| May 2001 | Café Society's Poetry News Update |
| May 2001 | Café Society's Poetry News Update |
| Claudine R. Moreau was born in Bay City, Michigan. She grew up around the
mountains and valleys of Uniontown, Pennsylvania, the defunct coal mining
and coke oven town south of Pittsburgh. She attended West Virginia
Wesleyan, West Virginia University, and finally East Carolina University
where she received a B.S. and M.S. in Physics with an Atomic Physics
concentration. She now lives in Arlington, Virginia with the painter and
portrait artist, Brian Hamill. During the day, Claudine works for NASA's
Office of Biological and Physical Research and supports the Microgravity
Division peer review projects. Claudine's poetry has appeared in Pivot, Lilliput Review, The Higginsville Reader, The Bitter Oleander, Thorny Locust, Muse of Fire, American Poets & Poetry, Blood and Fire Review, JACK Magazine, Aileron, Poem Box, Physik Garden, The Eclipse, Erosha, Creativity Magazine, NakedPoetry, Blind Man's Rainbow, Tripwire, Poetry Downunder, Poetry Superhighway, and in the anthology In Our Own Words: A Generation Defines Itself Vol. 3. Her poetry is forthcoming in Frission, Atomic Petals, interweave(zine), and Poetry Motel. Her short story "Speed Skater" placed second in the 1999 Anthology Prose Contest. Claudine's fiction surfaced in Anthology Magazine, Transcendent Visions, Northern Stars Magazine, and is forthcoming in NakedPoetry. She currently poetry edits Comrades Ezine and serves on the anthology editorial board for Comrades Press. |
| Poetry L & T: | When and why did you first start writing poetry, Claudine? |
| Claudine Moreau: | When I was about 11, I was given an assignment in the fifth grade to write
haiku's. After writing it I felt so good at the product; I still remember
one of the haiku's by heart. Looking back, I understand that I reaped
great satisfaction from those haiku's and from other creative writing
assignments. My only wish is that some adult had noticed and tried to
cultivate the writer in me sooner, however with parents going through the
woes of divorce, my talents were barely visible. I wrote volumes of
rhyming poetry up until I was about 17 on various kinds of typewriters that
I'd buy at fleamarkets/jumble sales. Then I started to write in those
pretty flowery journals that you see in Barnes and Noble, which included a
lot of stream of conscience poetry writing and ramblings. Most of my work
was a bit on the surreal side then, barely revised or rewritten. It wasn't
until I was in college that I started to consider poetry as a crafted work
of art. When I was a junior in college at East Carolina University in
Greenville, North Carolina, I was studying physics and not writing much
poetry until I signed up for an introduction to poetry writing class with
Dr. Pat Bizarro. Being a science major, I went into the class feeling
intimidated--after all I wasn't anything close to a well-read literature
student. My fears soon faded, and I took up reading modern poetry and
short stories. Later in physics graduate school, I enrolled in Peter
Makuck's (on BOA) graduate poetry writing class.
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| Poetry L & T: | Who are your favourite poets, both classic and modern? |
| Claudine Moreau: | Lyn Lifshin, Erica Jong, Marge Piercy, Sylvia Plath, Anne Sexton, Laure-Anne Bosselaar, ee cummings, Allen Ginsburg, Ted Hughes, Sharon Olds, Tony Hoagland |
| Poetry L & T: | How did you first become poetry editor for Comrades?
