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Posts Tagged ‘family’

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[with 3 poems by Sarah Small]
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Dad, Peeling Apples
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++++++ The color of wheat
bread speckled
like the skin of a Golden Delicious,
freckles on top of freckles
and tiny nicks
from his knife, dots of blood
turned to brown scabs.
My father’s hands
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have never changed. Every night
a different apple
skinned naked,
split and seeded without him
ever looking down, loving the fit
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of apple
in the left hand, brown-handled
knife in the right.
He licks the tip of his finger
where the juice runs clear
and skewers a slice
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for me, which I take
regardless
of whether I want
an apple or whether
the flesh has begun to brown
around the edges.
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When he is done,
knife set down and fingers wiped
clean against the legs
of his beige corduroys, I will take
the leathered back
of his hand to my cheek
and hold it there, begging
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his weathered roots to spread
their soil-caked fingers
long and strong
as deep as the generations will go.
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Sarah Cummins Small
from Stitches, Finishing Line Press, Georgetown, Kentucky. © 2025
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❦ ❦ ❦
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Last week I was out on the Mountains-to-Sea Trail with Bob and Steve digging ditches. “Erosion mitigation features” – yeah, ditches. Along one stretch we kept turning up huge earthworms, dozens of them, fat and long as little snakes. As we rescued each one and chucked him/her off the trail, Bob turned to me, local naturalist, and asked, “Say Bill, can you tell which is male and which is female?” Smirk on, Bob. If I recall correctly from Mrs. Schilling’s high school biology, every worm is both. One end is boy and the other end is girl, hermaphrodites. When they want to make little wormlets, they line up parallel head to tail and exchange genetic material. Slimy but exciting!
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Thank you Hermes, Aphrodite, and Mrs. Schilling, whose motto was, “There’s no place in the world for weak women!” Everybody, now, hands on! as we dissected our earthworm. And each 9-week term Mrs. Schilling also sent us out collecting: leaves, insects, fungi. In mid-winter Ohio it was bare bud identification time, each labeled per Linnaeus. I’ve never forgotten Acer rubrum and Quercus alba. My lab partner Dave tried to foist off the bare tip of his defunct Christmas tree as one of his collected buds. Just before he turned his project in, I replaced its label (Pinus pinus?) with Gluteus maxiumus. It was exactly five minutes before Mrs. Schilling’s menacing contralto penetrated to our back row table: “Mr. Mason, come forward!”
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Mrs. Schilling was one of my three most memorable teachers (Mr. Geigel, English, and Herr Watt, German, the other two). I am still in love with Latin binomials and squishy things thanks to her. Mrs. Schilling would certainly never shrink from describing in the most squirm-inducing detail the reproductive habits of earthworms. And at age 15 who is not obsessed with sex in all its varieties, manifestations, and practices? I can’t in all honesty confess that the mystery has even now been fully dispelled, although I think I may have finally figured out the convoluted sex life of ferns. (Listen up, y’all, that’s pronounced Thallus.)
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When I was 12, Dad never sat me down for THE TALK. He just handed me a slim pamphlet, mysteriously titled Where You Came From, then sent me off to read it somewhere my little brother couldn’t peep. “When you’re finished, let me know if you have any questions.” I returned it to him later with the 1965 equivalent of “All good,” but for at least the next two years I still confused female anatomy with British monarchy (Elizabeth Regina). And now I’m supposed to be the one to sit Dad down at 98 and explain to him the facts of why he can’t be asking his physical therapist out on a date? I think I’d rather just stick with the earthworms.
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❦ ❦ ❦
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War
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++++++ Our mother is beautiful
Without makeup, with the round balls
Of her cheekbones like crabapples
Or plums, and her crooked front
Tooth. But with a little
Pencil to shade in the sharp arch
Of eyebrows and bright red lipstick, she becomes
A black-and-white
Photograph hung in a young man’s barracks
Where in the early evening before dark
And after a green supper, one soldier lies
Sideways on his cot facing her,
Tracing the soft outline of her cheek
With one knuckle, three fingers from his lips
To hers and back. We will never be
So carefully memorized.
