December 2002Café Society's Poetry News Update
MERRY CHRISTMAS to all our readers... Do you have poetry news or comments? Mail me on the link at the bottom of this page. Announce competitions / calls for submissions here free.

An Interview With

Adrianne Marcus

Photo by Lois Lord



ADRIANNE'S BIO


As a poet, Adrianne Marcus has published over 400 poems, ranging from small magazines such as Nimrod, Southern Poetry Review, Poetry Northwest, Poetry New Zealand, Poetry Scotland, Poetry International, Descant, Epoch, New Salt Creek Reader, Solo, Passager, Potomac Review, Kansas Quarterly, ArtLife, Thin Air, Shenandoah, Painted Bride Quarterly, Choice, Massachusetts Review, to anthologies such as White Trash, This is Women's Work, New Poets: Women, Contemporary Poetry of North Carolina, and Imagining Worlds. Her poetry has also appeared in such publications as The Atlantic Monthly, Poetry Ireland, Paris Review, Spark, and The Nation. In addition, she has three books of poetry to her credit, The Moon is a Marrying Eye, (Red Clay Press) Faced With Love,(Copper Beech Press) and Child of Earthquake Country (New World Press), as well as two chapbooks, Lying Cheating and Stealing (Pteradactyl Press) and Journeys, Destinations, (Small Poetry Press, 1996). Her new chapbook Magritte's Stones was published in 2001 by Lapwing Publications, Belfast, Ireland.

In fiction, Marcus has published a book of humor with Co-Author and poet William Dickey, Carrion House World of Gifts, (St. Martin's Press) and her short stories have appeared in literary and commercial magazines such as Pembroke Magazine, Wicked Alice , Force10 (Ireland) Descant, Red Dog, Confrontation, Roanoke Review, Cosmopolitan, the anthology Worlds In our Words, published by the University of Tennessee, Blair House, Prentice and Hall Publishers, and two stories are scheduled to appear in The Crescent Review.

As a free-lance journalist her non-fiction is primarily food and travel oriented. She has published widely in such newspapers and magazines as Parade, Menus, Food & Wine, Travel & Leisure, Good Food, Cooking Light, Detroit Monthly, Image, World & I, San Francisco Examiner, San Francisco Chronicle, California Living, Town And Country and magazines devoted to Scandinavia, such as Ex. She has published a book on Chocolate, The Chocolate Bible (G.P. Putnam's Sons) and had an alternate Book-of-The-Month Selection, The Photojournalist: Mark & Leibovitz (Petersen Press, Thames & Hudson).

Marcus lives in San Rafael, California with her husband, the futurist and writer, Ian Wilson, and their wolf-hybrid, Medea; Nikki, a thieving Borzoi, and a border-collie mix, Bonnie Prince Charlie and two Silken Windhounds, Mercury Zephyr and Misty Fjords. "Magritte's Stones," her new chapbook, is dedicated to their wolf-hybrid, Lady MacBeth, who died on November 10th 1999. She was an exceptional pack leader and devoted companion.


THE INTERVIEW


Poetry L & T:When and why did you first start writing poetry, Adrianne?

Adrianne: I started writing poetry as early as I can remember; my first poem was published when I was 8 years old, submitted to the Raleigh News and Observer in North Carolina, thanks to my parents. I guess I just liked to write, and poetry seemed to come naturally. Of course at that age, it was rhymed -- with, if needed, convoluted sentences! But it was metered and probably in iambic pentameter, which has never left me. I think I dream in iambic pentameter!

Poetry L & T:Who are your favourite poets?

Adrianne:Oh, so many poets... Yeats, Auden, Roethke, Weldon Kees, WH Auden, William Dickey, William Stafford, Elizabeth Bishop, Wordsworth, Marvell, Borges, Neruda and Cernuda, Barbara Ras, Mary O'Malley, and on and on... I couldn't pick just one... poets who know and love craft and use it to their advantage, rather than the 'shopping list' poets who are popular today. Who only want to write about their daily experiences, which, by and large are as boring as their language. I have fallen in love with the poems of Francis Harvey and am stunned by the language of Sheila O'Hagan, both fine Irish poets, as I am with the South American poets I've been privileged enough to read in my limited Spanish, and more enchanted when I read a good translation of what I thought they were saying. Spenser, Shelley, Amy Lowell, and of course, Emily Dickinson. How bereft a vocabulary poetry would have without them.

