Volume 5, Issue 2

vol 5, i.2

Fall Equinox, Fall/Winter 2024 – vol 5, i.2

Turning pages, turning leaves, turning time. I honestly cannot believe another season has begun its transition. The moments I spend with the written word and art between these pages are always some of my most treasured encounters. Reading and curating the innermost workings of our contributors, I always come to the same conclusion: We are real, we are raw, and our words matter. Ink In Thirds prides itself on the expansive reach of humanity’s voice. A voice with common themes, common interests, and common concerns. Our locale and beliefs may vary, but our humanness undoubtedly connects each of us. It is the true depths of that very humanness that spans all time and all space to share our stories and art about what we think and feel while exploring this realm.

Seasons come and seasons go, but our creative offerings will live on within these pages. This issue features 74 beautiful souls spanning this planet we call Earth, sharing stories, photography, art, and the utmost expressions of our shared human condition. Once again, I extend a heartfelt thank you to all who have contributed and continue championing this literary adventure. We could not do this without the support and readership of our fantastic community.

We usher in this fall with a gentle explosion of exposition and emotion as found on each turning page.

Love and INK,

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"Serenity" cover photo by Dee

vol 5, i.2

fall/winter 2024

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Featured Contributors (vol 5, i.2)

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Featured Prose Writer vol 5 i.2

Paul Allatson

“My Head”

I am standing there, peering through steam and tarnish, when I discover hair. I shave it off. I see skin, reach for the knife, and scrape it away. I boil what is left until the meat lifts from the bone. A soak in bleach produces an object of startling cleanliness. 

My discovery, now preserved, deserves some praise, so I take it to my father. “What’s that, a horse?” he asks. My laughter makes my head tremble in my palm. 

So I take it to my mother. “What’s that, a bird?” she asks. My head shakes itself in my hand.

Baffled, I take my head into the streets. The crowds ignore it. I am about to take my head to the Museum of Natural History when a passing elbow knocks it to the ground, and a passing foot crushes it into shards. 

A suited man stops to ask: “What are those beautiful fragments on the pavement?” 

“They are,” I say, “the memories I no longer collect.”

vol 5 i.2 featured writer - Paul Allatson

Artist’s Statement

My poetry and prose focus on those small, ostensibly mundane incidents that merit further speculation and manipulation. My work is personal and draws on surrealism and dreamscapes, while talking back to other poets. Those I enjoy enacting dialogues with include Nina Cassian, Rainer Maria Rilke and Roberto Juarroz. There go my hands, severed at the wrist, approaching the blank page.

Bio

Paul Allatson is a cultural critic, writer and academic editor based in Sydney, on the unceded lands of the Gadigal people of the Eora nation. His poetry and short stories have appeared in anthologies and literary outlets in Australia, the UK, and the USA. The above piece comes from a current project entitled “Little Intimacies.”

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Featured Poet vol 5 i.2

Ivan Niccolai

“The Marionette”

It’s not hard to understand. I am not a real person. I once met a real person, his name was Wilson Allen. His bio fit into six perfect sentences. We spoke the same language but I’m not sure we meant the same things. I don’t know what an authentic identity is. It’s construction and mimesis and neuroplasticity and adaptation all the way down. My accent changes throughout the day, and I don’t play well with the other children even though I’ve tried. It’s very easy and very simple to light a fire with a mug of petrol but you’ll scare the dinner guests. I have an eidetic memory for where or from whom I picked up a gesture, a turn of phrase, a behaviour, an interest, a desire, an affectation, an aesthetic, but there’s always something else I’m forgetting. Shouldn’t this be muscle memory by now? There’s a plump ginger cat in the neighbourhood who doesn’t belong to anyone, he couch surfs for weeks at a time, and the con works because no one knows how to demand where he’s from or where he belongs. We all think he’s searching for the perfect sofa. The sin isn’t in the search, it’s in the finding and then moving on. Stories aren’t supposed to end that way, that’s why they cut them short. I am a marionette draped in other people’s skin, and the patchwork quilt keeps slipping off the bed. I am a marionette that wanted to become a real person, but that cat keeps clawing at my cardigan.

vol 5 i.2 featured poet Ivan Niccolai

Artist’s Statement

A theme of my work is the confusion of being in the world, the ongoing imperfect synthesis between short-term memory, such as the sense memories of recent experiential situations, and the more submersed long-term memories, which dictate those almost instinctive reactions to interpersonal situations.