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| Claudine Moreau: | Verian Thomas read my poetry on Physik Garden, and emailed me about his idea for an international on-line arts magazine. He tells me that he had a "hunch" about me, and he asked if I would be interested in poetry editing for his conceptual Comrades magazine. Of course, I feared that it meant that I'd have to do my own HTML! Verian, assured me that I wouldn't have to assemble the pages, just find the right poetry. I accepted the offer and began to use my strong work ethic that I'd developed from studying physics to find good poets for the first issue and to put the word out about the new Comrades. |
| Poetry L & T: | Which aspect of being an editor gives you the most satisfaction? |
| Claudine Moreau: | The best feeling is when I receive feedback from someone who was
particularly struck by a poet's work on Comrades. For instance, I had many
readers write to me to tell me how much they enjoyed Jennifer Vickers work,
which she wrote in Belize, that Comrades published in issue two. I've
received personal messages from poets around the world who particularly
relate with Comrades poetry. It's almost like I feel that I've taken these
poets on as my own and any praise makes me feel like a mother would if a
child got excellent marks in school. There is also great satisfaction in the sheer learning experience of poetry editing. I started poetry editing last year with no experience other than college poetry workshops, and I've learned bit by bit what it takes to put together a collection of poets. |
| Poetry L & T: | There are many web sites covering poetry out there, what makes Comrades different? |
| Claudine Moreau: | Comrades is down-to-earth, yet classy, and never flashy. We don't try to
tote a snooty air; we just want to provide exposure for good writing and
art. Comrades is actively publishing poets from all over the
world--Australia, United Kingdom, Singapore, South Africa, New Zealand,
Mexico, Canada, and across the US to name a few. We aren't just publishing
work from young twenty-something's; we have published high school students
and emeritus physics professors in the same issue! The Comrades staff is
quite diverse--our art editor, Daniel McAnulty, is a student at
Massachusetts Institute of Technology, where he brings in his love of the
sublimely quirky artistic taste, Verian Thomas, the Managing Editor and
Non-Fiction Editor is out in the middle of nowhere England and radically
claims his Welsh heritage in various dirty bathroom stalls, Deborah Swain,
the Brit now living in rural Marche, Italy who brings in her passion for
the truly crafted short story, to RhondaK our Newsletter Editrix/Librarian
from Tampa, Florida who sends out our fun to read and tip-worthy
newsletter, Valentina Mazzei, our Italian Poetry editor who lives in
Rome. The crazy thing about Comrades is that we are all working together
from very different backgrounds at varying latitudes and longitudes of the
earth and most of us have never met, but Comrades is something we all do
because we love art. None of us are paid, we never expect to make
money--we are doing it because we've realized that we can put a dent into
the academic facade that an MFA makes a poet, that a college or university
must be associated with a good literature/arts magazine.
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| Poetry L & T: | What is your criteria for good poetry for Comrades? |
| Claudine Moreau: | Unique imagery and fresh language. When I'm done with a poem, I write down images I can remember and particular words/sounds I liked. If a poem doesn't have any sustaining images or a particularly good sound to it, it won't usually travel past this point. The poem doesn't have to be tackling big issues, it can be a beautifully crafted poem about a table and I'd give it the same chances of publication. I also try to pull from my personal tastes to move to other audiences of readers. I ask myself "Is there an audience out there for this poem?" |
| Poetry L & T: | Have you had any bad reactions to rejections? Why do you think this was? |
| Claudine Moreau: | Yes, I've received many hate email messages from poets that I've chosen not
to use their poetry in Comrades. I think beginning poets believe that the
on-line poetry zine should be easier to publish in. Of course, with all of
the poetry boards and zines that publish all submitted work, it may suggest
to beginners that all on-line literature/arts magazines are this way. Before I ever sent my work out to publications both print and on-line, I learned from The Poet's Market and other resources the proper etiquette for poetry submissions. (Always read the submission guidelines.) The problem is that so many people write poetry to get published, but they don't learn the rules of the game/the proper way to approach editors, etc. I received many rejections from editor's that made snide comments like "buy a thesaurus" or "it's obvious you don't read poetry that's being published today" and to tell you the truth, I felt like lashing out. But, the publication process requires professionalism, and I held my tongue (or rather pen). I took it in stride, and tried to produce better work then find the right home for my poems.
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| Poetry L & T: | What do you dislike to see in poetry? |
| Claudine Moreau: | I hate to see lines that I've read (or written myself back in my preteen
years). Worn out language. Clichés. Poems that anyone could write
because they are so generic in their content and language. I want to see
the poem that only that particular poet could ever write.