Poetry L & T: As a professional poet and travel/food journalist, do you find that these two occupations often compliment each other, i.e., that your poetry is another, more lyrical way of "reporting" on life and the world?

Adrianne:Writing is writing. If you cannot construct a coherent sentence, you probably can't construct a coherent poem. It's not that poetry has to have complete sentences: fragments work as well in some poems as single words in another, but it is helpful to have an idea that a poem is going someplace. When you do food and travel writing, you are going someplace, and some of my favorite poems have places, geography in them, and once in awhile, even the fine taste of food. I think of Cavafy, and how much of Greece his poems conjure up each time I read him. Or Mary O'Donnell, a fine Irish poet and how grounded and grand so many of her Irish lyrics are. Certainly Medbh McGuckian's Irish poems are geographical, as are Hans Magnus Enzensberger's work, which not only incorporates his geography but extends it: as in "The Sinking of the Titanic."

Food is such an integral part of travel, I can't imagine places without remembering what I ate there, and how it tasted: those golden tastes of lemons and olive oil on the coast of Spain, the delicate sauces and rich foods of France, and the white truffles of the Piedmont I was privileged to eat, sliced thin over a perfectly prepared pasta. In a sense, good food is a kind of poetry of the soul when you travel. And eventually, it does go into poems, just as smell and taste and touch do.

Poetry L & T: Your list of publications where your work appears is impressive. How did you feel when your first work was accepted for publication, and where was it published?

Adrianne:One of my first poems was published by the Atlantic Monthly. I was elated. And also mistakenly thought, "Wow, this is easy." A repeat hasn't happened. Now I am simply glad if what I write reaches an audience that is receptive. Whether it is in print or online.

Poetry L & T: I really enjoyed reading "Der Rosenkavalier", your moving poem in memory of William Dickey. Your descriptions of William, and of operatic music, have a special music of their own. Did this poem take a long time to write and re-draft, or did most of it come to you at once?

Adrianne:That poem had been brewing for years, since the time William died. I happened to hear an opera one day a few weeks ago, while at my computer. It was Maria Callas singing "La Boheme" -- and I remembered how William and I loved her voice and then I began thinking once again of his love of Rosenkavalier, and the poem simply came. I changed a few lines, but by and large it came out of longing to hear him talk again. When you lose your best friend, there are no replacements: others are dear to you, but there is only one person with whom you can entirely trust your poetry and your secrets: we trusted each other, implicitly.

Poetry L & T:You had a book published, "Carrion House World of Gifts", which you co-wrote with William Dickey. I would like to know more about that.

Adrianne:We were catalog addicts. We loved Christmas and all those catalogs, wonderful and dreadful ones alike. Then we thought how much fun it would be to do a catalog of impossible things, and that's how it started. We would talk on the phone daily and bounce ideas off each other: "The House and Garden Missile Silo", "Ladyfingers" (real) "A running map of the Stations of the Cross" "Talk With God CB" and on and on....it was meant to be funny and somewhat offensive and I think we probably offended most of Nebraska, at least. St. Martin's Press published it, and our friend, Wayne Johnson contributed to it as well. We all had and have weird senses of humor. This current administration would provide more than ample laugh time....in more ways than I care to think about at this moment.

Poetry L & T:"Magritte's Stones" is a new chapbook of yours, which you dedicated to the memory of your wolf-hybrid, Lady McBeth. Is there a special, definitive poem from that, which you would like to quote here?

