Transforming Poetry is a society of poets who read monthly at the Inkwell Arts Center, it includes regular local poets & guest poets, this last performance took place on the 30th of April 2016. Here Owen Turner reads 3 short witty poems.
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Robin Ouzman Hislop
All the Babble of the Souk Reviewed by Richard Lloyd Cederberg
-
ALL THE BABBLE OF THE SOUK
A personal reaction/essay from:
Richard Lloyd Cederberg
________________________________________
Initially the title of the book puzzled me. ‘Babble’ and poetry seemed antithetic. But Robin’s usage of the title in the first poem – ‘Africa North’ -seemed to be hinting at something vaster in scope. “All the babble of the Souk, men over there, over there women. All the life of the planet, so little part of it that I breathe” This made it seem like a sweeping vision from a finite point of view. After reading various poems, I saw that the poet’s work was alive with surreal vignettes; visual snippets patched together to create a montage of life’s mysteries, colors, and characters. This particular observation was supported (I felt) in a verse from ‘Lucky Hat Day’. “The world is a patchwork quilt, stitched up to the hilt its seams, which we quarter in our dreams, on which our edifice is built.”
Soren Kierkegaard said: “The poet can understand everything, in riddles, and wonderfully explain everything, in riddles, but he cannot understand himself, or understand that he himself is a riddle.” At that point I knew that attempting to dissect the poet’s work in a grand intellectual context was the wrong approach. Besides, I wasn’t qualified. Instead I would read it as if I was sitting under a waterfall and offer back the stimulating way the content was washing over me. First and foremost… I purposed for a better grasp of the title. Something that made sense to me. With that I felt I would have a better chance at apprehending the contents. So that’s where it began.
Book titles, for me, are kinda’ like figureheads on the prows of wooden sailing vessels; a face on it, but not the power of it. This title seemed to be corroborating all the chaos and noise humanity makes living their lives and hawking their philosophies and products in a global marketplace. Certainly this obvious interpretation had some merit, but it didn’t seem (to me) to affirm the books ultimate scope. Still curious; I dug into the definitions and discovered something intriguing. There was one definition that stood apart and became a key that started a trickle of water for me.
BABBLE as an intransitive verb: to talk enthusiastically or excessively. To utter meaningless or unintelligible sounds. To make sounds as though babbling. As a transitive verb: To utter in an incoherently or meaninglessly repetitious manner. To reveal by talk that is too free.
SOUK… a marketplace in North Africa or the Middle East.
A fuller definition: A marketplace in North Africa or the Middle East.
A bazaar. Also: a stall in such a marketplace. It became personal here.
STALL… A small area set off by walls for a special use. A booth where articles are displayed for sale. The water began to flow stronger now.
The Poet’s Stall. You can call it whatever you want but each of us has one. Mind. The seat of the faculty of reason. The poet’s singularity of cogitation. Senses. Telescope. Microscope. Binoculars. Tools. Oxymoron. Pun. Idiom. Simile. Onomatopoeia. Hyperbole. Alliteration. Personification. Metaphor. A verse from ‘The Pine at the Summit’ offered a glimpse into the process. “My mind’s a needle scratching sky, bleeding a sigh of shadow, as through tension of this extension, I summit into ascension.”
All poets require a safe [set apart] place they can enter to assimilate and interpret the world around them. A place where they can observe the mysterious vastness of life without being overwhelmed by it. I could visualize, then, a place set apart in the midst of a noisy-plagued-global-marketplace, where the poet could readily analyze, understand, and express the essential (and non-essential) elements of all that was being observed and felt; locally, from his travels, and in a broader global context. Robin’s poetry found the cracks in my defenses then and began hydrating me. Each reading, after that; the content became more meaningful.
As someone once said: “It requires wisdom to understand wisdom; the music is nothing if the audience is deaf.” Many say that poetry is an [almost] dead art form. I’m not so sure about that now.
For me personally: the essence of profound insight is simplicity. If poets only cater to poets then a part of the ‘souk’ is deprived. Some say poetry is painting with the gift of speech. If this is true, and I believe it is, then Robin’s work, to me, evokes, M.C. Escher, Robert Raushenberg, and perhaps (at times) even Salvador Dali. Readers take caution. Robin is a poet’s poet. A reasoning philosopher who sees life vastly different than most, and, who channels much of what he sees and feels into his work.
“As he affirms in ‘Clear Drops of Water’: “To write is my possession – a given time, a given space, a given self, as if it were an alchemy that could turn blood into wine, we’ve different tastes nature or me.”
‘All the Babble of the Souk’ is not simple. It is woven with riddles that, when resolved, offer the reader a singular critique of life from a safe perspective. Robin’s poetry may never be fully grasped by me. It is esoteric. Intriguing. Surreal. Adventurous. Philosophic. Brainy. But even though it demands carefully considered thought to fathom; it still flows as pure water in its declarations, imagery, and suggestions. Poet Hislop’s unique work has heightened my appreciation for the written word.
1. I am once again thankful for the depth, beauty, and mysteries of another’s poetic invention.
2. I discovered another beautiful view of the One Tree.
3. I have purposed now to get out of myself (more often) to discover another’s perspective; something quite essential for the poet and creative writer I’m thinking.
4. I can see an aspect of metaphor now that I’ve never known.
5. Poetry is NOT dead.
JEG HILSER DEG Robin Ouzman Hislop
Richard Lloyd Cederberg
Author/Poet
August 2007 Richard was nominated for a 2008 PUSHCART PRIZE. Richard was awarded 2007 BEST NEW FICTION at CST for his first three novels and also 2006 WRITER OF THE YEAR @thewritingforum.net … Richard has been a featured Poet on Poetry Life and Times Aug/Sept 2008, Jan 2013, Aug 2013, and Oct 2013 and has been published in varied anthologies, compendiums, and e-zines. Richard’s literary work is currently in over 35,000 data bases and outlets. Richard’s novels include: A Monumental Journey… In Search of the First Tribe… The Underground River… Beyond Understanding. A new novel, Between the Cracks, was completed March 2014 and will be available summer 2014.
Richard has been privileged to travel extensively throughout the USA, the provinces of British Columbia, Manitoba, Alberta, and Saskatchewan in Canada, the Yukon Territories, Kodiak Island, Ketchikan, Juneau, Skagway, Sitka, Petersburg, Glacier Bay, in Alaska, the Azorean Archipelagoes, and throughout Germany, Switzerland, Spain, and Holland… Richard and his wife, Michele, have been avid adventurers and, when time permits, still enjoy exploring the Laguna Mountains, the Cuyamaca Mountains, the High Deserts in Southern California, the Eastern Sierra’s, the Dixie National Forest, the Northern California and Southern Oregon coastlines, and the “Four Corners” region of the United States.
Richard designed, constructed, and operated a MIDI Digital Recording Studio – TAYLOR and GRACE – from 1995 – 2002. For seven years he diligently fulfilled his own musical visions and those of others. Richard personally composed, and multi-track recorded, over 500 compositions during this time and has two completed CD’s to his personal credit: WHAT LOVE HAS DONE and THE PATH. Both albums were mixed and mastered by Steve Wetherbee, founder of Golden Track Studios in San Diego, California.
Richard retired from music after performing professionally for fifteen years and seven years of recording studio explorations. He works, now, at one of San Diego’s premier historical sites, as a Superintendent. Richard is also a carpenter and a collector of classic books, and books long out of print.
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Marchesi reads Prufrock

Robin Marchesi is an old friend, his lyrical poetry is featured at all three of our sites, Motherbird.com, Poetry Life & Times and Artvilla.com, together with his other poetical works put together with his own music and imagery. Below, on the small MP3 T.S. Eliot, we are pleased to introduce yet again another rendition at Artvilla.com of T.S. Eliot’s Love Song of Alfred J Prufrock, this time delivered through the strains of Robin Marchesi’s rich emotional voice with its biting irony and soft sentimentalism. Editor’s Note. Robin Ouzman Hislop.
T.S.Eliot

Robin Marchesi, born in 1951, began writing in his teens, much to the consternation of his mother, the sister of Eric Hobsbawm, the historian.
In 1992 Cosmic Books published his first book entitled “A B C Quest”.
In 1996 March Hare Press published “Kyoto Garden” and in 1999 “My Heart is As…”
ClockTowerBooks published his Poetic Novella, “A Small Journal of Heroin Addiction”, digitally, in 2000.
Charta Books published his latest work entitled “Poet of the Building Site”, about his time working with Barry Flanagan the Sculptor of Hares, in association with the Irish Museum of Modern Art.
He is presently working on an upcoming novel entitled “A Story Made of Stone.”
http://www.amazon.com/A-Small-Journal-Heroin-Addiction/product-reviews/0743300521
http://www.illywords.com/2011/09/down-the-rabbit-hole-a-glimpse-into-the-wonderland-of-barry-flanagan/
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Colour 2005. A Poem by Robin Marchesi.
COLOUR 2005
The uniqueness of perception
For which
As a young man
I so proudly stood
Has bred unique experience.
Now
Older
It has created
A huge
A
Lone
Ness.
Look at great Artists,
All of them,
Took their tone
In this lineage,
Of unique, aloneness.
Too much color, for another,
To bear.

Robin Marchesi, born in 1951, began writing in his teens, much to the consternation of his mother, the sister of Eric Hobsbawm, the historian.
In 1992 Cosmic Books published his first book entitled “A B C Quest”.
In 1996 March Hare Press published “Kyoto Garden” and in 1999 “My Heart is As…”
ClockTowerBooks published his Poetic Novella, “A Small Journal of Heroin Addiction”, digitally, in 2000.
Charta Books published his latest work entitled “Poet of the Building Site”, about his time working with Barry Flanagan the Sculptor of Hares, in association with the Irish Museum of Modern Art.
He is presently working on an upcoming novel entitled “A Story Made of Stone.”
http://www.amazon.com/A-Small-Journal-Heroin-Addiction/product-reviews/0743300521
http://www.illywords.com/2011/09/down-the-rabbit-hole-a-glimpse-into-the-wonderland-of-barry-flanagan/
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Snake Song. A Poem by Saira Viola
When you take on the law
She’ll screw you ‘till you bleed
But you’ll go begging back for more
She’ll lead you on
With fast ,pretty talk and gold in her mouth
Ants will hiss in your milk
While you wait for that bitch’s next move
And you’ll play sophisticated psycho games
And sob – sob just like a dumpster babe
Your heart will stop – clock three beats
And you’ll be her court jester
As she slams you to the ground over and over until you break
Then she’ll silence your cock with a money threat
Hushing you still
And you’ll shake with fear as she whispers in your ear
Gimme Gimme Gimme
More cash for this bastard farce
Her ‘Honour,’ lives in a white world
She sees Justice delivered only for respectable boys and girls
The only ones permitted to drink from the font
Ask the Angola Three
What Amerikan ‘justice,’ means
She likes them to beg , crawl on their swollen knees
For a regal punch in the belly
Wrap her protective arms around you
Then : cuff you to her gavel
Strap you to a chair
Blind you with deceit
Shackle your aching feet
And let your ears sing for mercy.

Saira Viola ia a best selling crime writer , satirist, song lyricist and creator of innovative lit technique sonic scatterscript. Her work is infused with undercurrents of politics, pop philosophy and black comedy
http://gonzotoday.com/author/saira-viola/

Saira Viola, Author at GonzoToday
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Saira Viola is a critically acclaimed poet , author, song lyricist , satirist and creator of innovative lit technique self labelled sonic scatterscript .
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Resonance. Poetry Collection by Gary Beck
Gary Beck is a prolific writer with a number of poetry collections already to his name. Much of his work has a clipped, concise almost journalistic narrative approach about it, it is their serial processing which gives them their poetic content. In this latest volume there is also sociological reflection and commentary but often the works become more moody, enriching the poetry style and form, involved in personal relationships, as well as, on various occasions expressing the sensuous side of the poet’s nature. – Editor Robin Ouzman Hislop.
Resonance is a collection of poems that looks at individual and cultural experiences from this complicated world in which some receive rewards but others are punished and pushed to the brink of despair.
“Mr. Beck is a talent not to be ignored.” – Alison McBain – Bewildering Stories
“Very impressive poems” -Dead Snakes Magazine
“The noir voice and objectivity of each piece is unique and exploratory, very delightful reads” -Media Virus Magazine
“Awesome! I love the language” -Graffiti Magazine
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Resonance is a 136 page poetry volume. Available in paperback with a retail price of $8.00 and eBook with a retail price of $1.99. ISBN 1523916400 Published through Dreaming Big Publications. and available now through all major retailers. For more information or to request a review copy:DreamingBigPublications@outlook.com.
This is the voice of one man singing… About the Cuban Missile Crisis – October, 1962
Boy, dey yanked me outa the warmtha
me mudders body.
Wow, dey beat me when I played
wit meself.
Dey made me go to school
and listen to all da crap.
My old man kicked my ass
when I played hookey.
I went to high school,
joined a gang.
I got caught stealin.
The cops beat me up.
I quit school
knocked up a broad
and her old man made me marry her.
We got two fuggin kids
who never stop screamin.
The fuggin house is fallin ta pieces.
The fuggin union wants more dues.
The snotty bastard at the bowling alley
always makes these wise cracks.
The fuggin phone company
is shuttin off the phone.
The old lady is a fuggin slob.
After a hard day’s work
I can’t even sit down and enjoy a fuggin can of beer.
I hope they use their fuggin rockets.
Gary Beck has spent most of his adult life as a theater director, and as an art dealer when he couldn’t make a living in theater. He has 11 published chapbooks. His poetry collections include: Days of Destruction (Skive Press), Expectations (Rogue Scholars Press). Dawn in Cities, Assault on Nature, Songs of a Clerk, Civilized Ways, Displays (Winter Goose Publishing). Fault Lines, Perceptions, Tremors and Perturbations will be published by Winter Goose Publishing. Conditioned Response (Nazar Look). Resonance (Dreaming Big Press). His novels include: Extreme Change (Cogwheel Press) Acts of Defiance (Artema Press). Flawed Connections (Black Rose Writing). Call to Valor will be published by Gnome on Pigs Productions. His short story collection, A Glimpse of Youth (Sweatshoppe Publications). Now I Accuse and other stories will be published by Winter Goose Publishing. His original plays and translations of Moliere, Aristophanes and Sophocles have been produced Off Broadway. His poetry, fiction and essays have appeared in hundreds of literary magazines. He currently lives in New York City.
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Transforming with Hamza Lakhal. Inkwell Arts. Leeds. UK.

