Throughout history, in every culture; monsters continue to prevail, horrify, and fascinate. Syllable format – (4-4-6-8-6)
The life he led
one day (he said)
was boring dull and scant,
but using scary images
he found a stimulant
Such awes (he said)
imbue the brain
with such a special dread,
the Balrog or the Jabberwock,
the Yeti and the dead
Avoid the dark
(he said) dismayed
hearts icy depths perturb
there’re strange and twisted creatures there
it’s best not to disturb
My heart could fail
(he’d weep and wail)
there’s so much discontent,
but Grendel and Medusa still
he found were scintillant
The Giant Squid
of Jules Verne
for certain fuels a fright,
the Minotaur and Wendigo
stand strong in fearsome might
an evil race
worst monsters in the lot
are known for eating anything
such wickedness they brought
and Fenris too
new horrors they conceal
that keep us wond’ring if at all
they’re fake or if they’re real
Those in my head
that day (he said)
seem diff’rent than the rest
but never did that stop his pen
or lessen all his zest
And so, he wrote
with hearts delight
of monster’s blood and gore
and all the crazy fears they’d bring
that kept some wanting more…
© Richard Lloyd Cederberg
BALROG. The Lord of the Rings, J.R.R. Tolkien
JABBERWOCK. Through the Looking Glass, Lewis Carroll
MEDUSA. Greek Mythology
GIANT SQUID. 20,000 Leagues Under the Sea, Jules Verne
MINOTAUR. Greek Mythology
WENDIGO. Algonquian Mythology
NEPHILIM. Holy Bible. Genesis. Numbers. Ezekiel.
LEVIATHAN. Holy Bible. Job
FENRIS. Norse Mythology
Biography – Richard Lloyd Cederberg
RICHARD was born in Chicago Illinois. He is the progeny of Swedish and Norwegian immigrants. Richard began his journey into the arts at age six. For twelve years he played classical trumpet. Then… the wonderful incursion of British music influenced him to put down the trumpet and take-up acoustic and electric guitar. Richard began writing songs and lyrics and poetic construct. He performed in 17 professional bands. He played clubs, halls, cabarets, and concerts in Europe, Canada, across the USA, Alaska, and even Whitehorse in the Yukon Territories. Richard’s band SECRETS was one of the top four Pop-Jazz bands in San Diego for 5 years. In 1995 Richard was privileged to design and build his own Midi-centered Recording Studio ~ TAYLOR & GRACE ~ where he worked until 2002. During that time, he composed, and multi-track recorded, over 500 compositions. Only two CD’s were compiled: WHAT LOVE HAS DONE and THE PATH. Richard retired from music in 2003…. RICHARD’S POETRY uses various inspirations: nature, history, relationships (past and present), parlance, alliteration, metaphor, characterization, spirituality, faith, eschatology, and art. He relishes the challenge of poetic stylization: Rhythmical, Poetic/Prose, Triolets, Syllable formats, Story-Poems, Freeform, Haiku, Tanka, Haibun, and Acrostic. Richard has been nominated twice for the Pushcart Prize.
PUBLISHED BOOKS: The MONUMENTAL JOURNEY SERIES integrates adventure, mystery, and historical fiction. Journey on the schooner Heimdall with Dr. Gabriel Proudmore, John, Helga, Betsy, Garrett, Captain Olaf Amundsen, Rorek Amundsen, Anders Vildarsen, and Rolf the Wolfhound…
1. A MONUMENTAL JOURNEY…
2. IN SEARCH OF THE FIRST TRIBE…
3. THE UNDERGROUND RIVER…
4. BEYOND UNDERSTANDING…
5. BETWEEN THE CRACKS… a spinoff from the MJ Series…
NEW BOOKS being written or compiled:
A NEW RACE OF HuMAN’S… an eschatological drama that takes place just before the translation, during Daniel’s 70th Week, and into the Millennium.
UNDER SILENT BRIDGES… a diversified collection of Richard’s poetic invention, short-stories, essay’s, and Michele’s digital photography.
Robin Ouzman Hislop is Editor of Poetry Life and Times ; his publications include
All the Babble of the Souk , Cartoon Molecules and Next Arrivals, collected poems, as well as translation of Guadalupe Grande´s La llave de niebla, as Key of Mist and the recently published Tesserae , a translation of Carmen Crespo´s Teselas.
You may visit Aquillrelle.com/Author Robin Ouzman Hislop about author. See Robin performing his work Performance (University of Leeds)
Africa North is an excerpt from the collected poems All the Babble of the Souk. Robin Ouzman Hislop
Solstice winds, rain return in spells
a moon waxes full, dogs howl as well.
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.
Weather beaten highlands, once passed through.
The river bed, no more like a parched bone
its late autumnal river meanders as a vein
past four reservoirs
a quest that will end in winter´s flood.
Between them are momentary mists
where brightly clad figures of the north, suddenly dim.
On the frontier’s beach taxis come, go
only the stranded remain, together with the seagulls
four men huddled, drenched in pouring rain
dead once more, again, all pathways home
washed away, again. A broken song
Remember me, sung in a doorway
brings the world at large together
as suddenly as it narrows.
Water runs on marble
nakedness revealed, nakedness concealed
form water words, water memories, mists, fates.
