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Monthly Featured Poetry 2026

Many thanks to all the poets who continue to submit to Superlative.

Here are the fantastic poems we have selected as feature publications in 2026.

If you would like us to consider your poetry for a future feature, please submit here.

Enjoy!

The Polo Player

​​​

I. Summer

 

Miguel rides six horses each day.

Gives this final summer to them,

Pachula, his favorite.

 

Who blames him? Tail tied

and tucked, braided mane,

eyes aflame. The way sweat foams

like whipped cream between her thighs.

 

Intelligence, speed—the far goal posts.

Mallets looping

puffs of dust, cussing and yelling.

La concha de tu madre!

Spanish. Italian. English.

 

The players in their sweat too, snapping

whips, throwing helmets, water chugged

and tossed between chukkers,

then a fresh horse to hop—

 

                        ~

 

I step through clover and bees

back to the villa each day.

Insects cloud the air.

A large hat to protect me.

 

Into the hammock of my gauze skirt

I collect stray balls.

Stop by the pond

where ducks dive beneath willows

and pop up again, dribbling algae.

 

Along the path, rock rose, wild mustard,

heather, the flowering weeds—

I’ll cut and place in a jar

on the slim windowsill.

 

His shower, my bath.

Nine o’clock dinner

under the pepper tree with Felu.

They drink dark wine

and love each other

the way men do.

 

Swallows streak.

 

This night, a huge cat snatches

the tourists’ small dog

and drags it away. Everyone chases the cat.

 

Then the celebrated rescue.

 

I do my laundry in the kitchen

with shampoo.

 

He arranges pipes on the mantelpiece

like art, ten of them—others strewn

in an ashtray under the tree,

inside the Jeep, jacket pockets.

 

When he goes out, I stand in his closet—

this season’s clothes from Vienna.

Breathe them with my face and hands.

Midnight blues and forest greens,

linen, deerskin, handmade shoes.

 

                        ~

 

(It is summer again. And I refuse.

Solstice, sturgeon moon, strawberry moon.

I used to care about the moon.

 

I used to care about stars, and planets, inky night skies,

silhouettes of trees, dusk and swirling swallows, horses, cats.

 

Sartorial thrills, sultry dinners, cocktails. Friends.)

 

In Tuscany, near Arezzo, near Sienna,

near Pienza. When the season was over

we skipped Rome and went home.

 

He was dying already, but we didn’t know.

 

​

​

II. This Fleetingness

 

He plays through pain, trusts the pony.

Gives his all.

Damn right, some say,

his money, his horse, his passion.

 

Still handsome, yet thin, belly round.

You can die playing

at any moment, and that adrenalin…

 

And because he’s sick, I give in

to my vodka and French cigarettes.

This makes him laugh.

 

I watch the match: 3-4, his team losing, heat

unflinching. He jumps from Catta

onto Pachula—

she trots, jerks her wild head.

 

Breaking for ball, knows

when to slow, hooves dug in, she leans back.

He leans to swing—

 

A gaucho feeds Catta an apple.

She joins the string: Coca Cola,

Automatico, Bombita, Chardonnay—

all tied to their posts in the shade.

 

Giant sprinklers on wheels

sheet the turf down field, snapping in tandem,

prepping that pitch for tomorrow—

 

Staging decks, shade umbrellas, folding chairs—

I sit where they break, stomp and spit,

whip and quip, throwing helmets down.

 

Over there, the ever-present ambulance

everyone ignores. 

 

Players waver in sunlight on the field—

outline of low red fence the ponies hop

and stop. Hop and stop.

 

Somewhere beneath their hooves,

the small, scuffed ball,

like a fistful of dough.

Final chukker and he taps it through the goalposts—

a slow roll and roar, Miguel has scored.

 

I take a sip, but not the picture.

All legs and tails, images of ancient wars.

 

Game. This photo, I take. Arms around waists,

jerseys soaked, mallets shouldered, four victors.

 

My tenth summer with Miguel.

Suspended, alive.

 

What should they be like, these days of endings?

 

                                    ~

 

Dinner with the team. A phone call, a prize.

Smiles. His pipe smoldering

bright—

 

I feel put on display

before the polo wives. Felu’s arm

extends a chair, a glass of wine.

 

Loneliness is such labor in a crowd.

Sometimes, I wear it to show off.


Driving back on pitted roads

dust trails. I act blasé, pretending I live here.

