In Its Rhythm

Do you ever gaze upon the ocean
and fall quiet,
struck by its vastness,
by the way it stretches beyond sight,
yet answers to a shoreline?

A body so immense,
it feels eternal,
yet born of a Presence
that called it into being.

It remembers beginnings.
It foreshadows endings.

It has claimed ships
and carried them home.
It has held both storm
and stillness in the same breath.

And I wonder,
what kind of God
writes himself into water and wind,
into tide and undertow,
into depths no eye can measure?

Somehow,
I find myself in its rhythm,
my thoughts rising and retreating
like waves surrendering
to an unseen hand.

In its ceaseless motion,
I learn submission.
In its return to shore,
I glimpse grace.

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Buki is an emerging poet exploring love, grief, identity, and the quiet thresholds of becoming, shaped by her life across Nigeria, the UK, and the USA. Having only recently begun writing, she uses restrained language and intimate imagery to trace the spaces between fear and tenderness. Her work has been published in Wingless Dreamer and is shared on Instagram and Substack.

‘Behold the Man!’ – A Poetry Contest

Mary Twomey, Rich Man, Poor Man, Beggar Man. Silk aquatint, monotype, collagraph, drawing, 25.4 x 53.34 cm. Private collection.

If you’re a poet who has ever found yourself drawn to the figure of Jesus of Nazareth – whether in faith, doubt, curiosity, or outright resistance – Wayfare magazine has a contest with your name on it.

The inaugural ‘Behold the Man!’ poetry contest is open now, with submissions accepted until 29 March 2026 (Palm Sunday, fittingly). The prize pool is generous, with honorable mentions also published in Wayfare.

What makes this contest particularly interesting is the scope of the invitation itself. Wayfare is explicitly seeking poems from any faith tradition – or none. The subject is Jesus of Nazareth, but the angle of approach is entirely yours. Skeptic, believer, agnostic, curious outsider – all are welcome, provided the poem engages its subject with freshness and genuine thought rather than settling for easy praise or easy dismissal.

The reference poems cited in the contest announcement give a sense of the range they’re after: Gerard Manley Hopkins’s rapturous devotion, Mary Oliver’s tender human sympathy, James Wright’s moral ambiguity, Anne Sexton’s anguished wrestling. These are poems that take a stance, feel something, and refuse to look away. That’s the company this contest wants to keep.

A few practical notes: you may submit up to two poems, each no longer than 50 lines (or 300 words for prose poems). Judging is blind. Simultaneous submissions are fine. Poems must be unpublished and entirely human-written.

Full guidelines and the submission form are available here.

The Blasphemer

I cursed God
and there was nothing.
He must be dead.

I never thought
he might have been waiting –
to see how far I’d go.

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Jim Murdoch has been writing poetry for fifty years, with his work appearing in a wide array of literary magazines and websites – many now vanished, and a few, such as Ink Sweat & Tears and Poetry Scotland, still holding their ground. For a decade, he ran the literary blog The Truth About Lies before settling into a quieter life in Scotland with his wife and, when it suits her, the neighbour’s cat. He – i.e., Jim, not the cat – is the author of two poetry collections, a short story collection, and four novels.

Photo by Chris Fuller on Unsplash.

Veins of the Earth

Roots coil beneath the soil,
veins of the earth pulsing with quiet grace.
Rain seeps, soft as mercy,
through clay and stone,
and the green shoots respond
like hymns that never end.
I walk among cedars,
hands brushing bark,
fingering the faith written
in rings of patience.
God is here, in fibre and leaf,
in the slow breathing of the world,
in every shadow and shaft of light.

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Khayelihle Benghu lives in Johannesburg, South Africa, and has been writing since 2008. Alongside her writing, she nurtures a deep love for photography, with a particular focus on the natural world.

Photo by Fabian Kleiser on Unsplash.

The Trance

In my head was an ocean of thoughts,
And monologues of indistinct voices
Floating, trying not to drown

In my depths of silence.
Faceless entities broke through my mouth
And spoke to the wall with my eyes closed.

But no sleep— just teleportation
Through nostalgia’s portal.
No amount of noise was enough

To pull my eyes back to life.
I hoped to doze off and dive
Into the waves of my mind

In the light’s absence. Here,
The darkness was the screen
Framing the invisible

Like a monochrome photograph.
So, I swiftly clapped and clasped
My hands to trap the elusive entities.

In poetry’s mystical conjuring.
I hoped to wake in a dream
Where my mind becomes a small room

Peopled with voices urging me
To keep going, without showing me
The way. Sometimes, I listen

To dying whispers
Singing life into my ears.
Like Milton, dark is the sight I wield

In the socket of my skull, but not
My foresight of the road ahead.
Sometimes, I feel like a seer

Who has seen it all, but
To what end? Through this tunnel
I go, making the narrow path

My only map in and out
Of my hallucination, because
I must chase this shadow.

I keep running after this tail of mine
That leads my head
In a soothing cycle of trance.

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Tukur Ridwan is a Nigerian writer and the author of three poetry chapbooks. He serves as a poetry mentor with the SprinNG Writing Fellowship, and, in March 2018, he won the Brigitte Poirson Monthly Poetry Prize. His work has appeared in publications such as Aké Review, Poetry Potion, Coalition Works, Stripes, Engendered, Afrocritik, and ArtisansQuill, among others.