Editor’s Intro: we spend an evening with Transforming Poetry at the Inkwell Arts Centre. Leeds. Uk. It is introduced by Tony Martin Woods, a Spanish born poet, who teaches Spanish studies at Leeds University and who has been resident with his English family in Leeds for the last 20 odd years. This month’s session of local poets focuses under the title heading Transforming with Hamza Lakhal, a Saharwi from the Western Sahara, now occupied by Morocco, to whome it was sold by the Spanish in 1975. Hamza’s poetry is presented in Arabic following classical Arabic lyricalism but with political, social reference to the oppression of his peoples in the Western Occupied Sahara. Some translations together with readings are provided by Hamza with the local poets. Further intro into the background is also given throughout the evening by different speakers and poets together with their own blend of preach, protest, diatribe political poetry, making for an interesting evening looking into the heart of the British Midlands. Robin Ouzman Hislop

To access other videos in the series click the white circle with the three dots.
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Adam Levon Brown Review

4/5 Stars
Review of All The Babble of the Souk
By Robin Ouzman Hislop
I had the great pleasure of reviewing “All the Babble of the Souk” by a very experienced and talented poet, Robin Ouzman Hislop.
The book is split into the two parts, The first part is “All the Babble and the Souk 1” and is very short in comparison to the second part, “All the Babble and the Souk 2”.
Reader beware, this poet is on a different level. Do not read this if you don’t want to engage your essence in a series of fantastic life/mind changing events. Many of the poems herein push the boundaries between science and philosophy and develop a sense of doubt within the reader. These poems carry you on a cosmological, philosophical journey that is sure to leave you speechless and thinking on deeper frequencies.
Part 1
These are just a few of my favorites from part one.
From the very start with the poem “Africa North,” Hislop captures the reader in a vivid description of a thriving cityscape filled with many sensuous sensations. The poem “Passage” is a psychological view into the mind of the modern human. The poem, “Non Linear” focuses on the inception of homo Sapiens and how the system we created dwarfs us into a microcosm of everything around us.
Part 2
The second part is filled to the brim with intellectually stimulating pieces that deserve at least a second read through. The poem “Accident” grasped me and made me think of past events that I thought were lost forever.
The poem, “Slant” is written in sections such as, “on the Bus” and details philosophical messages the author has gained through these experiences. I very much enjoyed this poem as it is raw, delves deep into the mind of the poet and presents the inner workings of the brain.
The poem, “Edge” touches on what I believe is our greatest political and existential battle; human extinction.
Conclusion
This book changed my perspective on the human experience. Highly recommended to anyone who is into philosophy and isn’t afraid to take a step in a different direction.

Adam Levon Brown is a poet and author residing in Eugene, Oregon. He has one published poetry book out, Musings of a Madman, which is a collection of poems made to enlighten and inspire the reader. Adam attributes his love of poetry to the many great poets he discovered in the school library during his formative years. He enjoys listening to political hip hop music and is a political activist himself.
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Poetry Robin Ouzman Hislop’s books on Goodreads
All the Babble of the Souk by Robin Ouzman Hislop
Robin Ouzman Hislop, born UK, graduate in philosophy & religions, has travelled extensively throughout his lifetime but now lives in semi- retirement as a TEFL teacher and translator.
Robin was editor of the 12 year running on-line monthly poetry journal Poetry Life and Times. In 2013 he joined with Dave Jackson as co-editor at Artvilla.com, where he presently edits Poetry Life & Times.
He’s been previously published in a variety of international magazines, recent publications including Voices without Borders Volume 1 (USA), Cold Mountain Review (Appalachian University, N. Carolina), The Poetic Bond Volumes (thepoeticbond.com) and Phoenix Rising from the Ashes (a recently published international Anthology of Sonnets).
All the Babble of the Souk ©2015
Robin is a philosopher, poet, published author and more. It has been my privilege to reap the benefits of this man’s knowledge on an array of subjects. A man ahead of his time. A true visionary. ~Janet Caldwell, COO at Inner Child Ltd, author of the Author Den’s award winning “5 degrees to separation”
Robin is a brilliant writer and philosopher as well as a recognized poet. He is an editor and contributor for Poetry Life and Times and other publications. ~David Michael Jackson, Web Publisher at Artvilla.com
Robin is a highly innovative and gifted poet, who excels in writing sonnets, blank verse and haiku, and in translating poetry from Spanish into English. His work is first-rate. ~Richard Vallance, Linguist Linear B, Knossos & Mycenaean
…on All the Babble of the Souk
Gary Beck – All the Babble of the Souk is an elegant journey through both foreign and familiar climes. Anything but babble. Time and space bend in mysterious mists and mechanistic voyages. The poems pulsate with languid images that add to the wonder of travel to exotic places.
Scott Hastie – A collection of real substance that is long overdue. Robin writes with impressive depth and across a spread of philosophic stimuli that he makes uniquely his own. You do not have to travel long before you trip over killer lines, again and again… This is fresh, original and mature work, grown from one special creative soul’s well seasoned experience. Robin truly has a voice that is his own and it has been worth the wait to see it flower…
Robin Marchesi – High time this great Poet was properly in print. His Poems resonate like the work of Cavafy and Gibran. They are deep and revealing, resonating in one’s inner self. This book will stimulate your metaphysical being. Robin’s Poetry opens you to questions about who you are…. Essential reading……
R. W. Haynes – Robin Ouzman Hislop’s All the Babble of the Souk grips elemental tangles with wisely wistful authority, making a claim both for the adequacy of animate language and for erudite perception. Counterpointing the abstruse and the inescapably basic, these poems draw upon a power that surprises, engaging the reader in the poet’s heartfelt conversation with a tradition and its diverse voices, including T. S. Eliot and Dylan Thomas. Hislop’s retro-modernist recovery of vision argues for a refreshed perception of poetic possibility and a turn from the infinite regress of the verse which echoes the empty sophistry of twentieth-century language philosophers. Music, with its syncopation, minor chords, pauses, accelerations, jingles, knocks, and elegiac phrases constitutes a crucial part of the essence of this splendid collection.
Ian Irvine (Hobson) – The metaphor of the ‘marketplace’ or ‘bazaar’ – symbolic in this collection of public spaces generally (both physical and cultural/mediatised) – launches this remarkable collection of poems by a poet, editor and creative thinker of international significance. The ‘souk’ is a place of trade, chance meetings, overheard conversations and communal eating. This collection also links it to our post-post modern state of life in the face of cultural globalisation. However, rather than theorise key aspects of our world we are invited to explore them instead as states of being – with joyous and anxious dimensions. As the poet/narrator mingles, observes, samples and digests (in poem after poem) a colourful array of stimuli – sensorial, relational and intellectual – we gradually feel our perception of life and the species crisis/moment deepen and expand. The melancholy grandeur of the human predicament slowly comes into focus – largely through the poet’s gift of empathy. A wonderful selection of poems updating for the new millennia themes mulled over by the likes of Baudelaire (in Paris Spleen), Apollinaire (in Zone), George Oppen (in Of Being Numerous) and many other great 19th and 20th century poets.
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Review Phoenix Rising from the Ashes
An appeal to poetry critics to review The Phoenix Rising from the Ashes: Anthology of Sonnets of the Early Third Millennium
Since its publication in November 2013, The Phoenix Rising from the Ashes: Anthology of Sonnets of the Early Third Millennium, has generally been met with positive reviews from purchasers and poetry reviewers. As editor of the anthology, I for one freely admit that several authors display considerable talent, while some, I believe, are exceptional sonneteers who have penned poems, which may one day be viewed as masterpieces of the genre.
There are also scores of sonnets in languages other than English,French, Spanish, Chinese, German and Farsi, while the English sonnets run from page 15 to 135, comprising 60% of the total in the anthology, sonnets in all other languages span pages 142 to 222, accounting for the remaining 40%.
A number of reviewers have already accorded decent marks to the anthology and I sincerely believe that most new critics and informed readers will be able to dispassionately review the anthology. On the other hand, it is equally incumbent to flag at least a few of the sonnets which display considerable talent and especially those which you, as a reviewer, consider to be jewels, pièces de résistence.
I am not saying that those of you poetry critics who read English only should feel discouraged from reviewing the anthology. Far from it, it is generally taken for granted that the majority of literary critics of English literature are allophone English, given that English is almost universally considered lingua franca of the world. Of course, I also welcome bilingual or multilingual critics, who are well positioned to critique the remaining 40% of “foreign- language” sonnets.
I entreat those of you who are poetry critics to give your dispassionate opinion of the anthology, what we are looking for is an objective appraisal, insofar as it is humanly possible. It does not matter whether you find the anthology below average, average or superior.
Regardless of your overall appraisal of the merits and demerits of this anthology, I shall send you all your own copy of the PDF version. Finally, it would be beneficial to the editors and sonneteers alike if you would rate it on a scale from 1 to 5. Also, the Editor who is at present publishing this appeal, every reviewer should bear this in mind, has promised to publish any of the reviews providing they are fair minded & objective in at at least two of the three sites herein listed: Motherbird.com, Artvilla.com or Poetry Life & Times.
I am grateful for the endorsement of this appeal by Robin Ouzman Hislop of Poetry, Life and Times. Richard Vallance
The Phoenix Rising from the Ashes http://vallance22.hpage.com is also available in hard cover, soft cover and PDF formats from Amazon.com, Barnes & Noble and Chapters.ca, among other online outlets.
The home page of the author, Richard Vallance, now a well-established professional historical linguist of ancient Mycenaean Greek, is Linear B, Knossos & Mycenae https://linearbknossosmycenae.wordpress.com, which has become the premier site for research into Linear B on the Internet since its inception in 2013. An internationally acknowledged historical linguist, in 2015 he was published in an international European conference proceedings and in the prestigious annual, Archaeology and Science (Belgrade), and is set to be published later this year in at least one other major international venue for historical linguistics. He is also an active member of one of the world’s most professional research sites, academia.edu, where you will find his page at https://westernu.academia.edu/RichardVallance/Papers
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Those smiles – A Poem by Bhuwan Thapaliya
Forced from her cloistered life
she walked on the street
for the first time in her life
after the quake.
“Is it, the beginning of the end
of the Goddess reign?”
Somebody asked.
The living Goddess just smiled
and walked on and on.
Those smiles changed completely
the way we see our future and extol our past.
The earth begins to tremble.
The buildings begin to sway.
Is it, the beginning of the end
of the mankind reign on earth?
We may as a species, pass out, too.
The earth keeps finding something new.

