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      June 29, 2026Jeffrey BeanBach’s Bones

      A skeleton alleged to be that of Johann
      Sebastian Bach was exhumed from a graveyard
      in Leipzig, Germany, in 1894 …
      However, our critical assessment of the
      remains analysis raises doubts … We believe
      it is unlikely that the skeleton is that of Bach.
             —The Medical Journal of Australia  
      Before that surgeon blanked my eyes,
      before my final mass’s final note,
      before I reached for Anna’s face and cried
      one last time, I was carried by my bones.
       
      I was a runt, a snippy, stumpy child,
      but still I felt that surge in my skeleton
      all growing creatures feel, and I unfurled
      like an etude made of veins and eyes and bones.
       
      I spent my youth hunched at the keys and pedals,
      putting voices in the voiceless throats
      of organ pipes. I crawled into wind-chests, fiddled
      with stops and treadles, tuned singing metal bones.
       
      I grew into beer and choirs, fugues and brandy,
      I fattened up on mutton and chaconnes.
      When I sang, I sang with my whole heavy body.
      When I went blind, I saw with my bones.
       
      Cantata of the knuckle, skull concerto,
      sonata of the metatarsal toes.
      Fibula, tibia, ulna, cartilage, marrow—
      I wrote vast oratorios of bones.
       
      They found my corpse face-down in a Leipzig ditch,
      or thought they did. Now a farmer who died alone
      is wept for in my tomb in St. John’s Church.
      They mourn my name. My bones are not my bones.
       

      from #92 – Summer 2026

      Tribute to Invented Forms

      Jeffrey Bean (Quatrain Ghazal)

      “This poem combines the ghazal form with rhyming quatrains. The quatrains follow an abab, cdcd, etc. rhyme scheme and each fourth line ends with the same refrain, like the radif of the ghazal form. Also, like the couplets of the ghazal form, each quatrain in this poem is a self-contained unit. In a traditional ghazal, the poet ‘signs’ his or her name in the closing couplet, and the last line of this poem gestures to that tradition with the sentence ‘They mourn my name.’”

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