DRAMATIC MONOLOGUE Poem: The Panes on my Body, by Hajer Requiq

You said the world wouldn’t crumble
if you touched me.
You tried importing comfort
to a body that dieted
on native fear.
You tried undoing
the workings of Culture
inside my flesh
and couldn’t see how deep
the Culture
‘did’ me.

I remember before going out,
as a little girl,
Mama would always
curtain the panes
on my body
while the neighbours’ girls strolled
shutter-less
and un-draped.

Even then, I knew
what the Culture gave some,
it took from so many.

I remember envying
how the daylight
flirted with the other girls
and wondering why the Culture
never touched them
as hard
as it touched
me.

Even then, I knew if I wanted
the light to break through my glass,
I had to let it
break me —

You said the world
wouldn’t crumble
if we touched,
and I said
it will, it will.

In this story,
the world always crumbled —
When the cherry blossoms
ripened on my chest,
when school boys
gripped at my dress trim
for the first time,
when I used chalk
to powder my face
and pinched my cheeks
for two minutes straight
to feign some rose-colour.
In my story,
the world always crumbles
in some way or other,
and Mama goes
and fixes it for me,
the neighbourhood’s Imam*
fixes it for me,
the Culture fixes it for me —
I don’t know for how long
I let their fixing
break me.

And now,
after years of window-sealing
and glass-shutting,
I can’t tell
if my panes were breaking
or simply opening up
when we first started
touching

DRAMATIC MONOLOGUE Poem: The Crusador’s Canto, by Kyle Mickelson

Io, the old flame gutters in the crypta!
Flame of the Sol Invictus, dying, reborn,
Spilling gold as in the age of the Dacians,
When the plinths of marble bled red beneath Trajan’s boot.
Hail, Mithras! Hail, Christos!
Dual masks upon the one eternal face—
And the temple remains, foundation sunk in Albion’s loam,
Veined with the whisper of Enoch’s tongue.

Through nave-light—sepulchral—
The crusader kneels where the phantoms whisper,
Twelve elder shades in their orbits about him,
Twelve-fold in Saturn’s cruel passage—
A wheel turned upon the lot of men.
The psalms rise—psalms of the bull’s throat cut,
Of Bethlehem, of blood and bread made one,
Cresting on the air like the wail of Rome’s last oracles.

O’ pale moon of the hearth, his wife;
Her hands clasped round the child’s soft skull—
A babe as yet unscribed by fate,
For now but a whorl of breath in the spinning void.
She speaks not—only the hush of cloth,
The susurrus of veils unwound; fate’s tapestry.

Then the bell—Ah, that infernal knell!
That Saturnine toll, unmaking!
Out beyond the cloister, the destrier paws,
A black-hoofed omen, sleek as Ereshkigal’s hounds,
Bridle bound with sigils of Mars,
Steel spurs that kissed the bones of Hispania.

And the crusader—he mounts—
Gold and shadow writ upon him,
Sun-masked like Apollo of the faltering lyre,
Yet heart a dirge, mouth parched as the Sibyl’s.
Eastward! Eastward! Where the stars in retrograde
Mark the hour of slaughter,
Where Mithras’ old altars wait beneath Jerusalem’s ruin.

Ah! Jerusalem, blasted bride of Solomon,
Torn veil of the sanctuary—
City of sevenfold grief, harlot of conquests,
Where the feet of Caesars crushed the cedars of Hiram.

Blood pools in the suq, thick as Lethean draught;
Slaughter in the streets, each arch a vaulted requiem.
Steel upon steel, the tympanum of Mars,
And the muezzin’s call—sung now with a faltering breath—
Meets the organum of crusader hymns;
Chant echoing chant, faith ripping into faith.

The crusader moves—a shade among the fray,
Sword lifted like Anubis’ scale—
Here is the measure of men,
The weight of their sins carved in flesh.
The Saracen leaps—
Scimitar arcs, a crescent blade to sunder him—
Yet Fate, the old and blind king, guides the crusader’s hand.
His blade—a baptism of iron—
Plunges deep into the hollows of his foe;
Red libation unto the sand.

Years churn like Ixion’s wheel,
Unrelenting, unmerciful.
Mercy—a thing of poets,
Wilted as the laurels of fallen empire.
Cinders float where temples burned,
Shrines blackened; the Tower of Babel felled anew.
Allah’s moon, once bright, now hangs in the sky
A cold, rusted sickle.

And the crusader—behold him!—
A shadow cast in dented steel,
His eyes void of Saxon light;
The cross upon his shield—
Once bright with the white of saints—
Now marred, now worn,
A relic of ruin.

