by Sean Hill

For us the struggle is the myth that’s spelled R-A-C-E.  
In our mother tongues it binds our pride, can sound like almost  
any slur you please or any stereotype you like,  
for where and to whom one’s born guides our sense of this or that  
good or bad in the folks we were born into this world with.  
For us the struggle is the myth; it’s spelled R-A-C-E  
and seems to be the favorite meat of my home—Georgia,  
these United States, come to think of it, and, I dare say,  
folks of nations around this world. This man-made device— 
improvised thing—explodes—a bomb held in the palm of one  
trying to defuse the one-drop rule or blood quantum. I  
fear the fight for us will always be spelled R-A-C-E.  


Poem copyright 2026 by Sean Hill. All rights reserved.

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See more poems from Sean Hill on The Fight & The Fiddle: The State House Aflame, 1833,” “They Shower Us with Kisses or Bullets Depending,” and “How a Father Should Take with His Son.


Read more in this issue: Interview | Critical Essay | Writing Prompt

by Sean Hill

Straight, as in as a rail, though not  
necessarily as thin as one. A rail,  
useful as a means of confinement  
or steadying oneself. That rail not  
the same as the means of conveyance  
and expansion, but straight all the same  
like the queue worn down a so-called  
Chinaman’s back. You know, straight  
like the way it’s said an Irishman takes  
his whiskey. Or straight as in the last  
thing you’d say about almost any freedman’s  
hair not long off the plantation and on  
the work gang swangin a hammer to build  
the iron road—the Transcontinental  
Railroad. They all want to be American  
heroes or at least make a living. Or  
straight, the way telegraph lines run  
or telephone poles stand and ropes  
hang—the law and lawlessness. Or  
straight—what petty criminals, small-time  
crooks swear they gon go one day  
not like those railroad barons and  
industrialists and men who own land  
and real estate, who make it their business  
to do a deal and don’t deal straight. Straight,  
as in as a rail, though not necessarily as thin  
as one—no thin talk between father and son.  



Poem copyright 2026 by Sean Hill. All rights reserved.

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See more poems from Sean Hill on The Fight & The Fiddle: The State House Aflame, 1833” “For Us,” and “They Shower Us with Kisses or Bullets Depending.


Read more in this issue: Interview | Critical Essay | Writing Prompt

a transcription of the poem read on the home page of this issue

“The State House Aflame, 1833” by Sean Hill

by Sean Hill

Fire can burn brands
on a slave’s skin
as he changes hands
like cattle. And chattel slavery
in a capital city
is as old as fire and man.
Milledgeville’s no different.
It’s twelve noon,
and the assembly’s just adjourned;
the State House is aflame
and water won’t reach the heights
a slave can. Sam’s a bondsman.


The roof, the roof, the roof is on fire…

Without word from his master, Sam fights the flames.
The townsfolk fearing Sam might slip and fall
from that tremendous height
look on with agonizing solicitude.
As he tears flaming shingles from the steep pitch
white folks move official records, furniture, and money
from under that roof
to a safer place, safer that any
Sam and his issue yet know.

The roof, the roof, the roof is on fire,
We don’t need no water…


We cannot pass in silence
over the exemplary conduct
of a Negro man named Sam,
the slave Mr. Marlowe of this place.

And the legislature
will reward Sam’s fast action,
heedless of his own safety, by appropriating
$1,600 for the purchase
of his freedom
from John Marlow.

The roof, the roof, the roof is on fire,
We don’t need no water, let the motherfucker burn

Poem copyright 2009 by Sean Hill. All rights reserved.

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See more poems from Sean Hill on The Fight & The Fiddle: “They Shower Us with Kisses or Bullets Depending,” “How a Father Should Talk with His Son,” and  “For Us.” 


Read more in this issue: Interview | Critical Essay | Writing Prompt

by Sean Hill

And from the beginning it feels like ain’t no winning.  
The blank they fill in is about their convenience.  
They are they and the other is theirs. We ain’t them.  
In part, we ain’t them because they need to be them.  
The speaker’s busted on the boom box—sound only  
coming out one side, not in stereo. A stereotype is a  
stereotype is a one-sided way of being seen not three- 
dimensionally, so to speak. The speakers be so close  
you might not even notice one’s busted. There ain’t  
no good stereotype, just ones they think we shouldn’t  
mind like you people are natural athletes; you people  
are so in touch with nature; you people are hard  
workers; you people are artistic; you people are good  
at math; you people run fast—your muscles are bigger  
and better than ours. You people got rhythm, you  
people know how to party; you people are great  
lovers; you people have the most beautiful skin, and  
when you people blend it with ours the children turn  
out so adorable. You people are strong, especially  
your women. You people have style. You people are  
so wise; you people are downright magical. You people  
are just so exciting. You people are so fashionable.  
You people are so strong, especially your men. You  
people are so spiritual. You people have thick skin;  
you people don’t feel pain the way we do; you people  
are tough. You people are so funny—you have the best  
sense of humor. You people are great lovers, especially  
your men. You people are great lovers, especially your  
women. You people have flair. You people sure can sing.  
You people are so neat and tidy. You people are good  
with money—so frugal. You people are imaginative,  
inventive—so creative. You people never go out of fashion.  
You people know how to make a way out of no way.  
We really appreciate you people—we really really do…  





Poem copyright 2026 by Sean Hill. All rights reserved.

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See more poems from Sean Hill on The Fight & The Fiddle: The State House Aflame, 1833,” “How a Father Should Talk with His Son,” and “For Us.”


