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.

&


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.

&


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

by David Mills

(Before the movie “Test Pilot” starts, Harry Stewart Jr. ponders what Clark Gable’s character does for work in the film.) 

Before Gable goes up, ground testing comes down  
to up-on-jacks flight simulations and swinging landing  
gear on the ground (or just a pinch above), comes down  
to propping a plane on fat air bags and sweeping  
control surfaces, checking the attitude of the aircraft  
(roll, pitch and yaw), comes down to aluminum fatigue  

and flutter tests, (flutter:: a plus) going so fast that wings tremble  
and bend so much the damper isn’t enough, so much there’s  
a gust—an up—a bend, a twist, an angle of attack attacked  
and then, the wing will swing down so low it’ll bob back up (two  
apples mashed in a tub) bend so much the wing’s yanked right off;  
best to find out on the ground not in the ether (the sky’s sometimes  

unkind to test pilots); try each system separately, power up 
the engines, check flight controls before they’re wedged inside  
the cockpit, check backup operations, the mechanical hamburger  
of subsystems (fuselage, wings, skyscraper and table-top tails)— 
remember the giddy up ‘cause they’re looking to reproduce  
the heavens in a hangar, to fling dead hens at the windshield;  

to note how the structure holds up and against 
the much more, the high-speed taxi testing, to  
know how and why before there’s sky; then, when  
Gable commands the cockpit with a flight plan,  
he’ll need a feel for odd actions, to be a lickety- 
split gone-wrong problem-solver, to share what he 

senses with the revved-up ears of engineers; see  
Gable would be the end of a production line, an above- 
average birdman who can take a plane beyond expectations  
and breaking points, maneuvering in and through  
the invisible to earn each syllable of airworthy, to 
face the strict conditions, (the flown under) the aircraft’s  

experience, a pause—six-miles high—how air knows  
to get out of the way, how the craft will handle stress  
if there’s an unforeseen argument with the atmosphere 
(a drag’s takeaway against the plus of thrust). This is  
the performance before the performance. Because now  
there’s more than just a curtain that’s about to go up. 

Poem copyright 2025 by David Mills. All rights reserved.

&


See more poems from David Mills on The Fight & The Fiddle: Momentary Arizona,” and “Dear… Sincerely…


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

by David Mills

(The attack on Pearl Harbor inspired Harry Stewart Jr. to enlist in the military. The battleship USS Arizona was struck and sank on that same day in Pearl Harbor.) 

Sunday school lesson fresh in his December 
7th head, he passed huddled, kiss-close neighbors, 

their lips anchored to: the Japs attacked Pearl 
Harbor: offshore contusion for the country 

a plump pillow for his fatigued dream. Soon,  
in the Flushing High Library, he’d eye- 

ball a magazine article: Army’d 
train Negro Flying Unit. Stewart’s fuel. 

Weeks later, swaybacked ships, two thousand souls
  wallpapered Harry’s thoughts. At a recruiting
    station, he belted out he wanted in. 

   Their—seventeen is too young! —waylaid him. 
 Sunk, Harry left: not knowing his was on-
ly a momentary Arizona 

Poem copyright 2025 by David Mills. All rights reserved.

&


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


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

by David Mills

Dear… Sincerely…  

(These epistolary poems are in conversation with actual letters between Tuskegee Airman Cecil Peterson and First Lady Eleanor Roosevelt, who was instrumental in getting President Franklin Delano Roosevelt to integrate the Tuskegee Airmen into the military.) 

I 

May 28, 1942 

Mr. Cecil Peterson 
Recruit Detachment 
Air Corps Advanced Flying School 
Tuskegee, Alabama 

Dear Mr. Peterson: 

As I am a board member of the young men’s vocational foundation, Miss Ilma provided your address and name, certain you would appreciate some ink and an occasional joy box from the First Lady. I am keen to know how you are faring at Tuskegee’s Wing School, as I have witnessed it—as well as you a year prior at Quoddy Village, Maine. As I recall, you were, after study-up, in zero temps, conducting tree surgery in a mackinaw off a slag-surfaced road. Enclosed please find hard candies and hard covers: The Moon is Down and The Screwtape Letters. Ink me your interests, and I will be a consistent correspondent. 