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Sarah Cummins Small
from Stitches, Finishing Line Press, Georgetown, Kentucky. © 2025
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❦ ❦ ❦
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We will never be / so carefully memorized – Sarah Small begins her collection Stitches with a portrait of her parents in the 1940’s, deeply imagined, drawn deep from her heart. Poem by poem she pieces a quilt of memory and legacy, reverence and longing. This is one poetry collection that left me wanting more when I had turned the final page. Its beautiful pattern gradually emerges, on each page so carefully felt and conveyed. The simplest things conceal the greatest mysteries. Within the simplest the greatest is revealed.
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The poet’s eye and ear, her imagery and music, each delicate detail and meticulous observation, all the lives shared, every secret revealed: the colors and textures arrange themselves until we recognize not only the poet’s family but our own place among the tribe of humankind. These are indeed the stitches that gather us into a single human family.
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Stitches is Sarah Cummins Small’s debut collection and is available HERE.
The book’s cover art and design are by Summer Small.
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❦ ❦ ❦
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Unstitched
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I am held together
by tiny stitches
on small scraps of feed sack,
snatches of wool, snips of gingham.
A patchwork of pastels—
a slipshod collage of cotton.
I’ve been silk, satin, taffeta;
I’ve been flowers, polka-dots, and plaid.
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Thin white thread
++++ ++++ zig-zags
++++ across
++++ ++++ the decades
++++ hemming me in, keeping me
from ripping.
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I’ve been zipped.
++++ Buttoned.
++++ ++++ Unsnapped.
I’ve been bumblebunched, twisted,
and straightened. Held pins in my mouth,
pricked fingers, and calloused
my thimble-less thumbs.
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I am done.
Unravel me now:
Rip out the seams
one by one, untwist strings
and untangle knots. Fold me gently.
What I haven’t finished—
take now.
Begin again.
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Sarah Cummins Small
from Stitches, Finishing Line Press, Georgetown, Kentucky. © 2025
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❦ ❦ ❦
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Just a reminder that I m leading a naturalist hike the morning of Friday, September 12, 2025 on the Mountains-to-Sea Trail near Elkin and you are invited. During the month of September we celebrate the birthday of the MST! It’s an easy walk, 2 hours or so, lots of stops to check out flora and fauna. Sign up at:
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And if you can’t come on the Friday, we will probably repeat the hike on Saturday, September 27. Sign up with Elkin Valley Trails Association at Meetup.com to receive notices.
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❦ ❦ ❦
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2014-06-30a Doughton Park Tree

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Albert Mountain Sunrise

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[with 3 poems by Kathy Ackerman]
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Heritage Lost
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Hills are keening,
yellowed voices of serious photos
call me home to “precious memories,
how they linger,
how they ever flood my soul.”
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How in a displaced caravan
we went to lay her down
in shining soil,
flecks of coal on shovels
in the hills of familiar gravestones.
It had to be that church,
that pastor’s family name,
Rock of Ages, Beulah Land.
 . 
How odd to call it home and feel it so
without a waiting bed of down
to follow the wake,
all of us gone north for good,
except for this.
 . 
How we walked between
the railroad and the shallow ditch
collecting tadpoles in a pail
we’d flush in the motel’s aqua bathroom
because I would not understand.
Death, a newborn slippery thing.
 . 
How the stone had to be a heart
to bear the name of Mother,
how the heart had to be a stone
to be left behind
in its rightful place
in the hills near the church
near the home place bought by strangers.
 . 
We packed the memories once again
in bursting overnight bags,
left the motel beds unmade,
because we could
and settled into our procession.
CB radios, Thermoses, Styrofoam,
we headed back up north
to our factories, unions, high schools,
without looking backward.
 . 
Kathy Ackerman
from Coal River Road, Livingston Press, The university of West Alabama; © 2013
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❦ ❦ ❦
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Where is home? Is it a house number, 1074 Marcia Road, a side yard, fence, and oak tree I can still see as clearly as when I was 10? I could walk right through the carport sixty years later and show you exactly where we buried my hamster. Or is home a garage full of cardboard boxes and bric-a-brac from four other homes of parents and grandparents, houses you only spent a few dozens of nights in altogether? Is home the towns those houses occupied? The states?  Whose home is your home? Whose place is yours?
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I was barely four when we moved from Niagara Falls to Memphis. Not until years later was I able to piece together the stories of my parents’ migration, how they drifted together across those red clay counties of piedmont North Carolina, then pinballed via Atlanta to New York before birthing me. All my solid early childhood memories abide in those eight years in Shelby County, Tennessee, that little four-square subdivision on the outskirts of Memphis.