Bio

Ivan Niccolai is an emerging writer. Ivan was raised by swinging, globetrotting Christian hippy parents across twenty countries and enjoyed the pleasures and instability of that lifestyle. He learned on his own how to drop out of grade school and behave appropriately in an office job. He currently lives in Melbourne, Australia, with two silly cats and a wise partner.

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Featured Artist vol 5 i.2

Audrey Towns

“One Hundred Years”

Found Poetry is from Gabriel Garcia Marquez, One Hundred Years of Solitude cut directly from a copy of the book and placed on a cut and painted piece of wood.

vol 5 i.2 featured art - One Hundred Years - Audrey Towns

Artist’s Statement

I’m interested in art that explores environmental, social, and political concerns. I’m drawn to the spaces between—deconstructing binaries like liberal/conservative, human/nonhuman, and culture/nature. My interest in found poetry reflects a respect for these in-between spaces, reshaping past words into present-day reflections and reminding us that art isn’t created in a vacuum; past artists inspire new voices.

Bio

Audrey Towns, a literature and composition instructor in the heart of Fort Worth, Texas, dismantles the nature/culture binary in her prose and verse. She has published, or is forthcoming, in Driftwood Press Anthology, Spellbinder Quarterly Literary and Arts Magazine, Black Fox Literary Magazine, The Amphibian Literary and Arts Journal, and Willawaw Journal, among others.

Vol 5, i.1 Spring/Summer 2024 (A Sneak Peak)

Selections from the first 30 pages

Emma Allmann

prose
"Burnt Lemon"

I gave a funeral flower a high five today. A bug leaped from its leaf and bit me. So now I’m making lemonade. What are lemons good for, after all, if not a little juice? A little verve. A little nerve. A little rhyme. A little existence bit the joy right out of my moment. I didn’t know how many lemons I needed for a glass of lemonade, so I bought a cartful. Just in case. Just to be safe. I poured all of my sugar into my clear glass bowl because sugar deserves to be seen. People have died over sugar, you know. I wonder if they thought it was worth it. Sugar can be terribly sweet. I had to google how to make lemonade. I kinda thought it was a just-add-sugar situation, but the recipe has seven steps. Steps one through six are how to kill, gut, and wring out a lemon. Step seven is to add sugar. I suppose that isn’t quite just. Ironically, shaky hands are not great at handshakes. So they told me to go home and get some sleep, and I think if someone high-fived my home, I’d bite them too. Shaky hands are also not great at chopping lemons. But if life gives you a lemon, it will eventually die. So squeeze your lemon. Add sugar. If sugar is also a kiss, then how do I add it to my lemon who no longer exists? Ashes dry out my lips.

Kelli Short Borges

prose
"All Things White"
You’re on your first date and he says drink your milk, it’s good for you, he says, and you scrunch your nose but drink it down, and white coats your lips, your tongue, your heart as you kiss, and he says white looks good on you, it’s your best shade, he says, so you fill your days with all things white—white dress, white veil, white house, white life, and you drink your milk night after night, drink it down, say you like it, say you love it, say it’s not a lie. Not a lie, if it’s white.

Cameron Carvalho

poetry
"Cascade"

I’ve been practicing the sport of
Grief, letting it run down my back
Like a dozen cracked eggs. There

Is a chill to it, like death, there is
Also an end. I’ve found myself
By rivers, by highways, by points

Of movement. I walk slowly toward
The city, my legs burnt and full of longing.
On the tops of skyscrapers, there are

Gargoyles made of pain, flowers that
Bloom for the sun. A metal pane alive with
Heat, and the tears I’ve shed, now dry after

Years of wiping, and wiping the sound from
My voice. My throat a dormant sling of flesh
And bone. Car wheels grit across

Highways, the passengers look, then soon
Forget. Forgetting is a blessing disguised as
A curse. A curse I’ve held for many years.

Lance Manion

prose
"The Ball"

She used to rub her feet against mine under the covers. Which was fine, great actually, except she had long toenails and more than a few calluses, and it was like she was affectionately running a pair of cheese graters up and down my leg.

