The Wardrobe’s Best Dressed: Hummingbird: Messages from My Ancestors by Diana Raab


This selection, chosen by Guest Editor Maggie Rue Hess, is from Hummingbird: Messages from My Ancestors by Diana Raab (Modern History Press 2024).

Content Warning: mention of suicide

                               Cancer, Quarantine,
                                     and Intuition

    Intuition doesn’t tell you what you want to hear; it tells you
    what you need to hear.
                                                                                   ~ Sonia Choquette

   I’ve  heard  that  children  are  born with  strong  intuitive
instincts and that at ages three  to five  a  child  is  fully  open
and   naturally   intuitive. World-renowned   psychic  Sonia
Choquette  says  in  her  book,  The Wise Child (1999), that
children  experience  spontaneous  intuitive  messages  more
readily than do adults,  and it’s important  that  parents listen
to  them.  In fact,  many in  spiritual circles believe that young
children  are  more  intuitive  and  open  to  the  otherworld
because  they  are  the most recent  arrivals to Earth. Having
intuition   helps   us   observe   and   detect   other   people’s
behavior  so  that  we  can  respond  accordingly and  appro-
priately.  Those  who  have  experienced  early-childhood
trauma tend to be even more intuitive because they need to
be  aware   of  everything  happening  in  the  world  around
them to stay safe.
   Unfortunately, many times children aren’t encouraged to
follow their intuition, and, over time, many lose this innate
sense. Encouraging the development of intuitive powers
means allowing the child a lot of time for imaginary and
solitary play. As an only child with very few after-school
activities, especially before the age of ten, I had plenty of
time to develop my intuitive powers. Intuition is also based
on our experiences—what we’ve inherited from our ances-
tors as well as the emotions we encounter now in various
situations. When we lose our intuitive instinct, rational
thought takes over.
   Intuition works more quickly than rational thought.
Decisions made with rational thinking usually take longer
because we need to evaluate various scenarios before mak-
ing a decision. Most often intuition and rationality work
together, but some individuals lean more in one direction
than another.
   I believe my grandmother and I survived the challenges
of our childhoods and dealing with mothers who didn’t
cherish us by relying on and honing our instincts. I also
believe that we all tend to trust our instincts more and
more as we age. I noticed this during the recent years of
uncertainty around the time of the coronavirus pandemic.
As a result of the mixed messages we received from
authorities and the universe-at-large about the disease, its
course of infection, and vaccination programs, we all had
more questions than answers. With scant concrete
knowledge, facts, and experiences to pull from, much of
our survival depended on our ability to tap into our inner
wisdom. This wisdom or instinct is like a hunch we get
about a person or a situation. It’s a gut feeling that is
sometimes called clairsentience—or “clear sensation,”
referring to an energy that is felt in our body in response to
our environment, whether it comes from people, situations,
places, or other realms. Children might have a difficult time
explaining this feeling. They might simply say they don’t
feel well; they have a tummy ache or backache. Or they
become tired or nervous. Personally, I just remember
having this deeper knowing when things felt a little weird
around me.
   When we focus on listening to our inner voice, we
become more empathetic and hypersensitive. I believe this
is what saved Grandma during her turbulent, wartime
childhood and being unwanted and then orphaned. It
wasn’t until I read her journal, which I will share excerpts
from later, that I realized how traumatized she was by her
difficult childhood. On a personal level, my inner voice is
what enabled me to survive life being born to a mother
who told her husband that she preferred a parakeet instead
of a child. All this has given me fodder for so many stories
to tell.
   Writing and telling our own stories and sharing with
others help us gain perspective on our experiences and
navigate our own journey. Stories also unite us and can
resonate at both personal and universal levels. That’s one
of the many reasons why people love reading and hearing
them.
   While I love my writing studio, it’s often inspiring to
write in different locations, whether it’s a local coffee shop,
bookstore, park, or faraway place. A few times, I have
ventured off to Maui for a personal writer’s retreat and had
magical experiences.


                                                ***

   During that trip in Maui, I spent a few full days alone
with the shaman. At the end of each day, that tall, robust,
and jovial woman full of positive energy hugged me good
bye and said, “Let’s meet again tomorrow to talk story.” I
believe the reason I love Hawaii so much is its people’s
wonderful energy and the importance of story in their
culture. There’s something heartwarming about connecting
and passing time together chitchatting and rekindling
memories. Ancient Hawaiians expressed themselves
through storytelling, which is known as the tradition of
mo‘olelo. This is basically the telling of stories transferred
orally from one generation to the next. Mo‘olelo is also an
opportunity for people to channel their ancestors.
According to Foor in Ancestral Medicine (2017), “We are
bonded with the ancestors as life to death, light to shadow.
The choice is not whether or not to be in relationship with
them, but whether or not these relationships will be
conscious or reciprocal” (p. 57).
   The process is similar to what I’ve been doing with
Grandma through the hummingbird as a messenger. There
are other ways as well in which the departed might visit us.
When I’ve discussed connecting with our ancestors in my
writing workshops, some of my students have said that, if
they pay attention, they get messages in all kinds of
forms—from butterflies, wild animals, rainbows, and found
feathers or coins to pictures, slogans, billboards, a certain
piece of music, a particular numerical sequence, or
electrical interferences such flashing lights or a cell phone
ringing.
   While I’ve experienced some of these occurrences during
the course of my life, for me, there’s something even more
powerful when a hummingbird visits. I feel a renewed sense
of hope and ability to see life’s larger picture. These
creatures also have a calming influence on me, telling me
that everything happens for a reason and that everything
will be okay.
   Having hope is so important, especially when dealing
with challenging times of all sorts, including tragedy,
illness, the possibility of death, or even living through a
pandemic. The stories of loved ones can help us when we
listen to them. My parents were both immigrants and had
so many stories to share, but also, much has been
transferred down to me by the ancestral line.