Wishing you unclipped wings, I am very sincerely yours, 

Mrs. Eleanor Roosevelt 


 

III

83 Interceptor Control Squadron
Southeast Air Corps Training Center

July 7, 1942

Dear Mrs. Roosevelt,

The honor of your correspondence and your endless Christmases have encouraged me to be, always, a worthy soldier. I have, three times, since your last letter, had the fortune of a four-leaf-clover. I was adopted by a new squadron, promoted to Airman First Class and given a small group of soldiers. My lips are sealed, (as are your letters before I open them) but my squadrons’ wanderings would impress you. I hope, one day, to be free to tell you about the tall talk of war. And while in the service, I pray to serve G-d, country, and my Uncle Sam. Please tell Mr. President, there’s an airman in Alabama who is a member of his Negro pom-pom squad.

For now, though, I must go. A shortwave radio calls.

Very sincerely yours,

Airman First Class Cecil Peterson


IV 

July 16, 1942 

Dear Airman First Class Peterson: 

My eyes engaged every letter in your letter and I applaud your promotion. Here, finally settled in Hyde Park, after having had so much to and fro between Washington, New York City, and Dutchess County, I cannot say whether summer has even mumbled. While here, I relish the London plane trees and English oak braiding the Val-Kill. Two little girls staying with me like to gallop and splash. (My old horse, Emily Spinach, can’t even canter; grazing, her muzzle elbows the fields near the footbridge.) Thinking of you boys—like everyone—we pinch our Esso octane and Goodyear tires; so, I tend to my errands and itinerary by pedaling my Western Flyer. Rest assured, your hopes will be hand delivered to the President.  

With good wishes for your good wings, 

Mrs. Eleanor Roosevelt 


VI 

(Cadet Harry Stewart Jr. reading the letters between Eleanor Roosevelt and Cecil Peterson

Came across these letters between Red Tail Peterson and First  
Lady Roosevelt who, in a high-wing two-seater J-Piper,  
ascended with Charles Anderson from Kennedy Field, 

a grass strip beside Union Springs Highway—in the  
devil’s direction—from campus, outside Emery Dormitory  
where, because I lacked the earth to study the air, I  

took CTDs in equations (quadratic), laws (like Ohm’s) 
the world (in-depth) paragraphs (their anatomy) and History I  
(Columbus to the Constitution). Anderson was the first Negro  

to escort a President’s relations aloft. Heard said, theirs was a ride 
of sky-wide smiles. Ms. Roosevelt with a tea rose pinned to her cart- 
wheel hat. But on my virgin voyage, I lost my air cherry in a J-Piper  

Cub. Knocking me about. Warm air nagged my craft. My stomach a sky  
butterflies fluttered in. Monarchs, maybe? (Colonel Parrish once shared how,  
in September, monarchs tickle the air at close to 20,000 feet. Instinctive  

and risky, they wing it from Canada to Zacapu, he said—and cling to  
memories of Joe-Pye weed and thistle, mud-puddling and chrysalis.) In  
my soaring tureen it had also been September when my instincts flew  

out the window and I lost all notions of exactly where where was. 


VII Skies over Tuskegee 
(Cadet Harry Stewart Jr. writing an imagined letter to First Lady Eleanor Roosevelt.)  

September 7, 1943  

Dear Mrs. Roosevelt, 

You lucked out with (who we call) Chief. The one, the only, Charles Anderson, flying you around in a Cub. But this must be my toughen up, ‘cause, sobbing in the cockpit, I got “Wash Out” Smith barking: Stewart you’re a baby! Oh, Madam First Lady, I want to bury my head in my trembling hands but angling for the final approach, they are now otherwise occupied. I pray you write back. I’m enclosing six-cent stamps, so you can reply directly to the heavens. Via airmail. 

Sinceairily yours, 

Private Harry “Stick & Rudderless” Stewart 

Poem copyright 2025 by David Mills. All rights reserved.

&


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


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

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

Tawanda Mulalu reads “Prayer”

by Tawanda Mulalu

Everything I like is like that man who first thought to take that picture of that starving black child waited for by that black vulture in that Sudan. I like what I write. I’m hurting myself by liking things. My words are maybe taking pictures of myself starving me. I tell myself stories in order to clutch my throat. My throat is clutched. Please make me pretty, I don’t want to die. I want to sleep now. I know I am holding this so tightly with sleep. I know I am screaming towards this with my sleeping. People are not asking of us because they are busy. I am not asking of us because I am simulating being busy. What should we ask of in a world whose only word is work? This is the best deal. This is the unasked-for gift. If I saw a starving black child, my first thought would not be to take this picture of myself. Or wake. Everyone is dying. There are such pretty words for this.

Poem copyright 2022 by Tawanda Mulalu. All rights reserved.

&
See more poems from Tawanda Mulalu: Child,”Dal Niente,” Sheffield,” and Libido


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