100TPC. Co Editors Mark Connor & Antonio Arboleda. Anthology Online

100 Thousand Poets for Change (100TPC) is a worldwide artistic movement whose aim is to raise awareness about our man-made social, political, environmental, moral and economic crises.
Artists have an especial sensitivity and language, as well as a commitment to beauty, spirituality and truth and that is why Artists can and should make a difference in bringing people together and reinforcing their solidarity, with a view on transforming society.
This book was incepted as a digital initiative supporting the 2017 100TPC events across the World that took place on 30 September 2017 concertedly with Thousands of other Artists on the whole planet, including our own reading in Leeds, held in The Chemic Tavern in Woodhouse under the auspices of Word Club.
We have included poems by generous West Yorkshire artists who wanted to contribute to our cause by responding to our invitation with poems on: Revolution, War, Streets, Business, Nations, Equality, Politicians, Conquest, Racism, Love, Europe, Nature, Death, Life, The World, The Good, the Great, the Evil. The Human and beyond.
This is the second of a series of 100TPC published by Transforming with Poetry, this time in conjunction with Word Club.
 
 

 
 

 
 
Co Editors of 100 Thousand Poets for Change (100TPC) Leeds 2017. UK
 
 
Mark Connors:
Mark Connors is a poet and novelist from Horsforth, Leeds. His debut poetry pamphlet Life is a Long is a Long Song was published by OWF Press in 2015. His first full length poetry collection, Nothing is meant to be Broken was published by Stairwell Books in 2017. Mark won the Ilkley Literature Festival Open Mic competition in both 2014 and 2015 and has received a number of prizes and commendations for his short fiction. His debut novel Stickleback was published by Armley Press in 2016 and was longlisted for The Guardian’s ‘Not the Booker Prize.’ His second novel, Tom Tit and the Maniacs was published in 2018 by Armley Press. He runs spoken word nights for WORD CLUB in Leeds and comperes and performs regularly at Literature Festivals. He is a managing editor of the new independent publishing company, Yaffle Press, For more info visit www.markconnors.co.uk
 
 

 
 
Antonio Martínez Arboleda:
Antonio (Tony Martin-Woods) started to write poetry for the public in 2012, at the age of 43, driven by his political indignation. That same year he also set in motion Poesía Indignada, an online publication of political poetry. He runs the poetry evening Transforming with Poetry at Inkwell, in Leeds, and collaborates with 100 Thousands Poets for Change. Tony is also known in the UK for his work as an academic and educator under his real-life name, Antonio Martínez Arboleda. His project of digitisation of poetry, Ártemis, compiles more than 100 high quality videos of Spanish poets and other Open Educational Resources. http://www.artemispoesia.com/ . He is the delegate in the UK of Crátera Revista de Crítica y Poesía Contemporánea , where he also publishes his work as translator from English into Spanish. He published his first volume of poetry in Spanish, Los viajes de Diosa (The Travels of Goddess), in 2015, as a response to the Great Recession, particularly in Spain. His second book, Goddess Summons The Nation, is a critique of the ideas of nation and capitalism, mainly in the British Brexit context. It incorporates voices of culprits, victims and heroes with mordacity and rhythm. It consists of 21 poems, 18 of which are originally written in English. It is available in print and kindle in Amazon and other platforms.
 
 
 
 
 
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 (University of Leeds) and his latest Collected Poems Volume at Next-Arrivals

Life and Opinions of Doctor BOP the Burnt-Out-Prof. Collected Poems by EM Schorb. Reviewed by Robin Ouzman Hislop

 
Excerpt from
Life and Opinions of Doctor BOP

 
A poem is a posit, an assertion, an act,
and in action we forget fear: respite
in creation, the maker takes a stand, in making,
but is it a stand no better than gimmick-makers make?
Well, poetry possesses the virtue of being a record,
at least, and you can date a poem, if you wish,
thus giving it the merit of a worldly fact
contained in a system of time, which, admittedly,
is a system which is perhaps pseudo-fact itself,
or will become so as matter completes its withdrawal
upon itself to revisit its beginnings in a black hole in space;
and yet, until then, something like a fact,
a fact in the sense that Sherlock Holmes is almost real
and lives in Baker Street in a fictional series
in a real world that may exist only in a dream
that is being dreamed elsewhere, perhaps—dare I say—
by Yahweh; and so poetry becomes an actual little stab
and, poets hope, rip in the black sheet
that covers the deserted, haunted mansion.
 