Reflections / Writing Prompts

Describe an experience in which you or another
child you knew was intuitive. You might also choose
to write about an intuitive child you know now.

Discuss a memorable experience during the coronavirus pandemic.

Discuss a time when you felt your intuition was
strong.

Have you ever connected with an ancestor? Describe
what happened.

Discuss a health challenge you or your loved ones
have experienced.

Describe an experience in which you or another
child you knew was intuitive. You might also choose
to write about an intuitive child you know now.


Diana Raab (she/her), MFA, PhD, is a memoirist, poet, workshop leader, thought-leader and award-winning author of fourteen books. Her work has been widely published and anthologized. She frequently speaks and writes on writing for healing and transformation.
Her latest book is Hummingbird: Messages from My Ancestors, a memoir with reflection and writing prompts (Modern History Press, 2024).
Raab writes for Psychology Today, The Wisdom Daily, The Good Men Project, Thrive Global, and is a guest writer for many others. Visit her at: https://www.dianaraab.com.
Raab lives in Southern California.

Maggie Rue Hess (she/her) is a PhD student living in Knoxville, Tennessee, with her partner and their crusty white dog. She serves as Poetry Co-Editor for Grist: A Journal of the Literary Arts. Her work has appeared in Rattle, Connecticut River Review, SWWIM, and other publications; her debut chapbook, The Bones That Map Us, was published by Belle Point Press in 2024. Maggie likes to share baked goods with friends and can be found on Instagram as @maggierue_.


The Wardrobe’s Best Dressed: Hummingbird: Messages from My Ancestors by Diana Raab


This selection, chosen by Guest Editor Maggie Rue Hess, is from Hummingbird: Messages from My Ancestors by Diana Raab (Modern History Press 2024).

Content Warning: mention of suicide

                               My Grandfather and I

    The closing years of life are like the end of a masquerade
    party, when the masks are dropped.
                                                                                     ~ Cesare Pavese

   Often when a loved one dies, we try to replace that person
with   someone  else.  Sometimes  the  decision  to  do  so  is
conscious, and other times it’s not. Because my grandfather
also  lived  with  us  when I was  a child, it was quite natural
for  me to  try  to  replace  my  grandmother’s presence with
his.  Having   him  in   my  life   and   nurturing  my   regular
journaling  practice  were  two  powerful  healing  forces  for
me.
    My grandfather  told me stories about all his travels  after
emigrating  to  the  United  States  from  Austria  in the  late
1930s. In the few  weeks after Grandma died, he spent a  lot
of time with me.  I believe he was trying to distract me from
missing her when my  parents were  at  work. He graciously
invited me into his world.
    In  fact, if  there  was   a  bright  spot   in  the  loss  of   my
grandmother, it was that I grew closer to my grandfather.  I
didn’t realize it at  the time,  but   she had kept  me  isolated
from him.  Forty years  after  her passing,  I  found personal
documents in her closet. Included in  them  was one  of  her
journals, from which  I learned that, in the few years before
her   suicide,   even   though   my   grandparents   had   lived
together in the  same  house with all of us, they were legally
separated.  Legal   paperwork  I    discovered  in   her  closet
revealed that my  grandfather  had  been  physically abusive
toward  her. Did  she  prevent me from  seeing  or  spending
time with him to protect me?


                                                ***

   As   children,   we  don’t  usually  question  adult  relation-
ships.  However,   there  were  times  when I  intuitively  felt
things  weren’t  right between  my grandparents.  My family
wasn’t    communicative   about     their   feelings,   but  they
certainly  gave  off  vibes  that I was  able  to  decipher  at   a
young age. As an adult, I wonder if Grandma fabricated  the
story  about  Grandpa striking  her to find her way out of an
unhappy marriage.  Would  she do such  a  thing? Who  was
the   hummingbird   and   who  was  the  dragon?  I’ll   never
know.
   With me,  my  grandfather  was  a  gentleman  who  intro-
duced  me  to  the  cultural  wonders of New York City.  For
about  twenty years, until his  untimely  passing,  he  and  I
were    quite   close.  So,   I’m   left   wondering—are   we  all
chimeras and shapeshifters who exist as different beings in
different spaces and moments and with different people? A
hummingbird one moment, a dragon the next?
   Many  of  us  have  different personas  and  wear  different
masks at different times. Only those close to  us truly  know
us.  My  mother  was  a  master  of  masks.  To   the  outside
world,  she  was  charming,   vivacious,   and  joyous, but  at
home,  she  was  somber  and  depressed.  I   wonder  if  she
inherited  this  trait  from  my  grandfather,  who  also wore
two  masks.  He  was  abusive  toward  my  grandmother yet
gentle and caring to me and others. Many people  have  two
masks: an  inside mask that we  keep for our loved ones and
an outside mask for the world to see.
   As  an  avid reader and  longtime  observer  of character, I
understand the appeal of masks. A mask portrays emotions
or serves as protection. In the sport of falconry,  a  falcon  is
fitted  with  a  mask  called  a  “trapping  hood”  to calm and
protect  it  in  scary  situations.  My grandfather’s  “trapping
hood”  could  have  been his way  of protecting himself from
expressing rage  in  public. It  calmed  him,  enabled  him to
act like a gentleman.
   If we  feel  unloved  by  others,  we  might  hide behind the
mask  of  anger. If we’re afraid, we might hide under a mask
that antagonizes others by  insulting  them or  putting them
down.  If  we’re  insecure about  our  perceived   status,  we
might  hide  behind  the  mask  of  name-dropping—talking
about celebrities  or  important figures.  If we’re insecure or
unsure   of   our   power, we might  hide  under  the  “tough-
person” mask. If we’re in a bad  or difficult  relationship, we
might   wear  the  mask signifying  that  everything  is  okay.
Apparently, this was the mask my grandparents wore.


