Spike. Poem excerpt from Cartoon Molecules by Robin Hislop


 
A runaway on a Singularity slippery slope need not be a despairingly
Sisyphean slide back but spike upward to an extremely great verticality
allowing something relatively harmless today start a trend that results
in something currently unthinkable a – Pandorean pandemonium
 
still he didn’t want to kill himself and his crew so he hatched a plan
that systems possessing the same patterns of causal organization will instantiate
the same types of conscious states irrespective of whether the organization
is implemented in neurons – silicon – plastic or any other substrate
 
taken to its heart we would vanish into its stronger existence – do the angels
really only take back what is theirs – what has streamed out of them – or is there
sometimes – as if by oversight something of our being as well? – do we not see
the swirling return to ourselves (how should we see it?) the world today being
as it is a vast unsupervised laboratory – in which a multitude of experiments
are simultaneously under way
 
brain-computer interfaces have already left the laboratory which allows gamers
to interact directly with their consoles – a high resolution neuro-signal
acquisition and processing wireless neuroheadset uses a set of sensors to tune
into electric signals produced by the brain to detect player thoughts feelings
and expressions and connects wirelessly to most PCs’ — all this for only $299!
 
partly this is because we cannot agree on what such purposes are – and even if
we were to – suddenly he knew that when he heard the music he would be unable
to resist steering toward the island’s rocks – the problem wasn’t the present
rational Ulysses – but instead the future illogical Ulysses – the person he’d become
when the Sirens came within earshot
 
but that is the gods’ affair – if only we too could discover a pure contained – human
place – a strip of fruitful land of our own – between river and stone!- for our own heart
exceeds us – the curve of the graph grows exponentially steeper – until that spike is
the Singularity – beyond the veil of the opaque wall – the unthinkable – the horizon
of the final dawn looms – lanced on the spear of the terrible angel.

 
 
After Rainer Maria Rilke. Duino Elegies
 
 
 
 
Robin Ouzman Hislop is Editor of Poetry Life and Times 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 about author. See Robin performing his work Performance (Leeds University) .

 

A Philosophy of Yard by Jack Kolkmeyer. Collected Poems Reviewed by Renee’ Drummond-Brown

 

A Philosophy of Yard
FORTE Publications #12
Ashmun Street Snapper Hill Monrovia, Liberia
ISBN-10: 0994534795 ISBN-13: 978-0994534798

A Philosophy of Yard by Jack Kolkmeyer takes an intimate look at poetic reflections of the past, present and future day in a philosophical manner. This book leaves the reader with an understanding of how we view ourselves and how one should grasp the universe by accepting all of the mysteries and magic that ultimately grounds us. Kolkmeyer’s book opens with a poem titled “Often as a child” (1) but ironically, the poem was written about the death of Kolkmeyer’s grandfather which took place in Cincinnati. While this poem invites the reader into the authors personal space it also stresses of the importance of a life-cycle from a child’s perspective. On the other hand the author’s theme poem “A Philosophy of Yard” (2) written in Delray Beach weaves magic of wonder as it relates to nature’s stones, plants, seeds, weeds and animals, thus allowing everything to grow and reorganize itself in due season. In this review of A Philosophy of Yard, I will weigh in on the contents and expound on the strengths and weaknesses of Kolkmeyers’ book. Therefore, buckle yourselves because A Philosophy of Yard will travel you from the “here” to the “there,” and brings the reader full circle back into one’s very own yard, while instructing you along the way.

The author strategically draws from poets; such as T. E. Hulme, Wallace Stevens and D. H. Lawrence using their unique metaphor style for place and implements it into the veins of his book. While the Beat Poets educated Kolkmeyer about meter and flow he skillfully mimics their style as well and weaves that throughout the book also. This author is no stranger to writing from the depths of his soul, while using inspirations from some of the great poets before his time. Kolkmeyer surrounds himself with knowledge of the African American culture as well, which gives the poetry within this book that rhythm and blues flare; adding literary renaissance to the messages that he conveys within his body of work.

