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      January 19, 2019At the Edge of the Hennessey FarmLiz N. Clift

      The Paint nickered, trotted toward us, lowered
      its broad soft nose to our dog, and I wondered
      why dogs and horses, even parakeets, touch noses,
      how we might better love the world and trust
      each other if we too touched noses as matter of
      exploration, bumped shoulders, allowed
      ourselves to hug more, think less.
      I thought of the mahout I saw
      in a photograph, his elephant exploring his face
      with its trunk, and the way dolphins came to explore
      my kayak in the Pacific, the way they brushed
      alongside, stuck noses in the air to tap
      my outstretched palm.
      We stood there and after a long moment,
      the horse raised its nose to me, extended quivering lips
      to the jacket pocket where I stored dog treats. I placed
      my palm first on its nose and then rubbed the plane
      between its eyes, tried to understand why
      we deny each other the culture
      of touch, which isn’t about us, but about
      being animal, about being a part of this world
      instead of apart from this world, why when sirens
      ring in the background, I have trouble imagining
      a person. I think about how, when you place your hands
      on my shoulders, just briefly, I feel whole.

      from #39 - Spring 2013

      Liz N. Clift

      “I grew up in Charlotte, North Carolina, where words were music. But, like many Americans, I grew up believing I hated poetry—that it wasn’t something that I understood, or wanted to understand. It took a friend who loves poetry to teach me how to love it also. I write poems because poetry allows us to make connections that won’t work in any other medium. I want to capture the moments and could-have-been moments that create the stories we tell ourselves.”