Sundress Reads: Review of The Dog Who Wanted to be a Butterfly

Heather Sanderson’s The Dog Who Wanted to be a Butterfly is a wonderful, creative, and uplifting children’s story that ultimately reminds us to dream big, and that love can be found for who we once were as well as who we become. A dip into the whimsy often absent from adult life, the charming story of Franklin, the dog, creates an imaginative space to welcome the magic of childlike ambitions. The underlying theme of embracing who you are is something children and adults alike can appreciate. Playful illustrations by Gérome Barry stick with you even after the story ends, building the colorful world of Franklin and complementing the enchantment this story invites you into.

Sanderson is very open about her spiritual journey and the importance of healing. These foundational ideas are woven into her prose, even in a light-hearted children’s book, where the compelling pull of finding oneself is explored through the lens of a dog, Franklin. Franklin, based on the real dog with whom the author is well acquainted, goes on a journey to become a butterfly. He starts by asking his human sister, Amelia, who instructs him, “Da ca bo bo.” These deep words of wisdom were, of course, interpreted by Franklin as “you need to eat chicken bones”—which he immediately set out to do. However, when this did not successfully turn him into a butterfly, he had to seek another source. He asked his dog friend, Daphne, if she knew how he could become a butterfly, and she told him to run up three stairs and jump down one hundred times. This exhausted him, and he began to lose hope, until he actually encountered a real butterfly.

The butterfly told him that in order to turn into one, he needed to lick a pink pineapple three times. However, finding one proved more difficult than Franklin expected; he almost gave up when, while at a restaurant with his family, he found a pink pineapple sitting right on their table. Each lick became a realization for Franklin. He was struck by how much he actually loved his family and his life as a dog. Although this did not stop him from desiring to fly through the clouds and float over flowers, it shifted his perspective of who he already is. It was at this moment that his wish changed: he no longer wanted to be just a butterfly. He wanted to be both a dog and a butterfly. So, on the third lick, that is exactly what he became. Thus, the last page of the story concludes with, “He always flew back home to his people who loved him whether he was a dog, or a butterfly, or a dog-erfly. And he loved them.”

Accompanied by the unique, cartoonish illustrations in a distinctive style, the story’s end comes to life in a vibrant way. I wanted to jump into the pages, imagining how I would fit into it, that perhaps my goals and aspirations will come true if I channel my inner butterfly, or my inner Franklin. On his journey, Franklin discovers that transformation can mean letting go of who you once were to become an even greater version of yourself, and this ends up being an emotional turn that he did not originally expect. This end to Franklin’s expedition is a pivotal moment and also my personal favorite. Sanderson illustrates such a deeply significant message in a light, accessible way so that children can easily understand it and be inspired. This is something that permeates my emotions as I read, as an adult who still needs reminders of self-love. More importantly, the final sentence, “And he loved them,” says something even more profound about this journey. It is not just who loves you, but who you love in return. Who would you always fly back home to?

The emphasis on love and on seeing your dreams not just as magic but as reality, is a necessary change in perspective and a joyful experience to be immersed in. The motif of a butterfly, in the way that a caterpillar transforms, can seem overdone. Yet, this book is a completely fresh take on what it means to transform, and the significance of finding yourself through change, both in who loves you and in whom you love. And, of course, because there was no caterpillar in this story, our caterpillar was a dog! Heather Sanderson’s The Dog Who Wanted to be a Butterfly is a story that encourages you not to stay confined within your mind  but to stretch the bounds of your imagination and bring something of it back home with you—to share that we are capable of making dreams come true and of finding our people, the way that Franklin did, who will love us regardless of what we become.

Order your copy of The Dog Who Wanted to Be a Butterfly today!


Abigail Palmer (she/her) is a current English student at the University of Tennessee. Born in the North but raised in the South, she has always had a place in the in-between of things. In between reader and writer, student and teacher, chronically ill and healthy–she is seeking to defy such labels to become whoever, wherever, however she desires to be. That currently looks like a preschool teacher, beloved (of course) daughter, adored (obviously) girlfriend, up-and-coming cat mom, and a forever nominee of the “Super Opinionated” award. If she’s not incessantly analyzing every piece of media she consumes, she’s probably intellectualizing her feelings while making ultra specific playlists that no one can relate to but her! You can find her on Instagram @zer0cooll.