Kolkmeyer’s poem “Coimbra Universidad” takes place in Coimbra, Portugal and figuratively points to D. H. Lawrence’s legendary writing style as Kolkmeyer opened the poem with “the sounding of a bitch bell” (106;1). The opening line is powerful, commands immediate attention and yet is definitely a controversial statement that can be viewed as offensive. Overall, the book has roots running deep in familial, providing clear imagery structured in a simplistic way. Yet, this erudite author manages skillfully to make one cogitate about the complexities of life along that path as it also relates to the human race. For example, in the poem “Everybody is Colored (a song)” (100) written in Santa Fe, the author masterfully tackles the race issue head on by addressing “everybody is colored/everybody’s got a mother/and a bag of white bones” (100;1-4).

Talk about iron sharpening iron; this author, shrewd and skillful understands the powerful effect of carefully placed line breaks in his poetry and uses them masterfully in creating genuine stanzas which ultimately stir emotions within the reader as seen in his poem “do doo wop” (95). This poem captures the Harlem Renaissance revolutionary explosion at its best and vibes with Langston Hughes’ poem “The Weary Blues” which evokes a tone of melancholy. While Kolkmeyer’s poem “doo doo wop” (95) has that very same disposition in these lines “Street corner colors fly/faintly yellow umber/surely some blues…shining from the muted lights/prying into the night life/a street corner prophet on his knee” (95;11-17) he manages to create originality and uniqueness in his poem thus causing it to stand up against Hughes’ masterpiece.

Kolkmeyer’s poem “Autumn” (4) and “The pod people” (6) both taking place in Delray Beach, can be compared to Robert Frosts’ poetic style, which often depicts relationships between nature imagery and humans. In the poem “Autumn” Kolkmeyer brilliantly captures the beauty of nature shared with humans as he wrote “we just wait with resignation knowing that winter is near…as we prepare a warmer spot/amidst the moves and rearrangements” (4;14-17). Whereas, in the poem “The pod people” he skillfully uses metaphors to capture that same effect within these lines “but we are in deed /the seed people/planting ourselves along furrows of time/seen differently from star to star” (6;6-9). Kolkmeyer deliberately takes the reader on another journey within these poems by shifting the reader’s mind into various periods as it relates to time which ultimately lends the authors instructions on embracing life.

Kolkmeyer’s poems “A New Seed (a song),” “Coltrane,” “Winter Solstice Winter Light,” and “To Wallace Stevens” reminds one of Frank O’Hara’s writings, while adding dimension of self-reflection and conscious control to otherwise permissive unpredictability. At times Kolkmeyer’s poetry reads like O’Hara’s and could be viewed as bluster of rants and even provocative. For example in the poem “Coltrane” Kolkmeyer skillfully rants “nocturnal admissions…lost arcs and frozen phrases/wholly wars of redemption/tangled transgressions…play deeply” (121;7-11) and then he follows it with a question of uncertainty “how deep is the ocean”(121;12). Nonetheless, it’s important to note that O’ Hara’s works are celebrated amongst the greatest, which further adds credibility to Kolkmeyer’s brilliant masterpiece. However, all the greats are subjected to criticism and Kolkmeyer is certainly no exception to the rule.

The author certainly captures home which takes place in Pittsburgh as he metaphorically points the reader back there within this poem “The Pittsburgh Boys” (66) in the following lines “lost in the hills and the valleys/jumpin’ the fences/riden’ trollies… crossin’ bridges… livin’/in a together place” (66;19-25). He further adds “we were Pittsburgh boys…still we are… we’ll keep going on/because of where we’re from” (67;7-13). “Kolkmeyer’s book is a labor of love that adds dimensions and challenges to one’s understanding as it relates to how we value ourselves and those closest to us. Kolkmeyer’s book can be compared to August Wilson’s incredible play Fences, because, like Wilson, the author describes how separated and yet connected families are throughout life as seen in this particular poem.

Furthermore, Kolkmeyer is unafraid to dig, sow and plant his poetic seeds into the grounds of richly fertilized soil, causing his literary prose and ethos to have great impact, which will influence how modern day writers approach their craft. This author’s voice is vibrant colorful, and distinctly powerful, which challenges the reader to also dig deep and wrestle analytically with the issues of life found in one’s own yard. I look forward not only this project, but, the transformation of Kolkmeyer, his growth and the poetic soul destined to become one of the 21st century greats.
 
