IAN THORPE When Ian Thorpe used to perform in pubs, clubs and occasionally what he calls respectable venues around the North West of England he realised that there was an audience for verse beyond the libraries and literature faculties of Universities. as a computer systems specialist he was able to link his ideas about what needed to be done to present poetry in a form the non - academic audience would respond to with the buzz in the Information Technology industry about personal computers and the potential for putting a multi media centre in every home. Reality takes a while to catch up with ideas of course and there were many years and a few major obstacles in the way before the idea became attainable. Now, with a multi media studio in the spare bedroom and with the aid of musicians from the band Realistic Hair, actors from an amateur drama group and students from the local college media department he is developing a collection of multi media pieces themed on the symbolism of the Tarot deck Major Arcana and provisionally called Arcane Encounters. Ian says he is not an adept with the Tarot and has never even had a personal reading done for him but is interested in the things the Arcana represent, their links to the single source of all mythologies and the way they interact in our lives. Arcane Encounters will be published by Kedco Artist Profile Press later in the year. Alternatively visit Ian's homepage http://ianthorpe.airtime.co.uk to keep up with progress on the project and learn about the misadventures that will inevitably befall the team.

PHI POEMS - Introduction © Ian Thorpe 2002 Some time ago I read a newspaper interview with a manager of the UK Poetry Society. She seemed like a nice girl, the sort I might enjoy taking to dinner I was thinking until I came across a comment concerning her excitement at the way some poetry society neophytes were experimenting with new forms based on the way in which computers interface or communicate with humans. I was appalled, such gullibility when dealing with the kind of people who talk a good project but will never actually create one is the reason the arts has such a tarnished reputation with the public. Twenty - two years working in Information Technology qualifies me I think to state categorically that computers do not communicate with anything, least of all each other. To describe the process as communication is rather like saying the page communicates with the eye, the page has no awareness of what is written on it and a computer has no awareness of information being stored on it or transported via its various peripheral devices. "Poetry Society, bunch of effing lower middle class idiots, don't know their anapests from their elbows" I thought but later it struck me that just as I do not have a right to complain about the government because I did not vote (well there was no Raving Looney Party candidate in my town) so I cannot complain about the hijacking of literature by the terminally pretentious if I do not join the debate. "OK, you want poetry based on scientific principles", I thought - "easy peasy") The mathematical value Phi (a ratio of 1:1.618) has many mystical connotations. Phi is found in nature, astrology and in many ancient constructions most notably the Pyramids of Giza and the Valley of Kings and ziggurats of Teotihuacan in Mexico and Ur, the city of the Sumerian civilisation. In contemporary life the ratio of 1:1.618 is known to be aesthetically pleasing in art, architecture, sculpture. The ratio occurs naturally in the faces of people generally considered to be attractive and also, I have read, in animals that embody our idea of grace and elegance. The only way to approach the creation of such a form is scientifically. In any scientific exploration the theory must first be validated and the parameters of the experiment defined. I decided as a starting point that each poem would have two parts or stanzas consisting of a number of syllables corresponding to consecutive numbers in the Fibonacci series (below). Each should be a true stanza in that the poem should not simply have a blank line inserted at the right point but move from one distinct area to another. Aside from that rhythm and line structure are at the writers discretion. To create a visual representation of Phi geometrically draw a line A to B and insert a third point C so that A to C is in exactly the same proportion with B to C as B to C is with A to B A<--------->34mm<--------->C<------------------>55mm<--------------->B 55 divided by 34 equals 1.6176 or 1.618 rounded to three places. In a Fibonacci series of numbers (1,1,2,3,5,8,13,21,34,55,89,144,233 etc) the next number in the sequence equals the sum of the two preceding it. The resolution of dividing any number by the previous one will be Phi (allow for some approximation in the lower integers - the ancient Egyptians and Sumerians, the Druids and Native American shamen were more interested in Geometry to make astronomical calculations that we are only just beginning to understand again now than they ever were in arithmetic which is the science of bean counters. I wondered if the application of Phi would work in poetry and created some test pieces of two stanzas each consisting of a number of syllables corresponding to consecutive numbers in the Fibonacci series. The distinguishing feature of this sequence is that beyond 5 (and with approximations in the lower integers) dividing a number by the previous number will give a result of 1.618 ( in the above case 55/34 =1.6176 or rounded to three decimal places 1.618 The next step will be to move to four stanzas and create a rectangular poem. OUTNUMBERED (Phi Poem, 34:55 ) © Ian Thorpe 2002 Having spent so many youthful years frustrated, (12) wasting days as immaturity betrayed urgent desire (12) and thoughts outnumbered opportunities (10) I contemplate the irony of life as now (11) a fullness of wisdom and experience (11) guides me unfailingly towards the goal once (11) ardently pursued but I find desire fades (11) and opportunities outnumber performances (11) MENDING FENCES (Phi Poem, 55:89) © Ian Thorpe 2002 He enclosed her, tethered will, exercised (11) territorial rights, farmed her emotions (11) for the greatest return. It is what they do (11) of course, build barriers, mend fences, block instinct (11) ensure the breeding stock is kept safe at home (11) A scent of independence was all she needed.(12) One kiss tasting of love more giving, less binding (12) and she was reaching for freedom and me, just once like (13) Rapunzel letting down long hair. The timing was poor. (13) I was tethered by fate to the ground, could not (12) scale that wuthering height to her tower and before (13) the door fell he was mending fences. (8) It is what farmers do(6) (NOTE: Yes she is a farmers wife, yes I still carry the torch although it does not burn so brightly)

