FALL 2011




Solidus Online

Ivy Page


Dragging feet over the edge of sleep
to answer the call of daylight.
It glints in from the window,
laying its fragile finger across
my arm sprawled over covers.

Waffling between rising
and nestling into the blankets
returning to a dream that slips
away a little more as I move.
Launching away from comfort,
padding to the kitchen to start,
begin, again the days that compose
a life.

But, do I want to say, compose?
It sounds so grandiose, so lovely.
No Tomorrow

I remember my daughter
staring up at the clock
on the wall and asking:
how long is ten minutes?

I looked up at the same clock
my vision blurred
and realized that it no longer counted
off the seconds

that constructed the illusive
ten minutes.
The strange black fingers,
that everyone calls hands

no longer counted
each second of my childís life.
Both had ceased.


Treasure Hunt

Small fingers lift dusty
items out of boxes,
discovering the antique
and useless. Leftovers
from ages ago.

These fingers sift
through paper
and symbols of
the world we know.

Words: one day these
words I use, will seem
like a foreign tongue.
If perhaps they are
stumbled on, ages
from now in a musty attic.

The treasure hunter will
look at them and wonder
how we made sense of such
strange symbols, written
as a secret code.

Now our children learn to
understand the signs, they
are fed to them, one by one
and two by two and more.

The treasure hunter
will put these symbols aside
for another day -- to be
found or lost
another time.



Broken language
left my lips
and touched your
eyes with a kiss
of morbid curiosity.

You will
love me
for two reason
s the two innocent
conceptions that remind
you of home.
In your own
way you describe
home as a representation
of family.

If you peek
through the crack
in my psyche
the visions found
might tie your
tongue in knots, turn
your eyes into
twisted mirrors,
and your love into
a memory
of the girl
you thought.


Olí Woman

Sittiní on the porch of
ages, skin like dusky
leather, hands of caked on
clay. Anthology in
half a bucket of shelled out
worlds. Mmmm child, that she was
rockiní once for me and
once for you.

On this- our side
of fence is white,
her side is grey and green
riddled with a dream
of peas that donít
go takiní before askiní.

But she just shells out
worlds and puzzles at
why we tried to sneak
a taste of time,
a bit too soon.


Eating Earth

I wrapped my 19 year old heart
around your finger. Watched
you drink me in, watched
you fill me up. Drunk
on the way we moved
in and out of each other.
Birthing new mouths to life -

Eating pain from scraped knees
sucking the poison of "friends"
from our hearts.
Salving wounds, teaching how
to weave broken bits back together.

Wrapping body, mind, and elements,
forgetting what makes you real
behind 12 years of war language -
complicit replaced with complacent.
Placement of one foot carried
by hope and one, in the fractured water.


Ivy Page

Conversation with Devin Wilkie

Write what you have to write, then find your topics in the beauty and terror in our day-to-day lives.

Devin: When did you first develop an interest in writing poetry, and why?

Ivy: I suppose the first time I took an interest in writing poetry was in my late teens and early twenties. My husband ran an open mic for poetry when I met him, and I was writing lyrics for songs for my band. I started writing poetry after my composition class in my undergraduate program. My composition teacher read one of my essays and encouraged me to explore creative writing. That is how it all started.

DW: How does your writing affect you as a teacher, if you believe it does?

IP: By being a creative writer, I have to be able to think outside of the box. By practicing creative techniques in my classrooms, I am able to keep the classroom lively. I encourage my students to do the same in their work.

DW: How does your teaching affect your writing?

IP: I often find inspiration in my day-to-day life, and from my classes. It may come in the form of a conversation with students in or out of class. I will often do writing assignments along with my students. By doing this I keep my work fresh.

DW: From where do you get your inspiration to write?

IP: I suppose I answered this question, in part, already. My inspiration changes over time. My jobs have inspired me, friends, overheard conversations, lost loves, my husband, and my children inform and inspire my poetry.

DW: What are your favorite topics or themes?

IP: I have been told by friends that themes in my work include, lips, tongues, and the mouth. Larger topics I return to are, recovery, family, the body, and place.

DW: What advice do you have for a new or aspiring poet?

IP: Write what you have to write, then find your topics in the beauty and terror in our day-to-day lives. Study other poets, even if you don't like them. By reading you will find new forms, develop a lexicon you wouldn't have otherwise, and be able to see the world from different perspectives.


Ivy Page

Ivy's work has appeared in journals and has been anthologized nationally, and her first book Any Other Branch, will be available internationally through Salmon Poetry of Ireland in late 2012. Her second book, Elemental, will be out with Salmon Poetry in 2014. She is the editor and founder of Organs of Vision and Speech Magazine. Ivy believes that poetry needs to be heard, so she runs two open mics for poets in New Hampshire.

Ivy Graduated from Plymouth State University with a BA in English and minor in Medieval Studies, and went on to complete her MFA in Creative Writing at New England College. She currently teaches a creative writing workshop at D Acres in Dorchester New Hampshire. Ivy has taught courses in writing, communication, publication, and history at Keene State College, Colby-Sawyer College, Plymouth State University, Granite State College, NHIT - Concord's Community College and Axia College.