Adrianne:Probably "The Last Day" :

The Last Day

"Without Matter, Light Is Invisible." Rene Magritte

That last day, when we walked along the beach, I could name each wave, As if naming a thing could stop time, give it a function like sine or cosine That abstracts, precludes death. In the face of inevitability, we are Most alive, and the day hides nothing from our eyes. Each dune is a singular Crest of sand; we walk slowly forward, our feet sinking into the grains, As we begin down toward the car. On the ride home over the mountain, The curving water disappears behind us, the valleys stretching in their green Coat of winter. Tiredness comes over us when we reach the house, Carrying the black and white striated stones we found on the beach, The smooth feel of their weight tumbled miles toward that shore to our Hands. I watch you slowly climb the stairs, then lower yourself on your Bed, barely able to move. Your fur holds the smell of the ocean you love. I give you the pills that hold off the pain, but they no longer work. The next morning we know it is time. Nothing explains death. Absence has a shape bigger than light. It absorbs the cold body, Until the ground claims that exquisite brightness. Days later, we lay These black and white stones on your grave, high on the hill you loved, Their heaviness holding down the pain we could not bear To allow you to endure.

Poetry L & T:I was interested to see from your bio, that you have had fiction published in one of my favourite magazines - Cosmopolitan. How did that come about? Was it a love story?

Adrianne:It was sort of a love/hate story...a lover with whom the woman had broken up finds her in New York and despite themselves, they realize they have a link together which cannot be broken...it is physical and emotional and even though they are opposites in so many ways, there is still a need that each of them fulfills for the other. It's called "As Good As She Remembered."

Poetry L & T:Back on the subject of poetry - are there any affectations or habits in modern poetry on the internet that irritate you?

Adrianne:How can you separate the Internet poetry from the poetry which appears in so called literary journals. Most of it is beyond irritation into downright sloppiness...I am very distrustful of poltical poems that try to be completely political, as on the subject of September 11th...I have not read one that really goes beyond polemic into true feeling. I am equally appalled by bloodless academic "poets" who get book after book published and reviewed by their esteemed teaching colleagues; again, there is proficiency but little feeling, as if one must stem the risk in order to seek approval from other like poets and academics. Someone once described the hiring process at colleges as 'cloning' but one step down each time. As if the person, or writer who hires another writer doesn't want competition from someone who actually is a better writer. Isn't that scary?

On the internet, by and large, I think there is a new flourishing of talent... particularly in places such as Ireland with the Electric Acorn site and the site called Absinthe in the US, here. Poetry Scotland, and all sorts of other journals (such as your own) and the best part is that the answers of whether or not the poem is accepted come quickly. Which is not the case with literary journals that only accept snail mail. I try and read literary journals and attempt to stay awake. Of course there are good poets out there, but the academic ones have just about bleached the bones of poetry into white shards. I realize poets have to earn a living, but they ought not to be trying to create clones of themselves. The one thing that was remarkable about William Dickey as a teacher is that none of his students ever ended up writing like him... he made them find their own voices. And he was one of the first to embrace the internet and teach computer technology to his students. If you want to read bad poetry, pick up any august literary magazine. There are absolutely reams of bad poetry there. At least with the internet, if you don't like the poems, one click and you're off and you don't have to pay to be assaulted by puerile language. I'm all for the internet and its wonderful possibilities. It's even nicer when the site allows readers to make comments and they get back to the writers: no matter if the comments are good or bad, you have feedback!

Poetry L & T:How has the internet helped you, as a poet?

Adrianne:I can type in a poet and find his or her poems. It's great! I needed to know something about Rumi and by golly, there was a host of material. It's wonderful. Or if there is a fact I need to know about, like Gibbous Moon, I can find it there. It has been of immeasurable help to me. Plus, there are lists of magazines to send to and what they require of a poet or a poem. All there. And all accessible. How could I not love the internet? I can go to Amazon.co.uk and find books of Francis Harvey's, for instance: something I can't find here in a bookstore.

Poetry L & T:What is your biggest ambition for the future, these days?

Adrianne:To keep writing new poems on new terrain.

Poetry L & T:Finally, Adrianne, if a young poet asked you for advice on how to improve his or her work, what would you say were the most important things to remember?

Adrianne:As William Dickey said, "If you have a message, use Western Union." And one more bit of his advice, "When you finish a poem, don't ask, 'does it please me?' Instead ask yourself 'Have I done everything this poem required of me?' I think those are two of the most important pieces of advice anyone ever gave me. I would add a third. Revise. Not to the point of bloodlessness, but to the point that no extra word remains that is not essential to the poem.

Poetry L & T:Thank you for the interview, Adrianne.