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| Poetry L & T: | "Generic" is a great word to sum up bad poetry! I like that. To my next question... If there was one living poet who you could include in Comrades who would it be? |
| Claudine Moreau: | There is a young Chicago poet named J.M. Morea that I would like to ask to feature her work. My brother Bjorn in Chicago bought me some local poetry chapbooks for Christmas last year and Ms. Morea's was one of them. He chose the book because of the similarity of last names. What's interesting is that I mentioned that I was reading her book on my Live Journal, and her old roommate from college came across my entry and wrote to me about Ms. Morea briefly. When I get the courage up to find her email or something, I suppose I will. Her work is very, very good. I find that the young or unknown poets who are in wait of discovery are the ones who need the exposure. Since I have Comrades at my dispense - why not use it to showcase them? |
| Poetry L & T: | How many different poets do you publish in each issue? |
| Claudine Moreau: | Comrades doesn't really have a set amount of poets to publish. Since we are unlimited in the amount of cyberspace we use, we can usually publish from 10 to 30 poets depending on web production time and the amount of poetry received that gets our blood boiling. |
| Poetry L & T: | I understand Comrades is also now a small press - what can we expect to be produced from it in the future? |
| Claudine Moreau: | Comrades Press, founded by Verian Thomas, just published Deborah Swain's
chapbook "filling silence with a sigh" and we are in the final process of
printing Richard Denner's collected works, which is over a whopping 500
pages of poetry. Comrades Press is publishing an anthology this year of
poetry and black and white photography. We made up an editorial board to
decide what poetry to place in the book, and the line up so far is
stunning. The anthology should be released by the end of 2001. We've read
probably close to 500-600 poems for this anthology. I'm trying to finish
my chapbook for Comrades Press titled, "(Love) x (Science) =" which is a small selection of poetry dealing with women's relationship with men--in the context of lover and of father. The science is there in the imagery, but not everyone will find it. That's okay, though, it will be the added extra for those that do. |
| Poetry L & T: | Finally Claudine, what advice would you give to a poet who wanted to improve their work enough to have a collection of work published? |
| Claudine Moreau: | I don't think there is a formula for improving one's work for a collection
except to write more. Everyone will find their way to a collection in
their own way. Some will simply put a book together, send it out and find
publication without ever receiving a glorious rejection slip to wallpaper
around their writing space. Most poets are probably going to send out
poetry over a period of time and find a few poems published in journals and
magazines. As I've written over the years, I've found a few distinct
categories of poems: family poems, poems about lovers, puberty
transformation poems, and poems relating to works of art. When I started
separating them, I realized that I was unconsciously preparing them for
chapbook themes. And in each category, I had a handful of poems that have
been published. I had the fortunate opportunity to meet a great poet, Laure-Anne Bosselaar, at a poetry workshop in January. She gave me the best advice on putting together a book of poetry. She said two things that stick out the most 1) when assembling the book have the poems "talk" to each other. The poems that are side by side should have some sort of dialogue with one another, and the beginning and the end poems must do the same sort of "talking" to one another. She explained how the arrangement of the poems was so vital, which never having tried doing it before it had seems so arbitrary, but as I wade in this task now, I see how some poems just don't have a strong dialogue with the others. 2) When you write poems, think "book," and you will write with confidence. I found this statement strange at first, but over the last few months, it's beginning to mean more and more. My advice on getting a book together would be to first get your poems published in on-line and in print journals first. Then you know that you've got your audience. Then make a stack of poems that have similar themes and have someone read this stack to decide which ones don't seem to have that "dialogue," then slowly whittle down to traditional chapbook length or full book size. |
| Poetry L & T: | Thank you for the interview, Claudine. |
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COMET GIRL © Claudine Moreau
You found my rocky body
You carbon dated my fingers,
Created from rich hydrogen,
You determine I came
toward your sun, * "Comet Girl" first appeared in American Poets & Poetry
I am parts of him that he
On the cold slab
that I'll slip
that he will wake up
will be larger than the hands
I am the pulp of his emotion
I am planted organs and tubes
mesh in his gut. I pick
with mutated fingers,
Hush! Listen to the cosmic cooling
bang of the universe *"Tilt Your Satellite Dishes" first appeared in The Lilliput Review
The new shape of suffering
The river she crosses each day,
The florist shop sign
The ginger flowers
with the birds of paradise.
a bridge droops her head
a sagging rose drops petals.