Photo by Rasmus Ødegaard on Unsplash.

Haikus to Him

Gold light shatters the
mornings of mourning, divine
prayer slips from mouth

shame skewers pride’s lung.
God commands me to talk. I
do not know how long

has passed. Words sizzle,
cumin seeds in burnished oil.
Delayed meal tasting

like only joy can.
Hearts-to-hearts require response
says my forlorn heart.

Knees dig into earth
the metaphor eludes me
answer me, I plead.

Give me a sign. One.
Dusk shatters through my waiting
God answers in silence.

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Aatiqa Mankani is a student poet currently based in Vietnam. When not writing, she enjoys reading about history and exploring nearby museums.

Photo by Tin Ly on Unsplash.

Shostakovich String Quartet no 8 in C Minor

Faster        faster                even faster 
Fly the wheels of industry – turningturning
Hurry hurry keep moving never stopping
All is synchronization regimentation

We the workers cannot stop
The machines ever smarter ever smarter swallow us
Faster faster ever faster
humming like insects
The machines talk to each other, a frenzied tune

We workers cannot sing sweet songs anymore
Our music is crushed like grapes by the sharp blades
Of the machines that command that control us

Only the whispers of a few old men resound in these
Haunted halls -- muttering bbbbbbbbb ggggggggg
Endlessly screeching tzzjxzprtz! myzzxltwz! unintelligible
Lamentations – for the dead.

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Norma Felsenthal Gerber is an educator, journalist, and photographer whose work spans literature, public affairs, and the visual arts.

The love I bear thee, finding words enough

After Elizabeth Barrett Browning

Gods are like clouds, rain, rainbows; you can see &feel but can’t touch
God chatting in the forest, among the trees,
God is justice, not books
Light shines, out in the darkness
The subconscious energy guides your body
The void within you drives you to express.
You have given life to me, you have given joy to me
You gave what was behind me
You will give what’s ahead of me
Her ways are many, her ways are mysterious
Her interpretations are many, her meaning is one
She’s an editor, changes my manuscript
Holding your voice deep within
Filling with feelings of pleasure to treasure
There’s a certain slant of light, there’s a certain slant of sight
Thanks to the morn, thanks to the noon
Thanks to the flower, thanks to the valley
This blessed life, this blessed grace
To act, to find, to feel, to live
Poems are written by bores like me
But only God’s grace showers freely

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Pulkita Anand is an avid reader of poetry. The author of two children’s e-books, her most recent book is we were not born to be erased: an eco-poetry collection. She has also published in New Verse News, Green Verse: An Anthology of Poems for our Planet (Saraband), Comparative Women, Origami Press, Asiatic, Inanna, Bronze Bird Books, SAGE Magazine, The Sunlight Press, and elsewhere.

Photo by Tom Barrett on Unsplash.

Finding Sacred Ground in the Suburban Ordinary: Paul Mitchell’s High Spirits

Paul Mitchell, High Spirits. Puncher & Wattmann, 2024.

In an era when poetry often retreats into obscurity or dissolves into mere confession, Paul Mitchell‘s High Spirits offers something refreshingly different. Reviewed by Jason Goroncy in TEXT Journal, this collection demonstrates how poetry can be both deeply personal and universally resonant, spiritually grounded yet artistically sophisticated.

Mitchell’s work achieves a delicate balance where the spiritual illuminates the mundane without overwhelming it, where the sacred emerges from careful attention to the world as it is. His poems capture the texture of daily life – family dynamics, the rituals of domestic existence, even conversations about Bunnings that blend seamlessly with apocalyptic imagery – while extending beyond the personal to encompass broader cultural and environmental concerns.

One thing that distinguishes this collection is Mitchell’s conversational tone that feels like overheard conversations with a particularly thoughtful friend – accessible without being casual, profound without being pretentious. Whether satirising Australian suburban masculinity in ‘Weekend Warriors of the Apocalypse’ or writing an epistolary meditation to Franz Kafka, Mitchell demonstrates remarkable range and wit.

The collection’s fundamental conviction is that the world is enough – not through complacency, but through hard-won wisdom. Mitchell’s terrific humour never cheapens the gravity of human experience but illuminates it from unexpected angles, finding epiphanies of grace amid chaos.

In a cultural moment characterized by cynicism and fragmentation, High Spirits suggests that careful attention to the ordinary might reveal it to be, if not perfect, then sufficient – and perhaps, in its sufficiency, sacred.

Read the full review here.

Two poems: ‘Sensitive’ and ‘The Janitor’

Sensitive

Sensitive
is
a
word

that
shivers
off
the
tongue

expecting
a
laugh

instead
silence,
only
quiet.

 

The Janitor

I’m
happy
where
I’m
at

pushing
the
dustmop

I’m
in
the
light.

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Danny Barbare’s award-winning poetry has been published widely, most recently in the Birmingham Arts Journal, Pennsylvania Literary Journal, Blue Unicorn, California Quarterly, and many other online and print publications. He lives with his wife and his sweet dog Oliver, a Boston Terrier, in Simpsonville, South Carolina.