Click Here to read Adrianne Marcus's poetry




EDITOR'S LETTER, December 2002

Dear Poets,

Welcome to the December 2002 issue of Poetry Life & Times (For those of you reading this on a mirror site and not poetrylifeandtimes.com, click here).

The December interview features Adrianne Marcus, poet, journalist, fiction and non-fiction writer.

Featured Poets this month include Monica E. Smith, Brian Whatcott, Ward Kelley, Jim Dunlap, Richard Vallance and Jan Sand.

For the December 2002 Vallance Review, Richard Vallance has reviewed William Lisle Bowle’s Sonnet, "On Hearing Handel’s ‘Messiah’...". The composer Peter Zanette has written a midi to accompany this sonnet, and the score is included. In fact, this is a very special review as it has a musical theme, and includes two midis for download.

Any comments on this issue or back issues can be emailed to me on the link at the bottom of the page. Announcements are always welcome (brief if possible), you can also promote poetry books here.

Poetry submissions should be in plain text in the body of an email, with a small jpeg author picture attached, also a bio, with the URLs of any ezines mentioned, so that they can be shown as links. This increases the chance of inclusion, especially for late submissions. Pictures are best at a maximum of 520 pixels across, otherwise they take ages to arrive by email, especially in bitmap or TIFF format. To be sure of sending all that is necessary, I recommend that poets click the submissions link on our main page, for full guidelines.

Last but not least - in answer to a frequently-asked question: yes, poets can submit previously-published work here. If another editor likes it, there is a bigger chance that we will like it too.

Best Regards,

                  




Click title below for this month's Vallance Review feature

Richard Vallance reviews sonnets, both classic and modern.





Featured Poets this month include Monica E. Smith, Brian Whatcott, Ward Kelley, Jim Dunlap, Richard Vallance and Jan Sand.


MONICA E. SMITH

Monica E. Smith, Alpha Poet/Poet of The Poet's Porch MONICA'S EXPRESSO CAFE:
http://expressocafe.org

Monica E. Smith has been published regularly online and in print. She is webmaster of her web site, Monica's Expresso Cafe, and author of a collection of poetry entitled "Days of Fine Gray Ash", poetry regarding love and its importance and effect on our lives, which has been endorsed by Poet/Author Nikki Giovanni. She is an Alpha Poet and Poet of the Poet's Porch, earning the Poetic Great Site award for her web site, and is also listed in Poetry Who's Who. Monica believes in the universality of poetry, in that poems should not be written in a complicated language for a select few. Poetry belongs to everyone. Her web site has been accepted by the Phenomenal Women of the Web, and she also has a collection of her poetry at the Author's Den

You may contact Monica by email at monica@expressocafe.org.

ROUND TRIP
© Monica E. Smith

I do not remember her looking so small, perhaps because I have always looked up to my mother. Still, there she sat small and sad, feet together, hands folded- ever the proper lady- yet the puzzled look on her face resembling that of a questioning child. It seems that time, which allows us to grow in wisdom gleaned from a lifetime of experience, returns us to child-likeness, leaving us small and sad and asking "Why?" "Why not?" "What if?" SANCTUARY © Monica E. Smith
Twilight takes hold and thoughts of you, sweet as the night- blooming jasmine beneath my bedroom window. Fragrant blossoms, love allowed to live once again in the secret sanctuary of the heart. TIME WARP © Monica E. Smith
On the way home From the Christmas tree farm The fresh green scent Of pine burst forth Into the dreamy warmth of our car, And in that perfumed haze I could see my young child, So very many years ago, Running in wild excitement, Cherry cheeks cold as ice From December's crisp air, In search of "the perfect tree"- Or, was it me? MIRAGE © Monica E. Smith
Pearly flames dance furiously, forming an illusion of warmth on the walls in the old, drafty house... A house that was once a home enkindled with love's radiant heat. Now, only a flickering candle burns like acid, snuffing out each flaring reflection, bleaching out the timeless shadows upon the scorched walls of memory YOUR SILENCE © Monica E. Smith
We talk And laugh We interact Yet utter No sound Your silence Speaks well, Gives hope To possibility I hear What you write And wonder if You mean What I feel I once Feared Your silence But now It is welcome For I do not hear "No"


BRIAN WHATCOTT

"I was breast-fed until I was set for kindergarten. My big sisters loved me and spoiled me too. I passed the entrance for the 11plus, when that was life or death. I failed an aircrew medical, when the alternative was conscription. After sailing and skiing the Med , I emerged as a commercially desirable product in a (then) glamorous job - in computing.

