All-american Gong Girl

By Deborah Jang 

Eldest daughter of Gong Chow and 
Siu Shee, immigrant couple from China. 
Born in Richmond, California, north 
of San Francisco, just across the bay. 

Named Fong Yuet for the ancestors. State- 
side she was June. To me, forever Mom. 
Fireworks the night before announced 
her arrival July fifth nineteen thirty. 

Every Independence Day she felt pangs 
of affirmative glee -- as if she belonged. 
At least to the sky. At nine she was sent 
to Chinese school in San Francisco, 

an immigrant custom she soon rejected. 
She hopped on the Greyhound bus alone, 
rode home to her parents’ chagrin. 
At Richmond Elementary she joined

the harmonica band, worked the restaurant 
after school, did not miss a shift. 
During wartime the family moved 
to the valley, where June was a big hit. 

Team debater, class treasurer, best-dressed 
girl at Merced High — she had it going on. 
Chinese pilots training at the air base 
lined up for her dance card. She tango’d, 

cha-cha’d, bunny hopped with gusto 
and soft laughter. Got a job downtown 
Merced selling ladies dresses. Took up with 
the owner who promised to promote her. 

Post-war, Gong Chow had made plans 
to return to China. The story goes June 
said NO, kept her little sister with her 
while the ship dipped off horizon.

June and sis stayed with Monroe, the now 
betrothed store owner. He promised 
her folks his good care but didn’t really 
follow through, so June then divorced him 

Though not before the three of us claimed 
her heart forever. Dave Allen was the next guy. 
With him she bore two more sons, of Chinese 
Irish extraction. Bridge clubs, soccer, 

cul-de-sacs filled her American sky. Especially 
on July fourth her urgent eyes scanned 
the night for oomph pah pah, or maybe 
something keener. By now we lived back 

by the bay. It was the flowered sixties. 
Her five young grew out their hair, 
while she and Dave plied the days 
with good times, hard work, harder drink. 

He died young, she carried on, the children 
ventured forth. Her last man was Ken Wilkins, 
though there were others in between - all this 
to say, she enjoyed the company of fellows. 

When Ken passed it hit her hard. The children 
couldn't save her. At sixty-two June was through. 
We sprinkled her at sea. I strike the gong. 
It rumbles wide, ripples up night sky. 


Where do the good, kindhearted go? 

To lipstick smiles 
left on napkins perfectly 
half stuck on rims 
where gin and tonics flowed 

Gliding long as fingertips 
that tucked me into cool 
crisp sheets in days when sleep 
was easy, a keeper 
of shy adorations 
nestled in young motherlove 

Arpege, Pall Malls, show 
tunes, novels, husbands 
in a row, loud laughing 
midnight parties 
turned to shouting 
or big whispers 
then to fragile mornings after 

Scrabble, dim sum, Niners,
grandkids 

Now to ashes dancing 
at the gate, not 
missing one last beat. 

© Deborah Jang. All Rights Reserved. 


Deborah Jang writes her way through the mysteries, perplexities, and joys of being human — on this planet, at this moment, in this skin. She is also a visual artist, engaging connection through forms and objects. She wanders between Denver, CO and Oceanside, CA; between mind and heart; between land and sea. She invites you to visit her website at deborahjang.com

Crow Quotes Revisited

by MariJo Moore


Many years ago, I had a premonition of starting a little publishing company, and so I did. Crow Quotes was the first book published by rENEGADE pLANETS pUBLISHING. This was in 1996. At the time, I was admonished for being a self-published writer; one well-known book reviewer refused to review my books because of this. My, my, how times have changed. I have always been a bit ahead of my time. (The first edition of the book was published on hemp.) 

So it goes. Through the past years I have written many other books: novels, poetry, fiction, non- fiction, and edited several anthologies of Indigenous writers, all which have been teachings and sharings. However, Crow Quotes has always come back to my mind, in bits and pieces of the quotes, reminding me so much about life. And by receiving, even recently, letters and emails from readers who relate how have they kept this little book by their side, relishing the quotes - some over twenty years. 

Several months ago I was given another premonition - it was time to offer Crow Quotes again. Time for the book to expand and reach out into the world in a new format. And so I have. Thus, Crow Quotes Revisited. 

Sample of quotes:

"Keep in mind you are a part of the whole. 
 The future is planted within you." 

"Want to confuse a crow? 
Try explaining human religions." 

Cover art by noted Pueblo artist Virgi Ortiz. 

For more info and to order, please visit www.marijomoore.com/booksandart.html 

Thank you for supporting an independently owned company. 

MariJo Moore 
www.marijomoore.com

Art Works


by Robert Bensen

            Sara Bates, “Honoring Circle” (sculpture)
            1
            Before a shop built downtown sealed over a spring and a little creek,
excavation turned up the bones of a man, his pipe and some shards of clay
            that came from this embankment above the Susquehanna—
clay that made the brick that made the shop that hides the creek
            that flows through pipe that’s made with clay that made the pipe they dug
beside the man they found not long ago, long after he had turned to clay.

            2
If spirit lives in everything and everything in spirit
            then the young woman with a virus raging in the head
who has fallen asleep beside Sarah's “Honoring Circle” while the rest write
            may have dreamed herself one day as pleasant as this
beside a pretty little creek above a bluff and drank from its talkative source
            in the warmth of a complicated sun, an agitated sun
flaring with seeds and pods and leaves and shells and petals,
            a composed sun from whose center the crossed roads carry
what they always carry down their seven shining paths
            until the red sun of evening stripes her face
and she flutters awake to find herself alone
            with this work, this disk of gifts on the floor, walk about
and wonder what on earth she saw in it, and what she sees. 