Bhuwan Thapaliya works as an economist, and is the author of four poetry collections. Thapaliya’s books include the recently released Safa Tempo: Poems New and Selected (Nirala Publication, New Delhi), and Our Nepal, Our Pride (Cyberwit.net). Poetry by Thapaliya has been included in The New Pleiades Anthology of Poetry and Tonight: An Anthology of World Love Poetry, as well as in literary journals such as Urhalpool, MahMag, Kritya, FOLLY, The Vallance Review, Nuvein Magazine, Foundling Review, Poetry Life and Times, Poets Against the War, Voices in Wartime, Taj Mahal Review, and more.
Author
Amazon.com/Our Nepal Pride Bhuwan Thapaliya
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Reviews & Comments on Robin Ouzman Hislop’s Collected Poems. All the Babble of the Souk.
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All the babble of the Souk
all the life of the planet &
so little part of it, that I breathe
Janet Caldwell, COO at Inner Child Ltd, author of the Author Den’s award winning “5 degrees to separation” Robin is a philosopher, poet, published author and more. It has been my privilege to reap the benefits of this man’s knowledge on an array of subjects. A man ahead of his time. A true visionary
David Michael Jackson, Web Publisher at Artvilla.com Robin is a brilliant writer and philosopher as well as a recognized poet. He is an editor and contributor for Poetry Life and Times and other publications. ~
Richard Vallance, Linguist Linear B, Knossos & Mycenaean. Robin is a highly innovative and gifted poet, who excels in writing sonnets, blank verse and haiku, and in translating poetry from Spanish into English. His work is first-rate.
Gary Beck – All the Babble of the Souk is an elegant journey through both foreign and familiar climes. Anything but babble. Time and space bend in mysterious mists and mechanistic voyages. The poems pulsate with languid images that add to the wonder of travel to exotic places.
Scott Hastie – A collection of real substance that is long overdue. Robin writes with impressive depth and across a spread of philosophic stimuli that he makes uniquely his own. You do not have to travel long before you trip over killer lines, again and again… This is fresh, original and mature work, grown from one special creative soul’s well seasoned experience. Robin truly has a voice that is his own and it has been worth the wait to see it flower…
Robin Marchesi – High time this great Poet was properly in print. His Poems resonate like the work of Cavafy and Gibran. They are deep and revealing, resonating in one’s inner self. This book will stimulate your metaphysical being. Robin’s Poetry opens you to questions about who you are…. Essential reading……
R. W. Haynes – Robin Ouzman Hislop’s All the Babble of the Souk grips elemental tangles with wisely wistful authority, making a claim both for the adequacy of animate language and for erudite perception. Counterpointing the abstruse and the inescapably basic, these poems draw upon a power that surprises, engaging the reader in the poet’s heartfelt conversation with a tradition and its diverse voices, including T. S. Eliot and Dylan Thomas. Hislop’s retro-modernist recovery of vision argues for a refreshed perception of poetic possibility and a turn from the infinite regress of the verse which echoes the empty sophistry of twentieth-century language philosophers. Music, with its syncopation, minor chords, pauses, accelerations, jingles, knocks, and elegiac phrases constitutes a crucial part of the essence of this splendid collection.
Ian Irvine (Hobson) – The metaphor of the ‘marketplace’ or ‘bazaar’ – symbolic in this collection of public spaces generally (both physical and cultural/mediatised) – launches this remarkable collection of poems by a poet, editor and creative thinker of international significance. The ‘souk’ is a place of trade, chance meetings, overheard conversations and communal eating. This collection also links it to our post-post modern state of life in the face of cultural globalisation. However, rather than theorise key aspects of our world we are invited to explore them instead as states of being – with joyous and anxious dimensions. As the poet/narrator mingles, observes, samples and digests (in poem after poem) a colourful array of stimuli – sensorial, relational and intellectual – we gradually feel our perception of life and the species crisis/moment deepen and expand. The melancholy grandeur of the human predicament slowly comes into focus – largely through the poet’s gift of empathy. A wonderful selection of poems updating for the new millennia themes mulled over by the likes of Baudelaire (in Paris Spleen), Apollinaire (in Zone), George Oppen (in Of Being Numerous) and many other great 19th and 20th century poets.
Marie Marshall – Robin’s poetry is often just a ride, lines in little stanzas like
-
- holding all shadows to account
- The hag in her rags begs her bag
- holding all shadows to account
each a new thought after a pause for breath, or so it seems, each with an image that sparkles, almost with effrontery. That’s how I like my poetry – image, sound, and bare-faced cheek.
As the images pile up, or maybe I unearth more as I drill down, discovering depth in the poetry, I know he’s not your average Internet Joe, but a man with a mean, keen pen, he knows how to play, how to make free, how to brew poetry:
-
- Riding along in our dream machine
- our virtual reality all but a scream
- no exit
- blood on the wind screen, faithful Fido’s gone
- the machine’s a mess, – every where’s a gas.
A trickle through a diaphanous sheen
a thin crust peels, roll the dice
a question of ethics, the cost of life.
Y’know, somewhere along the line, Ezra Pound and John Cooper Clarke rolled dice for this man’s soul, and I can’t say who won. Maybe he walked away laughing while the bones still tumbled, soul intact. I hope so. He has the measure of our suburbs, seeing how
-
- the phallus of a Sunday afternoon
- gleamed cleaned cars
- the phallus of a Sunday afternoon
let us (you’re here too, and I have morphed into ‘we’) catch our reflection in that polished surface, wondering how to measure the depth of the shine. Meanwhile
-
- Danger, Deep Water, Keep Out
As if we could. The collection has the feel of a single work, as though the poet sat down, started at the beginning, wrote the middle, and stopped at the end. We ride. It’s the same ride all the time, but the scenery outside the window shifts, and fellow passengers come and go. Occasionally we get off, but only to stretch our legs
As we celebrate
life lies dead on the table
we eat it
The poet is aware of the shape of his work on the page, of its concreteness. The poet knows when to be serious and when not to, and he knows when to muddy the water of each with the other. When he says ‘Watch my stick’, you hear ‘This means you!’ The poet can make a dream return from the rubble of artifice. I know poetry when I see it.
Norman Ball, writer, author of Between River and Rock: How I Resolved Television in Six Easy Payments – Before I get to the book itself, I’d like to offer up a confession. Robin and I have, over the years, engaged in some fascinating discussions on such far-flung topics as Big Bang contrarianism, the mystery of consciousness, theories of memes, multiverses, Popper falsifiability and vitalism, just to name a few; in short, the usual water cooler chatter. Or maybe not. Robin’s a whole lot smarter than me. Nonetheless it’s a lot of fun trying to keep up. If you’ll forgive a mixed metaphor, we’re odd ducks of a feather.
For one thing, Hislop is not averse to the occasional Latinate or ism getting tossed into a stanza. Of course poetical exploration of High Concept puts one at odds with the prevailing penchant for concrete image and tactile adhesives. There are many in poetry today who insist that, if you can’t say something nice about a spatula, a garden hose or a lamppost, you have no business trafficking in periphrasis. Everything must be grounded in the real, they say—as if such a thing as the real really existed. If I may say, oh prevailing sentiment in poetry, get real.
So, perhaps All the Babble of the Souk is not for everyone. But then, what of any value ever is? Poetry marches under a Big Spatula and we all can’t be flipping fried eggs and hash. Besides, in the hands of a deftly abstract mind, abstraction is not exactly a kick in the head. Nor will it break the yokes and spoil your breakfast. What is a speculative poetic excursion, after all, but high imagination and eccentricity commiserating via language? Let the arbiters of bric a brac catalog the quotidian like good flea marketeers. Such people are born to rummage about in the attic and log their heirlooms on eBay. Hislop doesn’t trammel their kiosks. He has Big Thoughts to mull.
Fresh off a personally intense eye-mind exploration , I found myself greatly predisposed to ‘Maps’, a four-piece series of poetic aphorisms that offers some dazzling insights into how we demarcate our space, time and existence, and especially how these elements are conveyed, if not even defined, by our senses:
This notion of time having a real job to do immediately put me in mind of John Archibald Wheeler: “Time is what prevents everyt hing from happening at once.” Hislop may be onto something even more subtle: Does time keep chaos at bay, allowing time for our disparate senses to marry their qualia into a coherent universe? Perhaps those with Synesthesia are more evolved creators of worlds, their gaps between sound and vision less discontinuous.
‘Maps’ delivered me to a speculation I wouldn’t have reached otherwise. And I find that’s a critical function of Hislop’s poetry. It gathers, then points away. More important than the resolved landing place is how it offers a hospitable ‘symposium’, couching philosophical fields of inquiry within poetic metaphor from which the reader’s own speculative arcs can then rise and take tangential flight; speculations feeding speculations. What does resolution ever resolve anyway? Conclusions are overrated. The concrete of the concretists doesn’t exist in a world:
Imposed as an impression seeking an ineffable concrete in an abstraction which defies location. —from ‘Red Butterflies’
In ‘From Here to Silence, three’, he sets up a free will versus determinism tug-of-war stalked by Nietzschean recurrence and Leonard Susskind’s holographic 2D picture-show. You got a problem with that, Rod McKuen?
-
-
-
-
- Say we are not sui generis
- (the cause of yourself)
- we are homeostatic holographs
- dimensions in spectral parallel membranes
- our near eternal process to err
- along such a line we pass time in, time out but could we not cheat the butterfly effect?
-
-
-
The stanza ends on the plaintive hope, reminiscent of Kafka that our cycle of error could end if freewill achieved grace but for an instant. Let us hope that moment arrives as I’m so tired of breaking my shoelace the day before Thanksgiving forever.
Am I losing the yucksters in all the heavy universe lifting? Not so fast. Hislop can be funny too. ‘At a Slant’ has a droll quality that still draws a snicker if for no other reason than that we’re stuck, all together (‘but it’s the same for all of us!’):
The con of life
the weirdness of its melodramatic sham
how good we are at yesterday, tomorrow
always better than before
like, being had – in the process by it.
The juxtaposed tenses of being had cement the interminable predicament we share. No exit. But at least we perfect our yesterdays until such time as we resume them anew, becoming rank amateurs all over again; amateurs though with a difference, with a modicum of acquired wisdom and an almost imperceptibly elevated rank.
Okay, so it’s bleak, black humor. But there are shafts of light. One day, though maybe yet a half-eternity away, some butterfly will escape the dark matter of our descending shoe. (Butterflies pervade Hislop’s poetry.) We’ll be released to the next pristine universe armed with a butterfly-brain’s worth of hard-earned prescience. So yes, each successive Big Bang is not an unadulterated singularity. Some kernel of hard-earned wisdom gets borne through. Each new universe is a tooth on a slowly revolving gear that turns towards…perfection? In short, something barely better. Since Hislop asks, that’s what—I think, I hope—may be next: ask, the near infinite (in—the moment before you munch) take a bit of the biscuit before the Big Crunch it’s an eternal packet & having all, what’s next? —from ‘Lucky Hat Day’
All the Babble of the Souk will have you pondering your predicament in a whole new imaginative light. Reflect well my friend, as mindless impulsivity and materialist inanity are precisely what dangle this eternity over the present-day abyss. Therein may lie our paper-thin chance for freedom: by insect increment, one pardoned butterfly per eon at a time.
Richard Vallance, writer, author of Canadian Spirit Voices – If “All the Babble of the Souk” is anything but memorable — as it surely is — it is so because of its sweeping portrayal of the tumultuous market that is humankind. The “babble” of this bazaar is that of all the markets in the world — irrespective of nation, language, culture or race or for that matter, at the symbolic level, of any manifestation of our nature, be it “good” or “evil”, which are not opposing psychological or spiritual states as all too many naďvely imagine, but rather their subtle blending in our psyche. There is no suggestion of the presence or absence of God or a “god”. It is irrelevant. There is just humanity.
The poems, mostly quasi free form, some of them highly reminiscent of haiku, range from very short to a few pages long. Except for one poem and one only, Scale Free, in which we come face to face with some of the most beautiful imagery in the entire collection, and I quote:
A cuckoo taunts
high in the mountain
where are you?
there is not a single question to be found in the rest of the book. All the rest of the poems consist only of statements, some of them brief, others rather too long for my taste and some even downright convoluted. When this approach to poetry composition is carried to its extreme, it can and sometimes does result in the overly prosaic. That is the only real quarrel I have with this collection. Fortunately, there are only only a handful of poems which are painfully prone to the prosaic. Among these are Mannequins, the whole series Maps 1,2,3,4, The Prisoners, Non Linear and in particular Rust (which reads more like a scientific tract than a poem), none of which have any real appeal to me.
The rest of the poems run from agreeable at the very least to the truly amazing. Among those poems agreeable to the mind and/or the ear I count: Passage, At the Party, Here Comes the Moon, Multiverse, The Pine at the Summit and Wind upon a River. Others like these will more or less please the reader. But as everyone knows, we all have our own preferences for the kinds of poetry we like. The poems which appeal more to one person appeal less to another. The aforementioned choices are merely my own.
Next come poems which display remarkable talent, such as: After Dylan on the Ninth Wave (which I for one particularly like), Africa North (haiku-like), A Witch for Halloween (in which we find some of the most striking chthonic imagery in the book), Core (commendable for its brevity, economy of verse & imagery), Entanglements (haiku-like), Sequence 1 & 2 (haiku-like) and Story of a Rose.
I have a marked preference for the poet’s haiku-like poems. Haiku have always strongly appealed to me. In fact, I myself, along with Robin Ouzman Hislop and so many other truly talented haijin, have composed a considerable number of poems of this nature, many of which were published in the print quarterly, Canadian Zen Haiku (2004-2010), which is now out of print. Brevity is the soul of wit, and indeed of the memorable. It is Robin Ouzman Hislop’ s more compact poems which please me the most. There are exceptions, poems which are not haiku-like or are somewhat lengthier. There are some truly memorable lines in these poems. For instance, we have:
from Africa North:
A winnowing canvass tosses corn
and
… as fireflies in the blazing day.
and finally
In the gloaming a solitary reaper reaps its shadow.
(Reminiscences of Wordsworth’ s, The Solitary Reaper, one of the most astonishingly beautiful poems in English.)
from After Dylan on the Ninth Wave, there are a considerable number of memorable lines, which you can explore for yourself. The poem is not quite up to Dylan Thomas… a very tough act to follow!
and from Core:
reaching my eye’s peninsula
…
sudden scene, solitary strand
All of the poems in this class pleased me a great deal.
Now we come to the downright brilliant poems, of which there are naturally only a few. I might as well cite them all. They are Scale Free (a series of haiku-like lines & almost pure haiku), A Split Second Later’s Late, Laminations in Lacquer, Lucky Hat Day and Red Butterflies, all of which had a powerful psychological and spiritual impact on me. Here are just a few of the lines from these truly remarkable poems which really struck me, and I mean really —
from A Split Second Later’s Late:
… a serpent’s spit according to legend.
from Laminations in Lacquer, the gripping lines:
Fireworks like a diaphanous lithograph
print an emblazoned sky
on the craggy mountains of the night
where comets play at kites
& glistening the eerie beak hisses.
and from Red Butterflies, where we find some of the most highly inspired, truly imaginative lines:
but as a collage on shifting sands…
…
A sword brazed in a fire
that does not distinguish
between the battle
& the field.
I believe we can safely say that the poet has achieved a level of poetic style and content which can hardly disappoint. Some of the poems in in “All the Babble of the Souk” remind me of T.S. Eliot’s “The Wasteland”. Perhaps the most striking feature of this volume is the poet’s portrayal of humanity, which deprives us of any escape from the darker, more insidious depths of our human condition. The most striking imagery in the entire collection forces itself on the least flattering trait of of our nature, our tendency towards — I might as well say it flat out — bestiality, which leaps to the fore in the poet’s all too frequent comparison between homo sapiens and apes (King Simian, seeking simian), gorillas, baboons and other fierce beasts of that ilk, all the way to neanderthals, Australopithecus and the odious nocturnal lupine, the proverbial werewolf. Lines such as: the hairless ape, go ape, going bananas… all mercilessly zero in on our ape-like nature bedeviling our so-called civilized veneer.
There is also frequent reference to eating meat, and being eaten (we grow the meat we eat, those she didn’t eat alive, children simply to feed her, how they like human flesh, to be consumed by hell), all the way through to witchcraft and Zombie imagery. The dreadful presence of these creatures of the night inexorably lurks just beneath the thin veneer our blasé urbanity.
To cut to the quick, the most memorable qualities of Robin Ouzman Hislop’s poetic gifts are his penchant for economy of lines and the puissant imagery of the chthonic. Where these features dominate any poem, they impel it towards the nonpareil! Such poems soar. When it works, it works supremely well. As for the rest, there is much to please the reader.
of all that remains fruitless…A Poem by Richard Lloyd Cederberg

Anyone can kill
No matter what religion
Injects the morphine
Of a lofty consciousness
Or a glowing hereafter
Clouded sorcery
Perverting (the nature of)
With clever magic
Stealing spirit from moments;
Another piper’s flute-song
Cowards behind masks
Fighting for all lesser gods
A scaled death-blade sweeps
In an ancient hellish land
Abbadon brings blood and death…
They never adapt
Brabbling about religion
How much is wasted
Barren days they’ve borne the grief
Of all that remains fruitless
Hoping to transcend
(No matter what false promise)
One satinpod seed
Sees Hesperus at nightfall
Dancing with boreal signs
Everyone will die
No matter what religion
Injects the morphine
Of a lofty consciousness
Or one radiant heaven

August 2007 Richard was nominated for a 2008 PUSHCART PRIZE. Richard was awarded 2007 BEST NEW FICTION at CST for his first three novels and also 2006 WRITER OF THE YEAR @thewritingforum.net … Richard has been a featured Poet on Poetry Life and Times Aug/Sept 2008, Jan 2013, Aug 2013, and Oct 2013 and has been published in varied anthologies, compendiums, and e-zines. Richard’s literary work is currently in over 35,000 data bases and outlets. Richard’s novels include: A Monumental Journey… In Search of the First Tribe… The Underground River… Beyond Understanding. A new novel, Between the Cracks, was completed March 2014 and will be available summer 2014.
Richard has been privileged to travel extensively throughout the USA, the provinces of British Columbia, Manitoba, Alberta, and Saskatchewan in Canada, the Yukon Territories, Kodiak Island, Ketchikan, Juneau, Skagway, Sitka, Petersburg, Glacier Bay, in Alaska, the Azorean Archipelagoes, and throughout Germany, Switzerland, Spain, and Holland… Richard and his wife, Michele, have been avid adventurers and, when time permits, still enjoy exploring the Laguna Mountains, the Cuyamaca Mountains, the High Deserts in Southern California, the Eastern Sierra’s, the Dixie National Forest, the Northern California and Southern Oregon coastlines, and the “Four Corners” region of the United States.
Richard designed, constructed, and operated a MIDI Digital Recording Studio – TAYLOR and GRACE – from 1995 – 2002. For seven years he diligently fulfilled his own musical visions and those of others. Richard personally composed, and multi-track recorded, over 500 compositions during this time and has two completed CD’s to his personal credit: WHAT LOVE HAS DONE and THE PATH. Both albums were mixed and mastered by Steve Wetherbee, founder of Golden Track Studios in San Diego, California.
Richard retired from music after performing professionally for fifteen years and seven years of recording studio explorations. He works, now, at one of San Diego’s premier historical sites, as a Superintendent. Richard is also a carpenter and a collector of classic books, and books long out of print.
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Displays A Collection of Poetry by Gary Beck For Immediate Release

