SWWIM sustains and celebrates women poets by connecting creatives across generations and by curating a living archive of contemporary poetry, while solidifying Miami as a nexus for the literary arts.

Precipice

The Californica Plena rose
looks ready to bust out, bristling

with buds like tiny mouths opening,
small kisses or gasps, an emerging hunger.

When does enough become too much?
In its prickly nest, the rose will be sweetly

bedecked in pink ruffles fading to white
and the sunny stamens that sing the bees.

The rose is, on its rockery ledge, steadfast.
And this is what I want to be for you.

As my complement, you are balm
and barb, rose and sticker, laughter,

silence, and on some days, nothing fits,
like rosemary’s name coming from Latin,

the ros for dew, marinus, the sea,
while its green spears are kin to mint,

nothing to do with a rose, and this rose,
named Plena for full, will swell

into a high tide of teeth,
sharks in the garden. I can’t tell you

what scares me most—the virus
or your cancer or my penchant for gin.

All I know is that the rose must be chopped
to the roots to stave off invasion,

the tumors must be made to shrink;
the rose again will thunder green,

and this metaphor fails.
People keep saying, “an abundance

of caution.” I live in the caution.
I distrust abundance. All I know

for now is this impending extravagance,
reminder we’re still clinging here and whole.


Joannie Stangeland is the author the collections The Scene You See, In Both Hands, and Into the Rumored Spring, as well as two chapbooks. She received the 2019 Crosswinds Poetry Journal grand prize, and her poems have also appeared in New England Review, Prairie Schooner, Boulevard, The Southern Review, and other journals. Joannie holds an MFA from the Rainier Writing Workshop. By day, she works as a technical writer.

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An Elegy for Thousands