I lost my warmth and kindness of heart there somewhere in the machines, and casting around for the missing part (though I was not sure what it was) decided that it was to be found in the US - though it was necessary to stop off in Canada, where the Quebecois were painting out English road signs in Montreal, and store service was not to be had, save in French.

I drove down down deep into the hot Oklahoma Summer, camping along the way, with my loving wife and kids, getting some dim conception about what I was missing. It helped to strike up with an ex college crowd doing skiffle type band gigs - the pretty girlfriends treated me like person - it was strange. I started to write verse. And I thought: I am a poet.

Then finally when I was still altogether lost, an English girl came to work in my solitary office. She only stayed a few months, recovering from her unsuccessful marriage to a serviceman, before running off with an American Airlines pilot but she treated me like a perfect man - as though I were complete: and so of course, I became complete.

But I had twenty years of heart stored up and crystallized away in some unnoticed place, which began to ferment - so that moving to another job, not far removed, where no one really knew I was a hopeless case, I ran into that runaway's friends, who treated me just as well, and I was touched to the quick, and I bear now the full burden of being an empathetic poet, with raw nerve ends visible to the touch.

And I am touched. Women talk to me and they know - though you would never guess to see my face (I enclose a thumb nail); It looks like an old face, but I am young - barely past adolescence. Again."

A REMEMBRANCE OF FLANDERS FIELD
© Brian Whatcott, 2000, Revised May 2002



On the latest hour of the latest day,
the Poppies long since waste and wan.
The machine guns no more line the nest,
the tanks and the pillboxes gone.
Where are the boys who draped the barbs?
where are the girls who loved them dear?
lowered down in fields of blood,
where poppies guard the rear.
fields of poppies in the wind
heads of poppies on the moor
red poppies lined the fall
of the drip,drip drip of blood on the floor.
On the latest day of the latest year,
the Poppies drooped and worn
on fences where no leaves stir
neat named posts on a close clipped lawn.



FOR SARA RUSSELL: ON READING ELIOT
© Brian Whatcott, December 2000



Come audit now the banker's balanced disburse:
Persuant to one surcharge, like realizing -
    Look close, whose supine corpse he's visualizing:
The one and only Prufrock, written in verse!

They say he hopped it from the States, to France.
Then in his twenties, saw no English mergings:
No, "not at all", a lien against those urgings;
He could only wish for some romance.

He never reached his longed-for heart's desire
before dispensing with the whole net balance
of what he ought, and properly ought not admire.
At length, how sour the taste accrued by chance!
    A search for joint and several joy, a sadness -
Preferred alone than joint account with madness.



SATURDAY - A BOAT TRIP
© Brian Whatcott, 6th February, 2002



Big black hull, and Richard's home.
Important that you know- he's the only one
who can hook up to this particular catacomb
of another man's pleasant fishing, boating liason

that killed him all the same, in that final dance
when his heart became unequal to the task
of horsing around the ton of maritime romance
with boats, and playboat became his casque.

But that was then; years later, dollars and loving care
to bring Titanic Junior (would you believe) back
as Miss Ashlee - the ladyname chosen to share
a better nomen, [they do be ladies], the aphrodisiac

of right minded men of hearty esprit;
and sons of sons fit to be entertained
freshly come from England, what better than ski
the clean deep waters of the Fosse, constrained

for drinking, and meanwhile for play, for giant carp
to wrestle with scraps thrown from the table
like water born strings vibrating on God's harp
when blushing hostess bridles at the smiling label

of a skipper's flattery, who finds with all the rest,
a burger makes more romantic food when eaten
on a floating restaurant, talking of old times with a guest -
the places and people help conversation sweeten.

