Not For Profit/For Prophecy


Burning House Press

Andre Bagoo: Scarlet Ibis Variations

Scarlet Ibis Variations

SIV1scarlet-ibis-variations-2.jpg Continue reading “Andre Bagoo: Scarlet Ibis Variations”

Umang Kalra: Sacred You & Me & My GF Will Change The World


“…It’s mostly that album A Love Supreme. It feels sacred to me. I had a friend once tell me A Love Supreme is convincing evidence for the existence of God. And that’s really stuck in my head ’cause it’s a little bit true to me.” – John Green, in conversation with Ashley Ford and Kelly Stacy

As if the hands that built this were not so terribly human.

As if the stones are not the slightest bit uneven.

As if there is a waterfall somewhere that could kill this song.

As if the call of a bird is grander than all of the laughter we found.

Look, the stars are shimmering – their masses are exploding with joy. Continue reading “Umang Kalra: Sacred You & Me & My GF Will Change The World”

Kenneth M. Cale: Coda and Intrazonal Notes

coda 1coda 2

Continue reading “Kenneth M. Cale: Coda and Intrazonal Notes”

Sally-Shakti Willow: Pranayama, Mudra, B & ha

SSW Three Yoga Poems for Burning House

SSW Three Yoga Poems for Burning House 2ssw-three-yoga-poems-for-burning-house-3.jpg


Three Yoga Poems, from the sequence Asana Pranayama Mudra Bandha

‘Asana Pranayama Mudra Bandha’ writes through the yoga manual Asana Pranayama Mudra Bandha by Swami Satyananda Saraswati (Yoga Publications Trust, Munger, Bihar, India, fourth edition [2008]) and various news articles published in The Guardian in 2017.


‘the HEART, by way of the BREATH, to the LINE’: Charles Olson, Projective Verse (1950).


1) ‘I suddenly see that the gesture of a hand could be a poem –
like the mark it might leave impressed in a surface.’
Scott Thurston, Reverses Heart’s Reassembly (2011), London: Veer

2) ‘I offer flowers’ from ‘Offering Flowers’ in Technicians of the Sacred (2017) ed. Jerome Rothenberg, Oakland, CA: University of California Press, p71.

Asana Pranayama Mudra Bandha is part of the forthcoming chapbook, Atha, Knives Forks and Spoons Press (2019).

Sally-Shakti Willow researches, writes and performs utopian poetics as ritual to open up [r]evolutionary space for positive transformation. She teaches poetry and creative writing at the University of Westminster. Her poems have been published by Adjacent Pineapple, Eyewear, The Projectionist’s Playground and Zarf. Chapbooks to date: The Unfinished Dream (Sad Press, 2016) and Atha (forthcoming with Knives Forks and Spoons). Sally-Shakti’s other writings and reviews are published in The Journal of British and Irish Innovative Poetry, The Contemporary Small Press and Northern Review. Find her on Twitter: @Spaewitch

Eric Blix: Fragments from scrub lands—works in progress

BHP-fragments from scrub lands 2BHP-fragments from scrub lands 3BHP-fragments from scrub lands 4BHP-fragments from scrub lands 5BHP-fragments from scrub lands 6BHP-fragments from scrub lands 7BHP-fragments from scrub lands 8BHP-fragments from scrub lands 9BHP-fragments from scrub lands 10BHP-fragments from scrub lands 11BHP-fragments from scrub lands 12BHP-fragments from scrub lands 13BHP-fragments from scrub lands 14

Eric Blix is the author of the story collection, Physically Alarming Men (Stephen F. Austin State University Press, 2017). His writing has appeared in Best Small Fictions, The Collagist, Caketrain, and other journals and anthologies. He lives in Salt Lake City, where he studies in the PhD program in creative writing at the University of Utah. Eric’s work above are fragments from his novel-length prose collage, scrub lands—works in progress.