                                                ***

    A  few  years  after  my  grandfather  died  and during  my
nursing   residency   in   Montreal,   I    had   an   interesting
encounter  with  a  female  patient  who,  in  so  many  ways,
reminded  me  of  my  grandmother.  While  I  didn’t  find it
significant at the time, looking back, I  recall  that she had a
photograph   of   a  hummingbird   on  her  hospital bedside
table. I remember  remarking  on  its  iridescent  colors. She
told me she loved those birds and had special feeders in her
yard with sweetened red water that attracted them.


                                                 ***

   That day  began  with  morning   rounds,  which   involved
the  doctors, nurses, and nursing  students going from room
to room to visit all the clients on  the  unit.  The  head  nurse
or   physician   in   chief    summarized   the  reason  for   the
patient’s hospitalization and their current status.Sometimes
a patient’s condition evoked a discussion, while  other times
the clan moved quickly from one room to the next.
   We  entered  Mrs.  G.’s  room,  and  I  stood  at the  back of
the line. When I moved forward and saw her, I was stunned
beyond words. I  thought  I  was looking into the eyes of  my
grandmother.  Her blonde hair had dark roots that matched
her well-defined eyebrows.  She  was  applying  lipstick,  and
her  mannerisms  were  Grandma’s.  She  traced  her  mouth
with  a  lip liner,  making her lips appear larger, and came to
a well-defined point in the middle of her top lip.
   “I  feel  naked without my lipstick,” Grandma  used  to  tell
me, and I sensed that Mrs. G. held similar sentiments.
   She  finished  applying her lipstick and sat in  bed, dressed
in  a  pink  skirt  and  matching  floral blouse. When I  asked
why  she  was not  wearing a  hospital  gown, I  was told that
she insisted on using her own clothing, something Grandma
would  also have  requested. I watched  this  striking,  sixty-
something blonde woman staring out  the window. Her blue
eyes emanated intelligence, pain, and reflection. I wondered
if my grandmother’s eyes showed the  same pain  before she
took her life.

                                               ***

   “Mrs.  G.  has been depressed for  many  months,”   said  the
doctor  in  charge.  “Her  family  admitted her  to  the  hospital
because  she  tried  to  commit  suicide by  taking an  overdose
of her blood-pressure pills.”
   The   mention  of   the   word  suicide  made  me  feel   as if  a
dagger  had been  plunged  deep  inside  my  heart. I  was  glad
I’d   gulped   down  a  bowl  of  cereal  that   morning. It helped
ease the sudden nausea.

                                                ***

   The  head  nurse  approached  me  and  whispered, “Mrs.  G.
attempted to  kill  herself  the  night  she  found  her  husband,
twenty  years   her   junior,   sleeping  with   another  woman.”
Then she stepped out of the room.
   I gasped.
   I   couldn’t   leave   the   room.  I   felt   a   gravitational   pull
toward   Mrs.  G.  I   nudged  myself  closer  to  her  bed  in the
small,   private  room    with   the     window   overlooking   the
hospital  roof.   I  carefully  drew  the  privacy curtains  around
her  bed  and  sat on  the  vinyl   chair  beside  her.  Part of   me
wanted   to  wake her—to hear her voice,  her   tone,  her  story.
Another  part  of me  was  petrified. I  stared  until  I heard  the
head   nurse’s  footsteps  outside   the  curtain.  She  poked  her
head in through the opening.
   “Are you okay?” she asked.
   I  nodded,  afraid to admit how  the  woman  resembled  my
grandmother—in  appearance  and  mannerisms and  deed.  I
thought  about  the possibility of  removing  myself  from  the
unit  because  I had a  family history  of suicide. On  the other
hand,  with  my  background  I felt as if I  should  be there.  It
was  strange  being  in  the   company  of  a   woman   who   so
closely    resembled     Grandma.    When     looking     at     her
photographs,  I’d look  deep  into her eyes,  wondering  if  I’d
ever  find  out   why  she   killed   herself.  I   stopped  when  I
realized   I   never   would.   Still,    I’m    comforted    by    the
knowledge  that  we  had such a  powerful  and  deep love  for
each other. For now, this would have to be enough.
   My  grandparents  never  spoke  about  each  other  to   me.
In discussions with each of them, whenever I mentioned the
other’s   name,   whomever   I    was   speaking   with   didn’t
respond  but  sat with  a blank affect, similar to the  vibe  I’d
picked   up   from   Mrs.   G.  Their  silence  told  a  story. My
childhood   was   filled  with  ambiguity,  especially  when  it
came to  the relationships of  my parents and  grandparents.
In a sense, everyone came   together in  their  love for  me. I
was  the  glue   that  held  the   family together,  something I
continue to do  now  as  I’ve become  a  grandmother myself.
   That  evening, when I  returned home from  the hospital, I
pulled out my journal to write about  the day’s experience. I
glanced  up  at  the framed  quote  hanging  above  my  desk,
which  is  from   François  Mauriac’s   book,  The  Desert   of
Love  (1960):  “We are, all   of  us, molded  and remolded by
those who  have  loved us, and   though  that  love  may pass,
we   remain   none the  less  their  work—a  work   that   very
likely  they  do  not   recognize,  and  which  is never  exactly
what they intended.”



Reflections / Writing Prompts

What genetic traits did you inherit from a beloved
parent or grandparent?

Have you lost a loved one whom you tried to
replace with someone else?

Are you familiar with a story about someone that
emerged only after they died?

What were your superpowers when you were
younger? What are they now?

What were your passions as a child, and who
inspired them?


Diana Raab (she/her), MFA, PhD, is a memoirist, poet, workshop leader, thought-leader and award-winning author of fourteen books. Her work has been widely published and anthologized. She frequently speaks and writes on writing for healing and transformation.
Her latest book is Hummingbird: Messages from My Ancestors, a memoir with reflection and writing prompts (Modern History Press, 2024).
Raab writes for Psychology Today, The Wisdom Daily, The Good Men Project, Thrive Global, and is a guest writer for many others. Visit her at: https://www.dianaraab.com.
Raab lives in Southern California.