 
Reviewed at:
 
Amazon.co.uk Life and Opinions of Doctor BOP the Burnt-Out-Prof and Other Poems . See also Amazon.com
 
Amazon.co.uk Emanations from the Penumbra Poems EM Schorb See also: Amazon.com
 
Review of
Life and Opinions of Doctor BOP
by
Robin Ouzman Hislop (Editor of PLT)
 
 
Many poets often turn to playwrites, more so than the other way about, and undoubtedly, imo, EM Schorb’s early background in theater has led to his latest theme in poetics “Life and Opinions of Doctor BOP ( the Burnt – Out – Prof and other Poems)”. In fact, it seems to me, the entire text hovers between sketches, vignettes, and biographic autobiographical narration in the first person. As a European, but one who has followed, as well, with keen interest North Amercan academia in poetics. As much as philosophy, related to cosomology and evolutionary concerns in the new sciences. It comes as an edifying experience to be introduced to the home grown frantics of North American Campus life, or insomuch, the affect it has had on our character in question, Doctor BOP. Actually, in the reading of the first part of this three part volume, a practically epic poem consisting of some seventeen pages, I was strangely reminded of the later short story writings of JD Salinger’s depiction of University life as an undergraduate English lecturer. He was in fact, as he describes himself, a rather reclusive English lecturer. And one of his passages springs vividly to mind, as he mentions in a more or less autobiographical narration, how as a now muchly graying and aging professor, he hastily makes himself scarce, the moment a group or anything like of under 40’s looms on his horizon, (on the Campus). A far cry from the days of Catcher in the Rye, perhaps we might encounter our Doctor BOP, as Schorb portrays him, as having travelled a somewhat similar way, perhaps a universal way of all burnt-out-profs. At least for the birth of our Doctor BOP, as he emerges from the Yiddish community, where due to a series of social phenomena peculiar to North American modern history, he finds himself born into the world of academia at midriff with his family’s origin, social background and status. Here Schorb brings his own background knowledge of Yiddish custom and vocabulary into full play in all its richness, in the first part of the central theme to the work. It is but one of the literary treats he devises. The whole text is replete with a classical apotheosis, religious epitomes, literary analogues and philosophical allusions, all of which abound in the head of Doctor BOP, as he makes his final but defiant bow before the world. The poems obviously are tragico/comico, there is satire, irony, bitterness, humour and kindness blended together with eruditeness. The text is littered with phrases in Latin, Greek, Yiddish, Spanish, we even have augenblick (in the blink of an eye, or in the moment) for Hamlet in German, and of course, Orator fit, poeta nascitur, poeta nascitur, non fit. (A speaker is made, a poet is born, not made). According to Doctor BOP, who quotes extensively from bibliographies of writers past and present and salutes us in the final part of the first part with vaya con Dios, my Darlings. Doctor BOP makes a delightful read, which the two latter parts of this small volume only serve to embed, and is well worth the buy, if only to raise the dust from our minds to reminisce over our studious years and the host of miscellenious trivia that is the heritage of our race in all its travail – a poor player who struts and frets his hour upon the stage and then is heard no more – to coin yet another allusion.
 
 
 
Biography
 

 

E. M. Schorb attended New York University, where he fell in with a group of actors and became a professional actor. During this time, he attended several top-ranking drama schools, which led to industrial films and eventually into sales and business. He has remained in business on and off ever since, but started writing poetry when he was a teenager and has never stopped. His collection, Time and Fevers, was a 2007 recipient of an Eric Hoffer Award for Excellence in Independent Publishing and also won the “Writer’s Digest” Award for Self-Published Books in Poetry. An earlier collection, Murderer’s Day, was awarded the Verna Emery Poetry Prize and published by Purdue University Press. Other collections include Reflections in a Doubtful I, The Ideologues, The Journey, Manhattan Spleen: Prose Poems, 50 Poems, and The Poor Boy and Other Poems.
 