The Wardrobe’s Best Dressed: A Woman in Progress by Barbara Marie Minney


This selection, chosen by Guest Editor Claudia Santos, is from A Woman in Progress by Barbara Marie Minney (Sheila-Na-Gig Editions 2024).

Content Warning: homophobia or transphobia


Masochistic Murmurs

—with excerpts from Julia Serano, Philip Miller and Molly Devon,
and The Holy Bible

My culture had its way with me
    in ways that I will never understand,
my self-esteem ripped right out of me

now all that’s left is a submissive streak.

I turned to the rest of the world to
     figure out who I was

what I was worth

a masochist who derives pleasure
     by receiving pain
in a beautiful but twisted way
     like the unnamed narrator in Venus in Furs.

Surrendering control of herself into
     the hands of the dominant world
like a good little boy
     obeying earthly masters with fear and trembling,

presenting my body as a living sacrifice.
    Picking up on all of the not so-subliminal messages

like TV shows where father knows best
    fairy tales where helpless girls
await a handsome prince
    and cartoons where superman always saves Lois Lane.

Hospitals wrap baby girls in pink flannel blankets
    and boys get blue ones



schoolyard taunts like “sissy” and “fairy” and “pussy”
    all teach that feminine is synonymous with weakness.
Nobody needed to tell me that I
    should be bound and flagellated for
wanting to be the lesser sex.
    To satisfy her need

a natural female submissive recognizes
     her earthborn inclinations.

Sexuality became a strange
    combination of jealousy, self-loathing, and guilt
my brain concocting fantasies
     right out of BDSM handbooks.

Mental library full of erotic cerebral cinema,
     provocative images and language
gathered from imagined experiences
     woven into the labyrinth of my sexuality.

Private parts responding to conditioning
    coming face-to-face with my own misogyny
unlearning lessons that were etched into my psyche
     before I ever set foot in school.

The attraction for the submissive is
     freedom to let go,
removing the stumbling blocks
     to experience pleasure,

no longer alone in a hostile universe.

Looking into my own eyes
     finding endless strength
and inconsolable sadness



    overcoming humiliation and abuse,
feeling shame for my desires
    but having the courage
to pursue them anyway
     appreciating how fucking empowering

it can be to be female,

    a sign that I am finally beginning
to learn to love myself.


Barbara Marie Minney (she/her), a seventh generation Appalachian, is a transgender woman, award winning poet and writer, speaker, teaching artist, guest reader/editor, and quiet activist. Her poetry and essays have been extensively published and translated into Spanish. She is the author of four poetry collections: If There’s No Heaven, the winner of the 2020 Poetry Is Life Book Award and an Akron Beacon Journal Best Northeast Ohio Book in 2020; the Poetic Memoir Chapbook Challenge (2021); Dance Naked With God (2023); and A Woman in Progress, the winner of the 2024 American Fiction Award for Poetry Chapbook, an Eric Hoffer Da Vinci Eye Award Finalist, and a San Francisco Book Festival Runner-Up.  Barbara is a retired attorney and lives in Tallmadge, Ohio, with her wife of over 44 years and a menagerie of stuffed animals.

Claudia Santos (she/her) is a Mexican reader and writer. She received the PECDA Colima 2024 writing grant for her non-fiction work and was a Sophia-FILCO Young Writers 2025 finalist for her poetry work. She is currently pursuing an MA in Children’s Literature as a EMJM scholarship recipient.


The Wardrobe’s Best Dressed: A Woman in Progress by Barbara Marie Minney


This selection, chosen by Guest Editor Claudia Santos, is from A Woman in Progress by Barbara Marie Minney (Sheila-Na-Gig Editions 2024).



The Silence Finds its Way to Me

The silence finds its way to me
     as the wrinkled man
          beaten and withdrawn
sits on the worn park bench
     fountains smiling in his head.
Pulling a scarf of quietude around me
     I dream beyond the
           boundaries of my imagination
and like Chinese demons
     travel on a straight line
toward smiles of delicious pleasure
    as silky desire
         heats my soul.


