Winter night
his snore keeps her reflect
on the past blue;

the refugee
the rain gutter recites 
the war poem;

lighted window
the night rain drums
in November;

artic dream
polar bear dreams of
old ice home.

©Byung A. Fallgren

The sister, one of the two fingers

The Sister, one of the two fingers

Her eyes see things others don't
when it comes to her bro.
when she catches his post on the Facebook
about his past surgery as if recent one
and his worry on the hospital bill, 
her senses go purple alert; halt her impulse
to send him a check, give her mom a call
to make sure if he'd do that.
Mom says it must be a hacker.
she'd call her brother for sure.

Mom's heart blooms: she knew
two fingers are better than one,
like a nation needs ally. 

--Byung A. 


Keeping her safe

Keeping her safe

As the sea rise with the global warm
The villages grow skyward? 
Tall and wind-ridden? but away

From iron grab of angry ocean.
The vulnerable woman we neglected.
Memory of yester years, dreaming

To go back to her
Of yester years. Is it too late?
Why not keep her safe now?


unbelieving or selfishness
everywhere signs of global warming
but smokestacks still emit CO2

©Byung A. Fallgren


in some Assuming

in some Assuming

once been a fiction writer, some think 
her poems are lies, with horror and thrill and all.
"It must be some fiction trying to..." they'd jeer.

She smiles then shudder at the imprudence
of it, then with pity, jokes, "Probably you are
right." then shrugs. Nevertheless,

she examines her poetry; sees it as true and 
hurried as the impatient dame herself.
only needs to morph more.

"Assume all you might," she whispers them, "but
know that, in doing so, you lose your empathy
and quality of word; what a waste. 

"That's how we lost each other, long ago,
on the green hill, on a balmy, dazed day.
what follows: years of tossing at night in doubt."

(c) Byung A. Fallgren


The Mother and Daughter, like lunar eclipse

The Mother and Daughter, like lunar eclipse

The daughter who is born writer
doesn't write and tells her mom to write,
like the mom used to tell her. Now,
her mom has become the daughter's youthhood.
She's the daughter is the mom is the daughter...
the mom would do it for the daughter,
like the daughter should've done it for the mom;

they are two in one.
Who would've guessed it?
Not the Earth, nor the moon. 

(c) Byung A. Fallgren

Lines Written During my Second Pandemic

Lines Written During my Second Pandemic
Eduardo Corral

All water flows toward loneliness.
Loneliness is a black eye, a gleaming pit,
we have yet to split loneliness like an atom.
Loneliness arrives on a leash of scorpions.
In my scull, loneliness opens like a parachute.

It's illegal to chain loneliness to a fence.
Flickers tunnel though loneliness to build nests

I sprinkle a spoon of sugar over loneliness.
In some languages, loneliness is imperfect.
Antlers crown the bald head of loneliness.
Like rough trade, loneliness won it kiss you.
Loneliness crouched in a tree afraid of dirt.

In the dark, loneness ripens too quickly.
Beneath the roof of loneliness, my blood drifts.

Eduardo C. Corral is the son of Mexican immigrants, the author of
Guillotine (Gray wolf Press, 2020), his work has been supported 
by fellowship from the Guggenheim Foundation and the 
Lannan Foundation. He lives in Raleigh, North Carolina.  


The Lesson on the Trail

The Lesson on the Trail

The brilliant red leaves of the shrub
shrugs off the snow, like a stubborn child
of Mother tucks it under the blanket.

the lodge pall pines in the white coat 
toss the snows at the passerby, as if warning.
Feeling it, I turn my head but see none,
not even him; move along the trail, indulging in
the peace. yet hear a sound in the no sound,
feel an eye in the no eye zone.
there, it groans; I turn back and meet it.

the mountain lion on the boulder on the slope,
hungry, fierce eyes. I froze, then slowly 
pick up the big stick, mistake. It jumps off
the boulder and slinks toward me.

toward...the hare playing a statue.
I run to the car, inside it, I see 
the beast chases the hare into the 
dense woods that whisper,

whatever it is, I only wish for 
the hare home safe. and so, do I. 

(c)Byung A. Fallgren

On Desire

On Desire
Dujie Tahat

A firm hand. The shadow waves of satin.
I am not yet flesh. He calls me baby,
and I touch my face. I'm searching for god
when I oil my body in the mirror. To love it
mean to love a man mean an opening
to another man. When I take my glasses off
all the lines blur. A body is a body without
language, I tell my girlfriend and she laughs,
mouth wide enough to hide in. she shows me
my soft parts. I dissolve into what. I forget
hiding also means a good beating, the way
passion can be suffering. I can't believe
my whole life I never touched what made me
holy. We have bread, butter and nowhere to be. 

Dujie Tahat is the author of "Here I am O my God" 
(Poets' Society of America, 2020), selected for a
Poetry Society of America Chapbook Fellowship,
Salat (Tupelo 2020), winner of the Tupelo Press
Summer Garden Chapbook Award.    

The Window in the Corner

The Window in the Corner

Usually, it is hidden behind the blinder,
for the funguses blooming between 
the panes--guilty one, jealous or lazy soul,
with no way of purge it;
but when opened the blinder
it provides an excellent view of the
pasture in all seasons--a person 
with a lot of potential, 

like the unfinished 
project in a box in the dark basement 
deemed to be silver, if not a little piece 
of your dream.

So, why not banish the blinder?

the blinder winks;
fungus, like the man who
would have been there; what can I say?

(c)Byung A. Fallgren