​

​

​

III. Fever

 

In the dream, the air conditioner is stuck on high.

Burning, shivering, naked on a boat. When I wake

 

Miguel brings the young doctor with golden hair,

as if swept to us on a shell—

 

she tells me I must rest, guides me

to the garden, to the chaise,

near the rosemary hedge.

 

Red geraniums in carnelian planters

spill over.

 

Two chairs on the lawn lean into each other,

draped with bleached polo pants

put out to dry.

 

Miguel’s not speaking, chin in hand—

mad he’s missed the morning match.

 

Tells me I mustn’t dwell.

Just listen, don’t talk, he says.

 

Musty skin and minty breath, Bleu de Chanel, his tobacco—

commingle with my anger

and desire—concentric rings, the planet I crave.

 

I watch a sparrow sip

from the jacuzzi tub.

 

If I were a pony—I could withstand.

I’ll align myself with the horse.

 

Strip and slide in.

But he’s not joining.

 

 

                                    ~

 

 

Poème, he says, no, no, not now—    

I have reached to touch him.

 

Day three with fever. He takes me

to the hospital in Sienna.

 

A male nurse shows me the toilet in the corner

behind a screen. They keep me, draw blood, x-ray lungs,

bags of glucose, crystalloids, saline—flowing.

 

A whole day, then his footsteps.

 

On the way home

at the lavish boutique

where they speak German.

 

He brings me velvet slippers.

 

I sit—feeling—

 

perpetually undressed.

 

I cannot extinguish these feelings.

 

They must burn out, like stars.

 

​

 

IV. A Memory

 

At the villa, he wipes the kitchen down.

On the soft couch, my head pounds.

 

The beauty of him

makes my eyes hurt.

 

A phone call. My friend

talks about his mother, stoicism, guilt,

not the lack of love, but how she touched me, he says.

 

I hang up and begin to weep,

which Miguel disdains.

What does the lover want from love?

 

He brings tea, a grimace,

kisses the top of my head and walks away.

 

Sudden swell, mix of nausea

and libido—I’m the snake sloughing skin.

 

Outside, vines vibrate, my head in my hands.

Is this pain, or love?

 

In Patagonia, I’d said, stop the car! and ran

to pick wildflowers.

There were beavers building dams

in ice cold streams, back and forth they swam

in silence—

marvelously sad, their faces.

 

                                    ~

 

Morning, now. This slice of cake

I can taste. Peach: like a peach.

He prepares coffee

and serves me in the garden: Don’t move.

 

Packs up his gear: gloves and whips, elbow

and knee guards, Casablanca helmet, boots

by Alfredo Gutiérrez—

 

Bees and flying insects the size of small mice.

One drifts into the car, and doesn’t come out.

 

The owl hoots. Or is it a mourning dove?

Trust, I say. The body will heal.

Surrounding villas spot each hill. Crumbling,

stones lichened pale green, eating away. Tuscan.

 

All the rest, dreamlike.

Italian cypresses in rows.

Red-leafed plum trees

in perfect fullness.

 

Sparrows in morning.

Swallows at dusk.

 

Sunlight. Black nights.

 

The dead tree in our lawn should come down,

any tree in any lawn. This one

will lose a limb on someone’s head.

 

                        ~

 

Hooves pounding, shouts from the field,

vale, vale, vale!

 

A glorious goal scored.

 

I fear, only the memory

of arcing balls through goal posts

will be all that remains.

​

​

​

V. Blue

He wears loose blue linen pants, loose blue

linen jacket with mandarin collar, blue Espadrille slippers,

in the hospital in San Francisco.

 

Throws his bag over his shoulder and saunters,

the nurse and I follow.

 

The frames of his glasses are blue,

must match watch bands, and pipe bowls—

although unlit, they’re blue. Because he’s sick

 

he’s matching colors more than ever—and because

I know the color of loneliness, which is blue,

I forgive him better.

 

These evenings—

only art on my walls, mountains out the window. 

 

Trees drop dull leaves

into the paralyzed pool.

Summer almost over. Oak sap

drips, pollen sticks.

 

I wade through.

​

​

​

VI. Fate

 

At least water is water, he says.

Home from the hospital now. Most food is mud.

 

No more single malt scotch

on one rock, before dinner, no

glass of Burgundy with lamb, Grüner Vertliner

 

pairs only with fish, things white, like veal paillard,

and green, artichokes, arugula, watercress.

 

At table, properly dressed.

