The huntress

yes

She

knows her power

heaving out of her like

red clay forming stars

the power it has on

those who watch

unable to quit her

imperfection as much an aphrodisiac

as those fine lines converging into

her thin bones

drawn tight and ageless

she smiles a drowsy grin

down turned eyes glinting

the thin shake of her hair

sharp curve in high cheeks

noble and unrepentant

she has more confidence than you

with your excuses and your fumblings

could ever possess

if she’d taught you, she’d have said

no, no, no you’re doing it all wrong

if you want that woman to like you

be cold, be indifferent

and occasionally, throw her a scrap

don’t ever show her your full regard or

the depth of your eyes

heft her over your shoulder when the time comes

take her to a dark place and without apology

do what you must, thinking nothing of her

she’ll be crazy for you and that’s how it’s done

you know that’s so, because you’ve seen it

every weak knee’d soul who begs for her

underestimates her lash

only small, seemingly weak

her fierce nature, a molten thing

she has them on their damn knees

it’s not even a look, a word, a sign

it’s the power exuding from her focus

she believes in herself totally and knows

if she slips even a little, they’ll eat her for dinner

feast on her failure like the hungry things they are

I want to be like her one day

I can wear short skirts nearly as well

but as she tutors me in the act I know

it’s a parody, a puppet act compared to her art

I may look the part, even when drunk

act a little like her

but she’s used to the taste of blood

and I don’t know how to eat it raw

sometimes I think of her and why

she’s the kind who defies all the rules

charging that opposites

and only opposites must attract

when she could be my cousin and yet

I want her, despite myself

I want her to want me and that’s the rub

she wants nothing of anyone and never will

hers is an icy indifference

cool queen of thorns and calm

she controls the game, for it is a game

by moving through this life without letting yourself slip

requires poise and balance only artists of the tightrope possess

I am filled with trembling emotions

impossible to blot out or walk in a straight line for

I see my error in my every move

she wasn’t interested, because she saw me coming a mile off

an unsteady shadow cast on her savvy wall

canny enough to smell, the scent of desperation on my breath

I learned from the huntress

and failed my exam

she makes mouths turn dry and water

by just being everything we cannot

remorseless, pitiless, without guile or guilt

somewhere inside of her there is a girl

we want so badly to take as our own

if only for an hour

and without seeming to try

she holds herself apart, unreachable

closes each desire with her little hands

gazing into our disappointment

with a small smile

there is a sadness in her winning

it shows in the day time

when the light hits her eyes and they

despite their great beauty

look ancient

Moonlight

Did I ever tell you

she tastes of licorice?

And sometimes French brandy

the hairs on her arm

of sunlight

the nape of her neck

a night time covenant

when she sleeps

I long to unwind the ebony coils of her hair

run my fingers along the parabel of her shoulder blades

finding symmetry.

To know a woman

to love a woman

you must forgive your impatience

to possess what cannot be tamed or owned

you must relinquish the idea

you’re ever going to be in control

she is a faithless word seeking light

her tongue thirsting for your nectar

if you look away too long she will move on

to another flower

such is the delicacy of love

ephemeral and without weight

it skips like a hungered heart

for the right claimant.

it took me

walking on my knees through burning desert

composing words of love in my mind

attuned to her ficklety like

a cage without hinges

I drink in the sight of her

turning a corner, magnified in three way mirrors

like harpsichord strung hummingbird

lasting just a season.

In the night she sleeps

motionlessly

a cool blade

between sheets

slicing finely

reminder of a child’s memory

the Italian store and how thinly

they carved meat

till held to light it appeared

translucent

as a moth

blue and changing

against the moon

Still water

It’s not the point or purpose

Making yourself in the image of

Something temporal

Perfect lives

In the ragged hem

Not the seamstress who knows by default

The straight line

We are

Twice turned around the earth

From that first time

I beheld you then

As I saw my own reflection

And all that was lost within me

Fell away as debris

A shining soul

So often tormented by the world’s love

Of tarnish

Easily we fell again and again

Against sharp corners and places unfit

Only in the surround of one another

A measure of peace

Never something easy to describe

To others it may appear

Dull and ordinary

Not worth adjective

And as I hold you near me in blackening night

Feeling age settle like freed dust

The ache of what could have been and what was not

Has less power in this soft reverie

Where consolidation is a tired but gentle thought

So different from that tight umbelical youth

Lost in the still of an eternal motion

If I could

Reach back

Change or alter

Our trajectory

I may have asked

The stars to divine

An altered course

Only to bring us closer

Till nothing

Not even the barrier of our separate being

Could thwart the hope

We are all and one

Spinning in silver threads

Through time

And memory

As lights catch

Like glass

On still water

As love settled and stayed

Forever

New face

close up colors female flower
Photo by Rodolfo Clix on Pexels.com

Good girls don’t spill the skinny

spit, instead of swallow

extinction demands a pound of flesh

leap from windows, arms akimbo, preferring air to cubicle hollow

good girls don’t defecate, chew with mouth open, scratch, pick, pull apart

rotting articulate

good girls make breakfast constipated, and suck your morning off just right, handing you the Listerine