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Then we moved. And moved again. The sixth graders in Delaware mimicked my accent and immediately nicknamed me “Memphis.” It doesn’t take long for a 12-year old to figure out how important it is to fit in. For the next couple decades I can now see that I lived as if the place I was staying would never be the place I stayed.
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Here in the rural South, when you meet someone new question number one is not, “What do you do?” but, “Where are you from?” One longs to fit in; one doesn’t want to whack the conversation with an axe by replying, “New York.” I invented my stock answer right quick: “Both of my parents are from North Carolina.” Subtext: “I want to be from North Carolina. I want you to let me be.”
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I have now lived exactly 70% of my entire lifespan in North Carolina. NC driver’s license, NC property taxes, kids born in NC, grandkids too. Maybe being almost from here is an advantage. Every new state park we visit, every historical factoid, every endemic flower species I learn, every third generation progeny of a friend I greet while out walking – I tally them all securely in my calculus of belonging. Way back when Linda and I arrived in Durham a week after we’d married, a month before I started med school at Duke, we just assumed that in four years we’d be moving back to Ohio to be closer to her huge family. Now it’s been fifty-one years in The Old North State, forty-four of those in rural Elkin in rural Surry County. Lately we’ve started talking about downsizing, moving somewhere we can age in place through to the end of our allotted spans. Linda says, “You know where I’d really like to live?” Oh my God, is Ohio still calling her? Is the place we’ve been staying never to be the place we stay? She looks at me level, no joking here. “Winston-Salem.”
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Well, I guess we are from North Carolina. It’s nice to be home.
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❦ ❦ ❦
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Cul-de-sac
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From Coal River Road to White Mist Lane
is more than forty years,
several hundred miles
as the crow truly flies, one point to another,
and sometimes back,
no straighter than a crooked river
wrecked by mines.
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Here the landscapers claw in stony earth
to sow some seed
while wings of straw fly it away.
My lawn’s a futile thing
where rocks and trees should be.
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I stoop to gather stubborn stones,
pretend I do it for the grass,
but in their quartz and granite peaks
admittedly ground to bits by time
I find the mountain of my blood
and hear the ancient syllables spilled,
silenced now by cul-de-sac
and swaying Mylar storks,
a neighborhood of strangers
increasing overnight.
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Kathy Ackerman
from Coal River Road, Livingston Press, The university of West Alabama; © 2013
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❦ ❦ ❦
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Linda spots the book on top of my pile, next in queue for reading, and its title speaks right up and makes its demands known. “We need to save this one for Jodi.” Who was born in Ohio but lives in coal country, and whose career has been to tell its stories as naturalist and interpreter in the New River Gorge near Beckley, WV. Indeed, I’ll share it with Jodi, this book I bought from a friend whose poetry I’ve admired for many years, whom I’ve come to know better through the North Carolina Poetry Society Board, and whose more recent book I featured here three years ago. Now I open the book, though, and out spill the connections and intersections. Kathy, just up the road there at Isothermal Community College, I never realized we’ve come from the same place!
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Kathy Ackerman grew up in Ohio (like me, at least from 8th grade on) far from her birthplace and her family’s heritage. In later years she has mainly visited the old home state for funerals, but the landscapes, place names, family memories, and fortunes (or lack thereof) of West Virginia are the palette from which she paints these poems of Coal River Road. This collection is yearning for home, but home is something slippery and out of reach. A bright fleck in a stone might remind her of the mountain in her blood, but returning to stand on the that mountain she discovers a hint of strangeness and regret. Perhaps the yearning itself is home, the uprooted and cast adrift feeling that keeps a person looking for something solid, for something that means.
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I identify with these poems. Kathy uses imagery and memory not just to disclose the past but to define the present. She can only be the person she is because she’s traveled the twisting roadways through old hollers and coves as well as the West Virginia Turnpike straight up to Ohio’s new sown lawns. And finally I-77 South. Although Kathy Ackerman didn’t settle in this state until a full ten years after I did, I can assure you that she is from North Carolina.
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 . 
Coal River Road by Kathy Ackerman is available from Livingston Press. Her more recent book is Repeat After Me from Redhawk Publications (2022).
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❦ ❦ ❦
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Whitesville, WV
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Because we never had the conversation
I am following a hearse that winds
down Coal River Road toward Whitesville.
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How to say irrational to bury you here
in the only land we own outright,
owned for generations
though none of us can visit your grave
in less than a day.
