received. “Forever, you say, we have forever to wait.”

Though an expression of spiritual love, physical love can have its limitations, the expression of which is dramatized in “Vaginismus.”

“…Nothing can touch the way
you could if I could
take you without pain….”

Our speaker prays to the sky, receiving the spirit she yearns for, the body’s limitations overcome by the spirit’s fulfillment. The theme is well underway. Later, she revisits the physical agony, well worth the rewards of her mate, in “To My Pelvic Floor Physical Therapist.” Then, in “Cave Study,” she teases us with double entendre, making the joys of physical love perfectly clear. “Land Not Required” just keeps rolling the theme:

“…My body
unaccustomed to the sway of water,
first rock me back and forth on sand.
Train me how to hike the mast….”

“Pilgrimage to Saint Sara” takes us through the crossroads, down the path of wonder to be fulfilled by the remainder of the writing. The religious setting is no accident. We follow our speaker on a holy passage, downward into a crypt, seemingly inaccessible. Only a kiss unlocks the puzzle, makes the connection. Our speaker touches the statue’s lips, then her own, a charge passing between them. Uplifted, she entreats this same energy from her partner.

In “I am a New Caledonian Owlet-Nightjar,” the speaker’s mate saves her from extinction. Vulnerable and frail, she relies on the heroism and protection of her mate,

“…ready
to be collected beneath
your breast…”.

For the bird, truly a matter of life and death, of extinction, no less; for the speaker, another loss, just as deep. Her mate provides sanctuary.

 For all the wandering through physical and metaphysical love, Davis turns the entire work in “I Will Cocoon You.” While this is quite a common theme, the transformation is freshly worded with pauses to satisfy. They have created new selves – both as individuals and as an indivisible couple in which they transcend themselves:

“…When I am finished
friends will call you
stranger…”

She is able to satisfy her physical desires, arousal beginning gently in “On the Deck,” where she asks to “shave the soft hairs/above your collar line.” This piece echoes water imagery which flows through the entire work. “The Rented Room in Mount Shasta,” switches from one element to the next, where “there is more cedar/and so much heat.”

“Native” brings it all home, voicing the work’s title, as the speaker and her lover find their place, sharing love in the natural world, keenly aware that they are as much object as subject:

“…You said, It’s beautiful, but do we really belong here,
where creatures hide? Then an elk herd stomped across

the dirt road, and you braked, shocked. The fattest turned
to stare over his long beard. To know or warn us?

Yes, my love, we belong, but on soil-stained knees,
asking for each wild thing’s consent to stand….”

The revelation is confirmed with great peace and alacrity in “But Most of All,” as she affirms, “But most of all I am/ a woman in communion, her ear to the wall.”

Her journey complete, her identity clarified, she realizes that physical things are impermanent. But she remains steadfast, closing with “Mountain, Incidental.” A victim of a minor accident, she confirms her fidelity: “Have faith, I am only temporarily mislaid./I tread down the mountainside in the rain.” This title carries us subtly, the great rising symbol, the almighty natural setting which she has embraced, for all its pains and pleasures, limitations and transcendence. And yet, it’s incidental, her own power towering above all that surrounds her, the constraints of the physical world eclipsed by the supernatural power of the spirit, fired in awareness, acceptance, will, and faith.

Concluding at the top of Maslow’s pyramid, the couple surpasses their physical love and emotional bond to unite with the greater natural world. In that sense, the work is one of maturity. Moving from one phase to the next, Davis never forgets the roots of this elevation. On the contrary, she reveals for us the notion that this consent has been there all along. At first, it was human. As she concludes, we realize that while the consent is now human, it’s elemental, inseparable from the human world. Just as our bodies are inseparable from our spirits, as we as individuals are from each other, so are we from the natural world. As wild things ourselves, we grant our own consent, inviting others to connect with our very core. That is the most generous invitation of all, the greatest risk, the supreme reward.

While this fine work achieves its goal related to the “feminine divine,” it embraces us all, independent of our gender. With our consent, it describes our human divine.

Lauren Davis (2)Lauren Davis is a poet living on the Olympic Peninsula in a Victorian seaport community. She holds an MFA from the Bennington College Writing Seminars, and she works at the Tishman Review and the Writers’ Workshoppe and Imprint Books. She recently received a residency from Hyapatia-in-the-Wood.  Her work has appeared in Prairie Schooner, Spillway, Split Lip Magazine, Ibbetson Street, Ninth Letter and elsewhere.

 

To read previous chapbook reviews, please visit:

Previous Chapbook Reviews

 

Issue 10, Summer-Fall 2018

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Join us in celebrating our newest issue. Buoyed by the continuous flow of fine work we have received over the years, we’re refreshed and fulfilled to offer Issue 10.  

Panoply continues to evolve. We added a guest editor and somewhat tightened up our requirements for inclusion. We have always striven to be inclusive rather than exclusive, but found ourselves overwhelming our readers! We’ve had to turn aside so much worthy work. This was a painful if undesired and unplanned conclusion. Penance aside, we’re thrilled and uplifted to bring you Issue 10. Even with our changes, we continue to read blind, focusing on the writing, not the writer. We relish the results and hope you do too.

Look for more innovations soon; we have a few editorial and publishing tricks up our sleeves. And of course, we’ll be posting Editors’ Choices shortly, followed by our nominations for the Pushcart Prize. 

