January 2026
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Poetry
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Clayton Adam Clark

Before Me Is Always Fled

1.

It’s my youth’s river I brought
my new person to, a greenspace

between the river road and a green-
brown water that slackens down-

river into something lake-like,
my father parking us there some

Saturdays of summer visitation,
but I hear there’s less of that now,

the singles and their kids on Midwest
beach, or if not less, something else

entirely now that the water’s crowded
through with silt and Asian carp.

It’s not the same but it’s the same
river J nearly drowned in, his upriver,

which is south for the Meramec, so
I wanted to show her what I was

trying to feel here, but I could see
my once-was reflected back under-

whelming in her eye, so okay look,
that’s the gazebo I brought my girl-

friend to one night in high school
so we could be outside and alone

but got ran off by a man doing some-
thing with his body on the park bench

we couldn’t see. That was a UAW hall,
shuttered after the plant shut down,

I ate mulberries off that tree, and
once my brothers and I found cardboard

boxes of water-damaged porn inside
the shack that used to lean right there,

right next to the floodplain ball fields
where we grew up, closed for good

last year by back-to-back-to-back floods
and stagnant interest in organized sports.

Even if it’s hard to believe this place
was seafloor, I asked her to feel

with me the limestone beneath our feet
because will-be and once-was are

merging more and more in time
right where we stood, the flood-

waters warm and thick with clay
that maybe hails from somewhere

on the other side of the levee.


7.

Me and J’s hometown is on TV again, akin 
to saying it’s underwater again, only this time

a 500-year flood, same as last year’s and higher
than ’93. A dump of winter rain and there’s talk

of federal funds to re-engineer the submerged
overpass. There’s talk of who’s to blame. If not

a storm named Goliath then a levee built for a town
upstream called Valley Park and its landfill

counterpart across the river, stood up on floodway
that was, for a time, an outdoor movie theater.

My parents took us there, hiding a cooler
and one or two of us under blankets until

we cleared the ticket-takers. It was all junk
food and swatting river mosquitos and no clue

what was passing between my parents up front
those last years before they split. I was asleep

every time partway into the second feature
and sad to wake to the car rocking across

the rutted gravel parking lot that must’ve held
so much extra Meramec then. It’s no place now,

another artifact in a mountain of what we say
is wanted no longer, a burial mound for garbage

risen as river bluff. My downriver town
is drowning again, and even if it’s all we can

talk about, it cannot matter who’s to blame
in the end, even with evidence to show

the Army Corps of Engineers built that levee
eight feet higher than the 100-year flood height.

How do you name the why when there is
no why? Yeah no sure, floodplain can be

commerce district and all this water turn
this town’s disaster or that’s, but why not

name the levee Tumulus, one where we
mourn the bodies downstream? Last summer

T and I drove out to walk the fair-weather
greenspace we’re calling a park between

river and levee so I could see what earthworks
defy such water. There in a place I felt

both inside and out, between our resistance
of what is and what is, I could look up

to the north and see the landfill patched over
with weeds and I could look south to watch

a woman teach a child to ride a bike
on the trail paved along the levee’s spine.

12.


The morning started with memory
of the first time I saw a fish
with teeth. On makeshift Midwest
beach and water low, I found the gar
stranded on gravel-sand and flies

buzzing about and a smell of dead
water life, flesh that has no business
with oxygen this side of the surface.
Already I feared what I could
not see below the green and now this.

They won’t hurt you, my father said.
They’re more afraid of you than you
are of them. Gar teeth aren’t
for biting but holding, prey trapped
in jaws until it’s thrashed itself

dead-tired, until it’s swallowed whole.
Gar doesn’t let go. My parents
split up before that and live
two miles apart now, closer
by foot, and I’m no longer afraid

of gar, though it took knowing
about their holding on to drop it.
But there’s distortion in the air
this afternoon I can see, and I don’t
see it as smoke from out where A

still lives, half this continent away,
even if it is. They now have fires there
we have no number of years for.
I have no business breathing
this aerosolization of California

trees and shrub brush, building
materials and the animals that
couldn’t get fled, and what more
is there to fear? What does anyone
get away from all that long?
About the Author

Clayton Adam Clark lives in St. Louis, Missouri, his hometown, where he works as a mental health counselor in private practice alongside his spouse, Tina, and their therapy dog, Tank. His latest poetry collection, Auscultate, was published in February 2025 from Galileo Press, and his debut collection, A Finitude of Skin, won the Moon City Poetry Award (Moon City Press, 2018). He earned the MFA in poetry at Ohio State University and a master’s in clinical mental health counseling at University of Missouri–St. Louis.

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Featured art: Peter Fabris

A British diplomat serving as Envoy Extraordinary to the Kingdom of the Two Sicilies, William Hamilton (1730–1803) was present for the eruptions of Mount Vesuvius during the mid-to-late eighteenth century, and wrote Observations on Mount Vesuvius (1772) for the Royal Society. To illustrate these volumes in a manner true to his approach, Hamilton recruited the English-born Neapolitan artist Peter Fabris, otherwise known for his paintings of the city’s “pulsating street life — with sellers of melons, cooked apples, corn, truffles and fried pastries”, writes Robert Holland. Hamilton charged Fabris to paint with “the utmost fidelity”, making sure “each stratum is presented in its proper colours”, and fifty-nine of the resultant gouaches were engraved and hand-colored to accompany Campi Phlegraei (literally, the flaming or fiery fields, named after the area west of Naples). In curator and writer James Hamilton’s assessment, Fabris “revolutionized the art of the volcano, and changed our ways of seeing them”.

Images sourced from the Public Domain Image Archive / Wellcome Collection 

https://publicdomainreview.org/collection/campi-phlegraei

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