Three by


Jonel Abellanosa





Holes and Gaps, Gaps and Holes


          “ . . . so that something that is not in the poem can creep, crawl,

                        flash or thunder in.”

                                        —Dylan Thomas, Poetic Manifesto



Mirror, mirror, on the wall

why is it always, “It is why.”

That’s it? “It’s that!”


Mirror, mirror on the wall

which travels faster,

light or sound, sound or light?


“Reflection, then echo.”

Do you hear? What do you

hear? Here? “There.”


Where? “Look, there.”

I see you, before I say

mirror, mirror on the wall.


My voice voices my

skin with little things.

I turn and turn, look around.


I see shades, moving shades

shades moving, shades

moving me. A movement.


My eyes through

and through— rivulets down

my cheeks. What


are those sounds? Mirror,

mirror on the wall. “Sounds,

those are. Sounds you, now,


here.” Mirror, mirror

on the wall, there used to be

none. Now, here.





God is in Love



Whoever constructed planet Earth

is a linguist


structural multilingual verbalist

obsessed with verbs, sights and sounds

pleasured ventriloquist shuffling feet

meters from you and me talking about Michelangelo,

meters from toots and horns alliterating

traffic and highways, anger and praise

sounded in the same anthem and place


Whoever constructed planet Earth

is transliteralist


metrical dancestepper sending feet

shadows on the floor’s light fantastic,

a feat, desire another fantasy shush, foreplay lust,


gathering of the party, automobiles

well parked commas, bow ties a personal cadencia,

ritmo in the world sartorial perspective, worn view


Do you smell the box and bouquets

making us, or them, black, and blue, purple,

“gray area,” groggy, the tipsy view spinning

from the punch, alcoholic, of the mix

in the bowl?


Whoever constructed planet Earth

is spelling echolalia,

reciting glossolalia,


mechanic spellbinder echoing high and low tides,

binding re and site to resite scenes,

perception and memory unhyphened,

insight halved and separated for an object

to be in sight on the horizon

nature’s line treed with nurture


engineering geodetic frequencies,

how often time reorients and revibrates

(re orients and re vibrates) geometries

of what you and I think we know is,




you and I


spacing for care to be our safe place

before we’re at last convinced it is

a safe place, care, a place of love,

love also a place


You and I, talking of Michelangelo,

we are, all of us, we are in love,

we breathe in love, placed in love

It is ours all of us, together, we humans

and we’re them, too, nonhuman sentient beings

we shall one day no longer call animals,

or plants, the planet God as Tongue Twister’s

open and soft palm,


a place

for all of us, and them, too,



we live in the concrete language

of God’s invention, touchable construction,

you and I are touched, we are, all of us, touched,

given the expanding limit to, of, how often

we re live paragraphs of our participation

in this universal creation

of how we at last find each other

and our selves in light&love


for God so love the whorled

he gave his only shape Michelangelo








Flame the rare bird eyes reflect.

Light holds shadows. Spirit opening

like a hand. I enter my mind. 


I long the center, fervor when

scorches ice my flesh, my form

pliant to change. Prayer is water,


offering consumed, sacramental

host lifted. Aware as the third eye,

I compose, bones reciting psalms.


I rebuild from ruins, hymnal

skeleton. Lines I fill pages, taut

sounds, memory an urn for ashes.









Jonel Abellanosa is a Cebuano, residing in Cebu City, the Philippines.  He is a nature lover and an advocate for the environment, ecological balance and animal rights and comforts.  He has three companion dogs—Donna, Yves and their lovechild, Daisy.  His works have been nominated for the Pushcart Prize, Dwarf Stars and Best of the Net Awards.  His poetry and fiction have appeared in hundreds of magazines and anthologies, including, The Cape Rock, Otoliths, Muddy River Poetry Review, Chiron Review, Invisible City, The Lyric, The McNeese Review and The Anglican Theological Review.  His poetry collections include, Songs from My Mind’s Tree and Multiverse (Clare Songbirds Publishing House, New York), 50 Acrostic Poems (Cyberwit, India), In the Donald’s Time (Poetic Justice Books and Art, Florida) and Pan’s Saxophone (Weasel Press, Texas).



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