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Instructions for Entering Rembrandt’s Landscape with trees, farm buildings and a tower (c.1651), by Jennifer Finstrom

Imagine that the world of the etching
isn’t as small as it seems; it will contain
what you bring with you. See how the area
around the trees and the little thatch-roofed building
is open and empty. A single fencepost casting
its shadow on the ground hints at the fact
that someone else was once here, but whoever
they were, they are gone now, and the little house
is vacant. Behind it, the lop-sided tower waits,
like history, to take you in, and if there is a past here,
there must also be a future. Follow your gaze
up past the tower’s disintegrating stones
where the etching seems to end. The sky there,
too, is vast, and at night will be an ancient pot
boiling with stars. You will want your trusted
constellations with you in the long rural darkness,
your hunting dogs and dark crow, the two shambling
bears to frighten away the wolves. As the frame
opens outward, you will smell the unharvested hay,
sheep calling as if they are lost, the wind
of another century. Trees take on color as you
step inside. The sky fills slowly up with blue.


Published in Cider Press Review, Volume 14, Issue 1.

Jennifer Finstrom has been the poetry editor of Eclectica Magazine, an online literary quarterly, since October of 2005. Her work has appeared in several places, including Atlanta Review, RHINO, Wisconsin Review, and previously in Cider Press Review. She lives in Chicago, Illinois, where she has recently obtained an MA in Writing and Publishing from DePaul University.

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The Paradox Of Ardor And Blue, by Sandra Stone

Memory, since the day you drowned, I am water.
I wash over you. In your name, I am blue.
Let me rise and subside along the canal of your spine
charged with blue
like the nighttime pulse that snags blue branches
audible from your canoe.

I scoop you, I glide drowsy
under the surge,
along the bluish parameters.
I limn your body as I would lay mine
along the blue haunches of river,
as currents do in their habit.

I will pour a jug, blue now to brimming.
I will plunge through silt for you, blood coursing,
where I see nothing detained
but a riot of flurries.

I am the blue charger that wants to replenish you,
carouse you to rapture,
flay you to seethe
under water’s strayed skin,
my blued lips draining yours.


Published in Cider Press Review, Volume 14, Issue 1.

Sandra StoneSandra Stone is a poet, writer, playwright, librettist, editor, and conceptual artist based in Portland.

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Shopping Carts, by Laura J. Martin

Loss does not hit
until you are treading
a preponderance of pine
and you hear it:


softened by snow.

Or until you return
a shopping cart. You notice
the others scattered about
as though life were too hard
not to abandon them.

Finally, when you pour yourself
a drink, and you find no drink
meets your thirst. It hits:
this burst—this wanting thing.

That is why morning is like spring.


Published in Cider Press Review, Volume 14, Issue 1.

Laura J. Martin is a writer and ecologist based out of Ithaca, New York. Her non-fiction has appeared in Conservation Biology, Urban Ecosystems, and elsewhere; her poetry is forthcoming in The Fourth River.

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