Barbara Marie Minney (she/her), a seventh generation Appalachian, is a transgender woman, award winning poet and writer, speaker, teaching artist, guest reader/editor, and quiet activist. Her poetry and essays have been extensively published and translated into Spanish. She is the author of four poetry collections: If There’s No Heaven, the winner of the 2020 Poetry Is Life Book Award and an Akron Beacon Journal Best Northeast Ohio Book in 2020; the Poetic Memoir Chapbook Challenge (2021); Dance Naked With God (2023); and A Woman in Progress, the winner of the 2024 American Fiction Award for Poetry Chapbook, an Eric Hoffer Da Vinci Eye Award Finalist, and a San Francisco Book Festival Runner-Up.  Barbara is a retired attorney and lives in Tallmadge, Ohio, with her wife of over 44 years and a menagerie of stuffed animals.

Claudia Santos (she/her) is a Mexican reader and writer. She received the PECDA Colima 2024 writing grant for her non-fiction work and was a Sophia-FILCO Young Writers 2025 finalist for her poetry work. She is currently pursuing an MA in Children’s Literature as a EMJM scholarship recipient.


The Wardrobe’s Best Dressed: A Woman in Progress by Barbara Marie Minney


This selection, chosen by Guest Editor Claudia Santos, is from A Woman in Progress by Barbara Marie Minney (Sheila-Na-Gig Editions 2024).


41

—to commemorate our 41st anniversary

and I don’t mean George H.W. Bush. I mean us. Two
fragmented Sgt. Pepper’s Lonely Hearts. Stimulated and
inspired by diverse elements. Cross-pollinated into one queer
variety.

I want to bleed poetry for you
shout alleluia until my lungs explode
sweat psalms of thanksgiving and praise.

Youth like an out of focus photograph. Glazed over by time.
Raising our heads toward heaven in veneration. Sentient
shadows seeking the mind asylum. Souls colliding on
moonbeams.

Beauty out of chaos
creating our own divine presence
pieces of our selves forever in the other’s heart.

Motionless in the Amish bed and breakfast. Kissing deeply and
honestly. Eleven on the McDonald’s pickle scale. Claiming our
transformative love. A revolutionary act.

You said you loved me very much. Space stilled. Time stopped.
Lightning in a snowstorm. Radiant light miracle.

For the first time
after all these years
I finally believed it.


Barbara Marie Minney (she/her), a seventh generation Appalachian, is a transgender woman, award winning poet and writer, speaker, teaching artist, guest reader/editor, and quiet activist. Her poetry and essays have been extensively published and translated into Spanish. She is the author of four poetry collections: If There’s No Heaven, the winner of the 2020 Poetry Is Life Book Award and an Akron Beacon Journal Best Northeast Ohio Book in 2020; the Poetic Memoir Chapbook Challenge (2021); Dance Naked With God (2023); and A Woman in Progress, the winner of the 2024 American Fiction Award for Poetry Chapbook, an Eric Hoffer Da Vinci Eye Award Finalist, and a San Francisco Book Festival Runner-Up.  Barbara is a retired attorney and lives in Tallmadge, Ohio, with her wife of over 44 years and a menagerie of stuffed animals.

Claudia Santos (she/her) is a Mexican reader and writer. She received the PECDA Colima 2024 writing grant for her non-fiction work and was a Sophia-FILCO Young Writers 2025 finalist for her poetry work. She is currently pursuing an MA in Children’s Literature as a EMJM scholarship recipient.


The Wardrobe’s Best Dressed: Heaven Underfoot by Diana Woodcock


This selection, chosen by Guest Editor Claudia Santos, is from Heaven Underfoot by Diana Woodcock (Codhill Press 2023).


IF THIS IS JUST A DREAM

What better place to reverence
creation than along two rivers
and that sensation, the smoke
that thunders, Victoria Falls.

Late February, early spring,
the rains and grey-crowned cranes—
everything fertile and wild.
Oxpeckers, those inspectors

of the backs of cape buffalo,
waterbucks and impala.
Shadows of baobabs and pink-
blossomed teaks on the land.