Maggie Rue Hess (she/her) is a PhD student living in Knoxville, Tennessee, with her partner and their crusty white dog. She serves as Poetry Co-Editor for Grist: A Journal of the Literary Arts. Her work has appeared in Rattle, Connecticut River Review, SWWIM, and other publications; her debut chapbook, The Bones That Map Us, was published by Belle Point Press in 2024. Maggie likes to share baked goods with friends and can be found on Instagram as @maggierue_.


The Wardrobe’s Best Dressed: Hummingbird: Messages from My Ancestors by Diana Raab


This selection, chosen by Guest Editor Maggie Rue Hess, is from Hummingbird: Messages from My Ancestors by Diana Raab (Modern History Press 2024).

                               Visitations

    Some people are your relatives but others are your ancestors,
    and you choose the ones you want to have as your ancestors.
    You create yourself out of those values.
                                                                                     ~ Ralph Ellison

Each   day   a  hummingbird visits  the  garden  outside   my
writing studio. She  loves the  red  trumpet  vine  that  bears
delicious nectar. She hovers in the center of the flower for a
few  seconds, levitates, and then  moves on to the next vine.
Her  movements are so quick that I have to keep a close eye
so  as  not to miss her  before she flies  away. She  seems  to
have  a  lot to  do over the  course of  her day as she bestows
her magic on plants and other sentient beings.
    It’s  been  said  that  those  who  were close to  you  before
they  died   commonly  send  messages  in  the form  of  bird
spirit  guides. Hummingbirds,  in particular,  resonate  at  a
high  vibration, which  makes  them  more  connected to the
spiritual  realm.  They’re  also joyful  reminders and tend to
open  our  hearts  and make  us smile. They’re referred to as
messengers  from  the heavens  because  they often show up
when  people  grieve  the  loss  of  a  loved  one.  In this way,
they can also be  healing. If you ever watch a hummingbird,
you’ll  notice  that  it  can   come  to  a  complete  stop  when
traveling at high speed.  Also,  their movements are often in
the  shape   of   an  infinity  sign;  thus   their  connection  to
eternity.
                                                ***

    I’m  quite  sure  that  my  grandmother,  who died in 1964
at  the age of sixty-one, frequently visits me in the form of a
hummingbird.  She  sends  messages  of  love and  offers me
ongoing   protection. She   reminds  me  that   everything  is
temporary and of how important it is to enjoy my time here
on  Earth. She tells me that her time here was too short and
that  being  my   grandma   and  caretaker  was   one  of  her
greatest joys and accomplishments. She reminds me to rise
above the  everyday, rudimentary concerns of life  and  look
at  the   larger  picture.  She   says  that,  with  love,  we   can
accomplish  almost  anything,  and a life without love  is  an
empty one.
    If we pay attention, the universe has  a way  of sending us
signs.  I  believe  that  if  we  pay attention, we  receive signs
from  the  departed that help show us the way. Some people
call  these  entities  guardian   angels,  while  others  refer to
them  as  spirit  guides.  They visit in different forms, so you
must opyour heart to the  secret  messages  being  sent your
way.
                                                ***

    When   my  grandmother   and   father   were   alive,   they
provided me  with unconditional love, and  they continue to
do   so  on   their   visitations.  They  don’t   give  me   direct,
detailed instructions. Rather, they support and guide me on
my life  journey. I  sometimes  feel  their  presence over  my
right   shoulder  as  if  an  energy  were   coming  through—a
physical sensation  such  as  tingling  or chills  in  the  upper
part of my body. Once in a while, I feel their presence when
one of  my extremities  falls  asleep. Sometimes I  hear  Dad
giving me  advice or  telling me that everything will be okay.
    My grandmother’s messages come  to  me  in other subtle
ways—an  unexpected bird, an out-of-the-blue phone call, a
certain  book falling  off my shelf, a  certain song playing on
the radio, a light flickering in the  house, or her  whispering
into my right  ear.  It  might  only  be a word or  two, but it’s
usually enough to relay an  important message, much as the
hummingbirds seem to do.
    This connection  with birds  can also  be a way  to connect
with our own souls.
                                                 ***

    For  the  most  part, children and young adults take things
in stride; but sometimes, if they have a difficult time expres-
sing  their  feelings, their bodies  give  them  messages. After
my  grandmother  died, my parents  began  fighting  a  lot. It
was  difficult  to watch  and  impossible to  process. I believe
my   childhood  asthma   might   have  signaled   that   I   was
stressed   by   circumstances   at    home.  According    to  the
Cleveland  Clinic, traumatized  children have  shown asthma
rates fifty times higher than their peers. As  an adolescent,  I
hung out  with  teens  who took  illegal  drugs,  and  I  stayed
away   from   home   as    much    as    possible.  I   felt  adrift,
searching  for a  way  to reconnect  with Grandma.  Now  I’m
left  to  wonder if the  hummingbird  visitations are a way  to
make  that  connection.  Are  her  messages  a way  for me to
heal  from  my grief both over losing her and over not  being
wanted by my mother?


Reflections / Writing Prompts

  1. Write about an incident from your childhood that
    transformed you.
  2. Who in your life, alive or deceased, provided you
    with the most unconditional love? Describe how
    they displayed their love.
  3. Discuss the first time you lost someone whom you
    loved deeply.
  4. Write about an experience you’ve had with a
    visitation from a deceased loved one.
  5. Write about a book or books that changed your
    worldview or perception.