DAVID ALBERT CAMPBELL Of his poetry, Dave says: "I began writing poetry when I realized that I would never make it as an artist. I have always had these pictures inside my head, from my earliest childhood memories, that I have felt led to share with people. This is what I do through my poetry, paint pictures, not with ink or paint on canvas, but with words. I have been writing poetry ever since I was fourteen years old, eleven years now. I owe a lot of my current success to my 12th grade English teacher, Peg Bundschuh, who really took me under her care and helped me refine my craft, allowing me to expand myself as an artist and a person. My poetic inspirations have been Edgar Allan Poe, Sylvia Plath, Robert Frost and George Gordon, Lord Byron.

PICKING FLOWERS IN THE FIELDS © David Albert Campbell 2002 I used to come here as a girl And frolic barefoot through the foliage To feel the wind cool upon my cheek And the sun warm upon my bare flesh As I reveled in the freedom of my youth And I'd sit for hours extirpating From the fields a bouquet of companions Of red and pink and yellow To keep me company in my youthful frivolity But now as a woman, I stand here again Now that the cannons and horses have gone And the pleasure of youth has now subsided And these fields for me are no longer home I look out upon the land, cold and malevolent Stained red with the blood of our pride And I stare out across my childhood haven As tears stain their humble visages These women who now take gentle steps As they move languidly among the fresh dead flowers That here now do cover the prairie Without word, and nary a sound, Save for an occasional sob They unflinchingly scan the now barren land As they pick their flowers from the field CHILDHOOD © David Albert Campbell 2002 I remember reaching for chameleons, and getting only tails. I remember playing in sandboxes, with old rusted pails. I remember making mudpies, catching butterflies, gazing at cloudless summer skies... I remember sleeping, and now as I wake, realize my dream. I CELEBRATE WOMAN © David Albert Campbell 2002 Temptress and queen Mother of life Goddess above Song of the night Angel of sin Beauty personified Bearer of fruit Thief of the mind Passion and pain Morning's first light Creation of love Statue of pride WHEN JENI SMILES © David Albert Campbell She's more precious than silver More beautiful than gold I'll be her knight in shining armor To protect her from the cold I'll treat her like a princess I'll treat her like a queen Because she deserves treated better Than any woman's ever been Why I feel this way, you ask If you met her you would see That all is well within the world When Jeni smiles at me