Ambiance of a soft rain shower—
leaf, thorn and flower washed fresh.
Scent of wild basil to cancel
out the stench of the passing male

elephant in musth. The karoo thrush
spreading its rich full-hearted song
like a velveteen shawl over the land.
Soulful, not a hint of morbidity

or ferocity. I awake from a brief
sleep, sneak a peek at vervet monkeys
in the canopies of pod-mahoganies.
Never mind my vision’s dimmed

by cataracts these days. I am
inclined to see and hear with
perfect acuity all the Zambezi
and Chobe offer. If this is just

a dream, and all is nothing more
than in the mind, then let me stay
for all time where the spray
of the smoke that thunders drifts,
              and little swifts fly through it
                             like tossed up golden gifts.


Diana Woodcock (she/her) has authored seven poetry collections, most recently Reverent Flora ~ The Arabian Desert’s Botanical Bounty (Shanti Arts, 2025), Heaven Underfoot (2022 Codhill Press Poetry Award), Holy Sparks (2020 Paraclete Press Poetry Award finalist), and Facing Aridity (2020 Prism Prize for Climate Literature finalist). Her eighth chapbook, Dark Flowers and Survivors, is forthcoming in May 2026 (dancing girl press& studio). A four-time Pushcart Prize nominee, she received the 2011 Vernice Quebodeaux Pathways Poetry Prize for Women for her debut collection, Swaying on the Elephant’s Shoulders. Currently teaching at VCUarts Qatar, she holds a PhD in Creative Writing from Lancaster University, where she researched poetry’s role in the search for an environmental ethic.

Claudia Santos (she/her) is a Mexican reader and writer. She received the PECDA Colima 2024 writing grant for her non-fiction work and was a Sophia-FILCO Young Writers 2025 finalist for her poetry work. She is currently pursuing an MA in Children’s Literature as a EMJM scholarship recipient.


The Wardrobe’s Best Dressed: Heaven Underfoot by Diana Woodcock


This selection, chosen by Guest Editor Claudia Santos, is from Heaven Underfoot by Diana Woodcock (Codhill Press 2023).


LIGHT OF THE MIDNIGHT SUN

How to describe the light
of the midnight sun on these islands
midway between Norway
and the North Pole, covering
sixty-two thousand square kilometers?

Locals claim in the midst of summer,
tiring of one perpetual day,
they begin longing for the darkening
beckoning the start of the long polar night.

At first, I couldn’t quite
believe them, but after a brief
first week, I begin to understand—
light on the sea and land
foiling my grasp of time.

It’s Ramadan, with no moon
to track, no stars to shed silver on
the night. But then of course if
I were here the other side of a year,
no doubt I’d long to feel a trace
of sunshine on my face.

Light these summer nights
here on the open sea, in narrow fjords—
sun’s disk dallying on the horizon’s rim—
has no beginning or end—too much
of a good thing. My inclination
is all things in moderation.

Glaring light pours through my porthole,
thanks to the Earth’s axial tilt
while our tall ship sails on
throughout the ceaseless polar day
under the incessant, gloaming night-
light of a pearl-gray sky

and in the shadow, the silence—
save a drip here, a pop there—
of diminishing ice.


Diana Woodcock (she/her) has authored seven poetry collections, most recently Reverent Flora ~ The Arabian Desert’s Botanical Bounty (Shanti Arts, 2025), Heaven Underfoot (2022 Codhill Press Poetry Award), Holy Sparks (2020 Paraclete Press Poetry Award finalist), and Facing Aridity (2020 Prism Prize for Climate Literature finalist). Her eighth chapbook, Dark Flowers and Survivors, is forthcoming in May 2026 (dancing girl press& studio). A four-time Pushcart Prize nominee, she received the 2011 Vernice Quebodeaux Pathways Poetry Prize for Women for her debut collection, Swaying on the Elephant’s Shoulders. Currently teaching at VCUarts Qatar, she holds a PhD in Creative Writing from Lancaster University, where she researched poetry’s role in the search for an environmental ethic.

Claudia Santos (she/her) is a Mexican reader and writer. She received the PECDA Colima 2024 writing grant for her non-fiction work and was a Sophia-FILCO Young Writers 2025 finalist for her poetry work. She is currently pursuing an MA in Children’s Literature as a EMJM scholarship recipient.


