High School, our 20th issue, is on the way. To cel­e­brate, we’re pub­lish­ing a series of cre­ative writ­ing and illus­tra­tion that cel­e­brate those teenage times for what they were–glorious, hope­less, funny, mov­ing, or just plain embarrassing.

Grammar School
By Megan Jones

Unlike the others,
my father loved
my first boyfriend like
a son; he
actually likes
“doing” “things,” he said. He
is “productive”; he
chops
“wood,” wipes
cutting boards, “cuts”
at them.

Lately, reluctantly, poet
ically I too have asked: are fathers
the poets?

No, really: I imagine them moulding
our little pink
mouths at birth, mouths
later fluttering
wings, loose but
tied and tethered, always,
to some rotting
estuary of words.

Do normal women love
a man’s
words
as much as I
do?

Do they archive
Facebook messages?

Do they sit cross-armed
like a
“bitch” at
“barbeques” just
listening?

Do they wrap and dispose of
adjectives
like tampons
that is to say: shamefully?

You must be thinking: she has
wasted half
this “poem”
already.

But it must be so
lonely to be a
displaced male word!
Pushed out by the woman’s
new lover
firm mouth
planting words like
hard seeds.

“The green room,”
is the thrashing “barrel”
of a wave, or
“to get pitted” means slipping
beneath the wave’s
inverted belly.

The slope
of the “break,”
is waves, curling
their white fists.

I think I would like
to write a poem
about that next.

I think I like fists now
more than I like “break.”

In winter, this boyfriend,
the one who surfs, shook
snow from his “deck.”
“Let’s get in
the green,” pulled my wet
suit down: a glimpse
of “chicken-skin” chest.

Back then I did not
“breast” or, worse,
“sex.” “Sex” was
is fragile, an unripe
banana of a word: stuck in the
cheek, fuzzed.

My life, a girl’s life
could’ve been all white knuckles
and sexy silence. Waves of blue.
Dark odorous
depths.

Instead it was/is the flat
pan held by one who is liked
who has become a real
“thing,” worth
“doing.” It’s “wood,” productively
splintering.

A“long iron” at the driving range
is a long shaft, it was
my “athletic” boyfriend.

We liked “red” and “winner”
“gold” and “burn.”

Green fists of grass, clenched
white balls. What comes
next, over the rolling
hill? The fathers,
crouching with their daughters,
ducks with heads in the water
Get your bums right up, in the air!
I’ve never
known men in love
with waiting
for words to flow up, ideally:
yes, all, and.

 

Megan Jones lives and writes poems in Vancouver. She also splits her time between working at two different publishing firms: ZG Communications, a boutique marketing agency for authors, publishers and not-for-profits; and Page Two Strategies, an innovative literary agency where writers publish in a variety of ways. 

Amelia Garvin is a painter and illus­tra­tor who has exhibited her work in group shows across Van­cou­ver. She has a BFA from Emily Carr. See more work by Amelia here and here. 

 

High School, our 20th issue, is on the way. To cel­e­brate, we’re pub­lish­ing a series of poetry and illus­tra­tion that cel­e­brate those teenage times for what they were–glorious, hope­less, funny, mov­ing, or just plain embarrassing.

I am remembering the sacredness of sleepovers
By Sarah Ens

I am remembering
the sacredness of sleepovers
and the holding of hair, holy in our hands
twisting braids too loose, taking care
with their undoing, over and over
like an anointing

our ritualized rating
of those poor boys, a sacrifice
until Ryan got a ten out of ten out of
nowhere so we started watching LOTR in slow-mo,
Spiderman backwards, I don’t know why
it was so funny, these things
we could control

and when Abby’s mom died
Abby lay on the floor in the basement at Meg’s
and her cousins lay beside her
like three fingers on one hand that said a-okay
Abby pulling the sleeping bag up
over her head, staying still
just like that

I could never keep vigil, I always
fell asleep only to be woken up
to choose which teacher to kill marry
or screw, shouting elementary school songs like
swears, like spells, I Am
Chiquita Banana shaking the walls of the spare room
and then sneaking our mothers’ vodka, the first time
we did puzzles all night before crumpling
to the floor to confess the way we felt
ourselves, the spaces we’d found that made
us feel ashamed

one time I threw a whole cake
on the floor at the end of an all-nighter
and we scrubbed and scrubbed
but the stain on the unfinished wood
just spread, reckless
and so full of feeling every night, catching
our new mouths on old magics
on baby feminist god-fearing poems
speaking together our scriptures in so
many pink tongues

and I wanted to soften the matted knot
at the nape of your neck, escaped from my attempt
at a French braid, you looking to me fuzzy,
blurred with tenderness, tangles
telling me that he touched you when you were
just a kid

I am remembering
how we pressed our shirt sleeves to our chins
how our eyes burned that dark room, I am reciting
the prayer that curled up from our growing lungs
and lengthened like smoke, stretching
up and up into safer sleep.

 

Sarah Ens grew up in rural Manitoba before moving to Vancouver to study Creative Writing at UBC. After earning her BFA, she returned to Winnipeg to write sad poems and surround herself with books and Mennonites as an editorial assistant at Turnstone Press. Her work has appeared in Poetry is Dead, The Garden Statuary, and Fugue.

Amelia Garvin is a painter and illus­tra­tor who has exhib­ited her work in group shows across Van­cou­ver. She has a BFA from Emily Carr. See more work by Amelia here and here.