 An excerpt from Before by Robert Bensen
© Robert Bensen. All rights. Reserved.

Robert Bensen has published six collections of poetry, including Orenoque, Wetumka & Other Poems, and Before. His work has earned an NEA poetry fellowship, the Robert Penn Warren Award, the Harvard Summer Poetry Prize, and Illinois Arts Council and NY State Council on the Arts awards. His scholarship in the Caribbean and Native America has produced essays, studies, and editions, won fellowships from the NEH and Newberry Library, and led to teaching in St. Lucia, Trinidad and Tobago, and Venezuela. He is the editor of Children of the Dragonfly: Native American Voices on Child Custody and Education. He is Emeritus Professor of English at Hartwick College (1978-2017).  He teaches at SUNY-Oneonta, and conducts a poetry workshop at Bright Hill Literary Center, Treadwell.

How Turtle Got Her Shell

by Jenny L. Davis 

Did you know 

Turtle 
didn’t always have 
a shell? 
She grew it 
to keep 
from being crushed 
fortifying 
her own body 
ribs 
vertebrae 
clavicle 
into carapace and plastron 
learning a whole 
new way to 
breath to 
walk to 
live 
to protect 
her from 
predators. 
She knew 
safety 
requires strength 
survival 
means fortifying 
softness 

© Jenny L. Davis. All rights reserved. 



Jenny L. Davis (Chickasaw) is a Two-Spirit/queer Indigenous writer and professor of American Indian Studies and Anthropology. Her creative work has been featured in literary journals including the Santa Ana River Review; Transmotion; Anomaly; Broadsided; and as well as anthologies such as As/Us; Raven Chronicles; and Resist Much/Obey Little: Inaugural Poems to the Resistance

Author of Talking Indian: Identity and Language Revitalization in the Chickasaw Renaissance (The University of Arizona Press). uapress.arizona.edu/book/talking-indian

Dancing to Remember

by Terra Trevor 

I am gathered with friends and family under a bead blue sky. Powwow weekend. Santa Ynez Chumash Inter-Tribal. My shawl is folded over my arm. I listen to the wind, spilling through the tree leaves. Time merges with timelessness. Memories circle and carry me to a day forty years ago, when I stood on this good land, near the oak tree for the first time, with my young children gathered about. 


The same tree I am standing under today. I lean my back against this oak. This tree, giver of life. She has raised a community with song, dance and prayer. We return to this land, to this tree, in October every year. Laughter, flirting and romance in lives young and old take place all around her. She stands sentry. Her autumn softened leaves, swept up from a cool mountain breeze, fall gently on American Indian fathers holding sleeping babies. Mothers trading stories, their shiny cut beads reflecting light while braiding their children’s hair, with feathers in the colors of the earth, trailing. 


There were difficult times too for this oak tree, when she witnessed wild fires raging, drought years with dust rising against the clear sky. The times when her branches sheltered human arguments and angry outbursts, but mostly she is surrounded by love and caring. 


I stand high upon a flat rock, my eyes roaming, taking in the day, the years. Filling my lungs with sweet fragrances of the damp Mother Earth. Feeling my body grow light, like the feathers of the red tail hawk touching the soft clouds. 


For the record I am not California Indian. I am mixed-blood Cherokee, Lenape, Seneca, and for forty years I have lived near a creek in an area that makes up the traditional Chumash homeland. I’m walking gently, a guest on this good land and I hold the culture, traditions and history of the Chumash people in my heart. For my Chumash friends this is their landscape of time. 


I remember the words of my aunties, my grandmother, about how each person is a link to history and that when it comes to powwows all Native people gathered around the arena are participating as we form a circle around the drums, singers and dancers. And how every Native person gathered is connected, making a statement that American Indian people are still here. This is our celebration of life past, present and future. 


First published in the Spring 2019, vol. 2, issue 3 of News From Native California, a quarterly magazine devoted to California's Indian peoples. This essay also appears in We Who Walk the Seven Ways: A Memoir by Terra Trevor.

Copyright © Terra Trevor. All rights reserved.

Terra Trevor is the author of We Who Walk the Seven Ways (University of Nebraska Press). She is a contributor to fifteen books in Native studies, Native literature, nonfiction and memoir. Her essays have appeared in numerous anthologies and literary journals including, Tending the Fire: Native Voices and Portraits (University of New Mexico Press), Children of the Dragonfly: Native American Voices on Child Custody and Education (The University of Arizona Press), The People Who Stayed: Southeastern Indian Writing After Removal (University of Oklahoma Press), Unpapered: Writers Consider Native American Identity and Cultural Belonging (University of Nebraska Press), Voices Confronting Pediatric Brain Tumors (Johns Hopkins University Press), Take A Stand: Art Against Hate: A Raven Chronicles Anthology, and in numerous other books. Of mixed descent, including Cherokee, Lenape, Seneca and German, her stories are steeped in themes of place and belonging, and are shaped and infused by her identity as a mixed-blood, and her connection to the landscape. She is the founding editor of River, Blood, And Corn Literary Journal. Learn more at terratrevor.com

River, Blood, And Corn Literary Journal: A Community of Voices

If stories come to you, care for them. And learn to give them away where they are needed. Sometimes a person needs a story more than food to stay alive.—Barry Lopez, in Crow and Weasel
Copyright © 2010-2024. Individual writers and photographers retain all rights to their work, unless they have other agreements with previous publishers.We do not accept unsolicited manuscripts.