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These plots foreshadow the ending
no matter the story you wanted to tel.
you never wanted to return, like this or not.
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You’d cringe to see this dingy place,
smelling of rot as if what remains
of the Big Coal River
seeps in each night while the corpses await
their faraway bereaved.
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For once, I’m relieved to by unromantic.
That body is merely a souvenir
a keepsake – you wore it every day.
Symbol. Skin. Form.
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I am relieved to know you’re not really here
though there’s nowhere else for us to go
to pay our respects. It is not respect
that brought you here, but silence,
the failure to make a better plan
because you never learned to say goodbye.
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Kathy Ackerman
from Coal River Road, Livingston Press, The university of West Alabama; © 2013
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❦ ❦ ❦
Doughton Park Tree 2020-09-08b

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[with 3 poems by Joan Barasovska]
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The Box
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They are quiet in their photographs,
my mother’s dead.
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They speak to me, entreat me to explain.
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A magnifying glass held to their fading faces
proves scant help.
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To listen, I must listen to myself,
to memory.
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Joan Barasovska
from Unblessed, Unsung, Main Street Rag Enterprises, Edinboro PA; © 2025
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❦ ❦ ❦
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To speak with the dead, one must listen to oneself.
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Before my mother died we talked about dying. Her dying. When I helped her fill out the living will forms. Before the first visit from the palliative care nurse. As her health took yet another sudden stepwise decline. I asked her, not at all for the first time, “Do you want to go to the doctor? To the hospital?” “No. No.” And then we didn’t talk about it any more.
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Instead we talked with the dead. Some people approaching the end of their life close themselves off. They draw the veil about their diminishment and turn inward. My mother, though, turned outward, like a great flower that slowly pivots throughout the day to face the sun. Like one of those giant radio telescopes that can hear the earliest whispers of creation, she became a passive receptor who welcomed anything anyone desired to bring her. I brought her the dead.
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Photographs of the dead. Some were in antique frames, some dropping from ancient scrapbooks, most of them loose in envelopes or the bottom of cartons. She and I collected them all into a grand new album and along the way we told each other stories. “Isn’t that Lucy and Ted just married? Linda and I met them at Nana’s reunion 50 years ago. And there’s you with Lucy, both teenagers. Now here’s Carlyle in the little car Grandpop built for him. I guess it was already obvious he’d be crazy for cars the rest of his life.”
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Some stories she told me; some I imagined while she fingered the photos and nodded in silence. At the moment of shutterclick, each photo was created within its world of vast significance. Those worlds dissipate, decrescendo in brilliance like photons that have traveled light-years to reach our eyes, red-shifted with distance in an expanding universe. But during those moments together my mother could enter their world and hear them, the dead, their voices.
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Next month it will have been a year since my mother exhaled her last breath. Her living essence has joined the whispers of the cosmos. Her essence still lives in me and all who knew her and who have not yet joined the dead. Yesterday I found a photo Grandpop took of Mom at age 10 surrounded by her wonderful collection of dolls. There it is, that hint of a smile on her lips, in her eyes, the joyful teasing hint I have seen in person a million times. But looking at that photo is not when I miss her most. The pang of absence strikes me most sharply when a random question pops into my head: “Did you have boy friends before Dad? What was it like to be living 500 miles from Nana and Grandpop when I was born? Who is that standing behind you in this photo?”
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Some of the questions I may once have asked but don’t recall her answers. Most are questions it never occurred to me to ask while we were together on the earth. Now when I pull that grand album off the shelf, her picture will also be among those gone mute. But not completely so. Memory tangles and untangles itself to create new stories. I will listen to my heart. I am now the one who must speak with the dead.
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❦ ❦ ❦
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In Shul on Rosh Hashonah
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Elizabeth is home with the baby; Ben sits beside his sons
on the hard bench. All three wear yarmulkes, Ben is draped
in his tallis – Reuben and Joseph are too young. The black
straps of tefillin tightly encircle his left hand and arm;
the boxes press into his forehead and bicep.
 . 
The drone of men praying, the vibrato of the old rebbe raised
above their voices, the distant murmur and rustle of women
and girls in the balcony above, and Ben’s own chanted Hebrew,
eyes closed, davening deeply – all are as necessary and familiar
as his heart’s beats and his quiet breaths.
 . 
His boys can barely wait for the blowing of the shofar,
the twisted, ridged ram’s horn the see near the ark.