Schorb’s work has appeared widely in such journals as The Yale Review, The Southern Review, The Virginia Quarterly Review, The Chicago Review, The Sewanee Review, The American Scholar, and The Hudson Review.

 
At the Frankfurt Book Fair in 2000, his novel, Paradise Square, was the winner of the Grand Prize for fiction from the International eBook Award Foundation, and later, A Portable Chaos won the Eric Hoffer Award for Fiction in 2004.

 
Schorb has received fellowships from the Provincetown Fine Arts Work Center and the North Carolina Arts Council; grants from the Ludwig Vogelstein Foundation, the Carnegie Fund, Robert Rauschenberg & Change, Inc. (for drawings), and The Dramatists Guild, among others. He is a member of the Academy of American Poets, and the Poetry Society of America.

 
PRIZE-WINNING BOOKS
BY E.M. SCHORB
Books available at Amazon.com
_______________________________________
 
Dates and Dreams, Writer’s Digest International Self-
Published Book Award for Poetry, First Prize
 
Paradise Square, International eBook Award
Foundation, Grand Prize, Fiction, Frankfurt Book Fair
 
A Portable Chaos, The Eric Hoffer Award for Fiction,
First Prize
 
Murderer’s Day, Verna Emery Poetry Prize, Purdue
University Press
 

Time and Fevers, The Eric Hoffer Award for Poetry
and Writer’s Digest International Self-Published Book
Award for Poetry, each First Prize

 
 
 
 
 
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 (University of Leeds) and his latest Collected Poems Volume at Next-Arrivals

Next Arrivals. Collected Poems by Robin Ouzman Hislop. Introduction by Ian Irvine (Hobson)

Introduction to Next Arrival: The Many Faces of Creative Indeterminacy
by Ian Irvine (Hobson)

Poetic Indeterminacy 1: L=A=N=G=U=A=G=E poetry and Late Modernist Experimental Poetry

When Marjorie Perloff, long-term critical advocate for L=A=N=G=U=A=G=E poetry (indeed for experimental poetries generally), published The Poetics of Indeterminacy: Rimbaud to Cage back in 1981, she wanted to trace a particular kind of poetic ‘indeterminacy’ back to its 19thcentury roots in Rimbaud. Early on she quoted Barthes’ perspective on Rimbaud’s poetics: ‘Rimbaud … destroyed relationships in language and reduced discourse to words as static things … In it, Nature becomes a fragmented space, made of objects solitary and terrible, because the links between them are only potential.’ Perloff then traced the 20th century developments in this emerging poetics via chapters on Gertrude Stein’s ‘word-systems’, Samuel Beckett’s ‘poetics of absence’ and John Ashberry’s ‘open field of narrative possibilities’ (elsewhere termed a ‘field poetics’). Her book concluded with studies of the ‘marginless’ poetics of David Antin and the chance-operations poetics of John Cage , who wrote of his later works: ‘They begin anywhere, last any length of time … They are therefore not preconceived objects … They are occasions for experience.’ Perloff’s book led to further studies in which she announced L=A=N=G=U=A=G=E poetry as a further chapter in this century old poetics of ‘indeterminacy’.

Robin Ouzman Hislop’s poetry is certainly in dialogue with some of the key architects of this well documented ‘poetics of indeterminacy’ – both the Modernist strands represented by the likes of Beckett and Stein, and the postmodernist strands represented, initially, by Ashberry and Antin, and later on by poets like Charles Bernstein, Bruce Andrews, Lyn Hejinian and Ron Silliman. Next Arrivals, however, like Hislop’s second collection Cartoon Molecules, also explores and responds to themes only rarely addressed by 20th century experimental poets.

