est. 2022
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ISSUE 4: ETHER
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JOHN WHITE
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Walking to Zennor
John White | Poetry
There is blood in my fingers, pink and wet,
a fog condenses from westward sea:
the breathy phantom of a slumbering leech.
And at the end of our road, the promise of
meat, whispered by horizons we cannot see,
and on the road, the dogged hunger.
My eyes are roving as to drink
from out the rough green-purple plant,
my fingers arcing as to grasp
a pallid stem of pixy limb
or widn scarf of bucca’s scale.
That night there must have been a storm, strong
enough to rouse the sea:
dog-hair ropes cling damp to the blue
of the hollowed thigh, the frothy tendons
on granite spine,
a crooked scorpion tail in swell
anticipates the spit-white horse’s tail,
the bandit grin on panting shore,
Komodo tongue
in salted teeth,
the slime of an unsheathed mollusk
hand: the coastline bristles,
the fields heave.
He lays himself upon the soil, spent,
unwelcome.
To the left of us a piddling henge,
already posted with a mouldy plaque,
posted on the newest map,
by satellites, logged and tracked
in empty black beyond the world.
Further left the mist enshrouds,
out which trundles mottled cow,
her calf still fawning for its womb,
a pink-white muzzle on the red-brown
islet, the soft impression of a waning moon.
The cow, the moon… the obscure Cornish goddess
Bughiven in corporeal form,
her calf leughefe in rust-mud rushes,
by Arthur Gernow he was born
like wind that laps the half-remembered sea,
to and from the vacant cove,
beneath my wizened soles, imagined.
The Thought Fox During Andrei Rublev
John White | Poetry
Yefim hovered over the church,
his sheepskin scraped the spire twice touched
as inventors wrestled with men of God,
bereft of colour, a depthless charge,
the screen unmoved.
The wood chair creaked, the tea went cold, a lukewarm tang, a stubborn mark,
the glass pane shuddered:
soot-clouds pawed the sill,
ashen snout on windowpane
I turned my head:
tarmac, black night.
The streetlamp’s orange had lost its fire
in the bunker space between the sky and the road
and fatigued, lambent in the trodden gum
of an Oldham pavement,
sprouted matted, tawny fur
to prod her picture in my brain
like then, and then, and now.
Her waveform crossed the road, still night,
her white smoke-whisps in keratin strands
banding the dark with a squirrel’s gait,
at left pavement,
red brick, yellow light.
Three years have been spent:
Yefim fed the soil in his crater,
the picture faded,
the rejections automated.
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John White was born in Oldham, England in 2001 and studies Spanish and Computer Science at Lancaster University. He became interested in poetry after analysing the Power and Conflict collection for his GCSE exams and draws particular inspiration from the poems of Ted Hughes, Allen Ginsberg and Federico García Lorca among others. John’s poetry is impressionistic, communicating emotional states through sensory language and subjective narrators. His Spanish-language poem ‘Ladrón de Lengua’ was featured in the 2020 edition of the Mother Tongue Other Tongue Anthology, and his translation of ‘El Llano en Llamas’, titled, ‘The Fields on Fire’, was included in 91st Meridian, a publication by the University of Iowa.
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