“Unopened UNO”

By Sarah Manuel

Red, Yellow, Green, Blue and Black sit on my desk.

The starched cardboard box envelops the cards, binding

them with a translucent seal.

A 7+ in the far right-hand corner

reminds me that I’ve been able to play for twelve years, but

I haven’t.

Beneath the age warning is a label that reads

2-10, just in case I don’t already know I need at least one

person to play.

Dust, like an outgrown jacket, clings to the box.

The only break in the fine layer of powder is a

fingerprint.

Like the shadow from a candle’s flickering light, the fingerprint

smudges and grows, while I

smear the dust from my hands.

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“No Faun”

By Sarah Manuel

 

 

The lurch of hunger lured me there,

To icy scapes without a care.

I crunched and waded my way out

And tiptoed down the frozen stair.

 

My breath I saw come forth in bouts,

Like water laughing out the spout.

A light gleamed off my cloud of glee

And drew me on without a doubt.

 

The source, with pride, shone through a tree.

Its neighbor glistened happily.

Who knew a lamppost’s fiery light

Could resurrect Aslan’s country.

 

With hope and fear, my breath held tight.

I dared not move so I’d catch sight

Of Mr. Tumnus’ black umbrella.

But no faun hooves tracked snow that night.

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I set out to find this poem by Robert Frost, expecting to see a video full of snow and winter wonderland scenes. I’ve always enjoyed this poem for its imagery and use of repetition on the last two lines. All of the surrounding videos on Youtube had the look of a Christmas special, with soundscapes of horse hoofs and crunching snow included. Instead, I clicked on this—the complete opposite. When I watched this video for the first time, I was almost offended by the dissonant, turn-table edginess of the music. Forty-five seconds of discordant jazz didn’t seem to be the proper introduction to such a poem. When Robert Frost’s voice finally appeared it seemed out of place, an antique at the Apple store. This video then ends with another forty-five seconds of the same repetitive noise. The second time I listened to this rendition, I felt the exact opposite. Frost expertly uses enjambment throughout the poem, making you forget that the lines should really rhyme, which actually pairs nicely with the music. I appreciated the contrast of sunny images that the creator of the video used—we don’t really need a visual of the snow, Frost provides everything. I adore the way the lines, “He gives his harness bells a shake To ask if there is some mistake” actually go with the music perfectly; in the next two stanzas Frost draws out the phrasing and leans into, “the sweep Of easy wind and downy flake” making you move with him and yet still stay with the rhythm. The repeating, skipping of the jazz, like the sound of a stuck needle on a record, echoes the repetition of the last line, “And miles to go before I sleep.” The pauses in the music actually enhance the inherent silence of the poem. I was really shocked and delighted to see such a beloved poem reinterpreted in a fresh new way without compromising its simple beauty.

 

“Stopping by Woods on a Snowy Evening”

By Robert Frost

 

Whose woods these are I think I know.
His house is in the village, though;
He will not see me stopping here
To watch his woods fill up with snow.

My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.

He gives his harness bells a shake
To ask if there is some mistake. 
The only other sounds the sweep
Of easy wind and downy flake.

The woods are lovely, dark, and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.

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 By Sarah Manuel

The blood was a prick to Me.

The Nile has always been the riverbank’s bane, flooding and quenching the

Sun-smothered sand.

What does it matter if it is red?

I will drink wine.

 

The frogs made Me a fine chorus.

Those slimy creatures have belched their tunes for eons, serenading riverboats and lily pads

for flies.

What do I care if their symphony increases?

I will enjoy the concerto.

 

The lice encouraged My servants’ delightful dances.

Each miniscule bite produced a twitch and a spasm that when put to music made for  extraordinary entertainment.

Why would such exotic dancing displease me?

I will demand another round.

 

The flies beat their black wings to cool My face.

Never in all of Egypt did such fanning and attendance dry My sweat before it had a chance

To roll down my brow.