good girls pretend tight jeans are comfy, Baise-moi against a public lavatory is joy, and you look tasty at 6am

good girls close the door when you leave for work and remove their good faces

unravel the facade like a guerilla loads guns

hiding disappointment along with amphetamine trace

a sound like the whisper before fire starts

 

A last look around your voided heart

that’s where I marked the days with ink

that’s where I lost a virgin’s dream

he’s you and he’s me and he’s the girl who said she wouldn’t repeat history

and they’re all up there on your shelf of ex-lovers, plastic Golems in caliph

i’m the dumb fuck who gave them the stage, hot lights, ravenous applause, hymens shores

(it was rather funny to pretend several times to lose the same thing, easy to bleed when you clench your teeth)

you made your bed, she lights a match

pours diesel cocktail, nitro swath

goodbyes are for survivors, with swivel grace

stepping ash into ash, Dormez bien

emptied years, new face.

Protected: Des souvenirs fantômes

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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.

Poets of SMITTEN Interview Series: Hoda Essa

Hoda Abdulqadir Essa is a New Orleans native with roots hailing from East Africa. Hoda is a maker, writer, lover, shapeshifter and soul traveler, searching for heaven or hoping to construct it with her own bare hands.

How does being a poet inform your views on expressing emotions through writing? 

As a poet, I’m consistently working from a place that many people call “emotional intelligence” – in other words, I am dreaming out loud when I open my mouth or put pen to paper. So, for me, being a poet comes with a subtle responsibility to always tell the truth. Poetry is not a soundbite nor is it a news-clip. To me, poetry is the rhythm that lives in each person individually. It’s important to express that and writing is a powerful medium to do so.

When you found out SMITTEN was about women who loved women, without the emphasis on erotica that is usually the case – could you immediately think of ways to express that love through writing? 

Absolutely! My friend and I talk about bringing intimacy to life and to me that is what art is. No one has ever written ballads about an intellectual conversation they’ve had but we pause to capture the gentleness of a lover’s brush against your own skin – to me writing is a way at grasping moments that we ultimately have no language for. The erotic, especially, can be more greatly understood as we wrestle with it on the page.

What does it mean to you to be part of something like SMITTEN and have your work alongside other women who love women? 

To me, this is a declaration of the time’s we are in. Standing together in creativity unity is the most empowered place for many women, myself included. It means to me that I have graduated into a time space reality that is being carved out by the very people writing and experiencing love for and from a woman.

Why is love a worthier subject than erotica to write on? 

To me they’re intermingled. You have to love a moment to be inspired enough to write about it. Erotic writing is being so in love with an intimate moment that you want to recreate it for others. The two are closely related as far as I am concerned.

Have you ever been SMITTEN and if so, do you feel it’s possible to summarize those feelings in poetry? 

I am smitten and often. As often as possible. And I love this word as the title for the anthology (kudos to you all) because that word encompasses how wistful it is allowing oneself to be overtaken by simply being fond of another. I’ve tried my entire life to bottle this feeling and give it to the world so yes! It is absolutely possible to summarize these feels in poetry, until we can market the sensation of course!

Your poem in SMITTEN was excellent, why did you choose this particular poem and what did you hope it would convey to readers?

I chose this poem because I was inspired by a woman who took my breath away. She was beautiful, inspiring, deliciously sad in all the right places and talking to her moved me. We never formally met but my hope in writing “WOMAN” was to zoom in on how explosive this connection was without any physical intimacy. I am not even sure if I felt romantic ideations towards this person up until this day – I just knew that I wanted her inner-flame to be safe. I wrote this poem to honor her fire; to protect it.

SMITTEN is available by ordering it in your Barnes & Noble, purchasing it online at Barnes & Noble or Amazon or asking your independent bookstore to order it via Ingram. SMITTEN is available on Kindle and in print form.

For updates on SMITTEN visit the Facebook SMITTEN page.

This is a huge project of 120 female authors – an anthology that is testimony to the power of love and connection between women. Support SMITTEN by purchasing a copy for someone who supports LGBTQ equality, women or poetry.