Through fen and fog, he comes,
Not the golden youth of Heaven’s grace,
But the revenant, wraith-draped, silence-bound,
A blade unburied, unshriven.

The hedgerows whisper the old names,
Names that still pulse in the ley-lines,
Names that are sung in the tongues of the dead.
The village—unchanged, yet distant,
A relic of time’s immutable cruelty.

Upon the door, his gauntlet hovers—
O’ the threshold once warm with his wife’s breath!
Here, where his fingers once traced her cheek,
Where his child’s laughter rang light as Orpheus’ lyre.
Yet—what voice is this?
Laughter, bright, unburdened!
A child’s voice, familiar—yet unknown.

Then her voice—
Calling, shaping the air with his name,
A sculpted breath, brittle, breakable.
But the crusader is no longer;
Only the husk of war,
A wight, a wraith, a thing tempered in sorrow.

His name is lost—
The road calls, unrelenting.
And so he turns, fading into the dusk,
A knight of silence, bound to the long pilgrimage,
Never to return, never to rest.

And behind him,
The bells toll—
Not for him, not for the dead—
But for the road that swallows all men whole.

DRAMATIC MONOLOGUE Poem: The Storm, by Amy Vile Junod

We are not the whisper of history,
We are the storm of what is to be.
We are not shadows, silent and weak,
We are the fire that dares to speak.

Still, they gather in their gilded towers,
debating rights that were always ours.
Still, they burn laws in our skin,
branding wars they said we couldn’t win.
Still, they cage what love creates,
as if steel can hold what fate dictates.

Bartering our dignity like a debt,
a promise spoken, then swiftly they forget.
They carve our bodies into battlegrounds,
marked by laws we never crowned.
But hear us now, our chains will break,
for we were born to rise and wake.

A woman’s body is not a field,
Not a war to lose or yield.
It is hers, her fire, her choice,
her truth, with thunder in her voice.

Love is not a line in the sand,
but more a wave that swallows the land.

So let them argue, let them fight,
Over unseen borders blurred by fright.
Over walls that crack and fall,
Over wars that end us all.

We stand, unyielding, fierce, and proud,
With our silence now roaring out loud.

For power does not lie in fists that break,
but it lies in those who will not shake.

We no longer wait, not pleading to rise,
We are the tempest in their quiet skies.
And love that’s unyielding, wild, untamed
will rise when all else burns in the flame.

DRAMATIC MONOLOGUE Poem: Conviction, or The Devouring,

One month went by where I didn’t get you. I didn’t feel it. And now it’s been two more
months, and in that time, I have fallen into such deep limerence it’s torn me apart from the
inside out, a wolf gnawing at its own leg.

I’m giving you too much power. It’s not you, not the real you, but the you I’ve conjured in
the fevered dark, the you that has taken root in my ribs and burrowed deep beneath my
skin. It’s the way I perceive you, the way I worship your every step, how I tilt my head to the
light when you enter a room like some pathetic flower craning toward the sun. My devotion
is grotesque, obscene, something sticky and unbearable, a sickness I can’t scrape off my
skin. Before I met you, I felt pretty, I felt enough, I felt like a girl someone might want to
love. And then you touched my world, and suddenly I am nothing but an homely, desperate
thing. I have never felt worse in my life; never felt uglier, fatter, never felt so embarrassed,
never felt so little desire to live.

I am waiting for the this is over phase, but my feelings for you are only getting worse,
spreading like rot, a bruise blooming outward instead of fading away. It’s not even a push
and pull anymore, it’s just push, push, push—until I’m at the cliff’s edge and you’re
standing there, inches away, not even needing to raise a hand to send me over. Just looking
at you is enough. Just knowing I’ll never be looked at in return.

This was always supposed to be about God. But it’s become about you, hasn’t it? Where is
my God when I peer at your pale skin and imagine my bite marks? You make me want to sin
in ways I can’t even name. You make me want to swallow my own heart whole. They tell me
to let you go, that I have to, that I must, but how do you release something that never
belonged to you in the first place?

That’s not an option when you feel nothing for me, when I am nothing but background
noise, a flicker of static in your bright and brilliant world. Am I the childlike jester, put here
to amuse you? Am I the fat cow you wouldn’t even consider for dinner? They can’t make me
give you up if you never once reached for me. It was never yours to take, and yet I am still
hollowed out. I am still emptied. I must be hideous, right? That’s what it is? My
asymmetrical eyes? The stretch marks? The too-large nose, the soft body, the too-small
teeth? You’re hardly perfect yourself, but I would consume every inch of you without
hesitation. You are infinitely more beautiful than I could ever be.