 

Cognac with cigarillo, dark chocolate shard,

hard cheese, fresh or dried fig

in front of the fire.       Withering

 

and weakening—he does it for me.

I nibble for two, sip the martini, swallow.

 

The diagnosis came on his birthday. 

 

There’s still magic, he says. So rare, this Waldenström’s.... 

It is my birthday. We will consider it a gift!

 

I bake a small cake. In the video, he pretends it’s difficult

to blow out the candles, puffs hard.

 

This day, we are sitting in the shade of the strawberry tree

talking about us, the boy and the girl.

 

Where he’s going, she can’t follow...  he tells me. 

 

He often spoke in third person when the speech was of love.

 

​

​​By Kimberly Nunes​

​Kimberly Nunes’s poems have been published in journals and books such as Blue Light Press Anthology, Caveat Lector, Mantis, Marin Poetry Anthology, The Madison Review, Sweet: A Literary Confection, and The Round Magazine. Her poem “Morning at Moore’s Lake, Again” was nominated for the 2022 Pushcart Prize. She received her MFA from Sarah Lawrence College. Kimberly sits on the board of Four Way Books in New York City, and lives in Northern California.

Princess Diana Gives Her First Live Interview in 30 Years

​​​​

The news of her return, when first confirmed,

was met with joy unseen for decades. London,

Paris and New York exploded into gridlock

as a public starving for a scrap of welcome news

burst jubilant into the streets spontaneously,

leaving cars and shops and homes unlocked to

join the celebrating crowds. The sound of music,

laughter, clinking glasses, gasps of, Did you hear?

She’s back! drowned out all doubt, all thoughts of

what significance was to be found within her

rising from the dead. The footage from above

resembled bright confetti or a mass of insects,

myriad in color, swarming at the lifting of a rock.

The heaviness of grief we felt for her, at its relief,

in many ways relieved our grief for everything

we’d lost. She was as pretty as she’d ever been,

as captivating to the eye, her stockings torn

and stained with mud, her makeup smudged.

We huddled underneath enormous screens to

hear her speak. It felt as if she were addressing

each of us directly, weeping while confessing her

regrets at having left us all behind, confirming

as she did so the existence of a world beyond.

That there was something distant in her eyes,

her speech not quite as lively as remembered,

was a troublesome detail we chose immediately,

effortlessly, to ignore. With time, however, we

grew tired of her mysteries. We bristled at her

incredulity at the declining state of everything:

our dying planet, rampant poverty, the new

technology now frittering away the edges of our

empathy. Some nerve she has, we said, to question our

humanity, when she’s the one who came back perfect  after

being smashed up in that car of hers, a limousine, at that!

What business does a princess have discussing our inequities?

When finally they came for her, it was on live tv,

a failing telethon, her pleading with such passion

for donations that she didn’t notice when the mob

emerged from underneath the curtain, smartphones

held aloft like torches as they gripped her wrists.

Unnatural, somebody said. A glittering corpse.

They burned her at the stake, of course, rapacious

millions tuning in to watch it happen, as before.

​

​​​​​

By SP Mulroy​

SP Mulroy is an internationally recognized writer, multi-disciplinary artist, and award-winning professor. Mulroy has given lectures on history, poetry, politics, and queer rights, as well as readings of his creative work, in bars, museums, schools, embassies, theater festivals, and underground clubs on 4 continents, in over 30 countries. A 2018 Writer-in-Residence at The Kerouac Project, winner of the 2019 Margaret Reid Prize, and winner of the 2020 Button Poetry Chapbook Contest, Mulroy's work has appeared in Boston Review, The New York Times, Assaracus, and Muzzle Magazine, among several others. Mulroy’s debut poetry collection, Hated for the Gods, was published by Button Poetry in 2023.

kuchisabishii

​​​

I wonder what I learnt in all those years
of walking around at night, the back of neon
washed antiquity. I am about to move on.
Still, it strikes me in the absence of memory


that in all this time
there should be a moment
I can say ‘before’


and ‘after’. This was me
before I lived here, and this is me ‘after’.


Living behind the old Roman forum you see
history less day by day. Simply taking
out the rubbish before a short stroll


past the church whose name reads ‘Consolation’
in the shadow of the Palatine down towards
Circo Massimo.


Tickets to the Capitoline Museums discarded
as the pavement steps. I was thirty nine
and now I’m fifty one.


This was me before I lived here.
And this is me after.