My voice is out there like a radio
When I say I love you
with sweat. He sleeps deep
shadows of prior lovers.
year, two weeks, eight months
propelling itself through a dark
at my frequency. Bored
Do they know what it means?
reach my tongue, reflexively
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| Dear Poets,
This issue features an interview with Claudine Moreau, poetry editor of Comrades ezine. Claudine also works for NASA and sometimes the theme of outer space appears in her poetry. I especially like "Tilt Your Satellite Dishes", which appears in the examples of her poetry under the interview.
Featured poets this month include Val Magnuson, Elisha Porat, Tom Riley, Jim Dunlap and resident poet Jan Sand. Elisha Porat's work is presented as a special feature because Elisha has found a successful way of sending me images of the Hebrew text. Some of these can also be found on Charlotte's Web at Artvilla.
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Any comments on this issue or back issues can be emailed to me on the link at the bottom of the page. Please indicate whether you would like the comments to go into the Letters section. Announcements are always welcome, 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. Further submission guidelines are available on request.
Best Regards, |
Featured poets this month are Val Magnuson, Elisha Porat, Tom Riley, Jim Dunlap and Jan Sand. Many thanks to all contributors.
VAL MAGNUSON
Val has been awarded many prizes for her poetry and is the author of "Destiny" published by Poet Works Press.
Her virtual homes are http://valmagnuson.com and the Poet's Porch, - Val's poetry is featured throughout the world and on the internet.
Five Gates of Poetry is an upcoming anthology featuring Val's work - Val's work will also be included in an anthology, "In the Company of Women" Featuring the best of America's poets.
Winner of Poetry Down Under Australia.
An enigma 22, you
I wonder-
Views of life from the emerald planet
Astral thinking projecting farewell shots
How did you become the ultimate kite flyer
The gingery banks are splashed
Your magical woodswork
The Guardians of the South
How they fly!
Autumn, splendid Autumn
Seamed nylons, long underwear
How odd to sit on derrieres
I went to Victoria's and almost dropped dead
I guess I'm older, out of sync
I turned bright red and thought it rare
As a lifelong member of his Kibbutz, Porat has worked many years as a farmer as
well as a writer. His labors in the Kibbutz fruit orchard, perhaps contrasting his military
tours of duty, have always influenced his art. Besides writing, his current endeavors
include editorial duties for several literary journals. He is married with four grown
children - three daughters and a son. In 1998, Porat journeyed out into the internet,
and his growing volume of work can be readily found in many literary Ezines. His
translated stories and poems have for years found their way into print, most recently
The Boston review.
Elisha extends his gratitude, as ever, to his several talented, dedicated translators.
Short anthologies from the author's works: Elisha's new e-book, Growing Old, is now available from:
Val Magnuson
Born in Detroit, Michigan and lives at Bush Lake in historical, Holly, Michigan and occassionally on the Gulf of Mexico in Dunedin, Florida. Val has a BA from Wayne State University and an MBA from Central Michigan University. Ms. Magnuson is a member of the Michigan Bi-Lateral Trade Team Canada and is a noted stained glass artist. Ms. Magnuson has had her work exhibited in the Royal Ontario Museum, Toronto, Canada and the Corning Museum of Glass.
ECLIPSE
© Val Magnuson, 2000
Midnight
Dialogues in blue ascending to
The flying of hieroglyphics
Balancing purpler songs
Tossing flowers into the wind
Giving light into the nights of magic
Like some circus performer with birds
Painting dreams, pointing to infinity
And absolute endlessness
I wonder-
Who were the progenitors to the cosmic confrontations?
What were the dialogues between you
And some descending angel?
Crab nebula man dissections
Playing in clouds of bubble dances
Poets, won and poets too
In awe of you
Ringing in my bed
Singing in my head
Electric future man?