I’m thinking about starving myself, starting tomorrow. Maybe if I shrink, you’ll see me. Maybe if I disappear, you’ll notice. I never thought about Botox until you walked into my life. Needles, chemicals, risk—games I swore I’d never play, games you’ve suffered through, games I now consider like a whispered promise.

How I wish I never joined. I don’t know if this was ever meant to be—how could something this painful be an act of God? Today was unbearable. I almost had to go to the hospital, just to escape my own mind, just to get away from myself. I wanted to feel something sharper, something real, something to drag me out of this endless loop of ache.

We could never work. You’re uninterested, unavailable, untouchable. And I’m just obsessed, infatuated, a fool with a noose of my own making. Maybe I am a little bit in love. Maybe that’s the problem. You are out of my league, a plane of existence above me, and I should know better, I should turn away, but oh— I’ve never met anyone like you. I could live off the sound of your voice alone.

If I say one more thing, it’s that it’s not your fault you hurt me. It’s my fault. My mind is built for this kind of suffering, this kind of spiraling, this kind of one-track devotion. I am writing this to try to let you go, but I already know I won’t. A couple of people know. The girl told me she could see it in the way I look at you—I had no idea I was that obvious. That’s humiliating. That’s horrifying. I don’t think I can talk to you anymore. I adore you, I really fucking do, but I can’t keep peeling off my own skin like this. I can’t keep losing more of myself in something I never had to begin with.

This is my conviction to leave you alone. I’m sorry for the unwanted attention, the lines I have crossed, the boundaries I have ignored. I am hoping, praying, that you don’t know, that you never know, that maybe you just think I needed a friend. I do need a friend. But they told me I have to strip myself of all feelings before I can be that.

I am convinced you love her. And I love her too, God, I do, but her beauty was the first sign, the first nail in the coffin, the first proof that you could never look my way. Why would you, when you’ve seen the loveliest fruit on the tree? Why settle for me, when you have tasted the best? I cried so much today it could have been a personal record. I also scratched myself raw, screamed into the receiver, got multiple worried calls, lived in my own selfish suffering for what felt like centuries. It’s 4 AM now, and still, you have not left me.

Why can’t you be attracted to me? Why can’t you love me back? Why can’t you be within my faith? I adore you, I adore you, I adore you. I do not know how I will survive this. With the utmost love and ruin, Taylor

DRAMATIC MONOLOGUE Poem: Thief in the Morning, by Connor Ballard

Last night I had a dream of my younger self, greased black under the eyes and used and oily after an American football game I remember playing in high school. It was the last game of the season, and in the last quarter I ran back a kickoff for something of about 80 yards in a straight and unyielding sprint through midfield frenzies tugging at the jersey. My dad is a proud father in this moment and I see the prophecy of this American football prodigy. He has done what has been the incipience of greatness for many in this sport. Further than that he has performed a desirable trope of the ideal young American man and son of the blue collar father that has been in all the movies and magazines and books and platitudes of early or soon to be father gatherings. It is a beautiful fulfillment, direct and congruent. The echoing of this congruency meets its disembodiment in a phone call back to the father years later. The son has told the father that he is dropping out of a prestigious film school and he is met with the low bitrate, gurgling sobs of his old man explaining his own visions of his son’s success and godly figure shining down on them.

Here is the moment I destroy the sureness not only of my old man’s pride but my own. I
no longer know what I am doing.

I wake up a thief.

DRAMATIC MONOLOGUE Poem: “You”, by Alan Contreras

The “you” that never was,
Now lives only in my memory,
And soon it will be simply a forgotten reverie.

How I wish our time united,
Would have turned into a great love story,
But in the end it just imploded like a star in silent fury.

I held on tight to a vision of “you,”
That was only ever my enamored theory,
Dressed in unabashed admiration, and blind sensory.

But “you” never were.
That “mirage” of you was only ever within me,
Dressing up the truth with lustful ecstasy.

The tender life we shared,
Filled with love and care, all a ploy.
Seemingly, to me, just another moment to enjoy.

We confessed our sins in bed,
Our desires to be wed; not in Spring, perhaps in May.
But that too was just something else said before you went away.

Now I sit and write of “you,”
This jagged prose silently.
Not as often as before but I still remember “you” joyfully.

“You” may never have been,
The person you let me see, so eloquently,
But it matters not for truly for a moment I was happy.

Thank you for letting my heart run free with the image of thee, you presented to me, even if it was only momentarily.

There’s a freezer in the McDonald’s basement, by Anya Keskar

I check again, scrolling through greasy fingerprints,
blue light reflecting off the tabletop’s waxy sheen.
No updates. No whisper of a return,
just corporate silence, just the same static menu,
unchanging, indifferent, unmoved by devotion.
The cashier shifts behind the counter,
leans on one leg, cracks gum between teeth.
She doesn’t know. None of them do.