It wouldn’t have surprised me to look down and see a bunch of socialites placing thin strips of me on Ritz crackers.

In fact, I wouldn’t have been surprised in the least to see the bedroom transform into a large ballroom filled with dozens of well-dressed men and women gaily twirling and dancing around with sweet, sweet music filling the air.

Obviously, I don’t surprise easy. Even at vague inferences of cannibalism.

Which is fine.

Great actually.

And it’s also apparent I associate her showing me affection with all the best things about galas and snack crackers.

Which is fine.

But great?

I still have scars on my legs that say otherwise. (the word ‘still’ implying that I hold out hope that one day they/she will fade)

And aren’t Triscuits considered more upscale than Ritz? (the word ‘ritzy’ adds to my subconscinal confusion. subconscinal. . . not a word, but should be)

Maybe the reason it’s an old-fashioned ball as opposed to a modern-day nightclub scene is because all the legs are covered up under the giant dresses and poofy pants, so nobody can see the dancers’ scars. Some of their legs (no doubt) still healing as they put on their happy faces and spin to the sweet, sad music of a foregone time.

Their feet occasionally slipon the Ritz and Triscuit crumbs.

I wouldn’t be surprised. 

Ali Mckenzie-Murdoch

prose
"Stolen Colours"

Tan-coloured crumbs speckle the linoleum table. A pewter clip pins your bleached locks. You repeat the hues I describe like a child cramming for an exam. I feed you colours; I let you inhale their fragrance. You stroke a dimpled orange.

The names fade on your tongue, and you gasp — you’ve forgotten something from the shopping list fluttering behind your eyelids. Biscuits, a loaf of bread, sausages for tea. Sludge flows through your gloomy skull, the pictures in your mind, anaemic reflections in a puddle. 

Outside, rain lashes the window, and a sunburst shatters into stars. I take your hand and trace the rainbow your milk-glazed eyes will never see.

Jeffery Allen Tobin

poetry
"Routine Revelations"

I lost my socks again this morning—
Found them in the fridge, between the cheese and sorrow.
Guess my feet were just too warm last night.

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prose contributors vol 5 i.2

“Every secret of a writer’s soul, every experience of his life, every quality of his mind, is written large in his works.” ~Virginia Woolf

Prose - vol 5, i.2

Includes 17 new and established prose contributors from around the globe. Take a look at our talented contributors.

Paul Allatson
"My Head"
Emma Allmann
"Burnt Lemon"
Lynn Bey
"Long Gone"
Andy Bodinger
"350 Hz" (100 word story)
Kelli Short Borges
"All Things White"
Nicole Brogdon
"Trauma Suitcase" (100 word story)
C.W. Bryan
"Isabella"
David Daniel
"Tidewater Siren"
Bridget Hayes
"Just Play A Song"
E.P. Lande
"You Made My Day"
Lance Manion
"The Ball"
Ali Mckenzie-Murdoch
"Stolen Colours"
Sahil Mehta
"The Ice Cream Cone"
Firdaus Parvez
"Somewhere"
Bea Potts
"Fall Down, Get Up Again"
Scott Ragland
"Like Always"
Beth Sherman
"The View from Here"
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poetry contributors vol 5 i.2

“Poetry, I feel, is a tyrannical discipline. You’ve got to go so far so fast in such a small space; you’ve got to burn away all the peripherals.” ~Sylvia Plath

Poetry - vol 5, i.2

Includes 41 new and established poetry contributors from around the world. Take a look at our talented contributors.

Glen Armstrong
"TV"
David Blake
"Searching for Results"

“Somewhere over West Texas”
Three Line Poetry

Audra Burwell
"Death Is the Scent of Soil"
Cameron Carvalho
"Cascade"
Nate Castellitto
"I, Perennial"
Henry Crawford
"DALL-E Imaging the Crucifixion on a Phone"
Andrea Damic
Haiku
Steve Denehan
"Indian Summer"
Bart Edelman
"Thud"
Jason Fisk
The Moon"
William Ogden Haynes
"Getting Lucky"
Neil Flory
"Narcissists Everywhere"
Rocko Foltz
"Women & Improvisation & Story"
Christian Garduno
"Lombard "

“McAllister Street”

Ewen Glass
"By Shrub Hill"