The sky exploded into dust
And you became your own
eclipse
LEAVES
© Val Magnusun, 2000
Autumn, do not leave
For your chambers fill
With feathered gentlemen
Their raiment pommeling the hills
In paprika and nutmeg tones
Autumn, do not leave
I would only have alone
Slips far too fast
Through my very fingers
Envelop me within your imposing cloak
Stay awhile- linger
Like some Greenwich clock
Promise warmer beds
To every passing flock
How they fly!
From the radiance of your store
Autumn, wonderous Autumn
Sing a little more-
To your every essence
I could cleave
But all you do
All that you can only do
Is to forever
Leave-
VICTORIA'S SECRET
© Val Magnuson, 2001
Those strange unmentionables of long ago -
How women wore them
I do not know
Rubber girdles, pointed bras, can can slips
They had their flaws
Worn with hopes that men would stare
Pantaloons and garter belts
Waists cinched, bosoms svelte
That were bustled, it was not fair
This is a new age, old days behind
The world filled with garments
That blow one's mind
Wonder bras, panty hose
Bikini hi cuts, and so it goes -
The store manager's name was Fred
He boldly queried my bra size
Did I prefer floss or clappers with exposed thighs?
Then awaited my reply
I thought that clappers made lights blink
I remember when you slapped a guy
If he asked you your bra size
To see a guy in girl's underwear
But - this is a new age
Life is strange -
So, where was I
When underwear changed?
MORNING DANCE
© Val Magnuson, 2000
She slipped silently in
Stepping flamenco whirls
Tambourine sky ribbons trembling
Clicking her heels
Dancing taffeta colors across the heavens
China tea cups shattering
with castinet rhythms
Glazing the firmament with patches of light
Captivity captured with masterful flight
Eager, trembling audience, I
Attempted creation remembering her
From nowhere to nowhere
Along these thin, gray lines
Of her majestic dance
Across the sky-
Special Elisha Porat Feature:
Elisha Porat's poems are now available to read with the Hebrew and English side-by-side. See the image underneath Elisha's biography. There is also a link page to further images showing both the Hebrew and English.
Elisha PoratElisha Porat, the 1996 winner of Israel's Prime Minister's Prize for Literature, has
published 17 volumes of fiction and poetry, in Hebrew, since 1973. His works have
appeared in translation in Israel, the United States, Canada and England. The English
translation of his short story collection "The Messiah of LaGuardia", was released in
1997. His latest work, a book of Hebrew poetry, "The Dinosaurs of the Language",
was recently published in Israel.
Elisha Porat was born in 1938 to a "pioneer" family in Palestine-Eretz Yisrael (pre
Israel);his parents were among the founders of Kibbutz Ein Hahoresh, a Kibbutz on
the Sharon plates near the city of Hadera. Today Porat, devoted to the community
ideal, still make his home near the original tent erected by his parents back in the
early 30s. In 1956 Porat was draft into the IDF (the Israeli army) and fought in three wars:
the Six Day War in 1967, the Yom Kippur War in 1973, and the War of south Lebanon
in 1982.
Ariga: 4 poems by Elisha Porat
poems and short stories,
Unlikely Stories: Elisha Porat feature
poems, fiction, interview, reviews,
The Poet's Haven: Elisha Porat
poems, fiction - scroll down to P for Porat; Funky Dog Publishing: Elisha Porat,
Elisha Porat is author of The Messiah of LaGuardia, a collection of stories.
The Shyflower Press, 1307 NW 1st Street, Faribault, MN 55021.
[email protected]
 Tom Riley
TOM RILEY Education: basic elementary, but improved at Night School. Hooked on poetry and music at about aged 8 years. Married twice; this one in it’s 32nd wonderful year. Two children: 27 and 28. Leisure interests: Cruising under sail (current boat Parker 21). Writing: poetry, adult and childrens’ short stories, (some adult stories and poetry published). Reading: especially Patrick O’Brian. Cross-country walking. Music: 40s big bands, classics (choral, Wagner, Delius). Art: Art Noveau, Art Deco. Drinking: Lots of red wine.
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Halloween Midnight © Tom Riley Nature’s call pre-empts the distant church annunciation of the black traffic hour. Frowning I lumber towards relief, through the thinking house. Feet plough the furrow of the years with their own mind, but at the chimes, The blanket of warm darkness rests uneasily on the psychic sense.