But I remember.

I remember the first bite,
bread bending before ribs that aren’t ribs,
meat pressed into an idea of something whole,
soaking into my hands, thick, sticky,
like I could press my palms together and hold it forever.
Barbecue sauce curling in the creases of my knuckles,
the tang of pickles cutting through the weight,
onions sharp and white, scattering, slipping,
like they too knew this was fleeting.

It was real. It happened.
A whole season with it, a world where it existed,
where I could wake up knowing it was there,
waiting, reliable in its impermanence.
Like how summer feels endless
until you step outside one day
and the wind has shifted,
leaves already crisping at the edges,
the sky just a little too pale.

They say it’s seasonal. They say it’s special.
But special is just another word for something
you can’t have all the time,
something rationed, hoarded, dangled like a trick,
like a friend who only calls when they need something,
like someone who holds your face too gently,
whispers too softly, then disappears into the crowd,
leaving only the echo of your name in their mouth.

I glance up at the menu again,
as if the letters might rearrange themselves,
as if someone might come from the back,
wiping their hands on an apron, and say,
“Wait, I think we’ve got one left.”

They won’t. I know they won’t.

Still, I imagine it.
A paper-wrapped miracle, warm in my hands,
the weight of it pressing me back into myself,
anchoring, real.

I should leave. I should stop waiting.
But I sit, fingers tracing the edge of the table,
pressing into the plastic, wishing for indentations,
wishing for proof that I was here.

She sighs, tilts her head toward the kitchen,
vanishes behind the swinging door,
and for a moment, the universe holds its breath.

Then—
the creak of a fridge door yawning open,
the static pop of a glove snapping on,
footsteps, urgent, deliberate.

The cashier reappears, hands cupped like an offering,
a single paper-wrapped relic balanced in her palms.
“Lucky day,” she says, monotone,
like this is nothing, like I haven’t been waiting,
watching the days pass in mustard-yellow fluorescents,
the void of its absence widening.

I exhale. Nod too quickly.
Reach out, fingertips just brushing wax paper,
just feeling the warmth of it-

and then.

it slips.

A slow-motion tragedy,
gravity reclaiming what should have been mine,
the wrapper sighing open midair,
peeling back like a wilted flower,
a sacrament unraveling before it can be received.

The meat patty slaps against the tile,
a wet, hollow sound,
barbecue sauce blooming outward,
a Rorschach of longing, of almost, of never meant to be.

Pickles skid, rolling into shadows,
onions scatter like frightened birds,
the bun, once whole, now split,
one half rocking on its side, dizzy, lost.

The cashier clicks her tongue,
stares down at the wreckage.
“Damn,” she mutters. “That was the last one.”

I want to scream. Want to gather it up,
press it back together, reshape what was ruined,
convince myself it could still be whole,
still be salvaged, still be mine.

But I just sit back down.
Watch as she scoops it into a trash bin,
hands wiped clean,
already forgetting.

And I am alone again,
nothing in my hands,
nothing waiting for me.

I stare at the bin, at the crumpled wrapper,
the smear of sauce glistening under fluorescent light.
No one is watching. The cashier has moved on,
taking orders, laughing at something I can’t hear.

It’s still warm, probably.
Still the same sandwich I waited for,
still mine, if I want it enough.

I glance over my shoulder.
The fry machine hums, a milkshake whirs.
No eyes on me, no witnesses,

How low am I willing to go?

DRAMATIC MONOLOGUE Poem: Who Isn’t, by Elizabeth Wadsworth Ellis

Who isn’t a poet?
Nowadays we have opened the act and the actor to writing,
to spiel their proverbial guts about any and everything hoping to be creative, original, innovative and worthy of our listening attention.
By this definition a truck driver is a poet, alone in cab-thoughts running through his brain while he watches both the curves on the pavement, and the other drivers he despises and considers idiots. In his cab (he maybe owns or leases) he is hired to haul tractor the corporate’s trailer.
“Just do it!” the boss man says, the one who doesn’t give a damn unless delivery is late.
He delivers. He is a small figure of thoughts embalmed in a large world full of the countless other vehicles.
Does his wife listen to him when he gets home?
Does he leave his trail of thoughts littered along beside the Interstate highway debris?
Does he write them down?
His poetry rolls slick off the tires, onto the tar, somewhere in Ohio, or Wyoming.
What to do with his life lived, a life no one else could read as it unravels from the dotted
Interstate lines, but I promise you he is a poet. He’s got plenty of thoughts despite the fumes of the diesel fuel. His poems spill to hot pavement and like oil
dissipate.