Diana Raab (she/her), MFA, PhD, is a memoirist, poet, workshop leader, thought-leader and award-winning author of fourteen books. Her work has been widely published and anthologized. She frequently speaks and writes on writing for healing and transformation.
Her latest book is Hummingbird: Messages from My Ancestors, a memoir with reflection and writing prompts (Modern History Press, 2024).
Raab writes for Psychology Today, The Wisdom Daily, The Good Men Project, Thrive Global, and is a guest writer for many others. Visit her at: https://www.dianaraab.com.
Raab lives in Southern California.

Maggie Rue Hess (she/her) is a PhD student living in Knoxville, Tennessee, with her partner and their crusty white dog. She serves as Poetry Co-Editor for Grist: A Journal of the Literary Arts. Her work has appeared in Rattle, Connecticut River Review, SWWIM, and other publications; her debut chapbook, The Bones That Map Us, was published by Belle Point Press in 2024. Maggie likes to share baked goods with friends and can be found on Instagram as @maggierue_.


Sundress Reads: Review of earthwork

Sundress Logo is black and white featuring a bespectacled sheep sitting on a stool and drinking tea while reading.

Spanning decades and relationships, dream worlds and memories and therapy sessions, Jill Khoury’s soaring, elegiac collection earthwork (Switchback Books, 2024) invites readers into the volatile and immersive experience of grieving someone both beloved and dangerous. In Khoury’s case, that person is her mother, to whom this collection is dedicated. Through three sections, the speaker reckons with her childhood, adulthood, and the aftermath of her mother’s death. The collection is grounded in her mental return to this figure, both mythically large and emaciated in her mental and physical illness, still looming over the speaker’s days, nights, and conception of herself.

The collection begins with a prelude entitled night cultivars, in which the speaker as a child immediately demonstrates her lyric and material superpower: that of unceasing observation, dismissed by her mother. The speaker describes how, 

“the fractured

clay dirt

flowered

against a red

moon

bore a

scratchblossom

all thorns

and dolor

moaned from out

a low stump

when I put my ear

to it

oh

she says

that’s just

a weed

the wind.” (Khoury 1)

Quickly, the speaker gives the reader a medley of snippets illustrating fraught exchanges with her mother and the instability of their relationship. She remembers her mother in vignettes of mental decay: she flushes her meds, ceases to eat, doesn’t want her daughter to come visit her even as she says: “my mother’s whisper i would never do anything to hurt you / but this like so many of her communiques is a secret wrapped in a half-truth” (Khoury 5). 

Even in the anger sparked from this neglect, the speaker’s care for her mother transforms, but does not cease: in one poem she burns her mother’s old clothes; the next, she remarks on how, 

“she is 

so smaller

i just want

to hold her” (Khoury 13).

This angry tenderness and ebbing and flowing despair sucks the reader into the speaker’s complex, fearless voice with abandon.

The speaker, understandably, seeks an escape away from the all-encompassing presence of her mother, and finds it in her dreams. A motif that permeates this collection is the phrase “all aspects of the dream are aspects of the dreamer”; four poems spanning the collection bear this same title. Early on in earthwork, the speaker remembers one such dream about her mother’s mental and physical deterioration in spine-crawlingly visceral detail: “my mother is perched on the couch dying properly wrapped / like a molebeast in a baby blue blanket” (Khoury 18). She is jolted back to the present when “[her] therapist asks [her] what does dying properly mean” Khoury (18). As the daughter of a palliative care physician, I was struck by moments like these that paralleled end-of-life care. The speaker’s therapist, here, asks the foundational question of palliative care: how does one die well? And in exploring someone’s values at the end of their life, the question very quickly becomes, how does one live well? Khoury delves into this query from multiple vantage points in this collection, leaving no lead unturned as she studies her chronic illness, mental health, and survivorship of abuse along with her complicated relationship with her mother.

Through all this pain and mourning, the speaker has moments that elucidate an awareness of their own resilience – the strength needed to continue living with, and in spite of, her trauma. Khoury counters a fight brewing with her mother, who compares her garden to kindling, by asserting,  “i know something about surviving fire” (39). The dream motif continues as the speaker chooses to enter her mother’s bedroom in a dream, reminding herself: “it is important to remember / i choose this in dreams you are the chooser / you have the control” (Khoury 52). Her dreams, like her poetry, like her garden, become her sanctuaries, and in this the speaker illuminates a myriad of sites of refuge from the harm she’s experienced. 

In Part Three, Khoury wrenches the reader from graphic descriptions of the past to an immediately more factual tone in the present. The section’s opening poem begins, “i delivered the eulogy / otherwise she would not have had a eulogy” (47). She continues to describe, with a clear numbness of immediate grief, the barebones of transpired events: her mother’s clothes were “bagged donated / to a rural church” (Khoury 48); she leaves a voicemail matter-of-factly informing her mother that she “tried to end [herself] / with antipsychotics / & alcohol” (Khoury 49). Pivotally, too, in Part Three the speaker meets her past self instead of becoming her in memory. Rather than absorbing the self-loathing and hurt her younger self was forced to endure, the speaker bids her own goodbyes to her mother and, “[takes] the knife from [her] belt to extract / the image of the child who sits in [her] mother’s lap” (Khoury 63).

This book is not just about grief or trauma, but also where this long-lasting pain settles to live within our bodies. Khoury repeatedly reckons with what it means to relive your past with such vividness that it becomes difficult to differentiate where your memories end and the present begins. Like many memories of trauma, they sometimes cease to be memories at all, and become just a different kind of embodied experience re-lived intermittently. As the speaker describes in the present-tense an afternoon lying beside her mother on a beach, she interrupts her speech to chastise and remind herself:

“no

none of this

is happening

this happened

long ago

far away.” (Khoury 65)

By beginning to create some form of distance between her past and current self, the speaker shows us how she is able to come home to her present body.