I gaze at the sightless window as needles of childhood prick the edge of knowing -
Racing clouds shred the faint luminescence of the now virtual world I am content.
Far journeys weary traveller, far south of tropic line, And on his back he feels the weight of equatorial sky, Dense cloudless blue, of light years depth and universal time. Brass sun-god hammers down on him from course in heaven high. And spirit longs; for Sussex and a new born April morn, And spirit sees the dew fresh light of dawn.
Sudden the tropic sundown comes with strident harmony,
Our traveller, returning now by fabled Grecian strand
This the Aegean vault, cloud wisped, of deepest cobalt blue;
Sea-borne, our traveller sails on Atlantic homeward track,
Sharp nailed clouds tear shreds from the racing gibbous moon,
Now, home at last, 'neath pristine cloud and newly laundered blue,
And spirit looks with eager heart, to many an Ashdown dawn,
Tomorrow, the last day of summer break, Ev’ning over the Wight: and sinking sun Homes to the Needles Island terminus. Western sky in vestments of green and gold, A peaceful Delius soliloquy.
The children now asleep in downy folds,
Our ship swings, slowly, compass-wise looks north,
At river bend an exiled Scot is moored
Late Oyster Catcher piping bed-time call,
Another childhood day is safely stored Click the above link to view a longer poem by Tom Riley
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 Jim Dunlap
Jim's website includes a lot of favorite poems by other writers as well as his own poetry.
His work appears online at
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A GREAT SONNET RESURRECTS ONE 'DEAD, DEATHLESS HOUR' * © Jim Dunlap Defined by a sonnet, one 'dead, deathless hour' Is preserved for the ages in lyrics of glory -- The placement of each word and line has great power.
The elegant forming of sonnets in flower
In the hands of amateurs, sonnets go sour,
Before time's headlong surge, the poet may cower,
While Shakespeare, Petrarch and Spenser still tower
Like the perfect seduction grant's epiphany's dower, * "A sonnet is a moment's monument --Published in Lyrical Iowa, 1999
On occasion, I feel that life is a prison -- the punishment is measured by how much your parents have taught you to hate yourself... Childhood conditioning stripes you in shades of black and blue -- sentenced by Fate to regret lost opportunities ... caged with your destiny by striated memories that eat your insides like an ulcer grown cancerous... yet, sometimes, love can open a window for light to illuminate that stygian shadowland of draconian disciplines where regrets and mistakes spontaneously combust in a blaze that heats your heart -- molten gold, forged in a blast furnace: pristine and pure ... a covenant that links all your yesterdays to a shining tomorrow.
Published: STAND ALONE, July, 1998
Where poverty and hate can breed, Life is cheap...and terrifies; In Africa, men starve and bleed.
Famines cry out desperate need.
This is a lesson we must heed:
With drought to kill the planted seed,
Incompetence is left to lead,
The sick succor, the starving feed -- TUCUMCARI LIT. REVIEW, July/ Aug., 1994, issue #52
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 Self-portrait by Jan Sand
Recently Jan was published by Kedco Studios Artist Profile Press, on their latest CD ROM e-book, "A Way With Words (Poetry Real and Surreal), which also includes complete books by Dale Houstman, Sara L. Russell and Keith Gabriel Hendricks. Jan's illustrated book on the CD is called "Wild Figments And Odd Conjectures", which is also sold separately, in a limited-edition "single" CD. To see an illustrated article about Jan's poems, visit the November '98 issue of Poetry Life & Times, and scroll down past the Editor's Letter. He also has his own poetry pages on Charlotte's Web at Artvilla.
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DARK REMEMBERING © Jan Sand We each of us treasure within Precious knots of anguish Through which we run Long fingers of our thoughts That those congealed miseries Might make more comprehensible The intensities of feeling So tightly captured, Probed between mental finger, Mental thumb, to release Small knives of exquisite horror.
For all our hunger to be off This blue Earth to make community With all the suns of all the galaxies, We may not dismiss its brandmarks That, alike, births and slaughters us. Each cell of our flesh cups its drop of ocean, Gasps for a wisp of its skies And our bones are configured to know its shape and bulk. No matter what azimuth or force Vectors us away, We are shaped by its hand And cannot deny our parentage.