In both Cartoon Molecules and Next Arrivals we start to catch glimpses of a hulking phantasmagoric something (a transhumant creature perhaps?) as it ‘slouches’, ‘transforms’, ‘self-engineers’, ‘machine learns’ it-self into being under cover of the postmodern twilight. Culturally speaking, something new is being born/engineered/programmed in these early decades of the new millennium and all three of Hislop’s collections, in my opinion, work hard to capture the cultural zeitgeist surrounding aspects of this transhuman nativity drama (one interpretation of the collection’s title, i.e. literally, the Next Arrivals). Hislop senses that new poetic forms – what we might label a new (perhaps quantum influenced?) ‘poetics of indeterminacy’ – may be called for here and, like US poet Amy Catanzano, he is courageous enough to initiate new experiments with poetic form in order to address the urgencies of our time.

Poetic Indeterminacy 2: Eulogies for the Passing of Mechanist Science

All this is to say that Hislop is keenly interested in exploring poetically a range of phenomena loosely related to ‘the New Sciences’. His interest, however, is not that of the wide-eyed, but willfully naïve, classical scientist. He understands humanity’s darker impulses – particularly our darker collective impulses – too well to buy into the idyllic marriage vows these days being exchanged between the New Sciences and extreme capitalism – however loved-up the happy couple appear to be in public. His unease and ambivalence regarding this pairing is evident in many of the poems featuring New Science themes. At times key poems descend into states of existential vertigo brought on by what is unfolding. Such themes are most directly addressed in the poem on (p.59) of the collection:

we invent them to serve us         controlling our existence
to create virtual worlds with hells and heavens
myths domesticate science
fiction and reality blur shaping our reality
an assembly of biochemical algorithms flash fade flash fade
spinning

Similar notes of caution and critique accompany references to genetic programming, Artificial Intelligence (and the much publicised ‘approaching Singularity’), Virtual Reality obsessions (Hislop’s meditations on Bostrom’s ‘Simulation Argument’ are particularly interesting), quantum computers, and, so on, throughout the collection. He asks us to be wary of the way the New Sciences are merging with what he refers to as ‘datism’, and then warns us that ‘algorithms can control empire/ or an upper class ruling the planet’ (p.59). Later in the same poem (p.61) we read: ‘free market big brother/ watches every breath you take’. The New Sciences, of course, were founded on a profoundly ontological understanding of ‘indeterminism’, arising as they did, out of the discoveries of a range of early 20th century physicists – especially Heisenberg (with his so-called ‘uncertainty principle’).

Our need to explore these kinds of ontological uncertainty suggest a second major way to understand contemporary experimental poetries as ‘indeterminate’ – a way that brings Hislop close to the concerns of a growing band of writers creating what some are calling ‘Quantum Literatures’. What kinds of art, philosophy, poetry and poetics should we develop to address fundamental ‘indeterminacies’ of matter and consciousness (rather of consciousness observing matter)? Hislop does not, of course, advance explicit theories on such topics in this collection, but a poetic response to the challenges posed hovers above a number of the best poems in the collection. Such concerns also – whether consciously or unconsciously – seem to affect the formal flow of the collection.

Next Arrival can, in theory, be entered via a range of gates, since the 2nd to last poem in the collection mirrors the collection of lines used to construct the table of contents. Though there are no titles to each discernible segment of poetry – no capitals and headings to interrupt flow – we slowly become aware (via a kind of gentle memory murmur) that the first line of each new segment also appears in the table of contents (and will appear again at the end of the collection). In a sense then, our reading choices – i.e. whether we browse/surf the collection or proceed more conventionally from start to finish – ‘collapse’ a range (or field) of reading (and meaning) possibilities into a particular reading outcome. The experience, however, is always ‘hologrammatical’, since poem fragments from across the collection are embedded in secondary poems – producing the uncanny sense that every poem is linked to every other poem. Another term for this – a term directly related to the New Sciences – is ‘entanglement’. Specifically, we are talking about a poetics of entanglement. It is perhaps an intuitive development –possibly arising naturally out of Hislop’s deeply held ecological vision (as outlined in a number of the collection’s other poems). We note, however, that a poetics of entanglement may run contrary to the kind of language atomizing poetics we sometimes find in the more extreme manifestations of contemporary anti-representational poetry.

