Cover

Masthead

Rane Arroyo:
Brokeback Mountain


Frederick Lord:
Diving Bell


Allison Tobey:
The Wedding Photo


Frederick Lord:
Cupping My Car Keys like a Bird I Want to Keep Quiet


Tom Carson:
Breakfast plate portraits


Ryan McLellan:
Too much life


Peter Gunn:
Tate Modern


Tom Carson:
The beach


Sally O'Quinn:
October View


Jeff Crouch:
thermostat


JR Walsh:
Maybe he'll adopt our children


Carine Topal:
Eating Apples


David B. McCoy:
Skylight


Lightsey Darst:
Don't


Amanda McQuade:
At the Shore


Lenore Weiss:
U.S. Soldier With Traumatic Stress Disorder Syndrome, Post Iraq


Adam Houle:
How I Imagine the Seasons on a Walk with My Dog

Daria Tavana:
Bunkered Up!


Martin Willitts, Jr.:
Forest Haiku


Joseph Reich:
from Twelve Odd Stanzas Involving Culture


Lisa Fay Coutley:
In Love, Fridays are Best Spent Watching the Discovery Channel


Ray Succre:
Seedless Blackberry Jam


Davide Trame:
The Threshold


John Grey:
Glassy


Ryan McLellan:
Exploratory


Kenneth Pobo:
Leave it to Buble


Joseph Hutchison:
Poplar


Amanda McQuade:
Happy Hour 3


Adam Penna:
from Lyrics to Genji


Lisa Fay Coutley:
In e-Harmony


Anne Baldo:
jenny hanniver


Jackson Lassiter:
Instant Oatmeal Instructions


Taylor Graham:
Erinys Erinys


Celeste Snowber:
water litany


Davide Trame:
Moth


Contributors
Volume One Issue One

Rane Arroyo

Brokeback Mountain

It's the story of my life: minus the big budget close-ups, plus a film director unsure of my fate, minus a season among sheep, plus mountains looking like saddles for my true love to ride, minus extras with tire irons, minus awards, but the yes of two men becoming one, the sí of kissing far from angels (how Blakean), plus Mormon underwear stripteases, Sundays wearing vodka haloes, plus nights spent on the floor and somehow not stepped upon by God, plus exorcisms and cold rivers, whispers in Spanish from our missions, plus secret sleepwalking into each other's doubts, free to quote Wilde, plus a plan to escape America, but it's the exact story of my life with my cowboy, minus the sense of an impending Patmos, that franchise of whispers and wild kisses, minus the script (we were our best scriptures), we the scarred ghosts wearing landscape's honesty, photogenic Adam's Apples, designer sorrow, minus talk show rodeos, paparazzi round-ups, politically-correct high fives, minus the nightmares of winged horses with hooves striking rocks to start fires, plus slow motion nights on Speed, education and library cards, the Spanish of my skin, plus a belief in doom, nights bedding the moon, two men without spin doctors, plus an unedited nakedness, joy rides in beds offering amnesty for the crime of being, plus our Tijuana plans for a destiny makeover, our nights as free verse Rimbauds in cowboy boots, plus vaqueros keeping quiet about the specifics that become the story of my life, plus Judgment Day drinking games: showing God just Brokeback Mountain to explain myself, minus the editing, each moment as Love's monument and God's cameo, in my image, in my imagination, in my nation while I and my cowboy are silent having to learned to speak wind, wind from nowhere, wind with news of home, of our entangled shadows seeking us with the plus and the minus of having form, and we ride away from the cosmic to the specifics of long nights without stars with clenched fists, us undressed and wondering what it feels like to become fiction.





Glass: A Journal of Poetry is published by Glass Poetry Press.
All contents © the author.