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Lenore Weiss



About This Work

Early spring. I was working from home at my dining room table, a heavy mahogany behemoth. With eyes weary of flitting back and forth between various databases to troubleshoot why a price was not appearing correctly on the hardware manufacturer’s website, I became aware how my hands and brain were working in collaboration, opening and closing windows, focusing on the solution to my problem. In that state, I heard sounds and saw details that generally escape me.  I watched my hands type on the keyboard.  All I had to do was sit back and let it happen.  Everything seemed simple and in that moment, I wished there could be a similar resolution to the conflict that plagues our troubled world.  






Working from home and raising children, my brain and hands connect across a keyboard.
Everything else recedes into the background: a ring tone, a tea kettle, a leaf blower
outside my window. Focus on the problem. Not the error.

Somewhere I hear a boy eating a kernel of popcorn on a first-floor landing.

A young girl walks by with an iPod strapped to her upper arm and a Raiders patch on her

I like how my hands and my brain need each other.

In Israel, the color of a yarmulke is a code
about where you stand along that country's
divided political line.

On the pond at Leona Canyon,
male and female mallards
survey cattails.





Lenore Weiss lives in Sterlington, Louisiana and completed a Masters Degree in Creative Writing at San Francisco State University. Her work has been widely published online and in journals including The Journal of Feminist Studies in Religion, Jewish Book Council, Nimrod International Journal, Poetrybay, Exquisite Corpse, Copper Nickel, and Bridges: A Jewish Feminist Journal as well as anthologized in Not a Muse: Inner Lives of Women and Bigger Than They Appear: Anthology of Very Short Poems. She published “Cutting Down the Last Tree on Easter Island” (West End Press) in 2012; her most recent poetry collection is "Two Places" (Aldrich Press, 2014)


© 2014 Lenore Weiss, used by permission

Technoculture Volume 4 (2014)