Although Hislop uses a range of L=A=N=G=U=A=G=E poetry techniques, the poems in Next Arrivals are never completely ‘anti-representational’. Rather meaning-creating choices, options, possible worlds/selves are offered up to the reader at every turn. The poet invites us to contemplate a new kind of reading freedom—a freedom built upon expansive notions of subjectivity, linked, in turn, to up-dated Existential and New Science perspectives. A subjectivity, in short, subliminally aware of the multiverse. Barthes’ summary of Rimbaud’s poetic (and, retrospectively the poetics of late Modernism and Postmodernism) – i.e. a poetics of ‘objects solitary and terrible’ – is not, in the end, Hislop’s poetic. Rather, we are talking about a poetry slanted toward human vulnerability and the facts of our inter-relational entanglements – a poetry addressing readers staring at the approach of an A.I. and big-data determined – perhaps Simulation programmed – future that may well see ordinary humans made obsolete and irrelevant – in a word ‘surpassed’. Interestingly, however, I suspect that for Hislop the risks associated with the fast approaching A.I. Singularity confront us as contemporary manifestations of what amounts to an age-old curse. Perhaps a classical allusion is in order. As we read Next Arrivals we become aware that we are still negotiating the Minotaur’s death-haunted labyrinth (in many ways the structure of the collection resembles that of a literary labyrinth). The face of the Minotaur, however, continuously shape-shifts into that of Saturn (old Father Time himself, or, put differently, the inevitable human encounter with death/mortality). There are thus a number of moving poems in Next Arrivals exploring mortality, ageing and the general fragility of human life. Two lines, for me, best summarise the collection’s new spin on this very old theme (p.69):

but I brimmed in apocalypse             under the welter of bones
yield to the inevitable

Poetic Indeteminacies to do with Editing, Translating and New media Technologies

Hislop and his wife, Amparo Perez Arrospide, have edited the online literary and visual arts publication Poetry Life and Times (PLT) since 2006. In this age of global communication networks, it becomes increasingly difficult to separate a poet’s poetry from a poet’s elsewhere contributions to literary and online cultures. Everything swims together in a kind of ‘electronic soup’ of interactions and information nodes on the WWW (representing perhaps another kind of ‘field poetics’ or ‘poetics of indeterminacy’). For better or worse, the specialized poets of the 20th century have slowly been replaced by a new breed of transmedia savvy ‘uber-artists’. Some poets are well equipped for the new role. Hislop, certainly, is comfortable communicating in a range of genres, across a variety of conventional and new media platforms (e.g. reviews/nonfiction essays, translations, video-poems, teaching, poetry performances, etc. ), as well as through publishing the works of other poets at the PLT site (and we note that all good literary journals seek to construct ‘an open field of narrative possibilities’).

There is no doubt that PLT, here including work published via its sub-sites Artvilla and Motherbird , expresses a truly internationalist poetics. Its contributors herald from all over the planet and the various sites feature a range of poetic styles—traditional, modernist, postmodernist, experimentalist, etc . The editors are also committed to publishing the poetry of non-English language poets (translated, in many cases, by the editors themselves). We note here that ‘translation’ is itself a notoriously difficult and ‘indeterminate’ activity – there is always a trace of the translator in the finished product, however much he or she strives to eliminate any evidence of input. Overall, PLT augments ,and expands upon, the very same poetics of indeterminacy we encounter in Hislop’s own poetry.

*****

The creative Indeterminacies I have located in Hislop’s overall oeuvre are cause for celebration. Exploring such ‘creative indeterminacies’ will introduce us to zones of hybridity – the interstitial plazas and market-places that exist between the monolithic, but ultimately delusionary and oppressive, certainties fed us daily by governments, media moguls, religious leaders and ideologues. There is something liberating and eminently human about embracing the expanded notions of self we encounter in Hislop’s poetry. We note that John Cage also sought a more expansive definition of creative practice when he labeled his later experiments ‘occasions for experience’. We may apply the same terminology to the poems in Next Arrivals – they are, each and every one of them, ‘occasions for experience’. Hislop’s ‘occasions for experience’, however, highlight the ambivalences and anxieties, as well as the joys and occasional epiphanies, experienced by ordinary people attempting to make sense of our globalised, corporatized, information-saturated post-postmodern world.
 