Unheard Arias
The purple finch and house finch
are unappreciated
by busy city dwellers,
who will never take the time
to listen for a moment
to their melodious song
that would please receptive ears
that are otherwise deafened
by the city commotion.
With religion, terror, and politics as closely related as ever, is it possible to live in our world without fear? With the obvious threat of extremists willing to kill for their god, we also endure domestic terrorism driven by similar motives, and the politicians who seek to use it all to their advantage for power. Poet Gary Beck explores many of the practical, emotional, and irrational responses to acts of terror with Displays, a collection of poetry that honestly examines the state of human reaction.
“We are impressed with your vibrant writing, emotionally impacted by your vivid imagery and awed by your superior craft.” – EM Literary Magazine
“The works you produce are unique and superbly written.” – Blackmail Press
“We really enjoy your use of imagery, descriptive language and insight.” – Avocet Magazine
Displays is a 140 page poetry volume. Available in paperback with a retail price of $11.99, and eBook with a retail price of $5.99. ISBN: 1941058361 Published through Winter Goose Publishing and available now through all major retailers. For more information or to request a review copy, contact Winter Goose Publishing at info@wintergoosepublishing.
http://www.amazon.com/Displays Gary Beck
Gary Beck has spent most of his adult life as a theater director, and as an art dealer when he couldn’t make a living in theater. He has 11 published chapbooks. His poetry collections include: Days of Destruction (Skive Press), Expectations (Rogue Scholars Press). Dawn in Cities, Assault on Nature, Songs of a Clerk, Civilized Ways, Displays (Winter Goose Publishing). Perceptions, Fault Lines and Tremors will be published by Winter Goose Publishing. Conditioned Response (Nazar Look). Blossoms of Decay will be published by Nazar Look. Resonance will be published by Dreaming Big Press. His novels include: Extreme Change (Cogwheel Press) Acts of Defiance (Artema Press). Flawed Connections (Black Rose Writing). His short story collection, A Glimpse of Youth (Sweatshoppe Publications). His original plays and translations of Moliere, Aristophanes and Sophocles have been produced Off Broadway. His poetry, fiction and essays have appeared in hundreds of literary magazines. He currently lives in New York City.
Winter Goose Publishing is an independent publisher founded in 2011. We are a royalty-paying publisher dedicated to putting out the best literature in prose, poetry and art; covering a variety of genres. Go to wintergoosepublishing.com for more information.
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Walkways. A Poem by Allison Grayhurst
Dual forming on slopes of darker minds.
Succulent nodes of effervescent whispers,
whispering Oh! Blood clots bending
in unison to sharp solstices.
Dig and reap tomorrow’s regrets,
piled on like love you thought was comfortable.
Comfort is a guard you let loose,
let down and found judgments –
platters to be served and roasted upon.
Singing for sale. A number left to a key. Fickle
verdicts oscillating between indifference and approval.
Release and acceptance – what else is there?
I am only unhappy when I want what isn’t.
Platypus cans of tonic – drink down, flushing
through organs. I see orange. Orange buses,
orange lines of direction on the road, in homes
where anger is held at stillpoint. One point
on a curve. I have lost my feathers,
all means of flight. There is nothing left
but hunger for the skyspace, outerspace, space
where I once travelled through meteor fields,
ballooning over planets’ edges like a seamstress,
owning it all before I got grounded, committed
to personal love and the necessity of graves.
Why did I come here? To cry for my loved ones,
hold vigil for the slaughtered pigs?
Centuries that just were, lingering, licking
on waves of vastness, licking dark matter like a candy cane.
Not a soul, but the planets vibrating their orchestra – deep,
varying at intervals, then again, and never changing.
God, what am I doing in the sunlight – on the sidewalks,
making room for children on bicycles?
Putting pressure on my shoulders so I cannot sleep,
cannot appease this malcontent.
Why did I leave – to connect with misplaced animals?
Babies only born? Looking for union when before
I thought myself whole?
Material made from the moon. I understand
the beauty of caves, the great sea turtle’s solitary plight…
but more and more – I never wanted more than you
again inside of me – infinity in corporeal form.
God separates to know Itself. God is only what we give,
awakening as we do to warmth and kindness – choices
under the wrap of gravity and yet, somehow,
lifted into altruism.
….

Smudges, under siege, patches of calcified tissue
and the swamp I enter in – fuming with failed love –
connections broken under the Buddha fire. Detachment
will not save me – nailed to the pavement stone, looking at birds.
Summer where have you gone? Smells rise to meet me,
and the air is still humid, pressing on my cortex,
corrupting my ability to choose joy.
Grasshoppers hopping. Will my heart be broken?
Again, again, squeezing, squished
fermenting at the sides, foaming and fizzling, burning sage, but
it is not good enough, not enough to teach me the strokes
or how to steady the raging chaos gestating large
in the pocket of my throat. Continents on fire,
inside organs necessary
to function – why the children? Why not me?
Livingroom-light-globe like a crystal ball,
opaque but powerful enough to predict possibilities.
I was never here before, never heard the angry rodents
vocalize, never slept with aching joints, dreams
of running low and ferns and moss
covering Zen-garden displays.
What else are we going to do here, but procreate, create,
dissipate and die? Van doors left open.
Lawn chairs on the road for pickup.
The windmill, the tilting tops of trees, heavy
with clusters of fresh pinecones.
I am an orange peel, orange, peeled, drying
next to the sewer grate.
I am limp with the weight, the burden of random happenings. Always I love you and always, I am breathing.
Take me into the arms of your protection.
I don’t want another day.
Mass of thick porous grey hovering, no space for hope.
Why the children? Couldn’t you spare just them and all
the up-for slaughter animals?
I am done with this place, the tripping curb,
callous indifference – the rippling consequences
of blind destruction.
….

Piercing, lingering, chiming out a hymn, lullaby on a chain.
Remorse to wade in like a sea-salt bath, absorbing
the past into the present cellular flow.
Mounds of construction sand, building and restoring roots
without life, chopped down at surface level.
Ideologies fuel, then turned to cinder by anger –
justified violence that violates the laws of love.
Skittering up stairs, the last time I held a leaf I held
your focused form, unable to stay the distance,
but stayed nonetheless near rudimentary desires.
I am cut like a lawn, smooth as carpet. See me now,
skateboarding, jettisoning over humps and bridges.
The wind – position me inside your storm. The last time,
strength enlisted an empty street – such vines
and beautiful stones!
Mercy in a crack, a masterpiece of twin creation,
outside art galleries – living wood, sleeping shapes,
inviting holes… holy as sex, sweet hands entwined.
Release into me as I release into you,
in mutual receptivity, clear direction, directing energy.
Dew drops evaporating, shining.
Our masthead – brittle, breaking. Even so,
how we are combined! Such glow.
It is glorious to know you like this
and not be afraid.
….

Laid low, laid out like soulmates never meant to meet
in this life, in the spectrum of folly and limitation.
A painting layered, re-mastered, re-mused and then,
burned by neglect.
Miniature moment of perfection, condensed
to hold a legacy in swirling matter, hard and glittering.
Fractures as long as a walkway
stretching the borders of a great body of water.
Stringing thoughts like a child’s dream. I know,
but I’ve learned not to take synchronicity so seriously,
learned there is only choice, and chance caved into,
selected to stand as fate – the end result, resulting
in a theory of complexities and open systems.
Stuck in the ground, protruding stilted like a statute.
Tell me it is true, that nothing pure is subjected to disease.
Crickets in the late morning.
When I am fixated, it is fantasy, false as poison in soup.
When I am lucid, liquid budding, my fingers are flames,
and all that they contact pulse with their heat.
Various clouds like currents perpetually pumping –
financial lack, and I, myself, curled up on the bottom stair.
Beds I defend, determined to lay in, over and over
hurting for considered crimes. Erasing perimeters, I clutch
at fraudulent mercies, securities of working furnaces
and washed hair. How to love damaged flesh, radiate love
for what is broken, far beyond romanticism, dangerous
as a cockroach and forever mutating –
translucent shells and pores – radioactive
and growing more grotesque under slabs of rotten wood?
Love, I do not understand you as I am older
and keeping up the climb. Medications and
broken down dishwashers.
Debt like ghosts that stick to my aura, smothering out the colour –
Oh weedy garden! Sparrow on my roof, talk to me for a while.
How can I love, middle-aged, half over, clear
of a younger person’s hope and indecision?
Pointing at ecstasy (a snail on my forehead) pointing,
pointing, stung.
….

Light that drips down the turnpike, onto roads
and ways far away from any window.
Blocks to build shelters and shields. Flags on flimsy poles.
A neutral breeze busting cardoors and
personalized licence plates.
Paved over, I see a carcass dripping, a little yellow flower,
smaller than a thumbprint.
Rust-coloured shawl, poncho that holds
great sentimental significance holds
me to a memory, old now as a ten-year-old untended garden
or pavement cracks grown into fissures.
Forging, face-like an image. Worm in my sink.
Blood and cup of nutritional joy.
Hold out for the grace of good music
and drying on rocks, nude in the sun.
Quiet heat building up into renewal. Tattered ankle cuffs
and shrinking shadows, mid-stream. Up,
up we go, insistent on making an impression.
But walk lightly is all I’ll ever learn, spoon-feeding the children.
I bloom and I will die a woman, a butcher of frivolity
and the natural sequence of things.
The day is one day – enough, taken
into its rolling waters,
a dog’s dream to join in, frolic in
some other species’ symbolism.
….

Come upon me like a feather-stick –
sectioning my abdomen like a fruit. Suddenly
toddlers are conversing and the grey cat
takes in the morning. Bundle of weeds,
bundle of flowers. An opening
under the burning canopy. Lifetimes spent
collecting synergy, male rhythms and fixed lines.
God is coming down to hide in your loose-change-pocket.
I dreamt of owning your praise. Swinging from the rafters
in a game of hide-and-seek, I sought your breath,
hand of destined chores.
I played along inside the circle, inside a sack
I could hardly breathe out of. Languishing. A round bruise
forming on my left arm. Place me here. Crown me
or stake me on a tall spike. I am sand thrown mid-air.
No place to collect and land, not even a wave, a bucket,
the forelock of a horse. Not even
thinking in a straight continuation, but there, there, a pebble
between paw pads, then, a minor note locked
in perpetual repetition.
….

Underguard. Crumbled tissue in my mouth.
A crazy way to run – hands in pockets.
Forward without, undeterred by reality.
Plywood I am keeping for emergencies,
for days when putting on the brakes just won’t suffice.
Speeding, retreating, torsos twisting beautifully in anticipation.
I used to make mortar by hand, no machine to ease
my impossible labor – brick carrying and scaffolding climbing
and voices that ceased for a while in my head, visions
foiled by exhaustion – overused and folding.
Injuries are bypassed for much larger connections.
Double-winged, it is all that counts, to be counted
like lightening, glazed like tile
and ancient bones kept as keep-sakes,
never a participant in trivial bickering or
watered-downed by petty grievances and
conditioned responses.
Sometimes I think of dying.
I think of the unread newspaper that stays folded,
wrapped in an elastic band.
I think of a broken bird making broken bird sounds,
too broken to be saved, treated by most
as a mild inconvenience
to be walked around and grimaced at.
Except by the man with the warm dark eyes, soft
furrowed brow, and a child who will not forget those mangled
wings or the hard lesson of helplessness, the inability to heal
or to be a vessel for a miracle.
It is hard to love me. I am hard, uncompromising
and never still. I am needing intimacy at every turn,
needing space to brood and build my solitary house.
I miss no one I’ve lost except the dead – a parent,
many animals that once shared my life. I am not easy, not
easygoing – bloodletting, bloodtesting, phone calls
avoided, coiled, almost mad and never understanding.
Sex and perfect reciprocation. Hands that know more
than words, keeping in the margins, layering synergy energy
into peaks and mounds, like mountains and fractal heartbeats,
fearless of falling, or of clouds. You and I,
it has to be our reward for not selling out, not
building cages of adult-overload, for constantly
clearing room for any divine equation no matter
how it threatens our already-precarious security.
We love our children, but not like others love.
We are less of this place, more reliant on grace
than our own worldly ingenuity to keep food
on the table, the bathroom fixed and cleaned.
Dear Jesus,
are you still mine, and I, yours? It is a lot to take in, decades and
mouldy walls. I am afraid of going off track,
of being dead and seeing there is no more I can do. That
it is done and inerasable. I am afraid of not feeling
the warmth of your hand when I walk, because
you are always holding my hand and I love you
with a personal love like Kierkegaard did –
his hunchback, a deformity that kept him pure.
And the loneliness.
Knowing you, but never any other.
I am not that alone, but I remember
space, lightyears of carved-out quiet. It enters me often
and I cannot get out of it. Breathing becomes separation,
a tool I must remind myself to use.
Remind me again, demand
my unwavering loyalty, trust, and all.
….

Paved paths, brisk
storm of senses, an old
opening, endless as a dug-in arrow –
head in the weeping jungle, the coolness
of autumn air brushing tombstones,
the thin necks of geese.
So much night in a single glass, body
and name together, replacing
existence with this inheritance and no other.
Rows of ships crowding the edge of the lake –
docked and bearing down for winter. The distance
grinds, gravel on my belly, cracked shells
in subterranean pages writing down dawns and victories
never experienced, only imagined.
Is it right to receive the bitter strawberry?
Drink its flesh like juice and
kneel before reality’s dictatorship?
Is it clarity? Or forgetting?
…

Escaping on the brook’s bank,
banking on nesting warm through
winter, but tears are horns that open
soft spaces, and autumn shifts heat and any hopes
for renewal. Love is fire –
from where it goes there are no shields to block
its scorching. Can we reach bottom in the rain?
Sing hosanna at the mountain’s base?
Becoming is the stone, the house, the wave.
The lines between us all are solid, no longer lines but
one heavy blanket of vibrancy, creaking, splitting.
I walk like I walk – barrel beatings,
borrowing crisp notions into my ears.
Stretched for a while to be compact again,
I hear an approaching intrusion, a high
wake, strong enough to travel on.
Stronger days of running through the weeded grass
where rabbits stand still at my passing
and insects move quickly into the shade.
Stranger days of watching a patio stone broken
from a storm – from a fallen tree that fell,
leaving me to find
meaning in such drastic weather.
….

Many years torn – a leaf, a paper towel,
half around the other side, locked
on the beach of my nadir – discipline
and a cold cruel courage, jammed into a groove.
Just the sunlight on my wall,
warming the wall, penetrating the heavy plaster.
I was born from a stem.
I fit on a chalkboard.
Over the cool half-formed moon
I hear an echo, smell the crisp lunar craters –
stagnant rocks, deep troughs to fuel
a million or more Earth dreams.
Scents of dead matter colliding,
of rough stone and endless rotation,
repetitive atmosphere
churning.
Behind a broken bark I hide my vanity,
rushing into quicksand, there I sink.
….