 

 
 
Renee’ Drummond-Brown, is an accomplished poetess with experience in creative writing. She is a graduate of Geneva College of Western Pennsylvania. Renee’ is still in pursuit of excellence towards her mark for higher education. She is working on her sixth book and has numerous works published globally which can be seen in cubm.org/news, KWEE Magazine, Leaves of Ink, Raven Cage Poetry and Prose Ezine, Realistic Poetry International, Scarlet Leaf Publishing House, SickLit Magazine, The Metro Gazette Publishing Company, Inc., Tuck, and Whispers Magazine just to name a few. Civil Rights Activist, Ms. Rutha Mae Harris, Original Freedom Singer of the Civil Rights Movement, was responsible for having Drummond-Brown’s very first poem published in the Metro Gazette Publishing Company, Inc., in Albany, GA. Renee’ also has poetry published in several anthologies and honorable mentions to her credit in various writing outlets. Renee’ won and/or placed in several poetry contests globally and her books are eligible for nomination for a Black Book award in Southampton County Virginia. She was Poet of the Month 2017, Winner in the Our Poetry Archives and prestigious Potpourri Poets/Artists Writing Community in the past year. She has even graced the cover of KWEE Magazine in the month of May, 2016. Her love for creative writing is undoubtedly displayed through her very unique style and her work solidifies her as a force to be reckoned with in the literary world of poetry. Renee’ is inspired by non-other than Dr. Maya Angelou, because of her, Renee’ posits “Still I write, I write, and I’ll write!”

Video Poetry Recital Featuring Arboleda, Arróspide, Crespo, Grande, Hislop. International Writers. Leeds.UK.

 
This video recording was made at University of Leeds on October 10th. 2017, it was introduced and presented by Antonio_Martínez_Arboleda Principal Teaching Fellow in Spanish and poet.
 
The initial image can be enlarged to full screen size. The texts and accompanying images can be easily toggled to place according to requirements.
 
Below the video also is a link that gives a report and interpretation of the performance by students who attended.
 


 
The report is live at http://www.leeds.ac.uk/arts/news/article/5108/2nd_cts_professionalisation_talk_2017-18_international_writers_at_leeds

Press Release The Poetic Bond V11 (2017)

PRESS RELEASE PRESS RELEASE PRESS RELEASE PRESS RELEASE PRESS RELEASE PRESS RELEASE
THE POETIC BOND VII

ISBN-13: 978-1978098039, ISBN-10: 1978098030
Publication Date 17 NOV 17

The seventh, annual, international poetry anthology in
The Poetic Bond Series. 112 poems by 50 poets from 17 countries, drawn from new media, professional and social networking, giving a snapshot of 2017 which could be said to capture the zeitgeist of contemporary poetry

Comments on The Poetic Bond Series
“The poetry that fills this book is moving, deep and affirming … A beautiful publication that will rest on top of my favorite books of poetry.”
Nicholas Chiarkas (WI, USA)
“I am very impressed with much of the excellently crafted writing”
Robin Hislop (UK, artvilla.com)

Biographies of the Poets of the year’s anthology available at http://www.thepoeticbond.com/Meetthepoets2017.htm

Pre-order your copy for a 33% discount for £9.99 or $11.99 (RRP £14.99/$17.99) at www.thepoeticbond.com

All poets included in the anthology are now voting for
THE POETIC BOND CHOICE POETS’ CHOICE AWARDS 2017
Poets, this year, get to vote for the three poems in the anthology which they find most engage and inspire them. The poems that win the most votes, in a 1-2-3 preferential voting system, will receive an award of $25. So, TO BE CLEAR, for 2017, The Poets of The Poetic Bond VII will select The Poetic Bond Poets’ Choice Award Winners for 2017.

