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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

Rebecca A. Durham


Orange Alert

plunged into the city

and its birdless machine murmurs

I seek out the sea

from ceaseless cement

into the wind-lashed blue

I wander

footsteps squeak on mottled grains

I gawk at rocks and coiled shells

my body reformed

by the bay’s blurred contours

 

a coppered sun spins halos

and I then see them, the sanderlings

lingering in the blue wet

sky sand

edging north as they forage

among the orange sheen of stones

 

I watch as they jostle

for the least exposed positions

as they probe for prey, small crabs

amphipods, crustaceans

polychaete worms

 

they beak the impossibility

of their persistence

toe the tipping point

with their inky-black legs

when threatened

they will erratically careen

yet sustain their wave-chase

in the face of us

as we erase

half their population

in just fifty years

shhhhhhh

 

the sea’s susurrus slip over sand

the sanderling’s

ghost-gray bodies

are buoyed

by light—

 

a dim absence whispers

something is askew

the swelling tide swallows

each track

each trace

of the snow-gray plumage

as they slip from my sight—

 

yet remember how their beaks

had punctured

the coppered sand? I can taste

a bittering on my tongue

now, a longing, how

can we mistake this excess

for ecstasy?

 

I count each second between

waves, listen

to the wet dark drone

of water over stones, the water

wounds of absence

a bitter salt lack lingers

shhhhhh

 

can you hear the tides’ criers?

these sand grains

were ground from

everything, little diatom

shards

and shards of viscous glass

 

every feather follicle is now hollow

with loss

when the beach empties

I linger, still seeking

the peeps as wind and sea

unfurl a flightless fugue—

 

do you recall that time

I tried to be viscous?

I thought sand held

something

I could survive on

now the air clings salt sick, water is

unraveling, look—

 

there they are again

in the ephemeral blue-wet

the sanderlings

beaking

out their briny language

this orange

anguish


Reunification Spell

Note: this spell may not be for everyone. Improper use of this spell may have serious side effects including increased anguish and death by hypothermia. Please consult your healer before beginning this, or any spell.

 
Start with what’s tangible, visible, audible. A junco in the garden birdbath, wet wings and spray. Calendula and nasturtiums that seeded themselves into the waste ground.

Then go on from there, alternating wonders and horrors. Take the bodies of yellowjackets piled by the hundreds, the bee dancing for pollen in the wild rose. Add the monstrous bald-faced hornets that threaten you every time you step outside and the calliope hummingbird’s zings and burrs as he plunges and rises in display.

Layer the tangle of the native plant garden you’ve abandoned to the winged creatures, the inviolable green press of larch, dogwood, birch, fireweed, goldenrod, and aster.

Add the red flag warning, the heavy particulate of the smoke-filled skies, the hot wind of drought, the sting of disaster.

Only use a single strand of intention—its helical nature would cause a double thread to loop back on itself and create knots of chaos.

Moisten just enough to keep it together. Use water from the tap, tinged with per- and polyfluoroalkyl substances, lead, and nitrates. If it gets too salty with tears, add more wonder, the chatter of waxwings as they glean the saskatoon, the four-leaf clover with delicate patterns, the warmth of a dog pressed against you at dawn.

Do not use hyperobjects, only what you can see here and now, avoiding temporal and geographic abstractions such as ecological collapse, mass extinction, melting of the ice caps, disruptions in the troposphere, and other less tangible horrors.

When you’ve layered enough wonders and horrors to fill your consciousness to bursting, study the seams. If there are any gaps, fill the interstitial space with memory, using past trauma for horrors and elations for wonders.

Then find a body of water to immerse yourself in. Remember how you started, with granite ground into your bones, calcium apatite training upwards.

Breathe.

See the body as apart in appearance yet not energy, the body as symmetry, empathy, tepals and tercets, all the lashed facets and forgotten flow.

When the sedges spin the soil to stop and obstacles flick away, hummingbird wings will whisper, pause, and drag anguish through ecstasy until all is erased, sated, and finally, unraveled into fluidity. Repeat as needed.

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Rebecca A. Durham is a poet, botanist, and artist. Durham holds an undergraduate degree in Biology, master’s degrees in Botany and Creative Writing, and an Interdisciplinary PhD. Winner of the 2019 Many Voices in Poetry Contest, her debut poetry collection Half-life of Empathy was published by New Rivers Press in 2020. Loss/Less, her second ecopoetry manuscript, was chosen by Susan Howe for the Marsh Hawk Press Rochelle Ratner Memorial Award and published by Shanti Arts in 2022. Be Still Mere Molecule, an interdisciplinary exploration of poetry and science, was published in 2025 by Broken Tribe Press. She has worked across the west as a botanist and ecologist, with over twenty years in western Montana where she lives with her daughter.


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