Ladle, ladder
I lay open under the covers, under
cloaks of heartless yesterdays. My mind
is a string that wraps around the outerscope.
I eat wild flowers, never the lamb,
infused with avoidance, spectacular
acrobats of keeping on, caring little for the outcome.
Blundering displays of over-dramatizing
self-aggrandizement revealing the wound
of stunted spiritual development
and crippled attempts at affection.
Round and happy, unstructured indulgences
justified by plump purse strings.
Falterings. Mistaken formations.
A perfect line in nature existing.
All the days I felt alone are behind me,
gathering leaves, misty-eyed overlooking
my home: kaleidoscope windows coming into view.
….

Once, gentle. Now, riled and nowhere but where
the stench of sewage is piled on the curb.
The gears of bitter disappointment snatching
you into a feral hold. Exotic tall weeds,
broken at the base.
Friendships are spoiled at the root, even love is
overshadowed by the decay.
Less obligation, less affection, less loyalty.
I must pretend we are healed, but the only healing
that happened was a cauterization of our severed bond.
There is anger but less hurt,
just the motions of getting through
undetected, and me by myself,
always alone –
separate happenings, entities, isolated
aspects merging, but never
whole. White car on the road.
Red car on the road. Silver then
blue. The only place absolute is
the place I left where faith was unnecessary
and all cells were one cell, not like here –
different functions – each dominated by its own survival.
No wonder love is weakened, can only achieve
a temporary claim on completion.
I accidently crush the insect with my heel. It is consumed
by another of its kind, carried off
into the hive of practicality –
a gesture void of remorse or sentimentality.
In the end, there is nothing but wires and fences
and frames of flesh, cartilage and senses. Tomorrow
there will be talk and tea and eyes
locked in intense recognition.
Good for the moment
Good until there comes
the something we want
more of, less of, had enough of….
….

For a while –
deathcamps, blue balls
baskin’robbins. Play tomorrow
the lute-song of today and remember
the ground-swell
pounding paradise into my brain, collapsing
from overload, reloading fodder
and flighty friendships I’ve lost use for.
Nothing counts, count on nothing but playfighting
over the bank, over the brim – rim – keeper
of the fixer-upper, of the still fire, fire still
as yellowed corpses. Mid-fall.
Fake it! Love! kindness, tenderness – be
polite, because very little is
anything you want to take with you.
Care-giver, carer of the children,
the laundry, pets and bank account.
It is all you are – rainstorm.
You must take this stone and swallow,
make peace with your burden, make love
with the swarming emptiness, stuck
in a gravitational pull,
planets, solar systems spinning around you
but you are heavy, must be,
unfazed by the pressured wind – stains
on the ground. Inside of you, chopped-up bits of fate
and crimes conceived before you
were born. Fake it, wallpaper it. Go on, try, smile
….

Fresh, potted
bright as an angel. Death is a whip
I put down. Ill health slumber,
but God is my mercy-king. Queen
of loving miracles. I will sing to
keep the right intention and grieve
minimally for what I cannot do.
Little red tree, no higher than
a toddler-child. Disco ball,
ball blue and gold,
twirl for me, let the grey dissipate into your
twinkling glow and all my blood into your veins,
little tree
plump and flourishing, readying for greater heights,
string-stream through me, weave me into your branches,
still firmly on the ground.
Angels everywhere I need your temperance. I need
to know my children are protected by your grace,
wing-spread, and even
your cold white eyes.
….

Gaze, focus, hold.
Unconscious stream
of raw fluidity streaming,
rising over barriers, drowning them
with the pressure of an open door.
Cracks of circumstantial disease,
creating pockmarks to expand destiny’s choices,
fashioning gifts to give,
earned by bomb-droppings
and low flying plane-explosions.
Cobweb parties, graffiti
on the skin of your back,
made with a blade as small and smooth
as the tip of a hawk’s feather.
Weaning off the burnt oak,
preening patches of grime.
Wake and rhyme, garden-keeper,
ambush your fear – it cannot be real!
Lungs run the same vibration as a flame.
It is hard, but not impossible. Gulp the sea
of senseless over-warming, pool the salt-taste
in your mouth, feel it
around your lip-rim, the sides of your cheeks. And there,
be safe, joining with the translucent swimmers, floaters
of prehistoric heritage.
….

Principles of duty
overtaking sleep like a wave.
Heavy love rooted in isolation,
reflecting the depths of true giving.
A condition turns to disease, restrictions
bare down. What is ordinary becomes like
a cage. Children in the drifting storm, drifting
on condensed-traffic streets, how I love you.
How I would do everything I cannot do to ease
the grip of your elephant shackles. Mine was the angel’s
autonomy, where nothing was miscellaneous and my bed
was a rich blackness that absorbed all time. Mine was loud
without noise or distraction, just the buoyant sparkle flow
of paired-off stars and the countless debris of ongoing creation.
Mine is yours now, inside less-than-working-organs, kidneys
like puzzle pieces, seamed together by an amateur.
Where are you now, God-who-remembers, reminds me
of what I once was? My God and Jesus of the lilies,
why the children? Why this fluke,
this bizarre nightmare crawling, closer,
closer than when I had no body, no loves to look after?
And oh I am tired, worn as an old shoe that must keep
the broken glass at bay. Where are you my God, my Jesus?
I know you are here. I know something, but not enough
to deflate my bloating anxiety. It is grief all over again and I
hide myself in older hands, friendless, unsupported, remembering
the wholeness in every flaw, in the universe’s veined light
I once travelled on. Remembering that what is flawed sparkles
with a unique variation of beauty, rainbow fractions, infractions
that are blessings that seep and saturate sinews
and bones, galaxies
perpetual, renewable
where everything sings useful –
seemingly incongruent, yet in truth, masterfully
precise.
….

Editor’s Note: All the photo images present in this poem have been made by the poet herself Allison Grayhurst.

Bio: Allison Grayhurst is a member of the League of Canadian Poets. Twice nominated for Sundress Publications “Best of the Net” 2015, she has over 825 poems published in more than 360 international journals and anthologies. Her book Somewhere Falling was published by Beach Holme Publishers in 1995. Since then she has published eleven other books of poetry and six collections with Edge Unlimited Publishing. Prior to the publication of Somewhere Falling she had a poetry book published, Common Dream, and four chapbooks published by The Plowman. Her poetry chapbook The River is Blind was published by Ottawa publisher above/ground press in December 2012. In 2014 her chapbook Surrogate Dharma was published by Kind of a Hurricane Press, Barometric Pressures Author Series in October 2014. More recently, her chapbook No Raft – No Ocean was published in October 2015 by Scars Publications. She also has a chapbook Currents pending publication this Fall/Winter with Pink.Girl.Ink. Press. She lives in Toronto with her family. She also sculpts, working with clay; www.allisongrayhurst.com
Some of the places her work has appeared in include Parabola (Alone & Together print issue summer 2012); Elephant Journal; Literary Orphans; Blue Fifth Review; The American Aesthetic; Agave Magazine; JuxtaProse Literary Magazine, South Florida Arts Journal; Gris-Gris; The Muse – An International Journal of Poetry, Storm Cellar, morphrog (sister publication of Frogmore Papers); New Binary Press Anthology; The Brooklyn Voice; Straylight Literary Magazine (print); The Milo Review; Foliate Oak Literary Magazine; The Antigonish Review; Dalhousie Review; The New Quarterly; Wascana Review; Poetry Nottingham International; The Cape Rock; Ayris; Journal of Contemporary Anglo-Scandinavian Poetry; The Toronto Quarterly; Fogged Clarity, Boston Poetry Magazine; Decanto; White Wall Review.
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Vehicle visions. A Poem by Ananya Chatterjee
It is snowing in Gulmarg.
I shut my eyes and try to imagine
a cold smoothness on my temples
My head drops to my gathered knees
as I sway to the slow ripples of Nagin
I become the flower-girl
on an abandoned shikara
Nearing the Hazratbal
As another sun vanishes
behind its dimpled dome
I sleep in my water villa
waiting to wake up
amid chants from
a sacred hilltop
The valley’s first snowfall- gushes the FM
I hit the brakes,
insulate my ears
against yanking horns
and prepare to leave
the metropolitan eve
It is snowing in Gulmarg- repeats the radio.
Changing channels, I shut my eyes
Somewhere, an RJ, plays “Paradise”.

Ananya Chatterjee is a software professional working for Oracle India Pvt Limited. A gold-medalist in Computer Science from The University Of Calcutta, Ananya has always been passionate about writing verses. She is a trilingual poet and translator in English. She is the author of the Amazon bestseller The Poet & His Valentine a collection of verses. Another Soliloquy and The Blind Man’s Rainbow are her other books. Her works have been published as part of the anthology on erotica, Hot Summer Nights by2014 by Inner Child Press Ltd., USA, as well as, as part of an anthology of Epitaphs, also by Inner Child Press Ltd., USA. Her poems were a part of “Soulful Whispers” – An Anthology of poems from the All India Poetry Competition 2014 By Poetry Society India. She was the winner of the Ekphrasis Poetry Contest at the National Poet’s Meet 2015. She has been awarded Certificate of Merit as part of Reuel International Award for Literature, 2015. Ananya also worked as a translator for the poems by actor and poet Soumitra Chatterjee, published in the book Forms Within. To find out more about her works, please visit www.ananyachatterjee.com
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PRESS RELEASE – GREY SUN, DARK MOON, a new collection of poetry by Trevor Maynard
casualty of war tumble down water of the weir rushing to my ear, sixty-three years and fourteen days is enough for a life every night, there is salt on my lips vomit in the sand, blood splattering in the loam bullets strafing, mortars, grenades, noise missing in action was something too uncertain it sent my wife to the arms of another it was six months before they found me not a casualty as such, more a deserter they arrested me, they did not shoot me a beating detached my retina, I was unfit six months more, they released me let me loose to see out the rest of the war as a civilian, no fatigues, only fatigue many thought me a coward, a shirker some a traitor, or a spy, most felt envy hating me for living while their lovers died tumbledown water of the weir rushing to my ear, then a rocket overhead, motor, motor, silent, whine one explosion, and one UXB, whimpering the boys came, did what they had to do mundane bravery, everyday courage lance corporal said “just a hunk of metal poor workmanship” “slave labour” added the captain, pipe flaring red they dragged me from the ruins my leg was broken, but I would live those that saved me did not see out the week the war finished – VE Day, VJ Day life failed to ignite, no passion it seemed brain something or other, quacked the doc ‘Bulldog’ – a tugboat reaches the lock so, I decide to wait, avoid the do-gooders tumble down of water rushing in my ears her lover died, a hero they say so the enemy are not only evil they are also the makers of heroes I took her back, it was the moral action their child became our child, an only child who did not understand why I hated her at five, she held my hand when I cried called me papa; at ten she spilt my whisky glass and I broke her arm, I just lashed out at thirteen, I divorced her mother told her she was not my child truth is always best; she scratched my face at thirty, her own children find me difficult they call me Papa Mike; at forty she told me “I forgive you, but I will never forget” tumble down of water rushing to the ear nineteen eighty three, gulls soar and dive stood on the edge of Richmond lock and weir tumbling, rushing, it became easier to drift my ex-wife died, her daughter banned me from the funeral - forgive, not forget if only that bomb had been better made I would now be one of the remembered a casualty of war, an innocent man but now, all I want is to forget, and be forgotten forgiveness gives me nothing except pain not even that anymore, simply numbness ‘Bulldog’ did drag me out, but the sweet kiss of breath went unheeded my time I guess, I had hoped for drama some meaning, some blinding light but all I felt was a sense of puzzlement why had I not done this way back when ©Trevor Maynard, 2015, from Grey Sun, Dark Moon
PRESS RELEASE – GREY SUN, DARK MOON, a new collection of poetry by Trevor Maynard
Publication Date: September 14, 2015, Amazon $19.99/£14.99
Contact: Trevor Maynard, poetry@trevormaynard.com
Website: www.trevormaynard.com
Press copies: Available on request in .pdf or paperback
Synopsis
Taking us from Sunrise, through Morning, then Later, into Dusk, and concluding with Night, this collection of poetry hovers in the shadows of melancholy, occasionally rising to joy, often falling to darkness; an intimate study of the human condition. “Trevor Maynard combines complicated thematic material and unites fractured images with a sure hand” (The Stage)
Details
The book consists of sixty-five poems divided into five chapters, written on or before 2015, with an appendix of author’s notes on ten of the poems, an index of first lines, details of the author’s previous works, KEEP ON KEEPIN’ ON (2012) and LOVE, DEATH AND THE WAR ON TERROR (2009).
The Chapters
SUNRISE, new life, the growing of awareness, the innocence of love
MORNING, change, the first half of life, time passes
LATER, the afternoon of existence, the coming of old age, the nature of being
DUSK, man in society, the violence of politics, the place of Man in Nature
NIGHT, the human condition, tragic narratives, the reality of love
Trevor Maynard biography
Born 1963, Trevor Maynard printed his first poetry pamphlets off an old Roneo machine and sold them to his work colleagues in the Civil Service. He soon returned to Higher Education, and wrote and directed his first play in 1986, before going to Royal Holloway College to read Theatre Studies and Dramatic Art. Over the next ten years he wrote and directed plays in London, Edinburgh and on tour. A collection of his one-act plays “FOUR TRUTHS” as well as the plays “GLASS” and “FROM PILLOW TO POST” have been published. In 2009, his first collection of poetry was released, LOVE, DEATH, AND THE WAR ON TERROR, inspired by his visit to the World Trade Centre in 1998 and 2004, as well as his birthday, 11th September, now hijacked by 9/11. Trevor also started the professional networking poetry group “Poetry, Review and Discuss” in LinkedIN (now 4,600 members) in 2009, and his second poetry collection KEEP ON KEEPIN’ ON was published in 2012.
KEEP ON KEEPIN’ ON (2012)
What a person writes is universal, because they themselves are human, and this can be words of ecstasy, of profound happiness; or it can be the depths of depression, the loss of love; or it can social commentary – putting the world to rights; or merely shooting the breeze – accessing the lexicon to have fun; but all in all, one thing poetry is, is emotional truth.
The Poetic Bond (www.thepoeticbond.com)
Trevor Maynard is editor of The Poetic Bond, an on-going series of poetry anthologies garnered from new media, social and professional networking, whose purpose is evolve organically a collection of poetry based on the emergent consensus of work submitted in a three month time window. To date, five anthologies have been published in paperback, with the fifth, published on 21 October 2015. Over 120 poets from 17 countries have been published, and in 2015, 802 poems were submitted, of which 56 made the final anthology.
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Big Boots To Fill (an original song by Norman Ball)
Editor’s Note under the present installation this excellent piece of video art music by Norman Ball, as below, a frequent contributer to Artvilla & Poetry Life & Times (see navigation bar) may take a few moments wait to replay.