Project Bookshelf: Nafisa Hussain

I have the smallest room in my house, meaning that I hardly have any storage. Last summer, I ordered a £50 bookshelf from IKEA and practically forced it into the little box that is my bedroom. I moved things around, sacrificed clothing space, and somehow it worked. Organising the books was a mess of its own. It took me a few days since I was so overwhelmed. Do I organise them by genre or by how often I reach for them? Even now, when I look at the bookshelf on my right, I get a tad confused, and it takes me a while to find the book I want to read.

The only link I can make out from my top shelf is that those stories revolve around people, from Sally Rooney to confessions of a forty-something f##k up. I also have books that were either recommended to me or given as a gift. Think Like an Anthropologist was provided to me on my very first day of lectures as a first-year university student. Everyday Sexism was gifted to my entire class by my drama teacher on my last day of sixth form. The Full Diet was recommended to me by my doctor. How to Job Search in Book Publishing was recommended to me during ‘Publishing Week’, where I was desperate to find insights on how to get a role in the Publishing Industry.

My second shelf contains the classics – and the Bridgerton series. I binged season 1 when it was released and immediately bought the series. Jane Eyre, Little Women, Pride and Prejudice, Persuasion, The Great Gatsby, Anna Karenina, The Picture of Dorian Gray… All stories that I had zero interest in during English class, but immediately sought out during my early 20s.

It is no secret that my favourite genre is fantasy. To be able to escape to something so different, where there are different worlds, magics and powers, is my favourite pastime. I have two shelves dedicated to this genre – with a splash of dystopian worlds. From ACOTAR to the Shadow and Bone series, Hafsah Faizal and the Shatter Me series. And of course, the classic Hunger Games series. My fourth shelf also contains books that just truly hurt. Although I know what happens in A Thousand Splendid Suns, As the Lemon Trees Grow, and Alchemised – I cannot bring myself forward to read them just yet, for fear of just breaking my heart.

My final shelf contains classic YA and mystery books. I have not read many mystery stories (I know myself well enough that, although I would enjoy the plot, I would also get incredibly frustrated with myself for not figuring it out sooner). But Twilight is the book that I probably reach out for the most on this shelf, simply because one of my friends is obsessed with it and is a vehement team-Jacob supporter.

Looking at my bookshelf, I am aware that I have not read the majority of my books. I used to feel embarrassed about it – about being so eager to buy new stories yet constantly only reaching for my comfort reads. But a few months ago, when I was in Waterstones, I had a discussion with this lovely bookseller. He confided in me that he had not read most of the books in his collection, but he also told me that it didn’t matter. His collection reflects what he wants to read, what he would like to explore and open his mind and heart to. He told me that life can easily get in the way of getting into a good book, and that it was completely okay; that one day, when I was less stressed and busy, I would find the time to sit down with a nice cup of tea and a fresh read.


Nafisa Hussain (she/her) holds a BSc in Anthropology and Sociology from Brunel University, where she primarily focused her work on race issues in the UK. She has published book reviews in the Hillingdon Herald Newspaper and volunteers for the Books2Africa charity.

Sundress Reads: Review of Follow This Blood to Find a Dead Thing

Sundress Reads

Charles K. Carter’s Follow This Blood to Find a Dead Thing: Poems and Tales (Fernwood Press, 2026) is an explorative, alluring collection of flash fiction, vignettes, free verse, and more. Divided into four sections, the book transforms a vessel of ecopoetics into an examination of human relationships, sexuality, and mental health. Carter’s sophomore release paints pictures of stunning, overgrown, and lustrous landscapes while simultaneously tearing at the most heart-wrenching and isolating aspects of the modern experience. 

In Follow This Blood to Find a Dead Thing: Poems and Tales, the author’s interest in what they were writing about stood out immediately. Writing about animal and plant life so cleverly requires a fundamental understanding of the named specimens. Early on, it is clear that Carter has a true affinity for nature. Their fascination is tangible on the page, from visual allusions to orchids and willow trees to vibrant references to gnats and grasshoppers. Their enthusiasm for these ecological subjects made the collection all the more compelling, as I was eager to learn more about how they could transform this knowledge into poetry. 

See, from Part I, an excerpt from the poem entitled “Blooming”: 

“Many native prairie flowers grow close together / to help each other carry the weight of the world, / to help each other stand tall” (Carter, 22). 

