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a literary journal published by the Black Earth Institute dedicated to re-forging the links between art and spirit, earth and society

Stacey Balkun


Oree

after the photograph by Frank Relle (2025)

 
 
I was born on the edge
of death, a ghost forest
lit from the bayou below

I was born over-exposed
underground, in the roots
of a dying cypress tree

I was born and then I was swaddled
into a boat, unmoored,
shoved off

to a new mother
and new father
up north. It was winter

when I was born:
a new year, a hard freeze
and everything sallow.

I was born on the other side
of this swamp: a pocket
of prairie just across

the state line. An absence
filled the space where I was
born. The sky

filled the stretch between
the trees. The gold turned
to green and frost

to floodwater.
The fleece around me
unspooled into rabbitbrush,

parish-less. Parent-
ess—my mother,
she went on

without me. My father—
a shadow in the bayou’s
murky water—

raised another
son in my stead
but still, I was born

and lived and floated off
and now here I am
drifted to this

cradle of cypress,
again and for the first time.
I am here and hungry

for the magic promised
by the proper aperture,
an open shutter, dawning

across this wet burrow—all
these trees swallowed whole
by the water that birthed us

has become us despite
how far we’ve been
pulled by its almost-current.


Ghost Forest

Swans Reflecting Elephants by Salvador Dali, 1937
 
 
We turn away from the lake,
from the elephants floating below
 
its stilled surface.
When I hold a go cup
 
to my ear, I hear
ocean water spilling forth.
 
Salt intrusion is almost
invisible. I miss
 
when cypress thrived,
the memory of moss hanging
 
like a net of light. Back then,
swans were swans,
 
necks arched in song
and everywhere
 
we looked, otters.
Osprey, their calls echoing
 
harsh. More bird, then—
reflection of feather and thirst
 
The forest now skeletal, hollow.
Wherever we go, clouds
 
follow. Why is it now so quiet?
I strain my neck, tilt
 
my head and ache
to know what notes
 
come next. Everything I held
back now breaking.

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Stacey Balkun is the author of Sweetbitter & co-editor of Fiolet & Wing. Her creative and critical work has appeared in Attached to the Living World, Best New Poets, Mississippi Review, and several other volumes. Stacey holds a PhD in Literature from the University of Mississippi, Oxford, where she was awarded the Holdich Scholar Award, and an MFA in Poetry from Fresno State. She has been granted fellowships and grants from the Modern Language Association, PEN America, and the Helene Wurlitzer Foundation in support of her writing. Stacey lives in New Orleans, where she can often be found in a bookshop or making puppets.


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