Ian Irvine (Hobson) Victoria Australia 2018

 

Ian Irvine (Hobson) is an Australian based, British born, poet/lyricist, fiction writer, journal editor, and writing and creative arts academic. His work has been published extensively, including in a number of national anthologies, e.g. Best Australian Poetry and Agenda’s special Contemporary Australian Poets edition. He has published four books and has co-edited over 20 publications including 7 editions of the groundbreaking international literary ezine The Animist (1998-2001), as well as Scintillae 2012 (a print anthology containing work by over 60 Australian poets and writers). Ian has taught in the creative and professional writing programme at Bendigo Kangan Institute since 1999. He also lectures casually in a similar program at Victoria University, Melbourne.
 
 
 

 
 
 
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 (University of Leeds)

Evolution. A Poem by Antonio Martínez Arboleda

 
Animals programmed to kill:
 
Some demand entertainment
to appease the flames
of their DNA,
which they try to bypass
through consciousness
or convenience.
 
Others simply survive
without questioning their appetites
(They make great TV in their chase and struggle).
 
Meanwhile
the veggie rest
distil the fluids
of their neighbours:
 
A chain of convivial parasites.
 
And all this happening
in a Cosmos with lamps
that come and go
without rehearsal,
like the lights of the ceiling of a disco,
 
a Cosmos that keeps shifting
energy and mass
without remorse,
like accountants play with figures
 
The absent Developer
sated his thirst for creativity
in only six days,
leaving behind
a beautiful,
ugly,
random,
orderly,
bloody,
dusty,
tender,
holly rocky Mess.
 
His desk is covered by mountains
of meaningless,
timeless paperwork.
 
If Intelligence is just artificial,
what is then Faith?
 
Customer Services are down.
 
Don’t settle for evolution.
 
 

 
www.leeds.ac.uk/arts/people/Spanish Portuguese and_Latin American Studies/Antonio Martinez Arboleda
 
Antonio Martínez Arboleda:
Tony Martin-Woods started to write poetry for the public in 2012, at the age of 43, driven by his political indignation. That same year he also set in motion Poesía Indignada, an online publication of political poetry. He runs the poetry evening Transforming with Poetry at Inkwell, in Leeds, and collaborates with 100 Thousands Poets for Change. Tony is also known in the UK for his work as an academic and educator under his real-life name, Antonio Martínez Arboleda. His project of digitisation of poetry, Ártemis, compiles more than 100 high quality videos of Spanish poets and other Open Educational Resources. http://www.artemispoesia.com/. He is the delegate in the UK of Crátera Revista de Críticay Poesía Contemporánea , where he also publishes his work as translator from English into Spanish. He published his first volume of poetry in Spanish, Los viajes de Diosa (The Travels of Goddess), in 2015, as a response to the Great Recession, particularly in Spain. His second book, Goddess Summons The Nation, is a critique of the ideas of nation and capitalism, mainly in the British Brexit context. It incorporates voices of culprits, victims and heroes with mordacity and rhythm. It consists of 21 poems, 18 of which are originally written in English. It is available in print and kindle in Amazon and other platforms.
 
 
 
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 (University of Leeds)

Close to Me. BLIKSOM. A Poem by Tatjana Debeljački. Translated from Serbian by Danijela Milosavljević

 

 
SAVRŠENSTVO PERFECTION 完璧さ
New book Tatjana Debeljački タチアナ デベリャスキー
Serbian English and Japanese

Translation by Mariko Sumikura
Artwork: Janoš Mesaroš
 
 
CLOSE TO ME
 
 
Togetherness disappears.
We are lost while leaving ourselves.
It’s too late for finding symbols.
The expression is a form of research
at the entrance of voice ventricles.
We sacrifice slow reasons to the quick words.
Parting is a chronicler with no chronicles.
Interpretations are hinted in the meanings of values ​​.
Let’s not torture the lions with the inner space of the sky.
We have lost the gemstone.
The search is wasted effort.
We nurture the faith of case circumstances.
Cheek shows the traces of palms.
For too long we dream the threats of responsibility.
Ironic solution of doubting we have left for the end.
We demise traces for the orphans.
God was praised, unfortunately.
From the scriptures we take out when needed.
We did not realize that all is prone to cease.
And a deep gap between the kisses,
We did not admit.
 