Full details below and available at www.thepoeticbond.com
Editors’ Notes

1. Press contact Trevor Maynard at poetry@trevormaynard.com on 0 44 7966 079968 or by snail mail at Willowdown Books, 105 Crockford Park Road, Addletone, Surrey, UK, KT 15 2LP

2. The Poets of The Poetic Bond VII (2017) are Amber Jimenez-Flores (US)/ Annel Bell Martin (US)/ April Fallon (US)/ Belinda DuPret (UK) Betty Bleen (US) / Melissa Bird (UK)/ Diane Burrow (UK) / Christine Anderes (US) / Cigeng Zhang (China) / Chris Maynard (UK) / Darrell Wright (US) / Deborah Nyamekye (Ghana) / Denisa Parsons (US) Elaine Battersby (UK)/ Fiona Sullivan (UK) / Bonnie J. Flach (US) / Flavia Cosma (Canada) Gil Franke (US) / Kelli Gunn (Canada) / Pamela Hope (US) / Jane Johann (US) Joseph Simmons US) / Joseph Sinclair (UK) / Karen Henneberry (Canada) / Karen Nurenberg-Rothstein (US) / Kayla Matheson (US) Sajida Khan (UK) / Lee Landau (US) / Lexene Burns (Australia) / Madeline Lipton (US) Lizzie La Pool (UK) / Tatjana Lončarec (Croatia) / Low Kwai Chee (Malaysia)/ Marcia Weber (UK) Mariangela Canzi (Italy) / Marie Youssefirad (US) / Mustofa Munir (US) / Nancy Scott (US) Pedro Cunha (Portugal) / Richard Glen Smith (US) / Robin Ouzman Hislop (UK/Spain) / Suzanne Askham (UK) / Nana Tokatli (Greece) / Tom Sterner (US)/ Trevir Maynard (UK) / Vensa Adriana Arsenic (US) Brian Walker (UK)/ William DiBenedetto (US) / Vi De Vries (Friesian/Canada) / Lynne Zotalis (US)

3. All poems selected for publication will be automatically be put forward for The Poetic Bond Poets’ Choice Award, which will consist of three prizes of $25 for winning poems. The award winners will be chosen by a process preferential voting by the poets who will have been selected for publication in The Poetic Bond VII. Neither the editor, nor anyone connected with the production of The Poetic Bond Series, will have any input into the selection of award winners. The Award Winners will be announced after publication. Further details available at www.thepoeticbond.com

4. Trevor Maynard, UK based poet, writer and editor. He is owner/manager of Poetry, Review and Discuss Group, a major poetry group on LinkedIn. His new poetry collection is GREY SUN, DARK MOON was published September 14 2015. He is also the author of several plays. Further information at http://www.trevormaynard.com

5. Making a Poetic Bond – the ethos behind putting together the anthology
The process of selecting poems for publishing The Poetic Bond series is unlike any other in that there is no set plan as to what will be published. It depends on the themes which emerge from the pool of work submitted, or to put it another way, the poetic energy which comes together at this certain time and place. Where themes emerge, patterns of energy harmonize, form bonds, connections, and these in turn lead to interconnected chapters, and the creation of a holistic volume, deeply connected with humanity, nature, and the universe.

PRESS RELEASE PRESS RELEASE PRESS RELEASE PRESS RELEASE PRESS RELEASE PRESS RELEASE

Amazon.com Author Robin Ouzman Hislop
Aquillrelle.com/Author Robin Ouzman Hislop

JD DeHart Reviews Cartoon Molecules Collected Poems

JD DeHart – Reading and Literature Resources

A Few Words about Cartoon Molecules by Robin Ouzman Hislop
Review by JD DeHart

A central question I had in reading this book was, where will the words appear next? Not only does the author use a variety of poetic techniques, demonstrating that he is an experienced poet who knows his stuff, but the words themselves appear where he wants them.

Robin Ouzman Hislop displays a sense of agency with his words, sometimes spreading them out, sometimes writing them in a prose-like way. “one more for the road” is a prime example of this world and word play, but it far from the only one.

Moreover, this poet shows the reader that he knows literature and the world. These poems are brimming with references (not to mention Hislop’s creativity). The writing is honest and rings true, while being rhythmic and poetic at the same time.