Only don’t be so sure.
For some it is their only adult love affair.
Centuries claim out of spite. Afterwards
he walked here often, pretending
to understand history. Time posturing
as a set of ruins. He wasn’t fooled.
History is a waste truck hosing
down cobblestones.


We are all in the hands of Rome’s sanitation
department. The nightly clean-up of broken glass.
Tonight, through a blonde brunette dusk while palm
leaves raked through the sands behind his eyes


he learnt that the word kuchisabishii in Japanese
means when you’re not hungry, but eat
because your mouth is lonely.


And thought how there are all kinds of different translation
that never work.

 

​

​​By Jonathan Jones​

Jonathan Jones lives and works in Rome where he teaches English and American literature at John Cabot University.

​

Instagram: anfield75

Facebook: J.D.Jones

LinkedIn: Jonathan Jones

She Served Herself Up

​​​

                         She served herself up like food, like bread
                         Written on a gravestone, College of Mt. St. Vincent, NY
 

like drink, like wine, and the children got drunk on her,
but the next morning didn’t remember her at all.
 

like air after the grass is mown. They closed the windows
and turned on the air conditioner.
 

like water, like the sea, and they built a fleet,
traversed her in the furious search for their own destinations.
 

like a pillow, like a resting place for their heavy heads. They left
their shapes on her, forgot to fluff her back up in the morning.
 

like a magician, like a claque hat, like the bunny pulled from the claque hat,
and they begged to learn the trick, but, as soon as they understood...
 

like a flower, like a peony in the garden after the rain, heavy
on the stalk, bending toward the ground from which she came,
 

but they rarely sat in the garden, on account of the mosquitos
she sometimes served herself up like,
 

so she could take something
flowing and vibrant back from them.

​

​​​​​

By Maya Bernstein​

Maya Bernstein’s writing has appeared or is forthcoming in the the Beloit Poetry Journal, On the Seawall, Pensive Journal, Psaltery & Lyre, The Laurel Review, The Passionfruit Review, Vita Poetica, and elsewhere. Her first collection is There Is No Place Without You (Ben Yehuda Press, 2022) and second, House Woman: Who Can Find Her? is forthcoming from Ben Yehuda in 2027. Maya teaches leadership, dialogue, and facilitation design, and facilitates gatherings which help groups and organizations adapt and change.

 

Website: mayabernstein.com​ 

pervasive

​​​

you echo
long after
the room empties


you settle into bone
and hum
when it rains


you show up
in the bitterness of coffee
taken black


in sunlight
threading through
the trees


almost
remembering
where to land


in that shade of blue
i keep mistaking
for you

 

​

​​By Jenny Pallotti​

Jenny Pallotti is a nurse and emerging writer based in California. She writes about the often-accepted absurdity of being alive inside modern ordinary life. Her work explores longing, embodiment, survival, and the ways people leave fingerprints on each other’s nervous systems.​

Somewhere warmer

​

​Glinting metal, across your shoulder.

A click that tickles the ear.

People still forget their seat belts.

 

A hill directly above us, the Oita coastline on the horizon,

and yet the first time we kissed was in the parking lot.

 

Your hands are never warm. Inside

your pockets, between my hands, buried

 

beneath blankets, they stay cold.

In the winter, you said we were too cold

 

to warm each other. I made

soup every evening until you were convinced

 

to stay a day extra. Days passed.

Then weeks. Then months. You left

 

things over at my place

dirty laundry, cinnamon sticks, empty

 

​bags for your belongings that never emptied.

We keep all our promises

 

​in transition; board games we don't finish,

poems we read halfway, places

 

we don't visit until we can't. Your bags

still have dresses I put in months ago

 

but it is winter and we are too cold

to warm each other. You

 

have maybe found somewhere warmer.

I still fiddle with the seat belt.

​

​

By Avash Byanjankar​

Avash Byanjankar is a Newari poet from Patan, Nepal currently based in Beppu, Japan. He is in the process of completing a PhD in Asia Pacific Studies, and when he has time away from academia, he likes tending to his two houseplants, arguing with locals about what makes a mountain different from a hill, and ranking croissants from every bakery in town.

​

He also has poetry published by the Tiger Moth Review. 