 
The 25th contest for the best love song, traditionally held by the
Cultural centre in Ivanjica. The contest director is poet Miljan Despotovic
 
 
BLISKOM
 
 
Nestaje zajedništvo.
Gubimo se napuštajući sebe.
Kasno je za otkrivanje simbola.
Izraz je oblik istraživanja.
na ulazu govornih komora.
Razloge spore žrtvujemo brzim rečima.
Rastanak je hroničar bez hronike.
Tumačenja naslućujemo po značenjima vrednosti.
Ne mučimo tigrove unutrašnošću neba.
Dragi kamen smo izgubili.
Potraga je uzaludan trud.
Gajimo veru okolnosti slučaja.
Obraz pokazuje tragove dlanova.
Predugo sanjamo pretnje odgovornosti.
Ironično razrešenje sumnje ostavljamo za kraj.
Tragove zaveštavamo siročićima.
Bog je bio slavljen..
Iz zapisa izvlačimo po potrebi.
Nismo uvideli da sve je prolaznosti sklono.
I duboki jaz između poljubaca,
Nepriznavasmo.
 
 
25. Konkursa za najlepšu ljubavnu pesmu, koji tradicionalno organizuje Dom kulture iz Ivanjice.Selektor konkursa, pesnik Milijan Despotović
 
 
Excerpt from:
Critic/ 講評
LIFE IN CREATION
Tatjana Debeljacki: ‘Perfection’

 
Tatjana Debeljacki: ‘Perfection’, Cultural Centre, Ivanjicа, 2018.With her poem ‘Closeness’, Tatjana won the first prize at the love poem literary contest ‘Ripples of the Moravica’ in Ivanjica, 2017. In the explanation (as a member of the competition jury) I wrote: From the poetic letter “The Close One” in which everything speaks of love without ever mentioning this word directly, we open up thoughts, a series of special lessons and wisdom, with a message that loving others means loving oneself and “losing oneself from leaving oneself”. The poem consists of twenty thoughts, classic aphorisms, each of which could be a motto of a new poem. Love is here in a dilemma over what “is prone to transience”, it is what is needed to overcome the “gap between kisses”. Tatjana Debeljacki (Titovo Uzice, 19..) writes contemporary and haiku poetry and prose. She has published nine books. She lives in Uzice. Pozega, 6th February, 2018
 


 
 
Tatjana Debeljački, born on 23.04.1967 in Užice. Writes poetry, short stories, stories and haiku. Member of Association of Writers of Serbia – UKS since 2004 and Haiku Society of Serbia – HDS Serbia, HUSCG – Montenegro and HDPR, Croatia. A member of Writers’ Association Poeta, Belgrade since 2008, member of Croatian Writers’ Association- HKD Croatia since 2009 and a member of Poetry Society ‘Antun Ivanošić’ Osijek since 2011, and a member of “World Haiku Association“ – 2011, Japan. Union of Yugoslav Writers in Homeland and Immigration – Belgrade, Literary Club Yesenin Belgrade. Member of Writers’ Club “Miroslav – Mika Antić” – Inđija 2013, Writers’ Association “Branko Miljković“ – Niš 2014, and a member of Japan Universal Poets Association (JUNPA). 2013. “Poetic Bridge: AMA-HASHI (天橋) Up to now, she has published four collections of poetry: “A HOUSE MADE OF GLASS “, published by ART – Užice in 1996; collection of poems “YOURS“, published by Narodna knjiga Belgrade in 2003; collection of haiku poetry “VOLCANO”, published by Lotos from Valjevo in 2004. A CD book “A HOUSE MADE OF GLASS” published by ART in 2005, bilingual SR-EN with music, AH-EH-IH-OH-UH, published by Poeta, Belgrade in 2008. ”HIŠA IZ STEKLA” was translated into Slovenian and published by Banatski kulturni centar – Malo Miloševo, in 2013 and also into English, “A House Made of Glass” published by »Hammer & Anvil Books» – American, in2013. Her poetry and haiku have been translated into several languages.
 