NORMAN BALL (BA Political Science/Econ, Washington & Lee University; MBA, George Washington University) is a well-travelled Scots-American businessman, author and poet whose essays have appeared in Counterpunch, The Western Muslim and elsewhere. His new book “Between River and Rock: How I Resolved Television in Six Easy Payments” is available here. Two essay collections, “How Can We Make Your Power More Comfortable?” and “The Frantic Force” are spoken of here and here. His recent collection of poetry “Serpentrope” is published from White Violet Press. He can be reached at returntoone@hotmail.com.
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Press Release All the Babble of the Souk A Collection of Poetry by Robin Ouzman Hislop
Press Release All the Babble of the Souk published by Aquillrelle on Lulu. by Robin Ouzman Hislop.

Review of All the Babble of the Souk by Richard Vallance
Richard Vallance, writer, author of Canadian Spirit Voices=
If “All the Babble of the Souk” is anything but memorable — as it surely is — it is so because of its sweeping portrayal of the tumultuous market that is humankind. The “babble” of this bazaar is that of all the markets in the world — irrespective of nation, language, culture or race or for that matter, at the symbolic level, of any manifestation of our nature, be it “good” or “evil”, which are not opposing psychological or spiritual states as all too many naïvely imagine, but rather their subtle blending in our psyche. There is no suggestion of the presence or absence of God or a “god”. It is irrelevant. There is just humanity.
The poems, mostly quasi free form, some of them highly reminiscent of haiku, range from very short to a few pages long. Except for one poem and one only, Scale Free, in which we come face to face with some of the most beautiful imagery in the entire collection, and I quote:
A cuckoo taunts
high in the mountain
where are you?
there is not a single question to be found in the rest of the book. All the rest of the poems consist only of statements, some of them brief, others rather too long for my taste and some even downright convoluted. When this approach to poetry composition is carried to its extreme, it can and sometimes does result in the overly prosaic. That is the only real quarrel I have with this collection. Fortunately, there are only only a handful of poems which are painfully prone to the prosaic. Among these are Mannequins, the whole series Maps 1,2,3,4, The Prisoners, Non Linear and in particular Rust (which reads more like a scientific tract than a poem), none of which have any real appeal to me.
The rest of the poems run from agreeable at the very least to the truly amazing. Among those poems agreeable to the mind and/or the ear I count: Passage, At the Party, Here Comes the Moon, Multiverse, The Pine at the Summit and Wind upon a River. Others like these will more or less please the reader. But as everyone knows, we all have our own preferences for the kinds of poetry we like. The poems which appeal more to one person appeal less to another. The aforementioned choices are merely my own.
Next come poems which display remarkable talent, such as: After Dylan on the Ninth Wave (which I for one particularly like), Africa North (haiku-like), A Witch for Halloween (in which we find some of the most striking chthonic imagery in the book), Core (commendable for its brevity, economy of verse & imagery), Entanglements (haiku-like), Sequence 1 & 2 (haiku-like) and Story of a Rose.
I have a marked preference for the poet’s haiku-like poems. Haiku have always strongly appealed to me. In fact, I myself, along with Robin Ouzman Hislop and so many other truly talented haijin, have composed a considerable number of poems of this nature, many of which were published in the print quarterly, Canadian Zen Haiku (2004-2010), which is now out of print. Brevity is the soul of wit, and indeed of the memorable. It is Robin Ouzman Hislop’ s more compact poems which please me the most. There are exceptions, poems which are not haiku-like or are somewhat lengthier. There are some truly memorable lines in these poems. For instance, we have:
from Africa North:
A winnowing canvass tosses corn
and
... as fireflies in the blazing day.
and finally
In the gloaming a solitary reaper reaps its shadow.
(Reminiscences of Wordsworth’ s, The Solitary Reaper, one of the most astonishingly beautiful poems in English.)
from After Dylan on the Ninth Wave, there are a considerable number of memorable lines, which you can explore for yourself. The poem is not quite up to Dylan Thomas… a very tough act to follow!
and from Core:
reaching my eye’s peninsula
…
sudden scene, solitary strand
All of the poems in this class pleased me a great deal.
Now we come to the downright brilliant poems, of which there are naturally only a few. I might as well cite them all. They are Scale Free ( a series of haiku-like lines & almost pure haiku), A Split Second Later’s Late, Laminations in Lacquer, Lucky Hat Day and Red Butterflies, all of which had a powerful psychological and spiritual impact on me. Here are just a few of the lines from these truly remarkable poems which really struck me, and I mean really —
from A Split Second Later’s Late:
… a serpent’s spit according to legend.
from Laminations in Lacquer, the gripping lines:
Fireworks like a diaphanous lithograph
print an emblazoned sky
on the craggy mountains of the night
where comets play at kites
& glistening the eerie beak hisses.
and from Red Butterflies, where we find some of the most highly inspired, truly imaginative lines:
but as a collage on shifting sands…
…
A sword brazed in a fire
that does not distinguish
between the battle
& the field.
I believe we can safely say that the poet has achieved a level of poetic style and content which can hardly disappoint. Some of the poems in in “All the Babble of the Souk” remind me of T.S. Eliot’s “The Wasteland”. Perhaps the most striking feature of this volume is the poet’s portrayal of humanity, which deprives us of any escape from the darker, more insidious depths of our human condition. The most striking imagery in the entire collection forces itself on the least flattering trait of of our nature, our tendency towards — I might as well say it flat out — bestiality, which leaps to the fore in the poet’s all too frequent comparison between homo sapiens and apes (King Simian, seeking simian), gorillas, baboons and other fierce beasts of that ilk, all the way to neanderthals, Australopithecus and the odious nocturnal lupine, the proverbial werewolf. Lines such as: the hairless ape, go ape, going bananas… all mercilessly zero in on our ape-like nature bedeviling our s0-called civilized veneer.
There is also frequent reference to eating meat, and being eaten (we grow the meat we eat, those she didn’t eat alive, children simply to feed her, how they like human flesh, to be consumed by hell), all the way through to witchcraft and Zombie imagery. The dreadful presence of these creatures of the night inexorably lurks just beneath the thin veneer our blasé urbanity.
To cut to the quick, the most memorable qualities of Robin Ouzman Hislop’s poetic gifts are his penchant for economy of lines and the puissant imagery of the chthonic. Where these features dominate any poem, they impel it towards the nonpareil! Such poems soar. When it works, it works supremely well. As for the rest, there is much to please the reader.
Overall rating: 3.75/ 5
Richard Vallance

Richard Vallance, meta-linguist, ancient Greek & Mycenaean Linear B, home page: Linear B, Knossos & Mycenae, https://linearbknossosmycenae.wordpress.com
PINTEREST Boards: Mycenaean Linear B: Progressive Grammar & Vocabulary,
https://www.pinterest.com/vallance22/mycenaean-linear-b-progressive-grammar-and-vocabulary and, Knossos & Mycenae, sister civilizations, https://www.pinterest.com/vallance22/knossos-mycenae-sister-civilizations
Also poetry publisher, The Phoenix Rising from the Ashes: Anthology of sonnets of the early third millennium Le Phénix renaissant de ses cendres : Anthologie de sonnets au début du troisième millénaire Friesen Press, Victoria, B.C., Canada. © August 2013. 35 illustrations in B & W. Author & Title Indexes. 257 pp. 315 sonnets & ghazals in English, French, Spanish, German, Chinese & Persian.
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PRESS RELEASE. The Poetic Bond V.
PRESS RELEASE PRESS RELEASE PRESS RELEASE PRESS RELEASE PRESS RELEASE PRESS RELEASE

Willowdown Books is pleased to announce the poems
A Split Second Later’s Late and The Split
by
Robin Ouzman Hislop
have been chosen for inclusion in the international poetry anthology
THE POETIC BOND V
CELEBRATING FIVE YEARS OF GLOBAL POETRY
ISBN 978-1517783808
Publication Date 21 October 2015
Available from www.thepoeticbond.com and across all AMAZON Channels
Summary Review
A Split Second Later’s Late “Hangs brilliantly on the edge, visually stunning, there is a breadth to the language that is very satisfying.”
The Split “A challenging piece, revealing the debates of Wu Ch Eng En and Chuang Tze, and prompting the reader to research. The tone of philosophical enquiry is well held giving a feeling of profound truth.”
(Trevor Maynard, Editor, The Poetic Bond Series)
Robin Ouzman Hislop is the Editor of the online journal Poetry Life and Times (see Artvilla navigation bar above) & Facebook Pages of Poetry Life and Times and Artvilla.com (see links below) – which are extensions of the website Artvilla.com .He’s published in a variety of international magazines and a recent Anthology of Sonnets: Phoenx Rising from the Ashes.
Previously Robin has appeared in The Poetic Bond Series with his poems “Red Butterflies”, “From Here to Silence”, and “Far from Equilibrium”
The Poetic Bond V
POETRY THAT BONDS US
1. Thirty-six poets from 11 countries were selected through a submission process in which there were no restrictions on form, style, length of subject; instead the choices made were on the basis of emergent themes and congruency in the pool of work; a snapshot of the poetry of new media NOW, seeking to capture the zeitgeist of the moment.
2. Trevor Maynard, UK based poet and writer, manager of Poetry, Review and Discuss Group, a major poetry group on LinkedIn. His new poetry collection KEEP ON KEEPIN’ ON (published in 2012). He is also the author of several plays. Further information can be found at our Artvilla site Poetry Life & Times (see navigation bar above)
3. The Poets of The POETIC BOND V (2015) are; Amanda Judd (Virginia, USA), Belinda DuPret (West Sussex, UK) Betty Bleen (Ohio, USA), Bonnie Flach (California, USA), Bonnie Roberts (Alabama, USA), Brian McCully (Victoria, Australia), Caroline Glen (Queensland, Australia) , Christine Anderes (New York, USA) Cigeng Zhang (China), Claire Mikkelsen (Alabama, USA), Clark Cook (British Columbia, Canada), Diane Wend (Dorset, UK), Rhona Davidson (West Yorks, UK), Frances Ayers (New York, USA), Freddie Ostrovskis (Derbyshire, UK), Gilbert Franke (Texas, USA), GK Grieve (London, UK), Ian Colville (Bedfordshire, UK), James Sutton (IOWA, USA), Jill Langlois (Illinois, USA), Joseph Simmons (Maryland, USA), Julie Clark (Kent, UK), Kewayne Wadley (Tennessee, USA), Leander Seddon (New South Wales, Australia), Linda Mills (Oregon, USA), Marli Moreira (Brazil), Nana Tokatli (Greece), Neetu Malik (USA), Peter Alan Soron (Cheshire, UK) Pushpita Awasthi (Netherlands), RH Peat (California, USA), Robin Ouzman Hislop (Spain), Sonia Kilvington (Cyprus), Trevor Maynard (Surrey, UK), Wendy Joseph (California, USA), William diBenedetto (Seattle, Washington, USA)

PRESS RELEASE PRESS RELEASE PRESS RELEASE PRESS RELEASE PRESS RELEASE PRESS RELEASE
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Without imitating self…A Poem by Richard Lloyd Cederberg

For writers there is a perpetual flow of ideas; a few are original, most are not. There is a good argument that originality loses its spark if one’s efforts are contrived, or done to gratify personal needs, are overly-influenced by another’s work, or become too intellectualized. Following are some darting thoughts about the process and what, I’m convinced, embodies creativity’s most valuable aspect of being able to think and act independently:
Poetic-prose…
____________________________________________
Those who strive for originality…
those
who purpose
to remain vibrant,
or vigorously focused
without succumbing to some
caricature-of-self; resolving
more as a guileless
voice,
reflective
incendiary
(intellectually),
germane, perhaps,
without looping or lapsing
into mannerism or affectations;
a personal challenge to remain original
without contention, or imitating self, or passing off
an old model-of-self; some contrived effort
to be seen with favor, (or)
to relive the
warmth and joy of
past seasons and victories
by re-hashing what once worked
~
attitude
pulling ideals
out from the ruts,
figuring the perfect-fitness
of what is shared while
defying branching
compromise
(in which)
ones
penned inventions
reflect only the sniveling drivel
of a writer’s beleaguered life…
~
…..luminous light
encircling
achievement in a false nimbus
invariably forces the greatest achievers
to their knees (temporarily) to reveal (to them)
(and to all those watching) that no human
is the full-bottle on anything…..
~
It’s wearying
(at times) finding
health in an art-form
where opinions are like weeds;
where arrogance becomes a shield
(to keep hidden all pecking-insecurities);
where the ceaseless cacophony of ‘me-noise’
refuses to understand why another’s hopeful face,
glowing from within, decays day-after-day,
or why a philosophic man is
obliged to mull a
lake’s health
in winters savagery, or
why faith causes the steadfast to
pause – momentarily – admitting they are
fully content to die in fields of common grass…
~
Knowing
every epoch
has its makers,
as every masterpiece
has (hidden in its guts) some
awful struggle; or perhaps some loss,
or life-altering circumstance, which
addresses the human-condition
with heedful strength as
altruisms-insomnia
bears an ongoing challenge to
palliate human-suffering and – if somehow
blessed to do so – (if only briefly) becomes
more archetypal than all originality
pawned-off with only
the faded colors
of worn-out dollar bills…
“When power leads man towards arrogance, poetry reminds him of his limitations. When power narrows the area of man’s concern, poetry reminds him of the richness and diversity of existence. When power corrupts, poetry cleanses.” John Fitzgerald Kennedy
August 2007 Richard was nominated for a 2008 PUSHCART PRIZE. Richard was awarded 2007 BEST NEW FICTION at CST for his first three novels and also 2006 WRITER OF THE YEAR @thewritingforum.net … Richard has been a featured Poet on Poetry Life and Times Aug/Sept 2008, Jan 2013, Aug 2013, and Oct 2013 and has been published in varied anthologies, compendiums, and e-zines. Richard’s literary work is currently in over 35,000 data bases and outlets. Richard’s novels include: A Monumental Journey… In Search of the First Tribe… The Underground River… Beyond Understanding. A new novel, Between the Cracks, was completed March 2014 and will be available summer 2014.
Richard has been privileged to travel extensively throughout the USA, the provinces of British Columbia, Manitoba, Alberta, and Saskatchewan in Canada, the Yukon Territories, Kodiak Island, Ketchikan, Juneau, Skagway, Sitka, Petersburg, Glacier Bay, in Alaska, the Azorean Archipelagoes, and throughout Germany, Switzerland, Spain, and Holland… Richard and his wife, Michele, have been avid adventurers and, when time permits, still enjoy exploring the Laguna Mountains, the Cuyamaca Mountains, the High Deserts in Southern California, the Eastern Sierra’s, the Dixie National Forest, the Northern California and Southern Oregon coastlines, and the “Four Corners” region of the United States.
Richard designed, constructed, and operated a MIDI Digital Recording Studio – TAYLOR and GRACE – from 1995 – 2002. For seven years he diligently fulfilled his own musical visions and those of others. Richard personally composed, and multi-track recorded, over 500 compositions during this time and has two completed CD’s to his personal credit: WHAT LOVE HAS DONE and THE PATH. Both albums were mixed and mastered by Steve Wetherbee, founder of Golden Track Studios in San Diego, California.
Richard retired from music after performing professionally for fifteen years and seven years of recording studio explorations. He works, now, at one of San Diego’s premier historical sites, as a Superintendent. Richard is also a carpenter and a collector of classic books, and books long out of print.
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The Sun Machine: Inside the Mind of David Bowie. Paul A Toth & Norman Ball
Take a walk inside the mind of David Bowie as he cross-examines his younger days. Rather than a documentary, this is an exploratory journey….a Specumentary based on research conducted by Norman Ball and directed by Paul A. Toth.
https://youtu.be/qwYvcAN-TH0