As usual, we thank our contributors and readers, who keep this going, both as a tangible result and as a spiritual journey. Peace and love,

Andrea, Emily, Jeff, and Ryn

Contents

43 Howland Street Samn Stockwell
All Saint’s Day, Saint Mary’s BasilicaTobi Alfier – Editors’ Choice
AnastasiaPatricia Nelson
And Down the Street Was the ArmoryTyler Simnick
Are We Not Acceptable, Moon?Mark Kerstetter
Bad MammoMeg Files
Business CasualBruce Robinson
香烟 CigaretteAndrew Slugantz
CurveballBrittani Rable
The Danube is Not BlueIrene Fick
Doubt’s ShadowDavid Aghram
FactDaniel Dissinger
Flood Cough Case 34671, CDC Report, Accomack County, VA Following Hurricane _____.Stephen Scott Whitaker
For Me, Talking with GodSarah Dickenson Snyder – Editors’ Choice
ForeshadowingCarol Deering
The GardenerEmily Vizzo
Getting Gunned (Life as a Female Prison Psychologist)Patricia Black-Gould
Group TherapyLogo Wei
Heart EventsHowie Good
The HoboJacob Butlett
ImprintRaymond Byrnes
A Jolly Day on Route 95Francine Witte
Kyoto After RainPeter Scacco – Editors’ Choice
KilterMercedes Lawry – Editors’ Choice
LakeviewJennifer Wholey
The Last Passerine and the Shadow of Unknown TreesJonathan  Andrew Perez
Medusa UnboundIssa Lewis
Monet’s Portrait of His Wife on Her Deathbed – Robin Wright- Pushcart Prize Nominee
My Niece is at the University (University College of Swansea, Wales, 1960)Robert Nisbet
No Songs About This Childhoodstephanie roberts
Not a Japanese PoemScott F. Parker
Notes from a hospital visit, necessarily in verseJudith Arcana
Offshore in a PaddleboatSB Merrow
Old South Carriage ToursGianna Russo
Pictures of AsphodelDavid Bankson
PKD, A VisitationJacob Borchardt
QuestionnaireFrancine Witte
RadioMaximilian Heinegg
SalvageLaurinda Lind
Sawtooth Mountains, 2017Allison Campbell
Scale ModelNate Maxson
Self-Portrait with Bandage – 1889Ann Howells – Editors’ Choice
Shakespeare’s LustBrenda Yates
SkimmingOlivia Kiers
The Women Who Made HarpsichordsCon Chapman
You, The MarbleLeah Baker
Youth Is the Only Covenant We Can Never KeepPaulie Lipman

Issue 9, Spring/Summer, 2018, Themed: “Adam and Eve, Observations on Men and/or Women”

Pink rose:Issue 9.jpg

Photo courtesy of Andrea Walker

We hope you enjoy this issue of Panoply. We told you we’d interpret the theme broadly. And along with our submitters, we did! Some clear Biblical allusions appear, complemented by far-ranging discussions of one or both genders. Some angst, some play, some tenderness, all good stuff! As usual, we thank our submitters, contributors, donors, and readers.

Issue 10 is due in August and will be un-themed. Look for a chapbook review in late June. We also have a surprise announcement upcoming, so stay tuned.

If you like what you see, please consider making a donation. Just click the PayPal link in the right-hand margin. We appreciate your support! Don’t forget to Like our Facebook page: Panoply Facebook Page.

Best wishes always,
Andrea, Jeff, and Ryn, Editors

AdamEve

Contents

About Your Topaz – William Doreski
After the Fire – Leah Mueller
The Anthology – Evgenia Jen Baranova
The Apple’s Tale – Judith Montgomery
Brand New Mr. Baptist – Ailin Luca
Dead for Beauty – Rachel Dacus
Dear Adam, – Elaine Mintzer
Dissipate – Steve Gerson
The Engagement – Morrow Dowdle
Eve – Sneha Subramanian Kanta
For Mr. and Mrs. D. – Angela Kubinec
From Those Who Came BeforeShawn Aveningo Sanders
The Gift Horse – David Allen Sullivan
Glancing Back – Robert Manaster
He Left the Cabin Angry – Gudrun Bortman
Joanne Recalls the Last Real Sunday – John Grey
Let’s Say – Bruce Robinson
Little Red-Haired Skater – Ann Howells
Liz Taylor’s Talents – Sean Murphy
Midnight at the Keyboard – Cat Dixon
Millennial Pink (Undergrad Indigo) – Laura Maria Grierson
Morning – Sam Gilpin
Mother, Dark and Near – Lauren Davis
My Faith – Tricia Knoll
My lover tells me how to move my hands – Megan Merchant
Native – Heather Truett
No Verse, There is None – Leigh Holland
Overheard – Jeff Burt
Pastoral – Kevin Rippin – Editors’ Choice
Polarity – Kalehua Kim
Ravenous – Tom Laichas – Editors’ Choice
Red – Tomas Kurth
Red Wallpaper – Ron Burch – Pushcart Prize Nominee
Rembrandt’s Woman Bathing (1654) – Carol Henrikson – Editors’ Choice
Sarah Schulman – David M. Harris
The Sermon – Robert Nisbet
Shakti Appears – Ian Be
stardust – ali lanzetta
Still Life as Poem #2 – Michael Dwayne Smith – Editors’ Choice
This is What a Young Man Looks Like When His Heart is Full GrownLois Roma-Deeley
Turn for theWorse – Paul Reyns
Valentine’s Day – William Wells
The Weekends are Long Without You – Henry Giovannetti
Without Explanation – Carol V. Davis