RICHARD VALLANCE Richard Vallance was born in Guelph, southern Ontario, Canada, on March 11th., 1945, and currently resides in Ottawa, the nations capital. A graduate of Sir Wilfred Laurier University, Waterloon, Ontario (H.B.A. 1968) and the University of Western Ontario, London, Ontario (M.L.S., 1975), Richard is a professional University librarian, now on disability pension. Richards career as a librarian reached its zenith in October, 1983, when he won the prestigious Data Courier Award for Excellence in Online Papers ($1,000 U.S.), in Chicago, Illinois. However, progressively aggravated alcoholism eventually forced him to retire prematurely, in September, 1991. Fortunately, Richard ceased drinking altogether in 1992, and has been sober now for a decade. While he did write some poetry during his "wet years", alcoholism severely blunted his inspiration. Creativity only truly blossomed in 1995. Since that time, he has written over 1,500 poems, most of them Sonnets, though he also specializes in both Haiku and the stricter, more traditional Japanese Hokku verse form. He has also composed numerous so-called "free verse" poems, and has published one book of poetry: A Quilt of Sonnets: Forty Four Familiar Poems. Ottawa: Providence Road Press, 1998. 56 pp. ISBN 1-896243-7-x. [National Library of Canada] Richard has been published on numerous occasions on some of the worlds best known poetry E-Zines, including, Poetry Life and Times (UK) and Autumn Leaves (USA). He also maintains his own bilingual international E-Zine, Poetry in Emotion la posie smouvoir and will soon be the editor of a new international Sonnet E-Zine, Sonnetto Poesia. Richard is the Poetry Reviewer for Poetry Life and Times. Anyone, who writes poetry for Poetry and Life and Times, is cordially invited to submit any poem of 20 lines or LESS for consideration for review to: vallance2@yahoo.com Richard also moderates numerous Poetry Discussion Groups, the most notable of which are: 1. Describe Adonis [Shakespeares Sonnet 53] 120 members. Yahoos largest Sonnet poetry group by far. Here are posted historical sonnets, commentaries on sonnet writing, and sonnets by members: Describe_Adonis 2. Kawasaki Zen Haiku 90 members. Yahoos 3rd. Largest Haiku-Hokku poetry group, featuring links to historical Haiku Web Sites, examples of historical Haiku by such illustrious composers as Basho, Buson and Issa, and Haiku/Hokku posted by members, in any language they like: Kawasaki_Zen_Haiku 3. Iliassia [Homers Iliad]. 61 members. Discussion group focussing on Homers Iliad, both in the original "Epic" Greek and in translation. Includes a repertoire archive of pictures, paintings, archaeological sites and cartographic information + maps: iliassia My Carousel Home Page is: Poesie's laissez-faire Foire PUBLISHING HISTORY: 1. A Quilt of Sonnets: Forty Four Familiar Poems. Ottawa: Providence Road Press, (c) 1998 56 pp. ISBN 1-896243-07-x 2. "À la belle inconnue (Robert Schumann)", in: Arts and Literature Review. Lakehead University. Vol. 1 (3), 1972 3. "Chanson d'Auverge", in: A Ray of Hope. (c) 2000. 257 pp. pg. 129 ISBN 1-58235-559-2 4. "Pow Wow", in: An Hour at Sunrise. (c) 2000. 313 pp. pg. 167 ISBN 1-58253-539-8 INTERNET: Autumn Leaves [May/June, 2001] - and several of his poems will soon appear in Kedco's Millennium Dawn Anthology March 2002 - Nominee for The Poets Hall of Fame

Three Poems from Richard's new forthcoming e-book, Canadian Spirit Voices, Section title: 5 Loons In The Moonlight A COLD WIND BLOWS © Richard Vallance, November 10th., 1998 [Revised, October, 2002] A cold wind blows where you fear it might be, leaving its leaves all dispersed through streetlights, as it leaves one boy fearful of a sea of shadows befallen him one cold night. What cold wind’s bold enough to clip off boughs and snap its branches off like brittle sticks, and is he scared-y-cat to turn and heel or was it some ghost, playing aweful tricks? Was it just last week I had stalked that path along the Rideau River’s russet shore, finding there old haunts he had known before? The night was dark, and oh, my heels were sore! and yet I forged ahead of thoughts instead, because strange dreams from there will not have fled. DRUM THE OCEAN! © Richard Vallance, October, 1997 [Revised, October, 2002] Sonata in 4 Acts Dramatis Personae Husband & Wife (anon.) Our Seas and their Waves Conifers in a gale Siren & Disaster (anon.) Act I prologue Our Seas had raised their ramparts high in waves, And the whole night long they had prowled coastlines In such raven rages they’d not contain, While restlessly we’d slept, but heard their signs. Act II Siren Against our panes we’d heard our conifers argue as they must with a Sea’s Siren squalls: I’d heard branches yelp in fragmenting blurs As they’d scratch and knock, “Someone on you calls!” Act III in medias res Will there be no surcease to such as grief tonight? “Do you hear a lyre in their strain?” I yell at her, “I hear”, in disbelief at Gaelic swells, as they drum the Ocean! ACT IV dénouement “You heard them, wails? Pray, have you any notion…?”, Asks the wife, cut off by madding crashes! TIDINGS © Richard Vallance, 2002 for Emily Brontë (1816-1848) novelist & authoress of Wuthering Heights (1847) from another Heathcliff to his own Catherine These frenzied tidalled winds outside our snapped and snapping casements, jutted wide, make seethers of dead leaves by their thousands primed, prattling at my ears they'e gone and pricked, ringing shrill outside-inside in stride with flung out panes, shattering, banging “Whose name’s that, my God?” and for all those pains I'd taken, "Is this... is… that you?" No! Oh who then calls on me now? and then? and how! Why the mourning thrush wind’s clanging row? Has it named her pained and bloody scratched up name? What undertones fall bass below the ear’s oak floors but whisk you, listener, suppler, back, towed under a threshold by waves over waves of leaves the winds have left out in the cold recesses of clouds cumulus to skies where oh where? but to call on her where her voice sighs! Note from Editor: The CD "Canadian Spirit Voices" will be available early next year, and contains some of Richard's best and most unusual poetry. Watch this space...