Ben hears Joe whisper to Rube, “When?” and Rube’s loud
“Shush!” Ben is clean-shaven, unlike the older men. He goes
daily to Boris Adelman, the barber on 21st Street, who keeps
a chin mug painted with his name, Benjamin Nax, on a shelf.
His disc of soap, his ivory brush. Boris strops the razor on a
lng leather strap It’s sinful to let his mind wander like this
on a Day of Awe. He gives thanks for his children: Rube,
a little man; Joseph, their angel. now Elsie.
 . 
He was once a boy sitting with is father and grandfathers
in shul. His chest hollows around their absence. They could easily
be dead, and his uncles and mother, lined up to be shot on the
edge of a ditch. No wisdom from grandfathers for his boys.
 . 
The cantor raised the shofar to his lips and fills his lungs.
Joe has fallen asleep leaning against him, and starts awake at the
first blast. Intervals of blast and chant: Tekia! Sevarim! T’ruah!
Renew our days! Mercy is aroused! Judgement is removed!
Reverberating in the small chilly building, this uncanny sound
of the desert, the First Temple, the shtetl, and the ninety-nine
synagogues of Minsk.
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Ben takes his boys’ hands, and the three are surrounded
on the sidewalk by greetings: L’shonah tovah! Gut yontif!
A gut gebentsht yor! It isn’t his name, Benjamin Nax.
It was changed at Ellis Island, from Binyomin Nakhimovsky.
What is there to believe, in America?
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Joan Barasovska
from Unblessed, Unsung, Main Street Rag Enterprises, Edinboro PA; © 2025
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❦ ❦ ❦
 .  .  .  .  . 
Love flares in the sleeper’s dream,
blue as a Sabbath candle flame, warm as
the kitchen of her grandmother’s house.
from Elizabeth’s Travels
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Her story begins in cruelty concealed and unspoken. It wends its way through hardship and regret, between guilt and resentment. It ends as it started, in death. But that is not all. That is only one harsh thread of the story. The story feeds itself with family love and devotion. It clings to hope in darkness. The story opens its pages because of the expansive heart of the one who desires to be its guardian, its intrepid explorer, its teller. Thus the journey of Unblessed, Unsung by Joan Barasovska.
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There is a bit of mountain trail that winds across a mile or two of bald slopes at Bluff Ridge along the Blue Ridge Parkway. If the summer grass has grown waist high and the cows have not been pastured there this season, the trail is obscured, untraceable except for this: in the 1930’s, the Civilian Conservation Corps placed concrete markers, posts two feet tall, to guide the hiker along the path. Joan has found her own waypoints to reveal her own path into her past: a few fading sepia photographs; recollections written down by cousins; conversations with a last survivor. To these she has applied the poet’s toolkit, observation and imagination, to render this book and bring it to life.
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Some of the questions Joan must ask about her grandparents have discernable answers. Where did they grow up? What year did they arrive in America? But many answers are as intangible as smoke from an extinguished candle and as difficult to clasp. Joan uses what clues she can amass – a facial expression in an old photo; a fragment of tale from a distant cousin – to build an enlarging picture. If we don’t always know exactly how this man and that woman felt, at least we know that they did feel and we can hope to project their circumstances into our own dilemmas and responses. Considering another person’s memories is a fruitful impetus to reliving our own memories. At the beginning of Unblessed, Unsung Joan quotes Zora Neale Hurston: There is no agony like bearing an untold story inside you. Here is a story borne and bared. May these poems now weave and tangle more stories, a never-completed tapestry.
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Joan Barasovska lives in Orange County, North Carolina, USA, and has authored three previous poetry collections. Unblessed, Unsung is available from MAIN STREET RAG.
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❦ ❦ ❦
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Listen
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If I told you I hear their voices
in the apartment on Christian Street,
would you visit there with me?
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At the table where they take their meals,
or by the stove, where Elizabeth stands,
adding potatoes to stretch a soup?
 . 
Between husband and wife,
what heat, what chill, what
balance of force and yield?
 . 
The rooms are scrubbed raw-clean,
it’s crowded, voices are raised,
the three children witness everything.
 . 
It’s a time before parents learned
to safeguard childhood. If I told you I hear
cruelty, in word if not in deed, trust me.
 . 
Joan Barasovska
from Unblessed, Unsung, Main Street Rag Enterprises, Edinboro PA; © 2025
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❦ ❦ ❦
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