It is true that prairie flowers tend to congregate. It is an evolutionary response to surviving in areas with high winds. To root their imagery in truth, the author needs to have a concrete understanding of the nature that they are referencing. Carter does. That attention to detail strengthens their writing and forms trust between the reader and the book.  

Throughout this collection, Carter uses facts like those about the various flowers in “Blooming” and intermingles them with potent metaphors. They utilize natural examples of destruction and perseverance to argue for the same possibilities in human life. It was imagery that I understood and was easily able to relate to. What I did not know, I researched. Then, I was able to apply that concrete visual allusion to the picture of my own friend group and the collective support I feel through their presence. In that, Carter’s writing, despite being very emotionally-driven, is simultaneously scientific.  

Often, these grounded metaphors lead to a feeling of observation. Many of the poems read like hypotheses, long mulled over after following and evaluating a creature in its natural habitat. 

“An ant, used to relying on her colony to survive, / will purposely leave her home if she is infected with a disease” (Carter, 38). 

Then, a stanza later… 

“One of my coworkers / Couldn’t even be bothered to wear a mask for ten minutes in Walgreens” (Carter, 38). 

Often, emotions like aggression and territoriality are attributed to having an “animal instinct.” Carter subverts this notion, challenging readers to think about the sense of community and altruism that exists in the animal kingdom. At the same time, the author is also turning a spotlight on the greed and self-interest that have created division between people in the last few years. Can selfish interests be chalked up to an animalistic instinct, or is it also true that community building and preservation are innate qualities?  

The thing that most often captivates me about Follow This Blood to Find a Dead Thing: Poems and Tales is the contrast. Within a short excerpt, not only can you feel the author’s admiration for the ant, but you can also feel their disdain for the actions of their fellow humans. By placing these two examples in opposition, especially considering Carter’s affection for nature, it becomes clear what their standpoint truly is. 

Yet, despite this frustration, much of the collection is still about humans and human moments, whether fictional or not. In particular, the flash fiction of this collection showcases truly human relationships, dialogue, and actions. They are moments shared over dinner, in old houses, or on a day out. They are between lovers, friends, or family. Whether comforting or unsettling, the conversation still revolves around human life. It is aggravating, humiliating, and captivating all at the same time. It is one more outlet for the author to confront trauma, heartbreak, and loneliness as humanity struggles to find its humanity.  

Finally, in Part IV of the collection, the human comes face-to-face with nature, entering a conversation where they reckon with their impact on the natural world. In Earth’s last moments, a human speaks to an eagle, whale, cockroach, and dog. The penultimate piece solidifies the ecological, anthropological, and political message of the collection. It is a call to action. 

From “The Last Night on Earth”: 

“What a lonely night it would be if they still pretended not to / hear one another” (Carter, 72). 

Now, the character of the human must finally contend with what the human author has been urging them to hear all along. And, as a reader, the most important thing this collection did was encourage me to listen. I hope others will, too. 

Follow This Blood to Find a Dead Thing: Poems and Tales is available from Fernwood Press


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.

The Wardrobe’s Best Dressed: Heaven Underfoot by Diana Woodcock


This selection, chosen by Guest Editor Claudia Santos, is from Heaven Underfoot by Diana Woodcock (Codhill Press 2023).


POSTCARDS FROM THE EVERGLADES

At dawn in a small plane,
we hovered above the panther’s
domain. No sighting, but still
it was an incredible thrill.

Today was a day to die for:
first time to see crocodile
and swallow-tailed kite.

Waited at dusk with the spider
lily in its mangrove swamp
for sphinx moth to come.

In pools beside Eco Pond
mid-day, watched a ballet:
graceful black-necked stilts.

Along a mangrove-fringed shore,
I took a solitary walk. But I wasn’t alone.
Perched on her royal palm throne,
a red-shouldered hawk with her yellow-
spotted beak kept her eyes on me.

Today in the basketwork of a cabbage
palm’s old fan hilts, I found air plants,
ferns, a lizard lounging.

In a hidden hammock, I pitied
sabal palmettos in the clutches
of strangler figs.

Listened intently tonight on Pine Island,
where I sleep, to vociferous whip-poor-wills
pursuing on the wing their insect meals.

Caught a glimpse of preglacial times
today on an outcrop of old rock
in the middle of a sawgrass river.