Still for me this pleasant half-done boat is graveyard nation
of daydreams too, whereby I teach the shining example
of my working day, and sad to say, sometime preoccupation
of night time dreams, too married, too chaste to sample

the forbidden pleasures entrained by honest, simple longing
and too young if not in body, by all means in innocent thought
to listen to the lingering siren singing
while hunger subsides, and passion is sold short.



SHINING EXAMPLES
© Brian Whatcott, December 2000



Seeing that now while old friends have returned,
    my former easy habits - judge them moot:
this careless free-verse way of writing spurned.
Put on again, the stiff - the shining suit
    of armour, by means of which is given the power
    to write a sonnet. Heaven only knows:
Shakespeare, Donne and many another tower
    of light made verse whereby the night air glows.
Georgina, Elizabeth: stay, Lady stay!
(Cherish thee still better every day)
    and lovely Edna Saint Vincent Millay
whose moving words make gold from clay:
this style can try the hand of good Petrarch,
even so, accept our words of milder mark.

WARD KELLEY

Ward Kelley has seen more than 1100 of his poems appear in journals world wide. A Pushcart Prize nominee, Kelley's publication credits include such journals as: ACM Another Chicago Magazine, Rattle, Zuzu's Petals, Ginger Hill, Sunstone, Spillway, Pif, 2River View, Melic Review, Poetry Life & Times, Thunder Sandwich, The Animist, Offcourse, Potpourri and Skylark. Recently he was the recipient of the Nassau Review Poetry Award for 2001. Kelley is the author of two paperbacks: "histories of souls," a poetry collection, and "Divine Murder," a novel; he also has an epic poem, "comedy incarnate" on CD and CD ROM.

Quote from Ward:
"As for me, I'm a 51 year old business executive with 3,600 people in the division reporting to me. I only mention this because in a sense the daimon that propels my occupation also propels my poetry. For instance, Gertrude Stein once said, "If Mr. Robert Frost is at all good as a poet, it is because he is a farmer -- really in his mind a farmer, I mean." So in my mind am I a businessman who writes poetry, or a very minor poet successful at business? Who knows? Yet I tread carefully with this balance for fear my daimon will leave me, or my greed will taunt me for decades.

Formerly I managed distribution centers in Pennsylvania, Ohio, California, Arizona and Illinois. My wife and I now live outside of Indianapolis and are currently toiling with much determination on our second crop of children, having adopted four wonderful girls and fostered several others."

Of the 1162 published pieces, some have found their way into:

POETRY COLLECTIONS & NOVEL

"comedy incarnate" on CD ROM
by Kedco Studios (Las Vegas, NV)

"histories of souls" an ebook & POD
by Word Wrangler Publishing, Inc. (Montana)

"comedy incarnate" on AUDIO CD
by Artvilla (Tennessee)

"the naming of parts" an ebbok
by Shyflower Press (Minnesota)

NEW: "Divine Murder" a novel, paperback
by Word Wrangler Publishing, Inc. (Montana)*
*Editor's Note: I have read "Divine Murder" and thoroughly recommend this compelling story concerning the divine, the diabolical and the struggles of two mortals to discover their momentous destiny.

Of the 1008 published pieces, some have found their way into:

PRINT MAGAZINES:
ACM, Another Chicago Magazine
Ginger Hill
The GSU Review
Limestone
The Listening Eye
The Lucid Stone
Mad Poets Review
Nassau Review
The Old Red Kimono
Porcupine Literary Magazine
Potpourri
Rattle
River King
Skylark
Spillway
Sulphur River Review
Sunstone

INTERNET:
Adirondack Review
The Animist
Ariga
Big Bridge
Lynx: poetry from Bath
Melic Review
Oblique
Offcourse
The Paumanok Review
Pif
Poetry Life & Times
Poetry Magazine.Com
Pulse
Pyrowords
Renaissance
The Rose & Thorn
San Francisco Salvo
Sonata
Thunder Sandwich
2River View
Unlikely Stories
Zuzu's Petals