featured image: Ruby Anderson

Nic Stringer: Raptures & Promises

Continue reading “Nic Stringer: Raptures & Promises”

Aaron Kent: Yellow and white scavenging

Yellow and white scavenging


Aaron Kent is a poet and the editor of the small press Broken Sleep Books. He is particularly interested in the films of Godzilla, and has recently given up coffee. He lives with his wife and their infant daughter. He really misses coffee. Twitter: @GodzillaKent

featured image: Bob Modem

Kari Ann Flickinger: We make Our Instruments & No Chicken

We Make Our Instruments

Sitar is the prickle of a recent close-to-the-base
of-the-skull haircut tickling uncalloused fingers. Smooth
grapes on spiked vines—the thrumming heart beats
angry blood, in time, when the pressure elevates.

Calcification of heart-wood is how the tune is created.
Seasoning so sweet, incense swirl sounds these
tiny steps that expand slowly like the step of an animated
fairy. She blesses the room with ever-growing pink loops.

Perhaps, we have heard this and confused her hoops
of sound—the small swelling—the augmentation
of pink into magenta into mahogany as the expansion
of our minds.

And sound does work in this way.

Reverberations change the bearer. The weight of sound
waves are manipulated by air, by ear, by the redwood
walls, by the differentiation of instrument. The string.
Slip and stick. Contact the conifer slick. Heart to palm

rounded vehicles in glass cases, waiting to be touched.
The weight of balance on the bow. The density floods
a linearity of grain, or orientation of rings in her trunk.
A bow’s construction. Heat curves. Time wears

finger-grooves into her ample body. 150 taut hairs.
The timing on goat skin, donkey teeth—the weather
across California’s forests and cities. A reliance on
exhumation of rosewood, pernambuco, blackwood.

The skill of the mouth, the precise shape of the teeth
larynx, fine ear-structures—the blessing offered by
the specific elder to the thick elder at the time

She fell—

Once sound starts a journey, does it change the

The inevitable die-out which dampens this quality changes
the heart curves on each wave—pumps blood. Bursts the
ventricles. Drives a thick ginger residue spike through
the temple. Then, alleviates with chamomile resonance.

Titian once made the shadow under my eyes famous
toxic—an exported harvest that reclassified unique
sunlight blooms into beans that oxidize with age. Ages
crumble into the dust we made with our heaving bellies.

Our trees have become instruments—hot bows and gut.
As we boil with them, we suffocate.

No Chicken

She gets the precooked
carcass from the supermarket.

It shares her stature—neck

bobbed and folded. Her grin
is the thick slope of one leg.

She cracks

wing from
slick body—burnt

footless creature; no face—no eyes
to face. Hacked off at the neck. No, face this

meal. She wears
the title—face. No running

from this meat. Grotesque
eloquence in her slashing

lips. Fingers slide. No
running from this, meat.

Nails heavy with the shining
luster of gristle. She gouges out

from tooth. This creature’s salt
fills her cells—changing her to

flesh both gaping and unreliable.
No chicken.

Kari A. Flickinger’s poetry and short stories have been published in or are forthcoming from Written Here: The Community of Writers Poetry Review, Iron Horse Literary Review, Ghost City Review, Eunoia Review, Riddled with Arrows, Moonchild Magazine, Quiet Storm, and Panoply, among others. She is an alumna of UC Berkeley. When she is not writing, she can be found playing guitar and singing to her unreasonably large Highlander cat, as well as obsessively over-analyzing the details of neighboring trees.

Twitter: @KariFlickinger

featured image: Ellie Anderson-Hawkins

Yvonne Litschel: Otic



Yvonne Litschel is a writer from Cambridgeshire, England. Previously she has read as part of the European Poetry Festival. Her debut pamphlet Moth Dust was published January 2018 by Sampson Low. She has a forthcoming pamphlet entitled Immurement set for release in March 2019 with Broken Sleep Books. @yvlitschel

feature image: Bob Modem

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