Veins wrestle the marble into mangled knots
blemished pearls on an implacable skin
shards leaving fragmentary traces
empty spaces awaiting faces.
Lights dance in the night, picturesque
“casas blancas del pueblo”
appear through the darkness
as the brush strokes of my mind steal the action of the shadow.
Mists cordon the mountain tops
guerdoned crowns like wreathes.
Ancient fields’ still colours surrounded
by burgeoning new lead to the valley below.
Old women, old as aglow, so slow they go
poised aloof in an untouchable world, trapped.
High in kiln firelight they cowl night’s shade
to oversee goats on the hill beneath.
Daughters of necessity naked in the rock
unleashed in white trefoil in the marsh
swamp of night rain, stark where epochs
sleep in their shadows.
Replication of memories, where the old
becomes the new, a world splits in two
with Morpheus in the breach.
Beyond control, beyond reach the erratic butterfly
flits bloom to bloom, the intrepid stalker with net
both captured in the mimic mould.
A knot is tied, a knot that wrestles
embraces, that ravels birth
unravels death & binds its existence.
Her face is as if a moon glazed over
with a less serene ceramic dust that in the end
after its perplexity contains its surety.
She draws her forefinger laterally across
under her eye lid in a smear
nor can you change the image of what you are
in the pupil of her eye.
Babble bodies blur
voices with their echoes down the street
sky high, prices fly
a bird song breaks, a splash charade.
Faces in the rain thin
weakness of watery years.
A winnowing canvass tosses corn
as fireflies in the blazing day.
The hag in her rags begs her bag
holding all shadows to account.
You sit in the solitary corner
at the empty dice board
to throw, as the music swells, as strings play.
On the washing line clothes of all shapes
sizes are waiting to be filled
suspended between earth, sky, where white sheets blow.
A twinge of nostalgia flashes
a link between a fluttering curtain
an open window frame, a sun shadow game
a flickering apparition pattern leaving only – strands.
A breeze flutters an open foolscap on the table
as though a phantom reader
should flick with regard through a score of notes
then stops at the first blank white sheets
stays, the moving hand that wrote, wrote no more.
On record, old honky-tonk goes on
amidst the heaps of consumer city sneakers
in the same dust where faces
turn from their spring red lustre to a sun soiled wear
Through a beehive of alleys
names, aye to fetch them home again
as if where the countless dead resided, you’d said
in a market of women shrouded in shawls.
Berlin falls, Baghdad falls
all the years turn to further tears
further fears to merge with your voyage
the shape of dreams to come
to be only endearments of what has gone before.
A flower opens after a thousand years in a shell of tears
indifferent to its beholders’ sight
who paint it with the colours from the waters of their night
on an unknown shore, to whose sight it opened once before.
Children’s faces like radiant imps
play carefree in the streets below
overhead on red tiles, fat pigeons bicker, coo.
In an internet cafe, an Arab girl discrete in headdress
plays with cartoon molecules of Mickey Mouse
nubile women’s faces dream of nudity in their shrouds.
Wonky pinz nez specs, jumble sale clothes
bad teeth, unshaven grin
looking a faded duplicate of a down
out James Joyce with the come on
are you Irish, he asks
perhaps he was once upon a time.
They came through the cleft of the mountain
– where the river ran
to swim as a blur in the naked purple of the eye.
On the mountain face there is a scar
once a sacred place, now extinct, as they are.
Yet wild still she runs, amidst the sheep, goats
toils at the hearth, dutifully bears children
yesterday she knows but not tomorrow
where she hides her sorrow.
Even as he ploughs the hillside
a photo will steal his soul, but his beasts will do.
Twilight’s girls, girls, girls
throng the bustling street corners eating caracoles.
By day the olive tree green in the blue sky of the window
seems almost immortal enriched with the blood
it’s enriched, now at its roots.
Costa de la playa, white beehives in the sun, all money, no honey.
In the broken lights of the bazaar
the dusky eyes of the beggar sunk in their sockets
maze in crooked cul de sacs embargo amidst
the furls of silk that foil the flickering lantern niche.
In the gloaming a solitary reaper reaps its shadow.
Streets packs ravage carcasses
at dawn, the city wakes to the city’s obedience
to obey its disappearing shadows.
A ghost city of watchers
watched as shadows by a memory that has outlived them
now fragments in an admixture of old, new
amidst a junk yard of rubble
watcher shadows phased captive to their fading stories.
The street’s mechanics of the day
obey their limits, patterns of parts
where we end only to start in a series of nows.
Post mortem of the world at large
an autopsy of ghosts on the slab.
Born to see, in the boutiques people seem
like their own mannequins
existence is a mystery with no purpose
only we endow it with a destiny, it does not seek from us.
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..
Key of Mist. Guadalupe Grande.Translated.Amparo Arróspide.Robin Ouzman Hislop
goodreads.com/author/show/Robin Ouzman Hislop
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
http://www.innerchildpress.com/robin-ouzman-hislop.All the Babble of the Souk
Key of Mist is an excerpt from the collected poems Key of Mist KEY of MIST
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.
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.
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.
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.
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.
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
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.
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.
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.
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.
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.
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.
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/
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 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..
Key of Mist. Guadalupe Grande.Translated.Amparo Arróspide.Robin Ouzman Hislop
goodreads.com/author/show/Robin Ouzman Hislop
http://www.amazon.com. All the Babble of