The collection’s title, earthwork, betrays one of the speaker’s central coping strategies; noticing and nurturing the earth, a place she understands when nothing else makes sense. After a suicide attempt, she relates the difficulty in returning back to school:

“i can’t remember

the difference between

dactyl and anapest

been painting

a lot though

mostly abstracts

bees dance on the honeycomb

of my tongue

so many secrets

sickle

in my closed

mouth.” (Khoury 62)

Khoury makes sense of her turbulent world with natural imagery, as she seeks for an escape in her suicidality and encounters a different spiritual response: “i ask god to erase me please / he wants me to macerate these herbs instead / light stratifies into color” (56-57). Nature and gardens, here, become sites of creation to rival the speaker’s instinct towards self-hate and destruction. One of Khoury’s most astounding poetic talents is her ability to turn a violent verb like “macerate” to something reclamatory in the space of just a few lines. Nature rebuilds when it is destroyed, and herbs, macerated, have even more of a capacity to heal in their transformed state. 

In earthwork, Jillian Khoury dives into complex and living trauma, both experienced and inherited. Through it all, she retains tenderness for the mother who both raised her and harmed her, bending over backwards to attempt to understand her in memory as she did in life. This collection’s generous meditations on generational trauma will stay with me long after closing its pale-blue cover; at turns gentle, rageful, and vastly melancholic. Khoury encapsulated this range of the mixed bag we inherit from those who have loved and harmed us as she remembers her mother: “she hands me a box of her favorite earrings / some of these are tarnished” (8).

earthwork is available from Switchback Books


Catie Macauley (they/he/she) is a transmasculine aspiring poet living and working in Boston. They study Sociology, Environmental Studies, and English at Wellesley College, where they also compete on the Wellesley Whiptails frisbee team and perform with the Wellesley Shakespeare Society. A Best of the Net 2024 Nominee, his writing has appeared in brawl lit, The Wellesley News, and the Young Writer’s Project, among other publications. In their free time, Catie enjoys boxing, re-reading A Midsummer Night’s Dream , and buying far too many books at independent bookstores – primarily the Grolier Poetry Bookshop, where they are somehow lucky enough to work.

The Wardrobe’s Best Dressed: Hummingbird: Messages from My Ancestors by Diana Raab


This selection, chosen by Guest Editor Maggie Rue Hess, is from Hummingbird: Messages from My Ancestors by Diana Raab (Modern History Press 2024).

                               Hummingbird

I have fallen in love
with a hummingbird—
the way she arrives each day
at the red flowers outside my studio
and moves among the petals
as if the next has more to offer.

The nectar, oh, it oozes so gently
while other birds nuzzle their beaks
in curiosity.

She might think I’m foolish
to stare at her
in this wonder and amazement,
as she performs so naturally
and I pretend to be writing a new poem
Beseeching her for inspiration.

But, before I can grab her, she’s gone
On to the next chore, whatever it might be,
maybe reaching for the heavens or
seeking her ancestral friends who hold answers
from the beyond—which, in the end, is all we want.


Diana Raab (she/her), MFA, PhD, is a memoirist, poet, workshop leader, thought-leader and award-winning author of fourteen books. Her work has been widely published and anthologized. She frequently speaks and writes on writing for healing and transformation.
Her latest book is Hummingbird: Messages from My Ancestors, a memoir with reflection and writing prompts (Modern History Press, 2024).
Raab writes for Psychology Today, The Wisdom Daily, The Good Men Project, Thrive Global, and is a guest writer for many others. Visit her at: https://www.dianaraab.com.
Raab lives in Southern California.

Maggie Rue Hess (she/her) is a PhD student living in Knoxville, Tennessee, with her partner and their crusty white dog. She serves as Poetry Co-Editor for Grist: A Journal of the Literary Arts. Her work has appeared in Rattle, Connecticut River Review, SWWIM, and other publications; her debut chapbook, The Bones That Map Us, was published by Belle Point Press in 2024. Maggie likes to share baked goods with friends and can be found on Instagram as @maggierue_.


Meet Our New Intern: Reina Maiden-Navarro

For a long time, I was told my writing was “proficient.” Not good, not even okay, but proficient. In fact, every single one of my papers was marked with this word in a large red scrawl. 

You see, my elementary school had a rather peculiar grading scale. It looked something like this:

A: Advanced (90–100%)

P: Proficient (80–89%)

B: Basic (70–79%)

BB: Below Basic (60–69%)

F: Failed (0–59%)

More than anything, I wanted to be an advanced writer. The words almost sparkled to me. My teachers never had anything bad to say, always praising my competency and citing my growth, but it never felt like I was good enough. Looking back, I now understand. I was primarily raised by my deaf and Spanish-speaking mother. While she always reinforced my reading habit, communicating my own thoughts in words and constructing my own sentences in English hadn’t always come easily to me. 

In my last year of elementary school, I finally received my first-ever “advanced” on a paper about Rosa Parks. My teacher, Ms. Brace, said it was the first time she heard my “voice” in an essay. 

Throughout my life, I’ve fallen in and out of love with the written word, but the whole time, I’ve learned to lead with my voice by imbuing my passion into my writing.

On the first floor of the Ayala Science Library at UC Irvine, I became an advanced writer professionally. For two years, I worked at my university’s writing center, serving as both a Writing Tutor and a Community Outreach Coordinator. It was the best part of my college experience. I met with hundreds of peers, many of whom were first-generation or international students. We bonded over language barriers and cultural storytelling. My favorite part was seeing the growth of my repeat students experienced over the course of a quarter or a year as they came into their identity as new writers. I finally understood what Ms. Brace meant about using my voice. I tried to help others do the same.

This passion for ushering in the stories of underrepresented writers is what led me to Sundress Publications. As I begin my role as an Editorial Intern, I hope to continue to use my story to connect with readers and find common ground with the authors I work with.


A white woman is standing in front of a tree in a grove. She has short, dark red hair. She is wearing a black dress with white trim and a blue graduation stole with the words "UC Irvine" embroidered on it with gold thread.