    THE GRAVES OF HEAVEN © Ward Kelley
    The graves of heaven are not mausoleums of paradise, not monuments to individuals who have passed on to a better place, for what could be better? Instead they are black, yawning, rectangular holes in the celestial sod whose purpose is to remind us that it is in the nature of our souls to never find the final finish line to cross. I watch and watch the souls being buried here, distraught, for I had believed heaven was the final goal to be attained. What is beyond the afterlife? Or what if these graves are for those who have entered heaven by mistake? Must I start all over? I would try to run, but here is another great flaw of heaven: there is no place to hide, particularly for one with doubts. THE SINS OF INFINITY © Ward Kelley
    The sins of infinity are seldom more apparent than when you are with your greatest love; there is a contradiction here, for at the beginning of a greatest love, the lover feels immortal but immortality always soon passes and when the lover reflects further on great love it becomes apparent that one of infinity's sins is the brevity of flesh. The greatest love will not forever be reciprocated by this body we wear. So even when you are holding great love, the very action tells you it is not to last. Such grief usually produces a great need for heaven, and this is the second sin of the universe, since you're never quite sure if you invented heaven or it initiated you. There are many, many other sins of mercurial infinity, but I am far past the place where I was certain in the immortality of the poem, and will have to mourn them later. FORGIVING TAMERLANE © Ward Kelley
    I want to forgive Tamerlane. We needed to get 600 years away from his pyramid of 70,000 heads, and his live burial of 4000 Armenians when he promised if they surrendered he would not shed a drop of their blood. I want to forgive myself, and sometimes wonder if I must get 600 years away in order to do such a thing. I want to forgive my enemies, but would rather embrace them in the future . . . not now, just not at the moment. I want to find ways to move the present atrocities I commit and are committed against me into a state of time where I can inspect them with intellect then discover they are simply aberrations of what it means to be a human. I want that which I have not understood how to attain. THIS LITTLE MACHINE © Ward Kelley
    For Jack Spicer It is usually not the same source, this dictation. And where I had clearly identified the mechanics of this little machine, the poem, and happily played with all its cogs and levers, all its oils and rhythmic lubricants, gleefully splashing words around as though they were gels solely for the enjoyment of writers and readers: I erred. To be fair -- most particularly to me -- although I did speak at length about the process of dictation, I must now say I didn't know just how often the dictator switches.

    Artist's note:

    Jack Spicer (1925-1965), was an American poet who published several collections during his brief life. Trained as a linguist, Spicer was active in the San Francisco poetry scene during the 50s and 60s. Perhaps today he is most renowned for his theories describing poetry as dictation from a source outside the poet; theories he delivered in a short series of lectures in Vancouver where he portrayed poets as radio receivers. He died at San Francisco General Hospital from alcohol poisoning; his last words were, "My vocabulary did this to me."

           

Click here for December 2002 Featured Poets page 2 --> link for second half of featured poets....



SPECIAL CHRISTMAS OFFER TO OUR READERS...
The first 10 readers to write in with their snail mail address will get a FREE copy of DIVINE MURDER by Ward Kelley.

Click the book image to visit the website and find out more on this witty and thought-provoking fantasy story by Ward.



Poetry Life & Times is a nominating site for The Poet's Hall of Fame. Nominations are according to poetic merit and sometimes also for services to poetry in general.

Nomination from the November 2002 issue:

Sandi Braveheart

Congratulations!

* Sandi is a new poet in Poetry Life & Times, and on reading her poems last month, I found her style bright and original.


*NEW* Competition from the Poets' Porch:

http://poetsporch.homestead.com/PoetryComp.html

Click logo for details...


News from Lyn Lifshin:

LOVE: LOST AND FOUND...

NEW FROM LYN LIFSHIN

A New Film About a Woman in Love with the Dead by Lyn Lifshin, 2002.

109 pages, $20.00, ISBN 1-882983-83-1

(March Street Press, 3413 Wilshire Drive, Greensboro, NC 27408)

Click here for Lyn's website, for this and more books....




A Breath of Fresh Air

Kedco Studios Artist Profile Press
ISBN 1-878431-43-9

$7.95


NEW from Kedco Studios

A Breath of Fresh Air

by Sharon McElroy and John B. Caddell

Soothing quotes and nature photographs peaceful to the soul

Sharon's writing and John's photographs work beautifully together, to deliver Sharon's warm, home-spun philosophy along with the glory of nature in John's photographic art. A great gift idea for Christmas 2002.

