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.
At home, we keep my father from the news. The news addles his mind. Our doctor says she tells all her patients to turn off their screens, to consider knitting or meditation instead. She has experienced the mind’s slow pull toward oblivion.
My father fears economic collapse. He would feel more comfortable if I would only withdraw $200,000 in cash—just to have on hand. I thought the end would need more bright angels in chariots, a sudden bloom of locust in the tap water, but no. The light each morning is the same. When I sleep, I sleep fitfully each hour opening an eye to check for the sun’s slow rise over the neighbor's lawn.
Alone, I resume a documentary about space. There is an urgent search for another planet just like Earth. It’s very possible, scientists say. A PhD in Hawaii demonstrates centrifugal force with her fire fan. On the International Space Station, Astronauts see sixteen sunsets and sunrises in one human day. Imagine the abundance. You could begin again.
Megan Pinto's poems can be found or are forthcoming in Ploughshares, Lit Hub, Plume, and elsewhere. She has received scholarships and fellowships from Bread Loaf, Martha's Vineyard Institute of Creative Writing, the Port Townsend Writers' Conference, and an Amy Award from Poets & Writers. Megan holds an MFA in Poetry from Warren Wilson.
The sales pitch was to tell you astronauts drank me in outer space. It’s true. John Glenn and I did have a fling on his 1962 Mercury flight and that made me popular, for a little while. Only because you thought NASA invented me. But no, I was always just my sweet powdery self until someone mixed me with water and stirred me. John Glenn never
loved me. The way some men don’t really love the women they drink up and put back on a shelf afterwards.
Lisa Zimmerman’s poetry collections include How the Garden Looks from Here (Violet Reed Haas Poetry Award winner), The Light at the Edge of Everything (Anhinga Press), and Sainted (Main Street Rag). Her poetry and fiction have appeared in Redbook, The Sun, Cave Wall, Hole in the Head Review, and other journals. Her poems have been nominated for Best of the Net, five times for the Pushcart Prize anthology, and included in the 2020 Best Small Fictions anthology.