Why would I dismiss this comfort?

I will allow their breeze to caress.

 

The cattle were ruining My cholesterol.

Cows, with their ceaseless grinding, chewing, and mowing, have killed more than one man’s dreams of a perfect lawn.

What does is matter if they are diseased?

I will be a vegetarian.

 

The boils brought Me perfect bliss.

Attending to My every need, I have never felt more at ease with fifteen maids and servants, massaging and applying oils to My blemished skin.

Who would want such attentions to cease?

I will tell them to get the knot in my neck.

 

The hail showered Me with joy.

Cursing Egypt with sand instead of snow, my Son had never felt the freezing kiss of ice’s

Burning touch.

Why would I take such childish pleasure from him?

I will sled down the pyramids with Him.

 

The locusts flew in just for My economy.

Years of prosperous flooding from the river Nile gave birth to a surplus in Egypt, giving Me and My scribes a host of worries and concerns equal to a new father’s.

Why would I object to the locusts eating my burden?

I will pay them.

 

The darkness never frightened Me.

As Almighty Pharaoh, I am the incarnation of the God Ra, who lights the heavens with

Fire and flame.

Who am I to fear the shadows?

I will burn brighter.

 

The final plague is coming for Me.

My dear little brother has pleaded with me, implored me, begged me to soften my heart, swallow my pride, and let his people go.

Who does he think he is?

 

He was my brother.

 

But I will not let his people go.

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“Kia”

 

“Kia”

By Sarah Manuel

 

The thick summer air hovers around the living room. It’s soaking up and taking in the sweet

stale scent of old cigarettes

and too much lemon. A breeze trickles through the open window, teasing me

and my heightened senses.

I’m waiting.

She’s waiting

too, but in the kitchen. It’s always an island of flames in there with the oven alive in the heat

of the day. I wish she would sit down, but instead

she’s baking summer squash, just the way

we like it. Those soft aged hands know their job, she’s not thinking, she’s

listening for

the loving trill of her Nokia.

My little Greek grandmother is always listening because that’s

what she does.

 

I know my role well. My legs are much younger and have not yet

endured knee replacement surgery, sand-colored orthopedic shoes or,

God forbid,

age. So I’m her feet. That’s why I think I’m waiting.

With neglected

book in hand and my mind on cooler thoughts, I migrate

to the porch where,

God willing,

the air, and maybe even time,

will move.

The cast iron frames of patio furniture are filled with the same old yellow, blue, and white

striped cushions, flattened with age and too-long conversations. It’s where my

grandfather used to sit,

smoke, and just be. Wind

chimes used to join him, dangling there with their welcoming clanging. Now they’re both

gone. All the sound that remains is the traffic zooming by and my heart

in my ears pounding out its anticipation for the arrival of

a call.

 

All too soon my ears are assaulted. The wall phone ekes out its shrill cry for

attention. The moment has come but

my grandmother doesn’t even look up from the stove.

She knows better. She’s waiting

for the answering machine to screen her caller first. The caller

knows. It’s not the first time. The beep comes.

It’s my Aunt from down the street, imploring

my grandmother in a Siren tone to

pick up!

That’s where I leap into action, and with all the dexterity and skill of an experienced

telemarketer, I answer the phone.

 

But that’s not what she’s waiting for. And I think I know

her well enough to guess that

what she’s waiting for isn’t in her hand. It’s sitting on

the little cast iron coffee table

outside, all its numbers lovingly rubbed thin, the name

“Kia” only just remaining at the top.

The familiar silence returns, along with me to my seat and her to her

lemons.

The sun is starting to go down, and the haze begins to thin. Scents of butter, olive oil, and

too much lemon break past the barrier of heat, coercing

me into my lawn chair. To my right sits the spindly little table, with its silvery guest perched on

top. “Kia” looks at me and I

look at it. It wonders

what I’m waiting for. And suddenly

I don’t know whether I’m supposed to answer the phone

or call it.

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