My bio: Paul A. Toth is the author of four novels, including his 9/11 based Airplane Novel (2011), noted by USA Today as the 4th Best Independent Novel of 2011. His latest is Let’s Go Shopping, The War Is Over, a collection of his best short stories. He is also the founder and publisher of Eye Am Eye Books

NORMAN BALL (BA Political Science/Econ, Washington & Lee University; MBA, George Washington University) is a well-travelled Scots-American businessman, author and poet whose essays have appeared in Counterpunch, The Western Muslim and elsewhere. His new book “Between River and Rock: How I Resolved Television in Six Easy Payments” is available here. Two essay collections, “How Can We Make Your Power More Comfortable?” and “The Frantic Force” are spoken of here and here. His recent collection of poetry “Serpentrope” is published from White Violet Press.
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Thanksgiving Prayer by William Burroughs
-
To John Dillinger and hope he is still alive.
Thanksgiving Day November 28 1986
Thanks for the wild turkey and
the passenger pigeons, destined
to be shat out through wholesome
American guts.
Thanks for a continent to despoil
and poison.
Thanks for Indians to provide a
modicum of challenge and
danger.
Thanks for vast herds of bison to
kill and skin leaving the
carcasses to rot.
Thanks for bounties on wolves
and coyotes.
Thanks for the American dream,
To vulgarize and to falsify until
the bare lies shine through.
Thanks for the KKK.
For nigger-killin’ lawmen,
feelin’ their notches.
For decent church-goin’ women,
with their mean, pinched, bitter,
evil faces.
Thanks for “Kill a Queer for
Christ” stickers.
Thanks for laboratory AIDS.
Thanks for Prohibition and the
war against drugs.
Thanks for a country where
nobody’s allowed to mind their
own business.
Thanks for a nation of finks.
Yes, thanks for all the
memories– all right let’s see
your arms!
You always were a headache and
you always were a bore.
Thanks for the last and greatest
betrayal of the last and greatest
of human dreams.

After Dylan on the Ninth Wave. A Poem by Robin Ouzman Hislop
After Dylan on the Ninth Wave.*
The force that through the green fuse drives the flower
Drives my green age – Dylan Thomas (1914-53)
Worm’s Head on Rhossili beach’s
Rocky peninsula
Crags that jut in the eye’s squint.
A bellying belly capped by a pixie cone
In a turn around bay, on a turn around tide.
Long levelled backwater mud banks
Bogged to the edge of another shore
Down dusk grey fallen sky
Misted on slow dark billowy waters
Slip to the rippling sand’s brink
Break with a sigh from the far horizon’s
Foggy veil’s sheeting light
That winks in the blink of a squint
As clouds rush down, head on.
Whilst the man on the hill
Beach up from the dune in heather, fern
Cliff path & bleats of rolling flocked wool
Wanders side on against Gods & Goddesses.
The might on high of ancient deities at play
In their buffoonery with the day
As they rollicked & frolicked
Harangued & battled for naught
Other than gainsay for the man on hill.
To push him & pull him, hither & thither
As his shadow swelled & swathed him
Down under into the rock below
Whilst they in their lightning & terrible frightening
Also would fall from their lofty citadel
Although immune from his suffering
To rage, rage against the dying of the light
To like him in their burial.

Worm’s Head on the Gower Peninsular was a well known haunt of the Welsh poet Dylan Thomas, also known for his prodigious drinking bouts from which he sadly died at the age of 39 in a New York bar. It is recorded he was once stranded on the Worm’s Head when cut off by the incoming tide from the mainland. Origins of the name Dylan in pagan mythology can be found in the Mabinogion, where he is described as the Son of the Wave, a Sea God born of the Goddess Arianrhod. Robert Graves in the White Goddess describes the mythological source of Dylan, as the Divine Child born on the Ninth Wave and sometimes ancient graphics depict a naked man caught by fishermen in a net are held to refer to Dylan. Its etymology variously ascribes the root as ‘The wave that floods’, ‘The flood that recedes’ and ‘The tide that returns’.
Lines in italics from Dylan Thomas’s Birthday Poem at Laugharne Bay & Do not go gentle into that good night.’

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All the Babble of the Souk
The Sonnet Project. Sonnet 29
“In disgrace with fortune and men’s eyes,” a reincarnated Bard finds inspiration outside the Old Town Bar at Union Square, Manhattan.John Hayden directed this film for The Sonnet Project. Tom Degnan is the lead actor.
The background information on the sonnet’s page at the website includes this interesting tidbit:
The feeling of uselessness, outcasting, and disgrace in this poem is thought to be related to the 1592 closing of London playhouses as [a] result of an outbreak of the plague, causing Shakespeare and other actors to live with small wages, and be looked upon as filthy by town society.
Also, click the “actor” tab there for more information about Degnan than either IMdB or Wikipedia currently provide.
Needless to say, if Shakespeare were alive today, he’d be writing screenplays for television, and probably penning rap lyrics in his spare time.
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Slanting. A Poem by Robin Ouzman Hislop
Chintz Tambourine clash Smash (music) A piping wail Hoots Day of the Cars A graze of grass sheep Hedgerow making a hegemonic skyline Wires cutting clouds Wonky dyke drive in Nettle Eureka Stacks without smoke Wrought iron window - Blurs a face in pastel blue. Day of the Crane Rocks the hill Lateral this time Just cross over Chevron bypass The high street's as empty as the daytime Every where's empty even out back The sky, the trees with no leaves Noticeable about the playground The sand Following the big black glass At the transport station – I walk into you. The skull in the bramble's Picked clean by scavengers Old before your time. A selfie on the road Skull time is skull time Smashed in a white torrent rolls A giant shining black trunk Cactus wave, nod, interested observers. Now's for the winding Next, you'll dry up But now the lagoon is – action. You're so pretty squatting amongst the rocks Which keep their own rites Remember how clean you look in the forest Nobody's like you. Look down, i'll look up. Back again, every where's deserted Kinda eerie There's a fence between me, the rest. Dense foliage. Smoke on the horizon The enclosures are the worst Because they look like the best then get you. Blow sky Don't diminish more I can scarcely keep you in. A high nest on the lowlands Here come the Imaginals. Watch my stick. Into the mouth of the cave's roar A flood freeze Does time freeze, flood or fall? Nosey Chico. Perspectives unfold Nice profile Chewed up most of that. Day of the Crane Rock cleaver. Leveller. Beauty keep your eyes shut Where's it gone Oh shit Rotate baby Suspicious, wandering abroad without visible Means of support. A white cathedral In a city through the trees with leaves Who could ask for anything more Skip along Moonlight through the pines Hogey. Cakes. Nifty. Hooded. Get the picture! There's something about moss Life's tough Short cuts are stressful, as well Out in, in out That's landscape cheating in the original! Repetition is not completion. Say panter not panther I'm in saliva Wrangle, tangle I bear witness to your fall Helpless before your might It's your deal. Coming back, it's still deserted Day of the Crane. Day of the Car Hood into the snow Much time spent waiting Come over here sweetheart. After the bath Night lights. Skyline a selfie. Scarfed. We come in peace – so what! Grotesque obelisks – endure us It's just days for you! A portrait will do On the street, no one meets first one, last one, beggar man, thief Fame as we all know is an illusion, What's upstream? Day of the Imaginals. Share, share alike who's pulling who? Deserted again Framed. A solitary mister On the look out in the lowlands Halfway bridge, cross both ways Under the arches Just a step, careful - Upstream, downstream, in the stream, where! That's it, stand in the middle. Rain drops, bird shit Fractals in summertime Who's lost? In the circumference, on the periphery Roll, Primroses wild in a meadow sweet straw hat Arms akimbo She, he munching the same cud. Moving on is a must The great, the small huddle Stone, - paper in the solarium. Day of the Crazy Carnival, Flags, crucifixes Pattern soliloquy with a dazzle but the antennae steal the show in an odds on – hurrah! Lotus versus lilies, splatter the pane As magic appears again, in a sliced frame. A saloon's interior – plus furnishings A dilapidated roof where the green abounds Weather matters in the symmetry. Footpath. Wind generator. Harvested field Fern On the way she pirouettes on air, there To the Pond Fish, fishermen An hour ago Temporary emergency Closure 3 ways to nowhere Pay Here Go green at the Pond Day of the Pond. White mannequins in high window A getting wed celebration Shot on location, city in a window According to law. Story of a dog, what follows on High rise, she poses in a garden of roses Frog at Pool Farm Do not touch Danger overhead. Loose dogs on patrole. Pick your own here, at a price. It's an unnatural dead end A National Trust cul de sac Back at the farm – a fine day To grow, property. Leftover tractor's out a world war relic an outlaw, unwanted in every land. A 30 foot the wind generator Heralds the patchwork downs Behind the field the battery foreclosure Non-giving slopes, scrub A fine day for what, unrelenting power! Everybody knows reflection deceives Water lilies, moor-hens Sunken branches in their shadows Are all in their boundaries Layers of surfaces where we drown in shine across on the peripheral horizon In attendant regard they stay in non committal stares on the edges of muddy banks. So expensive – Monumentals Shoppers in displays. Christmas trees Identifiable by their electric coronas. Streets are ghosts Mew in the park Stay, forever stray. Coffee table bird time Perch which-a-way You peek that-a-way I'll peek this-a-way Look straight up. More monuments Inside crinkly colours Embalmed in sweets Outside more ghosts Even with the ladder You carry to climb out from Where the shadows carry you. Clipped in a mirror on a silver stair A sectional action recorded In a space time bloc Whose being had! Tombstone blues on the pavements Bull fights – Bull shit Make my day. Paper floats as air boats Hanging besides the stair Clock on the wall Locked door Glass walls Sit in the New Gardens Paper refreshments, art décor All the world's a collage On your doorstep On the polished wooden bench Where you mustn't die On this occasion in the Arcade. Lest we forget Time branches in the mist A mix of entropies. Artifice in perspective From a high window watch the queue In the rain paying to go in. I'll watch you walk out Follow your backs Against the back of the day A day's visit down river, bank bikes Cathedral caught in a glimpse Between trees Instanced in a stacked stance The barges being for the other. Under the bridge again Cat on the roof, (Black) There was a plague A multitude in pastiche Heads up everywhere Old Masters eternally retouched Ghosts forever young, where we fade. Offices to let Sitting out history on the lawn Where no birds sing, a few pigeons Alms at the Workhouse, hard times Every tower aspiring sweetly like a flower. Sheer in carved stone it looms before its minions Inside the double white non parking line We stand around between pickets In the name of tyranny. To see or not to see, mere mereness of distortion As if the far side were the other side. As if One step were an inexorable impossible reach Not to its impossibility but to serve only ruins. Daytime is a sham of inverted symmetry. Beyond the blur It glows down the strand Hidden in foreclosure A gem gleams. On crowded sunny days Heroic kudos to their statues On a deserted place by night A glittering cone of light A winter festal. Emptiness. A grey bell tower chimes the hour Adds a person in less than a minute. Bubbles beneath the surface Amazing amber in golden silt The hazes are in flight Bridle the day Growth, overgrowth is not so lush Wreckage of our spoil A poisoned banquet for all But for a day. We must peer down There's room in the street for us The ultimate consummation Hunger is a cause Try it side on – both The wood's laid out in plan Round another magic bend Behold, Day of the Plague. Access to the land is denied Use your wristwatch after arrival Don't look now - it's behind you At last form, lilac on the hill Time to pose. Lets try it in reverse Turn twice, above us only bell How picturesque, the large By the wayside, which side are you on? A relic of yore, want to play? No exit from the bus stop Is this an argument for sufficient reason? Almost spot on Suddenly it's lilac again Whose playing anyway? Another time Close up you fall but shouldn't Close close the water waits Waits more still, the whichaway sign Advances the retreat. A garden of your own Tooth in claw after all No where’s safe. What's that A workhouse turned theatre Burlesque in a cartoon charade Civilisation is never far away Just round the corner in fact Follow the path you can't get lost Names name names. It will have to do It's choice after all, isn't it. Either the sky or us Take your pick Is it a UFO or the government. Only the downs sing on Caught up pointing nowhere A place from before On the crown of its own desolation. Meanwhile on a broken wing Clouds tangle with the moon's moment A sufficient distortion of fact.
Robin Ouzman Hislop was an Editor at the 12 year running on line monthly poetry journal Poetry Life & Times, now at Artvilla.com, as its Editor. He has made many appearances over the last years in the quarterly journals Canadian Zen Haiku, including In the Spotlight Winter 2010 & Sonnetto Poesia. Previously published in international magazines, his recent publications include Voices without Borders Volume 1 (USA), Cold Mountain Review, Appalachian University N Carolina, The Poetic Bond Series, available at The Poetic Bond and Phoenix Rising from the Ashes an Anthology of Sonnets. He has recently completed a volume of poetry, All the Babble of the Souk , publication now available. He is currently resident in Spain engaged in poetry translation projects.
From A to B. A Poem by Robin Ouzman Hislop
From chaos to drift,
the inhuman landscape,
snatches of music,
ensnared in the fiction,
the inescapable illusion of our being.
The dream returns,
half remembered, half forgotten,
False flick, false form, but falseness close to kin,
From the rubble of artifice,
The wreckage of the day long gone,
But things must go their own way
Reborn as myth from the commotion its left,
Beyond our control,
Where humans must enact their fate
From chaos to drift.
From A to B
stomping between being
it is what it is not
& is not what it is,
the big arsed hairless baboon
from what it’s left to what it will be
A to B the myth of it’s morality,
the memory of what it’s forgotten,
what it should be, at play with the day.
A to B, in the transit shift of the scene,
closes the world where we belong,
without belonging in it all,
at that point beyond fiction,
the nothingness which is everything.
Notes towards a supreme fiction. Wallace Stevens.(italics mine)
Being and Nothingness. John Paul Sartre.(italics mine)

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All the Babble of the Souk
Pablo Neruda Documentaries
Pablo Neruda died at the age 69 allegedly from advanced prostrate cancer just 12 days after the military coup by Pinochet, which unseated his close friend Salvador Allende the left wing reformist President of Chile. Gabriel Garcia Marquez hailed Neruda “the greatest poet of the 20th Century in any language”.
It was well known where his political sympathies lay and he was advised by the Mexican Embassy to go into exile. The day before he was due to leave he was rushed to hospital where he died suddenly. Over forty years suspicions have remained of foul play and that he was poisoned. One of the arguments being that he was a danger to the new government because he would write against their regime from Mexico.
In 2013 a Chilean judge ordered his body be exhumed and autopsied, which was carried out in April of that year. In November, the official report of an international forensic team stated they could find no evidence of his murder. Despite their conclusion, mystery still surrounds the circumstances of his death and the debate and investigation continues.
Even members of his family are divided in their views and the Chilean Communist party point out that this is the 3rd time Pablo Neruda’s body has been exhumed and that many bodies were disposed of through illicit means under the Pinochet regime, in which case the body examined by the foresnic team may not be Pablo Neruda’s body at all.
(Robin Ouzman Hislop)


See also Poems of Pablo Neruda
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Poems of Pablo Neruda

I am not an expert on the works of the late Chilean poet Pablo Neruda. He is regarded by some as one of the greatest Latin American Romantic poets of the 20th Century. An insightful commentary can be found in Forest Gander, whose critically acclaimed translations of the Chilean Nobel Laureate appear in The Essential Neruda. Selected Poems. 2004.
My own view is that a great deal of myth mongering surrounding his name due to his political beliefs and sudden death just after the Pinochet coup, may contribute considerably to his present fame.
Certain writings from the late Julieta Gomez Paz, an emiminent Argentinean eassayist, feminist critic and poet in her own right, argue that in much of Neruda’s love poems, the female role is depicted more as an object than a personality. In other words an archaic machisimo attitude is very much present in his works. An opinion that i am not altogether unsympathetic towards.(Robin Ouzman Hislop)
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Core. A Sonnet by Robin Ouzman Hislop.