Click here to order from Kedco's catalog page



Vous pouvez enfin lire
le volume 1, numéro 2, de l'e-zine canadien,

Vous pouvez enfin lire le volume 1, numéro 3, de l'e-zine canadien,
SONNETTO POESIA

- celui de l’automne, 2002, chez le lien suivant :

SONNETTO POESIA

Dans ce numéro uniquement en anglais, l'écrivain en vedette est Andrew Belseyde l’Angleterre .

Vous y lirez aussi deux sonnets classiques, dont l’un est par John Keats ( 1795-1821 ) : "Written in Disgust of Vulgar Superstition", et l’autre est par le poète irlandais, Edward Dowden ( 1843-1913 ) : "In the Cathedral". Ces sonnets servent à établir l’optique historique, dans laquelle se situent les deux sonnets similaires de Monsieur Belsey, voire, "The Good" et "Antitheism." Le sujet de l’éditorial est: "The Sonnet in the Twenty-First Century".

The Autumn, 2002 issue
(Vol. 1, no. 3) of:

SONNETTO POESIA

- which features the English sonneteer, Andrew Belsey is now on the WEB here:


SONNETTO POESIA


The unilingual English Autumn issue also includes two classic sonnets by John Keats (1795-1821), "Written in Disgust of Vulgar Superstition":, and the Irish poet, Edward Dowden (1843-1913), "In the Cathedral".


These sonnets provide an historical perspective for Andrew Belsey’s two similar sonnets, namely; "The Good" and "Antitheism". The subject Editorial is, "The Sonnet in the Twenty-First Century."



click for details
"Less trouble than men, less fattening than chocolate..."

Q U I C K I E S

- a new e-book of erotic/humorous stories for women
by Sara L. Russell and Patricia diMiere. Published by
Kedco Studios Artist Profile Press - ISBN 1-878431-42-0, $12.50
Original, funky and rather naughty, with many a twist in the tales.



Poetry Life and Times is listed in Poetry Who's Who






The Poet's Porch Anthology July 2002

Dreamland             200 pages

Poets of The Poet's Porch, Guest Poets and Resident poets

Order NOW !
$16.00 with Shipping

Make check or postal money order payable to Poets Porch - Address below.

Dept PA
Poets Porch
P.O.Box 806 Civic Center
Fresno, CA. 93712-0806



Poesie's Laissez Faire Foire Announcement

Come Meet our Poet Friends!

Check out the poetry sites of some of our friends and
editors in Canada, the U.S.A. and the U.K. at: Rencontrez nos amis poétiques!

Voulez-vous recontrez de nos amis poètes et rédacteurs
de la poésie, qui demeurent au Canada, aux États-unis
ou au Royaume-uni ?

Meet my literary friends!  Rencontrez mes amis littéraires!



The Crystal Rose © Ice Shard

Visit Crystal Rose's Place


Val Magnuson Galactic Poet Award


Why not visit:


OUT NOW

MILLENNIUM DAWN

anthology, by Kedco Studios Artist Profile Press.

An exciting collection of award-winning poetry and short stories.

Enquiries to Elaine Davis at kedco-ap@juno.com

Also - Contributors Wanted for: CRYSTAL DAWN

... A new forthcoming anthology from Kedco.

Click Here for details.


THE PERILS OF NORRIS cartoon, #29 - Norris's dream continues in a new realm.... Reginald Rat has escaped from the cartoon completely! He could be anywhere on this page, doing anything. If you can find him, you win a prize!
Email sararuss.geo@yahoo.com and say where he is and what he is doing. First correct answer wins prizes such as Poetry Life & Times pens and notebooks, and signed copies of the entire Norris adventures on CD ROM, in either PDF or HTML pages, according to preference.

The Perils of Norris started in August 2000. To catch up on past episodes, click the links below, then your browser's Back button to return.

#1  #2  #3  #4  #5  #6  #7  #8  #9 #10 #11 #12 #13 #14 
#15 #16 #17 #18 #19 #20 #21 #22 #23 #24 #25 #26 #27 #28


Click here for BACK ISSUES page


Mail me on: sararuss.geo@yahoo.com with poems, letters or poetry news,
by 22nd December (latest) for the January issue.



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