 
 
 
 
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)

Contusions. Selected Poems by Gary Beck.

Editor’s Note: we welcome the return of Gary Beck a prolific poet who has been featured in many appearances here at Artvilla.com
‘Contusions’ is an unpublished poetry collection that explores the aches and pains we suffer from the assault of life. Gary Beck. See Bio below

 
i.
A Peculiar Country
 
A nation suffers
many setbacks
before dissolving
into the trash bin
of history,
for the long slide
into obscurity.
They occur at a critical time
when capitalism
has beggared the nation
and the paid spokespersons
delude the people
into voting for a man
who pledges to help the rich,
burden the dwindling middle-class,
punish the poor for being poor.
Yet millions of voters
support the candidate
committed to hurting them.
 
ii.
 
Imbalance
 
Extreme weather
brings storms, drought,
other disasters,
while unstable seasons
alter our psyches
and no longer leave us
singing in the rain.
 
iii.
 
Linkage
 
The thread of life
connects us all
in ways we rarely see,
but animal, vegetable,
striving, struggling
for existence
frequently intersect
not always benevolently,
causing fatal conflicts
that often result
in final departure.
 
iv.
 
Sick Minds
 
Confrontations rise across the world,
some into widespread warfare,
others in domestic violence,
few peacefully resolved.
People, nations, lose control
of basic sensibilities,
unable to negotiate
acceptable solutions
to conflicts of interest.
 
v.
 
Clash of Interests
 
America leads the fight
for free speech,
women’s rights,
democracy,
against intolerant islam
unwilling to accept
other cultural values,
while China and Russia
hover like vultures
waiting to pick the carcass
of the declining West
after exhaustion
from the struggle
to do right.
 
 

 
 
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 12 published chapbooks and 2 accepted for publication. 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, Perceptions, Fault Lines, Tremors and Perturbations (Winter Goose Publishing) Rude Awakenings and The Remission of Order will be published by Winter Goose Publishing. Conditioned Response (Nazar Look). Resonance (Dreaming Big Publications). Virtual Living (Thurston Howl Publications). Blossoms of Decay (Wordcatcher Publishing). Blunt Force and Expectations will be published by Wordcatcher Publishing. His novels include: Extreme Change (Cogwheel Press), Flawed Connections (Black Rose Writing), Call to Valor (Gnome on Pigs Productions) and Sudden Conflicts (Lillicat Publishers). State of Rage will be published by Rainy Day Reads Publishing, Crumbling Ramparts by Gnome on Pigs Productions. His short story collections include, A Glimpse of Youth (Sweatshoppe Publications) and. Now I Accuse and other stories (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.
 
 
 
 
 
 
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) .

reducto anagramatico sunday afternoon 1915 wallace stevens a poem by Robin Ouzman Hislop


 
 
reducto anagramatico sunday afternoon 1915 wallace stevens
 
come give balm to the gusty grieving
nights to hush day green the seas
for her dark oranges bloom an
 
indifferent inhuman evening
of cherished comfort and wings
like wide complacencies
 
but next moves in mythy gat motions
among any hind’s heaven or paradise
& cries cause the sun’s littering
 
our afterwards river sky relinquish
the mountains and whistle in her porch
death still the imperishable inescapable
 
for receding boughs to wear sleeplessly
the sun colours to hang of sky bosom
serafin plum the perfect rivers the hills
 
the lay sky paths that live impassioned
upon grass phrases in extended cries over
her peignoir and coffee upon blood calm
 
 
 
 
 
 
 
 
 

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) .

Robin Hislop Reads at University of Leeds His Poetry and Translations. Video Performance.

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