Reina Maiden-Navarro is an editor, writer, and photographer. She recently graduated from UC Irvine with a degree in Film & Media Studies and a minor in Creative Writing, cum laude. She also works as an Editor at Prompt and an Outreach Coordinator at Bookstr. If she is not reading or writing, she can be found traveling, painting, or baking cookies.

Interview with SG Huerta, Author of Burns

The book cover centers a person on the back of a rearing horse, backlit by a burning red fire that takes up the rest of the image. The author's name, SG Huerta, is placed in smaller text at the center-top while the book's title, Burns, is is splashed across the cover four times in separate horizontal rows each time, each with varying levels of transparency.

With the upcoming release of their debut poetry collection, Burns, SG Huerta spoke with Sundress Publications editorial intern Emma Goss about their poetic choices, pushing the limits of both English and Spanish in their poems, and the significance of memory, humor, and pain, in addition to what decolonialism means to them as a queer, nonbinary writer.

Emma Goss: How is repetition used as a rhetoric for pain in your collection?

SG Huerta: My use of repetition can represent rumination or perhaps wishful thinking, like in the poem “Hurtless.” In this poem, the ending devolves into messy repetitions of the phrase “some day this will hurt less.” Repetition is also familiar, and many of the poems talk about the repetition of toxic cycles. The cover of Burns also repeats the title, which I love. I think it represents these cycles as well.

EG: How does Spanish’s integration with English, such as in “latinxpoética” or “Mi tía texts me,” reflect your cultural narrative or experience with gender?

SGH: I have a complicated relationship with both languages, which the poem “latinxpoética” delves into. Early on in my writing life, I received a lot of pushback for including any Spanish in my poetry. I grew up bilingual so of course I was deeply impacted by that attempt at cultural erasure. Currently in my poetry, I try push the bounds of English and Spanish to make more room for queer multilingual and decolonial ways of being.

EG: Humor is employed very tenderly in many of the poems in Burns; can you speak to why humor was important to include in this collection?

SGH: Humor is a very important cultural value to me! I write about some difficult things I have been through, and I fully believe that sometimes you just have to laugh so you don’t cry. Sometimes tragedy can also lead to the comically absurd.

EG: Many of these poems utilize footnotes to contextualize and interrogate the beliefs society holds about gender and trans identities; how does including footnotes extend or inflate the pathos of these poems?

SGH: Footnotes are always fun to play around with. I think it adds another layer to the poem and complicates the reading experience. In “trans poetica” specifically, the footnotes show the hidden undercurrent of what’s happening to the speaker within the poem. The speaker can feel one way about their gender, but often other people have something to say. The footnotes are a way to contend with these different voices.

EG: Colonization is one of the most potent motifs in Burns. Can you speak to the myriad ways this motif strengthens many of your poems such as “My Phone Alerts Me About Queen Elizabeth IIʼs Platinum Jubilee” and “arte poética”?

SGH: Decolonialism is a lifelong ever-present commitment. These ideas appear in so many of my poems because I’m always considering its impact on our society broadly and my culture specifically. I can’t talk about Latinx heritage without talking about colonialism.

EG: Burns does not abide by a singular poetic form. How does playing with parentheses and experimenting with form allow certain poems, including “necropoetica,” “anthropoetica,” “ignorant american,” and “Some Issues,” to complicate issues of gender?

SGH: As a nonbinary person and poet, I definitely approach gender and poetic form the same way. I work with whatever fits the occasion, which usually involves queering language in some way. I’m a firm believer in trying different forms and presentations until you find what’s right, and what’s right can always change.

EG: Many of the most emotional and vulnerable poems in this collection delve into memories of your father and childhood. Can you speak to memories’ role in the collection?

SGH: Memory is my book’s best friend. A lot of these poems felt urgent to write and record; there are many memories that only I hold since my father has passed. However, these memories get complicated, because I don’t have anyone to corroborate them. I’m able to take poetic liberty and think of what works best in the world of the poem. The line between poetry and memory is there, but it is faint at times.


SG Huerta, a Xicanx writer, is the poetry editor of Abode Press, a Roots.Wounds.Words. fellow, and a Tin House alum. The author of two poetry chapbooks and the nonfiction chapbook GOOD GRIEF (fifth wheel press, 2025), their work has appeared in Honey Literary and elsewhere. Find them at sghuertawriting.com.

A pale-skinned woman is visible from the waist up in an interior background with blue walls. She has brown-rimmed glasses, long brown hair, bangs, and she is wearing a brown tube top and a small black bag on her shoulder.

Emma Goss (she/her/hers) is a senior English major with minors in Film and Linguistic Anthropology. A passionate reader, she prefers to always be juggling a poetry collection, a literary fiction novel, and an audiobook. Emma is especially drawn to poetry rooted in nature symbolism and metaphor. Some of her favorite collections include The Tradition by Jericho Brown, War of the Foxes by Richard Siken, What the Living Do by Marie Howe, and Jane: A Murder by Maggie Nelson. Her poetry has been published in Pangyrus Magazine and by the Princeton Leonard L. Milberg ’53 Poetry Contest. Originally from Los Angeles, she spends her time hiking local trails or browsing the poetry shelves at Barnes & Noble Studio City when not at Vassar.

The Wardrobe’s Best Dressed: Running Wild by Patricia McMillen


This selection, chosen by Guest Editor Maggie Rue Hess, is from Running Wild by Patricia McMillen (Finishing Line Press 2024).

Content Warning: domestic violence or child abuse

Listening to OCD

Since Prozac I can’t
keep the spice jars in
alphabetical

order. There’s a stack
of receipts for car
repairs on one end

table, unopened
mail on the other.
I forget people’s

zip codes, even the
names of their cats. Nights
I dream of pushing

a grocery cart
with one bent wheel, of
ironing men’s shirts

over and over
under a full moon,
while some days, I read

magazines without
clipping recipes,
I let milk go sour.