This thing of shapes cylindrical, Orthogonal and technical That floats in orbital ellipse High above the solid Earth Provides a living space for man, A silver footprint stamped into emptiness. Its blue petals stare at the Sun's eye To interpret glare into electricity. To spin the motors, clean the air Keep the place alive. Within, the astronauts, designed for up and down Revolve and flounder, Their architecture confounded For lack of gravity's commands. Their confused bones tend to disintegrate, Undemanded muscles lose purpose Their entire structure cries out To battle surface forces, push against solidity To lean against the wind, shoulder aside The snow, the hail, the rain. Beyond the metal membrane Vacuum crouches in anticipation To toy with these invaders, Spout out their blood in fountains Send them back down In sparking parabolas.
The gathering is at the church although There is no religion manifest. It is merely the community designation For family, friends and acquaintances To unwrap their possessions of the past To indicate their unique value And bundle them in common package. There is some conversation, Some flowers, some neutral melodies Rendered on the proper somber instrument. The package then is addressed, stamped, And posted to eternity.
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Presents:
CAVE CANEM'S 5th Anniversary Anthology
Monday, May 7, 7pm, $7 ~ In the Theatre
344 East 14th St.
for Reservations and Information: 212-780-0800x255
With special guest, Cornelius Eady
Featuring: Michelle Berry, Jacqueline Johnson, Karma Johnson, Mendi Lewis,
David Mills, Veronica Mitchell, Greg Pardlo, Cherise Pollard, Lyrae Van
Clief-Stefanon, Ronaldo Wilson.
Welcome by Veronica Golos Call to reserve a place for open mic:
New York, NY 10003, USA
hosted by Quraysh Ali Lansana
OPEN AS YOU CAN MAKE IT!
Thursday, June 7, 7pm, $7
A WhY Words Series
open mic with a special teen segment.
344 East 14th St.
New York, NY 10003, USA
212-780-0800 x255
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up liberty's skirt I've never been to Arizona. Here instead, three and a half days worth of poems written in New York City and on the way to the city and two bonus poems written in New Jersey where I was born. Weren't we all... born that is. |
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ORDERING INFO:
UP LIBERTY'S SKIRT is $5.00 and available via mail order
and online secure credit card purchase.
For mail order, send $5.00 + $1.50 shipping (payable to Rick Lupert)
to:
Thank you for supporting independent artists! |
Many thanks to The Quill!
There is still time to enter, but time is running out...
...Click on the Dogwood Link for further details !
Come and visit the Yahoo! group
run by Richard Vallance. You can join this group by emailing Richard on:
[email protected]
...Don't write sonnets? Try the more freestyle group
Narcissus_Reflects
run by Scotty.
We pay in free copies of anthology + prizes for the best.
Short story trophies + solid silver medallions to be won!
Submissions of short stories and/or up to 10 poems wanted for new MILLENNIUM DAWN anthology, to be published both as a CD rom and a bound book. Email submissions to Elaine Davis at [email protected] before September 2001.
For those of you who haven't noticed, we've temporarily closed submissions, but should be re-opening
them in a week or so. If you have material currently under consideration, you should be hearing
from us in about two weeks.
The new online edition should be ready by the second week of May, then we will begin work on our
next print edition. On Saturday June 2nd, we will be holding another print benefit with live music
and a poetry slam. The last benefit was a tremendous success, and we hope that this one will be
even better. What we know so far is that the benefit will be held at the 13th Street Grill and Bar
(corner of 13th and Locust in Downtown), and will run from 7:30 pm to 1:30 am. We will announce
further details as they become available.
Sincerely yours
William Peck, Publisher/Webmaster
FRICTION MAGAZINE NEWS
Until next time, I'll see you between the lines.
(from under the floor),
Friction Magazine - a journal of writers and artists
http://www.frictionmag.com
The Perils of Norris started in August 2000. To catch up on past episodes, click the links below and click your browser's Back button to return.
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