This tumble down day of tears and clay.
I do not stand in awe, at the world’s throng
As I gaze across black hills rolling grey
Turbulent clouds on the darkening land
Reaching the peninsula of my eye
Its sudden scene, its solitary strand,
My thoughts of time, existence, shadow
Robin Ouzman Hislop Editor of the 12 year running on line monthly poetry journal Poetry Life & Times. (See also its Wikipedia entry at Poetry Life and Times). He has made many appearances over the last years in the quarterly journals Canadian Zen Haiku, including In the Spotlight Winter 2010 & Sonnetto Poesia. Previously published in international magazines, his recent publications include Voices without Borders Volume 1 (USA), Cold Mountain Review, Appalachian University N Carolina, Post Hoc installed at Bank Street Arts Centre, Sheffield (UK), Uroborus Journal, 2011-2012 (Sheffield, UK), The Poetic Bond II & 111, available at The Poetic Bond and Phoenix Rising from the Ashes a recently published Anthology of Sonnets: Phoenix Rising from the Ashes. He has recently completed a volume of poetry, The World at Large, for future publication. He is currently resident in Spain engaged in poetry translation projects.
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Sunset and My Life with the Wave Two Video Poems by Octavio Paz Translated from Spanish
Mexican poet, essayist, and political thinker. His works reflect many influences, including Marxism, surrealism, and Aztec mythology. El laberinto de la soledad/The Labyrinth of Solitude (1950), the book which brought him to world attention, explores Mexico’s heritage. His long poem Piedra del sol/Sun Stone (1957) uses contrasting images, centring on the Aztec Calendar Stone (representing the Aztec universe), to symbolize the loneliness of individuals and their search for union with others. He was awarded the Nobel Prize for Literature in 1990.
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92Y. The Unterberg Poetry Center of the 92nd Street Y
Since 1939, the Unterberg Poetry Center has given discerning audiences a chance to hear the finest writers in every literary genre, and its unrivaled dedication to the writer’s voice in all of its aspects has made it America’s foremost literary forum.

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Power. A Poem By Robin Ouzman Hislop
People, pictures, patterns stacked
in this traffic jam of time –
The tyranny history –
marionettes in painted fields
Time is mind, a landscape
money buys, sells as properties
properties mind can never know.
An oracle of echoes
Here, now in time’s traffic jam
where all landscapes blend
fold into the silences of spaces
unleashed in fatality.
Robin Ouzman Hislop was an Editor at the 12 year running on line monthly poetry journal Poetry Life & Times, now at Artvilla.com, as its Editor. He has made many appearances over the last years in the quarterly journals Canadian Zen Haiku, including In the Spotlight Winter 2010 & Sonnetto Poesia. Previously published in international magazines, his recent publications include Voices without Borders Volume 1 (USA), Cold Mountain Review, Appalachian University N Carolina, The Poetic Bond Series, available at The Poetic Bond and Phoenix Rising from the Ashes an Anthology of Sonnets. He has recently completed a volume of poetry, All the Babble of the Souk , publication now available. He is currently resident in Spain engaged in poetry translation projects.
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Black Milk Todesfuge the Poetry of Paul Celan

Paul Celan (/ˈsɛlæn/; 23 November 1920 – c. 20 April 1970) was a German language poet and translator. He was born as Paul Antschel to a Jewish family in Cernăuți (German: Czernowitz), in the then Kingdom of Romania, (now Chernivtsy, Ukraine), and adopted the pseudonym “Paul Celan”. (Celan in Romanian is pronounced Chelàn, and was derived from the syllables of his surname). He became one of the major German-language poets of the post-World War II era.
Celan remained imprisoned in a work-camp until February 1944, when the Red Army’s advance forced the Romanians to abandon the camps, whereupon he returned to Cernăuţi shortly before the Soviets returned. There, he worked briefly as a nurse in the mental hospital. Friends from this period recall Celan expressing immense guilt over his separation from his parents, whom he had tried to convince to go into hiding prior to the deportations, shortly before their death.
A version of Celan’s poem Todesfuge appeared as “Tangoul Morţii” (“Death Tango”) in a Romanian translation of May 1947. Additional remarks were published explaining that the dancing and musical performances evoked in the poem were images of realities of the extermination camp life.
Celan became a French citizen in 1955 and lived in Paris. Celan’s sense of persecution increased after the widow of a friend, the French-German poet Yvan Goll, unjustly accused him of having plagiarised her husband’s work. Celan was awarded the Bremen Literature Prize in 1958 and the Georg Büchner Prize in 1960
Celan committed suicide by drowning in the Seine river in Paris, around April 20, 1970.
The death of his parents and the experience of the Shoah (The Holocaust) are defining forces in Celan’s poetry and his use of language. In his Bremen Prize speech, Celan said of language after Auschwitz that:
Only one thing remained reachable, close and secure amid all losses: language. Yes, language. In spite of everything, it remained secure against loss. But it had to go through its own lack of answers, through terrifying silence, through the thousand darknesses of murderous speech. It went through. It gave me no words for what was happening, but went through it. Went through and could resurface, ‘enriched’ by it all.
An Animated English Translation of Paul Celan’s famous work Todesfuge
Here it is read in the original German by its author Paul Celan
A further English translation where Todesfuge (Death Fuge) is entitled Black Milk
*Editors note: The actual Reading of Paul Celan’s works in original text German together with their English translations starts appx 28 minutes after a lengthy introduction
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Robin Ouzman Hislop, Publisher of Poetry Life and Times and Artvilla’s Poetry Editor
Robin Ouzman Hislop was editor of the 12 year running on line monthly poetry journal Poetry Life and Times from 2005, previously edited by Sara Russell, after its closure in 2008, he joined with Dave Jackson editor/admin as co editor at https://motherbird.com & Artvilla.com in 2013 & now edits both Poetry Life and Times with its Facebook page PoetryLifeTimes .
He’s been previously published in a variety of international magazines, which include Voices without Borders Volume 1 (USA), Cold Mountain Review, Appalachian University N Carolina, The Poetic Bond series and an Anthology of Sonnets Phoenix Rising from the Ashes. His publications include All the Babble of the Souk and Cartoon Molecules collected poems and Key of Mist the recently published Tesserae translations from Spanish poets Guadalupe Grande and Carmen Crespo
visit Aquillrelle.com/Author Robin Ouzman Hislop for more information and reviews, him performing some of his work at Performance (University of Leeds) and his latest volume of collected poems at Next-Arrivals .
Submittals may be sent to robin@artvilla.com or editor@artvilla.com Please refer to our submittal guidelines at any of the sites.
End Game. A Poem by Robin Ouzman Hislop
i.)
Is the plot,
at my window with a broken wing.
ii.)
Time unreal,
to the last syllable of recorded time.
iii.)
That is the question,
to quantum or not to quantum, mind.
iv.)
Race against extinction,
a computer brain outside time without extension.
v.)
Before the apocalypse,
a history of births and deaths and trinkets of fame.
vi.)
To mimic or simulate,
A multiverse machine, the name of the game, bring it on.
vii.)
Time real, Newton and Einstein
out of sync, motion observed from a position of rest.
viii.)
Onto an indeterminate future,
Consciousness, particle physics, the genome and time real.
ix.)
End game is the name of the game,
space quartered in the loop of quantum gravity.
x.)
Time real,
at my window with a broken wing.

Robin Ouzman Hislop Editor of the 12 year running on line monthly poetry journal Poetry Life & Times. (See also its Wikipedia entry at Poetry Life and Times). He has made many appearances over the last years in the quarterly journals Canadian Zen Haiku, including In the Spotlight Winter 2010 & Sonnetto Poesia. Previously published in international magazines, his recent publications include Voices without Borders Volume 1 (USA), Cold Mountain Review, Appalachian University N Carolina, Post Hoc installed at Bank Street Arts Centre, Sheffield (UK), Uroborus Journal, 2011-2012 (Sheffield, UK), The Poetic Bond II & 111, available at The Poetic Bond and Phoenix Rising from the Ashes a recently published Anthology of Sonnets: Phoenix Rising from the Ashes. He has recently completed a volume of poetry, The World at Large, for future publication. He is currently resident in Spain engaged in poetry translation projects.
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Ian McMillan Football First Poet In Residence
Ian McMillan is an English poet, journalist, playwright, and broadcaster. He is known for his strong and distinctive Barnsley-area accent and his characteristic manner of speech. He lives in Darfield, the place of his birth
He is styled “poet in residence” to his hometown football club Barnsley FC. His play Sister Josephine Kicks the Habit, based on the work of fellow Yorkshireman Jake Thackray premiered in 2005. In June 2010 McMillan was appointed poet-in-residence at the English National Opera.
In 2007, McMillan published a book named Collins Chelp and Chunter: a Guide to the Tyke Tongue. This was a compilation of words that are used in the Yorkshire dialect as well as a few pieces of Yorkshire humour and illustrations. Many words are pinned down to specific areas of Yorkshire or specific towns or villages; one word, lenerky, that means “soft or floppy”, is even ascribed to Grange Moor, a very small village in Kirklees, West Yorkshire near Wakefield between the towns of Barnsley and Huddersfield.
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Roger McGough Liverpool’s Poet

McGough was born in Litherland, Lancashire, to the north of Liverpool, the city with which he is firmly associated, and was educated at the University of Hull at a time when Philip Larkin was the librarian there. Returning to Merseyside in the early 1960s, he worked as a teacher and, with John Gorman, organised arts events. After meeting Mike McGear the trio formed The Scaffold, working the Edinburgh Festival until they signed to Parlophone records in 1966. The group scored several hit records, reaching number one in the UK Singles Chart in 1968 with their version of “Lily The Pink”. McGough wrote the lyrics for many of the group’s songs and also recorded the musical comedy/poetry album McGough and McGear.
McGough was also responsible for much of the humorous dialogue in The Beatles’ animated film, Yellow Submarine, although he did not receive an on-screen credit. At about the same time a selection of his poems was published, along with work from Adrian Henri and Brian Patten, in a best-selling paperback volume of verse entitled The Mersey Sound, first published in 1967, revised in 1983 and again in 2007.
McGough won a Cholmondeley Award in 1998, and was awarded the CBE in June 2004. He holds an honorary MA from Nene College of Further Education;[citation needed] was awarded an honorary degree from Roehampton University in 2006; as well as an honorary doctorate from the University of Liverpool on 3 July 2006. He was Fellow of Poetry at Loughborough University (1973-5) and Honorary Professor at Thames Valley University (1993).
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Sharon Olds “a poet of sex and the psyche,”

Sharon Olds is one of contemporary poetry’s leading voices. Winner of several prestigious awards, including the Pulitzer Prize and National Book Critics Circle Award, Olds is known for writing intensely personal, emotionally scathing poetry which graphically depicts family life as well as global political events.
Sharon Olds ‘a poet of sex and the psyche’: Quote Billie Collins.
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casualty of war
tumble down water of the weir
rushing to my ear, sixty-three years
and fourteen days is enough for a life
every night, there is salt on my lips
vomit in the sand, blood splattering in the loam
bullets strafing, mortars, grenades, noise
missing in action was something too uncertain
it sent my wife to the arms of another
it was six months before they found me
not a casualty as such, more a deserter
they arrested me, they did not shoot me
a beating detached my retina, I was unfit
six months more, they released me
let me loose to see out the rest of the war
as a civilian, no fatigues, only fatigue
many thought me a coward, a shirker
some a traitor, or a spy, most felt envy
hating me for living while their lovers died
tumbledown water of the weir
rushing to my ear, then a rocket
overhead, motor, motor, silent, whine
one explosion, and one UXB, whimpering
the boys came, did what they had to do
mundane bravery, everyday courage
lance corporal said “just a hunk of metal
poor workmanship” “slave labour”
added the captain, pipe flaring red
they dragged me from the ruins
my leg was broken, but I would live
those that saved me did not see out the week
the war finished – VE Day, VJ Day
life failed to ignite, no passion it seemed
brain something or other, quacked the doc
‘Bulldog’ – a tugboat reaches the lock
so, I decide to wait, avoid the do-gooders
tumble down of water rushing in my ears
her lover died, a hero they say
so the enemy are not only evil
they are also the makers of heroes
I took her back, it was the moral action
their child became our child, an only child
who did not understand why I hated her
at five, she held my hand when I cried
called me papa; at ten she spilt my whisky glass
and I broke her arm, I just lashed out
at thirteen, I divorced her mother
told her she was not my child
truth is always best; she scratched my face
at thirty, her own children find me difficult
they call me Papa Mike; at forty she told me
“I forgive you, but I will never forget”
tumble down of water rushing to the ear
nineteen eighty three, gulls soar and dive
stood on the edge of Richmond lock and weir
tumbling, rushing, it became easier to drift
my ex-wife died, her daughter banned me
from the funeral - forgive, not forget
if only that bomb had been better made
I would now be one of the remembered
a casualty of war, an innocent man
but now, all I want is to forget, and be forgotten
forgiveness gives me nothing except pain
not even that anymore, simply numbness
‘Bulldog’ did drag me out, but the sweet
kiss of breath went unheeded
my time I guess, I had hoped for drama
some meaning, some blinding light
but all I felt was a sense of puzzlement
why had I not done this way back when
©Trevor Maynard, 2015, from Grey Sun, Dark Moon