Portrait of the Artist as a Prism

​​​

Everywhere she looks                 she breaks

           her heart

           pulling apart

           everything for art

  Peeling apart a moment

Thumbnails into orange flesh

a mist of citrus oil in the air

pith pulled away

pips separated from membrane

segments opened into the juicy pockets within

Rainbows flung across unsuspecting surfaces

as light is loosened into its constituent parts

 

Art is investigation

             Observing with love

             where what is known meets with what is not

             The purest point where curiosity and imagination

             clasp each other by the hand

             before

             the moment when they run

             jumping together into the flat face of the prism

 

                       Inside

                       Where everything

                                   IS

                                   

                                           Understanding is a sort of violence

                                                     each wonder dissected and rearranged

                                                     not out of malice of course

                                                     a toddler smashing toys to see what’s inside

                                                                                                          Delightedly

                                                                                                         but violence nonetheless

 

             All these wonders running headlong into the heart

                       of the prism

                                 where they will            break

                                                                             but not just break

                                                                                       What is a prism

                                                                                                   If not a chrysalis?

                                                                                                      secretly

                                                                                                        melting and rearranging

                                                                                                            some new and

                                                                                                              glorious creation?

 

By Ashley Williamson

Ashley Williamson is an Arkansan poet living in the inspiring English Lake District. She attended the University of Oxford, where she earned a First-Class Diploma in Creative Writing in 2023. Her poetry won the Letter Review Poetry Prize and will be published in April 2026. Her pamphlet, Particles & Waves, was longlisted for the 2023 MsLexia Poetry Pamphlet Competition and has appeared or is forthcoming in Mantis, BarBar, The Festival Review, and Cathexis Northwest Press, among others. She also works as a radiographic interpreter for her family’s aerospace testing business.

 

​

Instagram: @penelaine

Website: www.ashleywilliamson.co.uk

Today is Trash Day

​​​

By then I’d given up
on small salvations.

 

No more sorting
the good hours from the bad,
no more rinsing old words
until they ran clear.

 

I stood in the kitchen light,
hands on the rim of the trash,
watching a life I’d lived
in bits and pieces—
ticket stubs, cracked bangles,

the shattered cellphone,

from the week we didn’t talk.
the receipt from that night
we pretended to forgive each other—
Let all of it slide down
in one slow avalanche.

Not this for compost,
that for recycle,
this one to keep
because it almost felt like love.
No.

 

I tipped the whole thing over,
bones, breath, and paper,
into the dark.

 

From somewhere inside the bin
a fork clinked against glass,
a child’s laugh flared and went out,
my mother’s voice rose,
swelled,
fell back into plastic.

I waited for regret
to lunge at my throat,
for memory to scramble up
the slick insides
and demand to be saved.

Nothing came.

Only the quiet hum
of the refrigerator,
the thin blue line of evening
climbing the window,
and my hands, finally empty,
hanging by my sides—

two stray creatures
no longer reaching
for what was already gone.

​​​

​​​

By Shailaja Vats Das

Shailaja is an emerging  poet and an engineer living in Los Altos, California.

She was born and raised in a small town, Ranchi, in India, and now shares a slightly chaotic home with her husband, two teenage children, a dog, and more useless objects than she would ever agree to labeling thus. When she is not navigating her professional life or tending to her family, she is an occasional writer. Her work has appeared in an anthology Turning the Corner by Eber & Wein publishers, and is forthcoming in Superlative, A Literary Journal,  in Beyond Words Magazine, and in an anthology by Wingless Dreamers Publishers.  She is the editor of a coffee-table book, Boys II Men.

 

Website: The Voice Not Spoken

IG: @shailajavats

FB: @Shailaja.vats

Sunday evening in The Fleece

​​​

Brushed amber flushes curving burnished brass,
glosses glasses and smooth chestnut; shallow
flames flicker in a peeling grate. We’re sparse
rustling doves nestled in corners below
cream & lilac swirls; warm muted banter
flutters our feathered crowns and a tawny
haired waitress leans idly on the counter,
taps texts, slides bored eyes over ebony
tables and hands clasped in publican prayer
round beading golden pints. We bow our heads
to the incomplete chequered grid, compare
small thoughts on its clued secrets, drain its dregs.
Night presses its face against the window,
cries condensation down the glass of our lives.

 

By Rachael Hill

Rachael is a Manchester Poet, founder of ‘The Space Poetic’, and an MFA student at The Manchester Writing School. Her work has recently been published by Ink Sweat and Tears, and Ver Poets, and she was awarded by Wirral Poetry Festival in 2024. She is a lover of cats and climbing.

 

SubStack: Poet Notes

IG: @rhillpoetnotes

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