I have been somewhat with Hislop because of his editing over the past years, and I am most grateful that he gave me the chance to read his work.

Visit this link to purchase the book at Amazon Amazon.com Cartoon Molecules Robin Ouzman Hislop for more info on the author see Aquillrelle.com – Authors Page – Robin Ouzman Hislop

 

Janet Kuypers’ April 2017 Book Release Reading at Half Price Books 4/5/17

    April 1st marked a book release reading of new books from Scars Publications, which saw the release of the books “the Statue” from cc&d magazine and “Waterlogged” from Down in the Dirt magazine. So on April 5th 2017, Janet Kuypers was asked to read material from these new books plus additional cc&d and Down in the Dirt book releases in the National Poetry Month Community Poetry reading at Half Price Books in Austin.

    The first reading at Half Price Books included “Viewing the Woman in a 19th Century Photograph” from the Statue, “I’m Really Going This Time” from Give What You Can, “Human Construct of Time” from Sea Drift, “White Knuckled” from Forever Bound, “Entire Town’s Baseball Team” from Suggested Torture, “Jabbed in an Open Nerve” from Idea, “Observing Theories of the Universe” from Idea, and “Entering the Lake of Fire” from Nighttime City. The second reading for Austin’s National Poetry Month Community Poetry at Half Price Books, including “Queen ISIS (battling for peace)” from “Waterlogged”, and “Story Telling” from “Spiraling”.

Janet Kuypers’ Book Release & Book Reading at Half Price Books 3/1/17

    Because March 1st is the day Scars Publications releases books “Lost in America” from cc&d magazine and “What Remains” from Down in the Dirt magazine, Janet Kuypers was asked to read material from these new books in Half Price Books Community Poetry, so she made a reading of not only poems from the books “What Remains” and “Lost in America” but also selections from past cc&d book releases.

What Remains Lost in America Rhetoric and the Written Word the 23 enigma a Perfect Solitude
When the Walls are Paper Thin a Mad Escape the Curve of Arctic Air and Then he Moved Invisible Ink Shot out of a Cannon

    Below are writing links and video links from March 1st 2017 (3/1/17, or 20170301) poetry reading in Austin at Half Price Books.
    Video only recorded the fist few minutes of the show (cutting off the first poem, “Vanishing Scars”), but after the reading she did come back to the podium to read a poem slated as the final poem in her show “Exploring spring” at “Spring Awakenings” in Austin at the Bahá’í Faith Center, “Original Snowbirds”.

Book Release & Book Reading chapbook
    Before the show started she also released an online chapbook of the writings she was making available for her to read in this poetry book reading (in the order they were to be performed). She did not distribute copies of this chapbook to the people in the audience of the bookstore (since she didn’t know how many poems selected from the books she would be able to perform in her reading), but she made sure the chapbook “Book Release & Book Reading” was available online even during her reading, so anyone could (and can) download as the chapbook as a PDF file for free any time.
    The full list of pieces selected that she read in this reading included first poems from past issue/books from cc&d magazine… Including potentially “Vanishing Scars” and “Fuming in the Morning” from 1/17Rhetoric and the Written Word”, “X-rays and Broken Hearts” from 6/16the “the 23 enigma”, “Koi Ponds and Concrete” from 5/16a perfect solitude”, “of independence or freedom” from 11-12/15When the Walls are Paper Thin”, “eight ball answers all” and “violent affair” from 5-6/15a Mad Escape”, “holding my skin together” from 1-2/15the Curve of Arctic Air”, “one summer traveled” from 7-8/14And Then He Moved”, “Each Half is the Enemy” and “explaining what condoms are for” from 5-6/14Invisible Ink”, and “Jumping from the Skyline to the Clouds” from 3-4/14Shot Out of a Cannon”. After she read those she read poems from the current book releases: her Periodic Table of Poetry bonus poem “Smelling Sulphur on Nine One One” for “What Remains”, then “newspaper ink’s the blood of a dying species” and “Quieted Soul” and lastly her Periodic Table of Poetry bonus poem “Pluto, Plutonium & Death” from “Lost in America”).