Read more in this issue: Interview | Critical Essay | Writing Prompt

by Krista Franklin

after Stanley Brown

Upon entry, The Hierophant hears 
two patrons state, there’s nothing  
in here, which may or may not be true, 
depending upon one’s position, what is seen,  
unseen. The question of visibility, what 
is worthy of recognition, what’s hidden.  
One’s proximity to, or distance from, 
the length of a foot, a lead pipe, 
copper wire, two shadows triangulate  
between sanded cedar blocks. If it sounds  
boring, it may be. What if I asked you to draw me 
a map, and made it mine? Am I a thief? 
What are the measurements of ownership  
if everything is stripped to millimeter, 
access to any and all information outside 
the numerical, denied. What if you are forced 
to draw your own conclusions, your only clues 
a pencil-thin sequence descending a sheet 
of white, a library of one-liners filed 
in metal cabinets. A whiteout room singing 
sterility, galleries cloaked in opacity. 

in obscurity.  

Poem copyright 2026 by Krista Franklin. All rights reserved.

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See more poems from Krista Franklin on The Fight & The Fiddle: High Priestess,” “Mourner’s Corner,” and “This is not your poem.


Read more in this issue: Interview | Critical Essay | Writing Prompt

by Krista Franklin

January 6, 2023

Study to show thyself intuition exists, iridescent orb, the third eye crown jewel between of bull’s horns. A closed mouth nestles the sacred on the bed of the tongue. Listen, the whisper that bellows beneath the conscious self, in the shadow grows the seed of god shifting in you. To tune the ear is to sit at the altar of silence, hush the chatter of the mind’s preschool, soothe the fretful heart in the blue waves of regret.  

Poem copyright 2026 by Krista Franklin. All rights reserved.

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See more poems from Krista Franklin on The Fight & The Fiddle: Mourner’s Corner,” “On Measurement & Invisibility,” and “This is not your poem.


Read more in this issue: Interview | Critical Essay | Writing Prompt

by Krista Franklin

If you have never
missed rude banter,
witty tête-á-tête
with the man
who part-made you.
If you cannot recall
cooling his death
bed brow, standing near
his ashes, watching
him grasp at his life
with tales, with vinyl,
messages scribbled in blue
BIC pen on their worn
sleeves, you do not know
this. What it means
to have a staring match
with God. That the body
is a trick, a black tophat
with a false bottom,
a white rabbit somewhere
in-between. You do not
know the tricks played,
the spades, payday loans,
debts and disappointments.
You cannot imagine
sifting through the debris,
the deadend documents
of unpaid bills and mysterious
correspondence, plastic bags
tied in plastic bags tied
in plastic bags tied in
plastic bags, like some
strange Russian Dolls
Tucked beneath
the bed. A sealed manila
envelope with some porn
inside. This is not yours,
if you have not screamed
at your sister, into a pillow,
averted your eyes
from the catheter cascading
from his white sheet,
walked down the hall
from his hospice room
in a sticky rage so thick,
wanting it to be done.
You are not ruined
enough for this.

Poem copyright 2026 by Krista Franklin. All rights reserved.

&


See more poems from Krista Franklin on The Fight & The Fiddle: High Priestess,” “Mourner’s Corner,” and “On Measurement & Invisibility.”


Read more in this issue: Interview | Critical Essay | Writing Prompt

a transcription of the poem read on the home page of this issue

Krista Franklin reads “Lucidity (ars poetica #1)”

by Krista Franklin

“Let’s close her up,”  
says, surgeon, Dr.  
No Name, masked under  
lights, white, 
hands wet  
with blood, rich  
and worrisome.  

Listen as the belly bubbles in  
its new arrangement; organs  
elbow each other like professionals  
in a crowded elevator.  
Try to create space and flow  
in an atmosphere of darkness, 
(and) invasive procedures.  

    * 

The blood on his hands is mine.  
The organs mine, all  
named, though I only know a couple,  
and never their rightful place 
like my mother, who never just breaks  
bones but fibulas, tibias,  
the proper names of things  
trapped in the vice of her mind.  

My mind is on the surgeon’s 
tray, the scalpel, the bounty carved from me.

Poem copyright 2026 by Krista Franklin. All rights reserved.

&


See more poems from Krista Franklin on The Fight & The Fiddle: “Mourner’s Corner,” “On Measure & Invisibility,” High Priestess,” and  “This is not your poem.” 


Read more in this issue: Interview | Critical Essay | Writing Prompt

a transcription of the poem read on the home page of this issue

David Mills reads “Chimney Sweep Apprentice”

by David Mills

I’m what happens when a house breathes
out; sore, black breath in a New York throat.
Trapped caterpillar. What they think
of me—owners of these homes
and white master who hires me out

to black master sweep. Elbows, ankles
knees up zigzag chimneys: squeeze
of heat and dusk. Soot, head to toe: dirt
thick as a shirt. Palms facin’ out; stomach
up against and empty. My days a brick

wide and a brick and a half long: I could
die here. But brush above my head
I chuck soot; chip tar wit’ a scraper;
black rain, pepperin’ my neck, hot rim
of my eyes. Filth to the sides of flues,

mazes sticky with poison, hearth
to cap damper. Started prenticin’
when I was six. Now
Eighteen Flesh leathery. Ankles
swelled to black apples. Growin’:

a stunt. Can’t say which is better:
cramped heat or winter’s chill.
My cry—Soot-O, Weep, Weep!—
on the street or pinched in the flue.
My life up in nothin’ but smoke.

Poem copyright 2019 by David Mills. All rights reserved.

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See more poems from David Mills on The Fight & The Fiddle: “Dear… Sincerely…,” “Up Up And… (The Speed Boy Interlude),” and  “Momentary Arizona.” 


Read more in this issue: Interview | Critical Essay | Writing Prompt