Diana Woodcock (she/her) has authored seven poetry collections, most recently Reverent Flora ~ The Arabian Desert’s Botanical Bounty (Shanti Arts, 2025), Heaven Underfoot (2022 Codhill Press Poetry Award), Holy Sparks (2020 Paraclete Press Poetry Award finalist), and Facing Aridity (2020 Prism Prize for Climate Literature finalist). Her eighth chapbook, Dark Flowers and Survivors, is forthcoming in May 2026 (dancing girl press& studio). A four-time Pushcart Prize nominee, she received the 2011 Vernice Quebodeaux Pathways Poetry Prize for Women for her debut collection, Swaying on the Elephant’s Shoulders. Currently teaching at VCUarts Qatar, she holds a PhD in Creative Writing from Lancaster University, where she researched poetry’s role in the search for an environmental ethic.

Claudia Santos (she/her) is a Mexican reader and writer. She received the PECDA Colima 2024 writing grant for her non-fiction work and was a Sophia-FILCO Young Writers 2025 finalist for her poetry work. She is currently pursuing an MA in Children’s Literature as a EMJM scholarship recipient.


The Wardrobe’s Best Dressed: Heaven Underfoot by Diana Woodcock


This selection, chosen by Guest Editor Claudia Santos, is from Heaven Underfoot by Diana Woodcock (Codhill Press 2023).


FIVE SPECIES OF SALMON

each summer returning from the sea,
completing their life cycle.
Bears competing with human anglers
for the coveted catch—many evading
both animal and human to reach
their gravel spawning beds.
Cycle completed, they die:

King salmon the first to arrive
spring to mid-summer; sockeye,
pink and chum the next to come;
then the silver, late summer into fall.

Kings (Chinook) the largest.
See them in the sea with steel-blue
backs and heads, silver sides. Entering
fresh water, blushing purplish-red.

Sockeyes (Reds), best for smoking,
at sea sleek as polished silver. Spawning,
their bodies turn scarlet, heads olive.

Pinks (Humpbacks or Humpys), the smallest,
best for canning. Spawning males mellow
to brown; females to olive green.

Chums (Dog) best for caviar and natives’
dog teams. Spawning males sport green
and purple vertical bars, dog-like teeth.

Silver (Cohos) best for poaching,
grilling—last to spawn, most acrobatic.
I would be ecstatic along the streams
of this rainforest if I had only one
silver or chum for a companion.

What joy to watch one leap, to see
its transformation like a maple leaf in fall.
How sad if my one compatriot could not
complete its upstream swim. Yet even then,
what bliss for the bear grown thin
on berries and roots of skunk cabbage.



Am I selfish, desiring the one
salmon for my own delight?
What reverie on the borderline
between sea and mountain streams,
crystals and pearls filling my dreams—
diversity of exquisite acrobatic fish—
such resolve and bravery against
all odds, swimming counter-current.

Salmons’ journey a measure
of time’s passage. Defying gravity,
enflamed by a fierce longing
to return, they ignite my own fuse.
Consumed, I too yearn (burn)
to get back to my origins.


Diana Woodcock (she/her) has authored seven poetry collections, most recently Reverent Flora ~ The Arabian Desert’s Botanical Bounty (Shanti Arts, 2025), Heaven Underfoot (2022 Codhill Press Poetry Award), Holy Sparks (2020 Paraclete Press Poetry Award finalist), and Facing Aridity (2020 Prism Prize for Climate Literature finalist). Her eighth chapbook, Dark Flowers and Survivors, is forthcoming in May 2026 (dancing girl press& studio). A four-time Pushcart Prize nominee, she received the 2011 Vernice Quebodeaux Pathways Poetry Prize for Women for her debut collection, Swaying on the Elephant’s Shoulders. Currently teaching at VCUarts Qatar, she holds a PhD in Creative Writing from Lancaster University, where she researched poetry’s role in the search for an environmental ethic.

Claudia Santos (she/her) is a Mexican reader and writer. She received the PECDA Colima 2024 writing grant for her non-fiction work and was a Sophia-FILCO Young Writers 2025 finalist for her poetry work. She is currently pursuing an MA in Children’s Literature as a EMJM scholarship recipient.