Key of Mist. The Book & Poem by Guadalupe Grande.

 
 
guadalupe-grande-2001
 
 
GUADALUPE GRANDE
Madrid, 1965.
 
She has written the following books of poetry: El libro de Lilit (1995), La llave de niebla (2003), Mapas de cera (2006) and Hotel para erizos (2010).
 
She has been translated into French in the book Métier de crhysalide (translation by Drothèe Suarez and Juliette Gheerbrant (2010) and into Italian, in the volume Mestiere senza crisalide (translation by Raffaella Marzano (2015). She made the selection and translation of La aldea de sal (2009), an anthology of Brazilian poet Lêdo Ivo, together with poet Juan Carlos Mestre.
 
Her creative work extends to the territory of photography and visual poetry.http://guadalupegrande.blogspot.com.es/

 
 

  Key of Mist is an excerpt from the collected poems Key of Mist
 
key-of-mist-thumb

                                                                  KEY of MIST

I

Behind the fence there´s a ditch
and behind the ditch
there´s a chest devastated by the journey.
Who arrives here and how
and after perhaps?
Who arrives and says and names
and leaves their hands stuck to this fence
as stamps are stuck to envelopes,
to return where 
to return to then
to return to later, never again?
       The compass rose rolls amongst the rubble,
       rolls on the banks of gravel,
       on the edge of ash,
       and leaves its petals of distance,
       its shipwreck of durum-wheat and pollen,
       beneath the wheels of the car which has just passed.
Time for the word time
         amidst the rubble of the tower of babel.

II

But now there´s the ditches:
       water ditches
       light ditches
       gas ditches
       ditches for words.
I am spelling
while telling myself
that it can´t be today,
that there is too much rush,
that life´s a disaster
or nonsense
or a useless disquiet,
and due to that, today there´s no time:
                                                             time for nothing, time for what.

III

I open the door, switch on the light,
turn on the tap:
I´d like to know whom to call.
The sound of traffic enters through the window;
I hear the rumours of travellers
I listen to the sound of the inhabitants
         and builders
                           of this language without words.

IV

I speak in gurgles
as if a key of mist
were laid across my throat,
a key fogged up by noise,
a key flooded by light,
      a gas key
      a water key
      a doorless key,
      a definitely shadowy key
buried inside my throat,
in the ditch of my bewildered throat.

V

Behind each fence there is a ditch,
behind each ditch there is a journey.

         The compass rose crosses
         the city tunnels:
         from its smoky petals it brings
         forth mossy farewells,
         the empire of forget-me-nots,
         paper for unwritten letters,
         humiliated stamps
         and a devastated chest in the building 
         of music
                       or language
                                           or city noise.

Under the asphalt of these roads
the tower of babel grows
sad and useful.

VI

I turn on the tap in the kitchen
and while water runs through the sink
I wonder which words 
this thread of order and cleanliness is spelling,
which key I should switch to, to understand
the language of fences, the language
of ditches,
the underground sound
of migrating birds
opening without any key this city´s gates,
           without a key,
           at last, 
                                      at last.

LA LLAVE DE NIEBLA

I

Detrás de la valla hay una zanja
y detrás de esa zanja
hay un pecho desolado en el viaje.
¿Quién llega hasta aquí y cómo
y luego tal vez?
¿Quién llega y dice y nombra
y deja sus manos pegadas a esta valla,
como se pegan los sellos a las cartas,
para volver a dónde
para volver a entonces
para volver a luego nunca más?

Rueda la rosa de los vientos por los escombros,
rueda a la orilla de la grava,
al borde de la ceniza,
y deja sus pétalos de distancia,
su polen náufrago y candeal,
bajo las ruedas del coche que acaba de pasar.

Tiempo para la palabra tiempo
        entre los escombros de la torre de babel.

II

Pero ahora están las zanjas:
        zanjas de agua,
        zanjas de luz,
        zanjas de gas,
        zanjas para las palabras
que pronuncio
mientras me digo
que hoy no puede ser,
que hace mucha prisa,
que la vida es un desastre
o un disparate
o un desasosiego inútil,
debido a lo cual hoy no hay tiempo:
         tiempo para nada, tiempo para qué.