Patricia “Ti” McMillen is a musician, clown, community activist, and retired lawyer, with publications in journalism, biography, fiction and poetry. Honors include an Illinois Arts Council poetry fellowship (2002), Pushcart Prize nomination (2002), Masters degree (English) from the University of Illinois at Chicago (2005), and publication in numerous literary journals and anthologies. Patricia’s first full length poetry collection, Running Wild, was published by Finishing Line Press (Georgetown, KY) in 2024, and her poetry chapbook, Knife Lake Anthology in 2006 by Pudding House Publications (Columbus, OH). Knife Lake Anthology is now out of print.
Patricia relocated in 2025 from her home state of Illinois to Northern California, where there is sadly little public transportation, though more than enough wine. Her web address is www.knifelakeworld.com, and she posts frequently on facebook, X, the New York Times (as ChicagoPoetLawyer), and various other places under various other pseudonyms.

Maggie Rue Hess (she/her) is a PhD student living in Knoxville, Tennessee, with her partner and their crusty white dog. She serves as Poetry Co-Editor for Grist: A Journal of the Literary Arts. Her work has appeared in Rattle, Connecticut River Review, SWWIM, and other publications; her debut chapbook, The Bones That Map Us, was published by Belle Point Press in 2024. Maggie likes to share baked goods with friends and can be found on Instagram as @maggierue_.


The Wardrobe’s Best Dressed: Running Wild by Patricia McMillen


This selection, chosen by Guest Editor Maggie Rue Hess, is from Running Wild by Patricia McMillen (Finishing Line Press 2024).

Forgiveness

is a hard woman insisting I spend
New Year’s Day writing an apology to her boyfriend

for things I don’t recall saying the night before, and if I did—
hell, he was drunk too. Holding up my karma as if she had

a direct line, knew even half
the things I’ve done wrong: breezing past

Salvation Army Santas, my pockets full of quarters; that day
I told the boss I was sick but just wanted to stay

home and watch TV; the sheepdog pup
I kicked. Forgiveness—ah,

forgiveness: how I wish her love were sap
that never stopped flowing, that I could tap

her like a maple tree in winter, set
my empty bucket at an angle, let

not a single drop of her sweetness run
off, flow away, across the frozen ground.


Patricia “Ti” McMillen is a musician, clown, community activist, and retired lawyer, with publications in journalism, biography, fiction and poetry. Honors include an Illinois Arts Council poetry fellowship (2002), Pushcart Prize nomination (2002), Masters degree (English) from the University of Illinois at Chicago (2005), and publication in numerous literary journals and anthologies. Patricia’s first full length poetry collection, Running Wild, was published by Finishing Line Press (Georgetown, KY) in 2024, and her poetry chapbook, Knife Lake Anthology in 2006 by Pudding House Publications (Columbus, OH). Knife Lake Anthology is now out of print.
Patricia relocated in 2025 from her home state of Illinois to Northern California, where there is sadly little public transportation, though more than enough wine. Her web address is www.knifelakeworld.com, and she posts frequently on facebook, X, the New York Times (as ChicagoPoetLawyer), and various other places under various other pseudonyms.

Maggie Rue Hess (she/her) is a PhD student living in Knoxville, Tennessee, with her partner and their crusty white dog. She serves as Poetry Co-Editor for Grist: A Journal of the Literary Arts. Her work has appeared in Rattle, Connecticut River Review, SWWIM, and other publications; her debut chapbook, The Bones That Map Us, was published by Belle Point Press in 2024. Maggie likes to share baked goods with friends and can be found on Instagram as @maggierue_.


The Wardrobe’s Best Dressed: Running Wild by Patricia McMillen


This selection, chosen by Guest Editor Maggie Rue Hess, is from Running Wild by Patricia McMillen (Finishing Line Press 2024).

Fourth of July, Chicago

My mother told me “Lie down with dogs,
stand up with fleas.” That’s why at first I’m glad
to find his place is overrun with cats:


Persian, calico, tortoise, Manx, draped
like antimacassars across the arms
of rescued Victorian sofas, dozing


on windowsills, play-batting dustballs.
Salsa music rises from Clark Street, a pulse
as sullen as heat, drifts through the open window


on a breeze smelling of tortillas and yesterday’s
diesel exhaust. He’s beating me, slowly,
at strip chess. I lose a bishop, take


off one sock, lick salt from my upper lip.
Sweat rolls from my scalp, lodges in a brow.
He’s sweet, I think, sweet—but I’m so hip,


I’ve got no time for love, only enough
to tangle on a frayed bedspread covered
with cat hair, while far off, a lost dog howls.


Patricia “Ti” McMillen is a musician, clown, community activist, and retired lawyer, with publications in journalism, biography, fiction and poetry. Honors include an Illinois Arts Council poetry fellowship (2002), Pushcart Prize nomination (2002), Masters degree (English) from the University of Illinois at Chicago (2005), and publication in numerous literary journals and anthologies. Patricia’s first full length poetry collection, Running Wild, was published by Finishing Line Press (Georgetown, KY) in 2024, and her poetry chapbook, Knife Lake Anthology in 2006 by Pudding House Publications (Columbus, OH). Knife Lake Anthology is now out of print.
Patricia relocated in 2025 from her home state of Illinois to Northern California, where there is sadly little public transportation, though more than enough wine. Her web address is www.knifelakeworld.com, and she posts frequently on facebook, X, the New York Times (as ChicagoPoetLawyer), and various other places under various other pseudonyms.

Maggie Rue Hess (she/her) is a PhD student living in Knoxville, Tennessee, with her partner and their crusty white dog. She serves as Poetry Co-Editor for Grist: A Journal of the Literary Arts. Her work has appeared in Rattle, Connecticut River Review, SWWIM, and other publications; her debut chapbook, The Bones That Map Us, was published by Belle Point Press in 2024. Maggie likes to share baked goods with friends and can be found on Instagram as @maggierue_.