“Winter Solstice”

John Grey
"First Love Redux"

“To Fall Asleep”

Noll Griffin
"Beginner’s Guide."
Maryam Hedayat
"confessions of a tour guide"
Ken Hines
"He Who Learns"
Ayòdéjì Israel
"Poor Us, Poor Nation"
Austin Allen James
"Behind Yesterday"
Christian Litsey
"Talk Too Much"
James Maloney
"Untitled (Black on Grey) 1969"
Joan Mazza
"How the Dead Speak"
Sara McClayton
"Mountain Clock"
Mahdi Meshkatee
"Evening Rain"
Ivan Niccolai
"The Marionette"
Timothy Norton
"Lost Souls"
Jake Onyett
"Our Dumb Bones"

“Trap Door Tumble”

Katherine Page
"Mad Libs for Mandated Reporters"

“No Child Left Behind”

Firdaus Parvez
2 Three Line Poetry
Shaurya Pathania
"A Well Cooked Meal"
Fabrice Poussin
"Asleep"
Bradley Samore
"Breakup"
Agniv Sarkar
"Shame"
Gerard Sarnat
Haiku
Donald Sellitti
"Pre-Apocalypse"
Allen Seward
"because the dead have not come back to life"
Mark Strohschein
"Anticipation"

 “Our Seasons”

Tom Stuckey
"Shadow Play"
Jeffery Allen Tobin
"Routine Revelations"
William Waters
"I Want To Call It Sex"
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photographers vol 5 i.2

“In photography there is a reality so subtle that it becomes more real than reality.” ~Alfred Stieglitz

Photography - vol 5, i.2

Includes 8 new and established photographers from around the globe. Take a look at our talented contributors.

Michael Anthony

Fern
Iced No. 3
Pisces
Shattered
Suspension

Andrea Damic

eyes into the world
Foraging

Karen Pierce Gonzalez

Leaf Shadow

Candace Kubinec

Entwined
Foggy Morning
Rusted Portal
String of Pearls

Giulio Maffii

Finisterre
New World Travel
New World Arrival

Harriet Samuelson

4 Untitled 

Louis Staeble

Autumnal Cluster
Intimate Autumn
When We Are Left
Yellow Shades

Alex Stolis

2218 1st Avenue
May Peace Prevail on Earth
7th Street Entry
Forgotten

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artists vol 5 i.2

“A true artist is not one who is inspired but one who inspires others.” ~Salvador Dalí

Visual Art - vol 5, i.2

Includes 11 new and established artists from around the globe. Take a look at our talented contributors.

Dee
Bee B&W

(acrylic on canvas) – “Abstract Still Life”
“Jane Eyre”
“Portrait in White”
“Serenity” (cover image)

Andrea & Lara Damic

(mixed media) – “What Makes Us”

“What Makes Us” is an acrylic painting done by a nine-year-old girl. The painting was then superimposed onto a photograph with her eyes looking in the distance. The photographer’s idea was to show the human spirit in all its colours and complexity. This double exposure manipulation was done by Andrea Damic, but the full credit for the artistic expression goes to Andrea’s daughter, Lara Damic.

Steve Denehan

(acrylic on canvas) – “Winter Beach”

Kevin R. Farrell, Jr.

(mixed media) – “Mind and Heart”

Peter Grant

(acrylic on canvas) – untitled​
“Oklahoma State Fair”
“Rainy Night in the City”

Amy Marques

(hybrid art) – from On the House Series
“Practice”
“Winter Evenings”

On the House Series: Erasure poetry using acrylic on a page of the novel One on the House, by Mary Lasswell.

Nuala McEvoy

(acrylic on canvas) – “Lindsay’s Paderborn”
“Mío noche”
“Orin’s Space”

Michael Moreth

(gouache painting) -“Nurturing”
“Objectively”

John Schiano
visual poetry & pen and ink

(hybrid art) – “In the Woods That Had Filled with Snow”

Edward Michael Supranowicz

(digital painting) – “Wonder and Thunder 4”

Audrey Towns

(found poetry) – “One Hundred Years”

Found art is from Gabriel Garcia Marquez, One Hundred Years of Solitude — mixed media with paint and wood.

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vol 5, i.1

spring/summer 2024

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