III

Abro la puerta, enciendo la luz,
abro el grifo:
quisiera saber a quién llamar.
Entra el sonido del tráfico por la ventana;
oigo el rumor de los viajeros,
escucho el sonido de los habitantes
           y de los constructores
                    de este idioma sin palabras.

IV

Hablo a borbotones,
como si tuviera una llave de niebla
atravesada en la garganta,
una llave empañada por el ruido,
una llave anegada por la luz,
         una llave de gas,
         una llave de agua,
         una llave sin puerta,
         una llave definitivamente umbría,
enterrada en mi garganta,
en la zanja de mi desconcertada garganta.

V

Detrás de cada valla hay una zanja,
detrás de cada zanja hay un viaje.
         La rosa de los vientos cruza
         los túneles de la ciudad:
         trae entre sus pétalos de humo
         el musgo de las despedidas,
         el imperio de los nomeolvides,
         papel para cartas no escritas,
         humillados sellos
         y un pecho desolado en la construcción
         de la música

                           o el lenguaje
                                             o el ruido de la ciudad.
Bajo el asfalto de estas calles
crece la torre de babel
triste y útil.

VI

Abro el grifo en la cocina
y mientras corre el agua por el fregadero
me pregunto qué palabras pronuncia
este hilo de orden y limpieza,
qué llave debo abrir para entender
el lenguaje de las vallas, el idioma
de las zanjas,
el sonido subterráneo
de las aves migratorias
que abren sin llave alguna las puertas de esta ciudad,
         sin llave,
         por fin,
                                por fin.

 
 

OLYMPUS DIGITAL CAMERA
 
Amparo Arróspide (Argentina) has published five poetry collections: Presencia en el Misterio, Mosaicos bajo la hiedra, Alucinación en dos actos y algunos poemas, Pañuelos de usar y tirar and En el oído del viento, as well as poems, short stories and articles on literature and films in anthologies and international magazines. She has translated authors such as Francisca Aguirre, Javier Díaz Gil, Luis Fores and José Antonio Pamies into English, together with Robin Ouzman Hislop, who she worked with for a period as co-editor of Poetry Life and Times, a Webzine. Her translations into Spanish of Margaret Atwood (Morning in the Burned House), James Stephens (Irish Fairy Tales) and Mia Couto (Vinte e Zinco) are in the course of being published, as well as her two poetry collections Hormigas en diáspora and Jacuzzi. She takes part in festivals, recently Transforming with Poetry (Leeds) and Centro de Poesía José Hierro (Getafe).
 
 
robin-portrait-july-sotillo-2016-by-amparo
 
 
Robin Ouzman Hislop is on line Editor at Motherbird.com, Artvilla.com & Poetry Life & Times, his recent publications include Voices without Borders Volume 1 (USA), Cold Mountain Review (Appalachian University, N.Carolina), The Poetic Bond Volumes, Phoenix Rising from the Ashes (an international anthology of sonnets) and The Honest Ulsterman. His last publications are a volume of collected poems All the Babble of the Souk & Key of Mist, a translation from Spanish of the poems by the Spanish poetess Guadalupe Grande, both are published by Aquillrelle.com and available at all main online tributaries. For further information about these publications with reviews and comments see Author Robin..
 
 
www.facebook.com/PoetryLifeTimes
www.facebook.com/Artvilla.com
robin@artvilla.com
editor@artvilla.com

 
 
Key of Mist. Guadalupe Grande.Translated.Amparo Arróspide.Robin Ouzman Hislop
 
goodreads.com/author/show/Robin Ouzman Hislop
http://www.aquillrelle.com/authorrobin.htm
http://www.amazon.com. All the Babble of the Souk. Robin Ouzman Hislop
www.lulu.com. All the Babble of the Souk. Robin Ouzman Hislop
https://www.amazon.com/author/robinouzmanhislop
http://www.innerchildpress.com/robin-ouzman-hislop.All the Babble of the Souk