One such devoured moment

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I am not overt

even when good green absinthe is poured over

a sugar cube

the silver tongs holding

sweetness just.

I am not overt

will not tell you of my sinning urge to

strip you dear of clothing and chew

the very mercy from you

beneath my aching layers

where frill and fancy and the soft cotton of

longing

lie on top of one another, spilling over

in quiet crescendo.

I’m not overt

as you bend toward sunlight, creating a halo of

light beneath your breasts and I see

the coffee cream and the glory of

all that I have ever desired

drawn in chafed clamor.

With reddened mouths, we

empty our aching into indigo rivers

for to release them

and become that thing of wanting

does not possess a language sufficient.

If it did, I fear I would

spend decades

describing what it feels like

to surrender to you,  feel the rounding

of dark silver, begin to etch my spine

its crescent capture, a moon within my

shuddering limbs

as we cascade over the other

swimming like night swans

oblivious to the beckon of dawn.

I fear, should it be translated

my throaty cries will be colors without

meaning, a lake of pleasure, where finding you

I sink beneath, without need of air

your fingers playing me

like a waterlogged flute

for the merfolk who surely have

no rest in their abandon.

It is my greatest secret

that you own my heart and I

supplicate myself in yours, with the

rosy thirst of a child seeking measure

I find myself in the echo of you

your fingers deep in me, striking urgent note

sonorous and defeating sound

together we listen to the rabbit stitch beat

of our hearts, pressed in uttered motion

as you enter my blood and I

absorb a little more of you

as suppliant as a beggar for your

nectar.

I fear should you ever not exist

the part of me wedded to you in between

the trees and through time would

perish like starlight.

For only you bid this girl

alive like ancient wood-maker, setting finish

the sound of us, abseiling into the other, our

wordless joy, limbs bound, skin hot to touch

this thimble of love vibrating its frequency

out to lighthouses and beyond.

Lost from you, I would be no more than

a figment of what was, tortured by

recollection, denied the warm sustaining of

your cherished arms about me.

I am not overt

yet if I were, I should

spill like a warm wax, the seal of you

pressing permanently into my epidermis

a shape of longing and need

where mouths are elongated into song

throats flung back in instrument.

You inhabit me, as I reach for you

cresting waves, growing barefoot dance

a chant in time with quickening pulse

your eyes black in half moon shade

swish of violent love, simmering damp and lush

I release to the witching smell of your

skin surrounding us like points of

flame in absolute blackness

rising up, exhausting their burn

falling down to rise again ever

defiant and pleasured

by the anonymity of their

evoking spectacle

as if I were alive

only in that moment

when you struck me

bright with sulphur

the sabotage of my sanity

given willingly for one

such devoured

moment.

SMITTEN authors share their favorite poems in SMITTEN – Lynne Burnett

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So far, my favourite poem is by Jennifer Mathews: “What He Gave Away” on page 75/77 (depending on your version). It’s an honest narrative with a light touch, grounded in good childhood memories about her grandfather and then the reality of her grownup life and love, apparently at odds with him (‘Four years since I’ve been told not to visit”).

What’s difficult for some families to address or acknowledge tends to erase the person they loved from their minds – until, as in the poem, she shows up unexpectedly and can relate face to face with her grandparents, who actually welcome her back into their lives.

This situation is relatable and Jennifer’s grandfather is entirely believeable (and humourous) and the poem, with just the right amount of earthy detail and voice, ends on such a lovely, redeeming note (“I am back in the family”).

And it’s interesting to me too that the grandfather’s gifts of imperfect fruit, stale bread, wilting flowers suggest he’s able finally to take his granddaughter back into his heart exactly as she is, as we all are—perfect in our imperfections.

By Lynne Burnett.

Lynne Burnett is a SMITTEN author and published Poet and Writer. You can purchase her collection of poetry, IRRESISTIBLE, here. Lynne’s poetry website is https://lynneburnett.ca/

To read more SMITTEN poets purchase a copy in time for the holidays and share this incredible project with someone you love. SMITTEN is available via Barnes & Noble, Amazon and Ingram for any independent bookstore. Consider supporting SMITTEN each purchase COUNTS and lifts up the visibility of 120 incredibly talented poets and artists who created this beautiful collection of poetry and art.

Kristiana Reed’s pre-print review of SMITTEN

Thank you to the incredible Kristiana Reed for this advance review of SMITTEN, Indie Blu(e)’s latest poetry anthology which will be published this Fall. 

Candice Daquin and the editors at Indie Blu(e) Publishing have worked their magic once more in raising a powerful chorus of voices.

Daquin is a woman who has always sought to empower others from the first moment I became acquainted with her work and her nature. I also cannot think of a better person and writer to spearhead a body of work which celebrates love between two women. 

The writers and styles within this collection, which Daquin has woven seamlessly together, are varied – eclectic and powerful yet with the same, strong undercurrent coursing through every piece that this is what love looks like.

It is possible people will read the sub-heading of SMITTEN and assume this is an exclusive collection; only accessible if you are woman who loves or has loved a woman. But, what is truly wonderful is this isn’t true at all. Instead, SMITTEN holds and nurtures love poems to be read and enjoyed by anyone. After all, for centuries, we have consumed and enjoyed love poems written about women, by men. Why should the fact that the poet is a woman cause the response to be any different? 

‘Testimony’ by Carolyn Martin is one of the best examples of this. The nature of love and relationships does not suddenly change if it is not heterosexual; the essence of loving someone beyond belief even on the days they annoy you to distraction, remains. 

However, even though SMITTEN is not exclusive, it must be recognised as an anthology paving a new way for literature. All of the writers are female and all of the subject matter is female, lesbian, bisexual and more. Pieces such as ‘Lesbian’ by Avital Abraham and ‘Pulse’ by Melissa Fadul drive home why Daquin’s decision to create a collection like this is needed and welcomed. 

Too often we sideline LGBTQ+ work as a genre of its own, when it should be mainstream; literary works which are written by people to be enjoyed by people, no matter what their race, sexuality, gender and/or religion. 

Yet, until this happens, I applaud Daquin and Indie Blu(e) Publishing for brazenly making a stand. Until labels are but words and not identifiers, it is important that writers like those in this collection share their voices and stories, ever-lasting love and heartbreak, and their hopes and fears, to remind the literary world they will be heard, no matter what the response may be. 

Kristiana Reed August, 2019.

SMITTEN will be available this Fall via all good book sellers. For bulk orders, ARC copies or more information please contact Candice Daquin or Indie Blu(e) directly or go to the SMITTEN Facebook website

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